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

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 10

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT

FADE IN

THE CAMERA PANS DOWN. THE DARKNESS SHIFTS TO THE CURTAINS OF THE MID-STAGE.

THE MID-STAGE IS PROPERLY FRAMED

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

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE, DAYTIME.
The Supply Closet office supply store is a big white box of a building accented by luminous red and nebulous blacks. The front entrance pans across the length of the stage. The glass sliding doors of the front vestibule sit center stage. Thin strips of the white stucco exterior separate the front doors from the long horizontal rows of tinted windows. The bottom portion of the giant “THE SUPPLY CLOSET” store sign peaks past the stage top. From off-screen, the sound of CAR TIRES ON PAVEMENT as someone pulls into one of The Supply Closet’s parking Spaces. CAR DOORS OPEN AND CLOSE followed by FOOTSTEPS come from off-screen. THOMAS TYPEWRITER emerges from stage-left. He walks up to the front doors, pauses as the doors slide open, then continues into the store. The doors close behind him.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE SETS TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES PANNING UPWARD. AT THE TOP OF THE CURTAIN OF CLOUDS THE HIGH-STAGE SLIDES INTO THE FRAME. THE CAMERA LOCKS IN PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON
The observation lounge is located near the top of the Flute, built next to the cafeteria. It is a place where patients and guests can sit in comfort and look out. It offers views of the space surrounding various habitats of The Nines. Off in one direction, the sparks emanating from the IR-RA can be seen glittering like stars. In the other direction the six far-off Palaces of the Three-by-Three glitter like large stars. A large curved window stretches out across the back of the stage. The window is framed by soft yellow framing. The floor and walls are in soft peaceful hues of yellow and brown. Three plush chairs sit at the edges of the stage. Two chairs on stage-right and one stage-left. CEDAR WAXWINGS, in his Medi-pod, enters stage-left, moving past the two chairs and settling center stage. He turns the front of the Medi-pod towards the large observation window. He watches and drifts in thought. Stay with Cedar for a few minutes before the stage lights turn off to the sound of A COMPUTER BOOTING OFF. The glittering sparks in the space outside still glitter in the darkness. The High-Stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT GOES DOWN, DOWN, AND DOWN THE CURTAIN OF CLOUDS. THE TOP OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.
The tall front of The Supply Closet office supply store sits further back and off to the side. We see less this time than previously. It is off to the stage-right. The front doors are near the edge of the stage. Center-stage sits Thomas’ car: a goldenrod 2002 Ford Taurus. It is parked near the cement pylon base of a parking lot light pole. Thomas often forgets where he parks so he prefers to park near tall structures or landmarks he can easily see when he leaves the store. The front doors of The Supply Closet open and THOMAS TYPEWRITER walks out. He walks across the parking lot, carrying a stack of banking boxes, towards his car. When he reaches his car, he sets the boxes on the trunk to free his hands to retrieve the car keys. He manually unlocks the trunk. It pops up a little bit. He pulls off the banking boxes and uses the edge of the stack to pop open the trunk. Thomas sets the boxes down inside.

CUT TO A CS OF THE BOXES IN THE TRUNK

CUT TO A CS OF THE TRUNK WITH ALL THE BOXES ASSEMBLED AND FILLING UP THE TRUNK

CUT TO A CS OF THE BOXES NOW FILLED WITH THOMAS’S VARIOUS BELONGINGS.

CUT TO CS OF THE BOXES EMPTY EXCEPT FOR THE CENTERMOST ONE, WHICH NOW HAS VARIOUS HUMAN ORGANS IN THEM

The boxes are no longer filled with Thomas’s belongings. They are now filled with the various organs from his body. In the center box, sits his heart which beats three times. On one side sits his lungs, which flutter erratically, as if in the grip of a shallow breathing anxiety attack. Intestines fill two other boxes. In another box, we can see his brain.

REVERSE CUT TO THOMAS LOOKING INTO THE TRUNK.

Thomas stares into the trunk, lost in a moment of anxiety. He brings his hand to his heart.

CUT BACK TO TRUNK OF BOXES OF ORGANS

The heart beats fast while the lungs start to slow down. They take deep breaths, slowly in and slowly out. From another box emerges Thomas’s right arm and hand. It pulls its fingers down into a fist. Then it makes a 1-2-3-4 count using its fingers. It slowly counts through the numbers and then repeats. The lungs slow and align with the four count. The count slows even more. The lungs match. The heart starts to slow as well.

CUT BACK TO REVERSE OF THOMAS

Thomas looks into the trunk and takes a deep audible breath for a four count. He then breathes out for four. He repeats and relaxes.

CUT BACK TO CS OF TRUNK

The boxes of organs are gone. The trunk has reverted back to its original form, with the packages in boxes.

CUT BACK TO FRAMING SHOT OF MID-STAGE

Thomas closes the trunk. The Mid-Stage curtains close as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.

FADE OUT

today in the studio: Dec. 16th, 2023

today in the studio

The Great Works Project Season Five, Episode Eight – 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 08

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-08”. 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

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out.

THE CAMERA PANS DOWN THROUGH THE DARKNESS

The TYPEWRITER ABSTRACT PUPPET STAGE slides into view. It is rotating swiftly in the darkness. It completes three full rotations slowing down to a full rest with the front of the stage facing the camera. The Mid-Stage Curtains start to open.

PAN IN THROUGH A SERIES OF CUTS 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: HANGER JSN0012
This hanger, while still having the metallic handrail and spaced wall struts along the back, has much more decoration than the previous hangers. Long vines are growing along the pendant lamps, with bits of leaf and tendril dropping down. The center of the room contains a completed vision crystal, squarish and sitting on a base that looks like it is roughly chiseled from flint or granite. Winding cables connect the center crystal with a large boulder off to the side. The boulder has a primitive view-screen and controls cut from the stone. The Inner Space man walks over to the central crystal. He looks at the frozen image of CARL CAVEBUNNY and THE THE DINO-STORE frozen in the crystal. They stand on a prehistoric plateau. Carl looks like stone-age rabbit-man dressed in an animal skin. The Dino-store looks like a hybrid of a hardware store and a Tyrannosaurus Rex. In the background of the scene, THE INFORMATIVE SCUTTLER, which is the SCUTTLER he righted, slips past. The Inner-Space man looks around the crystal, tapping on the glass seeing if communication is possible.

THE INNER-SPACE MAN
“Is this a picture or a window? What was and unchangeable or what is and fluid?”

There is a TAP, TAP, TAP. The Inner-Space Man turns his head at the sound. Over on the rocky control panel we see the Informative Scuttler tapping the control panel.

THE INNER-SPACE MAN
“Oh, hello. Are you the same one as before.”

The Informative Scuttler nods yes. It then uses one of its segment-legs to point at a button on the control panel.

THE INNER-SPACE MAN
“Do you want me to push that button?”

The Informative Scuttler again signals yes. The Inner-Space Man walks over to the control panel. He presses the largest button. A THRIM fills the air as the center crystal starts to glow. It gestures to another button. The Inner-Space Man presses the button and the image in the crystal starts to move. We watch Carl the Cavebunny riding atop the head of the Dino-Store as it walks through the valley.

THE INNER-SPACE MAN
“Maybe a window. (turns to the Informative Scuttler) What else can you teach me?”

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FLIES ACROSS THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. LOWER AND LOWER TILL THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. ELMHOUSE UPSTAIRS ART STUDIO, DAYTIME
A small desk sits in the middle of a wooden panel wall. The wall is decorated with a framed Alphonse Mucha print. THOMAS THEATREMANAGER sits at his desk, typing on a laptop. He writes in a word editing program. On the screen the following is displayed:

“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.”

SECONDO TYPEWRITER-OPERAHOUSE enters from stage-left. He walks over to the desk as Thomas reviews his writing. He crawls into Thomas’s lap. They hug. Secondo settles in and looks at the screen.

SECONDO TYPEWRITER-OPERAHOUSE
“What are you doing Father?”

THOMAS THEATREMANAGER
“Working on my scripts. Did you just get up?”

SECONDO TYPEWRITER-OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Well good morning.”

SECONDO TYPEWRITER-OPERAHOUSE
“What are you writing about.”

THOMAS TYPEWRITER
“Oh, how I met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Have I met her? Is she the animal doctor?”

THOMAS THEATREMANAGER
“No, that is your mom’s sister. You’ve never met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Why?”

THOMAS THEATREMANAGER
“She moved away then she got sick, like really sick.”

SECONDO TYPEWRITER-OPERAHOUSE
“Is she okay?”

THOMAS THEATREMANAGER
“It’s not one of the diseases you get better from. She’s probably dead by now.”

SECONDO TYPEWRITER-OPERAHOUSE
“How do you not know?”

THOMAS THEATREMANAGER
“Two reasons. Firstly, I didn’t know that my attention span made it hard to stay in touch with people. I want to but my brain just loses awareness. This was before I was diagnosed and learned how to deal with my brain. Secondly, her sickness made it so she lost the ability to talk and move over time.”

SECONDO TYPEWRITER-OPERAHOUSE
“That’s sad. Do you need a hug?”

THOMAS THEATREMANAGER
“Sure.”

Secondo Typewriter-Operahouse turns around and hugs Thomas. Thomas hugs him back, and holds the comfort of the embrace for a long moment. He then releases Secondo, wipes his eyes, and then looks at Secondo.

THOMAS THEATREMANGER
“Thank you. Now if you’re hungry you can grab a snack from the fridge till I finish here. I’ll be down in a moment to make breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I pick cherry tomatoes?”

THOMAS THEATREMANGER
“Do we have cherry tomatoes?”

SECONDO TYPEWRITER-OPERAHOUSE
“Oh yeah. Mother bought some yesterday.”

THOMAS THEATREMANGER
“Wow, that was an enthusiastic answer. You sure love your tomatoes don’t you.”

SECONDO TYPEWRITER-OPERAHOUSE
“I sure do.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I watch TV?”

THOMAS THEATREMANAGER
“Only if you watch PBS kids.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay.”

THOMAS THEATREMANAGER
“I’ll be done in a moment and then I’ll come down and we can see about breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay, bye.”

Secondo exits stage-left. Thomas turns back to his computer screen.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

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

HIGH-STAGE: THE CENTRAL LANDING IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES
The stage is still set up the same as in the earlier section of this episode. The large crystal on a pedestal sits near stage-front stage-right, with the concentric rising rings spreading out in an almost ovoid appearance. THE SPACE EGG stands to the side of the crystal looking into it. It turns the light in its central “eye” on and off. Each time the light flashes in the crystal, the crystal starts to glow as if attempting to activate.

THE CAMERA SUBTLY PANS OUTWARD ENOUGH TO INCLUDE THE NARRATOR’S DOOR.

Y-MOUSE leans over the edge of the Narrator’s Alcove, dressed in pajamas and eating a cheese sandwich.

Y-MOUSE
“You should keep doing that.”

The Space Egg freezes.

THE CAMERA PANS IN BLOCKING THE NARRATOR’S DOOR FROM VIEW.

THE SPACE EGG
“Hello?”

THE SPACE EGG looks left and right.

THE SPACE EGG
“Did somebody say something?”

Satisfied no one is in the room, the Space Egg resumes flashing light into the crystal.

THE SPACE EGG
“What would happen if I kept the light on?”

The Space egg switches from flashing the light to a steady beam of light into the crystal. The crystal’s interior glow starts to build. It begins to slightly vibrate and shimmer. The crystal glows brighter and brighter until bursting with white light.

WHITE LIGHT SPREADS FROM THE CRYSTAL FILLING THE ENTIRE FRAME. ALL DETAILS FADE AWAY. SOON THE LIGHT FADES AND THE DETAILS SLOWLY RETURN.

A series of lights built into the pedestal glow. As the bright light fades from the crystal it is actually flowing down into the pedestal and the surrounding concentric rings. A device activates. The pedestal glows and soon the lights spread out to the edges of each concentric ring surrounding the crystal. The Space Egg turns off its light and watches the spreading change. A GIGGLE seems to escape from the crystal. A second GIGGLE soon follows. The Space Egg turns towards the sound seeing that images float in the crystal now. Inside the crystal, we can see BIFF THE RABBIT reading comics.

PAN IN ON THE CRYSTAL THEN THE CAMERA ENTERS THE CRYSTAL

TRANSITION FROM THE WARDROBE OF A THOUSAND AND ONE COSTUMES TO BIFF’S BEDROOM

INT. BIFF’S BEDROOM, DAYTIME
Biff’s bedroom is a squarish room located in the north corner of the second floor. The room has a bed in the center against an outside wall, with a nightstand on one side. Posters for the Cosmic League, The Lamp of Night, and Babysitter Tails decorate his walls. Opposite his bed is the wall with more posters, shelves and a wardrobe. The wall with the window has a small built-in seat under the window. Part of the ceiling curves down in this section, being that the roof comes down, eaves. BIFF THE RABBIT sits on the floor next to a large smooth stone with a set of eyes drawn on it with marker. Spread around him are the large sheets of comics from the newspaper. Biff giggles at the comics and points out funny punchlines to the smooth stone.

BIFF’S MOTHER
(off-camera) “Biff, Dinner time.”

BIFF THE RABBIT
“Be right there Mom.”

Biff folds and sets aside the comics. He stands and moves towards the door. Rocky follows closely behind.

CUT TO

INT. DINING ROOM, EVENING
A large room. One large bay window along with smaller windows built on top of bookcases, ¾ of way up the wall. Dishes and glassware in the bookcases – more like cabinets with glass doors or display cases. Biff walks in and sits down next to his sister DIAN who is already sitting down. His younger brother JAFF walks in.

DIAN
(to Biff and Jaff) “Be on your best behavior. Mom and Dad are in a bad mood tonight.”

Biff is deep in thought and does not register her statement. He absent-mindedly nods.

THE CAMERA FOCUS SHIFTS FROM BIFF IN THE FOREGROUND TO THE KITCHEN IN THE BACKGROUND.

In the kitchen Biff’s parents, BIFF’S MOM and BIFF’S DAD, are plating the food and arguing. Ultimately the mom throws a plate down in anger and walks away. The dad says something with an angry expression and then starts to dish the food. The Mom rejoins them and they walk in and put food on the table. The food starts to be passed around.

FOCUS BACK ONTO BIFF IN THE FOREGROUND

Biff is looking at his plate and starts to mentally drift. A thought bubble appears over his head as the noise of the room fades out. In the bubble we see the comic Biff was reading earlier. A bowl of mashed vegetables can be seen being passed from Din to Biff. Biff takes it without thinking and absent-mindedly scoops some onto his plate as he remembers the comic strip. Each panel is shown in turn till we get to the final panel and the punchline. Biff lightly chuckles.

BIFF’S DAD
“You think this is funny?”

QUICKLY PAN, LIKE A SNAP, BACK TO LS OF TABLE

BIFF
“what?”

The brother and sister look away.

BIFF’S MOM
“Ricc.”

BIFF’S DAD
“No Debe. He’s laughing and that really bothers me. Does he think it was easy for you to put this food together? For me to find work. How little we have. (turns to Biff) Do you?”

BIFF
“I wasn’t laughing at you. I just remembered a joke.”

BIFF’S DAD
“That’s no excuse. You have your head in the clouds. Are you even capable of thinking of other people? Noticing how they feel, that maybe a laugh would be ill-timed.”

BIFF’S MOM
(to Biff) “Maybe it is best you go to your room now.”

Biff looks around the room. His face starts to scrunch up and he leaves the table.

MS OF BIFF IN THE CENTER OF THE SCREEN. KEEP THE CAMERA ON HIS CHAIR WHILE BIFF GETS UP AND LEAVES.

BIFF’S MOM
“Happy now?”

BIFF’S DAD
“Not really.”

CUT TO…

INT. BIFF’S BEDROOM, EVENING

LS OF ROOM FACING DOOR

The door opens and Biff rushes in. He closes the door behind him and jumps onto his bed. He stuffs his face into his pillow and starts to sob. One of his pillows falls off the bed from the recoil of his landing on the bed.

CUT TO CS OF BIFF

Biff’s sobbing dies down. He looks up to the rock on his bookcase.

BIFF THE RABBIT
“Why do I keep getting in trouble?”

Biff wipes his eyes and starts to straighten up his bed. He looks around for the missing pillow. He leans over the bed and sees it on the ground. As he picks it up he sees a spider on the pillow.

CUT TO CS OF SPIDER
CUT BACK TO CS OF BIFF

BIFF THE RABBIT
“Hey there little cousin. That’s not a safe place for you. Let me help.”

Biff scoops up the spider in his hand.

CUT TO LS OF BIFF’S BEDROOM. FACE THE CAMERA TOWARDS THE AREA BETWEEN THE BED AND WINDOWS, PLACING EACH AT THE EDGES OF THE FRAME, BUT STILL IN VIEW.

Biff gently scoots off the bed and walks over to his window. He opens the window.

CUT TO CS OF BIFF AT WINDOW.

Biff gently sets the spider down outside the window.

CUT TO XCS OF SPIDER CRAWLING OFF BIFF’S HAND

The spider slowly walks off Biff’s hand, testing the ground before fully committing.

THE CAMERA PANS OUT A SMALL BIT. AROUND THE EDGES OF THE FRAME CRYSTAL CAN BE SEEN.

TRANSITION FROM IMAGES IN THE CRYSTAL TO THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

CUT BACK TO CENTRAL LANDING OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

Zoom out a little bit so that we can see the scene in the crystal with the Space Egg watching it unfold. The Space Egg watches its face has a sad, concerned, interested look. A mix of equal parts concern and interest. The High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage 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

———–<: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

a new script: “The Great Works Project: Season Five, Episode One” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 01

a prologue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-01”. 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

EXT. THE UNDOCUMENTED SPACE, OUTSIDE UNROOM NOT.SEVEN

OPEN AND HOLD ON A CS OF A SCRIPTBOOK FOR THE GREAT WORKS PROJECT. IT IS OPEN TO THE SCRIPT FOR SEASON THREE, EPISODE 10

GRIGIO COLORI
(off-screen) “So that’s where my scriptbook went.”

CUT TO POV OF THE OUTER ONE, WHO WAS READING THE SCRIPTBOOK, TURNING AND LOOKING UP AT GRIGIO.

The Outer One is leaning against a partial wall coming from the doorframe for a pair of double doors in the midst of the greyness of the Undocumented Space. There is an unseen light illuminating the double doors while the rest of the area has a foggy ambient light with patches of darkness in the distant. Each door has in a golden script “7” written on it denoting them as the doors to the Unroom Not.Seven.

THE OUTER ONE
“Oh, sorry about that.”

GRIGIO COLORI
“No problem. Here let me help you up.”

The Outer One reaches with their left hand, keeping the glitching right hand to hold the scriptbook. Grigio grips their hand and pulls the Outer One to a standing position.

GRIGIO COLORI
“So, you into Thomas Typewriter too.”

THE OUTER ONE
“Yeah. I was down here hoping to study his works.”

GRIGIO COLORI
“Yeah, me too. I find they give me a “unique” perspective on my life.”

THE OUTER ONE
“Would that have anything to do with you being a character in his stories.”

GRIGIO COLORI
“Potentially. Names Grigio.”

THE OUTER ONE
“Hello Grigio. (hands the scriptbook) I guess you’ll be wanting this back.”

GRIGIO COLORI
“Just for a moment, I wanted to look up something real quick. May I?”

THE OUTER ONE
“Sure.”

Grigio reaches for the scriptbook.

GRIGIO COLORI
“Which Alphabet Mouse was the sleepy…(grabs Outer One’s right hand hand What happened to your hand.”

THE OUTER ONE
“Stuck it somewhere I wasn’t supposed to. Got glitched.”

GRIGIO COLORI
“Does it hurt.”

THE OUTER ONE
“No, not really. More irritating than anything else. Banned from the Unrooms though. Didn’t think they were monitored. Stuck out here.”

GRIGIO COLORI
“That sucks. Anything you can do to fix it.”

THE OUTER ONE
“Maybe. There might be something.”

GIGRIO COLORI
“So you going to try?”

THE OUTER ONE
“Not sure.”

GRIGIO COLORI
“If you’re worried about doing it alone, you won’t have.”

THE OUTER ONE
“Really? Don’t you have some role to play in the plot.”

GRIGIO COLORI
“Yes, but the narrative will fix itself. It’s not like some other character could make that delivery. I got a feeling about you, a good feeling, and want to help.”

Grigio holds out his hand for the Outer One in a sign of friendship and help. The Outer One takes a moment to look, to understand the gesture Grigio offers him. A moment of internal debate plays out inside the Outer One before they ultimately accept Grigio’s help.

THE OUTER ONE
“Yes.”

GRIGIO COLORI
“Okay so where to now.”

THE OUTER ONE
“We need to find a sword in the haystacks.”

GRIGIO COLORI
“What?”

THE OUTER ONE
“It’ll make more sense when we get there.”

GRIGIO COLORI
“Lead the way.”

The pair exit the scene.

THE CAMERA SHIFTS FROM POV TO THIRD PERSON. IT DETACHES FROM THE OUTER ONE’S VIEWPOINT AND WATCHES AS THEY AND GRIGIO WALK AWAY. AS THEY MOVE AWAY IT PANS LEFT AND BACKWARDS TO THE DOOR TO THE UNROOM NOT.SEVEN.

As The Outer One and Grigio Colori walk away we hear bits of their conversation fading away.

THE OUTER ONE
“So you in the habit of leaving the play to help an audience member?”

GRIGIO COLORI
“No, first time. How about you? You break a body part on a work of fiction before?”

THE OUTER ONE
“Nope. First time.”

GRIGIO COLORI
“Well, they say there is a first time for everything.”

THE OUTER ONE
“Also a last time.”

GRIGIO COLORI
“We might be getting ahead of ourselves there.”

THE OUTER ONE
“Too true.”

TRANSITION FROM THE UNDOCUMENTED SPACE TO THE TYPEWRITER ABSTRACT PUPPET STAGE

THE CAMERA ROTATES AND PANS THROUGH THE DOOR TO THE UNROOM NOT.SEVEN

The TYPEWRITER ABSTRACT PUPPET STAGE sits in the center of the Unroom Not.Seven. The lights in the Unroom are at a dim setting. The sound of TYPEWRITER KEYS CLICK CLACKING chimes out from somewhere within the Typewriter Abstract Puppet Stage.

PAN IN ON TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE MID-STAGE AREA

The Mid-Stage curtains part revealing an empty stage. The Curtain of Clouds that lines the back of the Mid-stage is the only

BACK-STAGE: THE CONCURRENT DISTANCES, SPECIFICALLY DOWNDREAM

The stage is dark, only illuminated by a soft pale blue light. A gentle fog rolls across the bottom of the stage. A few DREAM-BUBBLES emerge from stage-right and slowly drift across the stage exiting stage-left. After they leave, a YUCK-BUBBLE enters from stage-left and erratically drifts across the stage. THE MOTHER rushes on stage from stage-left in pursuit. The Yuck-bubble picks up its pace. She quickly closes the gap and starts to try to catch it. It manages to elude her grasp a few times, the two of them tumbling and bouncing around the center stage area, before ultimately she nabs him. Ensnares it. The Yuck-bubble struggles to get loose, struggles against her grip.

THE MOTHER
“Hush now, it is going to be okay. Calm now. Shh. It’s going to be alright.Shh.”

The Yuck-bubble starts to calm down as she coos to it. Finally it stops struggling.

THE MOTHER
“There. There. Much better. See no harm is going to come to you.”

She leans over and kisses the Yuck-bubble on the top of its form.

THE MOTHER
“I am sorry you felt hurt. I am sorry you felt damaged. Felt incomplete. You are very special. I want you to know that. Very special to me and many others. Thank you for coming into my life. Thank you for existing.”

As The Mother leans up we see that the Yuck-Bubble has changed back to into a Dream-Bubble. She lets go of it and the new Dream-bubble drifts up and away, exiting stage-left. The Mother watches it leave, waving goodbye. After it exits, the Mother coughs. She then coughs harder, doubling over, caught in a coughing fit. When she stops we can see blood on her hands where she had covered her mouth. Some blood tinges the corner of her mouth.

CUT TO CS OF THE MOTHER’S HANDS WITH BLOOD ON THEM

CUT TO CS OF MOTHER’S REACTION

CUT BACK TO FRAMING SHOT OF THE BACK-STAGE

THE MOTHER
“Oh no.”

She then starts coughing again and falls over, disappearing into the fog

THE CAMERA PANS OUTWARD AND OUT FROM THE BACK-STAGE

TRANSITION FROM BACK-STAGE TO THE MID-STAGE

The Curtain of Clouds closes.

CAMERA PANS BACKWARDS OUT FROM THE MID-STAGE

The Mid-stage curtains close.

THE CAMERA CONTINUES TO PAN AWAY FROM THE TYPEWRITER ABSTRACT PUPPET STAGE

FADE OUT

a new script: “The Great Works Project: Season 04, Episode 10” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 10

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-10”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT

FADE IN

EXT. HIGHWAY X, DAWN
Highway X flows across a changing landscape. Vast fields of flowers and cropland give way to suburban cityscapes. The Dionysian transitions to the Apollyon. The outer edges of THE DREAM CITY manifest as a mélange of multi-story brick apartments and cathedral crowned bungalows. The E-MOBILE enters the frame driving, alone, on one side of the road. A steady stream of pastel hued cars from all different eras drive the opposite direction on the other side of Highway X.

A-MOUSE
“Must be near wake-up.”

E-MOUSE
“Must be.”

A-MOUSE
“Will Mall X still be open?”

E-MOUSE
“Oh, I’ll get us there on time. Don’t worry about that.”

E-Mouse drives faster turning at an intersection. She drives down a side street to the rounded outer lanes surrounding the Mall X. She takes the corners fast and tight, the E-Mobile threatening to tip as the wheels leave the ground only to jam back down as it swerves a new direction.

INSERT SHOTS OF E-MOUSE DRIVING AND A-MOUSE HOLDING ON BEING WHIPPED AROUND IN THE CAR.

A-MOUSE
“Over there. An entrance!”

CUT TO MS OF ENTRANCE

CUT BACK TO TRACKING SHOT OF E-MOBILE

E-MOUSE drives towards it. She turns into the parking area of the main entrance. A rogue shopping cart sits at the end of the lane. She pulls her emergency brake and spins so the tail of the E-mobile hits the shopping cart, sending it rolling breakneck towards the front door.

CUT TO CS OF EMERGENCY BRAKE BEING PULLED

CUT TO MS OF E-MOBILE SPINNING

CUT TO CS OF IMPACT WITH CART

CUT TO MS OF SHOPPING CART SPINNING OFF

CUT TO TRACKING SHOT OF E-MOBILE AND THE SHOPPING CART

She then corrects her spin and races up the lane, just behind the shopping cart.

CUT TO MS OF A-MOUSE AND E-MOUSE

E-MOUSE
“You got the list.”

A-MOUSE
“Yes. Uh, don’t you think we should park.”

E-MOUSE
“I think you should put the list somewhere real secure and be ready.”

A-MOUSE
“Ready for what?”

CUT BACK TO TRACKING SHOT

The Shopping cart hits the curb and pops into the air. E-Mouse spins the wheel of her car. As the car spins, A-Mouse’s door flips open. E-Mouse presses the release on her seat belt.

CUT TO CS OF E-MOUSE

E-MOUSE
“This!”

CUT TO FOLLOWING A-MOUSE

A-Mouse flies out of the car and lands in the shopping cart. She races towards the doors of Mall X.

TRANSITION FROM OUTSIDE MALL X TO INSIDE MALL X

INT. SOUTH ENTRANCE OF MALL X, DAYBREAK

MS OF SPACE BETWEEN THE INNER DOORS AND OUTER DOORS

The South Entrance of Mall X is a double set of four doors. The inner set of four doors leads to the south hallway of Mall X. That particular portion of Mall X has no shops but does have a gumball machine stand and a large mall map standee. The area between the two set of four doors has two soda vending machines and a set of coin operated lockers. The soda vending machines are stocked with Satellite Soda in one and Kooky Kola in the other. MR. CHICKENS, an older mall security officer leans against the inner set of entrance doors sipping a coffee. He looks at his watch and starts to pull out his large ring of keys on a retractable wire.

MR. CHICKENS
“Ahh, closing time. The best part of the day outside payday.”

Before he can reach the outer set of four doors, A-Mouse in a shopping cart explodes through the door. She blasts past him, sending him spinning, and through the inner set of doors.

TURN TO FOLLOW A-MOUSE

A-Mouse rockets down the south hallway, hits the gumball machine, does a full flip in the air, lands and goes down an escalator.

CUT TO…

INT. MALL X FOOD COURT, DAYBREAK

A-Mouse, in a shopping cart, rolls down the escalator bounces on the bottom flying out of the shopping cart. She lands and skids across the floor to The Guttenberg Bagel. She passes by a Twinkleland Family Restaurant and a Grub From Grubs Dinery. BAGEL ARTIST MELCHI stands at the counter of The Gutenberg Bagel ready to pull down the locking gates when A-Mouse skids to a stop in front of the restaurant. She throws a list into the air. Bagel Artist Melchi grabs it.

A-MOUSE
(injured) “i’d like everything on the list. to go.”

BAGEL ARTIST MELCHI
“This is a big order. I don’t think I can fill this…”

A-Mouse, from on the ground, tosses a bunch of money on the counter.

BAGEL ARTIST MELCHI
“…In one bag. In one bag is what I meant to say. We’ll get started right away. (yells to someone behind the counter) Hey, we got a big order!”

A-Mouse lays there while Bagel Artist Melchi starts preparing the order. A WHISTLE grows louder from off-screen. Mr. Chickens runs in, blowing his whistle.

MR. CHICKENS
“Hey you! Someone’s trying to break into the mall. Female. You seen her?”

Bagel Artist Melchi points downward. Mr. Chickens jumps back in surprise. He steps closer to A-Mouse and nudges her with his foot.

MR. CHICKENS
“You gave old Mr. Chickens a fright. What are you doing crashing into…”

Then there is A LOUD CRASH.

PAN 180

The E-Mobile is upside down in the middle of the food court next to the coin operated animal rides. It is upside down, slowly spinning on its dented roof. Smoke is rising from the rear wheels. E-MOUSE, thrown from the vehicle, is sprawled on the ground off to the side.

E-MOUSE
(weakly) “did we make it?”

A-Mouse holds up a thumbs up.

E-MOUSE
(weakly) “awesome. i’ll be over here if you need me.”

A-Mouse gestures another thumbs up. Mr.Chickens starts to yell at them but his voice muffles and fades out as the screen goes dark.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 04

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

INT. THE DEEPER HALLWAY, EVENING
A hallway of wood paneling, soft fluorescence, and frosted glass spreads out before us as we view the Deeper or the third floor of offices under the Alphabet Mice Writer’s Room. Stairwells bookend the hallway with A-Mouse’s, S-Mouse’s, D-Mouse’s, F-Mouse’s, G-Mouse’s, H-Mouse’s, J-Mouse’s and K-Mouse’s offices in between.

MS OF S-MOUSE’S OFFICE DOOR

The door opens and out walks A-Mouse. She walks down the hallway to D-Mouse’s door.

PAN TO FOLLOW

A-Mouse KNOCKS on the door of D-Mouse’s office.

D-MOUSE
(off-camera) “Come in.”

A-Mouse enters D-Mouse’s office.

CUT TO SHOT OF D-MOUSE’S OFFICE FROM THE DOORWAY

D-Mouse’s office is like a dance studio with a delicatessen in the back. The left and right side walls are floor to ceiling mirrors with a dancer’s beam across the middle. A deli counter with display case fills the majority of the back wall except for a space to the left for an entryway to the deli and doorway. The doorway is solid wood. It leads to D-Mouse’s apartment. On the doorway is a poster of an anthropomorphic donut hanging from a tree branch with the following caption: “Don’t discount determination”. The entire space is brightly illuminated by rows of recessed ceiling lights. The deli counter’s lights, by contrast, are turned off. On top of the deli counter’s display case is a CD Stereo. As A-Mouse enters the office, she finds D-MOUSE stretching his legs on the beam.

D-MOUSE
“What brings you to my humble studio?”

A-MOUSE
“Y-Mouse is calling an all-nighter so I am on food. You want anything.”

D-MOUSE
“No thanks. I’ll make myself something later.”

A-MOUSE
“Okay.”

A-Mouse leaves. D-Mouse goes over to the stereo and presses play. A LOW RUMBLING CHANT emerges from the speakers. He starts to spin on one leg. He spins and spins.

CUT TO HALLWAY

A-Mouse reemerges from D-Mouse’s office and walks to the next office. She KNOCKS on the door to F-Mouse’s office..

F-MOUSE
(off-camera) “Come in.”

A-Mouse opens the door and enters.

CUT TO SHOT OF D-MOUSE’S OFFICE FROM THE DOORWAY

The inside of the office is dominated by a large table covered in various books and maps. A globe stands to the side of the table. The walls of the office are wooden shelves covered in a selection of books, maps, anatomy diagrams of mythical beasts, and illustrations of various fey folk. F-MOUSE stands at his desk looking through a magnifying glass at stills from the Patterson Bigfoot film. A-Mouse enters.

F-MOUSE
(without looking up) “What is so important that you disturbed my research.”

A-MOUSE
“Y-Mouse is calling a writer’s conference.”

F-MOUSE
(looks up) “That is serious. I take it you have been tasked with retrieving our food orders.”

A-MOUSE
“Yes.”

F-MOUSE
“And where are you going?”

A-MOUSE
“Guttenberg’s Deli.”

F-MOUSE
“A little pedestrian, but it will have to do. I’ll take a Farro salad.”

A-MOUSE
“Farro Salad? Nothing else.”

F-MOUSE
“If I wanted more I would have said more. Just a Farro Salad if you please.”

A-MOUSE
“Okay, Farro Salad.”

A-Mouse writes it down and exits.

CUT TO LS OF HALLWAY

She enters, reemerging a moment later, then walks to the next office, G-Mouse’s. She KNOCKS on the door.

G-MOUSE
“Come in.”

CUT TO OVER SHOULDER SHOT OF G-MOUSE’S OFFICE

G-Mouse’s Office has a look very similar to a greenhouse. Frosted glass panels make up the left and right walls. Poles run along the sides filled with many plants in hanging planters. Under the hanging plants are wooden greenhouse benches. The stage-right side has a a collection of gardenia seedlings in small pots, a few bags of potting soil, and a few tools. One can see that G-Mouse is in the process of replanting the seedlings into larger pots. The stage-left bench bears a few finished replanted seedlings in their larger pot. G-MOUSE, dressed in a smock and wearing gardening gloves, is in the process of moving some more larger pots over to the stage-right bench.

G-MOUSE
“Hey A-Mouse. What’s up.”

A-MOUSE
“I’m going on a food run. What would you like?”

G-MOUSE
“Where you going?”

A-MOUSE
“The Guttenburg Bagel”

G-MOUSE
“Ok. I’ll have a Gyro and Garden Salad.”

A-MOUSE
(writing in notepad) “Got it.”-she writes it down.

A-Mouse turns to leave.

G-MOUSE
“Could you make sure you shut the door on your way out. The seedlings are sensitive to the cold when I transplant them.”

A-MOUSE
“Absolutely.”

A-Mouse exits.

CUT TO LS OF HALLWAY

She reemerges and walks to H-Mouse’s office. She knocks on the door.

H-MOUSE
“Hold on, I’m not decent.”

A-MOUSE
“I don’t need to come in, I just need to know what you want to eat tonight.”

H-MOUSE opens the door dressed in a Santa’s costume and holding a jack o’lantern.

H-MOUSE
“Why, is something going on?”

A-MOUSE
“Wait. Why are dressed like that.”

H-MOUSE
“Like what?”

A-MOUSE
“The suit and the pumpkin.”

H-MOUSE
“Oh, this. I’m stuck on idea and doing some research to hope I can get unstuck.”

A-MOUSE
“What’s the idea?”

H-MOUSE
“The King of Mars comes to earth.”

A-MOUSE
“Sounds interesting.”

H-MOUSE
“Yeah, it is suppose to be a holiday story but I can not decide what holiday. You got any ideas.”

A-MOUSE
“Oh no. I’m stuck myself. In fact I was trying to unstuck myself when Y-Mouse called.”

H-MOUSE
“What was your story idea and also what did Y-Mouse want.”

A-MOUSE
“Y-Mouse is calling an all-nighter abnd wants me to get food orders.”

H-MOUSE
“Hoagie with cheese and chips.”

A-MOUSE
“Got it.”

H-MOUSE
“What was your story idea?”

A-MOUSE
“There was a brother and sister and the sister was in a band. And that is where I got stuck. I can see them clearly and how it opens but I can not see what happens after that.”

H-MOUSE
“Maybe we should help each other out. Compare notes.”

A-Mouse smiles.

A-MOUSE
“Serious.”

H-MOUSE
“Sure. It couldn’t be any worse than this suit. It is itchy like crazy. I’m dying in here.”

A-MOUSE
(giggles) “Sure, I’d like that.”

H-MOUSE
“Awesome. Let’s see how late this meeting goes and then we’ll figure out a time to get together.”

A-MOUSE
“Got it.”

H-MOUSE
“Well, I need to change.”

A-MOUSE
“And I have to get the other orders.”

H-Mouse closes the door. A-Mouse does a little skip of joy and moves down the hallway.

J-MOUSE
(off-camera) “You getting food?”

CUT TO SHOT OF H-MOUSE’S AND J-MOUSE’S OFFICE DOORS

J-Mouse is leaning in the door to his office, looking at A-Mouse.

A-MOUSE
“You saw that?”

J-MOUSE
“Oh yeah.”

A-Mouse’s expression shifts to embarrassment.

J-MOUSE
“It’ll be our secret and good luck.

A-MOUSE
“Thank you.”

J-MOUSE
Where you going?”

A-MOUSE
“Guttenberg Bagel.”

J-MOUSE
“Bagels and lox.”

A-Mouse writes the order down. She then walks past J-Mouse.

A-MOUSE
“Got it.”

J-MOUSE
“And some of those potato squares.”

A-MOUSE
“Potato squares, got it.”

J-MOUSE
“Better make it a triple order. I know people are going to want me to share.”

A-MOUSE
“Triple potato squares.”

AS A-MOUSE REACHES THE EDGE OF THE FRAME THE CAMERA PANS LEFT SO AS TO FRAME J-MOUSE’S OFFICE AND K-MOUSE’S OFFICE.

J-Mouse goes back into his office and shuts the door. A-Mouse KNOCKS on K-Mouse’s door. There is no response. She tries again with still no response. Opening the door, she peeks inside.

A-MOUSE
“Hmmm.”

She closes the door and walks over to L-Mouse’s office. KNOCK KNOCK go her knuckles on the door.

L-MOUSE
“It’s open.”

A-Mouse walks inside, shutting the door behind her.

A-MOUSE
(off-camera) “Have you seen K-Mouse?”

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

===========<: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

===========<: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

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 04

By Thomas Typewriter

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-04”. 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

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

The unroom, and by extension the screen, sits dark. A soft light turns on in the unroom Not.Seven. A few of the details regarding the unroom become visible: the wooden disc in the center of the room, the rows of grey carpet arranged around the disc, and the thin spindly lamps at the end of the carpet rows.

THE CAMERA IS CURRENTLY AT THE POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISC.

THE CAMERA LOOKS DOWN.

A hand comes into view. It is the hand of THE OUTER ONE. This will be same hand that suffered a papercut from the scriptbook in a previous episode. The ends of the fingers are not fully there anymore. Bits of flesh are missing, replaced by glowing text and numbers. The whole hand glitches. The Outer One rotates their hand examining the changes. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-frame.

THE CAMERA LOOKS UP.

The wooden disc sits empty and dim. Unseen lamps over the disc flip on. The TYPEWRITER ABSTRACT PUPPET STAGE suddenly appears in the light.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN FROM THE OUTER ONE’S POV TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

CONTINUE TO PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, SPECIFICALLY THE MID-STAGE AREA. THE CAMERA WILL CONTINUE TO ZERO IN ON THE MID-STAGE UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED

The curtains of Mid-stage part. As they open, the Mid-stage’s stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME

A wooden front porch runs along the width of the stage. A front door sits to the stage-right side. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the rails. An outdoor thermometer can be seen next to the door. It reads 31 degrees Fahrenheit.
THOMAS TYPEWRITER kneels on one knee in front of OPHIDIA OPERAHOUSE. They are near the door. He holds up a small jewelry box.

OPHIDIA OPERAHOUSE
“Are you proposing to me?”

THOMAS TYPEWRITER
“Yes, and before you answer let me say that your prospects with me don’t look good. Every studio has turned down my scripts, I really have no other job skills, and I will soon be completely broke. I strongly suspect something is broken inside me, something that you or me lack the skills to fix. I am at an utter loss.”

OPHIDIA OPERAHOUSE
“Really. That’s your sales pitch. Marry me, my life is horrible. Am I the lifesaver for the drowning man in this scenario.”

THOMAS TYPEWRITER
“Among other things.”

OPHIDIA OPERAHOUSE
“And you thought I’d fall for that.”

THOMAS TYPEWRITER
“I really didn’t think that far. I just sat in my apartment after the studios dropped my script options and was thinking about what I had lost, and I was more scared that the most interesting, intelligent, thoughtful, sexy person would, could, be out of my life. (pauses) I love you, I need you, please marry me.”

OPHIDIA OPERAHOUSE
(leans over and kisses him on the top of his head) “Of course, I’ll marry you, you weirdo.”

THOMAS TYPEWRITER
“AWESOME!”

He puts away the jewelry box, stands, then embraces Ophidia. She breaks away to ask a question.

OPHIDIA OPERHOUSE
“Let me see the ring?”

THOMAS TYPEWRITER
“What ring?”

OPHIDIA OPERHOUSE
“The engagement ring. The one in that box?”

THOMAS TYPEWRITER
“I don’t have a ring. The jewlery box was for dramatic effect.”

OPHIDIA OPERHOUSE
“Will there be a ring in the future.”

THOMAS TYPEWRITER
“Maybe. Probably.”

They kiss.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA TRANSITIONS FROM MID-STAGE TO HIGH-STAGE. IT PANS UPWARD PAST THE TOP OF THE SETS OF MID-STAGE, ALONG THE CURTAIN OF CLOUDS THAT LINES THE BACK OF THE STAGE, UP TO THE HIGH-STAGE. THE CAMERA ENDS ITS PAN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Out walks Y-MOUSE, ice pack held to head with one hand, glass of water in the other. He puts down the glass and ice pack. Searching his pockets he finds a packet of medicine. He tears it open and pours the contents into the glass.

CUT TO EXTREME CLOSE SHOT OF THE GLASS Y-MOUSE BROUGHT OUT.

Two effervescing tablets fall in. The tablets bubble as they slowly sink to the bottom.

CUT BACK

Y-Mouse picks up the glass, giving it a swirl before drinking it. He then reaches for the ice bag, lifting it to his head. He takes a sip. The bubbles tickle his nose and he grimaces. He turns to the camera as if to say something, pauses, then changes his mind. Turning, Y-Mouse exits through the narrator’s door. It closes. The High-Stage curtains part. The High-stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

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

A stark room of space-age plastic accented by baroque woodwork. Three Medi-pods are distributed evenly across the room. Two smooth metallic doors sit between the pods. One door is the entrance door to room 302, the other is the door for the bathroom. A large curving window sits to stage-left running up and out of sight. Outside the window, a starscape tumbles by. On the other side of the room, stage-right, stands a vid-screen wall. PANACIA THERAPUETAE enters the room, Medical Maestro device tucked under her arm. She walks over to the furthest Medi-pod, removes the Medical Maestro’s stylus and presses it against the Medi-pod.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Cedar Cornelius Waxwings
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Cedar. The left side of his face and chest blink bright red representing his injured areas. His left arm blinks a dark red.

CUT BACK

Panacia walks over to the next Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: CARRO SHIP-TELLIGENCE BRAINBOX
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Carro’s rectangular brainbox. Circles of bright red blink across the outline

CUT BACK

Panacia walks over to the last Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Lucido Cinnabar Obsidian
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Lucido. His legs blink dark red.

CUT BACK

A panel on the wall starts to blink while Panacia reads the last status report on the Medical Maestro. A soft BEEP BEEP can be heard. She looks up and notices the blinking panel. Panacia walks over to the blinking panel. She touches it with the stylus from her Medical Maestro. The other end of the Medical Maestro she places against her head, much like a phone.

PANACIA THERAPUETAE
“Maestro, answer call please. Hello. Oh hi Dad. Yeah they’re stable. Their injuries were pretty critical but the Medi-pods will be able to handle most of it. It will just take awhile. Sure. Sure. Okay. We’ll need to set up appointments with Iasa soon. Maybe in one week, but could be three or four.”

In the entry door we see ELDER GRIM walking past. He is wheeling an old man, MINTHRIL MUSTACHE, in a wheelchair. Panacia notices them

PANACIA THERAPUETAE
“Bubblegum! Those lollypopping kids of death are here. Dad, I’ve got to go.”

She puts the Medical Maestro in her pocket and chases out the door.

PANACIA THERAPUETAE
(off-camera) “Hey leave him along. Get! Get out of here!”

A few moments pass and then we see Panacia wheeling Minthril Mustache back down the hallway.
The lights turn off with the sound of A COMPUTER TURNING OFF and the High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM HIGH-STAGE TO THE CLOUD OF CURTAINS BELOW. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS DOWN TO THE TOP OF THE MID-STAGE SETS. GLIDING OVER THE TOPS FO THE SETS IT FINALLY SETTLES PROPERLY WHEN FRAMING MID-STAGE.

MID-STAGE: OPHIDIA OPERAHOUSE’S BEDROOM

The view is of an overhead shot on Ophidia’s bed. Her two nightstands can be seen on either side of the bed. One has a lamp and alarm clock. The other has various stuffed animals. In the bed lay OPHIDA OPERAHOUSE and THOMAS TYPEWRITER in embrace. Ophidia is sleeping peacefully. Thomas is not. He looks up at the camera and stares, unable to relax and sleep. He stares up at the camera.

THOMAS TYPEWRITER
(voice-over) “What have I done?”

Ophidia moves in her sleep rolling over and putting her arm around Thomas. He looks down at her, puts his arm over hers. The tension in his face drains away.

THOMAS TYPEWRITER
(voice-over) “Maybe the best thing possible.”

The stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage Curtains close.

FADE OUT