multiple parts

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

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 05

By Thomas Typewriter

(c) 2026 Jason Arcand
———–<:type:>———–

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-05”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.

FADE OUT
FADE IN

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE appears in the black void.

PAN IN ON MID-STAGE TILL PROPERLY FRAMING IT

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE sits at the animator’s lightbox, furiously drawing animation cells. THOMAS TYPEWRITER enters from stage-left. He hangs up his coat and then walks over to Ophidia. He places a hand on her shoulder.

THOMAS TYPEWRITER
“Hi.”

Ophidia stops bopping, pulls down her headphones, and smiles at Thomas.

OPHIDIA OPERAHOUSE
“Hey, good looking.”

Ophidia points to her lips. Thomas takes the hint and kisses her.

THOMAS TYPEWRITER
“You’re sure in a good mood.”

OPHIDIA OPERAHOUSE
“Oh yeah. I love how it feels to animate.”

THOMAS TYPEWRITER
“Have you been working long?”

OPHIDIA OPERAHOUSE
“Maybe. Probably. I came home from dinner and could not sleep. So I started working.”

THOMAS TYPEWRITER
“So, you never went to bed?”

OPHIDIA OPERAHOUSE
“Nope. I am full of electricity.”

THOMAS TYPEWRITER
“Okay electric girl, is there anything I can do to help?”

OPHIDIA OPERAHOUSE
“Could you get me some fresh coffee?”

THOMAS TYPEWRITER
“Sure. Are your parents okay with me being in the kitchen.”

OPHIDIA OPERAHOUSE
“Oh, it’ll be fine. They love you.”

THOMAS TYPEWRITER
“Okay. Fresh coffee coming right up.”

Thomas Typewriter exits stage-left. Ophidia puts back on her headphones and starts bopping to the music.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. THE SETS DISAPPEAR OFF THE BOTTOM OF THE FRAME AS THE CAMERA ASCENDS. IT GLIDES UP AND UP, OVER THE CURTAIN OF CLOUDS. SOON, THE HIGH-STAGE AND NARRATOR’S DOOR AT THE TOP OF THE CURTAIN OF CLOUDS SLIDES INTO VIEW. THE CAMERA SLOWS AND MOVES INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
From behind the curtain, the sounds of A BAND PLAYING MUSIC leak. The High-Stage curtains open and the stage-lights turn on to the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, DAYTIME
A large curve window runs across the back of the stage, showing the sparkle of the sparks drifting through space. Some components of the Flute are visible in the periphery of the window. A long curved couch runs under the window curving around a circular rug. Additional couches wrap around the circle coming out of stage-left and stage-right. The center of the observation area is free of couches, being the main entry point for those wishing to sit in the observation lounge. The entire area is decorated in yellow, amber, and beige. The rug is a contrasting red. A group is currently assembled playing music to practice and get in tune. LUCIDO OBSIDIAN, in his Medi-pod stands in the front of center on the carpet playing guitar. Behind him, CEDAR WAXWINGS plays drums. On the stage left side of the carpet CARRO, in their Medi-pod, plays keyboards. To the stage-right side of the carpet MINTHRIL MOUSTACHE plays trumpet. Next to him, ELDER GRIM plays the upright bass. The group is currently not doing very well playing in harmony. Meanwhile, PANACIA FLAUTO sits on one of the Observation decks couches listening. 
HYGENNIA FLAUTO and two ORDERLI-BOTS enter from stage-right. Hygennia walks over to Panacia and sits down with her. They start to chit-chat. The ORDERLI-BOTS clean the couches. The musicians start to musically line up. They can play longer stretches of harmonious music before hitting discordant notes. IASA FLAUTO enters from stage-right holding a tray filled with three simple coffees from the ship commissary. She hears the music and starts to softly sway to the music. She waves to the musicians and they wave back. Their music clicks even further, lining up to the rhythm of Iasa. She walks over to Hygenia and Panacia. Hygenia takes the coffees. Iasa pulls Panacia up from the couch and starts to get her to dance along with her. Hygenia laughs and takes a coffee and starts to sip. The Orderli-Bots stop cleaning and watch the music and dancing. Panacea and Iasa laugh. Hygenia smiles and joins in.

FINNOCHIO and his sister BALLERIA enter stage-left clapping enthusiastically along with the music. They are followed by some REPAIR-BOTS, lulled up from the Maintenance Tunnels by the sweet tunes, sway to the music. The music goes louder as does the crowd’s response. On each of the Medi-pods the three top lights turn to green over the course of playing. When the third light turns green, the Medi-pod beeps. Carro, Cedar, and Lucido’s robotic arms go limp. They fall out of the melody. The Medi-Pods crack open along a low seem like an egg cracking open. Out pours the fully repaired Lucido, Cedar and Carro, coated in fluid and sliding across the floor. Carro now has a robotic body after the Medi-pod process, where in the earlier episodes he was just a face on a view screen.

As the three slide out of their Medi-pods, Elder and Minthril abruptly stop playing. Iasa, Panacia, and Hygenia swiftly rush to the newly emerged bodies and start to run medical checks. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER AND ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. EVENTUALLY THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME AS THE CAMERA HAS REACHED THE BOTTOM OF THE CURTAIN OF CLOUDS AND THE MID-STAGE. IT PANS DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE sits at the animator’s light box, slumped over, asleep.

THOMAS TYPEWRITER
(off-stage) “I’ve got your coffee.”

THOMAS TYPEWRITER enters from stage-left, carrying a tray with a coffee cup and a carafe of coffee. There is also a glass of water on the tray. He enters backwards to navigate the door, balancing the tray best as he can.

THOMAS TYPEWRITER
“Sorry it took as long as it did for me to get the coffee. Your Mom came out and we had a nice talk. She asked if I could make her some tea so I did. Let me know if you want any and I’ll go get you a glass. Your Mom asked me if we set a date for the wedding, which is the funniest thing because my Grandma was just asking me the same thing this morning.”

Thomas places down the tray. 

THOMAS TYPEWRITER
“Isn’t that the craziest thing? Are they sharing a wavelength?”

He picks up the coffee cup and turns to give it to Ophidia.

THOMAS TYPEWRITER
“And you’re asleep.”

Thomas straightens looking at Ophidia. He shrugs and takes a sip of the coffee. He spits it back out into the cup.

THOMAS TYPEWRITER
“Ugh, yuck. How does anyone like that?”

Thomas sets the cup back onto the tray. He then exits Stage-left returning with a blanket. He places the blanket over Ophidia. He gently kisses her on top of her head.

THOMAS TYPEWRITER
“You get your rest, you deserve it. I’ll be over here reading.”

Thomas moves to the chair to the side and pulls out a copy of “Pandora’s Star” by Peter F. Hamilton.

THOMAS TYPEWRITER
(to self) “Thank goodness I have one of Hamilton’s space operas. This will definitely keep me busy.”

Thomas props his feet up on the desk and relaxes into a comfortable reading position. He starts to read, briskly moving through pages then slowing down. He turns back two pages and rereads what he had read. He thinks a moment and then starts to read at a brisk pace. As he is reading he starts to fidget, starting with turning his body left and right. Then he switches to gently swinging his feet left-right. The Mid-Stage stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

The Great Works Project: Season Three, Episode Three script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 03

By Thomas Typewriter

(c) 2020

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-03”. 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. THE UNROOM NOT.SEVEN

The unroom Not.Seven fades into view. A large room of an indefinable undiscernible size. A large wooden disc sits on the floor near what could be the center. Radiating out in waves from the wooden disc are rows of grey carpet squares. Spindly tall metallic lamps, with cords snaking off into the distance, stand at the ends of the rows. The lamps cast a soft light across the wooden disc and carpet squares, but not much else of the unroom. THE OUTER ONE sits on one of the carpet squares looking at a paper cut on one of their hands.

POV OF THE OUTER ONE

CUT TO CS OF THE PAPER CUT

The tip of the finger with paper cut is a translucent blue. Abstract text in a different shade of blue can be seen gliding over the changed area. A change, a glitching, appears to be spreading out from the paper cut. The Outer One stares at the paper cut for a few moments before the sound of TYPEWRITER KEYS CLICK CLACKING drift in from outside their focus.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

THE CAMERA TILTS BACK, RETURNING THE OUTER ONE’S POV GAZE TO THE WOODEN DISC.

The wooden disc sits empty. Unseen lamps over the disc turn on and the TYPEWRITER ABSTRACT PUPPET STAGE appears in the center of the wooden disc.

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

THE CAMERA PANS INWARDS TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE’S MID-STAGE AREA. IT MOVES IN TILL THE MID-STAGE’S CURTAINS FILL THE FRAME.

The Mid-Stage curtains open. Surprisingly the stage lights are already on.

MID-STAGE: DISHEVELED AND DAMAGED

THOMAS TYPEWRITER and a HELPING HAND stand center stage, surrounded by broken sets and scattered props. Thomas is trying to sweep up the mess into a dustpan held by the Helping Hand. He turns and looks at the camera.

THOMAS TYPEWRITER
(sweeping the floor) “Give us a moment to tidy this up will you.”

The curtains close and the sound of the stage being CLEANED AND RESTAGED can be heard. The curtains reopen, with the stage lights off. Once the curtains have fully opened, the stage-lights turn on with THE CLICK OF A LIGHT SWITCH TURNING ON revealing…..

MID-STAGE: EXT. OPERAHOUSE’S FRONT PORCH, DAYTIME

A wooden front porch runs across the width of the stage. A storm door sits off to the stage-right. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the hand rails. An outdoor thermometer can be seen next to the storm door. It currently reads 36 degrees Fahrenheit. THOMAS TYPEWRITER enters from stage-left. He walks along the length of the porch to the storm door. He RINGS the doorbell. No answer. He RINGS the doorbell a second time and waits. Still no response. Thomas looks around in confusion. He RINGS the doorbell a third time and waits.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS STRAIGHT UP. IT MOVES UPWARD PAST THE TOP OF THE MID-STAGE SETS REVEALING THE CURTAIN OF CLOUDS BEHIND. THE CAMERA FOLLOWS THE CURTAIN OF CLOUDS UP TO THE HIGH-STAGE AT THE TOP. THE CAMERA STOPS ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The High-stage curtains part. Once fully opened, the stage lights turn on, with the sound of A COMPUTER BOOTING ON, revealing…

HIGH-STAGE: INT. FOYER OF GRIM MANOR, DAYTIME

Welcome to the domicile of the current Grim Reaper of this reality, Grimson Grimaldi, and his family. An imposingly large front door sits in the center of the stage, flanked by cascading stained glass windows on either side. An elaborate staircase, with handrails made of various bones, runs along the stage-right side of the front door. On the stage-left side sits a large wall covered in various pictures of the Grimaldi Family. The staircase and the picture wall each have openings leading to other rooms in the house. A chandelier made of a large dinosaur skull covered in candles hangs above it all.
A silhouette of a figure can be seen through the stained-glass windows walking up to the door. The DOORBELL RINGS. A brief pause then it RINGS a second time. ELDRED GRIMALDI, eldest of Grimson’s seven sons, pokes his head out from the entryway under the stairs.

ELDRED GRIMALDI
(yelling upstairs) “Dad, Door!”

The DOORBELL RINGS again

ELDRED GRIMALDI
“Dad! Someone’s at the door!”

The DOORBELL RINGS a fourth time.

ELDRED GRIMALDI
(to self) “Just great, he’s still sleeping.” (Shouts) “Don’t anybody else bother themselves, I’ll get it.”

Eldred walks out and opens the front door. Outside he finds POSTMAN #33 FROM THE DEAD LETTER OFFICE waiting. Suppliers of the notices of who will die, the Dead Letters Office dispatches its fleet of postmen to the Grim Reapers of all the realities. Postman #33 hands him a package.

POSTMAN #33
“Thank you.”

Postman #33 turns and leaves. Eldred Grimaldi shuts the door. He opens the package and pulls out a scroll with “Updated Book of the Dead” printed on the outside. Unfurling the scroll, he takes a moment to read it.


ELDRED GRIMALDI
(to self) “Hmmm no Obsidian or Waxwings. Really thought they’d be on here after their ship blew up last season. Oh well.” (Shouts) “Anyone wanting to help collect the dead meet me out front in two minutes or else I am leaving without you.”

Eldred leaves through the front door. His silhouette can be seen through the stain-glass windows walking off stage-right.

Eldred Grimaldi’s six brothers race out from the other rooms and upstairs. EMHREN GRIMALDI, ENNER GRIMALDI, and EOVEN GRIMALDI run out from the entryway under the stairs. EPPLIS GRIMALDI, EQUES GRIMALDI, and ELDRITCH GRIMALDI emerge from the entryway by the family photos. If it helps, the birth order of the seven brothers from oldest to youngest is Eldred, Emhren, Enner, Eoven, Epplis, Eques and Eldritch. Eldred appears to be in his mid-twenties while Eldritch appears seven years old.

The silhouette of a carriage pulls up in front. The siblings run to the front door and open it. Eldred Gimaldi sits outside on THE CART OF SOULS pulled by a ghostly steer named SQUANDERED CHOICE CUTS. The brothers hop into the pile of hay in the back of the cart. Elder shakes the reins and Squandered Choice Cuts starts to walk pulling the cart off-stage. The front door swings closed with a loud SLAM.

THE GRIM REAPER GRIMSON GARIBALDI
(from off-stage, upstairs) “Boys, is there someone at the door?”

GRIMSON GARIBALDI, an unlit joint dangling from his skeletal mouth, enters at the top of the stairs. Dressed in a red bathrobe, he looks around.

THE GRIM REAPER GRIMSON GARIBALDI
“Must be hearing things.”

He walks down the stairs and over to the phone. He pulls out a coupon, uncrumples it, then dials the phone. RINGING RINGING…then CLICK as SHELDON SMALLBREADS, employee of the month at Pizza Squad take-out pizza, answers the phone.

SHELDON SMALLBREADS
(voice over)“Hello and thank you for calling Pizza Squad, the only pizza place that offers pizza as a topping choice. How can I help you today.”

THE GRIM REAPER GRIMSON GARIBALDI
“Do you honor coupons that are found under my fridge?”

SHELDON SMALLBREADS
(voice over)”What?”

THE GRIM REAPER GRIMSON GARIBALDI
“Like, I dropped a grape and it rolled under the fridge. I would of let it go, but it was the last grape and I was really into grapes that day, so I rolled the fridge out, got a broom and dustpan because it was all dust and stuff and found a coupon stuck to the floor in something sticky. Never did find that grape though. Man, I could really go for some grapes now. Anyway, I can’t read the expiration date and it is really crinkly. Like is there a maximum amount of crinkleness before it is unacceptable? Is it okay if part of it is still sticky?”

SHELDON SMALLBREADS
(voice over)”Uhhhhh…”

THE GRIM REAPER GRIMSON GARIBALDI
“And lastly does it have to be a Pizza-Pizza coupon? This one I found is for a free burger at Star Sprinkles. Burgers, Pizzas, they’re both round, so that works right?

SHELDON SMALLBREADS
(off-stage) “Uhhhhh…what.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, TRANSITIONING FROM HIGH-STAGE TO MID-STAGE. IT MOVES DOWNWARD ALONG THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, AND FINALLY STOPPING FRAMING MID-STAGE.

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME

THOMAS TYPEWRITER stands in front of the front door waiting for someone to answer. Having already tried the doorbell three times, he knocks on the door. No answer. He knocks again. Still, no answer. He leans in attempting to peer through the window in the door, hoping to spy someone in the house, when….

OPHIDIA OPERAHOUSE
(off-stage) “Thomas is that you?”

Thomas looks around.

OPHIDIA OPERAHOUSE
(off-stage) “Over here.”

Thomas turns and looks over the rail. He spots Ophidia off-stage and waves.

THOMAS TYPEWRITER
“Yeah, it’s me.”

OPHIDIA OPERAHOUSE
“What are you doing here?”

THOMAS TYPEWRITER
“I came here to see you. (looks around) Should I go down there or are you coming up here.”

OPHIDIA OPERAHOUSE
“Stay there, I’ll be right up.”

Thomas waits. The front door opens and Ophidia steps out. They hug.

OPHIDIA OPERAHOUSE
“Sorry about that. I was downstairs animating and I couldn’t hear the doorbell. Were you waiting long.”

THOMAS TYPEWRITER
“No, not long”

OPHIDIA OPERAHOUSE
“Good. So what did you want to talk about.”

Thomas kneels down onto one knee. He reaches up, taking one of Ophidia’s hands in his.

OPHIDIA OPERAHOUSE
“Are you about to do what I think you are?”

THOMAS TYPEWRITER
“Well, this is very stereotypical, so yes. Ophidia,…”

ZOOM IN ON THE COUPLE

THOMAS TYPEWRITER
“Ophidia…no one wants my scripts, I am broke, I am not getting any younger, You can definitely do better, but…”

Thomas pulls out the jewelry box.

THOMAS TYPEWRITER
“So, what do you say?”

OPHIDIA OPERAHOUSE
“I say that’s a horrible proposal.”

The stage-light turn off with the sound of a LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT