The Great Works Project scripts

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 9

by Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward rapidly the following text: “06-09”. It enters from the bottom of the frame and moves up, pausing in the center before continuing upward. It exits through the top of the frame.

FADE OUT
FADE IN


GRIGIO COLORI
(voice-over) “Fade-in to exterior of the Unroom Not.Seven. Long shot of the revolving door to the unroom Not Dot Seven.”


FADE IN


EXT. UNROOM NOT.SEVEN’S REVOLVING DOORWAY, TWIXTLIGHT


LS OF THE REVOLVING DOOR


The revolving door entryway to the Unroom Not.Seven sits center. The wall it is built into is not visible, giving the doorway the illusion of free standing. A bright round globe is attached to the invisible wall above the revolving door. The door itself is a cross shaped revolving door, made from two lines crossing at ninety-degree angles on a central round pipe. There are four sections in the door allowing up to four people to use the door at one time. Each section is glass panel with a horizontal hand hold or push bar mid-center. Above the push bar painted on the glass is the following symbol: “ .7 ”. The bottom of each interior glass panel has a rubber skirt. Semi-circular glass enclosures wing out from either side of the doorway. There is enough space between them to allow one person using the doorway to exit or enter at a time.


GRIGIO COLORI
(voice-over) “Pan inward from outside the Unroom to inside to the Typewriter Abstract Puppet Stage through a series of cuts.”


The sound of TYPEWRITER KEYS CLICK CLACKING drifts through the doorway.


TRANSITION FROM THE DOORWAY TO THE TYPEWRITER ABSTRACT PUPPET STAGE


PAN IN TOWARDS THE DOORWAY AND THEN INTO THE UNROOM NOT.SEVEN THROUGH A SERIES OF CUTS. EACH CUT IS ACCOMPANIED BY THE SOFT SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER.


INT. UNROOM NOT.SEVEN, TWIXTLIGHT
The unroom Not.Seven is a room of indeterminable size. In front of the doorway are semi-circular rows of grey carpet squares. They radiate out from a wooden disc sitting near a possible center of the space. The TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, facing towards the grey carpet squares. The entire scene is softly illuminated by spindly metallic lamps at the end of the rows. The lamp’s cords snake off into the distance, of which you wonder the distance.


LS OF THE UNROOM FROM JUST INSIDE THE DOORWAY

PAN IN TO THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE THROUGH A SERIES OF CUTS. PAN IN UNTIL PROPERLY FRAMING THE MID-STAGE. EACH CUT IS ACCOMPANIED BY THE MODERATE SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER.


MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains part, and the stage-lights turn on with THE LOUDER SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER and also A CLICK OF A LIGHSWITCH TURNING ON, revealing…


MID-STAGE: A STACK OF PAPERS

CS OF A STACK OF PAPERS.

A tall stack of cells or paper illustrations for Ophidia Operahouse’s short film sit before the camera. From stage-left, THOMAS TYPEWRITER’S fingers come into view and grab the top sheet. They drag and lift the top sheet out of the frame. It makes the PAPER SCRAPING ACROSS PAPER sound we have been hearing before now.

CUT TO

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk runs across the stage while a drawing desk sits behind the long desk. On the long desk is a computer monitor, small desktop, keyboard, mouse, a scanner, a bin, and a large stack of papers. THOMAS TYPEWRITER sits at the desk moving pages from the stack of papers to the scanner. Thomas leans over grabbing the top page from a stack of papers to the side of the computer. He opens the scanner lid and places the paper inside. After closing the lid, he fiddles with the computer. The HUM AND WHIR of the scanner activating goes out. Thomas opens the scanner lid when it finishes. He removes the sheet of paper and places it in a bin to the opposite side of the desk. Behind him sits OPHIDIA OPERAHOUSE at the second desk. It is an animator’s desk with full light table. Various pencils and squares and drawing guides sit on top of the desk. To her side is a shelf of pull-out bins. Various papers and extra drawing materials fill the bins. Ophidia focuses on her drawing, leaning over to finish a drawing while Thomas scans. As he scans his third piece of paper, Ophidia stretches in her chair. She gets up and walks behind Thomas, tenderly placing her hands on his shoulders. He reaches up one hand, the one not using the computer mouse, and places it on top of her hand.

OPHIDIA OPERAHOUSE
“I’m going to stretch my legs and get a snack. You want anything?”

THOMAS TYPEWRITER
“Something to drink would be nice, if your offering.”

OPHIDIA OPERAHOUSE
“Oh, I am offering.”

THOMAS TYPEWRITER
(looking at Ophidia) “Then I am accepting.”

OPHIDIA OPERAHOUSE
“Be right back then.” “Then I’ll be right back. “Be right back.”

THOMAS TYPEWRITER
“Okay.”
Ophidia exits stage-right. Thomas puts away the sheet he is currently scanning and reaches for a new one.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA DETACHES FROM PROPERLY FRAMING MID-STAGE AND PANS UPWARD. IT GLIDES UP AND OVER THE SETS, GLIDES OVER THE CURTAIN OF CLOUDS, UPWARD AND UPWARD. ONCE IT REACHES THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE, IT STOPS PANNING WHEN PROPERLY FRAMING HIGH-STAGE.

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

HIGH-STAGE: INT. PANACEA FLAUTO’S OFFICE IN THE FLUTE MEDICALSHIP, EARLY EVENING.
Panacea’s office is a desk sitting in the middle of the stage with the back walls lined by filing cabinets of various heights. On top of each filing cabinet are multiple stacks of books and papers. Crammed between the stacks of books, in any open spaces are various rolled up medical charts, boxes, and medical equipment. There is one succulent emerging from the filing cabinets on the stage-left, its long leaves dropping out causing a splash of color in the office. Panacea’s desk is a large metal affair, covered in stacks of medical charts and paperwork. Two spare Med-scanners sit on the side of the desk amidst a collection of empty coffee cups. PANACEA FLAUTO sits at her desk, feet propped up, reading through a stack of files. She has a small black and white Vid-screen, in an antiquated case, sitting on top of the files in one of the pulled out filing cabinet drawers. The Vid-Screen is on but not actually set to a channel yet. It is displaying a static snow signal. There is a KNOCK ON THE DOOR from off-stage.

PANACEA FLAUTO
“Who is it?”

CEDAR WAXWINGS
(off-screen) “Cedar.”

PANACEA FLAUTO
“Oh, come on in.”

Panacea puts the folder away and starts to move the paperwork from her desk. CEDAR WAXWINGS, inside a Medi-pod, rolls into the room from stage-right. He enters holding a bag of food from the ship’s cafeteria.

CEDAR WAXWINGS
“I didn’t know which salad you preferred so I got both. Sorry if that is a problem.”

PANACEA FLAUTO
“That’s no problem. That was nice of you.”

Cedar sets the bag on the desk. Panacea reaches into the bag and pulls out two containers of salad and two cans of Nutri-Soda. She reads the labels on both salads and picks one.

PANACEA FLAUTO
“Did you grab any napkins.”

CEDAR WAXWINGS
“No, sorry. Was I suppose to?”

PANACEA FLAUTO
“That’s okay. I’ve got some in my desk.”

CEDAR WAXWINGS
“From all your desk dinners.”

PANACEA FLAUTO
“Hey, I have a lot of paperwork with this job.”

CEDAR WAXWINGS
“I can see that.”

Cedar holds up his hands in mock surrender. Panacea shakes her head but smiles. She reaches into a drawer and pulls out some napkins. She then turns to the Vid-screen and turns to Channel 200 “The Bird House”. The title credits for the movie “North by North by Northwest” play across the screen.

CEDAR WAXWINGS
(while trying to grab the other salad off the table) “So what’s on tonight?”
Panacea pushes the other salad to the edge of the desk, so as to be closer to Cedar’s reach. Cedar is then able to pick up the salad container.

PANACEA FLAUTO
“Soap Bubble Medical Theatre is on hiatus this week, so I thought we’d watch this oldie, North by North by Northwest. Ever seen it?”

CEDAR WAXWINGS
(pouring salad container into a drawer that opened on the front of his Medi-pod) “No, what is it about”

PANACEA FLAUTO
“It is about a young boy who decides to travel the world looking for new parents but is mistaken for a spy and pursued by shadowy agents.”

CEDAR WAXWINGS
“Sounds interesting.”

PANACEA FLAUTO
“It is. Just watch and you’ll see.”

They turn towards the Vid-screen as the opening sequence for “North by North by Northwest” plays.

NORTH BY NORTH BY NORTHWEST OPENING SEQUENCE:
INT. ATTIC PLAYROOM, DAWN
Open on a nondescript Attic that has been converted to a children’s playroom. The rafters have been covered in a medium-dark paneling with a the top half painted in white to increase the feeling of openness in the space. Green vines and leaves are hand painted along the edges of the white painted areas to add a soothing decorative element. A window is situated at each end of the playroom. The window facing the dawn has shafts of sunlight pouring through it, illuminating strips of the room. A short table with a train set sits in the center of the space. Around the room, various toy vehicles sit scattered among various buildings made of building-block toys. The selection of toys and buildings can vary but there will need to be a cab, a commercial plane, a crop-duster prop plane, a bicycle, a dogsled, a car, a cruise ship, a skyscraper with reflective windows, Mount Rushmore, a country manor, a mall, an igloo, and a hotel.

PROGRESS THROUGH A MONTAGE OF CLOSE-SHOTS OF THE TRAIN AND THE SPECIFIED TOYS AND BUILDING MODELS. EACH SHOT DISSOLVES INTO THE NEXT. END THE SEQUENCE ON AN ANGLED SHOT OF THE SKYSCRAPER.

MATCH DISSOLVE FROM THE IMAGE OF THE MODEL SKYSCRAPER TO A SHOT OF AN ACTUAL SKYSCRAPER. THE PLACEMENTS AND ANGLES OF THE WINDOWS NEED TO BE THE SAME BETWEEN THE MODEL AND THE REAL BUILDING. THE FIRST DETAIL TO COME IN WILL BE THE REFLECTION OF TRAFFIC IN THE WINDOWS. ONCE THE DISSOLVE COMPLETES HOLD THE SHOT TO SHOW THE TRAFFIC AND COMMUTERS IN THE STREET SCUTTLING BY.

CUT TO

EXT. HITCHLEH REIBEL CITY, RUSHHOUR
Hitchleh Reibel City is a large metropolitan city in the midst of rushhour. Countless people are getting off work and heading home for the day. They flood out of buildings at the heart of city, that stab at clouds, to huddle in buses, subways, cabs and cars that flow through routes branching like veins. The oxygen is leaving the city to be distributed to the outlying districts.

PROGRESS THROUGH A MONTAGE OF SHOTS OF PEOPLE LEAVING BUILDINGS, WALKING IN LARGE GROUPS DOWN STREETS, GETTING ONTO BUSES, GETTING ONTO SUBWAYS, GETTING INTO CABS, AND GETTING INTO TRAINS.

CUT TO CRANE SHOT OF GRANTWOOD AVE

NORTH NORTHERLY, a young child of around eleven dressed in a youth ice hockey uniform, is walking down the street.

IRIS IN ON NORTH NORTHERLY

CUT TO A MONTAGE OF NORTH NORTHERLY WALKING ACROSS VARIOUS STREETS AND BRIDGES AND PATHS IN THE CITY AS HE MAKES HIS WAY TO…

INT. THE ROSE & COMPASS MALL, DAYTIME
The Rose & Compass Mall is a large multi-story mall. Glass lined ceilings overlook three levels of shopping. Tiled floors lead to small landscaping beds, tranquil fountains, and a sensible layout of escalators.

FOLLOW NORTH WALKING ACROSS THE MALL TO THE MESSAGE CHAIRS THROUGH A SERIES OF MEDIUM SHOT AND LONG SHOT CUTS.

The Message Chair section of the mall is near the end of one wing of the Rose & Compass Mall. It is located in the common area outside the Old Timerz achor store. On one side can be seen a Skolnic’s Ice Crem Sandwich Parlor, a Huskyberry clothes store, a couple Satelite Soda vending machines and a few benches. The Messaging Chair section itself has four messaging chairs with accompanying coin operation slots. Three of the chairs are occupied by SOUTH SOUTHERLY, WEST WESTERLY, and EAST EARLY. South is a young girl of around ten dressed in a little league baseball uniform. West is a young boy of around ten dressed in a youth football uniform. East is a young boy of around nine dressed in a youth track outfit. They are all in the middle of a circle of chair messages. North walks up, puts some money in the unoccupied chair, and then sits down. The chair starts to shift and then vibrate as the messaging mechanisms kick in.


NORTH NORTHERLY
“Oh, I needed this.”

SOUTH SOUTHERLY
“Tell me about it. I had the worst day.”

WEST SOUTHERLY
“Sorry, but no way you had the worst. I had the worst.”

EAST EARLY
“With all due respect, your both wrong. I had the worst.”

SOUTH SOUTHERLY
“You two don’t know what your talking about. How about you North. You going to claim you had the worst and then we get into this whole one-upmanship thing.”

WEST WESTERLY
“I’d never do that.”

EAST EARLY
“You’d absolutely do that.”

NORTH NORTHLY
“I don’t get it. Just don’t understand.”

WEST WESTERLY
“Understand what?”

NORTH NORTHLY
“Why don’t they like me? I get perfect grades, pitch perfect games, and deliver a perfect Shakespearean soliloquy. What did I do wrong? These are all traits of values to others but not them.”

In the background of the frame, MALL CLERK enters searching for someone.

MALL CLERK
“Mr. Carlson? Mr. Arthur Carlson?”

SOUTH SOUTHERLY
“I stand corrected, your having a worse day.”

WEST WESTERLY
“Worse than mine.”

EAST EARLY
“Definitely.”

MALL CLERK
“Mr Arthur Carlson? Is there a Mr. Arthur Carlson present?”

North leans forward in the messaging chair and throws his arms up in exasperation.

NORTH NORTHLY
“I don’t understand! Owww.”

North recoils his arm and grips is shoulder wincing in pain.

SOUTH SOUTHERLY
“Are you okay?”

WEST WESTERLY
“That looks like it hurts.”

NORTH NORTHLY
“I might have thrown out my shoulder in the game due to the stress of my ongoing existential crisis.”

EAST EARLY
“At least its not an ontological crisis.”


The Mall Clerk sees North gestures and walks over to him.

MALL CLERK
“Mr. Carlson, I have been looking all over the mall for you.”

NORTH NORTHLY
“I’m not Carlson. “

MALL CLERK
“Sorry.”

NORTH NORTHLY
“Do you know somewhere I can buy some aspirin?”

MALL CLERK
“Second floor over by Ramblewoods is a drugstore.”

NORTH NORTHLY
“Okay. Thanks.”

CUT TO

MS OF THE SOFTLY-DRESSED MAN AND LOUDLY-DRESSED MAN

Down the hallway, near the escalator and maps, stand the SOFTLY-DRESSED MAN and the LOUDLY-DRESSED MAN. They are observing the Message Chair Area.

LS OF THE MESSAGE AREA FROM THEIR ANGLE OF VIEW

The events of North Northly walking up to the Message Chairs and speaking with the other children plays out. The Mall Clerk comes in and starts asking for Mr. Carlson. When North raises his arm they look at each other.

INSERT CS OF THEM NODDING AT EACH OTHER.

This should be enough to play in the background of the main scene as Cedar and Panacea eat lunch.

END OF NORTH BY NORTH BY NORTHWEST OPENING SEQUENCE

CEDAR WAXWINGS
“This is nice.”

PANACEA FLAUTO
“Yeah, it is.”

CEDAR WAXWINGS
“I meant the salad, but this is nice too. Can you turn it up?”

PANACEA FLAUTO
“Sure.”

She stands and leans over increasing the volume on the vid-screen. She then sits back down, steals a glance at Cedar and smiles. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The light from the Vid-screen stays on. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING HIGH-STAGE AND PANS DOWNWARD. IT GLIDES TO THE CURTAIN OF CLOUDS LOCATED BELOW THE HIGH-STAGE. IT CONTINUES PANNING DOWNWARD THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. CONTINUE PANNING DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk runs across the stage while a drawing desk sits behind the long desk. On the long desk is a computer monitor, small desktop, keyboard, mouse, a scanner, a bin, and a large stack of papers. THOMAS TYPEWRITER sits at the desk moving pages from the stack of papers to the scanner. Thomas leans over grabbing the top page from a stack of papers to the side of the computer. He opens the scanner lid and places the paper inside. After closing the lid, he fiddles with the computer. The HUM AND WHIR of the scanner activating goes out. Thomas opens the scanner lid when it finishes. He removes the sheet of paper and places it in a bin to the opposite side of the desk. Behind him is an animators desk with light table and a shelving of pull-out drawers. OPHIDIA OPERAHOUSE enters stage-right carrying a tray with two drinks and a bowl of snacks.

OPHIDIA OPERAHOUSE
“I am back.”

Thomas stops reaching for a new sheet and scoots his chair back, allowing Ophidia room to walk in. She sets the tray down on the computer desk.

OPHIDIA OPERAHOUSE
(handing Thomas a glass) “This is for you.”

THOMAS TYPEWRITER
(taking glass) “Thank you.”

Ophidia retrieves a stool from off screen stage-right and sits down. She picks up the bowl and takes a bite. She then offers some to Thomas. He takes a small handful.

OPHIDIA OPERAHOUSE
“So, hows it going.”

THOMAS TYPEWRITER
“Okay I guess. I never realized how monotonous animation was.”

OPHIDIA OPERAHOUSE
“Yes, but I like it.”

THOMAS TYPEWRITER
“No, I didn’t mean that as an insult. I am sorry if it was. I was just thinking that maybe it was a blessing in disguise that I lost the ability to draw or cartoon.”

OPHIDIA OPERAHOUSE
“That is kind of dark.”

THOMAS TYPEWRITER
“Yeah, but not as much as it sounds. Just more of realizing this would not of worked for me. Also it makes you even more amazing in my eyes that you are able to do this. You are something special.”

OPHIDIA OPERAHOUSE
“Aww, thank you. So, I watched this funny show last night.”

THOMAS TYPEWRITER
“So we’re changing subjects. Okay. What was it?”

Thomas reaches for some more snacks.

OPHIDIA OPERAHOUSE
“Campus Ladies.”

THOMAS TYPEWRITER
“My mom was just going on about that show when I talked to her yesterday. How is it?”

OPHIDIA OPERAHOUSE
“Funny.”

THOMAS TYPEWRITER
“So what is it about?”

Thomas scoots his chair closer to Ophidia. She scoots her stool closer to Thomas.

OPHIDIA OPERAHOUSE
“Well, these two older ladies decide to go back to college.”

THOMAS TYPEWRITER
“Like take night classes or move into a dorm full-time?”

OPHIDIA OPERAHOUSE
“Dorm full time, in fact that is part of the joke. Like their roommate thinks they’re Moms dropping off their kids.”

THOMAS TYPEWRITER
“Really.”

Ophidia starts to giggle and Thomas moves in closer.

OPHIDIA OPERAHOUSE
“Okay, so the ladies decide to go to a party down the hall, to try to meet people. They get blasted and stumble back to their room super late. They find their roommate crying and start tucking her in and kiss her goodnight. I laughed and laughed.”

THOMAS TYPEWRITER
“Did you now?”

Thomas takes a hold of Ophidia’s hand. She returned the gesture with her other hand.

OPHIDIA OPERAHOUSE
“I did.”

THOMAS TYPEWRITER
“Then what happened?”

Thomas and Ophidia lean in closer to each other, about to kiss. 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 6, Episode 8” by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 8

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-08”. It enters from the bottom of the frame and moves up, pausing in the center before continuing upward. It exits through the top of the frame.

FADE OUT
FADE IN

EXT. Y-APARTMENT, SUNSET
The darkness of the empty screen slowly starts to develop twinkles of starlight.

PAN DOWN FROM STARRY SKY ACROSS THE WARM COLORS OF A SUNSET

Y-MOUSE
(off-camera) “Beautiful.”

CUT TO

EXT. DECK OF APARTMENT Y, EARLY EVENING.
A wrought iron deck on the edge of the apartment with an art deco inspired metal railing. A deck chair and small table sit off to the side of the sliding door. The view from the deck looks out at sloping hills of late season autumnal trees. Fiery colors burst across the skeletal branches as the fall of leaves and march into winter continues. Y-Mouse sits on his deck watching the sunset, sipping from a tall glass of Seltzer Beer.

MS OF Y-MOUSE

He stares out in deep thought. After a moment, a GROUP OF CHIMES starts to chime. There sounds like six different chimes, each at a different pitch and interval. Through the window and glass doorway, six different colors blink: red, blue, orange, green, yellow, and purple. Each color blinks in intervals with one of the six different chimes. Y-Mouse turns his head to look toward the apartment.

CUT TO CS OF GLASS DOOR SHOWING BLINKING LIGHTS.

CUT BACK

Y-Mouse stretches and stands. He casually strolls into the apartment.

CUT TO LS OF Y-MOUSE FROM ACROSS THE GLASS DOOR

The deck’s sliding glass doors open onto a studio apartment kitchen/living room combo. The kitchen stands off to stage-left and the living room to stage-right. An L-shaped counter divides one area from the other. A wicker couch sits off the stage-right. Just out of frame is a small entryway with a thin table. Above the table hangs three coat hooks. On one side of the table stands the Narrator’s Door. To the other side of the table, down the short hall of the entryway is the door to the Y-Stairwell. Holding his drink, Y-Mouse walks in. He looks at the couch and sees the blinking colored lights coming from under the couch. He nods his head in understanding and walks into the kitchen. He opens a drawer and pulls out a notepad and pencil. He then walks to the Narrator’s door and steps through.

TRACK Y-MOUSE

PAN THROUGH THE NARRATOR’S DOOR

TRANSITION FROM THE Y-APARTMENT TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

TYPEWRITER ABSTRACT PUPPET STAGE: NARRATOR’S BALCONY

LS OF THE NARRATOR’S BALCONY

CUT TO MS OF THE Y-MOUSE

Y-Mouse closes the door behind him as he walks onto the deck and sits on the edge. He looks over at the closed curtains of the High-Stage.

PAN OVER TO PROPERLY FRAMING THE HIGH-STAGE

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

HIGH-STAGE: EXT. THE FAR EDGE OF THE FOREVERCAGE
The vast immaterial unfilled echo is broken by two figures, one small and the other large. THE WARDROBE OF A THOUSAND AND ONE COSTUMES floats off to the stage-right of the center. A small model of THE SPACE EGG floats to the stage-left of the center. It slowly glides towards the Wardrobe.

CUT TO

INT. THE SPACE EGG
THE INNER-SPACE MAN sits in a sleek astronaut’s chair, working buttons on the console. In front of him sits a curved console and 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 as it comes out of the speakers. 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 approaching Wardrobe of a Thousand and One Costumes. Uncomfortably Crammed into the small space behind the pilot’s chair sit BIFF THE RABBIT and ROCKEY THE PET ROCK. A stack of paper and crayons sits between the pair. Drawings of an egg in a detective’s coat and fedora and a giant radioactive monster can be seen in the stack of papers.

THE SPACE EGG
(voice-over?) “There it is.”

THE INNER-SPACE MAN
“Roger. See if you can use that gap in the doors we used last time.”

THE SPACE EGG
“Already on it.”

BIFF THE RABBIT
“What is that!”

THE INNER-SPACE MAN
“It’s a giant wardrobe.”

BIFF THE RABBIT
“I can see that, but why is it so large. When we pretend the Wardrobe of a Thousand And One Costumes is like maybe twice our size. Not the size of a mountain.”

THE INNER-MAN
“Wait, you’ve seen this thing before.”

BIFF THE RABBIT
“Yeah.”

THE INNER-SPACE MAN
“Interesting”

CUT BACK TO


EXT. THE FAR EDGE OF THE FOREVERCAGE
The model of the Space Egg is now very close to the Wardrobe of a Thousand and One Costumes. The wardrobe rotates so that we can see the front doors and the small gap at the bottom. The Space Egg flies into the gap.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE


THE CAMERA DETACHES FROM HIGH-STAGE AND PANS DOWNWARD. IT SCROLLS OVER THE BOTTOM OF THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BELOW. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN AND DOWN. SOON THE TOPS OF THE MID-STAGE SETS PEEK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN, SLIDING OVER THE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIOS, DAYTIME
The stage-lights are off but turn on to the sound of A LIGHT SWITCH CLICKING ON. A long work desk stretches across the stage. A computer, monitor keyboard, and mouse sit near the center of the long desk. Nearby sits a scanner. Behind the desk and off to the stage-right side sits a taller drawing table with an animation light table. Various bins filled with paper and drawing tools sit on a shelf near the drawing table. A taller chair is pushed into the drawing table. OPHIDIA OPERAHOUSE stands just inside the doorway, having flipped on the room’s lights. THOMAS TYPEWRITER stands partially in the doorway.

THOMAS TYPEWRITER
“I am glad to be helping but I am not sure how much help I will be. I really can’t draw anymore, not without my hand acting up.”

OPHIDIA OPERAHOUSE
“That’s okay. I can handle the drawing for both of us. What I need is help on the computer.”

THOMAS TYPEWRITER
“I can handle computers.”

OPHIDIA OPERAHOUSE
“I know you goofball. Now, why don’t you come in here and I’ll show you what I need you to do.”

Thomas and Ophidia enter the room and sit down at the computer desk. Ophidia standing behind him and Thomas in the chair.

OPHIDIA OPERAHOUSE
“Okay, the first thing you do is open this program here.”

She places her hand on top of Thomas’s over the mouse. A strobe light pules across the back of the stage and the sound of FABRIC ROUGHLY SCRAPING OVER FABRIC. Thomas quietly takes in a deep breath and then slowly exhales. The strobe light and fabric scraping sound stop. Ophidia gently guides his hand.

THOMAS TYPEWRITER
“Like this?”

OPHDIA OPERAHOUSE
“Yes, exactly. Just like that.”

THOMAS TYPEWRITER
“I am glad I agreed to this.It feels good to working on art again, even if it is not my own.”

Ophidia gives him a quick kiss

OPHIDIA OPERAHOUSE
“I am glad you said yes too. Okay, once that is open you are going to start scanning from the pile over to the side of you.”

Thomas and Ophidia freeze as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES OVER THE MID-STAGE SETS TO THE CLOUD OF CURTAINS BEHIND. IT ASCENDS TO THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: THE GANTRY OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES
Made of silvery metal, with tall handrails and pole lighting, the Entry Point gives a feeling of a cross between a dock or boardwalk and a spaceship. The long metallic dock joins to a pier-like space opposite the door. A series of round concentric rings, the walkway juts out from the center.

LS FROM GANTRY OUT TOWARDS THE DOORS OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES

The bottom section of the door can be seen extending down from the upper corner of the frame. From the gap between the two doors, a small model of the SPACE EGG flies in. When it enters, two rows of lights slowly blink to life. They light starting at the end nearest the doors moving inward. The Space Egg follows the lights as they turn on.


CUT TO…

HIGH-STAGE: THAT PLATFORM BASE AREA IN THE WARDROBE
Weak lights click on and up brightening the walkway. It is a metal boardwalk with thin pipe rails. The entire space is of such a scope and size that the lights are not bright enough to illuminate the far walls of the space they have flown into. Two corridors branch out from the landing area, going left and right. Just beyond the boardwalk and corridors is an amphitheater-like space with descending rings of seats. In the center is THE LARGE MEMOCRYSTAL, an irregularly shaped crystal. It is the size of a boulder and appears to be made up of various-sized crystals. On the large crystal sits THE INFORMATIVE SCUTTLER powered down and sleeping.


LS OF THE SPACE EGG

THE SPACE EGG enters from stage-left and lands. It’s ring of light dims as it powers down.

CUT TO MS OF THE SPACE EGG

The top of the Space Egg opens up with A PRESSURIZED HISS. THE INNER-SPACE MAN sits in the pilot’s chair with BIFF THE RABBIT and ROCKEY THE PET ROCK crammed behind the chair. They all stand and stretch. The Inner Space Man exits the Space Egg first. He nearly tumbles down while exiting awkwardly, making a loud racket. Biff reaches for him but the Inner-Space Man waves him off while making a few hops to recover his balance.


CUT TO MS OF THE LARGE MEMOCRYSTAL PEDESTAL


The Informative Scuttler languidly perks one of its eye stalks up. The eye stalk focuses and the refocuses as it realizes the others have returned. It starts to power up.

CUT TO MS OF THE INNER-SPACE MAN AND THE SPACE EGG

The Inner-Space Man stands up, righting himself. Rockey moves to the edge of the Space Egg and Biff the Rabbit moves behind him.

THE INNER-SPACE MAN
(to Rockey and Biff) “Careful on that first step. Here, I’ll help”
The Inner-Space Man reaches up and Rockey jumps into his hands. He sets Rockey on the ground. He then reaches up to help Biff.

IRIS EFFECT FOCUSING ON BIFF

CUT BACK TO MS OF THE MEMOCRYSTAL PEDESTAL

It stands up in surprise. It quickly crawls down.

FOLLOW THE SCUTTLER

CUT TO MS OF THE BACK WALL OF THE WARDROBE.

The back wall of the Wardrobe looks like a long wall of dark green stained wood. The wood grain is still visible in large swirls. The floor has changed from the metallic flooring of the gantry to a dark polished stone. A triangular doorway is built into the wall. This doorway is one of many similar doorways stretching the length of the back wall. The doorway is edged by a nice scalloped edge that runs along the floor like a connecting ray between the triangular openings. Each doorway is a little larger than a scuttler. The Scuttler enters from stage-left and hurriedly moves into the nearest doorway. From behind the door CONVERSATIONS OF EXCITED CLICKS AND GEARS WHIRRING sound. The Informative Scuttler reemerges from the doorway dragging THE EMPAATHA KEY. It is a dual-sided key made from a crystal similar to the memocrystals, in colors of gold, silver, and bronze. The top of the key looks like an abstracted doorway. A pair of Scuttlers emerge holding the end of the Empaatha Key. A large group of Scuttlers follows the trio, flowing out of the doorway. In the group are four Scuttlers carrying THE CHOICE CRACTION. It is a squarish stone block composed of grey basalt-like stone. The entire surface is streaked with black obsidian-like crystals and white quartz-like crystals. In the center of the Knowtwhole is an opening made from two overlapping circles. The streaks of obsidian and quartz are visibly increased inside the openings. The parade of scuttlers exits stage-left.

CUT TO THE LANDING GANTRY

MS OF THE INNER-SPACE MAN, BIFF THE RABBIT, AND ROCKEY THE PET ROCK STANDING NEXT TO THE SPACE EGG.

BIFF THE RABBIT
“So, you’re saying all of this, this place, is in my imagination. Like we are physically in that abstract space.”

THE INNER-SPACE MAN
“That is our going theory.”

BIFF THE RABBIT
“That’s a lot to process.”

The group of scuttlers enters from stage-right.

THE INNER-SPACE MAN
“Yes, but there is more…” (pauses as he notices the scuttlers) ”Oh hey, Eggsey it’s our old buddy. What’s up….” (trails off)

They walk past the Inner-Space Man and approach Biff. The Informative Scuttler holds up the Empaatha Key while the others bow.

BIFF THE RABBIT
“Why are they bowing to me?”

ROCKEY THE PET ROCK
“Maybe it’s the noble way you carry yourself.”

THE INNER-SPACE MAN
“I don’t know. Normally they’re constructing things.”

The Informative Scuttler gestures for Biff to take the key.

ROCKEY THE PET ROCK
(whisper to Biff) “Don’t be rude. Take the thing.”

BIFF THE RABBIT
(whisper to Rockey) “How do I know they’re offering it to me. Maybe it is someone else’s”

Rockey steps forward towards the Empaatha Key. The scuttlers shift it back out of reach. He tries a few more times to touch the stone, but the scuttler crowd moves it out of reach each time.

ROCKEY THE PET ROCK
(whispers to Biff) “There. Does that convince you? Now, take it and say thank you. You’re starting to look silly.”

Biff reaches forward and takes the Empaatha Key.

BIFF THE RABBIT
“Thank you?”

The crowd of scuttlers now turns to the Inner-Space Man. They present to him the Choice Craction. He leans over and picks it up.

THE INNER-SPACE MAN
“Thank you?”

The scuttlers turn and all exit except the Informative Scuttler. It crawls back behind the Large Memocrystal.

THE SPACE EGG
“What was that about?”

THE INNER-SPACE MAN
“I don’t know.”

The Inner-Space Man moves closer to the Space egg on one side of the stage while Biff moves closer to Rockey on the other. Each examines the interesting gift they were given.

A LINE GOES UP IN THE CENTER OF THE SCREEN SETTING UP A SPLIT SCREEN

EACH SIDE OF THE SPLIT SCREEN PANS IN ON THE DUO IN THAT SIDE.

EACH SIDE OF THE SPLIT SCREEN PANS INTO A CS OF THE GIFT OBJECTS, THE EMPAATHA KEY OR CHOICE CRACTION, ON THAT SIDE OF THE SPLIT SCREEN


Hold for a few moments before the High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains then close.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 7

an intermission

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward rapidly the following text: “06-07”. It enters from the bottom of the frame and moves up as if in fast-forward. It exits through the top of the frame. It is then followed by “an intermission” scrolling up from the bottom of the frame. It moves upwards, momentarily pausing in the center, then exiting the top of the frame.

FADE OUT
FADE IN

INT. SUNKEN LIVING ROOM OF BIFFINGHAM’S HOUSE, DAYTIME

DISSOLVE FROM BRIGHT WHITE THROUGH THE RANGE OF COLORS TO LS OF BIFFINGHAM THE RABBIT AND ROCKINGHAM THE PET ROCK SITTING IN FRONT OF THE TELEVISION

The Living Room is a rectangular room with two of the walls opening onto the nearby hallway and stairwell in the center of the house. The room has a sunken floor with two steps leading from the floor level to the sunken floor. These steps are along the two sides of the room open to the hallway and stairwell. The other two walls have dark wood paneling with small horizontal windows along the top of the wall. Big round pendulous lamps hang from the ceiling bathing the room in a soft yellow light. A couch runs along one of the paneled walls while two corduroy recliners sit across from the couch in front of the steps. The television is on the other paneled wall. It is a large box built into a wooden cabinet. Tall rabbit ears, along with various photos of Biffingham and his family, sit on the top of the television. BIFFINGHAM THE RABBIT, a rabbit boy dressed in corduroy overalls and bearing an uncanny semblance to Biff, sits on the shag carpet in front of the television. Next to him sits his pet rock ROCKINGHAM THE PET ROCK. The television is currently tuned to Channel 2 and the ongoing broadcast of “The Babysitter Tales.” The show is in the middle of a commercial break between acts.

CUT TO MS OF BIFFINGHAM AND ROCKINGHAM

BIFFINGHAM THE RABBIT
“I wonder what will happen in today’s episodes.”

ROCKINGHAM THE PET ROCK
“I don’t know, but we’re about to find out.”

PAN TO SIDE ONTO THE TELEVISION

TRANSITION FROM SUNKEN LIVING ROOM TO COMMERCIAL

PAN IN ON TELEVISION

FADE OUT

GOODWIFE HONEY CHEWBARS COMMERCIAL

FADE IN

CS OF A CASCADING FLOW OF HAYGRASS STEMS

NARRATOR
(voice-over) “Goodwife Bakery, the flavor you know and trust, so trust us. OR when something new comes, trust those you trust when they tell you it is good. ”


A waterfall of falling haygrass pours past the screen. A snack bar emerges from the flow of Haygrass. It moves through the center of the screen towards the camera. The bar is rectangular and made up of compressed haygrass.

DISSOLVE TO…

CS OF A CASCADING FLOW OF CARROT STEMS

A waterfall-like flow of tumbling carrot stems falls across the screen. From the center of the flow emerges the rectangular snack bar. It is now made up of compressed haygrass, carrot, and carrot stems. The bar flies out of the flow and up towards the camera.

DISSOLVE TO…

CS OF A CASCADING FLOW OF SUNFLOWER SEEDS

A pouring of sunflower seeds moves across the screen. From the center of the cascade emerges the snack bar. It is now made up of compressed haygrass, shredded carrots, compressed carrot tops, and scattered sunflower seeds. Note that the bar needs to be more haygrass, carrots, and carrot tops then sunflower seeds. Biff and the other Rabbits can digest sunflower seeds but in modest quantities.

DISSOLVE TO…

CS OF POURING HONEY

Long streams of golden honey flow past the screen. From the center of the honey emerges the snack bar. It is made up of compressed haygrass, shredded carrot, compressed carrot tops, and sunflower seeds same as before except it is now coated in honey. The bar hovers in midair in the center of the screen.

NARRATOR
(voice-over) “New Goodwife Bakery Honey Chewbars. Available now.”

FADE OUT

TRANSITION FROM THE COMMERCIAL TO THE BABYSITTER TALES

THE BABYSITTER TALES TV SHOW

FADE IN

INT. KITCHEN OF THE HOUSE OF GLOOM AND ILL-TIDINGS, MID-MORNING
Description goes here- Now what does the kitchen look like. So we are looking straight at the oven wall. The kitchen is squarish with the oven in the corner. It is an older-style brick oven, while the rest of the kitchen looks a little more modern, but still cottage-like. A sink lies on the counter on the left of the screen. A large window sits over it. Cabinets line the wall with the oven. There is also a small fridge. Cabinets also line the wall next to the oven. A small wooden table sits in the center of the room. There are various braids of spices hanging from the ceiling. The right side of the screen has a wall with shelves holding plates and dishes. There is also a broom. That wall also has a doorway. It is that doorway the GLOOMARELLA THE GLOOM WITCH enters through. ROD POCALYPSE, Gloomarella’s infant son, sits in a high chair on the far side of the table facing the camera. He fidgets waiting for his mother’s return. GLOOMARELLA THE GLOOM WITCH enters from the doorway near the refrigerator. She is carrying the small cage bearing THE TADPOLE. Rod starts to fuss and make noise when the Gloomwitch returns.

ROD POCALYPSE
(repeating in a shout) “Food! Food! Now!”

GLOOMARELLA THE GLOOM WITCH
“I know honey, I know. I’ll have your bottle ready in just a moment. (to self) So tired. When will this kid ever sleep.”

She opens a cabinet over the refrigerator placing the Tadpole inside. She then moves to the next cabinet, a full-length cabinet, and opens it. Gloomarella pulls out a coffee mug and a baby bottle. She then reaches into the fridge and pulls out a jug of milk. She returns for the counter and reaches for the baby bottle but yawns deeply. She rubs her eyes and then picks up the coffee mug. She fills it with milk. She places the jug on the counter. She then fills the baby bottle with coffee. Putting the cap on the bottle she grabs her coffee mug. Bringing both over to the table, she sets the bottle down on Rod’s highchair ledge.

GLOOMARELLA THE GLOOM WITCH
“Oh, I almost forgot.”

She picks up the baby bottle and moves it out of reach. She stands and removes a box of “These Are Circles” cereal from a cabinet behind her. She pours some cereal onto the high-chair tray. Rod starts to eat the cereal. Gloomarella returns the box of cereal. She sits back down at the table and grips her coffee mug two-handed, wrapping her two hands around the mug. Rod starts to drowse off. She notices this and starts to nod off also, allowing herself to close her eyes and rest. He falls asleep in his high chair while Gloomarella falls asleep in her chair. After a few very peaceful moments, there is a LOUD CRASH from outside. Rod startles awake and begins to wail. Gloomarella bolts upright. Her hair frizzles out with angry magical energy.

GLOOMARELLA THE GLOOM WITCH
“Those raccoons! I’ll curse them! I’ll curse them to several layers!”

She races out of the room. Rod calms down. He eats some cereal and reaches for his bottle. It had fallen over, the tip coming just within reach. He pulls it over and drinks it down. He makes a sour face, then starts to vibrate. The coffee kicks in instantly. He begins to rapidly bounce and vibrate in his high chair. The highchair shakes around the kitchen, knocking pots and pans and spices off the walls. As he bounces around the room we can see in the window over the sink the swirling of dark clouds and thunderbolts. Multiple lightning strikes that cast a negative reverse light strike down over the front yard and then the sky clears. Rod increases speed and force bouncing around the room until abruptly he stops. The high chair comes to rest. Rod makes a pained face, there is a loud wet noise as he fills his diaper. It balloons out to comical levels. His face relaxes completely. GLOOMARELLA reenters the kitchen.

GLOOMARELLA THE GLOOM WITCH
“We won’t have any more disturbances from those raccoons any more.”

She walks over to her coffee and starts to drink it. She spits it out.

GLOOMARELLA THE GLOOM WITCH
“Ughhh. This isn’t coffee. Now where did I put my coffee.”

She turns and looks around the room noticing Rod and his overfilled diaper.

GLOOMARELLA THE GLOOM WITCH
“Wow, that is one full…”

Rod’s diaper EXPLODES covering everything in feces.

TRANSITION FROM THE SHOW TO THE VIEWERS

THE CAMERA PANS OUT FROM THE RESTFUL FACE OF ROD POCALYPSE

CONTINUE PAN OUTWARD AS THE EDGE OF THE TELEVISION SCREEN COMES INTO THE SHOT.

INT. SUNKEN LIVING ROOM, DAYTIME
Biffingham and Rockingham sit on the floor in front of the television, giggling.

CONTINUE TO SLOWLY PAN BACK FROM THE TV AND INTO THE LIVING ROOM, PAST BIFFINGHAM AND ROCKINGHAM UNTIL SHOT BECOMES A MS OF THE DUO WATCHING THE TV.

Biffingham turns to look at Rockingham.

BIFFINGHAM THE RABBIT
“I really thought more would happen.”

ROCKINGHAM THE PET ROCK
“What, you didn’t like the exploding diaper. One good laugh and I am satisfied.”

BIFFINGHAM THE RABBIT
“Sure, that was funny, but not much else. Sometimes I think we have more fun when we’re doing our own stories.”

ROCKINGHAM THE PET ROCK
“Well, they are good stories.”

BIFFINGHAM THE RABBIT
“What do you say that when this episode is over, we go play?”

ROCKINGHAM THE PET ROCK
“Sure. What do you want to play?”

BIFFINGHAM THE RABBIT
“Mindgames and Headcheese?

ROCKINGHAM THE PET ROCK
“Sure.”

BIFFINGHAM THE RABBIT
“Cool.”

Biffingham turns back to look at the TV.

FADE OUT

The Great Works Project: Season Six, Episode Six script – a new script by Thomas TYpewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 6

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-06”. It enters from the bottom of the frame and moves up as if in fast forward. It exits through the top of the frame.

FADE OUT
FADE IN

INT. THE SPACE EGG, MAYBE/MAYBE NOT DAYTIME

FADE IN TO A SERIES OF RAPID CUTS OF THE INNER-SPACE MAN, BIFF AND ROCKEY IN THE INSIDE OF THE SPACE EGG AS IT FLIES AT A VERY FAST VELOCITY

The interior of the Space Egg is a circular space filled mostly by a pilot’s chair and control panel. The center of the space is filled with a molded pilot’s chair, currently seating THE INNER-SPACE MAN. His long white beard and hair flip around due to the Space Egg’s current velocity. In front of him is a semi-circular control panel. The center of the panel bears a long display shaped like a rectangle with a circle in the center. Should the Space Egg speak, the dialogue also scrolls across the center display like an LED sign. Various sized semi-translucent hexagonal buttons used for piloting the ship are set across the remaining area of the control panel. Above the control panel is an ovoid-shaped display screen. The entire interior of the Space Egg is designed as some combination of children’s toy and sci-fi movie. Behind the pilot’s chair is a small space, into which BIFF and ROCKEY are currently crammed. They are pressed back into the wall due to the Space Egg’s rapid acceleration. Crayons and pages flutter in the gap between them.

CUT TO


HIGH-STAGE: INT. BIFF’S BEDROOM, DAYTIME
A bed sits center-stage dividing the stage in two. On the stage-left side of the bed, a window sits under a small slant of roof. Posters of various characters from the Cosmic League comic book series and Babysitter Tails television show are hanging on the wall between the bed and window. On the other side, stage-right side, of the bed sits a nightstand topped by a small lamp. Past the nightstand is the bedroom door and the small second-floor landing. BIFF THE RABBIT and ROCKEY THE PET ROCK are hiding under the bed. THE SPACE EGG hovers in the center of the room while THE INNER-SPACE MAN approaches the bed.


THE INNER-SPACE MAN
(leans down to look at Biff and Rockey under the bed) “Well gentlemen, care to leave the confines of this reality?”


CUT TO CS OF BIFF AND ROCKEY UNDER THE BED


BIFF THE RABBIT
(to Rockey in a whisper) “Their trans-dimensional nature might be our best chance to get out of this script. (to the Inner-Space Man) Sure.”


ROCKEY THE PET ROCK
“As long as we can bring our drawings and crayons.”

THE INNER-SPACE MAN
“I wouldn’t have it any other way. You never know when a good drawing will save your life.”

CUT BACK

Biff and Rockey get out from under the bed. They gather up crayons and drawings from the room, placing them into Biff’s backpack, which was under the nightstand.

ROCKEY THE PET ROCK
“We should put in the story that the Soft-boiled Detective and the Big Bag Bug are visited by two robots.”

BIFF THE RABBIT
“Okay, but what do we call them?”

ROCKEY THE PET ROCK
“The Deuce Machines.”

BIFF THE RABBIT
“That might work.”

The Inner Space Man lifts Rockey inside the Space Egg. Then he helps Biff, before climbing in himself. The Space Egg closes. It starts to hover before flying across the threshold of the front of the High-stage and out of the frame.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD MOVING FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS. IT CONTINUES MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS.


The Space Egg quickly enters and then exits our view as the camera races past its descent.


THE CAMERA CONTINUES PANING DOWN THE CURTAIN OF CLOUDS, REACHING THE TOPS OF THE MID-STAGE SETS. IT SLIDES OVER THE SET TOPS, DESCENDING UNTIL FRAMING MID-STAGE.

MID-STAGE: INT. THE RETRO SCREEN 10, EVENING
Four descending rows of theatre chairs fill the stage, with each row higher than the one in front of it. A set of decorative wall lamps can be seen hanging above the back row of chairs. The lamps are at full brightness. THOMAS TYPEWRITER enters from Stage-left behind the top row and then proceeds to exit stage-right. He reenters in the third row from stage-right walking to stage-left and exiting. He repeats this zig-zag walking through the second row and then into the first row. He sits down in a center chair in the first row. The decorative wall lamps dim and the stage goes darker. Thomas reaches down and pulls out a tub of popcorn topped with whipped cream with a cherry on top and a large soda with a crazy straw from under his chair. He starts to drink the soda. From the top of the screen, the SPACE EGG floats down. It slowly turns right, then left surveying the scene. It exits stage left. Thomas leans over trying to eat the cherry topping his popcorn sundae.

OPHIDIA OPERAHOUSE
(voice-over) “And here is where the magic occurs.”

Thomas looks around trying to figure out where the voice is coming from. The decorative wall lamps dim to black, transitioning the stage to darkness.

OPHIDIA OPERAHOUSE
(voice-over) “Thomas. Thomas! Are you paying attention?”

CUT TO

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME.
The sound of A LIGHT SWITCH CLICKING OFF punctuates the transition to the Pencil Chicks Studio. A long desk spreads across the stage. It has a monitor, keyboard, mouse, and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE stands just inside the room, while THOMAS TYPEWRITER stands in the doorway. She is looking back at him.

OPHIDIA OPERAHOUSE
“I said this is where the magic happens.”

THOMAS TYPEWRITER
“Sorry, I drifted off there. Biff and Rockey popped into my head for some reason. Okay, so you were saying something about magic.”

OPHIDIA OPERAHOUSE
“I was saying this is where the magic happens. Over there is my drawing desk, and next to it my supplies, paper, pencils, etc. The computer is where I scan and compile the images. Up above is where I store everything else. There is more, but we’ll get into it once you’re a little more familiar. I didn’t want to overload you on your first day. I am so happy to be doing this with you.”

THOMAS TYPEWRITER
“Me too.”

They kiss.

OPHIDIA OPERAHOUSE
“Maybe I should show you what to do before we’re too distracted.”

THOMAS TYPEWRITER
“Couldn’t hurt.”

TRANSITION FROM MID-STAGE TO THE WINGS

THE CAMERA SHAKES LOOSE FROM PROPERLY FRAMING THE MID-STAGE AND TURNS SLIGHTLY SO THAT THE MID-STAGE CURTAIN IS VISIBLE. THE CAMERA MOVES TOWARDS THE CURTAIN ITSELF BECOMING ENTANGLED. IT TURNS DOWNWARD AND MOVES DOWN AND OUT OF THE CURTAIN INTO THE WINGS.


EXT. INNER CORRIDOR OF THE WINGS


LS DOWN INTO THE INFINITY OF THE WINGS

The Wings extends out to infinity. It is a storage space for the Helping Hands to store all the different scenery and locations used in the plays that are put on in the Typewriter Abstract Puppet Stage. It is a central open inner atrium with four outer walls. Each outer wall is a series of storage areas housing a different scene location. On the nearest bin is the RETRO SCREEN 10 set. The SPACE EGG flies out from the storage area for The Retro. It flies up the center of the open corridor gaining speed, flying out of frame.


TRANSITION FROM THE WINGS TO THE HIGH STAGE


HIGH-STAGE: THE FAR EDGE OF THE FOREVER CAGE


FRAME THE HIGH-STAGE A LITTLE FURTHER PANNED OUT THAN USUAL, SO AS THE CURTAIN OF CLOUDS IS VISIBLE EDGING THE HIGH-STAGE.


From the bottom edge of the High-Stage, the Space Egg flies up. It hovers and twists in the air, rotating to face in towards the High-Stage. It flies forward and into the High-Stage disappearing into the distance.

PAN UNTIL PROPERLY FRAMING HIGH-STAGE.


THE WARDROBE OF A THOUSAND AND ONE COSTUMES drifts in from stage-left. A small model of the Space Egg enters from stage-right. It flies over to the doors of the Wardrobe, ultimately entering through a small gap between the doors. Where the two doors meet along the bottom. The High-Stage curtains close at the sound of A COMPUTER BOOTING OFF.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 5

By Thomas Typewriter

(c) 2024 jason arcand

———–<:type:>———–

FADE IN

GRIGIO COLORI
(voice-over) “Where were we?”

THE OUTER ONE
(voice-over) “Episode five.”

GRIGIO COLORI
(voice-over) “Right. Six-five scrolls up etc etc..”

From the center of a blank screen scrolls upward rapidly the following text: “06-05”. It enters from the bottom of the frame and moves up as if in fast-forward. An effect mimicking a VCR tape played in fast-forward is added. The text exits through the top of the frame.

GRIGIO COLORI
(voice-over) “Then we go to the Typewriter Abstract Puppet Stage.”

FADE OUT
TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE
FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

DISSOLVE INTO LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

GRIGIO COLORI
(voice-over) “Lets see, then there is that typewriter noise…

THE OUTER ONE
(voice-over) “I know that sound all too well.”

GRIGIO COLORI
(Voice-over) “Right! So we get that sound then shift to Mid-stage and the story starts.”

THE OUTER ONE
(voice-over) “Do you ever find yourself thinking Thomas put too much stuff before the story begins?”

GRIGIO COLORI
(voice-over) “You mean like us right now?”

THE OUTER ONE
(voice-over) “Maybe…”

The sound of TYPEWRITER KEYS CLICK CLACKING comes from someplace inside the Typewriter Abstract Puppet Stage.

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

THE CAMERA PANS IN TOWARDS THE MID-STAGE AREA UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains open and part. As they slide out of view, the stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. MARY MARCHHARE’S LIVING ROOM, DAYTIME
MARY MARCHHARE sits in her recliner facing towards the audience and camera. She is facing towards her television, which is out of view. Her chair sits off-center of the stage. To the stage-right of her is a large end table and a plush sofa chair. The end table has a large table lamp, a tv remote, and a glass of water with a straw. A crumpled tissue sits off to the side of the glass of water. The second chair sits at a right angle to the end table so that the combination of it, the end table, and Mary’s recliner make an L-like shape. BEANIE, her pet Boston Terrier, is curled in a ball, soundly asleep in the chair. Running at a skewed angle, to help create an illusion of depth, is the large bay window. It runs along the stage-right side of the stage. From this vantage point, we can see that there is a series of large beige curtains on the window, currently retracted. Behind Mary’s chair, bits of the entryway are visible. A large clock hangs on the wall near the front door. THOMAS TYPEWRITER enters from the stage-left, behind Mary’s recliner. He walks around to Mary’s field of vision and gently touches her shoulder. She notices him and reaches for her remote. She turns off the television before looking at him.

MARY MARCHHARE
“Did everything fit?”

THOMAS TYPEWRITER
“Yup. Everything fit fine.”

MARY MARCHHARE
“Good. Did you put the key back?”

THOMAS TYPEWRITER
“Yes. It is back on the key rack.”

MARY MARCHAHRE
“Good. Did you lock the barn door?”

THOMAS TYPEWRITER
“I’ll double-check before I leave.”

MARY MARCHHARE
“You’re leaving?”

THOMAS TYPEWRITER
“Yeah. I need to go over to Ophidia’s. I told her yes, so she’s going to show me how I can help.”

MARY MARCHAHRE
“That’s great. Give me a hug before you go.”

Thomas leans in and gives Mary a hug. She hugs him back.

THOMAS TYPEWRITER
“Okay, I’ll check the lock then I’ll be leaving. Love you and see you later tonight.”

MARY MARCHHARE
“Love you too.”

Thomas exits through the kitchen doorway. Mary Marchhare reaches over for her remote control. She points it towards the camera and clicks a button. The ambient sound of A TELEVISION PROGRAM resumes.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FROM FRAMING MID-STAGE. IT PANS STRAIGHT UPWARD, GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT FOLLOWS THE CURTAIN OF CLOUDS EVER UPWARD. AT THE TOP OF THE CURTAIN OF CLOUDS IT MOVES OVER THE HIGH-STAGE UNTIL PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

PANACEA FLAUTO
(voice-over) “Maestro, open medical journal please. Today was a rough day for the patients Cedar Waxwings, Lucido Obsidian and Carro.”

The High-stage curtains open and the stage-lights turn on accompanied by the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, DAYTIME.
A large curved window lines the back of the stage. Through it we can see outside the ship to space, the twinkling of sparks drifts by. In the distance, some of the lights from the nine bio-habitat Hills, and even glimmers from the tops of the multi-fold towers of the Palace of Stars, can be seen. The room itself is decorated in deep reds and oranges. The lounge has a circular shape. STELLARITE FERN stands in front of the window, looking out at space. Behind her, near stage-front sit, in their medi-pods, CEDAR WAXWINGS, LUCIDO OBSIDIAN, AND CARRO.

PANACEA FLAUTO
(voice-over) “An Administrator from the Solar/Lunar Fleet came and spoke to them for over an hour.”

Stellarite Fern turns around and faces the trio in medi-pods. She holds herself very rigidly posed. She speaks but we can not hear what she says. Cedar and Lucido move their medi-pods arms as if arguing or disagreeing with what she has said. She becomes very agitated with this. She points at each of them individually and then outside at the space. Her words are pronounced with more temper.

PANACEA FLAUTO
(voice-over) “They were suspended pending an investigation. The Solar/Lunar Fleet does not accept the trio’s story of outside forces crashed the ship. It looks like they are going to be blamed and fired. This is a depressing turn of events. I worry that it might set back their progress. Damn, they were really starting to thrive. Will Cedar draw into himself. I hope not. I’d miss hanging out…wait. Maestro delete everything after turn of events.”

Stellarite Fern stops her pointing and rubs her brow. She moves as if explaining one final thing. She straightens her posture and then turns to leave. She walks out the door without looking back. Cedar, Lucido, and Carro turn towards each other as if sharing a statement of woe. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA UNLINKS FROM THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES FROM THE HIGH-STAGE DOWN TO THE CURTAIN OF CLOUDS. THE CAMERA CONTINUES MOVING DOWN THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS SLIDE INTO VIEW. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME
A wooden front porch runs along the width of the stage. A front door sits to the stage-right side. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the rails. An outdoor thermometer can be seen next to the door. It reads 40 degrees Fahrenheit. THOMAS TYPEWRITER enters stage-left. He crosses the stage over to the front door. He opens the storm door and KNOCKS on the main door. He waits a moment or two then KNOCKS a second time. The door opens and OPHIDIA OPERAHOUSE greets Thomas.

OPHIDIA OPERAHOUSE
“Thomas, you made it.”

THOMAS TYPEWRITER
“You’re saucy fellow awaits his commands.”

OPHIDIA OPERAHOUSE
“You nut. Come on in here and let’s get started.”

Ophidia steps to the side to make room for Thomas to enter. Thomas steps inside, pausing just inside the doorway. He embraces Ophidia, who gladly returns to affection. They kiss. The pair release each other and move all the way inside. Ophidia shuts the doors. A moment or two passes before 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 Six, Episode Four” – a new script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 4

By Thomas Typewriter

(c) 2024 jason g. arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward the following text: “06-04”. It enters from the bottom of the frame and slowly moves up eventually exiting through the top of the frame.

FADE OUT
FADE IN
TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out from somewhere nearby yet out of sight. Shortly thereafter the TYPEWRITER ABSTRACT PUPPET STAGE materializes.

LS OF THE TYPEWRITER PUPPET STAGE MOVING TO A MS THROUGH A SERIES OF CUTS UTILIZING A CRYSTALLINE EFFECT.

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

PAN IN ON MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE UNTIL MID-STAGE IS PROPERLY FRAMED.

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

MID-STAGE: EXT. MARY MARCHHARE’S FRONT PORCH AND FRONT WINDOW, DAYTIME
The front wall of Mary Marchhare’s house, with its blue vinyl siding spreads across the stage. A large bay window takes up a large portion of the wall. It is higher than the ground, making the bottom of the window visible in the frame but not the top. On each side of the bay window are smaller windows with movable shutters. At the stage-left side are four steps leading up to a landing and the front door. Mary Marchhare’s Living Room can be seen through the large bay window. White stucco walls are decorated with framed paintings of earlier twentieth-century race cars alongside photographs of various Boston Terrier dogs. There is also a selection of antique clocks on the walls. Near the window sits MARY MARCHHARE in a recliner. Next to the recliner is a shorter chair and an end table with a bulbous lamp. Mary is watching television. THOMAS TYPEWRITER enters from stage-left, carrying two moving boxes. He walks past the front window. BEANIE, Mary Marchhare’s pet Boston Terrier, leaps onto the second chair and barks out the window. BARKS MUFFLED BY GLASS sing out. Mary notices Beanie barking, leans forward, and sees Thomas. She sets down the tissue she had gripped and moves out of sight. Thomas climbs the four steps to the landing in front of the house’s front door. The porchlight next to the front door flips on. The front door opens. Mary Marchhare steps out and gives Thomas a hug.

MARY MARCHHARE
“Thomas!”

THOMAS TYPEWRITER
“Hi Grandma. I am dropping off the last of my stuff.”

MARY MARCHHARE
“Two boxes, that’s not much.”

THOMAS TYPEWRITER
“There’s more. It’s just in the car. Would it be okay if I brought it in through the garage?”

MARY MARCHHARE
“Sure. Since you’ll be living here, I have a garage door opener for you. You can have the spare one.”

THOMAS TYPEWRITER
“Wow. Thanks.”

Mary looks Thomas in the eyes, squaring her shoulders.

MARY MARCHHARE
“And remember, this is only a loan. I get it back when you move out. I do not want any strangers wandering into my house because you lost it. Got it. I am serious.”

THOMAS TYPEWRITER
“Sure, sure. I’ll keep it safe and give it back.”

MARY MARCHHARE
“Good. Now let’s get inside.”

Mary locks the screen door open, sliding the locking tab forward. She then steps inside and holds the inside, bit oak front door, open for Thomas. Thomas walks in. Mary closes the screen door, moving back the locking feature/slider, and then shuts the front door

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNLOCKS FROM THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS. IT CONTINUES PAST THE TOPS OF THE SETS AND ONTO THE CURTAIN OF CLOUDS VISIBLE BEHIND. UP AND UP THE CURTAIN OF CLOUDS TILL REACHING THE HIG-STAGE AT THE TOP. THE CAMERA SETTLES INTO PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. PHYSICAL THERAPY ROOM 604 IN THE FLUTE MEDICALSHIP
The room is similar to a ballerina dance studio. The back wall of the stage is covered in pads and some floor-length standing mirrors. Two rails, one at hip height and the other at knee height run across the mirrors. A weight-lifting machine sits on stage-left and another on stage-right. CARRO in their Medi-Pod is using the medi-pods extended arms to lift weights with a rope through a series of pulleys on the stage-left weight machine. IASO FLAUTO stands to the side guiding Carro. In the center of the stage stands CEDAR WAXWINGS in his Medi-pod using the Medi-pods retractable arms to lift dumbells from his side to over his head and back down. At the weight machine on stage-right stands LUCIDO OBSIDIAN in his Medi-pod using the Medi-pod’s retractable arms to crank a resistive lever. PANACEA FLAUTO stands between Cedar and Lucido watching over their motions.


PANACEA FLAUTO
(voice-over or narration) “Maestro, open medical log, please. Today marks an improvement in the attitude of Cedar Waxwing. He is making a full effort in therapy. His previous disposition of sullenness and defeatism have disappeared. Iasa and I had a second meeting and she revised her prediction of his possible recovery to full. If he can keep this up. We have also noticed a change in his friends’ attitudes as well. Lucido Obsidian and Carro were already on track for a near full recovery, but they now look posed for a full recovery. It is nice to see this change. When Cedar and I were in school together I never really cared for him. Maybe it was because I was too busy being interested in Lucido. Maybe it was because he was Lucido’s friend, not my friend. Maybe it was his sarcasm. Such a long time ago, who knows. Anyway, watching TV with him the other day, was nice. He is fun to be around. Haven’t laughed that much in a while. Sure he was still sarcastic but now it makes more sense. Doesn’t seem so abrasive, almost as if instead of attacking it is defensive. Wonder if he would want to watch the next episode. (pause) What am I saying? Maestro, please amend the medical log. Remove everything after recovery to full.”


As the narration finishes, Iasa stands and looks around.

IASA FLAUTO
“That is enough for today. Good job everyone. Keep this up and you will make a full recovery. Cedar, glad to see you trying.”

CEDAR WAXWINGS
“Feels good to try.”

Everyone starts to exit stage-right. Cedar and Panacea are towards the back or the last to leave.

CEDAR WAXWINGS
“Hey, Panacea.”

PANACEA FLAUTO
“Hey to you too. Good job today.”

CEDAR WAXWINGS
“Thanks. Hey, I was wondering if that show we watched…”

PANACEA FLAUTO
“Soapbubble Medical Theatre?”

CEDAR WAXWINGS
“Yeah, that’s the one. Is it every day, every week?

PANACEA FLAUTO
“Once a week. Why?”

CEDAR WAXWINGS
“Could I watch the next one? It was pretty neat.”

PANACEA FLAUTO
(pause) “I don’t see why not. My sisters are always bugging me to socialize more.”

CEDAR WAXWINGS
“Cool. Let me know when and I’ll be there.”

Iasa wiggles her eyebrows at Panacea. She sticks out her tongue. Iasa giggles and makes a face back. They exit. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER THE CURTAIN OF CLOUDS DESCENDING LOWER AND LOWER. THE TOPS OF THE MID-STAGE CURTAINS EMERGE FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD, SLIDING OVER THE MID-STAGE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. MARY MARCHHARE’S LIVING ROOM, DAYTIME.
A large bay window fills the middle of the frame. It looks out onto Mary Marchhare’s front yard. A smaller window of double framing flanks each side of the bay window. To the stage-left side of the bay window sits a recliner chair next to a smaller chair and an end table with a bulbous lamp, a glass of water with a straw, a boxy remote control, and a paper fan. To the stage-right side of the window sits a wooden wardrobe with a larger cathode-ray TV on top. MARY MARCHHARE sits in the recliner watching daytime television. The ambient sound of TELEVISION fills the stage. BEANIE sits in the other chair sleeping. Mary reaches over and picks up the glass of water taking a sip. She sets it down and picks up the fan. She starts to fan herself while dabbing at her face with a tissue in her other hand. THOMAS TYPEWRITER enters from stage-left. He walks to the side of Mary’s chair.

THOMAS TYPEWRITER
(gently touches Mary’s shoulder) “Grandma.”

Mary notices him and reaches for her remote control. She points it at the camera and click it off. The sound of TELEVISION STOPS.

MARY MARCHHARE
(turns to look at Thomas) “Yes.”

THOMAS TYPEWRITER
“Do you have another spot where I could store some boxes? I can’t fit everything in the bedroom. It is cool if you don’t. I’ll go through and donate some of it. I just don’t want to impose or crowd out your stuff.”

MARY MARCHHARE
“There’s room in the back barn, as long as you don’t block my lawnmower. I haven’t used the cabinets since Lawrie died.”

THOMAS TYPEWRITER
“And that won’t put you out?”

MARY MARCHHARE
“No, go ahead. Use it.”

Thomas leans down and kisses his grandma on the cheek while hugging her. She twists enough to hug him back.

MARY MARCHHARE
“The key is on the keyrack. Just make sure you return it when done.”

THOMAS TYPEWRITER
“Thanks Grandma.”

Thomas exits stage-left. Mary reaches for her remote and points it back at the camera. She presses a button and the ambient sound of TELEVISION fills the stage. Mary continues to watch her show. Beanie continues to sleep, rolling over to a more comfortable position. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The stage is illuminated by the soft glow of the television as the Mid-Stage curtains close.

FADE OUT

The Great Works Project: Season Six, Episode Two by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 06, Episode 02

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

GRIGIO COLORI
(voice-over) “Where did we leave off? Oh yes, here was where we left off. Ready? Here we go. Fade into black and then from the bottom of the screen scrolls upward the following text of zero six dash zero two.”

From the bottom of the screen scrolls up the following text: “06-02”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out from somewhere in the dark.

GRIGIO COLORI
(voice-over) “Fade out then fade in to the Typewriter Abstract Puppet Stage. Specifically the Mid-stage area of the Typewriter Abstract Puppet Stage.”

TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE

FADE OUT

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE
The Typewriter Abstract Puppet Stage sits in a dark field as if floating in a void. No other room or setting is visible surrounding it.

THE CAMERA MOVES CLOSER THROUGH A SERIES OF CUTS WITH A CRYSTALLINE FILTER.

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

MID-STAGE: CURTAINS CLOSED

THE CAMERA PAUSES THE CRYSTALLINE ZOOM CUTS PROPERLY FRAMING MID-STAGE.

The curtains of Mid-stage fill the frame. A soft light bounces from somewhere beyond and below the front of the Mid-stage across the curtains. The curtains part from the center and stage lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: EXT. HIGHWAY ROUTE 17, DAYTIME
A section of the Route 17 highway stretches across the stage. This section, in particular, passes through farmland surrounding Thomas Teenager’s hometown of Bordertowne, Illinois. A route marker sign and telephone pole form the main set of stage decorations. The route marker sits to the stage-right of the center. The telephone pole sits stage-left of center. In the background, we can see acres and acres of farmer fields covered in snow. From stage-left a black minivan enters, drives across the stage, and exits stage-right. The curtains close and then reopen revealing…

MID-STAGE: INT. THOMAS TEENAGER’S BEDROOM, DAYTIME
A bed stands at the corner of the stage along with a small desk. It is in the style of an old-time banker’s desk with a roll-top. A three-legged stool with elaborate carved legs and feet sits under the desk in the area for the chair. A stereo boombox sits on top of the writing desk along with a corded phone. On the other side of the stage, shelves line the wall filled with books, comic books, toys, and stuffed animals. Next to the shelving is a poster of teddy bears holding hands. On every flat surface in the room, even the bed, sits piles of paper and comic books. The paper is various school assignments and artwork. THOMAS TEENAGER enters stage-right. In one arm he holds a duffel bag while in the other he holds a stack of mail. Thomas sets down the bag and then moves over to his bed. He sits on the edge of the bed going through his mail.

THOMAS TEENAGER
“Junk. Junk. Junk. University? What is this?”

Thomas opens the letter, first setting down the other mail and grabbing a blade from the pencil holder on his desk. He gently cuts the end of the envelope and slides out the letter.

THOMAS TEENAGER
(reading from the letter) “We regret to inform you that due to your failing grades, you are hereby expelled from Bulldog University. Normally, you would be allowed to appeal this decision and be placed on Academic Probation, but due to your academic credit hours exceeding your honor points, you will not. Please have all your belongings and personnel effects removed from your dormitory residence before classes resume on January 15th. The dorms will reopen on January 4th. Before we end, may we recommend that a four-year college is not for everyone and may not be for you. Community college may be more your speed. Sincerely Bulldog University.”

Thomas slumps back onto his bed. He lays unmoving, stuck in a state of shock. After a moment he picks up the phone and dials. The phone RINGS and RINGS before being picked up.

THOMAS TYPEWRITER
“Hi, may I please speak to Samarica? Yes, I can wait. Thank you. (pause as he waits). Hi, Samarica? It is me, Thomas. Fine and how are you? Good. Did you have a good Christmas? Me, too. Well, I am back in town, so we can go on that next date we talked about. What do you mean sorry? You have bad news? Oh. Oh. I see. Your old boyfriend. I see. Back together. How long now. Before we went on our first date. And you didn’t think to mention that before now. You found it too awkward to bring up. Well, good luck with that, and happy new year. Goodbye.”

Thomas hangs up the phone. He stares off into space. The stage-light slowly shift to a red tint. Thomas SCREAMS building to A PRIMAL SCREAM. The sound of METAL RENTING AND GLASS SHATTERING reverbs as the red light turns to a deep red. Thomas stops screaming. The red light and metal and glass sounds fade away. The stage-lights return to regular illumination and hue. He looks around the room. Thomas gets up and walks over to his CD collection. He pulls out “Live Through This” by Hole and places the CD in his CD player. He presses play and listens to the music start. Thomas then exits stage-left. We hear the door to his room OPEN AND CLOSE. FOOTSTEPS and CABINET DOORS OPENING AND CLOSING from off-stage. Thomas’ bedroom door OPENS AND CLOSES. He renters stage-left holding a package of garbage bags.

THOMAS TEENAGER
“Look at all this. What a delusion.”

Thomas opens the bottom of the writing desk and starts to pull out papers, worksheets, and school folders.

THOMAS TEENAGER
“Keeping every paper, every scrap, I ever used. Every assignment. Why? Because I thought I was going to be a great writer. Because I thought scholars would want to study them as they write biographies on my genius. Hubris. A giant pile of hubris and I am suffocating under it. Suffocating under what others expect me to be. Suffocating under what others don’t want me to be. Expected to be a genius. Expected to get a degree. Expected to get a good job. Expected to get the girl. Ha, yeah right. Something is broken inside me. I am a fuck-up now and will always be.”

From the stuffed animals on the selves comes a soft voice. Thomas pauses and listens.

CREAMY
(faint) “Don’t give up hope yet. One foot in front of the other and you’ll cross this bridge.”

Thomas nods his head.

THOMAS TEENAGER
“Yeah, you’re probably right.”

Thomas resumes filling the trash bags. He gathers all the stacks of papers, setting the artwork to the side, but everything else goes into the trash. He opens all the cabinets on the desk removing all the paper. He goes through every surface in the room. Once he has filled his fourth trashbag, he takes a deep breath and exhales. He sets down the trashbag and works his way over to the phone. Thomas picks up the phone, listens for the DIALTONE, and then dials the number for Luna Witchescrown.

THOMAS TEENAGER
“Hey, sis. You got a minute? I’ve had a really bad day and need to talk about it. You do. Thank you.”

The stage lights turn off to the sound of A LIGHT SWITCH SWITCHING OFF. The Mid-stage curtains close.

FADE OUT.

The Great Works Project: Season Six, Episode One by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 01
a prologue

By Thomas Typewriter

(c) 2024 thomas typewriter

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “06-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Immediately following that text’s exit, up scrolls “a prologue” from the bottom of the frame. It scrolls upward pausing in the center of the frame before continuing up and out of the top of the frame.

FADE OUT
FADE IN

THE VELVET CURTAIN

MS OF THE VELVET CURTAIN

A velvet stage curtain fills the frame. From below the frame THE VELVET TOUCH emerges. Remember that the Velvet Touch is a Helping Hand that wears long fingerless fishnet gloves. Each of their fingers, except the pinkies, are painted with a black or dark shade of fingernail polish. The Velvet Touch gestures a greeting at the camera and then reaches below the frame for a large cue card. They show the blank side to the camera and then rotate it. On the back, the cue card has the following text written: “A story…” The Velvet Touch then flips the card back around and now the blank side has text on it. It has the following text written on it, divided into two columns:

“a saw blade… a wand…
a castle… a quill…
a light bulb… a shield…
a harp… an outsider…”

The Velvet Touch rotates the cue card one more time. The writing of “a Story” on the other side has been replaced. It now bears the following text: “…in a progression…”. The Velvet Touch sets the cue card down off-screen, below the frame. They then grab the edges of the Velvet Curtain, opening them to reveal a dark screen behind them.

PAN IN ON THE DARK BEHIND THE VELVET CURTAIN

FADE OUT TO BLACK

GRIGIO COLORI
(offscreen) “Fade into black. From the bottom of the screen scrolls up the following text zero, six, dash, zero, one

FADE OUT
FADE IN

EXT. THE LONG HILLS, DAYTIME

The Long Hills are a connecting region appearing as a hilly combination of flowering prairie and rolling grassy plains. GRIGIO COLORI and THE OUTER ONE walk along one of the hills towards the back of The Long Hills.

GRIGIO COLORI
“Can I ask you something?”

THE OUTER ONE
“Sure”

GRIGIO COLORI
“You like these plays? This Thomas Typewriter stuff?”

THE OUTER ONE
“Sure.”

GRIGIO COLORI
“What do you like about it? ”

THE OUTER ONE
“Well, it makes me smile. I’ve always liked puppets and science fiction, so there’s that. But, and I’ve wondered about this too, and I think there is also this other part of it. I think I identify with Thomas. Like how he struggled with sadness and loneliness but managed to write this silly epic anyway helped me feel a little better about my own struggles.”

GRIGIO COLORI
“That was something we did discuss and debate a lot. We, and by we I mean myself and the other characters in the story, wondered if anyone was enjoying it. Was anyone being helped by our story? We couldn’t tell being inside it. We hoped we were helping.”

THE OUTER ONE
“Sure. I think you were. Maybe not as many as Thomas hoped for. He made so much art just on his own, with little recognition. Just going in everyday and writing some more, painting a little more. Maybe that was why he was lonely.”

GRIGIO COLORI
“I’ve read the scripts. He was lonely long before then.”

THE OUTER ONE
“You’re probably right. There was one other reason I liked his stories.”

GRIGIO COLORI
“Oh, what was that?”

THE OUTER ONE
“The characters.”

GRIGIO COLORI
“Present company included?”

THE OUTER ONE
“Present company definitely included.”

GRIGIO COLORI
“Oh you charmer, am I blushing?”

THE OUTER ONE
“Maybe a little.”

GRIGIO COLORI
“Should I continue reading.”

THE OUTER ONE
“Yes, please.”

GRIGIO COLORI
(opening scriptbook) “Transition to the Typewriter Abstract Puppet Stage.”

THE OUTER ONE
“I always thought that was a crazy name.”

GRIGIO COLORI
(to the Outer One) “Me too.” (looking back at scriptbook) “Fade out then Fade in to a field of darkness. The sound of typewriter keys click clacking sound out from somewhere in the distance.”

THE OUTER ONE
“That’s a sound we know all too well.”

GRIGIO COLORI
“True. That and light switches.”

FADE OUT
FADE IN

A FIELD OF DARKNESS

From off-stage the sound of TYPEWRITER KEYS CLICK CLACKING. Unseen lamps turn on in the dark and illuminate the suddenly appearing TYPEWRITER ABSTRACT PUPPET STAGE

THE OUTER ONE
(off-screen) “You ever think we have all these different ways of the Typewriter Abstract Puppet Stage appearing because Thomas gets bored of writing the same thing?

GRIGIO COLORI
(off-screen) “I know I would.”

TRANSITION FROM A FIELD OF DARKNESS TO THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE. AS THE CAMERA MOVES CLOSER MOVE IN ON THE MID-STAGE AREA.

TRANSITION FROM THE TYPEWRITER ABSTRACT TO THE MID-STAGE

The mid-stage curtains open and we continue moving inward. The mid-stage is undecorated. We move through it towards the Curtain of Clouds. The Curtain of Clouds part.

TRANSITION FROM MID-STAGE TO BACK-STAGE

BACK-STAGE: THE CONCURRENT DISTANCES

THE CAMERA PANS THROUGH THE OPEN CURTAIN OF CLOUDS UNTIL PROPERLY FRAMING THE BACK-STAGE BEHIND THE CURTAINS

Fog rolls across the bottom of the stage, with a background of nebulous degree. The landscape looks like a lost or unformed realm just outside dreams. VARIOUS DREAM-BUBBLES float across the stage both stage-left to stage-right and stage-right to stage-left. After a few moments, NETTE, ONDE, and AVEN along with the AEOLIPILE enter stage-left. They walk to the center of the stage and look around.

AVEN
“Do you see her?”

ONDE
“No.”

NETTE
“She could be anywhere. All this fog is messing up my vision.”

AVEN
“It is only going to get worse as we move more downdream.”

They look around while Aeolipile dances with a Dream-bubble in the background.

ONDE
“What do we do?”

AVEN
“I do not know.”

NETTE
“There has to be something we can do. We just need to think of something. Figure it out.”

They rub their faces in thought when a light bulb appears over Nette’s head. Aven and Onde turn and look at her. Nette reaches up and pulls down the light bulb. She then reaches into her pocket and pulls out another light bulb. She looks at them and smiles.

NETTE
“I’ve got an idea.”

AVEN
“We noticed.”

NETTE
“Did you bring anything with you? What supplies do you have?”

ONDE
“We left in a rush so we didn’t pack much.”

NETTE
“Fine. That’s fine, what do you have.”

ONDE
“I have some scrapwood and a few nails.”

AVEN
“I have some wire and colored glass.”

NETTE
“That will have to do. Ladies, while I will always advocate for solving your own problems, sometimes you need to ask for help. And sometimes you need to do both.”

Nette points at the Aelophile. Aven and Onde turn and look at the Aelopile dancing with the Dream-bubbles. Nette then points at the items in her hand. Aven and Onde turn and look at the items in her hands. Nette gestures between Aelophile and the lightbulb in her hand. Light bulbs pop on over Onde’s and Aven’s heads. Nette walks over and removes the bulbs, adding them to the other two she is holding.

CAMERA PANS OUTWARD

The Curtain of Clouds closes.

TRANSITION FROM BACK-STAGE TO MID-STAGE

THE CAMERA CONTINUES PANNING OUTWARD MOVING THROUGH THE MID-STAGE AREA AND OUT FROM THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM MID-STAGE TO THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

The Mid-stage curtains close. The unseen lamps over the Typewriter Abstract Puppet Stage dim and turn off.

FADE OUT

The Ongoing Dramatis Personae

scripts, The Broken Book of Beasties, The Great Works Project scripts, The Not So Puppet Show, The Ongoing Dramatis catalogues

THE GOLDEN COINS:
(TGWP s00) Eight shiny gold coins the Outer One retrieved from a safe. Each coin bears a symbol on it with the eight symbols as follows: a wand, a castle, a quill, a light bulb, a shield, a harp, and a sword.

A HANDHELD:
(TGWP s00) A handheld video game player used by the Helping Hands in the Not Here, Not Now space. It has a small screen and six buttons in two groups of three. One of the group of buttons is marked as “Yes”, “No”, and “Maybe”. The other three buttons are marked “Sun”, “Star” and “Moon”.

HELPING HANDS:
(TGWP s00) Hands of the Puppeteers used as puppets and brought into full visibility to the audience. There are multiple Helping Hands producing the play, often doing work off-stage. They are usually distinguishable from each other by some individual or multiple characteristics.

THE LEFT HANDED HELPING HAND:
(TGWP s00) One of the pair of Helping Hands that brings the Handheld out and starts to play it. It is a left hand, which is also left-handed, wearing pink fingernail polish.

THE-MAN-WHO-LOVES:
(TGWP s00) A younger man, by comparison, who comes to visit The-Woman-Who-Loved in her hospital room. He reads her his latest script.

THE OUTER ONE:
(TGWP s00) A video game character who yearns for more. He retrieves eight golden coins and flees to a doorway in an unfinished portion of the game.

THE RIGHT HANDED HELPING HAND:
(TGWP s00) One of the pair of Helping Hands that brings the Handheld out and starts to play it. It is a right hand, which is also right-handed, wearing light blue fingernail polish.

THE-WOMAN-WHO-LOVED:
(TGWP s00) An elderly woman in the hospital. She can see the story The-Man-Who-Loves is reading to her.

The Ongoing Dramatis Loci

scripts, The Broken Book of Beasties, The Great Works Project scripts, The Not So Puppet Show, The Ongoing Dramatis catalogues

CHOICE HALL:
(TGWP s00) A long hallway with the appearance of a vintage pixelated video game. One of a series of artificial worlds nested inside other artificial worlds


THE DOORWAYS:
(TGWP s00) Five portals at one end of Choice Hall that lead to other areas within and without the artificial worlds. They appear as five doors up a short set of stairs. The first door is labeled “Fail”. The second doorway is labeled “Find”. The third doorway is labeled “Go”. The fourth doorway is labeled “Murmur”. The fifth doorway is not located with the other four but instead is sealed off in an abandoned hallway hidden from view.


THE GAMETIME:
(TGWP s00) The realm that comes into view when the Helping Hands turn on the handheld video game player. In it, we find the Outer One moving through the Choice Hall.


HOSPITAL ROOM ICU:
(TGWP s00) A hospital room where the Woman-Who-Loved sleeps while hooked up to medical machinery. Various get-well cards with flower designs can be seen on the table next to her bed. All that is seen of this room is the immediate area around her hospital bed.


THE NOT HERE, NOT NOW:
(TGWP s00) A space where the Man-Who-Loves’ story unfolds. It might exist on its own or merely be the imagination of the Woman-Who-Loved.