dreams

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

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 01

a prologue

By Thomas Typewriter

(c) 2026 Jason Arcand

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-01”. 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

EXT. SWORDPOINT HILLS, AFTERNOON
THE OUTER ONE and GRIGIO COLORI stand on one of the hills overlooking Swordpoint Hills. They are near the crest and looking down at the crowds. The Swordpoint, at the center of the hills, is a large stone slab with small stairs. There are five stones on the tableau. Each stone has a beam of light shining upward towards the sky. Surrounding the tableau and snaking out into the hills are multiple lines of people waiting in queue. Small covered stalls can be seen dotted around the hills, each with gate guarded by a muscular bouncer.

CS OF THE TEXT AT THE END OF SEASON 06 FROM THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.

GRIGIO COLORI
(Voice-over) “Okay so that is where season six ends. Should I go on?”

THE OUTER ONE
(Voice-over) “No, that’s probably as good a stopping point as any. You should put that away, we have more pressing concerns.”

The scriptbook closes.

CUT TO MS OF THE OUTER ONE AND GRIGIO

GRIGIO COLORI
“Like what.”

THE OUTER ONE
“Getting here was the easy part. Now comes the hard part – the line.”

The Outer One takes a step forward and looks downward. Grigio watches and copies the action.

PAN TO AN AERIAL LS OF SWORDPOINT. 

The multiple long lines of the crowd snake through the hills.

GRIGIO COLORI
“I see what you mean. So where do we start.”

THE OUTER ONE
“We go see a man about credit, but first lets take a break. I am feeling a bit tired.”

GRIGIO COLORI
“Is your wrist bothering you.”

THE OUTER ONE
“Unfortunately, I think it is. A little rest and I should be fine.”

MS OF GRIGIO AND COLORI

They sit down on the grass. The Outer One flops onto his back and takes three deep breaths. As the Outer One lays on the ground his shirt rides up , revealing that the glitching has spread even further. The side of his neck, his entire right arm, and the right side of his chest show signs of the glitching scrolling abstract text.


THE OUTER ONE
“It is going to take me a minute longer than I anticipated to get my wind back. Maybe you should continue reading the scriptbook.”


GRIGIO COLORI
“Sure. Lets see, where was I. Season Seven, Episode One. We open on the Typewriter Abstract Puppet Stage. We start at a long shot and move in closer.”

FADE OUT TO

INT. THE UNROOM NOT.SEVEN

LS OF THE UNROOM FROM THE ENTRYWAY

SLOWLY PAN THROUGH THE ROOM TO THE WOODEN STAGE. THE PAN FOLLOWS A MEANDERING OR SNAKING PATH.

The Unroom Not.Seven is a large space so cavernous that the ceiling and far walls are lost in darkness. A tile floor is decorated with a short wooden stage. Grey carpet squares are arraigned in rows around the stage. Long power cords snake through the squares to spindle like floor lamps at the ends of rows. From the darkness of the ceiling emerge long chains adorned with pendulum lamps. The soft light from the hanging lamps and floor lamps is not enough to fully pierce the darkness of the room. What is visible is seen with a soft light. THE SOUND OF TYPEWRITER KEYS CLICK CLACKING rings out. Unseen lamps above the wooden stage flip on. In their beams of light, THE TYPEWRITER ABSTRACT PUPPET STAGE appears.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE MID-STAGE AREA

MID-STAGE: CURTAINS CLOSED
The Mid-Stage Curtains part revealing that the Mid-Stage is empty and unilluminated.

PAN PAST THE EDGE OF THE MID-STAGE CURTAIN AND THROUGH THE MID-STAGE TOWARDS THE CURTAIN OF CLOUDS

The Curtain of Clouds along the back of the Mid-Stage parts revealing the Back-Stage.

PAN IN UNTIL PROPERLY FRAMING THE BACK-STAGE

BACK-STAGE: THE CONCURRENT DISTANCES, BETWIXTLIGHT
A soft fog rolls across the bottom of the stage while DREAM-BUBBLES drift across the stage. They enter stage-right and exit stage-left. They are not all moving at the same speed, so one may pass another. A soft light starts to be cast from off-stage stage-left. The light grows brighter and brighter until the source of the light, THE LAMPSTICK, enters stage-left. It appears as a bipedal post with a hanging lamp. The post and legs have a rough construction appearance whereas the lamp appears finely crafted. It moves to the center of the stage with a dancing rhythm. Following closely behind are ONDE, AVEN, NETTE, and HERON THE AELIOPHILE.

AVEN
(to Nette) “You sure that thing knows where it is going?”

NETTE
“Yes. There is a magic to the things we make together, and that magic is going to help us find her.”

The Lampstick pauses just off center-stage. It freezes mid-motion.

AVEN
“Now what?”

ONDE
“I don’t know anymore.”

NETTE
“Give it a moment.”

The Lampstick slowly moves it’s lamp left and then right. It jumps up and starts walking, exiting stage-left. Nette follows the Lampstick and exits stage-left. Aven also exits.

ONDE
“Come along Heron.”

Heron runs over to her side and they leave stage-left together. The stage goes dark for a moment and when the lights come back the fog at the bottom of the stage is thicker. Additionally, the quantity and pace of Dream-Bubbles flowing across the top of the stage has increased. A bright light approaches from off-stage stage-left, casting a brighter and brighter light on the fog and dream bubbles. The Lampstick enters stage-left followed by Aven, Nette, Onde, and Heron the Aeliophile. The Lampstick stops mid-stage and starts to blink its light. Aven, Nette and Onde fan out attempting to look for something.

AVEN
“Can any of you see her? Is it sure she is here?”

NETTE
“Yes. But I can’t see her either. The fog is too thick. How did she ever find her way through here.” 

ONDE
“I have an idea. Heron could you help us clear the fog?”

Heron starts to whirl his steam pipes blowing away the fog. On the ground, passed out, lays THE MOTHER. Her hair has changed to all silver and she is now THE CRONE. 

AVEN, NETTE, AND ONDE
(in unison) “Mother!”

They rush over to her. Aven and Onde lift her up. Nette touches her face trying to wake her.

NETTE
“Wake-up. Wake-up mother. It is okay, we are here now.”

ONDE
“Is she okay?”

AVEN
“I don’t know.”

NETTE
“She’s not waking up.”

AVEN
“We need to get her home.” (turns to the Lampstick) “Could you lead us back home?”

The Lampstick nods yes. It slowly looks left and then right. It hops and starts off exiting stage-left. Onde stands carrying the Crone.

NETTE
“You going to be okay carrying her.”

ONDE
“Yeah, she is surprisingly light.”

Aven exits stage-left. Onde, carrying the Crone, follows her. Nette walks over to Heron and pats him on top.

NETTE
“Good job. Now lets go home.”

Nette and Heron exit stage-left.

FADE OUT

a new script: “The Great Works Project: Season Five, Episode One” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 01

a prologue

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-01”. 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

EXT. THE UNDOCUMENTED SPACE, OUTSIDE UNROOM NOT.SEVEN

OPEN AND HOLD ON A CS OF A SCRIPTBOOK FOR THE GREAT WORKS PROJECT. IT IS OPEN TO THE SCRIPT FOR SEASON THREE, EPISODE 10

GRIGIO COLORI
(off-screen) “So that’s where my scriptbook went.”

CUT TO POV OF THE OUTER ONE, WHO WAS READING THE SCRIPTBOOK, TURNING AND LOOKING UP AT GRIGIO.

The Outer One is leaning against a partial wall coming from the doorframe for a pair of double doors in the midst of the greyness of the Undocumented Space. There is an unseen light illuminating the double doors while the rest of the area has a foggy ambient light with patches of darkness in the distant. Each door has in a golden script “7” written on it denoting them as the doors to the Unroom Not.Seven.

THE OUTER ONE
“Oh, sorry about that.”

GRIGIO COLORI
“No problem. Here let me help you up.”

The Outer One reaches with their left hand, keeping the glitching right hand to hold the scriptbook. Grigio grips their hand and pulls the Outer One to a standing position.

GRIGIO COLORI
“So, you into Thomas Typewriter too.”

THE OUTER ONE
“Yeah. I was down here hoping to study his works.”

GRIGIO COLORI
“Yeah, me too. I find they give me a “unique” perspective on my life.”

THE OUTER ONE
“Would that have anything to do with you being a character in his stories.”

GRIGIO COLORI
“Potentially. Names Grigio.”

THE OUTER ONE
“Hello Grigio. (hands the scriptbook) I guess you’ll be wanting this back.”

GRIGIO COLORI
“Just for a moment, I wanted to look up something real quick. May I?”

THE OUTER ONE
“Sure.”

Grigio reaches for the scriptbook.

GRIGIO COLORI
“Which Alphabet Mouse was the sleepy…(grabs Outer One’s right hand hand What happened to your hand.”

THE OUTER ONE
“Stuck it somewhere I wasn’t supposed to. Got glitched.”

GRIGIO COLORI
“Does it hurt.”

THE OUTER ONE
“No, not really. More irritating than anything else. Banned from the Unrooms though. Didn’t think they were monitored. Stuck out here.”

GRIGIO COLORI
“That sucks. Anything you can do to fix it.”

THE OUTER ONE
“Maybe. There might be something.”

GIGRIO COLORI
“So you going to try?”

THE OUTER ONE
“Not sure.”

GRIGIO COLORI
“If you’re worried about doing it alone, you won’t have.”

THE OUTER ONE
“Really? Don’t you have some role to play in the plot.”

GRIGIO COLORI
“Yes, but the narrative will fix itself. It’s not like some other character could make that delivery. I got a feeling about you, a good feeling, and want to help.”

Grigio holds out his hand for the Outer One in a sign of friendship and help. The Outer One takes a moment to look, to understand the gesture Grigio offers him. A moment of internal debate plays out inside the Outer One before they ultimately accept Grigio’s help.

THE OUTER ONE
“Yes.”

GRIGIO COLORI
“Okay so where to now.”

THE OUTER ONE
“We need to find a sword in the haystacks.”

GRIGIO COLORI
“What?”

THE OUTER ONE
“It’ll make more sense when we get there.”

GRIGIO COLORI
“Lead the way.”

The pair exit the scene.

THE CAMERA SHIFTS FROM POV TO THIRD PERSON. IT DETACHES FROM THE OUTER ONE’S VIEWPOINT AND WATCHES AS THEY AND GRIGIO WALK AWAY. AS THEY MOVE AWAY IT PANS LEFT AND BACKWARDS TO THE DOOR TO THE UNROOM NOT.SEVEN.

As The Outer One and Grigio Colori walk away we hear bits of their conversation fading away.

THE OUTER ONE
“So you in the habit of leaving the play to help an audience member?”

GRIGIO COLORI
“No, first time. How about you? You break a body part on a work of fiction before?”

THE OUTER ONE
“Nope. First time.”

GRIGIO COLORI
“Well, they say there is a first time for everything.”

THE OUTER ONE
“Also a last time.”

GRIGIO COLORI
“We might be getting ahead of ourselves there.”

THE OUTER ONE
“Too true.”

TRANSITION FROM THE UNDOCUMENTED SPACE TO THE TYPEWRITER ABSTRACT PUPPET STAGE

THE CAMERA ROTATES AND PANS THROUGH THE DOOR TO THE UNROOM NOT.SEVEN

The TYPEWRITER ABSTRACT PUPPET STAGE sits in the center of the Unroom Not.Seven. The lights in the Unroom are at a dim setting. The sound of TYPEWRITER KEYS CLICK CLACKING chimes out from somewhere within the Typewriter Abstract Puppet Stage.

PAN IN ON TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE MID-STAGE AREA

The Mid-Stage curtains part revealing an empty stage. The Curtain of Clouds that lines the back of the Mid-stage is the only

BACK-STAGE: THE CONCURRENT DISTANCES, SPECIFICALLY DOWNDREAM

The stage is dark, only illuminated by a soft pale blue light. A gentle fog rolls across the bottom of the stage. A few DREAM-BUBBLES emerge from stage-right and slowly drift across the stage exiting stage-left. After they leave, a YUCK-BUBBLE enters from stage-left and erratically drifts across the stage. THE MOTHER rushes on stage from stage-left in pursuit. The Yuck-bubble picks up its pace. She quickly closes the gap and starts to try to catch it. It manages to elude her grasp a few times, the two of them tumbling and bouncing around the center stage area, before ultimately she nabs him. Ensnares it. The Yuck-bubble struggles to get loose, struggles against her grip.

THE MOTHER
“Hush now, it is going to be okay. Calm now. Shh. It’s going to be alright.Shh.”

The Yuck-bubble starts to calm down as she coos to it. Finally it stops struggling.

THE MOTHER
“There. There. Much better. See no harm is going to come to you.”

She leans over and kisses the Yuck-bubble on the top of its form.

THE MOTHER
“I am sorry you felt hurt. I am sorry you felt damaged. Felt incomplete. You are very special. I want you to know that. Very special to me and many others. Thank you for coming into my life. Thank you for existing.”

As The Mother leans up we see that the Yuck-Bubble has changed back to into a Dream-Bubble. She lets go of it and the new Dream-bubble drifts up and away, exiting stage-left. The Mother watches it leave, waving goodbye. After it exits, the Mother coughs. She then coughs harder, doubling over, caught in a coughing fit. When she stops we can see blood on her hands where she had covered her mouth. Some blood tinges the corner of her mouth.

CUT TO CS OF THE MOTHER’S HANDS WITH BLOOD ON THEM

CUT TO CS OF MOTHER’S REACTION

CUT BACK TO FRAMING SHOT OF THE BACK-STAGE

THE MOTHER
“Oh no.”

She then starts coughing again and falls over, disappearing into the fog

THE CAMERA PANS OUTWARD AND OUT FROM THE BACK-STAGE

TRANSITION FROM BACK-STAGE TO THE MID-STAGE

The Curtain of Clouds closes.

CAMERA PANS BACKWARDS OUT FROM THE MID-STAGE

The Mid-stage curtains close.

THE CAMERA CONTINUES TO PAN AWAY FROM THE TYPEWRITER ABSTRACT PUPPET STAGE

FADE OUT