“What FOXES will you meet IN THE CROWDS?” by Thomas Typewriter
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From the Easel of Thomas Typewriter…11-06-2020
paintings
The Great Works Project: Season 03, Episode 02 script
The Great Works Project scripts———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 03, Episode 02
By Thomas Typewriter
(c) 2020
===========<<:type:>>============
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “03-02”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.
FADE OUT
FADE IN
INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE
The unroom Not.Seven fades into view. Squares of grey hued carpet sit on the floor, arraigned in expanding rows around a central circular wooden disc. Spindly lights help illuminate the grey-hued space.
THE CAMERA IS SITUATED IN THE UNROOM AT THE POV OF THE OUTER ONE SITTING ON ONE OF THE CARPET SQUARES LOOKING AT THE WOODEN DISC IN FRONT OF HIM OR HER.
The wooden disc appears empty but then unseen lamps turn on. THE TYPEWRITER ABSTRACT PUPPET STAGE slowly materializes in the center of the disk.
TRANSITION FROM THE UNROOM TO MID-STAGE
THE CAMERA PANS IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE. THE CAMERA STOPS PANNING ONCE THE MID-STAGE IS PROPERLY FRAMED.
MID-STAGE: CURTAINS CLOSED.
The pleated curtains of Mid-stage fill the picture frame. The curtains part and the stage lights turn on with the CLICK OF A LIGHT SWITCH CLICKING ON revealing…
MID-STAGE: EXT. PORCH OF THE BEIGE HOUSE, DAYTIME
The Beige House is a large block of a home in a rural setting. The back of the house runs across the stage, brown siding broken by a storm door and a simple window. The storm door opens onto a rail-less wooden deck. A clothesline hangs off the stage-right side. Various BIRDS SING AND CRICKETS CHIRP in the background. THOMAS TEENAGER bursts on stage through the storm door. Gripping his head, he walks off stage stage-right. The curtains close. It soon reopens revealing…
MID-STAGE: EXT. BACK PASTURE, DAYTIME
Tall blades of alfalfa and wildflowers spread across the stage, gently swaying in the soft breeze. The SINGING OF SONGBIRDS AND CHIRPING OF CRICKETS floats louder across the stage. THOMAS TEENAGER enters stage-left. Gripping his head, he stumbles to the center of the stage.
THOMAS TEENAGER
“No. Not now.”
…All sound fades away…
THE RIGHT SPIRITUAL, a glowing right-handed arm reaches down from the top of the stage. It grips Thomas Teenager by the back of the neck. THE LEFT SPIRITUAL, a glowing left-handed arm descends from the top of the stage. It is holding a pitcher filled with liquid light.
Thomas attempts to struggle free, but the Right Spiritual tightens its grip. The Left Spiritual sets down the pitcher of the stage. It then opens the top of Thomas Teenager’s head like a jar. Picking up the pitcher, it pours the glowing liquid into Thomas’ head.
THOMAS TEENAGER
(screams)
THE SCREEN FADES TO WHITE.
TRANSITION FROM MID-STAGE TO HIGH-STAGE
THE CAMERA STARTS TO PAN UPWARD, THROUGH THE WHITE. THE CURTAIN OF CLOUDS EVENTUALLY EMERGES THE HIGHER THE CAMERA PANS. IT KEEPS PANNING UPWARD, MOVING ALONG THE CURTAIN OF CLOUDS, TILL REACHING THE HIGH-STAGE. THE CAMERA STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.
HIGH-STAGE: CURTAINS CLOSED
The Narrator’s Door opens and out steps Y-MOUSE. He steps forward, and wobbles. He grips the side of the Narrator’s Door to steady himself.
Y-MOUSE
“Ughh. (pauses) Did everything go too bright for you too? Feeling nauseous, Give me a moment.”
Y-Mouse leans over and takes a couple deep breaths.
Y-MOUSE
“Let’s try this again. Is a moment the movement of a clock, bits of now slipping by, or is it something more. A distance of self applied over a landscape oh no…”
Y-Mouse covers his mouth. He jerks. Y-Mouse swiftly exits via the Narrator’s Door. It closes.
The curtains part and the stage lights turn on with the sound of A COMPUTER BOOTING UP revealing…
HIGH-STAGE: INT. THE SPACE EGG
THE INNER-SPACE MAN sits inside the interior of the SPACE EGG. A control panel and view screen sit in front of him. The control panel has a simple LED display in the center. It bears a circle bisected horizontally by a line design motif. The view-screen bears the same design motif. Various shaped hexagonal buttons surround the LED screen on the control panel.
The Inner-Space Man, sporting a long grey beard and long grey hair, is slapping his face. His body is completely mobile, except for his head, which is frozen looking slightly downward at the control panel.
THE INNER-SPACE MAN
“Come on, come on…”
He grips the sides of his head and tries to twist it free.
THE INNER-SPACE MAN
“Why is my head taking longer?”
THE SPACE EGG
(sounding like a slowed down record) “Don’t know. None of this makes sense to me.” (Note that any dialogue the Space Egg speaks also scrolls as text across the LED screen in the center of the control panel.)
THE INNER-SPACE MAN
“Hang tight my ovidian ovoid friend. A little longer and I’ll finish my metamorphosis from frozen dinner to free range chicken ala king. And then it’ll be your turn.”
THE SPACE EGG
(continuing to sound like a slowed down record)”No rush. Not like I am going anywhere.”
The Inner-Space Man continues to rub his head in an effort to lodge it loose from it’s frozen state. As he continues, one of his ears twitches. The stage lights turn off to the sound of A COMPUTER TURNING OFF. The curtains close on High-stage.
TRANSITION FROM HIGH-STAGE TO MID-STAGE
THE CAMERA PANS DOWNWARD FROM HIGH-STAGE. IT FOLLOWS ALONG THE CURTAIN OF CLOUDS, WHICH SLOWLY FADES TO A SCREEN OF ALL WHITE. THIS WILL BE THE REVERSE OF THE EARLIER TRANSITION FROM MID-STAGE TO HIGH-STAGE. ONCE THE SCREEN HAS BECOME ALL WHITE.
MID-STAGE: EXT. BACK PASTURE, DAYTIME
DISSOLVE TO AN EXTREME CS OF THOMAS TEENAGER’S FACE, SPECIFICALLY HIS CLOSED EYES.
The sound of BIRDS SINGING AND CRICKETS CHIRPING slowly returns. Thomas’ eyes blink open.
CUT TO FRAMING SHOT OF MID-STAGE
THOMAS TEENAGER is lying in the middle of the stage, having fallen over into the alfalfa and wildflowers. The RIGHT SPIRITUAL and LEFT SPIRITUAL can be seen retreating from view. Thomas sits up, wiping away stray tears. He sits a moment and listens. Listens to the birds. Listens to the crickets.
THOMAS TEENAGER
(sighs)
Thomas stands. He takes a moment to steady himself and his viewpoint. He watches as BIRDS enter from stage-right and fly across the stage. They dance in the air around him. A smile slowly spreads across his face. The birds exit stage-left. Thomas Teenager follows them leaving stage-right. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING. The Mid-stage curtains close.
FADE OUT
listening…
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From the Easel of Thomas Typewriter…
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This has been a much better week at the easel than the previous couple of weeks. I finally figured out how to work with the absorbency of the new canvases. It only took a dozen botched paintings.
The title for the painting comes from how in my art, and also my life, that there never feels like an even progression. Improvement comes from a thousand little tiny ticks. Maybe in the next painting I’ll figure out better ways to use red, but it may take me ten more paintings before I’ll figure out blue.
the list continues…
The Great Works Project assignmentsfor November 2020
- Phantom of the Opera (released 1925)
- Battleship Potemkin (released 1925)
- Romeo and Juliet by William Shakespeare
- The Wildest! from Louis Prima
- This is Fats from Fats Domino
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
(c) 2020 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
Paintings
paintings
Thomas Typewriter 
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