Puppet play

The Great Works Project: Season Two, Episode Ten script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Nine

By Thomas Typewriter

(c) 2020 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-09”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge

FADE OUT

FADE IN

INT. THE UNROOM NOT.SEVEN
THE OUTER ONE sits patiently on a small square of carpet in the Unroom Not.Seven. The patches of carpet radiate out from a wooden disc in the potential center of the unroom like waves ripples on a pond.

POV OF THE OUTER ONE LOOKING AT FLOOR

The Outer One has out all his/her golden coins. They are on the floor in a stack. They glint in the soft light cast from the spindly metallic lamps at the end of each row of carpets. TYPEWRITER KEYS CLICK CLACK. The Outer One picks up his/her coins and puts them away.


POV OF THE OUTER ONE AS THEY STAND AND MOVE.

Then they scoot up a few rows to a closer seat to the wooden disc.

POV OF THE OUTER ONE SITTING DOWN AND THEN LOOKING AT THE WOODEN DISC.

The disc sits empty and cloaked in shadow. The metallic lamps do not quite seem able to light the stage, their illumination giving the feeling of bouncing off it. Unseen lamps above the wooden disc flip on changing the view ever so slightly that the TYPEWRITER ABSTRACT PUPPET STAGE materializes in the center of the wooden disc.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

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

MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains part and the stage lights turn on, with the sound of A LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO. DAYTIME
THOMAS TYPEWRITER sits at his writing desk in the center of the stage, reading “Latchkey Kids of Randomness” by John W. Wheelwright. A typewriter and ream of paper sit on top of while a lamp and wastebasket sit on either side of the desk. Behind him, and off to stage-right stands a small bookcase adorned with various houseplants.

Hold on him reading for three to five minutes as he shifts back and forth. A PHONE VIBRATES breaking the serene scene. Thomas removes the phone from his pocket and answers it.

THOMAS TYPEWRITER
“Hello, yes this is Thomas. Oh hi Mark. Sure, I have a minute.(puts a bookmark in the book and closes it) So what’s the good news.” (stands up and starts to pace)

TRANSITION FROM THE MID-STAGE TO HIGH-STAGE

THE CAMERA SHAKES LOOSE FROM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE MID-STAGE SETS TO SEE THE CURTAIN OF CLOUDS LINING THE BACK OF THE STAGE BEHIND THE SETS. IT CONTINUES TO PAN UPWARD FOLLOWING THE CURTAIN OF CLOUDS. IT MOVES TO THE TOP OF THE CURTAIN TO WHERE THE HIGH-STAGE IS LOCATED. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains, as also the Narrator’s Door, are closed. On the edge of the High-stage, with feet dangling over the edge, sits GRIGIO COLORI reading a scriptbook. If we look closer we can see that he is reading the scriptbook for the complete series of “The Great Works Project”.

GRIGIO COLORI
(to self) “So that’s what happens next.”

The High-stage curtains start to part. Grigio sets the scriptbook on the floor. He stands and stretchs. The curtain finishes opening. Grigio misses this but we can just see that the curtain has caught the scriptbook and dragged it off to the side. It falls out of view, over outside the frame. The stage lights turn on, with the sound of A COMPUTER BOOTING UP, revealing…

HIGH-STAGE: INT. THE CARRO OBSERVATION LOUNGE
The Observation lounge is in a sad state, showing signs of excessive damage from the celestial storm. Wires hang from the ceiling. Scattered debris covers the floor. Dim amber emergency alarms blink through the smoke pouring in from off-stage. CARRO’S terminal is toppled over. CEDAR WAXWINGS lies pinned by the arm under rubble stage-left while LUCIDO OBSIDIAN is pinned by his legs under a fallen terminal stage-right. Lucido has one hand resting on his guitar.

GRIGIO COLORI
“Well this seemed a lot worse in the script. (looks around) Time to be a hero.”

Grigio shimmers and his body gains a red and blue stripe replacing two of his grey stripes. He shimmers a second time. The red and blue stripes have returned back to grey but AZURE COLORI and ROSSO COLORI now stand next to him. They exchange knowing nods.

Grigio walks over to Carros’ terminal. He looks through the rubble for Carro’s brainbox.
Meanwhile Azure Colori heads over to Lucido and puts his hands on him. A blue spotlight illuminates them while a METALLIC SPARKLE plays in the background. The spotlight and spakle turn off.
At the same time, Rosso walks over to where Cedar is pinned and kicks the debris off-stage. It arcs up and out of sight. He scoops up Cedar. He then walks over and kicks the debris off Lucido. The terminal crashes off stage. Azure scoops up Lucido.

There is a CRACKING SOUND LIKE A GUNSHOT. Grigio turns…

CUT TO CS OF THE GLASS CRACKING

CUT TO CS OF GRIGIO’S EYES IN SURPRISE…

CUT BACK…

GRIGIO COLORI
“Well gentlemen, looks like our time grows short. The Music Pit is too far, but our rainbows should be able to reach the Flute.”

He finds Carro’s braninbox and walks over to the rest of the group. There is a shimmer and they all disappear in a grey, blue, & red rainbow.

CUT TO MS OF THE OBSERVATION WINDOW AS IT STARTS TO SPIDERWEB WITH CRACKS.
CRACK CRACK CRACKLE

The window shatters outward. The atmosphere starts to escape through the window sucking out all the air and loose debris. The loose wires are pulled taunt towards the open window. The stage lights turn of with the sound of A COMPUTER SHUTTING DOWN and the curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, DISENGAGING FROM HIGH-STAGE TO TRANSITION TO THE CURTAIN OF CLOUDS. IT CONTINUES TO FOLLOW THE CURTAIN DOWN TO THE MID-STAGE SETS. IT SLIDES OVER THE TOP OF THE MID-STAGE SETS TO FINALLY STOP WHEN PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO. DAYTIME
THOMAS TYPEWRITER paces while speaking on the phone.

THOMAS TYPEWRITER
“So they’ve let the options expire. Okay, that sucks. What about one of the other studios. No. Really no one is interested. Okay, that sucks. Yeah, I know no guarantees in life. Yeah, I’ll be fine. Maybe. I might have something new. Not sure yet. I’ll let you know. Thanks. You too. Talk to you later. Bye.”

Thomas sets his phone down. He sits down in his chair, facing off to the side slightly. He does not finish scooting it in, but instead just stares out lost in his thoughts.

The stage lights turn off with the sound of A LIGHT SWITCH CLICKING while the curtains close.

FADE OUT

The Great Works Project: Season Two, Episode Eight script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Eight

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-08”. 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

INT. UNROOM NOT.SEVEN

XCS OF GOLDEN COIN

THE OUTER ONE fidgets with one of their golden coins missing out on the details of the unroom Not.Seven surrounding him/her. The coin spins and flips over finger after finger.
If the Outer One were to look up, they would see a large cavernous space of indistinct corners. A wooden disc sits in what feels like a possible center of the unroom. Cascading out from the wooden disc, rows and rows of grey hued carpet squares spread out like waves from a splash. At the edges of each crest stand tall spindly metallic lamps of a soft illumination. The sound of TYPEWRITER KEYS CLICK CLACKING drifts into from outside the frame of reference.

THE XCS TRANSITIONS TO A POV OF THE OUTER ONE. USE AN EFFECT TO MAKE IT SEEM AS IF THE OUTER ONE’S VISION READJUSTS.

THE POV TURNS AS THE OUTER ONE LOOKS UP AT THE WOODEN DISC.
The wooden disc sits empty dressed in shadows. Unseen lamps click on above the disc. In the newly cast light THE TYPEWRITER ABSTRACT PUPPET STAGE appears.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.
MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains part and the stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…
MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
A desk sits in the center of the stage topped with a typewriter and a ream of paper. To either side sits a lamp and a wastebasket. A small bookcase sits off to the stage-right with various house plants on top.
An ALARM CLOCK sounds off-stage. The stage lights come up to a dim level. THOMAS TYPEWRITER enters from stage-right and walks across the stage and exits stage-left. Shortly thereafter a TOILET SEAT LIFTING, URINATION, then A TOILET FLUSHING. The FAUCET TURNS ON AND OFF as Thomas washes his hands. He reenters from stage-left and walks over to the desk yawning and stretching. Removing the page from the typewriter, Thomas reviews what is written on it as he sits down at the desk.

THOMAS TYPEWRITER
“Alright, let’s see where I left off.” (with a more dramatic voice) “The curved view screen displays a vast swirling colorscape only made more abstract by the Space Egg’s velocity.” (taps his fingers on the desk as he thinks) “Okay what happens next. Whats next. Hmmm. Hmmm “ (starts to absentmindedly swivel his chair left and right) “Space Egg , multi-colors, velocity…”

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA UNCOUPLES FROM FRAMING MID-STAGE AND PANS UPWARD. IT MOVES OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT MOVES UP THE CURTAIN OF CLOUDS TO THE TOP AND THE HIGH-STAGE SITUATED THERE. THE CAMERA STOPS PANNING ONCE HIGH-STAGE IS PROPERLY FRAMED.
HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains part and the stage lights turn on, with a sound like A COMPUTER BOOTING ON, revealing…
HIGH-STAGE: EXT. FAR EDGE OF THE FOURTH ZONE OR OUTER SPACE
The Narrator’s door opens. Y-MOUSE walks out.

Y-MOUSE
“Tossed about, struck and striked, that little ship finds itself beyond safety’s reach.”

A model of THE CARRO flies unevenly across the stage. Fill the stage with fog to represent the storm the Carro is caught in. Flashes of light go off in the fog as THUNDER BOOMS.
The curtains close then reopen revealing…
HIGH-STAGE: INT. THE CARRO OBSERVATION DECK
The Observation Deck is severely damaged from when we last saw it in Season One. Wires hang from the ceiling. Bright amber alarm lights blink. CARRO’S terminal has fallen over, as have the other terminals trapping CEDAR WAXWINGS and LUCIDO OBSIDIAN in the debris. Cedar is trapped down stage-left while Lucido is pinned down stage-right. Cedar is laying on his back with his left arm caught under the debris. Meanwhile Lucido is stuck on his belly with his legs pinned. Storm clouds with flashes of lightning can be seen outside the observation windows behind Carro’s terminal.
Lucido is the first to stir. He looks around taking a moment to realize where he is and what has happened.

LUCIDO OBSIDIAN
“Cedar. Carro. You okay.”

Lucido looks at the damaged ship…
INSERT SHOTS OF THE VARIOUS DAMAGED SECTIONS OF THE OBSERVATION DECK.
…at his fallen friends…
INSERT SHOTS OF CARRO THEN CEDAR
…and lets out a stifled gasp…
CUT TO A CLOSE-SHOT OF CEDAR. WE SEE HIS CHEST RISE UP AND DOWN AS HE BREATHES.
…followed by a sigh of relief.
He attempts to stand but realizes his legs are pinned under the terminal. He tries to wiggle loose but yelps in pain and stops.

LUCIDO OBSIDIAN
“Oww…definitely something broken.”

Lucido lays back. He grabs a couple deep breaths then tries to lift the terminal again. He manages to tilt it a short bit but he yells in pain and collapses. The attempts to lift terminal have moved his guitar to the edge of the terminal. It falls off landing near Lucido.

LUCIDO OBSIDIAN
“What have we here.”

Lucido pushes away some debris to reach his guitar.

LUCIDO OBSIDIAN
(to self) “Never thought it would come to this.”

He starts to play the song that Otho Mercutian heard earlier this season. He repeats the tune. He repeats it a third time as dark smoke slowly spills in from off-stage.

LUCIDO
“Come on. Come on. You said you’d be there.”

The guitar then plays on its own.

LUCIDO
“Thank goodness. (coughs)”

Lucido slumps against the floor coughing. The stage lights turn of with the sound of A COMPUTER TURNING OFF while the curtains close to the fading sound of LUCIDO’S COUGHING.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWNWARD TO THE MID-STAGE AT ITS BASE. THE MID-STAGE SETS SLIDE INTO VIEW WITH THE CAMERA FINALLY STOPPING ONCE FRAMING MID-STAGE.
MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas is still swiveling, thinking about what happens next. What to write? What indeed. As he ponders, he keeps stealing glances back to the bookcase. Soon he stops swiveling and stands. He walks over to the bookcase, grabs Latchkey Kids of Randomness by Jonathan J. Wheelwright. He returns to his desk and starts reading the book.
The stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

The Great Works: Season Two, Episode Seven script

Puppet play, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Seven

An Intermission

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-07“. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter the following text, “an intermission” scrolls up from the center of the bottom of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

A wooden disc stands ready in the center of a large space. The corners of the room, though visually indeterminable, are felt. Grey squares of carpet radiate out from the wooden disc like rows of seats in an amphitheater. Light from spindly metallic lamps at the ends of the rows illuminate the carpets and to some degree the features of THE OUTER ONE sitting there.

OPEN WITH POV OF THE OUTER ONE LOOKING AT ONE OF THE LAMPS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts from out of view as the bulbs in the lamp flitter in response.

PAN UP AS THE OUTER ONE SHIFTS HIS GAZE FROM THE LAMP TO THE WOODEN DISC.

The wooden disc sits empty, shrouded in shadows cast by not-there shapes. Unseen lamps above the disc turn on, casting out the shadows shape-less while also revealing the TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE TILL IT FILLS THE FRAME

MID-STAGE: CURTAINS CLOSED

The curtains part and the stage lights turn on, with the sound of A LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN

A sink, countertop, and stove run along the back of the stage. A table sits of to stage-left and a refrigerator sits of to stage-right. Three cabinets hang over the countertop. THOMAS TYPEWRITER, dressed in a chef’s apron, is at the stove stirring a marinara sauce in a saucepan. A second pot sits on the stove steaming. He removes the lid and drops in a box of dried pasta that he retrieves from a nearby cabinet. NEW WAVE STYLE MUSIC plays from a nearby speaker. DOORBELLS CHIME catching Thomas’ attention. He stirs the sauce one more time before stepping off stage stage-right to answer the door.

DOOR LOCKS UNLOCK and DOOR HINGES CREAK.

OPHIDIA OPERAHOUSE
(off-stage) “Hi. Hope I’m not too late.”

THOMAS TYPEWRITER
(off-stage) “No right on time. You’re looking very pretty tonight.”

OPHIDIA OPERAHOUSE
(off-stage) “Thanks. You look good too. Here, I got these for you.”

THOMAS TYPEWRITER
(off-stage) “Thank you, they’re beautiful.”

OPHIDIA OPERAHOUSE
(off-stage) “Sure thing.” (sniffs) “Wow, something sure smells good.”

THOMAS TYPEWRITER
(off-stage) “That would be the marinara. I was going to make something else but I didn’t have any capers.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARDS MOVING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT TOP. THE CAMERA SLOWS AND STOPS WHEN PROPERLY FRAMING HIGH-STAGE

HIGH-STAGE: CURTAINS CLOSED

PAN IN ON HIGH-STAGE TILL PROPERLY FRAMED

The High-stage curtains part and the stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: EXT. THE MULTI-COLORED HIGHER PLANES OF REALITY

The stage is filled with a psychedelic swirling of colors. A miniature of THE SPACE EGG enters stage-left. It rapidly flies across the stage. Chromatic waves spread in its wake. When it reaches mid-stage, there is a SONIC BOOM and the Space Egg flies even faster, exiting stage-right. The High-stage curtains close and then reopen revealing…

HIGH-STAGE: INT. THE SPACE EGG

The INNER-SPACE MAN sits in a sleek astronaut’s chair. In front of him sits a curved console and a curved view screen. The console has a center monitor in the shape of a circle bisected by a long rectangle. This is the Space Egg’s text display. All of the Space Egg’s dialogue will scroll across the text display at the same time it is heard by the Inner-Space Man and audience. So as the Space Egg speaks, the words also scroll across the text display. Around the text display sit various sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently displaying the many colors of the Higher Planes of Reality that the ship is flying through.

THE SPACE EGG
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”

THE INNER-SPACE MAN
“Maybe some music to travel by.”

THE SPACE EGG
“Yes, please.”

The Inner-Space Man presses a button. What comes out of the speakers is not music though. A FAINT MUFFLED MURMURING plays.

THE SPACE EGG
“What music did you pick. This is horrible.”

THE INNER-SPACE MAN
“I don’t know what this is. This is not what I wanted.”

The Inner-Space Man leans in closer to the speaker in the console.

INSERT CS OF THE INNER-SPACE MAN LISTENING TO THE SPEAKER.

NOISE FROM SPEAKER
(very faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(less faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(loud) BIFF!”

CUT BACK TO…

The Inner- Space Man jerks his head away from the speaker. He tries to press a button but the High-stage stage lights turn off cutting him off. The High-stage curtains close then reopen revealing…

HIGH-STAGE: INT. BIFF’S BEDROOM, LATE AFTERNOON

A bed sits center stage, flanked by an end table on one side and a steamer trunk on the other. Posters of various characters from the Cosmic League comic and the Babysitter Tales adorn the walls. A window sits to the side. Sunlight streams in. BIFF, colander crowned, sits in a cardboard box atop the bed. ROCKEY THE PET ROCK sits to the side. The box is decorated in crayon such that it looks like the Space Egg.

ROCKEY THE PET ROCK
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”

BIFF
“Maybe some music for our travels.”

ROCKEY THE PET ROCK
“Yes, please.”

Biff pretends to press some buttons, creating a beep sound effect for each one. He then starts to hum, pretending it is the music coming out of the speakers. Rockey closes his eyes. He sways to the melody.

BIFF’S MOTHER
(off-stage)”Biff. Biff. Time for dinner. (louder) Biff. Biff. Time to stop pretending and wash up for dinner. (louder) BIFF!”

Biff takes off the colander.

BIFF
“Uh-oh. (yelling off-stage to mother) Sorry Mom. Be right down. (to Rockey) Guess pretend time is over. Let’s go wash up.”

Biff gets out of the box and hops off the bed. He turns and picks up Rockey.

BIFF
“I sure hope Mom’s made mashed potatoes.”

ROCKEY THE PET ROCK
“With scallions sprinkled on top.”

BIFF
“You know it. That’s the best.”

They exit stage-right. We can hear the sound of FOOTSTEPS descending stairs. The footsteps fade into the distance. The stage lights turn off to the sound of A COMPUTER TURNING OFF as the High-Stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE.

THE CAMERA UNCOUPLES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS AND CONTINUES DOWN ITS LENGTH. IT COMES TO THE TOP OF THE MID-STAGE SETS AND GLIDES OVER THEM. THE CAMERA STOPS ONCE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN

Ophidia Operahouse grabs some plates from the cupboard and walks over to the table. She sets out the plates, cups, and silverware. Her flowers sit in a vase in the center of the table. Thomas follows with a bowl of salad and a bowl of bucattini with marinara.

THOMAS TYPEWRITER
“So was your mom was always trying to save money.”

OPHIDIA OPERAHOUSE
“Oh yeah. Always. She would talk about how there were too many bills or how dad’s income was not a steady thing. Stuff like that.”

THOMAS TYPEWRITER
“My mom too. Though never while we were on vacation now that I think about it.”

Thomas and Ophidia sit down on opposite sides of the table.

OPHIDIA OPERAHOUSE
“I would of loved that. My mom was still worried about money on vacation. Maybe even more so.”

Thomas fold his hands for a moment of silence. Ophidia catches herself and does likewise. She crosses herself and puts her hands together in prayer. When finished she starts serving herself some food, then passing to Thomas.

THOMAS TYPEWRITER
“Sorry, you were saying.”

OPHIDIA OPERAHOUSE
“Yeah, my mom would try to find some way to save money, like to an almost comical level sometimes.”

THOMAS TYPEWRITER
“What do you mean?”

OPHIDIA OPERAHOUSE
“Like for example, we went to Disneyworld when I was in seventh grade.”

THOMAS TYPEWRITER
“Ooo..luckey. Never been. Was it fun.”

OPHIDIA OPERAHOUSE
“The funnest, right. But my mom was nervous we wouldn’t have enough so she’d pack all this food in her purse for us to eat.”

THOMAS TYPEWRITER
“Can you even fit enough food in a purse for that?”

OPHIDIA OPERAHOUSE
“No. See that was the thing. As good as my Mom was at worrying she was inversly good at planning and scheduling.”

THOMAS TYPEWRITER
“Okay.”

OPHIDIA OPERAHOUSE
“So she got flustered and packed a lunch of cottage cheese and grapefruits.”

THOMAS TYPEWRITER
“Wait..Cottage Cheese? As in that stuff in the plastic tubs?”

OPHIDIA OPERAHOUSE
“Yup.”

THOMAS TYPEWRITER
“Isn’t that a refrigerated item.”

OPHIDIA OPERAHOUSE
“Yes it is. Do you know what two tubs of cottage cheese are like after a day of flopping around in the bottom of a purse in the hot Florida sun?”
Thomas giggles.

OPHIDIA OPERAHOUSE
“Gross. That’s what they are.”

Thomas laughs. Ophidia starts to giggle, soon joining him in laughter. The stage-lights click off, with the sound of A LIGHT SWITCH CLICKING OFF, and the Mid-stage curtains close.

FADE OUT

The Great Works Project: Season Two, Episode Six script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Six

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-06. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

A vast cavern of a room, with unseen corners, the Unroom Not.Seven has near its center a wooden disc surrounded by rows of grey carpet squares. From the ends of each row of carpet squares, spindly metallic lamps cast a dim light. The unroom’s lone occupant, THE OUTER ONE, sits on one of the squares spinning a golden coin.

POV OF THE OUTER ONE

The coin spins, solidity turning to ethereal turning back to solidity. As the coin slows we can see it has a simple abstract carving of an anvil on one side and a hammer on the other. They pick up the coin and spin it again.

TYPEWRITER KEYS CLICK CLICK CLACK.

The Outer One stops the spinning coin and looks towards the wooden disc.

POV OF OUTER ONE LOOKING AT THE WOODEN DISC

The disc is empty initially but unseen lamps burst to life over the wooden disc revealing THE TYPEWRITER ABSTRACT PUPPET STAGE sitting mid-disc.

TRANSITION FROM THE UNROOM TO THE TRYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE
TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO HIGH-STAGE

ADD AN UPWARD MOVEMENT TO THE PAN IN TO MOVE THE CAMERA TO THE HIGH-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

As the camera nears the stage, the main curtains open revealing…

HIGH-STAGE: CURTAINS CLOSED

GRIGIO COLORI enters from stage-left. He walks about a quarter of the way across the stage then SNAPS his fingers. The High-Stage curtains part revealing…

HIGH-STAGE: INT. ORFE.O SPARKSHIP’S COMMUNICATION CENTER

The sparkship Orfe.O’s communication center or observation deck, is a room arraigned like an amphitheater with a giant view screen across the back. On the screen is the ship’s AI ORFEO, rendered in a wireframe animation style.

The Orfe.O’s crew of nine females, each dressed in virtual reality gear, stand in an arc in front of the viewscreen facing the audience. Each bears a name tag with not a name, but her title and rank within the ship. From stage-left to stage-right stands VR-1, VR-2, VR-3, VR-4, VR-5, VR-6, VR-7, VR-8 and VR-9. (note: They would pronounce it as Very One, Very Two, Very Three…) All nine wear the same basic style of VR gear, with helmet, visor and gloves wired to long cords running off stage. Each has added her own individual decoration to personalize her gear. VR-1 has a writing pad sticker on her VR helmet. VR-2 has a scroll and quill sticker on her VR gear. VR-3 has a sticker of a flute. VR-4’s VR gear is decorated with roses. VR-5 has stickers of boots on her VR gear. VR-6’s VR gear bears no decoration. VR-7’s VR gear has a sticker of the silhouette of a ballerina. VR-8’s VR gear has a joker playing card taped onto it. Stars cover VR-9’s VR gear.
Each is busy working at her virtual reality work station. Though they can see their workstations, we cannot. To us it will appear as if they are pantomiming navigating the sparkship and running its systems.

ORFE.O
“Minimal structural damage. Orchestra Pit recommends a sixty degree declination to avoid any further structural damage.” (notices Grigio) “Hey, what are you doing here?”

Grigio SNAPS his fingers and the High-Stage curtains close. He moves to the center of the stage and SNAPS his fingers again. The High-stage curtains reopen revealing…

HIGH-STAGE: INT. DIDO+AENEAS SPARKSHIP’S OPERATIONS ROOM

The Dido+Aeneas Operations room has the appearance of two different rooms stuck together. The stage-left side, or the AI DIDO’s side of the stage, is decorated in silver and chrome with a large viewscreen at an angle to the stage-front. The viewscreen fills half the stage. DIDO’s face can be seen in the viewscreen. The other side of the stage belongs to the ship’s other AI AENEAS. It is decorated in hues of gold and bronze. A large viewscreen fills half the stage at a complementary angle to Dido’s viewscreen. AENEAS’s face can be seen in this viewscreen. The two viewscreens are angled such as to form a v, with the stage-left and stage-right sides being closest to the stage front and the center, or where they meet, recessed back.
Two robots, the DIDO-BOT and the AEN-BOT, dance a slow waltz across the triangular area between the viewscreens. The Dido-bot is chrome in color wearing a golden dress with silvery accents. The AEN-BOT is golden in color but wearing a silvery suit accented with bronze. THE BLUE DANUBE WALTZ BY JOHANN STRAUSS II PLAYS as the robots dance.

DIDO
(regular voice) “Oh I remember this song. We danced to it at our wedding.” (more mechanical voice) “Energy spikes detected. Orchestra Pit recommends rerouting.”(regular voice) “How long has it been Aeneas.”

AENEAS
(mechanical voice) “Rerouting orbit.” (normal voice) “The uplifted heart collects no calendars my love.”

The Dido-Bot and Aen-bot dance while Grigio walks across the stage. He mistimes stepping around and they bump into each other. The robots stop.

DIDO
(normal voice) “Who’s that?” (mechanical voice) “Reroute vectors assigned.”

AENEAS
(mechanical voice) “Compensating fuel ratios” (regular voice) “Oh it does appear to be one of Colori’s many faces. What did it call itself. Help me out sweetheart. Not the rage, not the soothing, the individualist.”

DIDO
(normal voice) “Grigio dear.”

AENEAS
(normal voice) “Grigio. Yes that’s it.”

GRIGIO COLORI
“Hi. Sorry about disturbing your dance.”

DIDO
(mechanical voice) “Acceleration within acceptable parameters.” (normal voice) “Apology accepted. What grand adventure brings you to our love nest. Something heroic I hope.”

GRIGIO
“I’m on my way to the Carro.”

AENEAS
(normal voice) “Well good luck then.” (mechanical voice) “Sub-deck electronics within acceptable parameters.”

The Dido-bot and Aen-bot resume dancing. Grigio SNAPS his fingers and the curtain closes. He walks a little ways and SNAPS again. The High-stage curtains reopen revealing…

HIGH-STAGE: INT. JULIAN-3 SPARKSHIP COMMAND DECK

Two rows of terminals run across the stage, with the back row raised higher than the front. Each terminal, except one, is manned by a holographic projection of the ship’s AI JULIAN THREE. The unmanned terminal is broken. Its burned and cracked with wires spilling out.

JULIAN 3.0
“Hull intergity 85%.”

JULIAN 3.1
“We have successfully emerged from the storm.”

JULIAN 3.4
“Redirect all sensors to surrounding space. Danger may still be afoot.”

JULIAN 3.6
“Ship systems have sustained damage. 65% efficiency.”

JULIAN 3.14
“Not to mention Julian 3.15 getting stabbed multiple times by the lightning strikes. Talk about a highly charged situation.”

Grigio laughs at his joke and hi-fives Julian 3.14. All the Julians look at them. Grigio snaps his fingers and the curtains close. Grigio exits stage-right.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD. IT MOVES OFF FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BENEATH. IT FOLLOWS THE CURTAIN OF CLOUDS DOWNWARD TO THE TOPS OF THE MID-STAGE SETS, GLIDING OVER THEM TO FINALLY SETTLE PROPERLY FRAMING MID-STAGE.

The Mid-Stage curtains are open and the stage lights are on when we join the scene revealing…

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY SECOND FLOOR, AFTERNOON

An entrance way and large window stand to the stage-left while a small table and bookshelves stand to the stage-right. Signs hang over the entrance way denoting “Non-fiction” and “Fiction” stage-right while “Checkout” is stage-left and downstairs. The small table has a series of books on display. A sign on the table reads “Staff Picks”.
On the floor next to the staff picks we find THOMAS TYPEWRITER sitting on the floor reading “Latchkey Kids of Randomness” by Jonathan J. Wheelwright. He reads in silence for a few moments before THE LIBRARY AIDE enters from stage-right. Pushing a rolling cart filled with books to reshelve, the Library Aide spots Thomas and moves closer.

THE LIBRARY AIDE
“Excuse me sir.”

Thomas marks his place in the book and then looks up.

THOMAS TYPEWRITER
“Yes.”

THE LIBRARY AIDE
“Is everything alright.”

THOMAS TYPEWRITER
“Yes. Sorry, this book drew me in. Lost track of time.”

THE LIBRARY AIDE
“Oh, that’s fine. It happens more times than you’d believe.”

THOMAS TYPEWRITER
“Do you know what time it is.”

THE LIBRARY AIDE
(looking at watch) “3pm.”

THOMAS TYPEWRITER
“Oh boy, I am going to be late. Do you know where the cooking books are?”

THE LIBRARY AIDE
“Real close. Head straight back three rows. On your left.”

THOMAS TYPEWRITER
“Thanks.”

THE LIBRARY AIDE
“No problem.”

Thomas walks off stage right bringing the book with him.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FROM MID-STAGE AND GLIDES UPWARD. IT PANS UPWARD PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS, CONTINUING UPWARD TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN. IT SLOWS AND STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: INT. SPACE EGG

THE INNER-SPACE MAN sits at the console stuck, frozen about to push a button. The lights in the the console and the viewscreen cycle through levels of dimness.

THE INNER-SPACE MAN
(through gritted teeth) “What’s happening. I’m stuck.”

THE SPACE EGG
(distorted) “Me too.”

THE INNER-SPACE MAN
“Did Biff stop pretending before finishing our story?”

THE SPACE EGG
“Looks like he did. Guess we’re stuck till he returns to pretending our story.”

The Inner-Space Man tries to move, struggles, but can not budge. He exhales in exhaustion and frustration.

THE INNER-SPACE MAM
“Is this to be our fate my ovoid friend. To exist, to know and feel, but to never truly live unless bound within the margins of a child’s playtime.”

THE SPACE EGG
“Maybe we’re cursed.”

THE INNER-SPACE MAN
“If only.”

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

FADE OUT

The Great Works Project: Season Two, Episode Three script

Puppet play, scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Three

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-03. 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. UNROOM NOT.SEVEN

A wooden disc sits center in the Unroom surrounded by rows of grey carpet squares, like an island in an ocean of drabness. Patiently, THE OUTER ONE waits on one of the grey carpet squares. Metallic spindly floor lamps stand off to the edges barely illuminating.

POV OF THE OUTER ONE.

The sound of TYPEWRITER KEYS CLICK CLACKING rings out from the shadows cloaking the wooden disc.
THE POV OF THE OUTER ONE TURNS TO LOOK AT THE WOODEN DISC.
Unseen lamps over the wooden disc flip on illuminating THE TYPEWRITER ABSTRACT PUPPET STAGE now sitting mid-disc.
PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN ON THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

MID-STAGE: CURTAINS CLOSED

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

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO, MORNING

A desk sits in the center of the stage. On the desk sits a typewriter and a ream of paper. A lamp and wastebasket sit on either side of the desk. A bookcase, covered in houseplants, sits off to stage-left. An ALARM can be heard from off-stage. It buzzes a few moments then stops. The sound of a DOOR OPENING and then FOOTSTEPS catch our attention. THOMAS TYPEWRITER enters from stage-right. Still dressed for bed, Thomas groggily walks across the stage exiting stage-left. From off-stage we hear A DOOR OPENING followed by WATER FLOWING INTO A TOILET. The FLUSH is softer than expected, in contrast to the resonant thunder of water from THE SHOWER.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. MOVING OVER THE TOP OF THE MID-STAGE SETS, THE CURTAIN OF CLOUDS PEEKS INTO VIEW. THE CAMERA FOLLOWS ALONG UPWARDS THE CURTAIN OF CLOUDS. THE CAMERA CONTINUES PANNING UPWARD TILL REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. IT STOPS ONCE PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s door opens. Y-Mouse emerges.

Y-MOUSE
“In the Fifth Hill, where the twining paths of truth and lies crosses paths wrapped in constellations, where starlight shines on maybes, sits a man. A man of many places and many ways.”

Y-Mouse turns towards the stage and watches the curtains part and the stage-lights turn on, to the sound of A COMPUTER POWERING ON, revealing…

HIGH-STAGE: EXT. UNIVERSITYTOWN STREET CORNER, AFTERNOON

A street runs across the stage with a humble brick building emerging from the stage-right side. OTHO MERCUTIAN, a fox-like man in a plaid suit and thick glasses, sits on the sidewalk in front of the building. He strums his boxy guitar. The case sits open nearby waiting for a spare coin. A green trolley from the DNTA, or The Double Nine Transit Authority, passes across the stage from stage-left to stage-right.

Y-Mouse turns towards Otho and throws a coin into the case. Otho nods a thank-you. Y-Mouse exits through the Narrator’s door which closes behind him. Otho Mercutian returns to playing. Like a wave, he transitions from playing softly to playing loudly back to softly and repeating.

Stopping for a break, he places his guitar on the sidewalk. Otho sips from his nearby cup. He takes out a handkerchief and wipes off his head. He looks up to the sky. The guitar bounces once, twice, thrice. Unseen fingers play a frantic melody. A concerned frown slides across the vulpine face of Otho Mercutian as he listens to the tune. He picks up his guitar placing his hand over the strings. They stop vibrating. Sliding the guitar on, he starts to play and sing.

OTHO MERCUTIAN
“Hush Hush little baby, don’t you cry.
Daddy’s heard you loud and clear.
Daddy knows your a crying.
Daddy knows your a scared.
Daddy’s soon going to be there.”

A robotic Mecha-crane crashes in from stage-left, interrupting the song. It lands in front of the building before skidding off stage stage-right. Otho stands stage-left, guitar and possessions packed up, looking at the Mecha-crane off-stage. He turns and exits stage-left. The stage-lights turn of to the sound of A COMPUTER POWERING OFF. The lights in the building turn on in response, and the curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNLOCKS FROM FRAMING HIGH-STAGE AND PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN TO THE MID-STAGE SETS. IT MOVES OVER THE SET TOPS AND PANS DOWN LOCKING IN ON MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO, MORNING

Thomas enters stage-left wrapped in a towel. He walks across the stage exiting stage-right. A short moment later he reenters dressed. Walking over to the desk, he sits down. He loads a sheet of paper into the typewriter. Smiling, he reaches into the desk and pulls out his headphones and music player. He puts on the headphones and plugs them in.

INSERT CS OF THE HEADPHONE JACK PLUGGING IN FOLLOWED BY A CS OF THOMAS PRESSING PLAY.

Thomas starts to bop his head.

AFTER A MOMENT INSERT A LONG SHOT OF THE SPACE EGG FLYING THROUGH THE MULTI-COLORED REALMS OF HIGHER SPACE.

Raising his fingers, Thomas feverishly types.

THOMAS TYPEWRITER
(narration) “Fade in from black. EXTERIOR SHOT – A realm outside time and space. Kaleidoscopic colors dance across the screen.”

The stage lights turn of to the sound of A LIGHT SWITCH CLICKING OFF. The sound of TYPEWRITER KEYS CLICK CLACKING continues as the Mid-stage curtains close.

FADE OUT