fiction

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 Three by Thomas Typewriter

scripts, The Great Works Project assignments

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 06, Episode 03

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK


From the bottom of the screen scrolls up the following text: “06-03”. 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

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 stand closed. After a moment they open. The stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT FRONT ROOM, DAYTIME
A writing desk sits center stage. In the background, on the stage-right side, sits a short bookcase. The desk has two moving boxes stacked on top of it. The bottom box is labeled “Typewriter”. The top box is labeled “Papers, Scripts, Misc…” The bookcase is nearly empty with only some books remaining on one of the shelves. THOMAS TYPEWRITER is standing by the bookcase with books and loading them into a moving box. He loads the last books, puts on the lid, and writes “Books” on the side of the box with a marker from his pocket. He stands and looks around the apartment.

THOMAS TYPEWRITER
“We gave it a good try didn’t we. Going to miss you.”

He reaches into his pocket and pulls out his phone. He dials into the phone. It RINGS and RINGS before being picked up.

THOMAS TYPEWRITER
“Hi. May I speak to Ophidia please. Oh, hi Ophidia. How are you today? Good. Oh, just finishing packing the last bits of my apartment. You? Cool, cool. So, I thought over what you asked, you know about me helping and working on your project. I have an answer.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT FOLLOWS THE CURTAIN OF CLOUDS MOVING UPWARD HIGHER AND HIGHER. IT REACHES THE TOP OF THE CURTAIN OF CLOUDS AND SLIDES TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. IT RESTS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains are closed for a moment but then start to part. As they are nearly fully open the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. PANACEA FLAUTO’S OFFICE ON THE FLUTE MEDICALSHIP, DAYTIME
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 eating a salad. 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. She is watching the latest episode of “Soapbubbles Medical Theatre” on Channel Four, The Dog House.

SOAPBUBBLES MEDICAL THEATRE EPISODE #06081938
It is a weekly show that presents a different radio play preformed by the Doctors and Nurses of an operation room. The audience sits up in the observation gallery. Each episode is hosted by a gravelly yet soothing voiced mostly bio-goblin ORSON WELLWISHER.

THE LOGO FILLS THE SCREEN THEN FADES AWAY

ORSON WELLWISHER
(voice over) “Broadcasting live from The Caducean Mystery Hospital in the heart of the Eighth Hill, this is your host Orson Wellwisher.

CUT TO MS OF THE OPERATING TABLE.

A series of nurses and Doctors are around the table. A patient sits on the operating table, mouth covered by a breathing machine. The closest doctor, Orson Wellwisher, turns and looks at the camera.

CUT TO CS OF ORSON

ORSON WELLWISHER
“Today, we find ourselves caught in a tale of intrigue, deception, mistaken identities and a well-mixed martini in Soapbubble Operating Theatre presentation of THE THIRD THIN MAN with tonight’s special guests…

CUT TO CS OF WILLIAM P. J. COTTONGIN

William P. J. Cotton-Gin stands across the operating table from Orson. He is a tall angular mostly-clockwork elf that takes off his medical mask and smiles into the camera.

ORSON WELLWISHER
(voice-over) “…William P. J. Cottongin,…”

William nods at the camera and then puts his mask back on.

ORSON WELLWISHER
“And Myna Bird Loy”

CUT TO CS OF MYNA BIRD LOY

Myna Bird Loy is one of the nurses carrying a tray of surgical tools to the operating table. She is a thin avian mostly bio-goblin. She looks up as if caught unaware and smiles for the camera. Panacea watches the show, half turned towards the vid-screen while also half turned towards her salad. She sets down her salad so she can hold the microphone from her Med-Scanner.

PANACEA FLAUTO
(Narration or voice over) “Maestro, update Medical Journal, starting now. The most unusual thing happened the other day. Cedar Waxwings stopped by my office to discuss his treatment. Up to that point he and his friends were giving the minimal effort in their therapy sessions. Iasa and I had a meeting planned later to discuss options for increasing their participation. Confidentially, I wonder if maybe I do not understand their situation, emotionally. Iasa advocates for patience, but I do not. Sometimes I am envious of her patience and good-nature. (pause) Maestro edit entry. Strike everything after the bit with the meeting and participation.”

There is a KNOCK on the door.

PANACEA FLAUTO
“Hello.”

CEDAR WAXWINGS
(off-screen) “Can I come in? Are you busy.”

PANACEA FLAUTO
“Come in, come in. I was just eating some lunch before some meetings this afternoon.”

CEDAR WAXWINGS in his ovoid Medi-pod rolls into the room, bumping into the chairs. Panacea turns to watch him enter. She misses a change on the Vid-screen. From the background of the operating room, THE SLASHBUCKLER, THE WORDSLINGER, and THE HEIRESS come into view. The Slashbuckler is a slender woman in black medical scrubs covered in gold filligree. Next to her stands The Wordslinger in white medical scrubs covered in brass filligree. Next to him stands the Heiress. She is dressed in black medical scrubs covered in silver filligree while holding a Fennec Fox dressed in matching medical scrubs. They attempt to wave at the screen to get the viewers attention.

PANACEA FLAUTO
“What can I do for you.”

CEDAR WAXWINGS
“I have a simple question.”

PANACEA FLAUTO
“Okay. I can deal with simple. What is your question?”

CEDAR WAXWINGS
“Will I be able to play the drums again, once we’re done healing.”

PANACEA FLAUTO
“Well…”

On the Vid-Screen, The Slashbuckler, The Wordslinger, and the Heiress freeze as a deep red outline encases them. A single diamond red design appears in the corner of the screen and blinks twice. They dissolve to static before dissapearing completely. The red diamond dissolves from the screen and the show resumes.

CEDAR WAXWINGS
“Be honest.”

Panacea sets down her salad and turns back to the Vid-Screen. She presses a button on the side and it goes dark. She turns back and directly looks at Cedar.

PANACEA FLAUTO
“Given the amount of effort you are giving. No. You are not doing the therapy and you will be crippled when you exit the Medi-pod.”

CEDAR WAXWINGS
“No drumming then.”

PANACEA FLAUTO
“Drumming? You’ll lucky to be able stand without pain. Every step you take will be crooked and painful.”

CEDAR WAXWINGS
“I secretly suspected as much.”

PANACEA FLAUTO
“So why are you not trying harder. Why are you resisting.”

CEDAR WAXWINGS
“Fear. Misplaced anger. Dumb reasons.”

PANACEA FLAUTO
“Listen, I get it. When you first woke up, I didn’t want to alarm you or freak you. But honestly, you guys were in a spaceship that blew up. Who should be dead, but your not grasping what a miracle it is that you can try.”

CEDAR WAXWINGS
“Your right we should be dead, but we are not and it has messed with my head. You are also right that I have not been dedicated or even really trying. It’s not you or your sisters.”

PANACEA FLAUTO
“Well what is it? My sister and I are trying our best to heal you and you are throwing it back in our faces. We’re trained to distance ourselves emotionally, but still it stings.”

CEDAR WAXWINGS
“I get that and I am sorry. It’s me. I am the problem.”

PANACEA FLAUTO
“Finally we agree on something.”

CEDAR WAXWINGS
“Ouch. But your probably not wrong. I find myself wondering if I have been lying to myself. The problem was other people, the job, my father. If only they did this or that, my life would be better. Not my fault I quit everything I ever tried. I put it on them, yet here I am in this eggshell finding myself never have having dedicated to anything. A life of drifting. I wasn’t qualified for the Solar/Lunar Fleet except my dad pulling the strings. Only got the job, kept the job, because of my dad. How sad is that.”

PANACEA FLAUTO
“Pretty sad, but not that unusual. You think your the first person to come into my office and saw oh no, what have I been doing with my life.”

CEDAR WAXWINGS
“Ha, true, but that doesn’t change that I have wasted a lot of my life. There were so many moments of magic and wonder moving through my life and I ignored them because they were not the quote-unquote right kind of moments.”

PANACEA FLAUTO
“Well, you’re not dead yet.”

CEDAR WAXWINGS
“No, I am not. (pauses thinking) If I try really hard in therapy will I be able to drum.”

PANACEA FLAUTO
“Not only that, but you would probably help inspire your friends to try harder. You’ll be helping yourself and them.”

CEDAR WAXWINGS
“I do not know if I am worthy of being an inspiration but I do want to drum again.”

PANACEA FLAUTO
“Then come tomorrow, try your best in therapy. Then the day after, try your best. Then the day after that try your best. Then keep repeating.”

CEDAR WAXWINGS
“That simple, huh?”

PANACEA FLAUTO
“In theory, yes. Practically, not so much. We all get a little confused sometimes and forget to repeat.”

CEDAR WAXWINGS
“Some of us more than others.”

PANACEA FLAUTO
“Yes, some more than others.”

There is a pause as Panacea takes another bite of salad.

CEDAR WAXWINGS
“So, what were you watching.”

PANACEA FLAUTO
“Watching?”

CEDAR WAXWINGS
“On the Vid-screen. You were watching something when I came in. What was it?”

PANACEA FLAUTO
“Oh that. Soapbubble Operational Theatre. It’s where a bunch surgeons who also happen to be actors put on a play.”

CEDAR WAXWINGS
“Can I watch it with you? I mean, if you don’t mind.”

Panacea smiles and leans over turning the vid-screen back on. The doctors and nurses are crowded around the operating table.

PANACEA FLAUTO
“That guy is Orson Wellwisher. He is the host of the show and one of my favorites.”

CEDAR WAXWINGS
“Okay. Who are the other people.”

PANACEA FLAUTO
“The tall guy is William P. J. Cottongin. He is playing a visiting surgeon accidentally drawn into the murder mystery.”

Cedar moves closer to the table to get a better view as the High-stage curtains close. The stage lights turn of with the sound of A COMPUTER BOOTING OFF.

TRANSITION FROM THE HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT GLIDES ONTO AND OVER THE CURTAIN OF CLOUDS. MOVING EVER DOWNWARD THE TOPS OF THE MID-STAGE SETS PEAK INTO THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD OVER THE MID-STAGE SETS TILL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT FRONTROOM, DAYTIME
A writing desk sits center stage. In the background, on the stage-right side, sits a short bookcase. The desk has two moving boxes stacked on top of it. The bottom box is labeled “Typewriter”. The top box is labeled “Papers, Scripts, Misc…” The bookcase is nearly empty with only some books remaining on one of the shelves. THOMAS TYPEWRITER is pacing the room speaking to OPHIDIA OPERAHOUSE on his mobile phone.

THOMAS TYPEWRITER
“So, I thought over what you asked, you know about me helping and working on your project. I have an answer. I will do it.”

There is a LOUD SQUEAL OF DELIGHT from the phone. The squeal catches Thomas off guard, far too loud for how close he has the phone to his ear. Thomas winces and moves the phone away from his ear until the noise subsides.

THOMAS TYPEWRITER
“I am happy about it too. So what do I need to do first? Any paperwork or forms?”

The Mid-Stage curtains start to close as the stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF.

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.