The Great Works Project: Season Three, Episode One script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 01

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-01”. 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

INT. UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE
The unroom Not.Seven is a large space, decorated in various shades of gray. Squares of lightly hued carpet sit on the floor, arraigned in expanding rows around a central circular wooden disc. Notice how the boards making the circle show signs of wear and age. THE OUTER ONE sits on one of the carpet squares facing the wooden disk but reading from THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.

OPEN ON XCS OF THE PAGES OF THE SCRIPTBOOK. PREFERABLY OPEN ON THE SCRIPT TO SEASON TWO EPISODE TWELVE.

SWITCH TO POV OF THE OUTER ONE SITTING IN THE UNROOM LOOKING AT THE SCRIPTBOOK.

The Outer One turns one page then another.

CS OF BLANK PAGES TURNING ACROSS THE SCREEN. ALLOW THE PAGES TO MOVE SLOWLY AND THAT WE HAVE TIME TO REALLY SEE THE GRAIN AND TEXTURE OF THE PAPER. TREAT THIS SHOT LIKE THE OUTER ONE IS LOST IN THE DETAILS OF THE PAGE, LETTING THEIR MIND RELAX AND START TO WANDER.

As the pages turn across the camera, one page snags a little catching the Outer One’s right index finger in a small papercut.

THE OUTER ONE
“Ouch.”

CUT TO CLOSE-SHOT OF THE PAPERCUT.

A drop of blood wells up out of the papercut and leaks onto the page of the script. As the paper absorbs the blood, the skin around the the papercut on the Outer One’s hand starts to turn a translucent blue.

CUT BACK TO PAGES TURNING.

After a moment the sound of TYPEWRITER KEYS CLICK CLACKING can be heard from somewhere in front of the Outer One. Only this time the last click of the group sounds distorted.

CUT BACK TO POV OF OUTER ONE LOOKING AT THE PAGES AND HE/SHE LIFTS HIS/HER HEAD AT THE SOUND TO LOOK FORWARD.

The wooden disc stands dusk twilight empty. Soon two unseen lamps burst on, bringing THE TYPEWRITER ABSTRACT PUPPET STAGE into view. A third unseen lamp attempts to turn on, taking multiple flickers to turn on. Each time it flutters, The Typewriter Abstract Puppet Stage flickers immaterial. The third unseen lamp finally powers on completely. The Typewriter Abstract Puppet Stage stands center in the wooden disc ready for the next show.

TRANSITION FROM THE UNROOM TO THE MID-STAGE.

THE CAMERA PANS INWARD TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE MID-STAGE: CURTAINS CLOSED

The Mid-Stage curtains part.

THE MID-STAGE: EMPTY, DEVOID OF SETS OR CHARACTER

THE CAMERA PANS IN TOWARDS AND THEN INTO THE MID-STAGE AREA. IT CONTINUES TOWARDS THE CURTAIN OF CLOUDS AT THE BACK OF THE STAGE.

The Curtain of Clouds parts.

THE CAMERA PANS PAST THE OPENING CLOUD OF CURTAINS INTO THE SPACE BEHIND, TO THE BACK-STAGE.

THE BACK-STAGE: THE CONCURRENT DISTANCES

An empty field of black, THE MOTHER sits center stage watching THE TRIPLETS (AVEN, ONDE, and NETTE) playing with wooden blocks and wind-up toys. The Mother appears to be in her thirties, while the Triplets appear to be toddlers. The Mother moves over to Aven and Onde, demonstrating how to stack the wooden blocks. They mimic her actions.

THE MOTHER
“Wonderful.”

Aven and Onde smile at her praise. She moves over to Nette and demonstrates how to wind-up a wind-up frog. Nette mimics her.

THE MOTHER
“Amazing.”

Nette beams at her praise. The Mother steps back and watches Aven, Onde, and Nette play with their toys. A YUCK-BUBBLE drifts in from stage-left. It slowly drifts over the Mother and Triplets’ heads before finally exiting stage-left.

THE MOTHER
“Be right back girls. Hurts to heal, wrongs to resolve.”

She exits stage-left. The Triplets continue playing in the Mother’s absence. Aven and Onde build towering wooden cities. Nette winds up a population of mechanical animals. The majority of the animals bounce, walk and jump away from the wooden block towers, except for a lion, goat, and snake. They deviate from the rest, moving towards the towers. They smash into the towers. A domino effect of tumbling wooden blocks knocks over all the wooden block structures Aven and Onde built while simultaneously crushing all the wind-ups Nette wound up.

Aven starts to cry at her smashed architecture. Nette starts to bawl at her smashed clockworks. Onde looks between the two unsure what to do. A BELL DINGS as a light bulb appears above her head.
Onde reaches up and grabs the light bulb from over her head. It turns off. She crawls over to Aven and puts the light bulb over Aven’s head. It hovers in the air over her head.

Onde hugs Aven. A BELL DINGS and the light bulb lights up. Aven stops crying. She dries her tears before reaching up and retrieving the light bulb. It turns off.

Aven and Onde crawl over to Nette. Onde hugs Nette while Aven puts the light bulb over Nette’s head. A BELL DINGS as the light bulb flickers on. Nette stops crying. The three sisters all hug each other. Aven reaches up and pulls down the lightbulb. She stashes it away.

Feeling better, the Triplets start to rummage through the wreckage. Every now and then someone finds something interesting and sets it aside.

TRANSITION FROM BACK-STAGE TO OPENING FRAMING SHOT

THE CAMERA STARTS TO PAN BACKWARDS AND AWAY FROM THE BACK-STAGE AREA.

The Curtain of Clouds begins to close.

THE CAMERA CONTINUES TO PAN OUT, MOVING THROUGH AND OUT PAST THE MID-STAGE.

The Mid-Stage curtains close.

THE CAMERA CONTINUES ITS PAN OUTWARD TILL IT FRAMES THE ENTIRE TYPEWRITER ABSTRACT PUPPET STAGE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off.

FADE OUT

The Great Works Project: Season Two, Episode Eleven script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Eleven

By Thomas Typewriter

dearoldtypewriter@gmail.com

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-11”. 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

INT. UNROOM NOT.SEVEN

We enter the unroom Not.Seven, a room of unseen corners and discrete angles, focused on a wooden disc centrally located. Around the wooden disc are rows of grey carpet squares with spindly metallic lamps, cords snaking off, casting soft light. THE OUTER ONE sits on one of the carpet squares near the disc. Patiently waiting.

POV OF THE OUTER ONE LOOKING DOWN AT THE CARPET SQUARES IN FRONT OF HIM/HER

The Outer One’s hand comes into view as he/she reaches out to touch a carpet square. Fingers run across the carpet feeling, touching, sensing. As if saying what is this material. The Outer One lifts an edge up exploring a fraying seam. From off-screen TYPEWRITER KEYS CLICK CLACK.

POV OF THE OUTER ONE SHIFTS FROM LOOKING AT THE CARPET SQUARES TO LOOKING AT THE WOODEN DISC.

The wooden disc sits shadowed and empty. Suddenly unseen lamps over the disc turn on manifesting the TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER PUPPET STAGE. STOP ONCE THE MID-STAGE PROPERLY FILLS THE FRAME.

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

THOMAS TYPEWRITER sits at his desk in the middle of the stage, feet propped up, reading “Latchkey Kids of Randomness”. On his desk sits his typewriter, a ream of paper, his phone, and a small jewelry box. To either side of the desk sit a lamp and a wastebasket. A small bookcase topped with houseplants sits behind him and off to the stage-right. Thomas turns the last page then closes the book. Stunned and awed, Thomas stares out.

THOMAS TYPEWRITER
“Wow.”

His STOMACH RUMBLES bringing his attention back to the here and now. He checks the time on his phone.

THOMAS TYPEWRITER
“Oh man. Almost missed dinner.”

Thomas stands, grabs his phone and the jewelry box. He bows towards his typewriter. The typewriter bows back. Thomas turns and exits stage-right.

TRANSITION FROM MID-STAGE TO HIGH-STAGE ALONG THE CURTAIN OF CLOUDS.

THE CAMERA PANS UPWARD, UNTANGLING FROM MID-STAGE. IT MOVES UPWARD GLIDING OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THEM. IT CONTINUES MOVING UP TO THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT CONTINUES TO THE HIGH-STAGE, STOPPING ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains open and the stage lights turn on, with the sound of A COMPUTER TURNING ON, revealing…

HIGH-STAGE: INT. THE SPACE EGG
The INNER-SPACE MAN sits in a padded sleek astronaut’s chair. A curved console and curved view screen sit in front of him. The console has a center monitor in the shape of a circle bisected by a long rectangle. 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 blank.

The Inner-Space Man is frozen in place, just about to press a button. We see him strain to move but he cannot. He, like all of Biff’s pretend characters, are immobile when Biff returns his costume to the Wardrobe of a Thousand and One Costumes at play-time’s end. Looking at his eyes we can see that the Inner-Space Man is aware of his petrification. Defiance flashes across his eyes as he rebels against the idea, the reality, that his life is dictated by another.

THE INNER-SPACE MAN
(voice-over, which starts really soft but grows in volume as The Inner-Space-Man chants) I can do this. I’ve broken past the boundaries of space and time. I am more than a story. I am real, so c’mon finger, move, just a little, come on you can move, move,move, you can do it, move, move, move, just a little further, move, move, move, move, move, move, MOVE, MOVE, MOVE, MOVE (continue chant as needed)…”

INSERT CLOSE SHOT OF THE FINGER HOVERING OVER THE BUTTON WHILE THE INNER-SPACE MAN CHANTS. SUPERIMPOSE A CLOCK OVER THE SHOT TO DENOTE THE PASSAGE OF TIME. AS THE CLOCK’S HANDS SPIN FASTER HAVE IT TRANSITION TO THE SUPERIMPOSITION OF A CALENDAR THAT HAS THE DAYS FLYING OFF. ONCE A THOUSAND DAYS HAVE SPILLED OFF REMOVE THE CALENDAR.

CUT TO EXTREME CLOSE SHOT OF THE FINGER HOVERING OVER THE HEXAGONAL BUTTON.

The finger twitches.

CUT BACK TO…

The Inner-Space Man’s eyes broadcast surprise, relief, and victory. Note that the Inner-Space Man, given the passage of time, will have longer hair and a beard.

THE INNER-SPACE MAN
(voice-over) “And now brown cow for the next finger.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES TO AND THEN DOWN THE CURTAIN OF CLOUDS. IT FOLLOWS THE CURTAIN OF CLOUDS TO THE MID-STAGE, GLIDING OVER THE TOPS OF THE MID-STAGE SETS. IT STOPS ONCE PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN
A sink, countertop, and stove run along the center of the stage. A series of cabinets hang over the countertop. A refrigerator sits off to stage-right. A table with a vase of flowers, Thomas Typewriter’ phone, and the jewelry box sits off to the other. Two chairs are pushed in at the table.

THOMAS TYPEWRITER stands at his stove stirring a small pot of sauce. On a back burner, pasta cooks in a pot of boiling water. A TIMER BUZZES on the stove and Thomas turns off the heat to back burner. He quickly grabs two oven mitts, drains the pasta in the sink, then dumps the pasta into the saucepan. He gives the pasta and sauce a few quick stirs before turning off the heat on the front burners.
He then goes over to the refrigerator and pulls out a head of lettuce and a head of escarole. He places them on a cutting board and slices off a bit. This he puts in a small bowl. He returns the escarole and lettuce to the refrigerator. He grabs from the cabinets olive oil, balsamic vinegar, and a plate. He sets the plate off to the side. He then pours a small bit of olive oil and balsamic vinegar on the salad. He picks up the salad and the plate placing them on the the table.

Thomas returns picking up the sauce pan and carries it over to the table. Carefully, he pours some of the sauce covered pasta onto his plate. He places the pan back on the stove. He pulls out some silverware from a drawer and a can of Black Cherry Satellite Soda from the fridge. Satisfied, Thomas sits down to eat. He places his hands in prayer and offers a silent gratitude to the spirits that sacrificed their bodies to be his meal.

THOMAS TYPEWRITER
“Know that we honor what you have given up, we acknowledge it was not without pain, giving up your life so ours may continue, and we say thank you. Now return back to the bright realms, to family and friends, to laugh and love again. Linger here no more. Amen”

As Thomas eats, he starts to fiddle with the jewelry box. Turning it round and round.

CUT TO CS OF JEWELRY BOX AND THOMAS ROTATING IT.

CUT TO EXTREME CS OF JEWELRY BOX AND THOMAS ROTATING IT.

The Mid-stage curtains close on the shot of the rotating jewelry box.

FADE OUT

Up Late, Late at Night: Season One, Episode One, Act VI script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

Act VI

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT VI———–

FADE IN

EXT. VARIOUS LOCATIONS ACROSS THE GLOBE, DAYTIME

LS OF THE CHASE

D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS are running from the angry mob of LASER JUDGE, PADDLES, CLAMSHELL and the PARTY GUESTS. D-Cop’s group are stage-right in the frame while Laser Judge’s group are stage-left.

Have each group running in place as the background cycles through photos of famous landmarks across the world. A simple chase montage to give an impression that they are being chased very far.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

The background is a photo of the front of the COMMUNITY COLLEGE UNIVERSITY. This should be a generic university that we could use over and over. If need be, a model can be built and a photo taken of the model.

D-COP’S group (D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS) enter stage-left and run across the screen exiting stage-right. LASER JUDGE’S group (LASER JUDGE, PADDLES, CLAMSHELL, and the PARTY GUESTS) soon follow. They enter stage-left, run across the screen and then exit stage-right.

ZOOM IN ON ONE OF THE BUILDINGS IN BACKGROUND OF THE COMMUNITY COLLEGE UNIVERSITY

FADE TO

INT. COMMUNITY COLLEGE UNIVERSITY CLASSROOM MPG-27.5

LS OF THE BACK HALF OF CLASSROOM

The back half of the classroom is divided into two rows, with the front row being lower than the back row. Each row is a series of desks arranged in one long line facing the front. In the center desk of the front row sits GIBLETS. He is unconscious.

PAN IN ON GIBLETS. GO FROM LS TO MS.

Giblets wakes with a start. He sits up and looks around.

GIBLETS
“Is class over? (looks around)Guess so.”

Giblets stands up. He reaches over and picks up his guitar and slings it over his back. He exits stage-right.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

LS OF COLLEGE FRONT

Giblets walks across the screen, stage-left to stage-right then exits.

CUT TO

EXT. COUNTRY ROAD, AFTERNOON

LS OF COUNTRY ROAD LOOKING DOWN THE ROAD AT A SLIGHT ANGLE AND ELEVATED. LOOKING DOWN.

The country road is two-lane, with a gravel edge and drainage ditch on either side. Telephone poles line one side of the road while trees or fencing line the other side.
GIBLETS enters the frame, back to camera, and walks away from the camera, into the distance. He walks slowly along the side of the road as SLOW MELANCHOLIC PIANO MUSIC plays

FADE TO BLACK

TRANSITION FROM TV SHOW TO THE TRASH HOLE

PAN OUT CAMERA SLIGHTLY TO SHOW THE BLACK SCREEN IS THE BLACK SCREEN ON A TV SET.

INT. THE TRASH HOLE. NIGHT

LS OF THE TV AREA

The broken TV which D-Vid and B-Max were working on, and ultimately zapped into, shows a screen of black. Soon end credits scroll across the screen. If needed, the name of the show that played is “U-turns Me” directed by “Alan Smitheelufagus”

CUT TO MS OF T-RASH THE TRASH GOD

T-RASH watches the end credits roll.

T-RASH THE TRASH GOD
“I liked that. Wonder what is on next.”

FADE OUT

Up Late, Late At Night: Season One, Episode One, Act Five script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

ACT V

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT V————

FADE IN

OPEN ON A CLOSE SHOT OF THE FUNDRAISER FLYER WITH THE STAGE CURTAIN BEHIND IT. THE FLYER ZOOMS AWAY AND THE CAMERA MOVES DOWN TO THE BEHIND THE STAGE

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
The stage curtain lines the back of the stage. D-COP, B-COP, B-RAY and MR. PUPPETS, CLAMSHELL, CASS-E, V-HESS, JEWELCASE, GRETAL and HANSEL are gathered behind stage ready to preform. Everyone is dressed in white and red and stationed with an instrument except B-ray. He is off to the side dressed in a very wide lapeled suit.

B-COP is holding a guitar and wearing a white suit, red vest and pants. Cass-E has her hair down, dressed in white shirt with red vest and pants, stands at a portable organ. Jewelcase is dressed in a red suit with a white undershirt and giant carafe. She stands in front of a keyboard. Hansel sits at a drum kit dressed in white shirt and matching red vest and pants. Clamshell holds a bass guitar and wears a white shirt and red vest/pants outfit similar to the others. Gretel wears a red and white jumper and holds a tambourine. B-COP is dressed in all black, black pants black tee with sleeves cut off and a loosely tied black tie. She is holding a guitar. B-Ray is wearing a head mic and earpiece while holding Mr. Puppets. Mr. Puppets wears a similar ear piece while holding a clipboard.

MR. PUPPETS
(looking at notes on clipboard) “Were on in five Big D.”

D-COP
“Everyone ready?”

All the others nod yes.

D-COP
“And let me remind everyone this is probably my last chance to trick the Laser Judge into giving me a chance to earn her love. Play like my love life depends on it.”

B-COP
“Hopefully you all play better than you drive.”

D-COP
(looking over at B-Ray & Mr. Puppets at the side of the stage ready to work the curtain) “When I count to three, open the curtains.

B-RAY
“Got it.”

D-COP
“1…2…wait. Clamshell, is that Paddles in your coat.”

CLAMSHELL
“Yes.”

D-COP
“Why isn’t he back at the house?”

CLAMSHELL
“I thought he’d get lonely. Besides, he loves to rock out. Isn’t that right Paddles.”

PADDLES
“Woof Woof”

D-COP
“If Laser Judge sees us with her stolen dog, she is going to know we stole the dog.”

B-COP
“You stole.”

D-COP
“I stole. Now get Paddles out of here before anyone sees him. Hide him in the car for now.”

Clamshell and Paddles exit stage-left.

TRANSITION FROM BACKSTAGE TO THE FRONT ENTRANCE

CUT TO…

EXT. FRONT GATES OF LASER JUDGES MANSION, AFTERNOON
A brick wall, the Laser Judge’s property’s fence, runs across the stage. There is a large metal gate and driveway to the stage-left side. A larger cardboard box sits outside the front gate. “FOR DONATION” is written on the outside of the box in large letters. On the stage-right are some cars parked along the grass embankment.

CLAMSHELL enters through the garden gate, walking from the party to where he parked on the road outside the Laser Judge’s estate. PADDLES is still in his shirt. He walks over to the second car, opens the door, and places Paddles inside. The second car’s license plate reads “DCOPS CAR”.

CUT TO MS OF CLAMSHELL AND PADDLES

CLAMSHELL
“Now be good and wait here.”

CUT TO CS OF PADDLES

Paddles wimpers.

CUT TO CS OF CLAMSHELL

CLAMSHELL
“Oh, don’t cry. I’ll be back soon I promise.”

Paddles jumps licking Clamshell’s face

CLAMSHELL
“Oh, that tickles. I love you too boy.”

CUT TO MS OF CLAMSHELL AND PADDLES

Clamshell pushes Paddles into the car and shuts the door.

CLAMSHELL
“Be a good boy while I am gone okay.”

Paddles nods yes. Clamshell walks away.

CS TO PADDLES

Paddles reveals he stole the keys for the car from Clamshell.

PADDLES
(gives a laugh)

He moves over to the steering wheel and starts the car. The Car drives out of frame, stage-left.

CUT TO MS OF CLAMSHELL AT THE GATES

Clamshell is returning to the party, walking up to the front gates. He passes by the box, stops, and backtracks to look inside the box. He removes some clothes and walks through the gate.

TRANSITION FROM FRONT GATES TO PARTY ENTRANCE

EXT. THE PARTY ENTRANCE, AFTERNOON

LS OF PARTY ENTRANCE

NATE TRACK, an eight-track cassette dressed as a security guard, stands at a podium erected on the top of the driveway. This would be in an area of to the side from the driveway, that could serve as access to a path along the side of Laser Judge’s house leading to the garden in the back. The party itself is being held in the back lawn garden. An arch of balloons acts as the gateway to the party. Nate Track stands in front of the archway. CLAMSHELL, dressed in a tux with tails and tophat. Now the thing is that Clamshell’s tux looks all wrinkled since he pulled it was stuffed into a box.

CUT TO MS OF NATE TRACK AND CLAMSHELLS

Clamshell attempts to go through the archway, but Nate blocks his path.

NATE TRACK
“Reservations.”

In response to this question, Clamshell pulls out a monocle and puts it on.

NATE TRACK
“Sir, If you do not have a reservation, I am going to have to ask you step aside.”

To this Clamshell responds by pulling out a second monocle from his jacket. He places the second monocle over the first.

NATE TRACK
“Two monocles! Only the wealthy can afford such eccentricities. I am sorry sir, I didn’t notice your wealth originally. Please accept my sincerest apologies and enjoy the party.”

Nate Track steps to the side of the archway. Clamshell nods and walks through the archway.

CUT BACK TO…

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
Everyone is waiting at their instruments, except B-Ray and Mr. Puppets. They stand off to the side by the curtain and light controls.

B-COP
“What is taking Clamshell so long?”

D-COP
“We don’t have time to wait. Everyone, we go live on the count of three. One…Two…Three…”

B-Ray starts to open the curtains.

CUT TO (OR REVERSAL)

EXT. LASER JUDGE’S GARDEN STAGE

LS OF STAGE FROM AUDIENCE

The curtain opens as we hear a slow beat. Everyone in the band faces towards the audience while D-Cop has his back to the audience. The rest of the band is arranged around him in a semi-circular fashion. D-Cop bops to the beat a few times and then turns around. He moves up to the microphone to speak. In the Audience, near the front of the stage stands LASER JUDGE. Towards the back of the audience stands CLAMSHELL.

D-COP
“Hello everyone, I am D-Cop and together with these fine folks behind me, we are Vega’s Lemons, your entertainment tonight. When the Laser Judge asked us to help out with tonight’s fundraiser to find that lost little bundle of joy, Paddles, well, I’ll be honest, I shed a tear. Thinking of that poor scared dog definitely lost and not taking a bath in someone’s house, well we had to say yes. (Turns to look directly at someone) Laser Judge, I will always say yes to you.”

B-COP
“Ahem”

D-COP
“Oh yes. Enough seriousness, this is a party. Lets enjoy ourselves. Now those youngsters in the audience may not know this one, but trust us old timers when I say, in our day, this song rocked our world. (turns to band) Okay on three. One, Two,…”

The band starts to poorly play Rock-A-Bye Baby.

D-COP
“Rock-a-by baby on the tree top. When the wind blows, the cradle will rock. When the bough breaks…”

CLAMSHELL, dressed in his rumpled found tux and holding a plate of fruit and hors d’oeurves, stands up.

CLAMSHELL
(shouts) “YOU SUCK!

D-COP
“Oh, you know that one. Well, how about this one.”

They start to play Twinkle, Twinkle, Little Star

D-COP
“Twinkle, twinkle, little star…”

CLAMSHELL
“GET OFF THE STAGE!”

Clamshell throws food at the band. D-COP gets hit by food. Then the rest of the audience joins in throwing food at the band.

INSERT CS OF THE VARIOUS MEMBERS OF THE BAND BEING HIT BY FOOD.

The band recoils and tries to shield themselves behind their instruments.

SLOW-MOTION

Then a LOUD CRASH as D-Cop’s car crashes through the wall of the back of the stage. PADDLES, dressed in a rock star outfit, flies out of the windshield. Paddles flies out and lands on the stage, guitar in paws. He slides across the stage to the astonished looks of the band and audience

INSERT VARIOUS CS OF THE SURPRISED LOOKS ON THE AUDIENCE MEMBERS AND BAND MEMBERS

He reaches the front of the stage and starts to shred on his guitar.

SLOW-MOTION ENDS AND REGULAR SPEED RESUMES

Everyone stands frozen and silent, in shock at Paddles arrival. Paddles finishes his guitar solo and stands. He bows the audience.

LASER JUDGE
“Paddles! That’s my Paddles.”

PADDLES
“Woof”

LASER JUDGE
“Come here boy, I’ve missed you so much.”

Paddles jumps off the stage and onto the lap of Laser Judge. They excitedly snuggle.

CLAMSHELL
“Everyone, he must of escaped in the car of the dognapper.”

D-COP
“Now, lets not jump to any incriminating conclusions. The important thing is they are reunited right.”

CLAMSHELL
“The car’s license plate says DCOP. Everyone, D-Cop is the dognapper. DOGNAPPER! DOGNAPPER!”

LASER JUDGE
“He’s right. Dognapper!”

The audience starts to chant “Dognappers!”.

D-COP
“Thank you everyone, you’ve been a great audience, but our time here has come to a close, and let me say…”

CLAMSHELL
“Get them!”

B-COP
“Cheese it fellas!”

The band runs off stage. The audience follows chasing behind them. The audience now has torches and pitchforks.

ONCE EVERYONE HAS LEFT THE FRAME PAN IN ON THE CAR CRASHED THROUGH THE BACK OF THE STAGE.

Pinned under the car, B-Ray hopes help finds him soon.

CS OF B-RAY PINNED UNDER THE CAR

B-RAY
(to Mr. Puppets) “It’s all up to you Mr. Puppets to get help. You’re my last hope.”

CUT TO MS OF B-RAY, WITH THE CAMERA ON THE STAGE OR FLOOR LEVEL.

B-Ray tosses Mr. Puppets.

B-RAY
“Go Mr. Puppets. Run for help.”

Mr. Puppets lands on the stage, next to the camera so that the crumpled Mr. Puppets is in the foreground of the shot and the crushed B-Ray is in the background. Hold the shot a few moments.

B-RAY
“I’m screwed.”

FADE OUT

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 Ten

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-10”. 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
The unroom Not.Seven is a vast space, a cavern of small and large. A wooden disc sits in the center, surrounded by waves of multi-hued grey carpet squares. Tall spindly metallic lamps attempt to illuminate the room.

OPEN IN POV OF THE OUTER ONE

THE OUTER ONE sits on a carpet square looking at the wooden disc in anticipation. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from some place far away by way of the wooden disc.

THE CAMERA MOVES OUT OF THEN INTO FOCUS

Unseen lamps above the wooden disc click on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON MID-STAGE UNTIL IT FILLS THE SCREEN AND IS PROPERLY FRAMED

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 STUDIO
A desk sits in the center of the stage topped by a typewriter and a ream of paper. A book, a phone, and a pair of headphones sit on top of the paper. A sheet stands ready and loaded in the typewriter. A lamp waits to the stage-right side of the desk, a wastebasket pauses stage-left. A small bookcase, adorned with various houseplants, watches skewed off to the stage-right side. THOMAS TYPEWRITER is sitting at the desk looking off to the side, lost in thought. As his mind drifts, his fingers tap on the desk. TAP…TAP…TAP…

CUT TO CS OF THOMAS’ FINGERS TAPPING ON THE DESKTOP AS THEY SLOWLY DRIFT TOWARDS THE TYPEWRITER

TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…CLICK AS A TYPEWRITER KEY IS PRESSED. Thomas’ fingers pause. Then a second keystroke and CLICK.

CUT BACK

Thomas rotates into the desk and opens a drawer. He pulls out a small jewelry box and sets it next to the typewriter. Looking at the box for a moment he turns to the typewriter and starts to type.

THOMAS TYPEWRITER
(narration) “Biff found his life slipping out of control, and he felt scared.”

Thomas turns from the typewriter and pulls out a book, “Latchkey Kids of Randomness”, from his desk. He opens the book, carefully setting the bookmark to the side, and starts to read.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FORM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT CONTINUES PANNING UPWARDS, FOLLOWING THE CURTAIN OF CLOUDS. THE CAMERA MOVES TO THE TOP OF THE CURTAIN OF CLOUDS FINALLY STOPPING FRAMING THE HIGH-STAGE LOCATED AT THE TOP OF THE CURTAIN OF CLOUDS. IT STOPS PROPERLY FRAMING HIGH-STAGE.

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

HIGH-STAGE: INT. THE CARRO’S OBSERVATION DECK
The Observation Deck is in a sad state, showing signs of excessive damage from the recent space storm. Wires hang from the ceiling. Scattered debris covers the floor. The amber emergency alarms are now dim. Smoke pours in from off-stage. A spiderweb of cracks are visible in the observation window. The sound of GLASS CRACKING resonates across the stage.

CUT TO CLOSER SHOT OF THE CRACKING OBSERVATION WINDOWS

The cracks grow and grow till the window shatters. The Observation Deck decompresses. ROARING WIND as all the loose unsecured items are sucked out the window. Soon the ROAR SUBSIDES as the last of the atmosphere escapes. Small bits of debris float by weightlessly.
ARG-0519, a diamond shaped Sat-bot in the employ of the Jovian, moves past the window casting a spotlight from it’s diamond like central eye across the deck. It scans the room then flies off. A few moments later a large simian-like gloved hand grabs the edge of the window.

CUT TO CS OF THE GLOVED HAND

The image cuts to black with the sound of A COMPUTER TURNING OFF. The High-stage curtains soon follow, closing on today’s episode.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT MOVES TO THE CURTAIN OF CLOUDS, FOLLOWING IT TO THE BOTTOM. THE TOPS OF THE MID-STAGE SETS SLIP INTO VIEW. THE CAMERA CONTINUES DOWNWARD TILL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas sits at his desk reading. He reads a few pages then rotates toward his typewriter. Holding his place in the book with one hand, Thomas uses his other hand to hunt and peck at the keyboard.

THOMAS TYPEWRITER
(narration) “But still he moved forward.”

Thomas stops typing and resumes reading. The stage lights turn of with the sound of A LIGHT SWITCH CLICKING OFF, to which Thomas reaches over and turns on his lamp. The Mid-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter, August 10th, 2020 edition

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

When I was growing up, I had this overwhelming feeling that the world had lulled. As in, I felt like maybe I had been born in one of the times that was not too volatile nor too peaceful. The savagery is in the past and the wonders are in the future. I look back at that naive kid and shake my head. You had it so wrong buddy. I am still on furlough from my day job. No answer for when the movie theatre will reopen. I miss movies. Movies and museums.

But with every sour, there can be a little sweet. Working the late hours of a movie theatre Manager’s schedule, I felt like Primo and Secondo were slipping through my fingers. Not them physically, but more like time with them. Now that we have all this time, they have convinced me to play Minecraft with them. It is a lot of fun. Relaxing too. (Secondo asks me “Dad, what do you want to do in Minecraft?” I responded, “Dig ditches.” He did not find that answer as humorous as I did.)

Progress moves forward on The Great Works Project. Next week should see the posting of the next script for Season Two. I am nearing completion of the Season Five rough drafts. Plus, while on vacation I was able to plot out Season Six.

In a continuing effort to improve myself, I return to working my way through a list of great works of art. Hopefully, I’ll discover something inspiring. If not, that is okay too. The exposure itself is the most important thing.

Cinema Assignment: Alien (1979)

Literature Assignment: “Altered Carbon” by Richard K. Morgan.

Music Assignment: “Alien Lanes” from Guided By Voices

Thank you Brighid for the gift of this artwork and the spark of all art. Thank you Above, Below, and four Corners born between for your love, guidance, and gifts.

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

———–<: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

———–<: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 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

———–<: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

Up Late, Late At Night: Season One, Episode One, Act IV script

scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

ACT IV

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT IV———–

FADE IN

EXT. D-COP’S HOUSE, DAYTIME

OPEN ON A LS OF THE FRONT OF D-COP’S HOUSE

Hold the shot a moment, but then we catch a glimpse of the students sneaking one by one from some object in the yard, shrub or shed…etc, to the back of the house. The very first should be V-HESS and the last should be JEWELCASE.

CUT TO MS OF REAR OF D-COP’S HOUSE

V-HESS, CASS-E, HANSEL, GRETEL, B-RAY with MR PUPPET, CLAMSHELL, and JEWELCASE huddle near a window.

CASS-E
(strong whisper) “What are we doing here.”

EVERYONE ELSE
“Yeah.”

V-HESS
“Shhh. You want him to hear us.”

B-RAY
“Then why are we sneaking around his house on a Saturday morning.”

MR. PUPPETS
“Yeah we could be watching cartoons, like the one where the Fonz travels in a spaceship.”

V-HESS
“I’m tired of that guy and that class. It makes no sense. Twenty hours to explain how to adjust the mirrors. Something weird is going on.”

B-COP
(off-screen) “You better believe something weird is going on.”

THE CAMERA PANS OUT ENOUGH TO SHOW B-COP AND THE HUDDLED STUDENTS.

CASS-E
“Oh no. Cheese it fellas!”

B-COP
“Cool it. I am not here to rat you out. I want answers too. Why’s he so excited to teach this class? (turns to V-Hess) So what’s your plan.”

V-HESS
“There’s dog poo everywhere in his backyard. So I made a giant bag of dog poo that we will set on fire. Heck, we could even make two flaming poo bags. Yeah. Double doo-doo doorbell ditch.”

Everyone groans.

B-COP
“That is awful. Why don’t we look in the window instead. Spy on him and see what he is up to.”
Everyone agrees B-Cop’s idea is a better idea. V-Hess throws away the bag of dog poop.

B-COP
“Okay. Now who is the lucky person to look through the window. It’ll need to be the lightest person here.”

Everyone looks around.

CAMERA SHIFTS BACK AND FORTH TILL FINALLY SETTLING ON MR PUPPETS.

MR PUPPETS
“Uh-oh.”

CUT TO…

INT. D-COP’S BATHROOM, DAYTIME

A simple bathroom with a bathtub/shower and toilet along one wall. On the other wall is the vanity, mirror, and towel rack. A window sits up high on the short wall perpendicular to the tub wall and vanity wall.

LS OF BATHROOM

D-COP sits in the bathtub with PADDLES, a dog made from a ping-pong paddle. The bathtub is filled with bubbles from an especially foamy bubble bath. D-COP is singing into a scrub brush. While D-Cop sings we can see the face of Mr. Puppets come into view in the upper window.

D-COP
(singing into scrub brush as if it was a microphone) “I met him at the dance floor.
He turned around and I said I would take more.
When we danced, we danced.
All the stars were shining advanced.
You get the idea.”

D-COP points the scrubbrush to PADDLES

PADDLES
“Woo-Woo-Woof”

D-COP
“That’s when I kissed the Leader of the Pack.
Uh-huh
That’s when I kissed the Leader of the Pack.”

PAN OR TILT THE CAMERA UP SO WE CAN SEE MR. PUPPETS MAKE A FACE AT WHAT HE IS SEEING.

Mr. Puppets leans in further to watch. Soon his face is joined by more of the classmates. Then there is a loud RIPPING NOISE as the wall caves in and everyone topples into the bathroom. D-Cop screams.

Cass-E rises first.

CASS-E
“Cheese it fellas I think he’s noticed us.”

Everyone runs out of the room.

CUT TO…

INT. LIVING ROOM OF D-COP’S HOUSE, DAYTIME

D-Cop’s living room has two sofas and a recliner. A large sofa in the center with a smaller sofa off to stage-left and a recliner to stage-right. V-HESS, B-RAY and Mr. Puppets sit on the smaller sofa. CLAMSHELL, CASS-E, and JEWLECASE sit on the larger sofa leaving a space at the stage-right end. B-COP sits in the recliner. HANSEL AND GRETEL are playing with PADDLES behind the sofa. D-COP is carrying a tray giving drinks to everyone.

B-COP
“So you’re saying the reason you have been acting so weird and why caught you having a bubble-bath sing-along with a dog is that you dognapped Judge Laser’s dog to make her too upset to teach traffic school so she would have to ask you to teach the class and she would then realize how great you are.”

D-Cop sits down on empty spot on larger sofa.

D-COP.
“Yup.”

B-COP
“That’s messed up.”

Clamshell stands up and claps, slow clap. He walks over to D-Cop.

CLAMSHELL
“I just want to say that was the most impressive thing I have ever heard in my years on this planet. I have been needing the guidance of somebody as wise as you. Please teach me to be just like you.”

B-COP
“Whoa, whoa…”

V-Hess stands.

V-HESS
“Just like Clamshell, I just want to say that is the most gnarly bone-curdling thing I have ever heard and I am on board. Teach me your dark ways.”

B-COP
“I think you two are reading this all wrong.”

Cass-E stands.

CASS-E
“Maybe it’s all the medications I take but what all of you are saying makes a lot of sense to me right now and I want to learn your ways of love.”

Clamshell stands.

B-COP
“Oh, not the little old lady too.”

CLAMSHELL
“I may have started this class as a puppeteer…”

CUT TO CS OF B-RAY MR. PUPPETS

B-RAY
“What?”

CUT BACK TO CLAMSHELL

CLAMSHELL
“But you sir are the true master of Puppets. Count me in.”

Just then the phone rings. RING, RING, RING. D-Cop goes over to pick it up, moving into the foreground. Maybe have a shift of some kind, like lighting brighter on him and background darkens. Shift back at end of call.

D-COP
“D-Cop’s residence, D-Cop speaking. What’s that. Oh, hi Laser Judge. Are you crying? Oh, I’m sorry. What’s wrong. (pauses as he listens) No. They did what. Is there anything I can do to help. (listens) Well, I could take over for that if it would help you out. You know I am always willing to help you out. Okay, so dry those tears I’ll be right over and everything will be better. We’ll get through this, together.”

D-Cop hangs up the phone.

D-COP
“That was Laser Judge. Her Garden Party Fundraiser is a disaster. The band canceled on her and she is at a loss. My plan is working…”

B-COP
(off-camera) “No it’s not.”

D-COP
“Luckily for her, old D-Cop is here to save the day, because something you may not know about me my other Minor in college was music.”

D-COP turns around and the visual effect goes away. We now can see that everyone except Paddles and B-Cop are dressed like D-Cop.

CLAMSHELL
“That’s funny because my other minor in college was music.”

V-HESS
“That’s funny too because my other minor in college was also music.”

CASS-E
“Weirdly enough my other minor in college was music.”

CUT TO CS OF B-COP

B-COP
(turns to camera) “I better stick around to save them from themselves.”

FADE OUT