script

new script: “The Great Works Project: Season Four, Episode Three” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 03

By Thomas Typewriter

(C) 2022 THOMAS TYPEWRITER

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the frame scrolls up the following text: “04-03”. It moves up along the center of the frame, pausing for a moment in the middle of the frame before ultimately exiting through the top.

FADE OUT

FADE IN

INT. S-MOUSE’S OFFICE, AFTERNOON
An oblong office with walls lined by ornate cabinets made of carved wood overlain with intricate metal screens. The shelves of the cabinets are overflowing with various dioramas inside large clear glass bottles. A heavy wooden desk sits in the center of the room with S-MOUSE mid project. His various tools sit off to the side next to the base of a swivel arm light and magnifying glass. Behind the desk stands the one area of the wall not covered by cabinets. A small gap in the cabinets allows room for a door to S-Mouse’s Apartment. The door currently has a motivational poster of a snake hanging on a tree limb with the text: “Snakes Seldom Shiver”.

FADE IN FROM THE BLACK TO A VERY CLOSE SHOT OF THE INSIDE OF THE GLASS BOTTLE ON S-MOUSE’S DESK.

We can see S-Mouse through the curved glass of the bottle, which he refers to as a Story-in-a-Bottle. He pulls out a jar of white sand and pours it into the bottle. He then uses a long tongue depressor to smooth out the sand. Soon S-Mouse switches to a long thin needle-nose plier. He wiggles two tall canyons drawn onto paper and cut out to an upright position. KNOCK KNOCK from out of the frame.

CUT TO MS OF S-MOUSE AT HIS DESK

S-MOUSE
“Come in.”

A-MOUSE enters the office. S-Mouse rises and wipes off his hands. A-Mouse walks to the desk and they shake hands.

S-MOUSE
“Hi.”

A-MOUSE
“Hi.”

S-MOUSE
“Here, have a seat. (points to an open chair) Can I offer you anything? A drink maybe.”

A-MOUSE
“Thanks, but no. On the drink I mean. I have to be leaving soon.”

S-MOUSE
“So this is not a social visit.”

A-MOUSE
“Unfortunately not. I came by to get your food order. Y-Mouse is calling an all-nighter tonight.”

S-MOUSE
“Sounds serious.”

A-MOUSE
“Don’t know. I hope not, but my mind always races to the worst.”

S-MOUSE
“So it does. I’m sure it’ll be fine.”

A-MOUSE
“Hopefully. So what would you like to eat at the meeting.”

S-MOUSE
“Where are you going?”

A-MOUSE
“The Gutenberg Bagel over at Mall X.”

S-MOUSE
“I think I have one of their menus somewhere around here.”

S-Mouse reaches behind him and opens a drawer. He rifles through the desk before pulling out a menu for The Gutenberg Bagel.

A-MOUSE
“Can I ask you something?”

S-MOUSE
(putting on reading glasses) “Sure.”

A-MOUSE
“Do you think it’s serious. The meeting tonight. The reason for it I mean.”

S-Mouse pauses and looks over the menu at A-Mouse

S-MOUSE
“Honestly.”

A-MOUSE
“Yes.”

S-MOUSE
“Well, then yes I am concerned. Thomas seemed troubled, exposed. Things will probably get worse for him before they get better.”

A-MOUSE
“Oh.“

S-MOUSE
“No, don’t take it like that. It is not all doom and gloom. Things will get better. Absolutely. When things seem unsure, when we feel exposed, when our sense of self gets rattled, that’s when change happens. Growth is movement against weakness, the conversion of absence to fullness. When we are capable of true empathy, true growth.”

A moment of silence passes.

S-MOUSE
“You okay?”

A-MOUSE
“Yes, no, yes..no not really. I’m feeling really anxious.” (gestures to all around) “Why are we even here.”

S-MOUSE
“Oh.”

A-MOUSE
“Thomas could easily write stories on his own but instead he imagines us, this funhouse mirror version of a 1950’s TV show writer’s staff.”

S-MOUSE
“I think we’re more of a riff on a bit from the Monkee’s.”

A-MOUSE
“Sure but what if he realizes he doesn’t need us. What if we fix his stories, fix his life, and then he outgrows us.”

S-MOUSE
“Maybe that is the reason he came up with us.”

A-MOUSE
“But what happens to us.”

S-MOUSE
“We go to oblivion till he needs us again.”

INSERT CS OF A-MOUSE’S ALARMED EXPRESSION

S-MOUSE
“No, I can see that did not help. Let me rephrase: We face oblivion regardless. Sure Thomas could realize we are a coping mechanism as you fear and outgrows us. But he will also die at some point, and by extension we will die too.”

A-MOUSE
“How do you live with that?

S-MOUSE
“I remind myself that with each day the time we have with those we care about grows less, never grows more. I can spend my shrinking time looking at what I have lost or spend it looking at what remains. Filling the shrinking jar with listening, laughing, loving, telling stories.”

A-Mouse perks up a little bit. S-Mouse pulls out a scrap piece of paper and pen and starts writing.

S-MOUSE
“Here is my order, along with a kind word or two from a friend in case you start feeling lost again. (hands note to A-Mouse) You better go on now.”

A-Mouse stands up and walks out. She pauses at the door.

A-MOUSE
“Thank you.”

S-MOUSE
“You’re welcome.”

A-Mouse exits. S-Mouse returns to his desk. He feeds into the bottle three thin paper elements.

CUT TO EXTREME CLOSE SHOT OF INSIDE OF BOTTLE

Using the long pliers, he sets them up. A tree, a road sign, and a woman in white dress stand before the far canyon walls on a plain of white sand.

CUT BACK TO MS OF S-MOUSE AT DESK.

S-Mouse scoots back from his desk and takes a final review of the story-in-a-bottle. He nods approval. Standing, S-Mouse walks the finished story-in-a-bottle to an empty shelf. He returns to his desk, opens a drawer, and removes two shot glasses and a bottle of scotch. He returns to the shelf with the newly finished story-in-a-bottle, pours a shot for himself and one for it. He grabs his glass and holds it up in a salute.

S-MOUSE
“To our now, to our future, and to all our points in between.”

He clinks his shot glass against the story-in-a-bottle’s and downs his. He picks up the second shot glass.

S-MOUSE
“If you’re not going to drink that, do you mind if I do? No?”

S-Mouse drinks the second shot glass of scotch. He picks up the glasses and the bottle of scotch. He returns them to the desk. Sand CRUNCHES underfoot.

S-MOUSE
“Got sand everywhere. Better sweep up. Now where did I put that broom.”

S-Mouse goes over to his apartment. Exits through the door.

FADE OUT

new script: “The Great Works Project: Season Four, Episode Two” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 02

By Thomas Typewriter

(c) 2022

———–<:type:>———–

FADE IN TO BLACK


From the bottom center of the screen scrolls up the following text: “04-02”. It continues upward, pausing briefly in the center, and exits off the top of the frame.

FADE OUT
FADE IN

INT. A-MOUSE’S OFFICE

OPEN ON A LS OF THE OFFICE LOOKING IN FROM THE DOOR

A-Mouse’s office sits on the Deeper, or the second floor of the Alphabet Mice offices. The offices are situated across five floors in total, each with their own designation. The Writer’s Room is on the fifth or top floor. The next floor down or the fourth floor is the Numbertarium, housing the office of #-Mouse. Below the Numbertarium is The Deep or the third floor, housing the offices of Q-Mouse, W-Mouse, E-Mouse, R-Mouse, T-Mouse, Y-Mouse, U-Mouse, I-Mouse, O-Mouse and P-Mouse. The Deeper, or the second floor, houses the offices of A-Mouse, S-Mouse, D-Mouse, F-Mouse, G-Mouse, H-Mouse, J-Mouse, K-Mouse, and L-Mouse. Below The Deeper is The Deepest, housing the offices of Z-Mouse, X-Mouse, C-Mouse, V-Mouse, B-Mouse, N-Mouse and M-Mouse. There is also a level below The Deeper, reached by descending a long staircase, called The Subterranean. The Alphabet Mice prefer to avoid The Subterranean, except Z-Mouse who swam in the Circular River flowing through its depths. Each office, except for the Numbertarium, have similar layouts. All are wider than deep, with a door to the hallway on one side, and a door to the office holder’s apartment on the opposite wall.
The office itself features a wooden desk topped by a small TV with a built-in VCR, a lamp, and a rotary phone in the back center of the room. Behind the desk stands a door flanked by wooden cabinets alternating in style between Art Nouveau and Art Deco. The cabinets spread out along the outside walls of the office. A motivational poster hangs on the door. It depicts an aardvark hanging on a tree branch with the caption “ALWAYS ATTEMPTING”. A-MOUSE stands stage-right getting a vhs cassette and an abacus from one of the cabinets. She returns to her desk.

CUT TO A MS OF A-MOUSE AT HER DESK

A-Mouse pops a videocassette out of its case and inserts it into the VCR slot on the TV. Static bursts dance onto the screen before the first images of the “Yes, Virginia there is such a thing as an Abacus” instructional tape starts playing.

CUT TO OVER SHOULDER VIEW OF MONITOR

PAN IN TO MONITOR

TRANSITION FROM A-MOUSE’S OFFICE TO INSTRUCTIONAL VIDEO

INSTRUCTIONAL VIDEO

FADE IN TO LS OF THE SCHOOL

EXT. POTSANDPANSTOWN’S SCHOOL FOR IMPOVERISHED CHILDREN
Over the school, in the center of the screen, in an ornate Edwardian font, appears the following title: “Yes Virginia, There is an Abacus.” The title stays on the screen for a few moments, then fades away.

PAN FROM LS TO MS OF SCHOOL DOORS

A 1910’s style schoolhouse of all stone, more angle than graceful curve, The Potsandpanstown School for Impoverished Children has ended another day. Children, excited and playful, spill out of the school’s doors. They dance away in their restitched patchwork clothes and grimy faces. VIRGINIA WESTVIRGINIA exits the school.

PAN FOLLOWING VIRGINIA WESTVIRGINIA AS SHE LEAVES THE SCHOOL GROUNDS.

At the front gate, Virginia’s pace quickens, trying to avoid THE CAROLINA TWINS leaning against the fence. As she steps past them they call out.

SOUTHANNE CAROLINA
“Hey Virginia.”

NORTHENGALE CAROLINA
“Where you going so fast.”

Virginia stops, face scrunching at a bad taste, and turns.

CUT TO MS OF THE THREE

VIRGINIA WESTVIRGINIA
“Carolina. Carolina.”

NORTHENGALE CAROLINA
“What, you don’t have time for your friends?”

VIRGINIA WESTVIRGINIA
“I have to get home. My dad is…”

SOUTHANNE CAROLINA
(interrupting Virginia)”You still believe in Abacuses?”

NORTHENGALE CAROLINA
“Yeah, still believe in that fairy tale?”

VIRGINIA WESTVIRGINIA
“Yes they are real. My dad told me so.”

NORTHENGALE CAROLINA
“No uh, they’re not.”

VIRGINIA WESTVIRGINIA
“Uh-huh.”

SOUTHANNE CAROLINA
“Nuh-uh.”

VIRGINIA WESTVIRGINIA
“Uh-huh.”

NORTHENGALE CAROLINA
“No they’re not.”

VIRGINIA WESTVIRGINIA
“Yes they are.”

SOUTHANNE CAROLINA
(interrupting) “Only babies believe in faerie tales.”

NORTHENGALE CAROLINA
“You a baby Virginia. You wearing a diaper. You like rattles. Are your skull bones still fusing.”

VIRGINIA WESTVIRGINIA
“I am not a baby, and Abacuci are real.”

NORTHENGALE CAROLINA AND SOUTHANNE CAROLINA
“Baby butt windshield wiper! Look at the diaper. Look at the crier! Baby butt windshield wiper! Look at the diaper. Look at the crier!”

Virginia runs away.

TRANSITION FROM SCHOOL TO APARTMENT

INT. APARTMENT 41, AFTERNOON

CUT TO LS OF APARTMENT 41

Apartment 41 is a drab sparse apartment, almost stereotypical, located in a tenement that is low price as it is run down. Peeling paint barely covers the wood panel walls. The Westvirginia’s have few appliances and furniture. Oddly, the furniture they do have is made up of smaller bits of the same furniture. The television is a small black and white set on top of a larger console television. The kitchen table is made up of smaller tables and stools stacked on top of each other and taped together. Lines of laundry hang across the open front room, dividing the kitchen area from the living room. OLD DA, Virginia’s father sits in his chair. It is cobbled together from parts of many different chairs, feet propped on a coffee table constructed from a broken espresso machine and empty coffee cans. He relaxes reading his favorite newspaper “The New News Newspaper”. Off to the other side of the apartment stands OLD MA, Virginia’s mother, at the kitchen sink washing dishes. A CLICK OF THE DOORKNOB and VIRGINIA WESTVIRGINIA runs into the room. She throws herself on the table sobbing. Old Ma and Old Da exchange glances.

CUT BETWEEN ALTERNATING SHOTS OF OLD MA AND OLD PA

Old Ma gestures for Old Da to console Virginia. He shakes his head no and gestures for Old Ma to do. She responds gesturing more emphatically he should. He gestures no, you really should. They go back and forth a few more times until Old Ma gives him a hard stare and he relents.

LS OF ROOM.

Old Da folds up his paper and stands. He crosses over to the table.

OLD DA
“Everything okay honey.”

VIRGINIA WESTVIRGINIA
“They made fun of me daddy.”

OLD DA
“Who did?”

VIRGINIA WESTVIRGINIA
“Some kids at school. All because I said I believe abacus are real.”

OLD DA
“Oh. Is that all. Here I thought it was something serious.”

INSERT MS OF OLD MA AND OLD DA.

Old Ma gives Old Da a giving a withering glance at his answer. She then gestures for him to try again. He notices the gesture and winces.

CUT BACK…

OLD DA
“I mean that is horrible.”

VIRGINIA WESTVIRGINIA
“How do I convince them daddy?

Old Da thinks a moment then answers.

OLD DA
“The New News Newspaper. Write to the paper and when they say it’s true then everyone will know your right.”

VIRGINIA WESTVIRGINIA
“But, I thought their slogan was all the news fit to wrap a fish with. Nobody is going to believe me if it is printed in that.”

OLD DA
“You’re thinking of the Monday, Wednesday and Friday editions. On Tuesday, Thursday, and Saturday its Truth, truth, and more truth.”

VIRGINIA WESTVIRGINIA
“ Wait, what their slogan on Sunday’s”

OLD DA
“Id rather be fishing.”

VIRGINIA WESTVIRGINIA
“Oh.” (thinks a moment) “Can we go fishing Sunday? I need some new boots.”

OLD DA
“Sure thing honey.”

CUT TO CS OF VIRGINIA WRITING AT THE TABLE BY CANDLELIGHT.

VIRGINIA WESTVIRGINIA
(voice over) “Dear Editor. My father says if it is in The New News Newspaper it has to be true. My problem is my friends make fun of me for believing in something no one has ever seen. But I say just because we haven’t seen it does not mean it doesn’t exist. I have never seen tomorrow before it arrives, but every sunrise I find a new day. So I ask, am I wrong to believe in abacuci? “

Virginia finishes writing and steps away from the table. A few moments later, the paper is caught in a draft and blows off the table.

CAMERA FOLLOWS THE PAPER

The paper drifts across the room and out an open window. It continues across the city. It reaches the docks and continues out to sea. Moving past dolphins and rainbows it drifts to an island.

CUT TO…

INT. ABACUS MANOR MAIN OFFICE, DAYTIME.

LS OF THE OFFICE

A large library study, the main office of Lord Abacus sits on the ground floor of Abacus Manor. Various suits of armor and stuffed trophy animals line the walls. The manor’s main butler, CALCULATOR THE BUTLER, stands at the ready with a silver platter. LORD ABACUS sits at his desk busily working on paperwork. The letter drifts through the open window and lands on the silver platter.

CUT TO MS OF CALCULATOR THE BUTLER.

He looks down and notices the letter.

CALCULATOR THE BUTLER
“Sir, another letter has drifted to you.”

CUT TO CS OF LORD ABACUS

LORD ABACUS
(turning and looking over sunglasses) “Well, bring it over my good man.”

CUT TO LS OF DESK.

Calculator the Butler brings the latter to the desk. He lowers the silver platter towards Lord Abacus. The Lord takes the latter and starts to read it. His face turns grim.

LORD ABACUS
“Calculator, get my walking shoes ready.”

CALCULATOR THE BUTLER
“Excellent sir. Shall you be gone long.”

LORD ABACUS
“Only as long as it takes to restore a young girl’s faith in the world.”

CALCULATOR THE BUTLER
“So, forever.”

CUT TO MONTAGE OF HIM DRESSING IN RUNNING GEAR WITH A SERIES OF QUICK CUTS.

Lord Abacus, in his full running gear and with water bottle and running waist pack, gives a thumbs up to Calculator the Butler. He then power walks out the door.

EXT. ABACUS ISLAND DOCKS, DAYTIME
A long dock runs out from the sandy beach of Abacus Island. A path leads from Abacus Manor on the hilltop to the base of the dock. There are only two boats currently tied up at the dock. A sporty speedboat named the MAGNUM PIE and a larger sailboat named ROCKFORD FLYER. The dock has a series of crates in the gap between the sailboat and the speedboat.

LS OF DOCK FROM END LOOKING UP THE TRAIL WITH THE MANOR IN THE DISTANCE

Lord Abacus power walks down the trail, heading for the Magnum Pie.

CUT TO SHOT OF THE DOCK AND CRATES WHERE A GROUP OF ARMED MEN COME OUT.

THE MENTAL MATH TOUGHIES GANG emerges from the shipping crates and hiding places on the dock, stopping LORD ABACUS. There are ten gang members, each wearing a windbreaker emblazoned with a number from 1-10 and the letters MMT. Lord Abacus skids to a stop. BOSS DRIFTING DIGITS emerges from the crate clapping.

BOSS DRIFTING DIGITS
“Off to help another troubled child in the world Lord Abacus. Everyone clap for the good Samaritan.”

The Mental Math Toughies Gang claps. They clap too long so Boss Drifting Digits sharply gestures them to stop.

BOSS DRIFTING DIGITS
“Always so willing to help the children of the world. All children. Like you helped my children. MY CHILDREN! Where are they, Lord Abacus!”

LORD ABACUS
“Somewhere you can never hurt them again.”

BOSS DRIFTING DIGITS
“Wrong answer. Get him.”

The Mental Math Toughies gang members run down the dock towards Lord Abacus, weapons drawn.

LORD ABACUS
“Oh well if you’re looking for the correct answer, then I would have to say…MY FOOT!.”

Lord A jumps into a flying kick that shoots across the dock cutting through six gang members. He then pivots into a handstand, sticks his foot in a seventh gang member’s mouth and proceeds to spin. The seventh gang member is spun around like a weapon knocking the remaining three gang members. Lord Abacus flips up to a standing position, crouched and ready for more action.

CUT TO BOSS DRIFTING DIGITS

Boss Drifting Digits pulls a missile launcher. He starts yelling at Lord Abacus as he takes aim.

BOSS DRIFTING DIGITS
“NOT TODAY LORD ABACUS! TODAY YOU BURN! YOU BURN IN THE HOT SPOT!”

He launches a missile.

CUT TO LORD ABACUS

Lord Abacus looks left and right quickly taking stock of the situation. He starts to run left and whistles. He jumps off the edge of the dock while the missile zooms towards him.

CUT TO SLOW MOTION OF LORD ABACUS JUMPING OFF THE EDGE OF THE DOCK AND OUT OVER TO WATER.

A dolphin jumps up out of the water in response to Lord Abacus’ whistle. He lands on the dolphin. The missile races in close. Spinning on one foot, he kicks the missile back towards Boss Drifting Digits.

CUT TO THE MISSILE RACING TOWARDS BOSS TROUBLE.

INSERT CS OF BOSS DRIFTING DIGITS

BOSS DRIFTING DIGITS
“Gulp, looks like I forgot to carry the one.”

The dock is consumed in a fiery explosion as Boss Drifting Digits is vaporized by the missile.

CUT TO A SECOND DOLPHIN JUMPING OUT OS THE WATER.

CUT TO LORD ABACUS FINISHING HIS SPIN KICK ROTATION IN TIME TO PLACE HIS FOOT ON THE SECOND DOLPHIN.

Lord Abacus rides the two dolphins into the sunset.

CUT TO…

EXT. POTS’N’PANTOWN DOCKS, MORNING

VIRGINIA WESTVIRGINIA and OLD DA are at the dock fishing. From the distance speeds Lord Abacus straddling two dolphins. He reaches near the dock and the dolphins launch into the air. He flips, landing softly on the dock next to Virginia. The dolphins land back in the water and swim away.

LORD ABACUS
(holds up the letter) “Are you Virginia Westvirginia? The Virginia Westvirginia who wrote this letter?”

VIRGINIA VIRGINIA-WEST
“Yes.”

LORD ABACUS
“Good, because I am here to tell you, yes Virginia there is such a thing as an abacus…”

VIRGINIA WESTVIRGINIA
“Yes! I knew it!”

Then the scene splits in two behind Lord Abacus. It moves off to the sides, off screen, revealing the new setting.

VIRGINIA WESTVIRGINIA
“Wait, what is going on here?”

INT. LEARN-U-CATIONAL EDU-STUDYMENT CLASSROOM, DAYTIME
A bland college classroom, Lord Abacus stands in front of the classroom addressing a group of students. Virginia Westvirginia and Old Da are in the front rows, a little confused as to what is going on. Every student has an abacus on their desk.

MS OF LORD ABACUS FROM THE BACK OF CLASSROOM

LORD ABACUS
“…and anyone can easily learn how to operate it. Okay students, pick up your abacus and prepare to learn with me over the course of the next twenty-two easy lessons.”

TRANSITION FROM VIDEO TO OFFICE A

A-Mouse sits at her desk. Following along with the video, she pulls out her abacus. The PHONE RINGS. A-Mouse pauses the video and answers the phone.

A-MOUSE
“Hello. (pause)He said what? Sure, I’ll help. Let me ask everyone on this floor what they want and then I’ll meet you at the elevators. Ok. Cool. Bye.”

A-Mouse hangs up the phone then leans over and grabs a pad of paper and pencil from the desk along with a set of car keys. She turns off the monitor and puts on her jacket. She walks out of the office and turns off the lights.

FADE OUT

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

scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 01

a prologue

By Thomas Typewriter

(c) 2022 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “04-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “a prologue”. 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

THE VELVET CURTAINS

The darkness slowly transitions to a backdrop of dark black and deep purple velvet curtains. THE VELVET TOUCH, a Helping Hand wearing black fingerless gloves and black fingernail polish, comes into frame. It grips the side of the frame.

THOMAS TYPEWRITER
(Voice-over) “Have you ever looked inside something while it was too close?”

The Velvet Touch pulls image in the frame loose as if printed on a large card. The card rotates around. On the back of the card is the image of The TYPEWRITER ABSTRACT PUPPET STAGE.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The main curtains of the The Typewriter Abstract Puppet Stage part.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE HIGH-STAGE.

PAN FROM LS TO MS TO CS OF THE TYPEWRITER ABSTRACT PUPPET STAGE. AS THE CAMERA NEARS THE STAGE IT ALSO PANS UPWARD TO EVENTUALLY FACE THE HIGH-STAGE AREA.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. A light from beyond the doorway spills out as a faint breeze blows past rippling the High-stage curtains.

THE CAMERA SOFTLY PANS UP AND LEFT SO AS TO ALLOW A MORE DIRECT VIEW INTO THE AREA BEHIND THE NARRATOR’S DOOR

A small apartment spreads out behind the Narrator’s Door. We can not see all of it but we can see the room immediately behind the door. It is the kitchen/living room combo of a studio apartment. The kitchen stands off to stage-left and the living room to stage-right. An L-shaped counter divides one area from the other. A wicker couch sits off the stage-right. Across from the Narrator’s Door we can see a sliding door and part of a deck beyond that.

TRANSITION FROM HIGH-STAGE TO APARTMENT Y

THE CAMERA PANS IN TOWARDS AND THROUGH THE NARRATOR’S DOOR. IT CONTINUES THROUGH THE KITCHEN/LIVING ROOM, MOVING THROUGH THE SLIDING DOORS TO THE DECK OUTSIDE.

EXT. APARTMENT Y’S DECK, EVENING.

A wrought iron deck of the edge of the apartment, the deck contains an art deco inspired metal railing. A deck chair and small table sit off to the side from the sliding door. The view from the deck looks out at sloping hills of autumnal trees. Their fiery colors flow across the treetops like living oceans.

THE CAMERA ROTATES TO THE RIGHT

Y-MOUSE sits in the deck chair, holding a yellow Memory-stone in one hand and a small drink in the other, looking out at the sunset on the hills. Lost in thought, he rubs his thumb across the thin stone in his hand.

Y-MOUSE
“Why did you come to talk to us? What is going on in that head of yours?”

The stone starts to glow. It takes a moment for the light to catch Y-Mouse’s attention. He sets down his drink and looks into the glow.

CS OF Y-MOUSE LOOKING DOWN INTO THE STONE. YELLOW HIGHLIGHTS SPREAD ACROSS HIS FACE AS THE STONE’S GLOW INCREASES.

CUT TO CS OF STONE.

Shapes and figures start to appear in the inner glow of the stone. Images of Thomas Teenager’s bedroom begin to form.

TRANSITION FROM APARTMENT Y TO THOMAS TEENAGER’S BEDROOM

ZOOM IN ON THE IMAGES IN THE MEMORY STONE

INT. THOMAS TEENAGER’S BEDROOM, EVENING

An unmade bed covered with folded blankets runs long ways across the stage. To the stage-left side of the bed sits an old-style bankers desk and a pair of windows. To the stage-right side of the bed sits a vintage lamp lamp, an old chair, and the bedroom door. On the wall over the bed various shelves of stuffed animals and action figures attempt to share space with posters of teddy bears. From off-stage we can hear MUFFLED YELLING mixed with CHRISTMAS SONGS. The door opens and THOMAS TEENAGER enters the room. He slams the door behind him.

THOMAS TEENAGER
“I hate him. Hate him. Hate him.”

Thomas falls onto his bed.

THOMAS TEENAGER
(softly)“…hate myself…”

Thomas draws a deep breath.

THOMAS TEENAGER
“Why does he always say that I am greedy and selfish. Why can he see it but I can’t. I thought I was doing good, that I was finally being a good boy at Christmas. I stopped asking for presents, pretended I was happy at all the events, laughed when everyone else laughed, did my chores…but still…(chokes up)”

Thomas starts to cry, but just as quickly it passes. He looks even more upset.

THOMAS TEENAGER
(narration) “Why can’t I cry. I was about to but then something shifted and I stopped. No tears. No release. Still feel sad. Feel even worse. (takes a deep breath) Three years. Three years of no escape. Swallowing everything, stuffing it down. Feeling worse every day.”

Thomas lays down on the bed clutching his stomach and rubbing his throat.

THOMAS TEENAGER
(narration) “Maybe I can’t cry because I haven’t gotten sad enough. Maybe I need to overload my emotional dam and break it. Shock my system.”

Thomas sits up and wipes his eyes. He walks over to the desk. He opens the lid and moves some comics and RPG notes out of the way. He pulls out a piece of paper and a pen then sits down and starts to write.

THOMAS TEENAGER
(narration) “List of bad things I have done. 1. I ask for too many toys at Christmas, 2. I do not finish my school assignments 3. I said mean words to my brother 4. I did not compliment my mother on her new haircut soon enough. 5. I forgot to wash the dishes yesterday 7. I shoved a broom at Sadie when a toddler. 8. I burned that pizza that one summer because I was distracted playing Mario Brothers. 9. I feel awkward around my classmates. 10. If I wasn’t born my Dad wouldn’t have to work a job he hates. That should be number one.”

Thomas grabs a new sheet of paper and starts to recopy the list.

THE SCREEN CHANGES TO A BRIGHT YELLOW GLOW

TRANSITION FROM THOMAS TEENAGER’S BEDROOM TO APARTMENT Y

EXT. DECK OF APARTMENT Y, EVENING

THE BRIGHT GLOW FADES OUT RETURNING US TO A CS OF THE YELLOW STONE IN Y-MOUSE’S HAND.

The stone stops glowing.

CUT TO CS OF Y-MOUSE’S FACE

Y-MOUSE
“Oh Thomas…”

CUT TO MS OF Y-MOUSE

Y-Mouse stands and walks over to the sliding door. He goes inside.

CUT TO LS OF…

INT. APARTMENT Y KITCHEN/LIVING ROOM, EVENING

Y-Mouse enters through the sliding door, closing the door behind him. He holds the Memory-stone in his hand. He walks over to the couch and pulls a case out from under the sofa. Inside is a large amount of foam padding with slots. In each slot sits a stone similar to the yellow stone but in different colors: red, blue, green, orange, purple, white, black, brown and one empty spot. Y-Mouse places the yellow stone into the empty slot. He closes the case and slides it back under the sofa. Walking over to the phone, he picks it up. DIALTONE. BUTTON BEEPS FOR DIALING 3 3 *. RINGING. RINGING. CLICK OF PICKUP ON OTHER END.

Y-MOUSE
“Hi. Busy. No, good. You better go and get food for everyone. Going to be all-nighter. Yeah, it’s that serious. Have A-Mouse help you. Thanks.”

Y-Mouse hangs up the phone and walks off camera

FADE OUT

today in the studio: Jan 2nd, 2022

today in the studio

today in the studio: Dec 26th, 2021

today in the studio

From the desk of Thomas Typewriter: a new TGWP script

From the desk of Thomas Typewriter

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 12

By Thomas Typewriter

(c) 2021

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-12”. 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

INT. NARRATOR’S DOOR INSIDE APARTMENT Y, DAYTIME

MS OF NARRATOR’S DOOR

The Narrator’s Door lie in the center of the stage. It is in a small hallway at the end of Apartment Y’s combination Living Room and Kitchen. It has a small coatrack and umbrella stand off to one side. On the other side is a light switch and a red signal light. The Narrator’s Door, on the Apartment side, has a very thick wooden frame with additional rings of thick wooden molding. Y-Mouse paces the small hallway reading from a script page, rehearsing his lines one last time. The red signal light turns on. Y-Mouse notices the light and stops pacing. He sets the page down on the coatrack. He takes a deep breath and then opens the door. There is a bright light from the other side of the door so the short time it is open we are unable to clearly make out what is there. The Narrator’s Door closes.

Y-MOUSE
(heard from the other side of the door) “What vindications asks the interrupted idea, lost to its own agency, as it wanders across a nowhere.”

The Narrator Door reopens and Y-Mouse steps through. The door closes and he slumps against the door relieved. After a moment he stands and walks towards the camera.

CUT TO

INT. APARTMENT Y MAIN ROOM, DAYTIME

LS OF LIVING ROOM AREA

A large room divide in two by a counter, the main room holds both the living room and kitchen. The living room side has a medium size wicker couch and various house plants. Small nautical themed prints and paintings hang on the walls. To the side of the couch, furthest from view, is an end table and table lamp. On the wall nearest the end table is a window and also a sliding patio door. Y-MOUSE enters and walks over to the couch.

CUT TO MS OF Y-MOUSE

He leans his head back and closes his eye.

Y-MOUSE
“Just need to rest my eyes a little before the meeting.”

CUT BACK TO LS OF COUCH

A multi-color glow emanates from under the couch. It grows in intensity.

DISSOLVE OUT

TRANSITION FROM APARTMENT Y TO Y-MOUSE DREAMING

DISSOLVE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

Y-Mouse floats before the Typewriter Abstract Puppet Stage. The main curtains of the Typewriter Abstract Puppet Stage are closed. They part revealing an empty stage. The Curtain of Clouds, which lines the back of the stage, is fully visible. Y-Mouse flies inward towards the Curtain of Clouds.

THE CAMERA PANS INWARD FOLLOWING Y-MOUSE TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE BACK-STAGE

THE CAMERA CONTINUES TO FOLLOW Y-MOUSE

The Curtain of Clouds part. Y-Mouse floats through the Mid-Stage, past the Curtain of Clouds, and on into the area beyond. He stops in the Back-Stage and floats watching the events unfold.

BACK-STAGE: THE CONCURRENT DISTANCES

THE CAMERA GLIDES PAST Y-MOUSE TO PROPERLY FRAME BACK-STAGE

We find an empty field of darkness, devoid of any sets or decoration, except for center-stage sit THE TRIPLETS. AVEN, LONDE, and NETTE are crowded around something, laughing and excited at what we can not see. A STEAM like noise can be heard intermittently. From stage-left enters THE MOTHER.

THE MOTHER
“I’m back girls.”

THE TRIPLETS
“Hi.”

THE MOTHER
“Sorry I was gone so long. That calcific went really deep downdream. Hope you were not too lonely.”

The Triplets do not respond. A curious look slides across The Mother’s face. She walks over to the Triplets and leans down. She caresses Nette’s hair.

THE MOTHER
“What are you girl’s up to?”

The Triplets part allowing us to see what they were looking at. A small steam powered automoton, HERON THE AEOLIPILE, walks back and forth, hissing steam.

AVEN
“We made something new.”

Heron waves at The Mother. She’s surprised and waves back.

THE MOTHER
“Is it a wind-up?”

NETTE
“No, it’s something else.”

LONDE
“Here, check it out. It’s friendly.”

Londe holds out her hand for Heron. It climbs in, and she then hands him over to The Mother. She leans in closer. Heron the Aeolipile dances in her hand.

AVEN
“Awww…he likes you.”

THE MOTHER
“Does it have a name?”

LONDE
“Heron the Aeolipile.”

The Mother nods her head

THE MOTHER
“Well hello Heron. I am glad to meet you.”

The Mother sets him back down. Heron starts to dance. The Triplets and The Mother watch. The Mother coughs twice.

THE CAMERA UNLOCKS FROM FRAMING THE BACK-STAGE AND PANS OUTWARD. IT SLIDES PAST Y-MOUSE.

Y-Mouse floats backwards out of the Back-stage.

THE CAMERA KEEPS PACE WITH Y-MOUSE AS HE FLOATS OUT OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

Y-Mouse floats past the Curtain of Clouds. They close behind him. He continues moving through and out of the Mid-stage area. The curtains close on the Mid-stage. Y-Mouse hovers before the Typewriter Abstract Puppet Stage.

TRANSITION FORM THE TYPEWRITER ABSTRACT PUPPET STAGE TO APARTMENT Y.

From off camera an ALARM RINGS.

DISSOLVE TO

INT. APARTMENT Y MAIN ROOM, DAYTIME

MS OF Y-MOUSE

Y-Mouse is asleep on his couch. The multi-colored light has stopped emanating from under the couch. The alarm on his watch is RINGING RINGING RINGING. Y-Mouse wakes up. He forces himself awake and then turns off the alarm on his watch. He stretches.

Y-MOUSE
“Time to get ready for the meeting.”

Y-Mouse reaches under his couch and pulls out a briefcase. He sets it on the couch then stands to get a glass of water from the kitchen.

PAN OUTWARD

FADE OUT

From the desk of Thomas Typewriter: a new TGWP script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 11

By Thomas Typewriter

(c) 2021

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-11”. 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. UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE, TWIXLIGHT

CS OF A SCRIPTBOOK

We open on a page of the scriptbook currently being read by the Outer One from the previous episode. The pages are the blanks between episodes. Their hand of blue scrolling abstract text and glitches turns the page. The new page reads as follows:

———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play for those looking for their many parts.
Season 03, Episode 11
By Thomas Typewriter
(c) 20??
===========<:type:>===========

FADE OUT AS THE OUTER ONE’S GLITCHEY HAND TURNS THE PAGE.

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

In the darkness unseen lamps turn on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE hiding in the dark.

TRANSITION FROM TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN ON THE MID-STAGE AREA

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights click on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THE SOUTH MEN’S BATHROOM OF THE SILVER SCREEN THEATRE, LATE AFTERNOON

A simply decorated bathroom sits on the stage. On the stage-left side of the stage stands a large mirror and two sinks. In the center of the stage stand three urinals. Then on the Stage-right side of the stage stand four stalls with locking doors. THOMAS TYPEWRITER rushes in from stage-left, hurrying past the sinks and urinals to one of the stalls. His stomach RUMBLES and his pace quickens. Locking himself inside a stall, we can hear the explosive noise of his DIARRHEA.

TRANSITION FROM MID-STAGE TO HIGH-STAGE.

THE CAMERA PANS UPWARD, UP ALONG THE MID-STAGE SETS, PAST THE SET TOPS AND UP ALONG THE CURTAIN OF CLOUDS. REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS, THE CAMERA SLOWS IT PAN. IT STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out steps Y-Mouse.

Y-MOUSE
“What vindications asks the interrupted idea, lost to its own agency, as it wanders across a nowhere.”

Y-Mouse exits and the Narrator’s Door closes behind him. There is a sound of A COMPUTER BOOTING UP then the curtains part revealing…

HIGH-STAGE: THE FAR EDGE OF THE FOREVERCAGE

The screen is an empty blankness, dark and static. From the stage-right side of the stage a scale model of THE SPACE EGG flies on-stage. It moves in such a way that it looks like it is flying but not really moving too far across the stage. From the stage-right side of the stage a scale model of THE WARDROBE OF A THOUSAND AND ONE COSTUMES slides into view. The Space Egg flies towards the Wardrobe of a Thousand and One Costumes. When it crosses the center-line of the High-stage, it rotates the front doors towards the stage front.

CUT TO CS TO THE BOTTOM OF THE WARDROBE’S DOORS, WHERE THEY MEET.

The two doors of the wardrobe dwarf the stage, extending out of the frame. On both doors, the bottom corner has worn away creating a gap. It is just large enough for the Space Egg to fly through. The Space Egg does just that and flies out of view into the Wardrobe of a Thousand and One Costumes. The The sound of A COMPUTER TURNING OFF rings out followed by the High-stage curtains closing.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN . IT CONTINUES DOWN AND DOWN. THE MID-STAGE SETS PEAK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD ALONG THE MID-STAGE UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT SCREEN 8 OF THE SILVER SCREEN, EVENING

OPHIDIA OPERAHOUSE is sitting in the dark watching the movie. The film’s MUFFLED SOUNDTRACK can be heard in the background. She is looking off-stage.

OPHIDIA OPERAHOUSE
“Where could he be?”

The Mid-stage curtains close then reopen revealing…

MID-STAGE: THE SOUTH MEN’S BATHROOM OF THE SILVER SCREEN THEATRE, LATE AFTERNOON

From one of the stalls we hear THOMAS TYPEWRITER MOAN as another bout of gastrointestinal distress shudders his body. The Mid-stage stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new TGWP script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 10

By Thomas Typewriter

(c) 2021

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward. It exits the frame at the top edge.

FADE OUT

FADE IN

EXT. THE UNDECORATED SPACE OUTSIDE UNROOM NOT.SEVEN

LS OF THE DOORWAY

A stark darkness broken by a free standing revolving door, lit by unseen lamps spreads out before us. The door bears a design of “.7” denoting it as the door to the unroom Not.Seven. Off to the sides, if we took the time to look, we could see the beginnings of trails made from variously sized sheets of grey paper and cardboard. THE OUTER ONE leans against the door frame of the freestanding door reading a scriptbook.

PAN TO MS OF OUTER ONE

CUT TO POV OF OUTER ONE, LOOKING AT THE SCRIPTBOOK

CUT TO CS OF THE PAGES

The Outer One has the scriptbook open to a cover page for one of the scripts. The page reads as follows:

———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play for those in many parts
Season 03, Episode 10
By Thomas Typewriter
(c) 20XX
———–<:type:>———–

The page is turned by a hand with a flesh of scrolling abstract blue text.

TRANSITION FROM THE UNDECORATED SPACE TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAGE WIPE TO

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains open and the stage-lights turn on with sound of a A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THE SILVER SCREENS BOX OFFICE. EARLY EVENING

A long counter runs across the stage with six registers. Behind the registers hangs a large red LED sign listing all the showtimes.

The showtimes are as follows:

TUGBOAT (R) 4:00 7:00 9:50
Sat & Sum Matinee 1:00

THE ASSASSIN AND THE BUSINESSMAN (R) 3:45 6:45 9:30
Sat & Sun Matinee 12:45

COWBOYS IN LOVE (R) 5:00 8:00
Sat 4 Sun Matinee 1:45

HOODWINKED! (PG) 4:45 7:30 9:40
Sat & Sun Matinee 2:00

A HOLIDAY BEFORE I DIE (PG-13) 3:30 6:30 9:15
Sat & Sun Matinee 12:30

GRIZZLY GRUMPS (R) 4:15 7:15 10:00
Sat & Sun Matinee 1:30

2 MORE WEREWOLVES AND VAMPIRES (R) 5:15 7:45 10:15
Sat & Sun Matinee 2:15

MALICK’S FURTHER PROGRESSION (PG-13) 4:30 8:15
Sat & Sun Matinee 1:15

Two employees are stationed at the box office. At one end of the counter HARRY GRAPEFRUIT is busy reading Atlas Shrugged by Ayn Rand. At the other end of the counter TYLER TUX leans on the register looking out and daydreaming.
OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter from Stage Left. They approach the box office and read the showtimes. Tyler and Harry turn to see them enter. Harry returns back to reading his book.

TYLER TUX
(to Harry) “Seriously.”

HARRY GRAPEFRUIT
(responding without looking away from book) “Greatness requires cultivation.”

Tyler stands at attention and greets Thomas and Ophidia.

TYLER TUX
“Thank you for coming out to the Silver Screens. What movie brings you out tonight?”

OPHIDIA OPERAHOUSE
“I don’t know were still deciding.”

TYLER TUX
“Take as much time as you need. Let me know when you’ve decided.”

Tyler leans back onto the monitor and zones out. Thomas and Ophidia discuss which movie to watch then return to Tyler. He stands at attention.

OPHIDIA OPERAHOUSE
“Hoodwinked.”

HARRY GRAPEFRUIT
(looks up from book) “Seriously? You should pick something else.”

Thomas gives Harry a sour look and Harry quickly returns to his book.

OPHIDIA OPERAHOUSE
“Should we not see it?”

THOMAS TYPEWRITER
“I am sure it’s fine. He didn’t mean anything. And, besides, you love animated films.”

OPHIDIA OPERAHOUSE
“I do love animated films.”

THOMAS TYPEWRITER
(to Ophidia) “See.” (to Tyler) “Two for Hoodwinked please.”

TYLER TUX
“Will you be paying separately or together.”

THOMAS TYPEWRITER
(stepping forward) “Together. It is our special night after all.”

TYLER TUX
“Oh, what is the special occasion.”

OPHIDIA OPERAHOUSE
“We’re getting married!”

THOMAS TYPEWRITER
“I proposed and she said yes.”

HARRY GRAPEFRUIT
(out loud, to no one in particular) “Half of all marriages end in divorce.”

TYLER TUX
“I apologize for him.”

Tyler looks left and right. He pulls out two Silver Screen $1 passes. He clips and puts them in the register.

TYLER TUX
“In honor of your special day, enjoy these dollar discount coupons. So that’ll be two dollars.”

TRANSITION FROM THE MID-STAGE TO THE MANAGER’S OFFICE

CUT TO…

INT. THE SILVER’S SCREEN MANAGER’S OFFICE

A small room paneled in wood grain wallpaper and movie posters, it is bisected by a desk and a large safe. TYLER TUX sits in a cracked chair while STEVEN KINGFISHER, the Silver Screen’s General Manager, sits behind the desk.

STEVEN KINGFISHER
“Tyler, you’re not a Manager. Stop handing out the discount passes.”

TYLER TUX
“Maybe if other employees did not say things that pissed off customers I wouldn’t have to.”

STEVEN KINGFISHER
“Again, you are not a Manager, so this is not your concern. Stop handing out passes.”


TRANSITION FROM THE MANAGER’S OFFICE TO THE MID-STAGE

CUT BACK TO…

MID-STAGE: INT. THE SILVER SCREENS BOX OFFICE. EARLY EVENING

THOMAS TYPEWRITER
“Wow thanks”

OPHIDIA OPERAHOUSE
“Yeah, thanks. That’s awesome”

Thomas pays the two dollars. Tyler prints up the tickets and hands them to Thomas.

TYLER TUX
“Hope you enjoy your movie.”

Thomas and Ophidia leave. Tyler watches them leave stage-right. Once they are gone he looks to Harry.

TYLER TUX
“Harry, why’d you bring up divorce? It freaked out that couple.”

HARRY GRAPEFRUIT
(not looking up from book) “If someone gets offended at what I say that is their problem.”

TYLER TUX
“But why say things that would hurt people. Did you see how happy they were until you said something. Like you could of literally not said anything and they would of been happy. Now they are less happy and by extension the world has a little less happiness in it.”

HARRY GRAPEFRUIT
“I reject your argument.”

TYLER TUX
“And I reject this job, this whole situation.”

Tyler moves around the counter. He takes off his name tag and sets it on the counter. He turns and starts to leave.

TYLER TUX
“Tyler’s out.”

HARRY ORANGEGROVE
“Send me a postcard from the unemployment line.”

Tyler flips off Harry and exits stage-left. Harry resumes reading.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD TO THE TOP OF THE CURTAIN OF CLOUDS WHERE THE HIGH-STAGE IS LOCATED. THE CAMERA SLOWS DOWN AND ULTIMATELY STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out emerges Y-Mouse.

Y-MOUSE
“What is the emptiness left by the end of a moment. Does the expired moment continue to speak to us in long paragraphs of grief. Hollow words spilling across the span of our lives.”

Y-Mouse turns and exits through the Narrator’s Door. The door closes. The High-stage curtains part. Once they have fully opened the stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: EXT. OUTER SPACE, NIGHT

The void of space spreads across the stage. From below-stage up flies a scale model of the sparkship THE COUNT. It travels a diagonal arc exiting top-stage. The High-stage Curtains close then reopen revealing…

HIGH-STAGE: INT. THE COUNT’S CONTROL ROOM, NIGHT

A small pilot’s chamber, the Control Room has a large round center counsel with a row of gold accented vacuum-tube like lights on top. The side walls are made up of various monitors interspersed amongst stain glass windows. BARBARO BUFFO, a mostly bio-goblin and the sparkship’s sole staff member, sits in the pilot chair talking with the ship’s artificial intelligence COUNT. Each time Count speaks, the vacuum tube like lights flicker.

COUNT
“Update on the scans.”

BARBARO BUFFO
(leaning over and looking onto a view screen on the control panel)”The scans show no signs of the missing crafts or source of disturbances.”

COUNT
“Open a channel to that beautifull delight Musica?”

BARBARO BUFFO
“Are you just looking for an excuse to talk to her.”

COUNT
“To even hear a slip of syllable from her lips would be sublime. But to answer your question, yes. Yes I am.”

BARBARO BUFFO
“You’ve got it bad old friend.”

COUNT
“Do I ever.”

BARBARO BUFFO
“Who am I to deny true love.” (flips some switches) “Opening a secure channel now.”

CLICK-CLICK rings out from the speakers in the console.

MUSICA
(voice over speaker) “Hello darling.”

COUNT
“Hello to you too my queen, my angel, my vision.”

MUSICA
(giggles) “Is Barbaro there with you.”

BARBARO BUFFO
“Yeah, I’m here. Hi.”

MUSICA
“I think he’d appreciate if we saved the sweet talk for when we are alone. Now I am sure you didn’t call to just flatter me.”

BARBARO BUFFO
“We’ve finished searching sector 8, and are about to move onto sector 7. No sign of the lost astronaut.”

MUSICA
(voice-over) “And what about the storm.”

BARBARO BUFFO
“No source for that yet either. There might be something closer to the IR-RA. We need to move closer. Permission to head to sector 6 once we finish sweeping sector 7.”

MUSICA
“Granted.”

BARBARO BUFFO
“Understood and over.”

COUNT
“Goodbye Musica.”

MUSICA
“Bye sweetheart. Be safe.”

BARBARO BUFFO
“Aww…thank you.”

MUSICA
“I was talking to Counter, but you be safe too.”

BARBARO BUFFO
“Channel closed. Communication ended.”(flips the communication switches back) “Look at you, getting pretty cosy with the boss.”

COUNT
“Well…”

BARBARO BUFFO
“Transitioning from sector 8 to sector 7.”

Barbaro reaches over and starts to type in the new navigation coordinates. The control room shakes as the sparkship changes direction.

COUNT
“When we get back, where should I take Musica on a date.”

BARBARO BUFFO
“I thought you weren’t dating.”

COUNT
“Currently it’s a long distance thing, but I want more than that. I want to find out if we can be something more.”

BARBARO BUFFO
“You mean a short distance relationship.”

COUNT
“Is that even a term?”

BARBARO BUFFO
“No.”

COUNT
“But yeah, exactly. I get so excited to see her, but I’m also so nervous…it means a lot to me and I want somewhere special to take her.”

BARBARO BUFFO
“Well you could catch a show over at the Fore-thought or the Hind-sight. There’s also one of the Halls. My cousin took a tour of the Hall of Roses and said it was real nice.”

A proximity alarm goes off. BLEEP…BLEEP…BLEEP…BLEEP. One of the monitors, with a radar screen like set-up, shows a small object ahead of The Count.

COUNT
“What is that?”

The High-stage curtains close and then reopen revealing…

HIGH-STAGE: EXT. OUTER SPACE, NIGHT
The model of The Count enters stage-left and flies stage-right towards a small glittering SPACE OBJECT. It is a diamond shaped object warped and burned. The cargo bay doors open and it scoops up the space object. It then flies off, exiting stage-right. The High-stage’s stage-lights turn off with the sound of A COMPUTER TURNING OFF. The the High-stage’s curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD, FOLLOWING THE CURTAIN OF CLOUDS TO THE MID-STAGE SETS. IT MOVES OVER THE TOPS OF THE SETS DOWN TO THE MID-STAGE.

MID-STAGE: INT. SCREEN 8 OF THE SILVER SCREEN, LATE AFTERNOON
Three rows of stadium style movie theatre chairs run across the stage. A yellow safety bar can be seen along the bottom of the stage preventing anyone in the bottom row from falling off the stadium seat risers. Stairs can be seen off to stage-left. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-left. He is carrying a large soda and a large popcorn. She is carrying a box of TIGER TOPS candy and some napkins. They climb the stairs up to the second row and sit towards the middle.

THOMAS TYPEWRITER
(Looking around) “Those guys were not kidding. We are the only ones here.”

OPHIDIA OPERAHOUSE
“Maybe they were right and this movie sucks. Should we go see something else?”

THOMAS TYPEWRITER
“No, it’ll be fine. Your here, I am here, and we’re together. That is all that really matters. Together we’ll find the best tomorrow.”

OPHIDIA OPERAHOUSE
“You are so corny.”

THOMAS TYPEWRITER
“That’s why you love me.”

OPHIDIA OPERAHOUSE
“Among other reasons.”

Thomas leans over and kisses Ophidia on the cheek. She smiles. The stage-lights dim as we hear CLICK CLICK CLICK of a 35mm film projector starting up.

OPHIDIA OPERAHOUSE
“Ohh…the film is starting.”

THOMAS TYPEWRITER
“Awesome.” (puts the drink in the cup holder then uses his free hand to grab hold of Ophidia’s hand.)

While watching the coming attractions Thomas’ STOMACH RUMBLES. The sound of it overwhelms the MUFFLED AUDIO OF THE COMING ATTRACTIONS. Thomas puts a hand on his stomach to quiet it. It rumbles again. He looks down at his stomach in alarm. Ophidia even steals a side glance in concern.

OPHIDIA OPERAHOUSE
“Are you okay?”

THOMAS TYPEWRITER
(panicked look on face) “I’ve go to go.”

Thomas hands the popcorn to Ophidia and exits down the stairs and off stage stage-left. She watches him leave, looks off-stage for a moment in concern, then turns back to the screen.

OPHIDIA OPERAHOUSE
(to self) “I hope he’s alright.”

The Mid-stage stage-lights shut off with the sound of A LIGHT SWITCH CLICKING OFF and the curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 3, Episode 9

By Thomas Typewriter

(c) 2021

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-09”. 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

INT. UNROOM NOT.SEVEN, TWIXTLIGHT

CS OF THE MID-STAGE CURTAINS OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The TYPEWRITER ABSTRACT PUPPET STAGE sits on a wooden disc in the possible center of the room of an indeterminable size. Radiating out from the disc are a series of semicircular rows of grey hued carpet squares. The carpet squares are set up as if chairs in an auditorium. The entire area is softly illuminated by tall spindly metallic lamps at the ends of rows. The lamp’s power cords snake off, trailing out of sight. On one of the grey carpet squares, THE OUTER ONE patiently sits watching the Typewriter Abstract Puppet Stage.

PAN DOWNWARD AS THE CAMERA SUBTLY SHIFTS FROM CLOSE-SHOT TO POV OF THE OUTER ONE.

The Outer One looks at the scriptbook on the floor next to them. The cover reads as follows:

THE GREAT WORKS PROJECT
a puppet play in many parts
THE COMPLETE SERIES
BY THOMAS TYPEWRITER

The Outer One’s injury has spread across the whole hand. From fingertip to wrist flesh is replaced by scrolling blue abstract text and a glitching outline. Just below the wrist a series of red icons orbit the flesh as a warning that the injury is spreading. A soft BEEPING drifts from somewhere on the Outer One. SCRAPING FOOTSTEPS from off-screen move towards the Outer One.

CAMERA TILTS UP.

Two PRECEDURES with their long mask-like faces emerging from long trailing cloaks, stand before the Outer One. They, in unison, raise up a gloved hand. The pair then point to it with their other hand and then point at the Outer One. Both shake their heads and wiggle their fingers NO.

THE ENTIRE FRAME SHIFTS AS THE OUTER ONE IS FLUNG BACKWARDS BY AN INVISIBLE FORCE AT AN ACCELERATED PACE OUT OF UNROOM NOT.SEVEN.

EXT. UNROOM NOT.SEVEN, TWIXTLIGHT

The Outer One lands in the darkness outside the unroom flung out the free-standing revolving door. The script flies out of door landing on the ground next to the Outer One. Unseen lamps illuminate the area.

THE CAMERA, THE POV OF THE OUTER ONE, STANDS AND WALKS OVER TO THE DOOR

The Outer One pushes on the doors attempting to re-enter the Unroom. They do not budge.

POV ROTATES

In the distance can be seen a small bridge illuminated by an unseen lamp. Nearer sits the scriptbook on the ground, pages splayed open.

POV WALKING OVER TO THE SCRIPTBOOK.


A hand reaches out. Their fingers of blue scrolling text pick up the scriptbook.

POV ROTATES AND WALKS BACK TO THE LOCKED DOOR.

Gently the Outer One sits down. They open the scriptbook which reads:

“CUT TO
MID-STAGE: INT. SKOLNICK’S ICE SCREAM DELI DINING AREA
Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second is empty. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch. THOMAS TYPEWRITER, with a look that says really sorry about your hand but don’t give up cause I’m rooting for you, and OPHIDIA OPERAHOUSE enter carrying a tray with their orders. They sit at the center table. As they sit, Ophidia takes a small nibble while Thomas hands out some napkins. She takes one and dabs at the side of her face.”

TRANSITION FROM SCRIPTBOOK TO MID-STAGE

CUT TO…

MID-STAGE: INT. SKOLNICK’S ICE SCREAM DELI DINING AREA, DAYTIME

FRAMING SHOT OF MID-STAGE

Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second is empty. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter carrying a tray with their orders. They sit at the center table. As they sit, Ophidia takes a small nibble while Thomas hands out some napkins. She takes one and dabs at the side of her face.

OPERAHOUSE
“Thanks.”

Thomas closes his eyes, clasps his hands and starts to prey. Ophidia joins in.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP PAST THE TOP OF THE MID-STAGE SETS BRINGING THE STAGE’S BACKDROP, THE CURTAIN OF CLOUDS, INTO VIEW. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS. IT FINALLY STOPS AT THE HIGH-STAGE NEAR THE TOP OF THE CURTAIN OF CLOUDS.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Y-Mouse steps out.

Y-MOUSE
“How injurious a moment of distraction, unable to see the overlapping orbits of past, present, and future.”

Y-Mouse turns and leaves. The Narrator’s Door closes. The curtains of High-stage start to open. Once fully parted the stage lights turn on with a noise like A COMPUTER TURNING ON revealing…

HIGH-STAGE: INT. ROOM 302 ON THE MEDICALSHIP THE FLUTE, DAYTIME.

A room of space age smoothness and plastic accentuated with baroque style trim work is divided into three sections by three Medi-pods. Each ovoid device is person size with three red blinking lights on the top, three circular ports around the middle and three wheels on the bottom. To the stage-left side sits a large curved window. The starscape outside The Flute can be seen outside. A small spaceship flies across the window. In-between the first Medi-pod and second is the bathroom door, while between the second and third is the main door. On the stage-right side a Vid-screen wall curves across. The red blinking lights on top of the Medi-pods turn green one at a time. Each color change is accompanied by a BEEP noise.


LUCIDO OBSIDIAN
(mildly electronically distorted voice)”Where am I?”

The stage-lights turn off with the sound of A COMPUTER TURNING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM FRAMING HIGH-STAGE TO FRAMING MID-STAGE, MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS, UP OVER THE TOPS OF THE MID-STAGE SETS, FINALLY RESTING WHEN MID-STAGE IS FRAMED REVEALING….

MID-STAGE: INT. SKOLNICK’S ICE CREAM DELI DINING AREA DAYTIME

Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second finds THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch.

OPHIDIA OPERAHOUSE
“Can I ask you something? Maybe you don’t want to talk about it.”

THOMAS TYPEWRITER
“No. What is it? Go on.”

OPHIDIA OPERAHOUSE
“Well, when you proposed you said you had no job, all your scripts had their options let run out.”

THOMAS TYPEWRITER
“Yes. And I don’t have any new scripts. I am stuck.”

OPHIDIA OPERAHOUSE
“Well, I was thinking that I could use some help on my short and I have extra grant money, so I could hire you. Would you come work for me.”

THOMAS TYPEWRITER
“I don’t know. I kind of like doing my own thing.”

OPHIDIA OPERAHOUSE
“You don’t have to answer me now. Think it over for and let me know.”

THOMAS TYPEWRITER
“Okay. I can at least think about it.”

Ophidia stands up and gathers her tray.

OPHIDIA OPERAHOUSE
(bumping Thomas with her hip)”Come on it’ll be fun. You done with your food.”

THOMAS TYPEWRITER
“Yes.”

OPHIDIA OPERAHOUSE
“Let me take your trash away.”

THOMAS TYPEWRITER
“Sure, thanks.”

Ophidia leans in and kisses him on his cheek. He touches his face where she kissed him and smiles. Ophidia walks to the trashcan off-screen stage-left. Thomas watches her walk away smiling. Then there is a loud STOMACH GURGLE and he grips his stomach. An alarmed look spreads across his face. Ophidia reenters and Thomas hides his alarm with a face smiling and bright.

OPHIDIA OPERAHOUSE
“Ready to see a movie”

Thomas nods his head yes. They both stand and exit stage-right. The lights click off with a sound of A LIGHT SWITCH BEING CLICKED OFF. The curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 07

By Thomas Typewriter
(c) 2020

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

FADE IN TO BLACK


From the bottom center of the screen, the following text scrolls upward: “03-07”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

THE CAMERA, CURRENTLY THE POV OF THE OUTER ONE, LOOKS TOWARDS THE WOODEN DISC.

In a room of undiscernible size, THE OUTER ONE sits on a one of many grey squares of carpet arraigned around a wooden disc. The disc currently stands empty. Some of the spindly metallic lamps at the ends of the carpet rows cast a faint light on the wooden disc.

POV OF OUTER ONE AS THEY BRING UP THEIR HANDS.

A right hand comes into view, the flesh of its fingers and thumbs replaced by scrolling lines of blue abstract text. The Other One’s left hand comes into view. It rubs the right hand as if in pain. After a few moments, the sound of TYPEWRITER KEYS CLICK CLACKING sounds out from the wooden disc.

POV OF OUTER ONE SHIFTING GAZE FROM HANDS TO THE WOODEN STAGE.

Unseen lamps over the wooden disc turn on. THE TYPEWRITER ABSTRACT PUPPET STAGE instantly materializes.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE POV PANS INWARD TOWARDS THE MID-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE MID-STAGE

THE CAMERA PANS INWARD TOWARDS THE MID-STAGE UNTIL PROPERLY FRAMING IT.

MID-STAGE: CURTAINS CLOSED

The curtains open and the stage lights turn on with the CLICK OF A LIGHT SWITCH, revealing…

MID-STAGE: INT. THE MANY FACETS JEWELRY STORE SHOWROOM, DAYTIME

EXTREME CS OF A SPINNING DIAMOND

A giant spinning diamond fills the frame, sunlight glittering of its multiple orthogonals.

PAN OUT

The spinning diamond is one of the two spinning diamond displays seen in the window of the The Many Facets jewelry store last episode. As the camera pans out we see more of the interior of the Many Facets. A long glass case runs across the stage. A taller glass case sits on top of the counter. Additionally a smaller display case hangs on the wall behind the counter. A doorway and two large glass windows sit off to the stage-left side. A spinning diamond can be seen in each window. A wide variety of styles of rings, bracelets, necklaces and earrings can be seen in the display cases.

The Many Facets’ two daystaffers, JEROME SALAMANDER and HENNY NETPENNTY, stand behind the counter. Jerome wipes off the glass while Henney puts necklaces away in the display case. OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter from stage-right through the glass doors.

THOMAS TYPEWRITER
“Sorry I let the door close on you. I get distracted sometimes.”

OPHIDIA OPERAHOUSE
“It’s fine.”

JEROME SALAMANDER
(to Ophidia and Thomas) “Hello.”

THOMAS TYPEWRITER
“Hi”

OPHIDIA OPERAHOUSE
“Hi”

JEROME SALAMANDER
“Feel free to look around. I’ll be with you in a moment”

THOMAS TYPEWRITER AND OPHIDIA OPERAHOUSE
“Okay.”

Thomas and Ophidia lean over and start to look at the rings in the nearest counter top display. Jerome picks up his cleaning supplies and sets them down behind the counter near the stage-left side. He walks back. Pausing next to Henny, he leans over and whispers something to her. She nods and then hands him a golden feather keyring filled with many keys. He approaches Thomas and Ophidia at the end of the counter.

JEROME SALAMANDER
“Now then, how may I help you.”

OPHIDIA OPERAHOUSE
“We’re looking for an engagement ring.”

JEROME SALAMANDER
“We’ll that I can help you with. Was there a particular style you were looking for.”

OPHIDIA OPERAHOUSE
“What do you have?”

THOMAS TYPEWRITER
“Correction, what do you have for someone on an artist’s budget?”

JEROME SALAMANDER
“Sir, we have something for all budgets and all tastes. We pride ourselves on making a ring, no matter who you are or where you come from, as special as she is.”

Beaming, Ophidia puts her arm around Thomas. He hugs her back returning her smile. Jerome unlocks the display case and leans over to reach inside. He retrieves a velvety case of rings. He sets the case on the counter.


TRANSITION FROM MID-STAGE TO HIGH-STAGE.

THE CAMERA STARTS TO PAN UPWARD. IT MOVES STRAIGHT UP PAST THE TOP EDGES OF THE MID-STAGE SET, BRINGING THE CURTAIN OF CLOUDS THAT SERVES AS THE BACK OF THE STAGE INTO VIEW. THE CAMERA FOLLOWS THE CURTAIN UPWARDS TO THE TOP WHERE THE HIGH-STAGE SITS. IT STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: BLANK SCREEN

The High-stage curtains are already open when it comes into frame. The stage is dark, like a turned off television. The Narrator’s Door is open and Y-Mouse is sitting on the edge of the Narrator’s Platform. He dangles his feet over the edge while taking a sip of soda. He places the soda down and holds up a remote control. CLICK goes the remote. The High-stage, like a vintage television, shifts from opaque to bright static.

TRANSITION FROM HIGH-STAGE TO LOCAL CHANNELS

ZOOM IN SO THE STATIC BRIGHTNESS FILLS THE FRAME

The channel number 3, in green pixels, blinks in the upper right corner of the screen. The CLICK OF A REMOTE can be heard from off-stage ten times as Y-Mouse uses the remote off-screen to change from Channel 3 to Channel 4. The new channel appears with a station ID card of an image of a dog in a dog-house style race car on a red and white background.


KAV BARITONE, CHANNEL 4 MID-DAY ANNOUNCER
(off-screen) “…Channel 4, the Dog Race, broadcasting to the Nines and more. Up next: Buck and Duck In The 31st Century City. But first these words from our sponsors…”

FADE OUT

TRANSITION FROM STATION ID TO COMMERCIALS

FADE IN

FIRST COMMERCIAL – ELEGANT DINING TABLE, DAYTIME.

BLACK AND WHITE CS OF THE AQUILLA

An electronic device, THE AQUILLA, made of two connected glass hexagons sits on a white tablecloth. A place setting for a fancy meal surrounds it, as if it is has taken the place of the plate.

THE SCREEN GLITCHES.

A hand wearing a black glove covered in gold filigree is now in the frame. It holds a magnifying glass also covered in gold filigree. The gloved hand sets down the magnifying glass. It runs a finger across one of the sides of the Aquilla. The device’s screen flickers then the “By Jove’s” company logo appears followed by The Frame’s logo. The home screen comes up. The black-gloved hand presses the screen opening a note taking app: SCREEN’NOGRAPHER. The hand outstretches a finger and writes the following in the app: “Can you see?”


A drop falls down on the table, landing on the black gloved hand. The screen glitches again and the black gloved hand along with it’s magnifying glass is gone. A rainbow variety of drops of colors fall down on the Frame and the rest of the table. Multi-colors swirl across the scene.

THE CAMERA PANS DOWN AND OVER TO WHERE THE COLORS START TO RUN TOGETHER

Words, in a blocky serif-free font, start to form in the swirling mingling colors. “THE AQUILLA” which changes to “VERSION 10” before finally changing to “SOON”.

FADE OUT

FADE IN

SECOND COMMERCIAL – INT. ONE OF THE GOOD NEIGHBORS BAR & PUB RESTAURANTS. EARLY EVENING

MS FROM BEHIND THE BAR LOOKING OUT AT THE PATRONS

The work crowd has just come one of the Underhills’ most popular franchise bar & pub. It is a busy evening with plenty of mostly Clockwork Elves and mostly Bio-goblins looking to relax after a hard days work at the various Factories, Administrations and Marginalia of the various Hills, Palaces and Places of Interest.


THE SCREEN GLITCHES.

In the back stage-left corner, at a tall table, we now see three individuals different than the Bio-goblins and Clockwork Elves: THE SLASHBUCKLER, THE WORDSLINGER, and THE HEIRESS. The Slashbuckler is a slender woman in a swashbuckler’s large black hat and long black coat, both covered in gold filigree. Next to her The Wordslinger, a man in an immaculate white suit covered in brass filigree, wearing two gunslinger bandoleers holding paperback books. Next to him stands the Heiress. She is a tall women in a black 50’s cocktail dress and black pillbox hat both covered in silver filigree, holding a fennec fox wearing a matching pillbox hat. The three look around the room and out at the camera.

THE SCREEN GLITCHES AGAIN.

They are gone. FRIENDLY EMPLOYEE, portrayed by the mostly Bio-Goblin character actor BRUISER WULFETEETHS, pushes through the crowd to approach the bar. He loosens his tie as he approaches.

FRIENDLY EMPLOYEE
“Bartender, a glass of your worst.”

An off-screen hand places a glass of a foul looking liquid on the counter. Friendly Employee picks up the glass and takes a sip.

FRIENDLY EMPLOYEE
“AHHHH…the best part of the work day (notices someone to his side)…Oh hey, didn’t see you there.”

CUT TO SHOT FROM HIS RIGHT, FROM THE POV OF THE PERSON HE NOTICED

FRIENDLY EMPLOYEE
“How have you been? Oh, I’m sorry to hear that. Had a bit of a rough time myself last year too, but things got better. What happened? I got hired at the Bulb Factory that’s what. Oh, don’t make that face. It’s good work and they know how to treat their employees…”

From off-screen we hear a BEEP.

TRANSITION FROM COMMERCIAL BREAK TO HIGH-STAGE

ABRUPT CUT TO FRAMING SHOT OF HIGH-STAGE

HIGH-STAGE: INT. ROOM 304 OF THE MEDICALSHIP THE FLUTE

Y-Mouse is leaning forward, intently looking at the Medi-pods. One of the Medi-pod’s top lights has changed from red to blinking green.

INSERT CS OF Y-MOUSE’S FACE

Y-MOUSE
(to the camera) “Almost time now.”

REVERT BACK

Y-Mouse stands and stretches. He uses the remote to CLICK off the Vid-screen. He presses the remote a second time to cause the stage-lights to CLICK off. He picks up the tray and exits through the Narrator’s Door. It closes behind him. The lights on top of the Medi-pods continue to glow in the darkness of the unilluminated stage. BEEP. A second Medi-pod has one of its top lights shift from red to blinking green. The third Medi-pod shortly follows after, BEEP and a red light changes to blinking green. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, IT MOVES DOWN ALONG THE CURTAIN OF CLOUDS, UP OVER THE TOPS OF THE MID-STAGE SETS, FINALLY SETTLING WHEN FRAMING THE MID-STAGE.

MID-STAGE: INT. THE MANY FACETS JEWELRY SHOWROOM, DAYTIME

THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE continue their conversation with JEROME SALAMANDER at the end of the jewelry counter. HENNY NETPENNTY is no longer on-stage, having gone to take inventory in the back.

JEROME SALAMANDER
“Very excellent choice. We can have that ready for you next week. Will you be paying for all of it now or putting down a deposit.”

THOMAS TYPEWRITER
“All of it now, if that is alright.”

JEROME SALAMANDER
“That is fine.”

Thomas pulls out his wallet and hands a card to the Salesman. Jerome takes the card and walks off stage-right. Ophidia excitedly grabs Thomas’ arm and leans in to whisper.

OPHIDIA OPERAHOUSE
“It’s really happening. We’re getting married! I can’t believe it.”

THOMAS TYPEWRITER
“I know.”

Ophidia’s stomach grumbles. She looks mortified.

THOMAS TYPEWRITER
“Was that your stomach?”

OPHIDIA
“Yes…I’m so embarrassed. Sorry.”

THOMAS TYPEWRITER
“No it’s fine. At least the salesman wasn’t here. Now that would be embarrassing.”

Ophidia blushes.

THOMAS TYPEWRITER
“Want should get something to eat after this?”

OPHIDIA OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Where would you like to go?”

OPHIDIA OPERAHOUSE
“Skolnic’s Ice Cream Deli”

THOMAS TYPEWRITER
“Skolnic’s Ice Cream Deli it is.”

Jerome Salamander returns and returns Thomas’ credit card.

JEROME SALAMANDER
“The ring will be ready by next Thursday. Anything else I can do for you.”

THOMAS TYPEWRITER
“No, that is all of it. You’ve been very helpful.”

JEROME SALAMANDER
“Glad I could. Have a great day,…and congratulations on the engagement.”

OPHIDIA OPERAHOUSE
“Thank you”

THOMAS TYPEWRITER
“Thank you.”

Thomas and Ophidia exit stage-left through the store’s front doors. As they leave, Jerome Salamander fills out some forms for the ring order. The stage-lights turn of to the CLICK OF A LIGHT SWITCH. The Mid-stage curtains close.

FADE OUT