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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 13

an epilogue

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the bottom of the screen scrolls up the following text: “06-13”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. A second set of scripts follows. 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. A third set of script scrolls up once the second has left the screen. From the bottom of the screen scrolls up the following text: “The Keys to Sadness”. 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

EXT. THE DOWNHILL, MORNING
The Downhill is the region just past the Hilltop. A traveler through these realms will usually appear in the Sand Dunes, walk to the Hilltop across a landscape that shifts from sand to scrub. They will encounter the Ghostly in the forested area of the Hilltop. Continuing along the trail, they will emerge from the forested Hilltop to a more open gentle downward slope, the Downhill, on their way to the mixed grassland and prairie of The Flatland.

LS OF THE DOWNHILL

THOMAS TYPEWRITER emerges from the forest and works his way down the slope. He follows the trail to a point where it splits. A signpost stands at the split. It is a tall pole covered in a colorful collection of Morning Glories. There are two signs on the post, each pointing down a different trail. One sign has the following text: “THISville”. The other has the following text: “THATville”. The region between the two diverging paths is a prairie grassland filled with many tall grasses and colorful wild flowers.

VARIOUS SHOTS OF THOMAS WALKING DOWN THE TRAIL AND APPROACHING THE SIGN.

MS OF THOMAS LOOKING AT THE SIGN

Thomas stops and looks at the signs.

THOMAS TYPEWRITER
“Thisville or Thatville? Thisville? Thatville? Not really a lot to go on there.”

CUT TO CS OF EACH INDIVIDUAL SIGN AND THEN PANNING TO LOOK DOWN THE TRAIL.

Down the THISville trail is a city in the distance filled with many tall white-ish buildings against a background of dark smoke and clouds. The many buildings seem to be built with outlines of golden light. Glittering shapes can be slighly seen moving through the skies over THISville. Down the THATville trail in the distance is many tall dark colored buildings against a backdrop of greyish white smoke and clouds. The buildings are filled with windows illuminated by harsh flourescent lighting. Glittering shapes can also be seen flittering over the skies here also.

CUT BACK

THOMAS TYPEWRITER
“Which way do I go. She was not very short on details when it came to which was which. One way looks to be cheerful buildings but the sky is so dark and ominous. The other way has a bright sky but those buildings look so harsh. Is either way better than the other? Do I go that way or the other?”

Thomas looks back and forth down the trails.

THOMAS TYPEWRITER
“This is so my luck. I find some clue and guide on what to do next and but it turns out it wasn’t enough. Why does this keep happening to me. (pauses) Deep breath. Panicking and self-pity will get me no closer. Okay, take stock of what is known, then act. (A little drawn out as he is thinking out loud) I know there are two paths. Additionally that ghostly lady said there were two different cities ahead. She also said I needed to choose carefully. Yet, did she really offer any insight into which city was a better choice. She claimed she did, but I don’t know. Is this even a choice I should be making. Am I suppose to be on some mystical otherworldly vision trip to discover a deeper meaning to my life or another one of those deep dreams I get every week?”

Thomas Typewriter sits down.

THOMAS TYPEWRITER
“I’ll just sit here till I figure this out. (to self) Okay so you follow the trail, meet the lady, get told there are two paths and then have to choose a path. The path splits to two choices. A bright-dark city or a dark-bright city. It is just so binary. I hate being forced to choose. Yet…do I have to? Is it really only two choices or have I just limited my view. Forwards is backwards. There are no fences or walls, so in theory I could go any direction.”

Thomas looks around.

CUT TO MONTAGE OF WILDFLOWERS AND GRASS. SEE BIRDS AND INSECTS.

THOMAS TYPEWRITER
(voice-over) “This place is so peaceful. Reminds me of the hay fields where I grew up.”

Thomas’s breathing slows. He extends his breathe in and extends his breathing out. He settles into a four count in, pause, four count out, pause, repeat rhythm.

THOMAS TYPEWRITER
“I know what I am going to do. Instead of walking one of the two paths, I am going to keep walking forward.”
Thomas leaves the trail and starts walking through the grasses and prairie. Butterflies, Dragonflies, Moths and Lacewings buzz around him. Songbirds flitter through the air over him. Thomas smiles at all the beauty around him.

MONTAGE OF THOMAS WALKING THROUGH THE PRAIRIE BETWEEN THE TWO PATHS.

As Thomas walks he the grasses are getting higher and higher. They are ankle high at the start but soon they are shown up to his rib cage. He is actually sweating from the exertion to move through the thicker parts of the prairie.

THOMAS TYPEWRITER
“Really starting to doubt my choice here. This is hard.”

In front of Thomas is a glitter of metal in the grasses. Thomas stops and looks down, parting the grass.

CUT TO CS OF AN OLD KEY IN THE SOIL.

Thomas picks up the key and starts to clean it off.

THOMAS TYPEWRITER
“What is this doing here? What’s your story?”

Thomas sinks into the grass and down into the soil. He is too focused on the key, turning it over and over, to notice the sinking.

PAN DOWN FOLLOWING THOMAS WHILE ALSO ZOOMING IN ON THE KEY.

In the soil we see Thomas drift one way and the key drifts out of his hand.

PAN DOWN FOLLOWING THE KEY AS IT SINKS

The key sinks through the soil. The dirt grows darker and darker transitioning to a black field.

PAN STOPS

The key falls through the darkness exiting through the bottom of the frame.

CUT TO A SERIES OF CLOSE SHOTS OF THE KEY TUMBLING THROUGH DARKNESS

TRANSITION TO THE LOW-STAGE

THE LOW-STAGE: EXT. THE WIDE WATERS OF THE CIRCULAR RIVER, NIGHT
The Low-Stage is initially dark. A crescent moon rises. It’s soft light illuminates a small sailboat, THE MONUMENT, on the wide section of the CIRCULAR RIVER. The figure of WILLIAM SCOTT FRANCIS KEYES falls in from above the frame landing in the boat. The boat rocks from the vibration, soon settling back into the gentle quiet rhythm of the waves. The title card or title graphic appears superimposed over the scene. It reads “THE KEYS OF SADNESS”. It fades away. The moon sets and the sun rises. As the sun fully crests the horizon, William wakes. He can be seen sitting up in the boat, stretching, and reaching for the rudder. William raises the sail, secures the line. First he secures the rudder. The sail billows, capturing wind. The boat sails exiting stage-left.

CUT TO MS OF WILLIAM SAILING THE BOAT.

CUT TO LS

The Monument sails in from stage-left, sails across the frame, and exits stage-right.

PAN TO THE LEFT SIDE PANEL

The left paneling on the Low-Stage slides open. Inside is a smaller stage displaying the Circular River in the past. From stage-left enters a small sailboat, THE MOMENT, piloted by GRANDPA KEYES. YOUNG WILLIAM sits next to him.

LS OF THE MOMENT MOVING ACROSS THE WATER.

CUT TO MS OF WILLIAM AND GRANDPA

YOUNG WILLIAM
“Grandpa?”

GRANDPA KEYES
“Yes.”

YOUNG WILLIAM
“Thank you for taking me sailing with you.”

GRANDPA KEYES
“My pleasure.”

YOUNG WILLIAM
“Grandpa?”

GRANDPA KEYES
“Somebody was bit by the question bug this morning.”

YOUNG WILLIAM
“Sorry.”

GRANDPA KEYES
“No, I didn’t mean it that way. Go ahead and ask your question.”

YOUNG WILLIAM
“Okay. How do you know where to go? Isn’t it confusing?”

Grandpa Keyes looks away from the horizon and down at Young William.

GRANDPA KEYES
“Here, hold this please.”

Young William takes hold of the rudder. Grandpa Keys then reaches to the box and grabs out a map.

GRANDPA KEYES
“The first step is a map. Know the symbols and you will never be lost. Anyone shown you how to read a map?”

YOUNG WILLIAM
“No.”

GRANDPA KEYES
“You want to learn?”

YOUNG WILLIAM
“Yes.”

GRANDPA KEYES
“Okay. Okay, the first thing we want to look for is landmarks. Then we want to find the rose, or north point, to orientate.”

PAN BACK FROM LEFT SIDE PANEL TO THE LOW-STAGE

The Monument sails into the frame from stage-left. William Francis Scott Keyes is consulting a map. He alternates between scanning the horizon and scanning the map, gently nudging the rudder to course-correct as he goes. When the Monument reaches the center of the frame, the wind dies down. The sails deflate and the boat comes to a stop in the center of the frame. The sky darkens and the stage lighting takes on a grayish color.

PAN TO THE STAGE-RIGHT.

The Right Side Panel slides open. It is filled with a dark void. Down floats THOMAS TYPEWRITER. He hovers in the darkness looking at what is occurring on the LOW-STAGE and LEFT SIDE PANEL.

THOMAS TYPEWRITER
(voice-over) “Is this a vision?”

PAN BACK TO LOW-STAGE

A light rain advances across the stage. A gust of wind hits the sails pushing them. William reaches to steady them, but lets the map slip. It flutters off exiting the frame stage-left.

PAN STAGE-LEFT FOLLOWING THE MAP AS IT BLOWS OUT OF THE CENTER LOW-STAGE AND INTO THE LEFT SIDE PANEL.

FRAME IN ON THE LEFT-SIDE PANEL

In the left-side panel, Grandpa Keyes is still sailing with Young William Keyes in the Moment.

CUT TO MS OF GRANDPA KEYES AND YOUNG WILLIAM

GRANDPA KEYES
“Now, the map is a starting point. It can get you were you need, but it relies on your observations. Can you match the symbols to the landscape around you? Not always so easy. To help us we have the second tool, and possibly one of the most important, the compass.

YOUNG WILLIAM
“I thought the compass was on the map?”

GRANDPA KEYES
“Yes, there is a compass on the map, but I am talking about a physical compass. The compass on the map only tells you where North is relative to the landmarks on the map. A physical compass always points north, and through that you can figure out or set your heading.

YOUNG WILLIAM
“How does it work?”

CUT TO CS OF THE COMPASS IN GRANDPA KEYES HANDS

GRANDPA KEYES
(voice-over) “First you hold it flat and let the needle settle pointing north…” (voice over trails off)

PAN FROM SIDE-PANEL BACK TO LOW-STAGE

Go back to the Monument sailing into some rain. William is tying off the sail when we return. A light rain falls down on him. He puts on a raincoat and reaches into a dry box for his compass.

INSERT CS OF THE COMPASS.

WILLIAM FRANCIS SCOTT KEYES
(voice-over) “Like Grandpa showed us. Hold level. Let the needle settle. Remember the compass wants to help us find our way, it just needs our help.

William grips the center ring of the compass with a finger tip resting on North-East.

WILLIAM FRANCIS SCOTT KEYES
(voice-over) “Let it know where home is. I was heading North-East before I lost the map, so that is home little friend.”

William rotates the compass ring until North-East lines up with the north facing end of the compass needle.

WILLIAM FRANCIS SCOTT KEYES
“Now let the compass show you the way.

He then turns his hand until the North facing point of the needle lines back up with north.

CUT BACK TO MS OF WILLIAM

WILLIAM FRANCIS SCOTT KEYES
(pointing) “That way.”

He loosens the sail line a short bit and grabs the tiller. He does all this with one hand since the other is holding the compass.

CUT TO LS OF THE MONUMENT

The boat slowly changes direction in the rain. Lightning starts flashing in the distance. As the boat sails, the lighting grows closer. THUNDER can be heard. The first rumble is far off. The second strikes closer. The third boom is close, with little gap between lighting and thunder. A lightning bolt hits the water next to the Monument.

CUT TO MS OF WILLIAM

William throws up his hands to shield his face from the light. THE THUNDER detonates, rocking him back into his seat. His arm with the compass flies up, the compass slipping from his grip.

CUT TO CS OF THE COMPASS. FOLLOW IT.

It arcs through the air landing in the water, quickly sinking below the waves.

CUT BACK TO LS OF THE MONUMENT

The Monument floats in the water. There is a burn mark on the side nearest the lightning strike. Luckily, the boat was only singed and not on fire. William is lying back on the floor of the boat recovering from the intense flash of light and loud noise.

PAN OVER FROM LOW-STAGE TO THE LEFT SIDE-PANEL

LS OF THE MOMENT SAILING THE CIRCULAR RIVER

CUT TO MS OF GRANDPA KEYES AND YOUNG WILLIAM

Young William is holding the compass while Grandpa Keyes is navigating the boat.

GRANDPA KEYES
“There you go, you’re getting it. (pause) Now, at some points in your life, you’ll find yourself without a map or a compass or any tools.”

YOUNG WILLIAM
“Then what.”

GRANDPA KEYES
“You do like your ancestors and use the stars.”

YOUNG WILLIAM
“How so.”

GRANDPA KEYES
“There are patterns in this world, and if you know how to read them, you can get a sense of where you’ve been, where you are and just possibly where your going. When we are sailing, the stars are an alternate guide we can use.”

YOUNG WILLIAM
“They are patterns?”

GRANDPA KEYES
“We can see patterns in them, yes, and use those patterns to help us. It is too bright to see all of them right now, but the starting point star we can make out during the day. Tonight, when we get back home, I’ll take you out to the backyard and show you the constellations. But for now, let’s focus on the North Star.”

YOUNG WILLIAM
“Does it point north?”

GRANDPA KEYES
“It is always in the north, and bright enough to see during the afternoon and evening. Why don’t you use your compass to find north, and then see if you can spot it.”

Young William looks and uses the compass. Finding the north direction, he looks up and starts to scan the horizon.

CUT TO LS OF THE MOMENT

The Moment sails out of the frame, exiting stage-left.

PAN FROM THE LEFT-SIDE PANEL TO THE LOW STAGE

Night has fallen and there is a break in the storm clouds. The sky is filled with stars. William Francis Scott Keyes comes to and gets up. He rubs his head and looks around, checking on the state of the boat. Deeming it still sea-worthy, he sits at the back. He places his hand on the rudder, but hesitates to move it. He looks around trying to remember which way he was previously headed. He can not recall.

WILLIAM FRANCIS SCOTT KEYES
“Okay. Look for the patterns and you might be able to tell where your headed. First find the North star.”

William scans the sky, finally locating the North Star.

WILLIAM FRANCIS SCOTT KEYES
“There it is. Okay, Mama Bear is leading Baby Bear north except the Dragon crawls between them to the west. There, Baby Bear and Mama Bear. Between them is the Dragon. And if his head is over there, and he is heading west, then east is the other way. That means North-East is that way.”

William points and moves the rudder.

CUT TO LS OF THE MONUMENT

The Monument slowly corrects course as it sails out of frame, exiting stage-left.

CUT TO LS OF THE CIRCULAR RIVER FURTHER ALONG

It sails back into the frame further down the vast Circular River. The night sky has a gap in the storm clouds allowing the stars to be seen shining in the sky. The approaching storm clouds are significantly darker than the receding storm clouds. A heavy storm approaches.

LS OF THE MOMUMENT. PAN WITH THE MONUMENT SO AS IT STAYS IN THE CENTER OF THE FRAME.

The heavy storm rolls across the stage. Heavy rains batter the boat while strong winds push at the sails. William Francis Scott Keyes struggles to pull in the sails and secure the lines. The water becomes choppier. The storm pushes waves of increasing size against the boat.

CUT TO MS OF WILLIAM FRANCIS SCOTT KEYES

William is struggling to secure the gear but the waves are cresting over the side of the boat knocking him back and forth. He finally gives up and grabs onto the seat.

CUT TO CS OF WILLIAM FRANCIS SCOTT KEYES’ FACE

William closes his eyes and grips tight.

WILLIAM FRANCIS SCOTT KEYES
(to self) “Hold on.”

PAN OVER TO THE LEFT SIDE-PANEL

LS OF THE CIRCULAR RIVER IN THE PAST

The Moment sails in from stage-right. Young William is looking ahead, while Grandpa Keyes is at the rudder.

GRANDPA KEYES
“There is one last thing to discuss if you want to learn how to sail.”

WILLIAM KEYES
“Does it apply to life as much as sailing.”

GRANDPA KEYES
“Everything in sailing applies to life, but yes this most definitely does.”

YOUNG WILLIAM
“What is it then?”

GRANDPA KEYES
“Here it is: Hold on.”

YOUNG WILLIAM
“That’s it?”

GRANDPA KEYES
“That’s it.”

YOUNG WILLIAM
(looks at Grandpa for a moment) “Is this a joke?”

GRANDPA KEYES
“No, I am serious.”

YOUNG WILLIAM
“I don’t get it. When would I need to do that?”

GRANDPA KEYES
“Oh, you’d be surprised. Sometimes, in spite of all your preparedness, all your skill, you end up in trouble. And when that happens, the only thing you can do is grab hold of something and endure until the trouble passes.”

YOUNG WILLIAM
“Oh. Okay.”

GRANDPA KEYES
“But it is also hold on to the good moments in your life. Memories of time with loved ones, memories of success, memories of forgiveness, moments of kindness, connection. A good memory can keep up your strength while you hold on, while you waiting out the storm.”

YOUNG WILLIAM
“What do you think of Grandpa?”

GRANDPA KEYES
“Your Grandma.”

YOUNG WILLIAM
“Really.”

GRANDPA KEYES
“Absolutely. I think back to when we were kids and I remember her laugh. It was a great laugh. Her whole face filled with joy. I also think about how even though I was not the nicest to her, she still took a chance on me. If she, a person who could be filled, beaming, with joy and good saw something good in me, maybe I can believe there is.”

YOUNG WILLIAM
“That’s pretty cool Grandpa.”

They sail in silence for a few moments.

YOUNG WILLIAM
“If it is alright with you, I think I’d like to remember this. Our time together.”

Grandpa Keyes reaches over and puts a hand on Young William’s shoulder. He squeezes it then lets go.

PAN OUT SO AS BOTH THE LOW-STAGE, THE LEFT SIDE-PANEL, AND THE RIGHT SIDE-PANEL ARE VISIBLE.

In the left Side-Panel, The Moment lazily sails down the Circular River. In the Low-Stage, the Monument struggles in the storm. The rain stops and the waves sink. The water grows calm. Meanwhile over in the Right Side-Panel, Thomas Typewriter floats in a void watching the events unfolding in the Low-Stage and the Left Side-Panel. Back in the Low-Stage, William Francis Scott Keyes sits up. He takes a moment to look around and see the storm has passed. He cheers in triumph at having survived the storm. He reaches under the bench and pulls out a bucket. He starts to scoop out the water in the boat. In the left Sid-Panel, Young William hears William Francis Scott Keyes shout and looks at him bailing out water. He leans over and says something to his grandfather. Grandpa Keyes nods in agreement. He then hands the map to Young William who folds the map into a boat shape. When finished, Grandpa Keyes hands him the compass. He puts it into the boat and leans over the side of the boat supported by Grandpa Keyes. The paper boat bobs on top of the water. Young William gives it a gentle push and it sails towards the Low-Stage, exiting the Left Side-Panel. Young William and Grandpa Keyes return to their seats. The Moment sails out of frame and the Left Side-Panel closes.

PAN AWAY FROM THE LEFT SIDE-PANEL, SO AS TO FRAME JUST THE LOW-STAGE AND THE RIGHT SIDE-PANEL.

In the Low-Stage, William Francis Scott Keyes continues to bail out the boat. From the side of the frame closest to the Left Side-Panel drifts in the boat made from the folded map. The paper boat bumps into the Monument. William sees it as he dumps a bucket of water. He leans over and retrieves the little boat. He takes out the compass and sets it down near the rudder. He then unfolds the map and looks around the horizon. He sits down at the rudder and turns the boat. It sails out of frame. The curtains on the Low-Stage close.

PAN OVER TO FRAME ONLY THE RIGHT SIDE-PANEL.

Thomas Typewriter floating in the void, drifts up and out of view of the Right Side-Panel.

PAN OUT TO SHOW ALL OF LOW-STAGE AND THE TWO SIDE-PANELS

The lights illuminating the Low-Stage and Side-Panels dim and flicker turning off.

FADE OUT.

today in the studio: July 9th, 2025

today in the studio

“The Great Works Project: Season Six, Episode Nine” 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 9

by Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-09”. 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

GRIGIO COLORI
(voice-over) “Fade-in to exterior of the Unroom Not.Seven. Long shot of the revolving door to the unroom Not Dot Seven.”

FADE IN

EXT. UNROOM NOT.SEVEN’S REVOLVING DOORWAY, TWIXTLIGHT

LS OF THE REVOLVING DOOR

The revolving door entryway to the Unroom Not.Seven sits center. The wall it is built into is not visible, giving the doorway the illusion of free standing. A bright round globe is attached to the invisible wall above the revolving door. The door itself is a cross shaped revolving door, made from two lines crossing at ninety-degree angles on a central round pipe. There are four sections in the door allowing up to four people to use the door at one time. Each section is glass panel with a horizontal hand hold or push bar mid-center. Above the push bar painted on the glass is the following symbol: “ .7 ”. The bottom of each interior glass panel has a rubber skirt. Semi-circular glass enclosures wing out from either side of the doorway. There is enough space between them to allow one person using the doorway to exit or enter at a time.

GRIGIO COLORI
(voice-over) “Pan inward from outside the Unroom to inside to the Typewriter Abstract Puppet Stage through a series of cuts.”

The sound of TYPEWRITER KEYS CLICK CLACKING drifts through the doorway.

TRANSITION FROM THE DOORWAY TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN TOWARDS THE DOORWAY AND THEN INTO THE UNROOM NOT.SEVEN THROUGH A SERIES OF CUTS. EACH CUT IS ACCOMPANIED BY THE SOFT SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER.

INT. UNROOM NOT.SEVEN, TWIXTLIGHT
The unroom Not.Seven is a room of indeterminable size. In front of the doorway are semi-circular rows of grey carpet squares. They radiate out from a wooden disc sitting near a possible center of the space. The TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, facing towards the grey carpet squares. The entire scene is softly illuminated by spindly metallic lamps at the end of the rows. The lamp’s cords snake off into the distance, of which you wonder the distance.

LS OF THE UNROOM FROM JUST INSIDE THE DOORWAY

PAN IN TO THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE THROUGH A SERIES OF CUTS. PAN IN UNTIL PROPERLY FRAMING THE MID-STAGE. EACH CUT IS ACCOMPANIED BY THE MODERATE SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER.

MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains part, and the stage-lights turn on with THE LOUDER SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER and also A CLICK OF A LIGHSWITCH TURNING ON, revealing…

MID-STAGE: A STACK OF PAPERS

CS OF A STACK OF PAPERS.

A tall stack of cells or paper illustrations for Ophidia Operahouse’s short film sit before the camera. From stage-left, THOMAS TYPEWRITER’S fingers come into view and grab the top sheet. They drag and lift the top sheet out of the frame. It makes the PAPER SCRAPING ACROSS PAPER sound we have been hearing before now.

CUT TO

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk runs across the stage while a drawing desk sits behind the long desk. On the long desk is a computer monitor, small desktop, keyboard, mouse, a scanner, a bin, and a large stack of papers. THOMAS TYPEWRITER sits at the desk moving pages from the stack of papers to the scanner. Thomas leans over grabbing the top page from a stack of papers to the side of the computer. He opens the scanner lid and places the paper inside. After closing the lid, he fiddles with the computer. The HUM AND WHIR of the scanner activating goes out. Thomas opens the scanner lid when it finishes. He removes the sheet of paper and places it in a bin to the opposite side of the desk. Behind him sits OPHIDIA OPERAHOUSE at the second desk. It is an animator’s desk with full light table. Various pencils and squares and drawing guides sit on top of the desk. To her side is a shelf of pull-out bins. Various papers and extra drawing materials fill the bins. Ophidia focuses on her drawing, leaning over to finish a drawing while Thomas scans. As he scans his third piece of paper, Ophidia stretches in her chair. She gets up and walks behind Thomas, tenderly placing her hands on his shoulders. He reaches up one hand, the one not using the computer mouse, and places it on top of her hand.

OPHIDIA OPERAHOUSE
“I’m going to stretch my legs and get a snack. You want anything?”

THOMAS TYPEWRITER
“Something to drink would be nice, if your offering.”

OPHIDIA OPERAHOUSE
“Oh, I am offering.”

THOMAS TYPEWRITER
(looking at Ophidia) “Then I am accepting.”

OPHIDIA OPERAHOUSE
“Be right back then.” “Then I’ll be right back. “Be right back.”

THOMAS TYPEWRITER
“Okay.”
Ophidia exits stage-right. Thomas puts away the sheet he is currently scanning and reaches for a new one.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA DETACHES FROM PROPERLY FRAMING MID-STAGE AND PANS UPWARD. IT GLIDES UP AND OVER THE SETS, GLIDES OVER THE CURTAIN OF CLOUDS, UPWARD AND UPWARD. ONCE IT REACHES THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE, IT STOPS PANNING WHEN PROPERLY FRAMING HIGH-STAGE.

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

HIGH-STAGE: INT. PANACEA FLAUTO’S OFFICE IN THE FLUTE MEDICALSHIP, EARLY EVENING.
Panacea’s office is a desk sitting in the middle of the stage with the back walls lined by filing cabinets of various heights. On top of each filing cabinet are multiple stacks of books and papers. Crammed between the stacks of books, in any open spaces are various rolled up medical charts, boxes, and medical equipment. There is one succulent emerging from the filing cabinets on the stage-left, its long leaves dropping out causing a splash of color in the office. Panacea’s desk is a large metal affair, covered in stacks of medical charts and paperwork. Two spare Med-scanners sit on the side of the desk amidst a collection of empty coffee cups. PANACEA FLAUTO sits at her desk, feet propped up, reading through a stack of files. She has a small black and white Vid-screen, in an antiquated case, sitting on top of the files in one of the pulled out filing cabinet drawers. The Vid-Screen is on but not actually set to a channel yet. It is displaying a static snow signal. There is a KNOCK ON THE DOOR from off-stage.

PANACEA FLAUTO
“Who is it?”

CEDAR WAXWINGS
(off-screen) “Cedar.”

PANACEA FLAUTO
“Oh, come on in.”

Panacea puts the folder away and starts to move the paperwork from her desk. CEDAR WAXWINGS, inside a Medi-pod, rolls into the room from stage-right. He enters holding a bag of food from the ship’s cafeteria.

CEDAR WAXWINGS
“I didn’t know which salad you preferred so I got both. Sorry if that is a problem.”

PANACEA FLAUTO
“That’s no problem. That was nice of you.”

Cedar sets the bag on the desk. Panacea reaches into the bag and pulls out two containers of salad and two cans of Nutri-Soda. She reads the labels on both salads and picks one.

PANACEA FLAUTO
“Did you grab any napkins.”

CEDAR WAXWINGS
“No, sorry. Was I suppose to?”

PANACEA FLAUTO
“That’s okay. I’ve got some in my desk.”

CEDAR WAXWINGS
“From all your desk dinners.”

PANACEA FLAUTO
“Hey, I have a lot of paperwork with this job.”

CEDAR WAXWINGS
“I can see that.”

Cedar holds up his hands in mock surrender. Panacea shakes her head but smiles. She reaches into a drawer and pulls out some napkins. She then turns to the Vid-screen and turns to Channel 200 “The Bird House”. The title credits for the movie “North by North by Northwest” play across the screen.

CEDAR WAXWINGS
(while trying to grab the other salad off the table) “So what’s on tonight?”
Panacea pushes the other salad to the edge of the desk, so as to be closer to Cedar’s reach. Cedar is then able to pick up the salad container.

PANACEA FLAUTO
“Soap Bubble Medical Theatre is on hiatus this week, so I thought we’d watch this oldie, North by North by Northwest. Ever seen it?”

CEDAR WAXWINGS
(pouring salad container into a drawer that opened on the front of his Medi-pod) “No, what is it about”

PANACEA FLAUTO
“It is about a young boy who decides to travel the world looking for new parents but is mistaken for a spy and pursued by shadowy agents.”

CEDAR WAXWINGS
“Sounds interesting.”

PANACEA FLAUTO
“It is. Just watch and you’ll see.”

They turn towards the Vid-screen as the opening sequence for “North by North by Northwest” plays.

NORTH BY NORTH BY NORTHWEST OPENING SEQUENCE:
INT. ATTIC PLAYROOM, DAWN
Open on a nondescript Attic that has been converted to a children’s playroom. The rafters have been covered in a medium-dark paneling with a the top half painted in white to increase the feeling of openness in the space. Green vines and leaves are hand painted along the edges of the white painted areas to add a soothing decorative element. A window is situated at each end of the playroom. The window facing the dawn has shafts of sunlight pouring through it, illuminating strips of the room. A short table with a train set sits in the center of the space. Around the room, various toy vehicles sit scattered among various buildings made of building-block toys. The selection of toys and buildings can vary but there will need to be a cab, a commercial plane, a crop-duster prop plane, a bicycle, a dogsled, a car, a cruise ship, a skyscraper with reflective windows, Mount Rushmore, a country manor, a mall, an igloo, and a hotel.

PROGRESS THROUGH A MONTAGE OF CLOSE-SHOTS OF THE TRAIN AND THE SPECIFIED TOYS AND BUILDING MODELS. EACH SHOT DISSOLVES INTO THE NEXT. END THE SEQUENCE ON AN ANGLED SHOT OF THE SKYSCRAPER.

MATCH DISSOLVE FROM THE IMAGE OF THE MODEL SKYSCRAPER TO A SHOT OF AN ACTUAL SKYSCRAPER. THE PLACEMENTS AND ANGLES OF THE WINDOWS NEED TO BE THE SAME BETWEEN THE MODEL AND THE REAL BUILDING. THE FIRST DETAIL TO COME IN WILL BE THE REFLECTION OF TRAFFIC IN THE WINDOWS. ONCE THE DISSOLVE COMPLETES HOLD THE SHOT TO SHOW THE TRAFFIC AND COMMUTERS IN THE STREET SCUTTLING BY.

CUT TO

EXT. HITCHLEH REIBEL CITY, RUSHHOUR
Hitchleh Reibel City is a large metropolitan city in the midst of rushhour. Countless people are getting off work and heading home for the day. They flood out of buildings at the heart of city, that stab at clouds, to huddle in buses, subways, cabs and cars that flow through routes branching like veins. The oxygen is leaving the city to be distributed to the outlying districts.

PROGRESS THROUGH A MONTAGE OF SHOTS OF PEOPLE LEAVING BUILDINGS, WALKING IN LARGE GROUPS DOWN STREETS, GETTING ONTO BUSES, GETTING ONTO SUBWAYS, GETTING INTO CABS, AND GETTING INTO TRAINS.

CUT TO CRANE SHOT OF GRANTWOOD AVE

NORTH NORTHERLY, a young child of around eleven dressed in a youth ice hockey uniform, is walking down the street.

IRIS IN ON NORTH NORTHERLY

CUT TO A MONTAGE OF NORTH NORTHERLY WALKING ACROSS VARIOUS STREETS AND BRIDGES AND PATHS IN THE CITY AS HE MAKES HIS WAY TO…

INT. THE ROSE & COMPASS MALL, DAYTIME
The Rose & Compass Mall is a large multi-story mall. Glass lined ceilings overlook three levels of shopping. Tiled floors lead to small landscaping beds, tranquil fountains, and a sensible layout of escalators.

FOLLOW NORTH WALKING ACROSS THE MALL TO THE MESSAGE CHAIRS THROUGH A SERIES OF MEDIUM SHOT AND LONG SHOT CUTS.

The Message Chair section of the mall is near the end of one wing of the Rose & Compass Mall. It is located in the common area outside the Old Timerz achor store. On one side can be seen a Skolnic’s Ice Crem Sandwich Parlor, a Huskyberry clothes store, a couple Satelite Soda vending machines and a few benches. The Messaging Chair section itself has four messaging chairs with accompanying coin operation slots. Three of the chairs are occupied by SOUTH SOUTHERLY, WEST WESTERLY, and EAST EARLY. South is a young girl of around ten dressed in a little league baseball uniform. West is a young boy of around ten dressed in a youth football uniform. East is a young boy of around nine dressed in a youth track outfit. They are all in the middle of a circle of chair messages. North walks up, puts some money in the unoccupied chair, and then sits down. The chair starts to shift and then vibrate as the messaging mechanisms kick in.

NORTH NORTHERLY
“Oh, I needed this.”

SOUTH SOUTHERLY
“Tell me about it. I had the worst day.”

WEST SOUTHERLY
“Sorry, but no way you had the worst. I had the worst.”

EAST EARLY
“With all due respect, your both wrong. I had the worst.”

SOUTH SOUTHERLY
“You two don’t know what your talking about. How about you North. You going to claim you had the worst and then we get into this whole one-upmanship thing.”

WEST WESTERLY
“I’d never do that.”

EAST EARLY
“You’d absolutely do that.”

NORTH NORTHLY
“I don’t get it. Just don’t understand.”

WEST WESTERLY
“Understand what?”

NORTH NORTHLY
“Why don’t they like me? I get perfect grades, pitch perfect games, and deliver a perfect Shakespearean soliloquy. What did I do wrong? These are all traits of values to others but not them.”

In the background of the frame, MALL CLERK enters searching for someone.

MALL CLERK
“Mr. Carlson? Mr. Arthur Carlson?”

SOUTH SOUTHERLY
“I stand corrected, your having a worse day.”

WEST WESTERLY
“Worse than mine.”

EAST EARLY
“Definitely.”

MALL CLERK
“Mr Arthur Carlson? Is there a Mr. Arthur Carlson present?”

North leans forward in the messaging chair and throws his arms up in exasperation.

NORTH NORTHLY
“I don’t understand! Owww.”

North recoils his arm and grips is shoulder wincing in pain.

SOUTH SOUTHERLY
“Are you okay?”

WEST WESTERLY
“That looks like it hurts.”

NORTH NORTHLY
“I might have thrown out my shoulder in the game due to the stress of my ongoing existential crisis.”

EAST EARLY
“At least its not an ontological crisis.”

The Mall Clerk sees North gestures and walks over to him.

MALL CLERK
“Mr. Carlson, I have been looking all over the mall for you.”

NORTH NORTHLY
“I’m not Carlson. “

MALL CLERK
“Sorry.”

NORTH NORTHLY
“Do you know somewhere I can buy some aspirin?”

MALL CLERK
“Second floor over by Ramblewoods is a drugstore.”

NORTH NORTHLY
“Okay. Thanks.”

CUT TO

MS OF THE SOFTLY-DRESSED MAN AND LOUDLY-DRESSED MAN

Down the hallway, near the escalator and maps, stand the SOFTLY-DRESSED MAN and the LOUDLY-DRESSED MAN. They are observing the Message Chair Area.

LS OF THE MESSAGE AREA FROM THEIR ANGLE OF VIEW

The events of North Northly walking up to the Message Chairs and speaking with the other children plays out. The Mall Clerk comes in and starts asking for Mr. Carlson. When North raises his arm they look at each other.

INSERT CS OF THEM NODDING AT EACH OTHER.

This should be enough to play in the background of the main scene as Cedar and Panacea eat lunch.

END OF NORTH BY NORTH BY NORTHWEST OPENING SEQUENCE

CEDAR WAXWINGS
“This is nice.”

PANACEA FLAUTO
“Yeah, it is.”

CEDAR WAXWINGS
“I meant the salad, but this is nice too. Can you turn it up?”

PANACEA FLAUTO
“Sure.”

She stands and leans over increasing the volume on the vid-screen. She then sits back down, steals a glance at Cedar and smiles. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The light from the Vid-screen stays on. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING HIGH-STAGE AND PANS DOWNWARD. IT GLIDES TO THE CURTAIN OF CLOUDS LOCATED BELOW THE HIGH-STAGE. IT CONTINUES PANNING DOWNWARD THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. CONTINUE PANNING DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

OPHIDIA OPERAHOUSE
“I am back.”

Thomas stops reaching for a new sheet and scoots his chair back, allowing Ophidia room to walk in. She sets the tray down on the computer desk.

OPHIDIA OPERAHOUSE
(handing Thomas a glass) “This is for you.”

THOMAS TYPEWRITER
(taking glass) “Thank you.”

Ophidia retrieves a stool from off screen stage-right and sits down. She picks up the bowl and takes a bite. She then offers some to Thomas. He takes a small handful.

OPHIDIA OPERAHOUSE
“So, hows it going.”

THOMAS TYPEWRITER
“Okay I guess. I never realized how monotonous animation was.”

OPHIDIA OPERAHOUSE
“Yes, but I like it.”

THOMAS TYPEWRITER
“No, I didn’t mean that as an insult. I am sorry if it was. I was just thinking that maybe it was a blessing in disguise that I lost the ability to draw or cartoon.”

OPHIDIA OPERAHOUSE
“That is kind of dark.”

THOMAS TYPEWRITER
“Yeah, but not as much as it sounds. Just more of realizing this would not of worked for me. Also it makes you even more amazing in my eyes that you are able to do this. You are something special.”

OPHIDIA OPERAHOUSE
“Aww, thank you. So, I watched this funny show last night.”

THOMAS TYPEWRITER
“So we’re changing subjects. Okay. What was it?”

Thomas reaches for some more snacks.

OPHIDIA OPERAHOUSE
“Campus Ladies.”

THOMAS TYPEWRITER
“My mom was just going on about that show when I talked to her yesterday. How is it?”

OPHIDIA OPERAHOUSE
“Funny.”

THOMAS TYPEWRITER
“So what is it about?”

Thomas scoots his chair closer to Ophidia. She scoots her stool closer to Thomas.

OPHIDIA OPERAHOUSE
“Well, these two older ladies decide to go back to college.”

THOMAS TYPEWRITER
“Like take night classes or move into a dorm full-time?”

OPHIDIA OPERAHOUSE
“Dorm full time, in fact that is part of the joke. Like their roommate thinks they’re Moms dropping off their kids.”

THOMAS TYPEWRITER
“Really.”

Ophidia starts to giggle and Thomas moves in closer.

OPHIDIA OPERAHOUSE
“Okay, so the ladies decide to go to a party down the hall, to try to meet people. They get blasted and stumble back to their room super late. They find their roommate crying and start tucking her in and kiss her goodnight. I laughed and laughed.”

THOMAS TYPEWRITER
“Did you now?”

Thomas takes a hold of Ophidia’s hand. She returned the gesture with her other hand.

OPHIDIA OPERAHOUSE
“I did.”

THOMAS TYPEWRITER
“Then what happened?”

Thomas and Ophidia lean in closer to each other, about to kiss. The stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

“The Not So Puppet Show: Season One, Episode Four” by Thomas Typewriter – a new script

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode Four

“The Broken Book of Beasties: Book 1, Part 2”

By Thomas Typewriter

———–<:type:>———–

FADE IN

Title sequence plays

FADE OUT
FADE IN

INT. BORDERTOWNE MIDDLE SCHOOL LUNCHROOM, MID-DAY
A long cafeteria table spreads across the stage. Behind the table are tall frosted windows in utilitarian frames. Shapes of trees and a general daylight illumination can be seen through the frosted glass. In the upper portions are small round dents and circling cracks from various kids in the neighborhood next to the school shooting the windows with BB guns. Even though there is some daylight coming through the windows, the Lunchroom is bathed in strong fluorescent lighting. CHADWELL BAGPIPES, ANTWELL CONCRETE, MIKEWELL LETTERS, and ARROWELL RAILROAD are sitting at the table eating their school lunches.

LS OF THE GROUP

THOMAS TYPEWRITER enters from stage-left. He is carrying his metal lunchbox, decorated in characters from the “Peanuts” comic strip, and the latest issue of The Not So Zine. He sits down next to Chadwell. All four of the boys are friends and exchange hellos. Thomas opens his lunchbox and pulls out a bag of chips. He quickly eats all the chips. He then folds the bag flat and places it in front of him on the table. Chadwell, Antwell, Mikewell, and Aaywell all notice this and turn their heads to watch what Thomas is doing. From stage-left enters GREG RASHES. Greg is a tall, lean, blonde teen with acne in the grade above Thomas. He walks over to the area in front of Thomas, avoiding blocking Thomas from view.

CUT TO MS OF THOMAS AND GREG

GREG RASHES
“Hey, nerd.”

THOMAS TOPHAT
“I am not a nerd Greg. You will find my grades preclude me from qualifying as a nerd.”

GREG RASHES
“Whatever. Let me have your chips. I’m hungry.”

THOMAS TOPHAT
“Sorry, Greg. I already ate them.”

GREG RASHES
“What? But you did that yesterday and I asked you to not do that. How can I eat your chips if you eat them first.”

THOMAS TOPHAT
“I don’t know what to tell you, Greg. (flatly) I just can’t control myself when it comes to chips.”

GREG RASHES
“Me either. Okay. But tomorrow save them so I can take them.”

Greg exits stage-right.

CUT BACK TO LS OF TABLE

ANTWELL CONCRETE
“Thomas, what was that about.”

THOMAS TOPHAT
“It is just Greg trying to bully me into giving him my chips.”

MIKEWELL LETTERS
“And he just accepts that you ate them before he got there.”

THOMAS TOPHAT
“Yeah, he’s not a very good bully.”

ARROWELL RAILROAD
“I’d say so.”

CHADWELL BAGPIPES
“Well, if he tries anything we’re with you.”

MIKEWELL LETTERS
“Yes.”

ANTWELL CONCRETE
“Yes.”

ARROWELL RAILROAD
“Maybe. Anyways, what does everyone think of using my map for Zonepoints today?”

Arrowell pulls out a notebook and flips it open. Chadwell and Antwell lean in and start discussing it with him. Thomas lets out a gentle and soft sigh to himself. Mikewell notices and looks at Thomas. Pulling a sandwich out from his lunch, Thomas starts to read the Not So zine. Mikewell is unsure of Thomas’ mood but ultimately joins the others in looking at Arrowell’s notes.

CUT TO MS OF THOMAS EATING HIS SANDWICH AND READING THE NOT SO.

CUT TO CS OF THE NOT SO ZINE

TRANSITION FROM THE BORDERTOWNE MIDDLE SCHOOL TO THE BOOK OF BROKEN BEASTS
FADE INTO THE NEXT

———–<.thom.>———–

THE BROKEN BOOK OF BEASTIES

“Book I: A Book by Any Other Cover”

Part Two of Three

By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter

————-<:type:>———–

FADE IN

TITLE SEQUENCE

The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”. It fades away in a shimmer. In the absence appears the following test: “Part Two.”

PAN DOWN

The dark screen fades to light grey as the “Part Two” slides off the top of the screen from the camera panning

TRANSITION FROM TITLE TO THE TRILIBRIS

INT. THE ALCOVE AT THE BACK OF THE TRILIBRIS’ MAIN ROOM, DAYTIME

The Alcove is a dark wood wall decorated with gold and brass metal in long blocky snaking patterns illuminated by two torches. In the center of the alcove is a podium holding THE CODEXIAN. The Codexian is a thick book, with covers of a purple stone and thick leather binding. The front cover has a vertical row of three circles made from gold wire on the binding side. The other side is a snaking angular pattern similar to the patterns on the alcove walls. The pattern snakes down to two horizontal lines across the bottom portion of the front cover. It is currently open to the middle of its binding with THE GREY MOUSE off to the corner looking in at the illustrations on the page.

MS OF THE CODEXIAN

CUT TO CS OF THE CODEXIAN

Golden scroll-work forms a border around a central image across the two pages. Inside the border is an image of THE BAKER leaning on her counter looking forlorn. The image is done in a style combining woodblock prints and illuminated manuscripts. Small hands of THE GREY MOUSE enter the bottom of the frame followed by the head and body. The Grey Mouse is leaning over the page.

THE GREY MOUSE
“Squeak”

THE CODEXIAN
(voice-over) “That is funny. It almost sounded as if you asked why she was sad.”

THE GREY MOUSE
“Squeak.”

THE CODEXIAN
(voice-over) “Oh, you did. I’ll unpack that later. Back to the story and your question, maybe the Baker was sad because they had spent so much time fleeing and surviving that they had forgotten how to live. Or maybe something simpler. While she was a good baker and well respected in the community, baking was something she never considered very glamorous.”

THE GREY MOUSE
“Squeak.”

THE CODEXIAN
(voice-over) “I understand that makes no sense to you and how amazing bread is, but if you could lean off the page I can continue the story.”

The Grey Mouse moves out of the frame.

THE CODEXIAN
(voice-over) “Thank you.”

The page turns. The illustration shifts between a series of images of The Baker mixing dough and baking bread.

THE CODEXIAN
(voice-over) “The Baker would find her mind wandering to certain thoughts repeatedly. I used to be someone who mattered. I used to be the best bookbinder in the city. Now I bake bread. Now I don’t know my value. Anyone can bake bread. Where is the specialness in that.”

The page turns. The illustration shows The Baker at her counter. At this point, the illustrations start to show some basic animation. Where before they would fade from one static drawing to another, each picture now has a little bit of animation in each sequence. The Baker leans on her counters and sighs. The sigh appears as a written sound effect on the page. The Baker then starts to think, with her thoughts written out in thought bubbles over her head. The Codexian narrates her thoughts as they write across her thought balloon.

THE CODEXIAN
(Voice-over) “I used to be one of the best. Now I just make bread. Bread. Ugh. People used to come from all over the city to buy one of my spell books. I was respected. I was important. I was a true artist. Now, what am I? I make bread. Ugh. So common. So pedestrian. What is the value of a common thing? More importantly, what is the value in those who make common things?”

The thought bubbles fade away and the Baker leaves her counter. The empty counter fills the page momentarily before the Codexian continues the story.

THE CODEXIAN
(voice-over) “And so she would have continued self-flagellating if not for a simple moment.”

It changes to The Baker at her counter. A MOTHER and YOUNG DAUGHTER enter the shop. The Baker waves hello. The Mother approaches the counter and purchases one loaf of bread. She breaks off a bit of the heel of the loaf, steam rises from it, and hands it to her daughter. The image shifts to the daughter eating the bread, closing her eyes, and smiling. The illustration shifts to the Mother shocked at the smile quickly shifting to smiling and turning to speak to The Baker.

THE CODEXIAN
(voice-over) “The mother said something so simple it cut through all the Baker’s doubts and disappointments. She said this is the first time she’s smiled since the fleeing. Thank you. You have no idea how much that is worth to me. How much better that makes my day.”

The Mother and her daughter leave the bakery. The illustration shifts to the Baker at her counter visibly moved and affected by the Mother’s words.

THE CODEXIAN
(voice-over) “The Baker, as the mother and her daughter left the bakery, realized that maybe there is something worthwhile in baking bread. She also realized that as great as she felt about her current situation now, she was still dwelling on the past. It was a poison and she needed to let go.”

The page turns. The new page shows an illustration of The Baker at the front window of her bakery. She rotates the open sign to close. She then locks the door before walking to a table in the back room. The table is laid out with bookbinding tools and supplies.

THE CODEXIAN
(voice-over) “The Baker decided she would make one last book and then move on, putting that part of her life behind her.”

In a series of vignettes, the Baker makes a book. Note that the Baker incorporates some extra steps not usually included in bookbinding. The prestigious bookbinding career she has been remembering was binding spell-books. She rubs each page with various herbs. Once all the pages are rubbed, she places the remaining herbs in a pan and burns them. The ashes she mixes with oil into a paste. She then messages some of the paste into the leather cover and binding strings. She then continues building the book. At the end, she pulls back the oil and ash mix. She dips a small brand into it and then heats it over a flame. The oil flares with streaks of red, blue, yellow, orange, and green. Then she presses the hot brand onto the cover of the book. Smoke rises from where the brand touches the leather. When she removes the brand, the Baker sees that five colors are leaking from the brand into the leather: red, blue, yellow, orange, and green. She sees the bleeding colors and is surprised. She runs her fingers over the colors and the book starts to shimmer. The Baker disappears from the room in a flash of light.

THE CODEXIAN
(voice-over) “The Baker soon discovered that the world has a way of surprising you.”

The page turns. The Beastlands fill the new page. A landscape of orange grass and prairie fills the foreground while in the background blue mountains, green forests, red forests, and yellow sand dunes spread out. In the bottom corner of the illustration, a sparkle appears fading out becoming an image of the Baker. She looks around, confused as to what just happened.

CUT TO CS OF THE BAKER

THE BAKER
“Well, this is a surprise.”

CUT BACK

Hold a moment as The Baker stands in the vast new realm. The page turns to reveal a closer image of the Baker standing with the orange grassland behind her. She is looking around with a face of pure joy. In the grass behind her comes a “rustle” sound effect. The Baker turns to look for the source of the noise. From the grass emerges a Furocerous. It is a large rhino-like creature covered in very thick fur. The fur is longer on the head and shoulders than the rest of the body. It charges towards the Baker. The fur on its head stiffens into a kind of plate armor. The Baker screams in surprise and fear with the words of her scream drifting out across the page. The illustration cuts to a close-shot of the Furocerous running. It then cuts to a medium-shot of the Baker backing up then falling down and scrambling backward. She pulls up the spellbook in a feeble attempt to shield herself. The illustration then changes to the Furocerous colliding with the Baker and her spellbook in a bright flash of orange light.

The page turns and now the illustration is of a long shot of the outside of the Bakery. There is a flash of orange light. The illustration shifts to the inside of the Bakery. The Baker materializes in the air in a flash of orange light and flies backwards against the display. Her spellbook goes flying in another direction. The Baker shakes her head and slowly gets up. She checks her body for injury and does not find any. She starts to laugh to herself.

THE BAKER
“Did that just really happen? That is too wild.”

She walks over to the spellbook and retrieves it from under a table. The spellbook looks different. She examines the changes. The front cover branding now has a line of orange in it. She then opens the book and sees an image of the Furocerous surrounded by a circle of runic patterns and scroll-work.

THE BAKER
“Wow.”

She runs her fingers over the image. The illustration changes to a close-shot of the spellbook’s page. She then runs her fingers in a circle along the scroll-work and runes. The image shifts to a very close-shot of her fingers moving over the ink. The SCAPING OF HER FINGER OVER THE PAGE follows. Thee ink starts to softly glow orange. The orange light starts running up her fingers, creating a brighter and brighter glow. The illustration shifts back to the bakery. As the Baker runs her fingers over the page a spectral glowing version of the Furocerous explodes out and into the bakery display pushing it back. The spectral disappears. The Baker looks back and forth between the spellbook and the display case. A large smile spreads across her lips. She starts to run her fingers over the page again. The illustration cuts back to the longer shot of the Bakery from outside. A bright orange light flashes out and then the entire bakery shakes.

FADE OUT
TRANSITION FROM THE STORY INSIDE THE NOT SO TO THE CAFETERIA
FADE IN

INT. BORDERTOWNE MIDDLE SCHOOL CAFETERIA, MID-DAY
A long cafeteria table spreads across the stage. Behind the table are tall frosted windows in utilitarian frames. Shapes of trees and a general daylight illumination can be seen through the frosted glass. In the upper portions are small round dents and circling cracks from various kids in the neighborhood next to the school shooting the windows with BB guns. Even though some daylight is coming through the windows, the Lunchroom is bathed in strong fluorescent lighting. CHADWELL BAGPIPES, ANTWELL CONCRETE, MIKEWELL LETTERS, and ARROWELL RAILROAD are sitting at the table leaning in to look at a notebook Arrowell is holding. THOMAS TOPHAT sits to the side of them reading the Not So zine.

CS OF THE SCRIPT IN THE NOT SO ZINE

CUT TO LS OF THE GROUP AT THE TABLE

Chadwell and Antwell are writing some notes on Arrowell’s Zonepoints map. A TEACHER’S WHISTLE blows from off-screen. Everyone except Thomas gathers up their lunches and belongings. Antwell, Mikewell, and Arrowell exit stage-left. Chadwell stands and walks over to Thomas, tapping Thomas on the shoulder. Thomas looks up and Chadwell points off-stage stage-left.

CHADWELL BAGPIPE
“Lunch is over. If you would rather read than play Zonepoints, that is okay. You can keep score instead of playing.”

Thomas nods yes. He gathers up his belongings and exits stage-left with Chadwell.

FADE OUT

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

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode Two

“My Feet Move and Something Deep Eats”

By Thomas Typewriter

———–<:type:>———–

FADE IN

Title sequence plays.

FADE OUT TO WHITE

FADE IN

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

MS OF MS. WEAVER

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

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

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

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

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

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

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

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

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

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

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

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

Thomas nods his head yes. Ms. Weaver laughs.

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

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

Ms Weaver chuckles.

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

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

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

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

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

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

FADE OUT

TRANSITION FROM THE LIBRARY TO THE TYPEWRITER STUDIOS

FADE IN

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

MS OF THOMAS TYPEWRITER

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

Thomas’ expression shifts to concerned.

CUT TO CS OF THOMAS’ FINGERS TYPING

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

CUT BACK TO MS OF THOMAS

Thomas stops typing.

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

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

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

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

TRANSITION FROM ART STUDIO TO FRONT ENTRANCE

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

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

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

CUT TO MONTAGE OF CLOSE SHOTS OF EACH ACTION

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

CUT BACK TO MS

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

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

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

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

THOMAS TYPEWRITER
“Love you too.”

CUT TO

TRANSITION FROM ELMHOUSE INTERIOR TO EXTERIOR

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

LS OF THE FRONT DOOR

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

CUT TO

TRANSITION FROM THE EXTERIOR OF THE ELMHOUSE TO THE SPLIT SCREEN

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

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

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

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

THE TOP FRAME CUTS TO CS OF THOMAS’ FEET WALKING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The projection of Biff and Rockey ends.

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

Thomas has a thought, a realization.

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

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

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

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

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

CUT TO

EXT. ELMHOUSE, DAYTIME

LS OF FRONT DOOR AND FRONT STEPS

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

CUT TO

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

MS OF THOMAS

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

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

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

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

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

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

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

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

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

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

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

OPHIDIA OPERAHOUSE
“That’s great.”

THOMAS TYPEWRITER
“Which room are you in?”

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

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

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

Thomas Typewriter walks towards the kitchen exiting the frame.

FADE OUT

TRANSITION FROM THE ELMHOUSE TO THE LIBRARY

FADE IN

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

CS OF THOMAS TOPHAT’S FEET TAPPING.

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

CUT TO MS OF THOMAS AT THE TABLE.

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

PAN OUT

FADE OUT