I am struggling with this project. The format is not right and I will need to rethink my approach. Frustrating.
The Great Works Project: Season Two, Episode Eight script
Puppet play, scripts, The Great Works Project scripts———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season Two, Episode Eight
By Thomas Typewriter
(c) 2020
———–<:type:>———–
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “02-08”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.
FADE OUT
FADE IN
INT. UNROOM NOT.SEVEN
XCS OF GOLDEN COIN
THE OUTER ONE fidgets with one of their golden coins missing out on the details of the unroom Not.Seven surrounding him/her. The coin spins and flips over finger after finger.
If the Outer One were to look up, they would see a large cavernous space of indistinct corners. A wooden disc sits in what feels like a possible center of the unroom. Cascading out from the wooden disc, rows and rows of grey hued carpet squares spread out like waves from a splash. At the edges of each crest stand tall spindly metallic lamps of a soft illumination. The sound of TYPEWRITER KEYS CLICK CLACKING drifts into from outside the frame of reference.
THE XCS TRANSITIONS TO A POV OF THE OUTER ONE. USE AN EFFECT TO MAKE IT SEEM AS IF THE OUTER ONE’S VISION READJUSTS.
THE POV TURNS AS THE OUTER ONE LOOKS UP AT THE WOODEN DISC.
The wooden disc sits empty dressed in shadows. Unseen lamps click on above the disc. In the newly cast light THE TYPEWRITER ABSTRACT PUPPET STAGE appears.
TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.
MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains part and the stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…
MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
A desk sits in the center of the stage topped with a typewriter and a ream of paper. To either side sits a lamp and a wastebasket. A small bookcase sits off to the stage-right with various house plants on top.
An ALARM CLOCK sounds off-stage. The stage lights come up to a dim level. THOMAS TYPEWRITER enters from stage-right and walks across the stage and exits stage-left. Shortly thereafter a TOILET SEAT LIFTING, URINATION, then A TOILET FLUSHING. The FAUCET TURNS ON AND OFF as Thomas washes his hands. He reenters from stage-left and walks over to the desk yawning and stretching. Removing the page from the typewriter, Thomas reviews what is written on it as he sits down at the desk.
THOMAS TYPEWRITER
“Alright, let’s see where I left off.” (with a more dramatic voice) “The curved view screen displays a vast swirling colorscape only made more abstract by the Space Egg’s velocity.” (taps his fingers on the desk as he thinks) “Okay what happens next. Whats next. Hmmm. Hmmm “ (starts to absentmindedly swivel his chair left and right) “Space Egg , multi-colors, velocity…”
TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE
THE CAMERA UNCOUPLES FROM FRAMING MID-STAGE AND PANS UPWARD. IT MOVES OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT MOVES UP THE CURTAIN OF CLOUDS TO THE TOP AND THE HIGH-STAGE SITUATED THERE. THE CAMERA STOPS PANNING ONCE HIGH-STAGE IS PROPERLY FRAMED.
HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains part and the stage lights turn on, with a sound like A COMPUTER BOOTING ON, revealing…
HIGH-STAGE: EXT. FAR EDGE OF THE FOURTH ZONE OR OUTER SPACE
The Narrator’s door opens. Y-MOUSE walks out.
Y-MOUSE
“Tossed about, struck and striked, that little ship finds itself beyond safety’s reach.”
A model of THE CARRO flies unevenly across the stage. Fill the stage with fog to represent the storm the Carro is caught in. Flashes of light go off in the fog as THUNDER BOOMS.
The curtains close then reopen revealing…
HIGH-STAGE: INT. THE CARRO OBSERVATION DECK
The Observation Deck is severely damaged from when we last saw it in Season One. Wires hang from the ceiling. Bright amber alarm lights blink. CARRO’S terminal has fallen over, as have the other terminals trapping CEDAR WAXWINGS and LUCIDO OBSIDIAN in the debris. Cedar is trapped down stage-left while Lucido is pinned down stage-right. Cedar is laying on his back with his left arm caught under the debris. Meanwhile Lucido is stuck on his belly with his legs pinned. Storm clouds with flashes of lightning can be seen outside the observation windows behind Carro’s terminal.
Lucido is the first to stir. He looks around taking a moment to realize where he is and what has happened.
LUCIDO OBSIDIAN
“Cedar. Carro. You okay.”
Lucido looks at the damaged ship…
INSERT SHOTS OF THE VARIOUS DAMAGED SECTIONS OF THE OBSERVATION DECK.
…at his fallen friends…
INSERT SHOTS OF CARRO THEN CEDAR
…and lets out a stifled gasp…
CUT TO A CLOSE-SHOT OF CEDAR. WE SEE HIS CHEST RISE UP AND DOWN AS HE BREATHES.
…followed by a sigh of relief.
He attempts to stand but realizes his legs are pinned under the terminal. He tries to wiggle loose but yelps in pain and stops.
LUCIDO OBSIDIAN
“Oww…definitely something broken.”
Lucido lays back. He grabs a couple deep breaths then tries to lift the terminal again. He manages to tilt it a short bit but he yells in pain and collapses. The attempts to lift terminal have moved his guitar to the edge of the terminal. It falls off landing near Lucido.
LUCIDO OBSIDIAN
“What have we here.”
Lucido pushes away some debris to reach his guitar.
LUCIDO OBSIDIAN
(to self) “Never thought it would come to this.”
He starts to play the song that Otho Mercutian heard earlier this season. He repeats the tune. He repeats it a third time as dark smoke slowly spills in from off-stage.
LUCIDO
“Come on. Come on. You said you’d be there.”
The guitar then plays on its own.
LUCIDO
“Thank goodness. (coughs)”
Lucido slumps against the floor coughing. The stage lights turn of with the sound of A COMPUTER TURNING OFF while the curtains close to the fading sound of LUCIDO’S COUGHING.
TRANSITION FROM HIGH-STAGE TO MID-STAGE
THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWNWARD TO THE MID-STAGE AT ITS BASE. THE MID-STAGE SETS SLIDE INTO VIEW WITH THE CAMERA FINALLY STOPPING ONCE FRAMING MID-STAGE.
MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas is still swiveling, thinking about what happens next. What to write? What indeed. As he ponders, he keeps stealing glances back to the bookcase. Soon he stops swiveling and stands. He walks over to the bookcase, grabs Latchkey Kids of Randomness by Jonathan J. Wheelwright. He returns to his desk and starts reading the book.
The stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.
FADE OUT
The Two x Twos #8
Art thoughts, assignments for self, The Two x TwosPreviously on Assignment #7
Surprisingly, mainly to myself, I have really been on top getting through the various artistic works in the assignments. In the past, I struggled. It was so hard for me to find the time. With raising my kids, a day job, a night job, going back to college…you know, life…I would miss works. That was why I changed the Two x Two’s from weekly to bi-weekly. Yet with assignment #7 something changed. Shifted even. I am not tired anymore. I hunger. (Mother Wolf could this be you and your pack running through my life again?) Could art be like a salve during a chaotic time. Good art can move you, as the saying goes, but can it heal?
And now Assignment #8
Albums
- Aladdin Sane from David Bowie
- True (Avicii by Avicii) from Avicii
Cinema
- Aladdin (1992)
- Dinner For Schmucks (2010)
Literature
- Along For the Ride by Sarah Dessen
- The Columbian Orator by Caleb Bingham
Comic Books/Graphic Novels
- Astro City Vol. 04: Tarnished Angel
- Astro City Vol. 05: Local Heroes
Video Games
- Chibi-Robo! Zip Lash (3DS)
Bomberman GB (Gameboy)- Dr. Mario (Gameboy)
Update: My Bomberman GB cartridge is not working, so I am substituting it with Dr. Mario.
The Script Illuminated (first panel)
The Script Illuminated
Studio time 07-02-2020
Studio time, The Script Illuminated
Some good words…
Uncategorized“of whom I can say with a grateful heart, “I was hungry, and he gave me meat; I was thirsty and he gave me drink; I was a stranger, and he took me in” – Narrative of the Life of Frederick Douglass by Frederick Douglass
Studio time 07/01/2020
Studio timeBeen a tough week. My day job changed which theatre I work at and that has doubled my commute. Glad to have a job and work with good people, but wow, that commute has knocked more out of me than I expected. Act V will be late. In the meantime, here are some of the roughs.
From the Desk of Thomas Typewriter 06/29/2020
Art thoughts, From the desk of Thomas TypewriterA studio update
- The Great Works Project
As always, TGWP moves on. I have been working on season 05. It will probably take me another week or two to finish the rough drafts. I like to write the episodes then let them sit and percolate before publishing them. That is why I am working on season 05, even though I am publishing season 02. I view my subconscious as a writing partner and I like to give them a chance to review and rewrite.
- Up Late, Late at Night
I have finished the script for season 01, episode 01. Ophidia wants storyboards completed before we start building puppets or filming anything. We’ll see how that goes.
- The Script Illuminated
I completed and posted the rough drafts from the first page of the script. The question I am wrestling with now is do I create the illustrations physically or digitally. If physically, then I would need markers, bristol board, rubber cement, and an x-acto knife. If digitally, then I would need to install Corel Draw onto my desktop and laptop.
- Untitled project
Can I help my city, my community, be better? I honestly don’t know. But I have to try and for me the schools are the best place to start.
- A prayer to Brighid
Yesterday, while contemplating your grace, I saw your burning hand. A golden handprint of blazing light and curving lines, it called out to me. Touch my hand, you said, and know the arts, for I am art and art is me. I so wanted to reach out, to place my hand in yours.
The Script Illuminated – rough sketching
Art thoughts, The Great Works Project scripts, The Script IlluminatedWhile writing The Great Works Project, I am aware of the fact someone might actually try to stage this thing. While I view the script and the reading of the script as the medium, I do wonder how it will hold up when transferred off the page. How does it hold up to reinterpretation? To explore that idea I am going to try my hand at reinterpreting The Great Works Project. Maybe I’ll learn something in the process.
The Great Works: Season Two, Episode Seven script
Puppet play, The Great Works Project scripts, Uncategorized———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season Two, Episode Seven
An Intermission
By Thomas Typewriter
(c) 2020
———–<:type:>———–
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “02-07“. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter the following text, “an intermission” scrolls up from the center of the bottom of the frame.
FADE OUT
FADE IN
INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE
A wooden disc stands ready in the center of a large space. The corners of the room, though visually indeterminable, are felt. Grey squares of carpet radiate out from the wooden disc like rows of seats in an amphitheater. Light from spindly metallic lamps at the ends of the rows illuminate the carpets and to some degree the features of THE OUTER ONE sitting there.
OPEN WITH POV OF THE OUTER ONE LOOKING AT ONE OF THE LAMPS.
The sound of TYPEWRITER KEYS CLICK CLACKING drifts from out of view as the bulbs in the lamp flitter in response.
PAN UP AS THE OUTER ONE SHIFTS HIS GAZE FROM THE LAMP TO THE WOODEN DISC.
The wooden disc sits empty, shrouded in shadows cast by not-there shapes. Unseen lamps above the disc turn on, casting out the shadows shape-less while also revealing the TYPEWRITER ABSTRACT PUPPET STAGE.
TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE TILL IT FILLS THE FRAME
MID-STAGE: CURTAINS CLOSED
The curtains part and the stage lights turn on, with the sound of A LIGHT SWITCH CLICKING ON, revealing…
MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN
A sink, countertop, and stove run along the back of the stage. A table sits of to stage-left and a refrigerator sits of to stage-right. Three cabinets hang over the countertop. THOMAS TYPEWRITER, dressed in a chef’s apron, is at the stove stirring a marinara sauce in a saucepan. A second pot sits on the stove steaming. He removes the lid and drops in a box of dried pasta that he retrieves from a nearby cabinet. NEW WAVE STYLE MUSIC plays from a nearby speaker. DOORBELLS CHIME catching Thomas’ attention. He stirs the sauce one more time before stepping off stage stage-right to answer the door.
DOOR LOCKS UNLOCK and DOOR HINGES CREAK.
OPHIDIA OPERAHOUSE
(off-stage) “Hi. Hope I’m not too late.”
THOMAS TYPEWRITER
(off-stage) “No right on time. You’re looking very pretty tonight.”
OPHIDIA OPERAHOUSE
(off-stage) “Thanks. You look good too. Here, I got these for you.”
THOMAS TYPEWRITER
(off-stage) “Thank you, they’re beautiful.”
OPHIDIA OPERAHOUSE
(off-stage) “Sure thing.” (sniffs) “Wow, something sure smells good.”
THOMAS TYPEWRITER
(off-stage) “That would be the marinara. I was going to make something else but I didn’t have any capers.”
TRANSITION FROM MID-STAGE TO HIGH-STAGE
THE CAMERA PANS UPWARDS MOVING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT TOP. THE CAMERA SLOWS AND STOPS WHEN PROPERLY FRAMING HIGH-STAGE
HIGH-STAGE: CURTAINS CLOSED
PAN IN ON HIGH-STAGE TILL PROPERLY FRAMED
The High-stage curtains part and the stage lights turn on with the sound of A COMPUTER TURNING ON revealing…
HIGH-STAGE: EXT. THE MULTI-COLORED HIGHER PLANES OF REALITY
The stage is filled with a psychedelic swirling of colors. A miniature of THE SPACE EGG enters stage-left. It rapidly flies across the stage. Chromatic waves spread in its wake. When it reaches mid-stage, there is a SONIC BOOM and the Space Egg flies even faster, exiting stage-right. The High-stage curtains close and then reopen revealing…
HIGH-STAGE: INT. THE SPACE EGG
The INNER-SPACE MAN sits in a sleek astronaut’s chair. In front of him sits a curved console and a curved view screen. The console has a center monitor in the shape of a circle bisected by a long rectangle. This is the Space Egg’s text display. All of the Space Egg’s dialogue will scroll across the text display at the same time it is heard by the Inner-Space Man and audience. So as the Space Egg speaks, the words also scroll across the text display. Around the text display sit various sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently displaying the many colors of the Higher Planes of Reality that the ship is flying through.
THE SPACE EGG
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”
THE INNER-SPACE MAN
“Maybe some music to travel by.”
THE SPACE EGG
“Yes, please.”
The Inner-Space Man presses a button. What comes out of the speakers is not music though. A FAINT MUFFLED MURMURING plays.
THE SPACE EGG
“What music did you pick. This is horrible.”
THE INNER-SPACE MAN
“I don’t know what this is. This is not what I wanted.”
The Inner-Space Man leans in closer to the speaker in the console.
INSERT CS OF THE INNER-SPACE MAN LISTENING TO THE SPEAKER.
NOISE FROM SPEAKER
(very faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(less faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(loud) BIFF!”
CUT BACK TO…
The Inner- Space Man jerks his head away from the speaker. He tries to press a button but the High-stage stage lights turn off cutting him off. The High-stage curtains close then reopen revealing…
HIGH-STAGE: INT. BIFF’S BEDROOM, LATE AFTERNOON
A bed sits center stage, flanked by an end table on one side and a steamer trunk on the other. Posters of various characters from the Cosmic League comic and the Babysitter Tales adorn the walls. A window sits to the side. Sunlight streams in. BIFF, colander crowned, sits in a cardboard box atop the bed. ROCKEY THE PET ROCK sits to the side. The box is decorated in crayon such that it looks like the Space Egg.
ROCKEY THE PET ROCK
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”
BIFF
“Maybe some music for our travels.”
ROCKEY THE PET ROCK
“Yes, please.”
Biff pretends to press some buttons, creating a beep sound effect for each one. He then starts to hum, pretending it is the music coming out of the speakers. Rockey closes his eyes. He sways to the melody.
BIFF’S MOTHER
(off-stage)”Biff. Biff. Time for dinner. (louder) Biff. Biff. Time to stop pretending and wash up for dinner. (louder) BIFF!”
Biff takes off the colander.
BIFF
“Uh-oh. (yelling off-stage to mother) Sorry Mom. Be right down. (to Rockey) Guess pretend time is over. Let’s go wash up.”
Biff gets out of the box and hops off the bed. He turns and picks up Rockey.
BIFF
“I sure hope Mom’s made mashed potatoes.”
ROCKEY THE PET ROCK
“With scallions sprinkled on top.”
BIFF
“You know it. That’s the best.”
They exit stage-right. We can hear the sound of FOOTSTEPS descending stairs. The footsteps fade into the distance. The stage lights turn off to the sound of A COMPUTER TURNING OFF as the High-Stage curtains close.
TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE.
THE CAMERA UNCOUPLES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS AND CONTINUES DOWN ITS LENGTH. IT COMES TO THE TOP OF THE MID-STAGE SETS AND GLIDES OVER THEM. THE CAMERA STOPS ONCE MID-STAGE IS PROPERLY FRAMED.
MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN
Ophidia Operahouse grabs some plates from the cupboard and walks over to the table. She sets out the plates, cups, and silverware. Her flowers sit in a vase in the center of the table. Thomas follows with a bowl of salad and a bowl of bucattini with marinara.
THOMAS TYPEWRITER
“So was your mom was always trying to save money.”
OPHIDIA OPERAHOUSE
“Oh yeah. Always. She would talk about how there were too many bills or how dad’s income was not a steady thing. Stuff like that.”
THOMAS TYPEWRITER
“My mom too. Though never while we were on vacation now that I think about it.”
Thomas and Ophidia sit down on opposite sides of the table.
OPHIDIA OPERAHOUSE
“I would of loved that. My mom was still worried about money on vacation. Maybe even more so.”
Thomas fold his hands for a moment of silence. Ophidia catches herself and does likewise. She crosses herself and puts her hands together in prayer. When finished she starts serving herself some food, then passing to Thomas.
THOMAS TYPEWRITER
“Sorry, you were saying.”
OPHIDIA OPERAHOUSE
“Yeah, my mom would try to find some way to save money, like to an almost comical level sometimes.”
THOMAS TYPEWRITER
“What do you mean?”
OPHIDIA OPERAHOUSE
“Like for example, we went to Disneyworld when I was in seventh grade.”
THOMAS TYPEWRITER
“Ooo..luckey. Never been. Was it fun.”
OPHIDIA OPERAHOUSE
“The funnest, right. But my mom was nervous we wouldn’t have enough so she’d pack all this food in her purse for us to eat.”
THOMAS TYPEWRITER
“Can you even fit enough food in a purse for that?”
OPHIDIA OPERAHOUSE
“No. See that was the thing. As good as my Mom was at worrying she was inversly good at planning and scheduling.”
THOMAS TYPEWRITER
“Okay.”
OPHIDIA OPERAHOUSE
“So she got flustered and packed a lunch of cottage cheese and grapefruits.”
THOMAS TYPEWRITER
“Wait..Cottage Cheese? As in that stuff in the plastic tubs?”
OPHIDIA OPERAHOUSE
“Yup.”
THOMAS TYPEWRITER
“Isn’t that a refrigerated item.”
OPHIDIA OPERAHOUSE
“Yes it is. Do you know what two tubs of cottage cheese are like after a day of flopping around in the bottom of a purse in the hot Florida sun?”
Thomas giggles.
OPHIDIA OPERAHOUSE
“Gross. That’s what they are.”
Thomas laughs. Ophidia starts to giggle, soon joining him in laughter. The stage-lights click off, with the sound of A LIGHT SWITCH CLICKING OFF, and the Mid-stage curtains close.
FADE OUT
Thomas Typewriter 
You must be logged in to post a comment.