screenwriting

The Great Works Project: Season 05, Episode 06 script – a new script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 06

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-06”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

HIGH-STAGE: FARTHEST EDGES OF THE FOREVERCAGE

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

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

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

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

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

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

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

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

THE SPACE EGG
(off-camera) “Meaning?”

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

THE SPACE EGG
(off-camera) “Okay.”

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

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

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

TRANSITION FROM THE FURTHEST EDGES OF CONCEPTION TO THE ENTRY POINT

The High-stage Curtains close and then reopen revealing…

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

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

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

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

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

CUT BACK TO THE REGULAR FRAMING OF THE HIGH-STAGE

THE SPACE EGG
“What is this place.”

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

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

THE INNER-SPACE MAN
“Okee dokee artichokee.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

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

MID-STAGE: EXT. BORDERTOWN JUNIOR HIGH PARKING LOT. EVENING

The parking lot spreads across the stage flanked by the red brick back corner and some of the back wall of the Junior High along the stage-right of the stage. This area of the parking lot is empty of parking spots, so only one car is visible off to the stage-left side of the stage. The Border Town High School Show Choir, The Sparkling Songbirds, stand waiting for their upcoming performance during the homecoming football game’s half-time. Dressed in silvery blue outfits, they mill about in a large crowd speaking to themselves. The group consists of eleven teens and one teacher: JOHN, EMILY, AMY, SCOTT, LEXICA BOOKMARK, LUNA WITCHESCROWN, THOMAS TEENAGER, SHELLY, KATHY, MATT, RYAN AND MR TRUMPET. Lexica and Luna are conversing about the appeal of Ancient Greek literature and culture. Mr. Trumpet, Scott, and Annie are reviewing the set-list. Ryan, Matt are discussing their post-game plans. John, Emily, Shelly and Kathy are reviewing the small choreography for tonight’s performance. Off to the side of the group, Thomas Teenager paces back and forth, hoping to mask his overwhelming anxiety at a public performance. Arms outstretched he tries to pretend he is somewhere else: someplace relaxing and controllable. As he walks back towards center-stage he moves near Luna Witchescrown and Lexica Bookmark.

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

LUNA WITCHESCROWN
“Antigone if I had to choose.”

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

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

LEXICA BOOKMARK
“Obviously.”

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

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

LUNA WITCHESCROWN
“Oh, Minerva. Love her.”

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

Thomas Teenager walks nearby.

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

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

THOMAS TEENAGER
“Sorry?”

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

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

Luna and Lexica giggle.

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

LEXICA BOOKMARK
“I do agree.”

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

TRANSITION FROM MID-STAGE TO THE HIGH-STAGE

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

HIGH-STAGE: CURTAINS CLOSED

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

CUT TO CS OF Y-MOUSE

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

CUT BACK TO FRAMING SHOT

The High-Stage curtains part and open revealing…

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

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

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

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

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

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

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

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

Y-MOUSE
“What more will he find?”

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

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

The High-Stage curtains reopen.

THE HIGH-STAGE: INT. HANGER JSN1

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

THE HIGH-STAGE: INT. HANGER JSN3

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

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

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

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

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

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

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

FADE OUT

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

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 05

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


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

LS OF THE TYPEWRITER PUPPET STAGE

The Typewriter Puppet Stage manifests illuminated by unseen lamps. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE

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

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part. The stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: EXT. OFFICES OF DOUBLEWAY RENTAL PROPERTIES. DAYTIME
A subdued natural stone color building fills the stage. A set of doors rest just stage-left of center. Stage-right of center the building has a twin set of triangular protruding windows. Brickwork of darked brown can be seen over each door and window. Stenciled in gold letters with a black shadow on the doors is the following text: “Doubleway Rental Properties Inc.”. From off-stage we hear the sound of A CAR PULLING INTO A PARKING SPACE followed by CAR DOORS OPENING AND CLOSING. FOOTSTEPS grow louder preceding THOMAS TYPEWRITER entering stage-right. He crosses across the stage to the doors. He pulls open the closest door and goes inside. From stage-left a BUTTERFLY flies in and lands on the bricks above the windows. It flaps its wings as it warms itself in the sun.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM FRAMING THE MID-STAGE AND PANS UPWARD. AFTER GLIDING OVER THE TOPS OF THE MID-STAGE SETS, THE CAMERA ASCENDS ALONG THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. UP AND UP IT PANS. AT THE TOP OF THE CURTAIN OF CLOUDS IT SLOWS AS THE HIGH-STAGE SLIDES INTO VIEW. THE CAMERA FINISHES PANNING WHEN PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains are closed but open shortly. As they part the High-stage stage lights click on with the sound of A COMPUTER BOOTING UP revealing a scene already in progress.

HIGH-STAGE: INT. PHYSIO-THERAPY OFFICE 505
A small desk sits on the stage-right side of the room. Bare walls, a soft pastel beige-pink divided by a wide horizontal white stripe, move stage-left and stage-right from the corner of the room behind the desk. On the walls are various medical posters related to physical therapy and therapeutic exercises. IASO FLAUTO sits at the desk, dressed in a white medical coat, hair up in a bun, fiddling with her small mirror-shaped medical scanner. Sitting in the front of the desk are the three Medi-pods housing LUCIDO OBSIDIAN, CEDAR WAXWINGS, and CARRO.

IASO FLAUTO
“And everyday we will meet to complete physical therapy.”

CEDAR WAXWINGS
“I don’t understand.”

LUCIDO OBSIDIAN
“Yeah, why physical therapy? How are we suppose to do that in these egg coffins.”

CEDAR WAXWINGS
“Isn’t the Medi-Pods repairing us. We’ll be fine when we get out.”

IASO FLAUTO
“Unfortunately no Cedar. To answer both of your points, yes the Medi-Pods will repair your bodies, and while yes it seems silly to ask you to conduct physical therapy while inside them, it is how they were designed. Normally your injuries would require surgery, a period of convalescence, and then another period of physical therapy and strength rebuilding. The Medi-Pod allows the two stages, healing and recovery, to overlap. ”

CARRO
“But why am I in one. I don’t have a body.”

IASO FLAUTO
“That used to be true. Solar/Lunar decided with your Sparkship shell lost, and honestly guys how’d you crash a Sparkship? A fleet of over one-hundred ships and only one has ever crashed. Yours.”

CEDAR WAXWINGS
“Now hold on, we didn’t crash the ship.”

LUCIDO OBSIDIAN
“Yeah, something hit the ship.”

IASO FLAUTO
“I mean, you guys should be worrying more about why you are not in jail instead of why the Doctor is telling you you have to do physical therapy.”

CARRO
“Oh.”

CEDAR WAXWINGS
“Why are we not in jail?”

IASO FLAUTO
“Heck if I know. Maybe cause coma victims make poor prisoners. Maybe Solar/Lunar is too embarrassed they lost a ship. Who knows. Not my concern.”

CEDAR WAXWINGS
“My dad. My dad is the embarrassed one. He’d never let it get out his son crashed one of his precious ships. Easier to put us here.”

LUCIDO OBSIDIAN
“So, who’s paying for all this.”

IASO FLAUTO
“The Solar/Lunar Fleet”

LUCIDO OBSIDIAN
“Oh.”

IASO FLAUTO
“Right now what is important is that we get you three healthy and healed, and in Carro’s case into a new body. Therapy starts tomorrow morning after breakfast. You can have the rest of the day to yourselves.”

Iaso presses a button on the mirror on her desk.

IASO FLAUTO
“Panacia, we’re done here.”

PANACIA FLAUTO
(off-screen) “I’ll be right there.”

IASO FLAUTO
“That is all for today gentlemen. If you wouldn’t mind waiting outside for Panacia, I have another appointment.”

The three Medi-pods wander out of the medical office. Once they are gone, Iaso turns to the large mirror behind her.

IASO FLAUTO
“Mirror, Mirror on the wall who needs forgiveness today.”

The mirror shifts and shimmers changing from reflecting the medical office to showing the Forgiving Place. Fiery light cast on the edges.

IASO FLAUTO
“Interesting. I’ll be over shortly.”

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

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETACHES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES OVER THE CURTAIN OF CLOUDS, DESCENDING LOWER AND LOWER. IT MOVES OVER THE TOP OF THE MID-STAGE SETS AND DOWNWARD FURTHER UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: EXT. THE DOUBLEWAY RENTAL PROPERTIES OFFICES. DAYTIME
A not-quite two-story pale brown brick building fills most of the stage. It ends just short of stage-right while extending out of sight of stage-left. Double-doors of glass, with the Doubleway Rental Properties logo painted just off-center. To the other side of center, stage-right side, three windows, each of a triangular prism form, jut out from the building. Red brick arches curve over the doors as well as each window. A butterfly rests on the side of the building sunning itself. THOMAS TYPEWRITER exits the building through the double-doors coming into our view. He is carrying a stack of papers. Thomas walks stage-right exiting off stage. From off-stage we hear the sound of CAR DOORS OPENING AND CLOSING, AN ENGINE TURNING ON, and lastly, A CAR DRIVING AWAY. The butterfly on the side of the building leaves the side of the building, flying around the stage. It flies upward, exiting by flying past the edge of the framing image. The stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

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

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 04

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-04”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT
FADE IN

LS OF THE TYPEWRITER PUPPET STAGE

The Typewriter Puppet Stage slowly appears under unseen lamps as they power on. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

PAN IN ON THE TYPEWRITER PUPPET STAGE
PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part. The stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: THOMAS TYPEWRITER’S APARTMENT’S LIVING ROOM, LATE AFTERNOON
A small table sits front stage, just stage-left of the center. Across the back of the stage rests two tall bookshelves, filled with various books, graphic novels, CDs, artwork, and houseplants. Off to stage-right stands a bookshelf half as tall, topped by houseplants. It is also crammed with books, graphic novels, CDs, and artwork. THOMAS TYPEWRITER enters through the front door hidden behind the center’s tall bookshelf. He emerges from behind the bookshelf and sets his mail down on a shelf. He takes off his shoes. He then walks over to the desk. Taking out a sheet of paper and a pen from a drawer, he stoops to write.

THOMAS TYPEWRITER
(voiceover) “To do: 1. Notify the landlord company moving out of the apartment. 2. Cancel cable. 3. Cancel phone line. 4. Close bank accounts 5. Get moving boxes to pack up belongings. Question: Do we need everything we have? 6. Give Ophidia a final answer to her question.”

Thomas exits stage-right.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM FRAMING THE MID-STAGE AND PANS UPWARD. IT SLIDES OVER THE SETS TO THE CURTAIN OF CLOUDS ALONG THE BACK OF THE STAGE. IT CONTINUES PANNING UPWARD ACROSS THE CURTAINS OF CLOUD TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN. THE CAMERA CONTINUES ONTO THE HIGH-STAGE UNTIL PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. CORRIDOR 505 OF THE FLUTE
A long corridor stretches across the stage. Recessed light panels fill the curve where the wall meets the ceiling. Along the walls, thick lines of red, blue, yellow, and brown run along the wall. A fifth dotted black line runs underneath the other four. One line for each color. 505 is painted in thick black stencil lettering on the side of the corridor. PANACEA FLAUTO enters stage-left. She walks across the stage and stands facing stage-left. She is holding up her Medi-scanner. Panacea is holding the Medi-scanner in one hand and with the other hand she is holding the sensor wand. She is holding the sensor wand against the Medi-scanner in a way very similar as if it was a joystick. Three Medi-pods, containing LUCIDO OBSIDIAN, CEDAR WAXWINGS, and the brainbox of CARRO emerge stage-left. They move awkwardly and jerkily bumping into each other and the walls before resting in the center of the stage.

PANACEA FLAUTO
“Gentlemen if I may have a moment of your attention. The Flauto is a very large ship. To help you navigate the walls are marked with colored lines, each color denoting a different area in the ship. The red line leads to the Medical sections. The blue line leads to the residences or patient rooms. The yellow leads to the cafeteria and the observation dome. And the brown is for staff only.”

CEDAR WAXWINGS
“What is that?”

PANACEA FLAUTO
“Staff only means offices, supply closets, engineering. Things the patients don’t need to go to.”

CEDAR WAXWINGS
“No, not the brown line. The dotted line.”

PANACEA FLAUTO
“That’s not important.”

CEDAR WAXWINGS
“But where does it lead to?”

LUCIDO OBSIDIAN
“Yeah. Does it go anywhere?”

CARRO
“Maybe it’s a fold line.”

PANACEA FLAUTO
“Now gentlemen we should…”

CARRO
“Like the place where what looks like two things but are actually one thing overlap.”

LUCIDO OBSIDIAN
“Maybe it’s merely decorative”

CEDAR WAXWING
“Or graffiti.”

LUCIDO OBSIDIAN
“Seems too utilitarian to be graffiti.”

CARRRO
“I still say fold line. A ship this old could be a Caregiver. They have other versions stacked on top of it.”

LUCIDO OBSIDIAN
“That’s not exactly true.”

CEDAR WAXWINGS
“Oh yeah, then why do we have like eight bosses for a company owned by two people?

PANACEA FLAUTO
“Gentlemen. If we could get back on subject.”

LUCIDO OBSIDIAN
“I’m just saying they are not all like that.”

CARRO
“Wonder what makes up this space? Who else?”

CEDAR WAXWINGS
“Of course you’d jump to their defense.”

PANACEA FLAUTO
“Gentlemen.”

LUCIDO OBSIDIAN
“Now that’s not fair.”

CEDAR WAXWINGS
“Oh it isn’t now.”

Panacea, visibly frustrated, presses a button on the Medi-scanner. The center light on the top of each Medi-pod turns blue. The three go silent and Panacea drives them off-screen exiting stage-right. She follows behind them.
They exit stage-right. The High-stage lights turn off with the sound of A COMPUTER BOOTING OFF.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD, DETACHING FROM THE HIGH-STAGE AND MOVING TOWARDS THE MID-STAGE BELOW. IT GLIDES LOWER AND LOWER ALONG THE CURTAIN OF CLOUDS. THE TOPS OF THE MID-STAGE SETS POP INTO VIEW AS THE CAMERA SLOWS COMING TO REST PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT’S LIVING ROOM. MORNING
The living room stands dark. In the dim, we can make out three bookshelves across the back of the stage, at angles to each other. The stage-left and center bookshelves are tall and joined to each other. A gap separates the two from the third. It is shorter than the others. All three are loaded with books, graphic novels, music CDs, artwork, and houseplants. A beam of sunlight casts its way across the living room from stage-left. SONGBIRDS CHIRPING drifts in from off-stage. The stage-lights slowly rise as the sun rises on this new day. THOMAS TYPEWRITER enters from stage-right. He walks across the stage to stage-left. He exits. He returns eating a bagel. He walks back across the stage and exits stage-right. A longer moment passes before he reenters. This time he is dressed, with a jacket, hat and gloves. The bagel was in his mouth as he entered so he could finish putting on the jacket. He takes it out of his mouth and finishes the last bit. He walks over to his desk, the same desk he wrote the note on previously. He picks up the note and moves to leave the apartment. The stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.
FADE OUT

The Skipping Stone – a new The Not So Puppet Show script by Thomas Typewriter

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Tract #001

“The Skipping Stone”

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN

Title Sequence plays

FADE OUT
FADE IN

EXT. LAKESIDE, DAYTIME
The front of the stage is the shoreline of a lake. The back of the stage is high grass transitioning into a thick forest. There is a pebble-laden path off to stage left. A fallen log sits on the shoreline.

LS OF THE BEACH

From the path enters THOMAS TYPEWRITER. He walks over to the shoreline and looks out at the water.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “As a child, I grew up close to a river, a short bike from the water’s edge. Something I liked doing was skipping stones. My mind was always too loud and my inner self too large. It all went away as I watched the rocks fly, the waves ripple out.”
As Thomas narrates a piece of background music which is noisy and unpleasant starts to increase in volume. He looks out to the water. When the volume of the cacophony becomes louder than the background sounds of animals and birds, Thomas turns his attention to the shoreline. He scans the beach and finds some rocks. With a flick of his arm, the rock sails out. The background noise stops.

CUT TO LS OF THOMAS ON THE SHORE.

The rock flies out and bounces across the water. It flies towards the camera before sinking under the water. He tosses a second.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “Now that I am back here, something occurs to me. Something always occurs to me in those moments when my thoughts slip away, when I no longer feel too big on the inside, too small on the outside.”

CUT TO LS OF THOMAS TYPEWRITER

Thomas tosses another stone.

THOMAS TYPEWRITER
(narration) “ It occurs to me, I am like this stone. I am propelled by some force traveling across a surface making waves until my arc ends and I disappear.”

CUT TO A SHOT OF STONE ENDING ITS FLIGHT AND SLIPPING UNDER THE WATER

CUT TO CS OF THE WAVES FROM THE ROCK SLIPPING UNDER THE WATER SPREADING OUT

THOMAS TYPEWRITER
(narration) “And in my flight across this world, I have an effect. The waves of my effect will continue long after my flight has ended. Yet, they are not infinite. They too will eventually run out and disappear. And as all this unfolds I find myself a bystander watching the waves of my actions rippling out, captivated by the patterns of my life but at the same time unable to find any grand purpose to the whole affair.”

CUT BACK TO CS OF THOMAS’S FACE

CUT TO MS OF THOMAS THROWING A TONE

TRANSITION TO THE WAVE SCREEN SEQUENCE.

FADE TO THE WAVE SCREEN BOARD

The Water Shadow Board is a screen, a transparent water tank, and a set of bright lights. The three elements are arranged in a way that the bright lights project through the water tank onto the screen. The screen is filmed so that the shadow of any object moving across or through the water is cast onto the screen. Additionally, the inference patterns caused by the water in motion or waves across the surface of the water are also cast onto the screen. The camera will be positioned to film the screen and the shadows cast, not the tank of water or bright lights. Those will always remain out of frame.

THOMAS TYPEWRITER
(narration) “What is the measure of my life, of my stone’s throw?”

As Thomas narrates, stones are thrown across the surface of the water in the clear tank creating a shadow pattern on the screen.”

THOMAS TYPEWRITER
(narration) “Is it the number of years I live? The number of seconds I remain in flight? The distance traveled? The size or number of waves?”

The shadow patterns flow out to stop.

THOMAS TYPEWRITER
(narration) “Maybe it is something else.”

INSERT TO CS OF A THROWN ROCK BOUNCING OFF THE WATER’S SURFACE, IN SLOW-MOTION.

SLOW THE SLOW MOTION OF THE ROCK BOUNCING OFF THE WATER UNTIL FREEZING AT THE MOMENT OF IMPACT. THEN PLAY IN REVERSE UNTIL THE ROCK IS BACK IN THOMAS’ HAND

CS OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“The answer is simpler than you would believe. I have no control over the duration of my flight or the waves I make. I have no awareness of my path. All I have is the brief moments of contact with the surface. To me, there is only a lifespan of kisses with the water. I only have control over how I kiss, as in the sweet or bitter things I say at that moment and in turn how I take the sweet or bitter things the water says to me. That is my life and that by extension is your life.”

CUT TO CS OF THOMAS CONTEMPLATING WHAT THE SKIPPING STONE SAID.

THE SKIPPING STONE
(off-camera) “Ahem.”

Thomas looks down.

CUT TO A CLOSE SHOT OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“Don’t you think it is time we both lived?”

CUT TO THOMAS NODDING HIS HEAD YES.

Thomas throws the rock. It skips out across the water. Thomas stands and watches the waves spread out and eventually disappear. He then pulls out his phone and dials a number. After a few RINGS, it picks up.

THOMAS TYPEWRITER
“Hey, honey. Yeah, I’m feeling better. How about you. How are you doing? I’d like to listen to whatever you have to say.”
Thomas Typewriter exits.

FADE OUT