The Great Works Project: Season Two, Episode Twelve script

Puppet play, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Twelve

an Epilogue

By Thomas Typewriter

(C) 2020 THOMAS TYPEWRITER

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-12”. 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: “an epilogue”. 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

THE TYPEWRITER ABSTRACT PUPPET STAGE
We open this episode already focusing on the TYPEWRITER ABSTRACT PUPPET STAGE.

THE CAMERA FRAMES THE MID-STAGE AREA

MID-STAGE: THOMAS TYPEWRITER’S APARTMENT’S KITCHEN
On stage-right, sits a refrigerator, with a few houseplants on top. Center-stage sits a stove, with two pans on top, next to a counter top and sink. On stage-left sits THOMAS TYPEWRITER at his small kitchen table, with a plate of pasta and a plate of salad. He spins a small jewelry box, lost in thought.

CUT TO A XCS OF THE JEWELRY BOX SPINNING

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

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM.

THE CAMERA PULLS OUTWARD, PANNING FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM NOT.SEVEN

INT. UNROOM NOT.SEVEN

PAN OUT FROM THE MID-STAGE TO THE OUTER ONE’S POV.

The OUTER ONE sits on one of many carpet squares arranged around a wooden disc in the center of the Unroom Not.Seven. The carpet squares spread out like chairs in an auditorium. The wooden disc, the focus of the Outer One’s attention, sits with the Typewriter Abstract Puppet Stage standing center. Unseen lamps above it illuminate, though not for long. Once the Mid-stage curtains close the unseen lamps turn off. The Typewriter Abstract Puppet Stage disappears, leaving the wooden disc empty.

POV OF THE OUTER ONE WATCHING THE STAGE

The Outer One tries to stay focused, but his/her attention starts to waver.

POV OF THE OUTER ONE LOOKING AROUND THE ROOM TAKING IN THE SPINDLY METALLIC LAMPS, THEIR SNAKING CORDS, THE DISTANT WALLS, AND THE DISTANT CEILING WITH ITS ANGULAR CHANDELIERS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-screen.

POV OF OUTER ONE RAPIDLY LOOKING BACK TO THE WOODEN DISC.

Unseen lamps over the wooden disc flicker to life, taking two or three attempts to light before projecting at full illumination. The new light reveals the return of the Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

As the camera nears the Mid-stage, the Mid-stage curtains part revealing an empty stage. The Curtain of Clouds is fully visible, no longer obscured by any of the Mid-stage sets.

TRANSITION FROM MID-STAGE TO BACK-STAGE

THE CAMERA CONTINUES PANNING IN, ENTERING THE MID-STAGE AREA

The Curtain of Clouds parts revealing…

THE CAMERA CONTINUES PAST THE OPEN CURTAIN OF CLOUDS, STOPPING WHEN PROPERLY FRAMING THE SPACE BEHIND

THE BACK-STAGE: THE CONCURRENT DISTANCES

The back-stage is an empty black field. No illumination. No decoration. No sets. DREAM-BUBBLES, with their soft glow, float down from the stage-top and across the stage. Into this peaceful scene from stage-right, runs THE MAIDEN. Pursuing her is a YUCK-BUBBLE, specifically the Dream-bubble she accidentally injured in Season 02, Episode 0. As it pursues her it bumps into the Dream bubbles. Each Dream-bubble touched by the Yuck-bubble shakes and changes. Their inner illumination darkens to a sickly yellow-green and their sides dent becoming Yuck-bubbles. They join in the pursuit of the Maiden.


They chase her off-stage stage-left. She shortly re-emerges followed by the flock of Yuck-bubbles. She flees off-stage stage-right this time. After a brief pause the Maiden and her pursuers re-enter stage-right. She reaches mid-stage and trips. Scraping her knee, she softly sobs.The Yuck-bubbles stop, confused by her tears. Cautiously, they approach. The Maiden calms down and wipes her eyes. She looks at the Yuck-bubbles. Truly looks, as if seeing them for the first time.

THE MAIDEN
(to the first Yuck-bubble) “You know what it’s like to be hurt don’t you?”

The first Yuck-bubble flickers and nods yes.

THE MAIDEN
“It was me wasn’t it. I hurt you. Didn’t mean to, but did.”

The first Yuck-bubble flickers and nods yes again.

THE MAIDEN
“I’m sorry. You were so beautiful and I wanted to look at you. I didn’t mean to hurt you. I hope you can forgive me.”

She moves closer and lightly kisses the first Yuck-bubble. It shudders and then it changes color back to the original Dream-bubble color. The other Yuck-bubbles then start shudder and change color. The healed flock surround the Maiden before flying off. When they move away we see the Maiden has been replaced by THE MOTHER. She watches the dream bubbles float away absentmindedly rubbing her belly.

The Curtain of Clouds closes on the Back-Stage.


TRANSITION FROM THE BACK-STAGE TO THE MID-STAGE

THE CAMERA PANS OUT. PAST THE CURTAIN OF CLOUDS AND PAST THE MID-STAGE CURTAINS
MID-STAGE: EMPTY STAGE

The Mid-stage curtains close.

TRANSITION FROM MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

THE CAMERA CONTINUES TO PAN OUT RETURNING TO THE POV OF THE OUTER ONE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off. It disappears from the disc leaving it empty. The Unroom returns to dimness.

POV OF THE OUTER ONE LOOKING AT THE STAGE, REALIZING THE SHOW IS OVER, AND THEN LOOKING DOWN AND TO THE SIDE.

Sitting on the carpet square next to him/her, the Outer One sees a book. An elaborately simple book with the following written across the cover:

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

the complete and the all scripts

By Thomas Typewriter

(c) xyz thomas typewriter

———–<:type:>———–

The Outer One’s hand reaches out and picks up the book. They examines the cover, running his/her hand across the cover and spine as the episode ends.

FADE OUT

From the desk of Thomas Typewriter…09/14/2020

From the desk of Thomas Typewriter, Up Late, Late at Night

Another week, another update…

Last week did not go so smoothly. I am not happy, more so displeased with myself. I changed my method for working on my college classes and I disrupted my whole flow. I missed two assignments and failed to meet any of my script goals. Why do I do this to myself? I forget how important routines are for my attention difficulties. I just get this impulse, building in intensity like a bonfire, going from a spark to a raging fire. At least I have lived long enough, and been burned enough times, I can get back on track.

Up Late, Late at Night made minimal progress since the last update. Ophidia and myself are still working through character designs that we can both agree on. It is frustrating at times, but it is very important to me that she feels listened to. Important that Ophidia feels involved and respected. While we work on the puppet designs, I have started looking around the house to see where we could film the show. So far the basement looks the most likely.

Character design

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With the script for episode 1 of “Up Late, Late at Night finished, Ophidia and myself have moved onto designing and building the puppets. I like to design ten or so different designs then show them to Ophidia for her input. Then we will repeat the until reaching a design we both like.

Ophidia did not like any of my first designs, so she jotted designs down. She wanted a design more in spirit with this mask we bought on our honeymoon.

From the desk of Thomas Typewriter…09-07-2020

From the desk of Thomas Typewriter, My next assignments..., The Great Works Project assignments, The Great Works Project scripts

First off, let me say thank you to everyone who reached out with a kind word regarding the paintings. Thank you.

The Great Works Project continues to move forward. The scripts are on schedule with Season Two, Episode Twelve all set for publishing next Wednesday. Being that it is the final episode of Season Two, I would like to take some time and compile all the episodes into one collection. It will take me a few weeks to compile and format then onto Season Three. I am thinking that it might be time to set up a character and location list. Let me know what you think.

The other part of the project, the List is moving alone nicely. I actually managed to read, watch, and listen to the assignments without feeling crunched for time. I enjoyed myself. I’ll keep to the current schedule of three assigned titles a week. Last week’s I was assigned the movie “Aliens” , the graphic novel “American Born Chinese” by Gene Luen Yang, and the album “All Directions” from The Temptations. A real solid collection. “Aliens” was awesome. One of the things I noticed was how much of the movie I had missed before. I had some friends in high school who loved the movie to the point where they had it playing on loop on the tv one of the weekends I slept over. Watching it last week made me realize how much of the movie I did not notice. For whatever reason, I had no recollection of the scenes on the colony with the colonists. I also did not notice when I was younger how the film could be allegorical for the Vietnam War. American Born Chinese was a great book. I remember first hearing of Gene Leun Yang when he won the Xeric Grant for “Gordon Yamamoto and the King of the Geeks”. (That was a really good comic. Check it out if you get a chance.) In “American Born Chinese” I liked how it uses the different characters to explore the feelings of fitting in, feeling like an outside, and empathy. Also a nice little nod to use the shapefting Monkey King to talk about shifting identity. Then there is “All Directions” from The Temptations. It is The Temptations, so you know it is good. The vocal range coupled with the strong tempos, loved it. It also has one of my favorite album covers.

The new assignments are to watch the 1950 movie “All About Eve”, to read the novel “American Gods” by Neil Gaiman, and to listen to the album “All Hail the Queen” from Queen Latifah. Should be an interesting two weeks.

painting…

Uncategorized
Continuing prototyping and painting. Tried bristol board instead of water color paper.

The Great Works Project: Season Two, Episode Eleven script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Eleven

By Thomas Typewriter

(c) 2020 thomas typewriter

dearoldtypewriter@gmail.com

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-11”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

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

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

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

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

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

TRANSITION FROM THE UNROOM TO THE TYPEWRITER PUPPET STAGE

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

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

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO

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

THOMAS TYPEWRITER
“Wow.”

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

THOMAS TYPEWRITER
“Oh man. Almost missed dinner.”

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

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

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

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

HIGH-STAGE: INT. THE SPACE EGG
The INNER-SPACE MAN sits in a padded sleek astronaut’s chair. A curved console and curved view screen sit in front of him. The console has a center monitor in the shape of a circle bisected by a long rectangle. Around the text display sit various sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently blank.

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

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

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

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

The finger twitches.

CUT BACK TO…

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

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

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

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

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

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

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

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

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

CUT TO CS OF JEWELRY BOX AND THOMAS ROTATING IT.

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

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

FADE OUT

Updating…

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With Act IV published last week, we have finally finished the script for the first episode of “Up Late, Late at Night.” Now we begin production on puppets, props, and sets. We will also need to slide in plotting and scripting for the second episode somewhere in there.

ULLAN all started from an argument Ophidia and I had regarding which was the better year for film, 1985 or 1999. Ophia championed 1985, while I rallied in defense of 1999. We had such a good time discussing, debating, and detouring, we decided to turn it into a project.

The original idea was that we would take a movie from each year and discuss them. We tried a prototype of this, but my hand could not handle operating a puppet. That was discouraging. Around that same time, Trump got elected. With the sour mood in the air, and my own sour mood, we decided to take a break from the project.

We tried other puppets and other approaches but none worked. Then one day, on a whim, I said to Ophidia, “I feel like trash.” Something about admitting that out loud, dislodged the blocks I was having. The new format followed shortly there after.