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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 01
a prologue

By Thomas Typewriter

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “06-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Immediately following that text’s exit, up scrolls “a prologue” from the bottom of the frame. It scrolls upward pausing in the center of the frame before continuing up and out of the top of the frame.

FADE OUT
FADE IN

THE VELVET CURTAIN

MS OF THE VELVET CURTAIN

A velvet stage curtain fills the frame. From below the frame THE VELVET TOUCH emerges. Remember that the Velvet Touch is a Helping Hand that wears long fingerless fishnet gloves. Each of their fingers, except the pinkies, are painted with a black or dark shade of fingernail polish. The Velvet Touch gestures a greeting at the camera and then reaches below the frame for a large cue card. They show the blank side to the camera and then rotate it. On the back, the cue card has the following text written: “A story…” The Velvet Touch then flips the card back around and now the blank side has text on it. It has the following text written on it, divided into two columns:

“a saw blade… a wand…
a castle… a quill…
a light bulb… a shield…
a harp… an outsider…”

The Velvet Touch rotates the cue card one more time. The writing of “a Story” on the other side has been replaced. It now bears the following text: “…in a progression…”. The Velvet Touch sets the cue card down off-screen, below the frame. They then grab the edges of the Velvet Curtain, opening them to reveal a dark screen behind them.

PAN IN ON THE DARK BEHIND THE VELVET CURTAIN

FADE OUT TO BLACK

GRIGIO COLORI
(offscreen) “Fade into black. From the bottom of the screen scrolls up the following text zero, six, dash, zero, one

FADE OUT
FADE IN

EXT. THE LONG HILLS, DAYTIME

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

GRIGIO COLORI
“Can I ask you something?”

THE OUTER ONE
“Sure”

GRIGIO COLORI
“You like these plays? This Thomas Typewriter stuff?”

THE OUTER ONE
“Sure.”

GRIGIO COLORI
“What do you like about it? ”

THE OUTER ONE
“Well, it makes me smile. I’ve always liked puppets and science fiction, so there’s that. But, and I’ve wondered about this too, and I think there is also this other part of it. I think I identify with Thomas. Like how he struggled with sadness and loneliness but managed to write this silly epic anyway helped me feel a little better about my own struggles.”

GRIGIO COLORI
“That was something we did discuss and debate a lot. We, and by we I mean myself and the other characters in the story, wondered if anyone was enjoying it. Was anyone being helped by our story? We couldn’t tell being inside it. We hoped we were helping.”

THE OUTER ONE
“Sure. I think you were. Maybe not as many as Thomas hoped for. He made so much art just on his own, with little recognition. Just going in everyday and writing some more, painting a little more. Maybe that was why he was lonely.”

GRIGIO COLORI
“I’ve read the scripts. He was lonely long before then.”

THE OUTER ONE
“You’re probably right. There was one other reason I liked his stories.”

GRIGIO COLORI
“Oh, what was that?”

THE OUTER ONE
“The characters.”

GRIGIO COLORI
“Present company included?”

THE OUTER ONE
“Present company definitely included.”

GRIGIO COLORI
“Oh you charmer, am I blushing?”

THE OUTER ONE
“Maybe a little.”

GRIGIO COLORI
“Should I continue reading.”

THE OUTER ONE
“Yes, please.”

GRIGIO COLORI
(opening scriptbook) “Transition to the Typewriter Abstract Puppet Stage.”

THE OUTER ONE
“I always thought that was a crazy name.”

GRIGIO COLORI
(to the Outer One) “Me too.” (looking back at scriptbook) “Fade out then Fade in to a field of darkness. The sound of typewriter keys click clacking sound out from somewhere in the distance.”

THE OUTER ONE
“That’s a sound we know all too well.”

GRIGIO COLORI
“True. That and light switches.”

FADE OUT
FADE IN

A FIELD OF DARKNESS

From off-stage the sound of TYPEWRITER KEYS CLICK CLACKING. Unseen lamps turn on in the dark and illuminate the suddenly appearing TYPEWRITER ABSTRACT PUPPET STAGE

THE OUTER ONE
(off-screen) “You ever think we have all these different ways of the Typewriter Abstract Puppet Stage appearing because Thomas gets bored of writing the same thing?

GRIGIO COLORI
(off-screen) “I know I would.”

TRANSITION FROM A FIELD OF DARKNESS TO THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE. AS THE CAMERA MOVES CLOSER MOVE IN ON THE MID-STAGE AREA.

TRANSITION FROM THE TYPEWRITER ABSTRACT TO THE MID-STAGE

The mid-stage curtains open and we continue moving inward. The mid-stage is undecorated. We move through it towards the Curtain of Clouds. The Curtain of Clouds part.

TRANSITION FROM MID-STAGE TO BACK-STAGE

BACK-STAGE: THE CONCURRENT DISTANCES

THE CAMERA PANS THROUGH THE OPEN CURTAIN OF CLOUDS UNTIL PROPERLY FRAMING THE BACK-STAGE BEHIND THE CURTAINS

Fog rolls across the bottom of the stage, with a background of nebulous degree. The landscape looks like a lost or unformed realm just outside dreams. VARIOUS DREAM-BUBBLES float across the stage both stage-left to stage-right and stage-right to stage-left. After a few moments, NETTE, ONDE, and AVEN along with the AEOLIPILE enter stage-left. They walk to the center of the stage and look around.

AVEN
“Do you see her?”

ONDE
“No.”

NETTE
“She could be anywhere. All this fog is messing up my vision.”

AVEN
“It is only going to get worse as we move more downdream.”

They look around while Aeolipile dances with a Dream-bubble in the background.

ONDE
“What do we do?”

AVEN
“I do not know.”

NETTE
“There has to be something we can do. We just need to think of something. Figure it out.”

They rub their faces in thought when a light bulb appears over Nette’s head. Aven and Onde turn and look at her. Nette reaches up and pulls down the light bulb. She then reaches into her pocket and pulls out another light bulb. She looks at them and smiles.

NETTE
“I’ve got an idea.”

AVEN
“We noticed.”

NETTE
“Did you bring anything with you? What supplies do you have?”

ONDE
“We left in a rush so we didn’t pack much.”

NETTE
“Fine. That’s fine, what do you have.”

ONDE
“I have some scrapwood and a few nails.”

AVEN
“I have some wire and colored glass.”

NETTE
“That will have to do. Ladies, while I will always advocate for solving your own problems, sometimes you need to ask for help. And sometimes you need to do both.”

Nette points at the Aelophile. Aven and Onde turn and look at the Aelopile dancing with the Dream-bubbles. Nette then points at the items in her hand. Aven and Onde turn and look at the items in her hands. Nette gestures between Aelophile and the lightbulb in her hand. Light bulbs pop on over Onde’s and Aven’s heads. Nette walks over and removes the bulbs, adding them to the other two she is holding.

CAMERA PANS OUTWARD

The Curtain of Clouds closes.

TRANSITION FROM BACK-STAGE TO MID-STAGE

THE CAMERA CONTINUES PANNING OUTWARD MOVING THROUGH THE MID-STAGE AREA AND OUT FROM THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM MID-STAGE TO THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

The Mid-stage curtains close. The unseen lamps over the Typewriter Abstract Puppet Stage dim and turn off.

FADE OUT

The Great Works Project: Season Five, Episode Thirteen – a script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 13

an epilogue

By Thomas Typewriter

———–<:type:>———–

FADE INTO BLACK

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

FADE OUT

FADE IN

OPEN ON A DARK VELVET CURTAIN

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

INT. WRITER’S ROOM. LATE AT NIGHT

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

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

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

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

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

FADE OUT THROUGH GOING OUT OF FOCUS

FADE IN

EXT. THE GRITTY OVERLAP, DAYTIME

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

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

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

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

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

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

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

Z-MOUSE
“Being polite. Asking questions.”

THE ETHEREAL PRESENCE
“Why?”

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

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

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

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

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

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

Z-MOUSE
“Thank you.”

THE ETHEREAL PRESENCE
“Your welcome.”

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

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

Z-Mouse nods and writes down notes.

Z-MOUSE
“Go on, tell me everything.”

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

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

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

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

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

PAN OUT

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

FADE OUT

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

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 07

an intermission

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

INT. BIFFARD’S BEDROOM, AFTERNOON

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

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

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

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

They jump up and down

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

Biffard and Rockey stop bouncing.

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

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

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

TRANSITION FROM BIFFARD’S BEDROOM TO THE TV DEN

CUT TO

INT. THE TV DEN, AFTERNOON

LS OF THE TV IN THE TV DEN

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

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

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

EXT. FRONT GATES TO GLOOM MANOR, LATE AFTERNOON

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

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

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

They walk up through the gate.

CUT TO CS OF GLAFIAT GLIMMENS

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

CUT TO

EXT. GLOOM MANOR FRONT PORCH, DAYTIME

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

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

CUT TO MS OF THE COUPLE AT THE DOOR

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

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

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

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

GLOOMARELLA THE GLOOM WITCH
“Just talk.”

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

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

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

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

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

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

Montricia holds up the suitcase she has been carrying.

MONTRICIA DEWDROP LILLIPADDLING
“Right here.”

The front door cracks open a slight bit.

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

CS OF SPACE IN FRONT OF DOOR

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

CUT BACK TO MS

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

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

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

MORTIMER DEWDROP LILLIPADDLING
“Like what else.”

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

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

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

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

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

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

They yelp and hastily depart from the house.

CAMERA PANS OUT

FADE OUT

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

———–<: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