script

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

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 07

an intermission

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


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


FADE OUT

FADE IN


INT. BIFFARD’S BEDROOM, AFTERNOON

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

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

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

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

They jump up and down

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

Biffard and Rockey stop bouncing.

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

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

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

TRANSITION FROM BIFFARD’S BEDROOM TO THE TV DEN

CUT TO

INT. THE TV DEN, AFTERNOON

LS OF THE TV IN THE TV DEN

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

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

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

EXT. FRONT GATES TO GLOOM MANOR, LATE AFTERNOON

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

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

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

They walk up through the gate.

CUT TO CS OF GLAFIAT GLIMMENS

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

CUT TO

EXT. GLOOM MANOR FRONT PORCH, DAYTIME

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

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

CUT TO MS OF THE COUPLE AT THE DOOR

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

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

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

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

GLOOMARELLA THE GLOOM WITCH
“Just talk.”

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

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

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

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

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

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

Montricia holds up the suitcase she has been carrying.

MONTRICIA DEWDROP LILLIPADDLING
“Right here.”

The front door cracks open a slight bit.

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

CS OF SPACE IN FRONT OF DOOR

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

CUT BACK TO MS

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

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

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

MORTIMER DEWDROP LILLIPADDLING
“Like what else.”

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

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

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

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

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

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

They yelp and hastily depart from the house.

CAMERA PANS OUT

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 06

By Thomas Typewriter

(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

The Broken Book of Beasties: Book 1, Part 3 – a new script by Thomas Typewriter

The Broken Book of Beasties

———–<.thom.>———–

THE BROKEN BOOK OF BEASTIES

“Book I: A Book by Any Other Cover”

Part Three of Three

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

(c) 2023

———–<:type:>———–

FADE IN

INT. THE ALCOVE OF THE TRILIBRIS IN THE TRILIBRIS MAGICAL LIBRARY, DAYTIME

CS OF THE OPEN PAGES OF THE TRILIBRIS.

The TRILIBRIS is open to a double-page illustration of the Bakery from part two of Book I: A Book by Any Other Cover. The illustration is still in the woodblock meets flowing lines style. The Bakery itself has changed from the last time it was seen. It now has changed its name to “Books and Buns” and there is a long line of citizens waiting to get in. Additionally, in the frame some of the stand the TRILIBRIS rests on can be seen along with the Grey Mouse leaning on the edge of the book curious as to the latest turn of events in the story.

THE CODEXIAN
“The news of the Baker’s new discovery quickly spread. Soon people from all over the settlement came to her for a spellbook, for access to this new land, access to this new magic.”

CUT TO THE GREY MOUSE

The Grey Mouse SQUEAKS a question.

THE CODEXIAN
“Yes, it does seem at first glance odd that those who fled magic would so willingly embrace magic again. Though you must remember that the Baker was not the only person yearning for the past. Rapid change, especially when brought on by tragedy and disaster, has a way of amplifying nostalgia.”

The Grey Mouse SQUEAKS in understanding. The TRILIBRIS turns the page. On the next page is a picture of the Beastlands. There are people everywhere. With more zapping in and appearing. Use some of the same people from the bakery line and have them eating buns.

PAN IN ON THE ILLUSTRATION

THE CODEXIAN
(voice-over) “Soon this new land, this Beastland, was filled with people capturing the beasts, filling spellbooks with beasties and magic.”

The page turns and now see a view of the settlement

THE CODEXIAN
(voice-over) “Magic which they used to grow their settlement into a large city.”

Show the settlement growing larger and larger with a montage of construction. Then the page turns and shows a sprawling city, a street scene. Wizards and walking down the street, with some flying, and such. See Wizards using magic in the street vendors, while shopkeepers are using magic to clean windows, dust shops, and craft items. Up in the apartments people are using magic to cook and entertain. See a Wizard take off for work and start to fly. His magic fades out and he drifts down to the ground confused. Soon everyone’s magic starts to fade out. They all grab their spellbooks and look through the pages or shake the books. The spellbooks are all empty. They turn and start talking to each other equally confused and concerned about what is happening.

THE CODEXIAN
“Like most things, everything was going great until it wasn’t.”

The page turns and from here on out the illustrations on the page will have a full animation movement. The wizards on the street murmur to each other trying to figure out what has happened to the magic. In the windows, we can see the various wizards of the businesses and apartments retrying their spells and rummaging through the spellbooks. The wizards in the seating for the cafes on the streets and the pedestrians are discussing with each other confused about what is happening. Then a bright prismatic light that shifts to pure white pulses from the sky. The wizards on the street shield their eyes. Once the pulse has passed they look up. In the background, the wizards inside the buildings step outside or lean out their windows.

The page turns revealing an illustration of the sky above the settlement from the perspective of someone on the street. The tops of buildings can be seen at the edge. In the sky, there is a glowing nimbus. The glow starts to fade as a face begins to materialize. THE KING OF BEASTIES has arrived. He is a large humanoid lion with a large single eye, a thick mane and beard making a multi-colored halo, and a large ornate crown. The crown is made up of a series of various-sized pentagons across a background of repeating smaller pentagons. Sharp short multi-pointed horns emerge from the forehead just below the crown.

THE KING OF BEASTIES
“I am the King of Beasties, and you may have noticed your magic is cut off. You have no rights nor permission to my kingdom, my people, or our gifts. You are trespassers and kidnappers. No more. I will return in one week to discuss the terms of re-entry to my kingdom and the use of its resources. Until then you are cut off. Use this time to appreciate what you have lost so as you may appreciate its true value if it returns.”

The King of Beasties face fades away. The page turns and now it shows a silhouette of the city with fires and buildings falling over. Sirens can be heard inside the city.

THE CODEXIAN
(narrating) “The citizens coped the best they could but still it was one of the longest weeks they had been through.”
The page turns again. Across the page is the caption “One week later…” It fades away leaving a view of the sky from street-level looking up similar to the previous page where the King of Beasts appeared in the previous page. Along the edges of the frame, various citizens gather looking up. They watch and watch but nothing happens. They start to murmur to each other.

CITIZEN #1
“It has been one week right.”

CITIZEN #2
“Yes.”

CITIZEN #3
“Then why isn’t he appearing?”

THE CODEXIAN
(narration) “Why indeed. As the hours passed, the citizens worried that maybe the magic would never return. Cursed to forever stumble through life with only what they could do themselves.”

The sky starts to spark and a burst of fireworks goes off and MARMALADE UMBER, singed and mildly burnt, falls out of the sky. He tumbles through the air yelling, gripping a book tight to his chest. He thuds to the ground, surprisingly surviving, and skidding down the street.

CAMERA TRACKS HIS FALL AND SKID

The dust settles over the crater and the crowds slowly trickle in to investigate. Marmalade pops up, singed and burned holding up a thick tome: THE BOOK OF BEASTIES.

THE CODEXIAN
“The crowd was surprised to find Marmalade Umber yelling “I DID IT! I DID IT!” especially after falling out of the sky. He should have died, but then again Marmalade was always disappearing and reappearing in the weirdest places.

The page turns. The new illustration shows a younger Marmalade Umber on his family’s farm. He is holding a spell book and concentrating really hard.

THE CODEXIAN
“Marmalade was easily the worst wizard in the entire community, constantly screwing up the most basic of spells and never once capturing any beasties.”

Marmalade starts to strain and sweat then disappears. He reappears over an animal pen and falls in spooking all the animals. He stands and tries to concentrate again disappearing and then reappearing somewhere else. He gets up and concentrates a third time. He disappears and then reappears but is split in two. His upper torso sits on the ground while his legs are walking around the spooked animals. He screams in shock and then poofs out reappearing as complete. He runs over to the side and vomits. The page turns with the new page having an illustration of the adult Marmalade Umber having just crashed and holding up the Book of Beasties. A crowd has gathered around him.

THE CODEXIAN
(narration) “The crowd did not know what to make of the village idiot falling out of the sky and shouting wildly. Eventually, they understood that he was claiming to have captured the King of Beasties.”

PERSON IN CROWD #1
“So you’re saying you captured the King of Beasties in that spellbook?”

MARMALADE UMBER
“I did it.”

PERSON IN CROWD #2
“But you’re like the worst magician.”

MARMALADE UMBER
“Yes, but I did it.”

PERSON IN CROWD #3
“Okay, so lets say you did it and the King is truly bound in that book, wouldn’t that mean…”

PERSON IN CROWD #4
“The Beastlands is open again?”

PERSON IN THE CROWD #5
“The Beastlands is open again.”

PERSON IN THE CROWD #6
“The Beastlands is open again!”

The people in the crowd look at each other and then pull out their spellbooks and disappear. Marmalade hugs the Book of Beasties to his chest.

THE CODEXIAN
(narration) “The Beastlands was indeed open again and magic returned. Only not quite the same as before. The King of Beasts had apparently made some changes to the Beastland before he was captured. No longer could you just capture a beastie and use its magic. You had to get the Beastie’s permission. Additionally, where before a Wizard could teleport to any part of the Beastlands, now entry and exit was tied to geographical area. When a wizard entered the Beastland, they entered in a spot that more or less matched where they were in the physical world.”

The page turns. The new illustration shows an overhead type of the city. The city is divided into five outer neighborhoods surrounding a central inner neighborhood.

THE CODEXIAN
(narration) “The return of magic sparked a regrowth. The city expanded again but since the magic had changed the city did as well. Since entry and exit out of the Beastlands were tied to corresponding points in the physical world, the city developed five distinct neighborhoods, each corresponding to one of the realms. Ultimately growing into a city of prismatic wonders and colorful characters, especially one of Marmalade’s descendants.”

The page turns and the new illustration is of a close-up of RAWLSTON UMBER. It is in the style of a static pencil sketch or ink illustration. The page starts blank and as the Codexian narrates it fills in. Rawlston will appear very bored and indifferent.

THE CODEXIAN
(narration) “Whose lack of magical skill, utter lack of talent, makes him the least likely candidate to be the hero of any story…”
The sketch or illustration of Rawlston turns into an actual moving image, with an effect similar to where a static picture snaps into a live image of the subject moving. A transition from picture to video or illustration to live motion recording. Rawlston exhales a sigh of discontent.

RAWLSTON UMBER
“This is sooooo boring.”

THE CODEXIAN
(narration) “…And yet this is who we find ourselves with.”

The Codexian shuts its pages. The eye-like symbols on the side of the cover look at the Grey Mouse.

THE CODEXIAN
“And thus ends today’s portion of the tale.”

THE GREY MOUSE
“Squeek Squeik?”

THE CODEXIAN
“No, there is more to the story. A story that ended there would not be very good. It’s just that I have not had an audience in a long long time and am a bit out of practice. Let me rest and I’ll be ready to continue the story.”

The Grey Mouse nods at the Codexian and then turns. He takes a few steps and then turns back and waves at the Codexian. He then runs off the edge of the podium and out of frame. The Codexian closes its eye-like symbols and starts to sleep.

PAN BACK FROM THE CODEXIAN AND ITS ALCOVE

FADE OUT