today in the studio: Dec. 5th, 2025

today in the studio

“The Great Works Project: Season 6, Episode 8” by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 8

By Thomas Typewriter

———–<:type:>———–

FADE IN

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

FADE OUT
FADE IN

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

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

Y-MOUSE
(off-camera) “Beautiful.”

CUT TO

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

MS OF Y-MOUSE

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

CUT TO CS OF GLASS DOOR SHOWING BLINKING LIGHTS.

CUT BACK

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

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

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

TRACK Y-MOUSE

PAN THROUGH THE NARRATOR’S DOOR

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

TYPEWRITER ABSTRACT PUPPET STAGE: NARRATOR’S BALCONY

LS OF THE NARRATOR’S BALCONY

CUT TO MS OF THE Y-MOUSE

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

PAN OVER TO PROPERLY FRAMING THE HIGH-STAGE

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

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

CUT TO

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

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

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

THE SPACE EGG
“Already on it.”

BIFF THE RABBIT
“What is that!”

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

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

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

BIFF THE RABBIT
“Yeah.”

THE INNER-SPACE MAN
“Interesting”

CUT BACK TO

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

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

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

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

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

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

THOMAS TYPEWRITER
“I can handle computers.”

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

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

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

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

THOMAS TYPEWRITER
“Like this?”

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

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

Ophidia gives him a quick kiss

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

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

TRANSITION FROM MID-STAGE TO HIGH-STAGE

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

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

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

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

CUT TO…

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

LS OF THE SPACE EGG

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

CUT TO MS OF THE SPACE EGG

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

CUT TO MS OF THE LARGE MEMOCRYSTAL PEDESTAL

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

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

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

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

IRIS EFFECT FOCUSING ON BIFF

CUT BACK TO MS OF THE MEMOCRYSTAL PEDESTAL

It stands up in surprise. It quickly crawls down.

FOLLOW THE SCUTTLER

CUT TO MS OF THE BACK WALL OF THE WARDROBE.

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

CUT TO THE LANDING GANTRY

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

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

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

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

The group of scuttlers enters from stage-right.

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

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

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

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

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

The Informative Scuttler gestures for Biff to take the key.

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

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

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

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

Biff reaches forward and takes the Empaatha Key.

BIFF THE RABBIT
“Thank you?”

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

THE INNER-SPACE MAN
“Thank you?”

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

THE SPACE EGG
“What was that about?”

THE INNER-SPACE MAN
“I don’t know.”

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

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

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

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

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

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 7

an intermission

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-07”. It enters from the bottom of the frame and moves up as if in fast-forward. It exits through the top of the frame. It is then followed by “an intermission” scrolling up from the bottom of the frame. It moves upwards, momentarily pausing in the center, then exiting the top of the frame.

FADE OUT
FADE IN

INT. SUNKEN LIVING ROOM OF BIFFINGHAM’S HOUSE, DAYTIME

DISSOLVE FROM BRIGHT WHITE THROUGH THE RANGE OF COLORS TO LS OF BIFFINGHAM THE RABBIT AND ROCKINGHAM THE PET ROCK SITTING IN FRONT OF THE TELEVISION

The Living Room is a rectangular room with two of the walls opening onto the nearby hallway and stairwell in the center of the house. The room has a sunken floor with two steps leading from the floor level to the sunken floor. These steps are along the two sides of the room open to the hallway and stairwell. The other two walls have dark wood paneling with small horizontal windows along the top of the wall. Big round pendulous lamps hang from the ceiling bathing the room in a soft yellow light. A couch runs along one of the paneled walls while two corduroy recliners sit across from the couch in front of the steps. The television is on the other paneled wall. It is a large box built into a wooden cabinet. Tall rabbit ears, along with various photos of Biffingham and his family, sit on the top of the television. BIFFINGHAM THE RABBIT, a rabbit boy dressed in corduroy overalls and bearing an uncanny semblance to Biff, sits on the shag carpet in front of the television. Next to him sits his pet rock ROCKINGHAM THE PET ROCK. The television is currently tuned to Channel 2 and the ongoing broadcast of “The Babysitter Tales.” The show is in the middle of a commercial break between acts.

CUT TO MS OF BIFFINGHAM AND ROCKINGHAM

BIFFINGHAM THE RABBIT
“I wonder what will happen in today’s episodes.”

ROCKINGHAM THE PET ROCK
“I don’t know, but we’re about to find out.”

PAN TO SIDE ONTO THE TELEVISION

TRANSITION FROM SUNKEN LIVING ROOM TO COMMERCIAL

PAN IN ON TELEVISION

FADE OUT

GOODWIFE HONEY CHEWBARS COMMERCIAL

FADE IN

CS OF A CASCADING FLOW OF HAYGRASS STEMS

NARRATOR
(voice-over) “Goodwife Bakery, the flavor you know and trust, so trust us. OR when something new comes, trust those you trust when they tell you it is good. ”

A waterfall of falling haygrass pours past the screen. A snack bar emerges from the flow of Haygrass. It moves through the center of the screen towards the camera. The bar is rectangular and made up of compressed haygrass.

DISSOLVE TO…

CS OF A CASCADING FLOW OF CARROT STEMS

A waterfall-like flow of tumbling carrot stems falls across the screen. From the center of the flow emerges the rectangular snack bar. It is now made up of compressed haygrass, carrot, and carrot stems. The bar flies out of the flow and up towards the camera.

DISSOLVE TO…

CS OF A CASCADING FLOW OF SUNFLOWER SEEDS

A pouring of sunflower seeds moves across the screen. From the center of the cascade emerges the snack bar. It is now made up of compressed haygrass, shredded carrots, compressed carrot tops, and scattered sunflower seeds. Note that the bar needs to be more haygrass, carrots, and carrot tops then sunflower seeds. Biff and the other Rabbits can digest sunflower seeds but in modest quantities.

DISSOLVE TO…

CS OF POURING HONEY

Long streams of golden honey flow past the screen. From the center of the honey emerges the snack bar. It is made up of compressed haygrass, shredded carrot, compressed carrot tops, and sunflower seeds same as before except it is now coated in honey. The bar hovers in midair in the center of the screen.

NARRATOR
(voice-over) “New Goodwife Bakery Honey Chewbars. Available now.”

FADE OUT

TRANSITION FROM THE COMMERCIAL TO THE BABYSITTER TALES

THE BABYSITTER TALES TV SHOW

FADE IN

INT. KITCHEN OF THE HOUSE OF GLOOM AND ILL-TIDINGS, MID-MORNING
Description goes here- Now what does the kitchen look like. So we are looking straight at the oven wall. The kitchen is squarish with the oven in the corner. It is an older-style brick oven, while the rest of the kitchen looks a little more modern, but still cottage-like. A sink lies on the counter on the left of the screen. A large window sits over it. Cabinets line the wall with the oven. There is also a small fridge. Cabinets also line the wall next to the oven. A small wooden table sits in the center of the room. There are various braids of spices hanging from the ceiling. The right side of the screen has a wall with shelves holding plates and dishes. There is also a broom. That wall also has a doorway. It is that doorway the GLOOMARELLA THE GLOOM WITCH enters through. ROD POCALYPSE, Gloomarella’s infant son, sits in a high chair on the far side of the table facing the camera. He fidgets waiting for his mother’s return. GLOOMARELLA THE GLOOM WITCH enters from the doorway near the refrigerator. She is carrying the small cage bearing THE TADPOLE. Rod starts to fuss and make noise when the Gloomwitch returns.

ROD POCALYPSE
(repeating in a shout) “Food! Food! Now!”

GLOOMARELLA THE GLOOM WITCH
“I know honey, I know. I’ll have your bottle ready in just a moment. (to self) So tired. When will this kid ever sleep.”

She opens a cabinet over the refrigerator placing the Tadpole inside. She then moves to the next cabinet, a full-length cabinet, and opens it. Gloomarella pulls out a coffee mug and a baby bottle. She then reaches into the fridge and pulls out a jug of milk. She returns for the counter and reaches for the baby bottle but yawns deeply. She rubs her eyes and then picks up the coffee mug. She fills it with milk. She places the jug on the counter. She then fills the baby bottle with coffee. Putting the cap on the bottle she grabs her coffee mug. Bringing both over to the table, she sets the bottle down on Rod’s highchair ledge.

GLOOMARELLA THE GLOOM WITCH
“Oh, I almost forgot.”

She picks up the baby bottle and moves it out of reach. She stands and removes a box of “These Are Circles” cereal from a cabinet behind her. She pours some cereal onto the high-chair tray. Rod starts to eat the cereal. Gloomarella returns the box of cereal. She sits back down at the table and grips her coffee mug two-handed, wrapping her two hands around the mug. Rod starts to drowse off. She notices this and starts to nod off also, allowing herself to close her eyes and rest. He falls asleep in his high chair while Gloomarella falls asleep in her chair. After a few very peaceful moments, there is a LOUD CRASH from outside. Rod startles awake and begins to wail. Gloomarella bolts upright. Her hair frizzles out with angry magical energy.

GLOOMARELLA THE GLOOM WITCH
“Those raccoons! I’ll curse them! I’ll curse them to several layers!”

She races out of the room. Rod calms down. He eats some cereal and reaches for his bottle. It had fallen over, the tip coming just within reach. He pulls it over and drinks it down. He makes a sour face, then starts to vibrate. The coffee kicks in instantly. He begins to rapidly bounce and vibrate in his high chair. The highchair shakes around the kitchen, knocking pots and pans and spices off the walls. As he bounces around the room we can see in the window over the sink the swirling of dark clouds and thunderbolts. Multiple lightning strikes that cast a negative reverse light strike down over the front yard and then the sky clears. Rod increases speed and force bouncing around the room until abruptly he stops. The high chair comes to rest. Rod makes a pained face, there is a loud wet noise as he fills his diaper. It balloons out to comical levels. His face relaxes completely. GLOOMARELLA reenters the kitchen.

GLOOMARELLA THE GLOOM WITCH
“We won’t have any more disturbances from those raccoons any more.”

She walks over to her coffee and starts to drink it. She spits it out.

GLOOMARELLA THE GLOOM WITCH
“Ughhh. This isn’t coffee. Now where did I put my coffee.”

She turns and looks around the room noticing Rod and his overfilled diaper.

GLOOMARELLA THE GLOOM WITCH
“Wow, that is one full…”

Rod’s diaper EXPLODES covering everything in feces.

TRANSITION FROM THE SHOW TO THE VIEWERS

THE CAMERA PANS OUT FROM THE RESTFUL FACE OF ROD POCALYPSE

CONTINUE PAN OUTWARD AS THE EDGE OF THE TELEVISION SCREEN COMES INTO THE SHOT.

INT. SUNKEN LIVING ROOM, DAYTIME
Biffingham and Rockingham sit on the floor in front of the television, giggling.

CONTINUE TO SLOWLY PAN BACK FROM THE TV AND INTO THE LIVING ROOM, PAST BIFFINGHAM AND ROCKINGHAM UNTIL SHOT BECOMES A MS OF THE DUO WATCHING THE TV.

Biffingham turns to look at Rockingham.

BIFFINGHAM THE RABBIT
“I really thought more would happen.”

ROCKINGHAM THE PET ROCK
“What, you didn’t like the exploding diaper. One good laugh and I am satisfied.”

BIFFINGHAM THE RABBIT
“Sure, that was funny, but not much else. Sometimes I think we have more fun when we’re doing our own stories.”

ROCKINGHAM THE PET ROCK
“Well, they are good stories.”

BIFFINGHAM THE RABBIT
“What do you say that when this episode is over, we go play?”

ROCKINGHAM THE PET ROCK
“Sure. What do you want to play?”

BIFFINGHAM THE RABBIT
“Mindgames and Headcheese?

ROCKINGHAM THE PET ROCK
“Sure.”

BIFFINGHAM THE RABBIT
“Cool.”

Biffingham turns back to look at the TV.

FADE OUT

The Great Works Project: Season Six, Episode Six 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 6, Episode 6

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-06”. It enters from the bottom of the frame and moves up as if in fast forward. It exits through the top of the frame.

FADE OUT
FADE IN

INT. THE SPACE EGG, MAYBE/MAYBE NOT DAYTIME

FADE IN TO A SERIES OF RAPID CUTS OF THE INNER-SPACE MAN, BIFF AND ROCKEY IN THE INSIDE OF THE SPACE EGG AS IT FLIES AT A VERY FAST VELOCITY

The interior of the Space Egg is a circular space filled mostly by a pilot’s chair and control panel. The center of the space is filled with a molded pilot’s chair, currently seating THE INNER-SPACE MAN. His long white beard and hair flip around due to the Space Egg’s current velocity. In front of him is a semi-circular control panel. The center of the panel bears a long display shaped like a rectangle with a circle in the center. Should the Space Egg speak, the dialogue also scrolls across the center display like an LED sign. Various sized semi-translucent hexagonal buttons used for piloting the ship are set across the remaining area of the control panel. Above the control panel is an ovoid-shaped display screen. The entire interior of the Space Egg is designed as some combination of children’s toy and sci-fi movie. Behind the pilot’s chair is a small space, into which BIFF and ROCKEY are currently crammed. They are pressed back into the wall due to the Space Egg’s rapid acceleration. Crayons and pages flutter in the gap between them.

CUT TO

HIGH-STAGE: INT. BIFF’S BEDROOM, DAYTIME
A bed sits center-stage dividing the stage in two. On the stage-left side of the bed, a window sits under a small slant of roof. Posters of various characters from the Cosmic League comic book series and Babysitter Tails television show are hanging on the wall between the bed and window. On the other side, stage-right side, of the bed sits a nightstand topped by a small lamp. Past the nightstand is the bedroom door and the small second-floor landing. BIFF THE RABBIT and ROCKEY THE PET ROCK are hiding under the bed. THE SPACE EGG hovers in the center of the room while THE INNER-SPACE MAN approaches the bed.

THE INNER-SPACE MAN
(leans down to look at Biff and Rockey under the bed) “Well gentlemen, care to leave the confines of this reality?”

CUT TO CS OF BIFF AND ROCKEY UNDER THE BED

BIFF THE RABBIT
(to Rockey in a whisper) “Their trans-dimensional nature might be our best chance to get out of this script. (to the Inner-Space Man) Sure.”

ROCKEY THE PET ROCK
“As long as we can bring our drawings and crayons.”

THE INNER-SPACE MAN
“I wouldn’t have it any other way. You never know when a good drawing will save your life.”

CUT BACK

Biff and Rockey get out from under the bed. They gather up crayons and drawings from the room, placing them into Biff’s backpack, which was under the nightstand.

ROCKEY THE PET ROCK
“We should put in the story that the Soft-boiled Detective and the Big Bag Bug are visited by two robots.”

BIFF THE RABBIT
“Okay, but what do we call them?”

ROCKEY THE PET ROCK
“The Deuce Machines.”

BIFF THE RABBIT
“That might work.”

The Inner Space Man lifts Rockey inside the Space Egg. Then he helps Biff, before climbing in himself. The Space Egg closes. It starts to hover before flying across the threshold of the front of the High-stage and out of the frame.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD MOVING FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS. IT CONTINUES MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS.

The Space Egg quickly enters and then exits our view as the camera races past its descent.

THE CAMERA CONTINUES PANING DOWN THE CURTAIN OF CLOUDS, REACHING THE TOPS OF THE MID-STAGE SETS. IT SLIDES OVER THE SET TOPS, DESCENDING UNTIL FRAMING MID-STAGE.

MID-STAGE: INT. THE RETRO SCREEN 10, EVENING
Four descending rows of theatre chairs fill the stage, with each row higher than the one in front of it. A set of decorative wall lamps can be seen hanging above the back row of chairs. The lamps are at full brightness. THOMAS TYPEWRITER enters from Stage-left behind the top row and then proceeds to exit stage-right. He reenters in the third row from stage-right walking to stage-left and exiting. He repeats this zig-zag walking through the second row and then into the first row. He sits down in a center chair in the first row. The decorative wall lamps dim and the stage goes darker. Thomas reaches down and pulls out a tub of popcorn topped with whipped cream with a cherry on top and a large soda with a crazy straw from under his chair. He starts to drink the soda. From the top of the screen, the SPACE EGG floats down. It slowly turns right, then left surveying the scene. It exits stage left. Thomas leans over trying to eat the cherry topping his popcorn sundae.

OPHIDIA OPERAHOUSE
(voice-over) “And here is where the magic occurs.”

Thomas looks around trying to figure out where the voice is coming from. The decorative wall lamps dim to black, transitioning the stage to darkness.

OPHIDIA OPERAHOUSE
(voice-over) “Thomas. Thomas! Are you paying attention?”

CUT TO

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME.
The sound of A LIGHT SWITCH CLICKING OFF punctuates the transition to the Pencil Chicks Studio. A long desk spreads across the stage. It has a monitor, keyboard, mouse, and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE stands just inside the room, while THOMAS TYPEWRITER stands in the doorway. She is looking back at him.

OPHIDIA OPERAHOUSE
“I said this is where the magic happens.”

THOMAS TYPEWRITER
“Sorry, I drifted off there. Biff and Rockey popped into my head for some reason. Okay, so you were saying something about magic.”

OPHIDIA OPERAHOUSE
“I was saying this is where the magic happens. Over there is my drawing desk, and next to it my supplies, paper, pencils, etc. The computer is where I scan and compile the images. Up above is where I store everything else. There is more, but we’ll get into it once you’re a little more familiar. I didn’t want to overload you on your first day. I am so happy to be doing this with you.”

THOMAS TYPEWRITER
“Me too.”

They kiss.

OPHIDIA OPERAHOUSE
“Maybe I should show you what to do before we’re too distracted.”

THOMAS TYPEWRITER
“Couldn’t hurt.”

TRANSITION FROM MID-STAGE TO THE WINGS

THE CAMERA SHAKES LOOSE FROM PROPERLY FRAMING THE MID-STAGE AND TURNS SLIGHTLY SO THAT THE MID-STAGE CURTAIN IS VISIBLE. THE CAMERA MOVES TOWARDS THE CURTAIN ITSELF BECOMING ENTANGLED. IT TURNS DOWNWARD AND MOVES DOWN AND OUT OF THE CURTAIN INTO THE WINGS.

EXT. INNER CORRIDOR OF THE WINGS

LS DOWN INTO THE INFINITY OF THE WINGS

The Wings extends out to infinity. It is a storage space for the Helping Hands to store all the different scenery and locations used in the plays that are put on in the Typewriter Abstract Puppet Stage. It is a central open inner atrium with four outer walls. Each outer wall is a series of storage areas housing a different scene location. On the nearest bin is the RETRO SCREEN 10 set. The SPACE EGG flies out from the storage area for The Retro. It flies up the center of the open corridor gaining speed, flying out of frame.

TRANSITION FROM THE WINGS TO THE HIGH STAGE

HIGH-STAGE: THE FAR EDGE OF THE FOREVER CAGE

FRAME THE HIGH-STAGE A LITTLE FURTHER PANNED OUT THAN USUAL, SO AS THE CURTAIN OF CLOUDS IS VISIBLE EDGING THE HIGH-STAGE.

From the bottom edge of the High-Stage, the Space Egg flies up. It hovers and twists in the air, rotating to face in towards the High-Stage. It flies forward and into the High-Stage disappearing into the distance.

PAN UNTIL PROPERLY FRAMING HIGH-STAGE.

THE WARDROBE OF A THOUSAND AND ONE COSTUMES drifts in from stage-left. A small model of the Space Egg enters from stage-right. It flies over to the doors of the Wardrobe, ultimately entering through a small gap between the doors. Where the two doors meet along the bottom. The High-Stage curtains close at the sound of A COMPUTER BOOTING OFF.

FADE OUT