And if you are interested, the entire list of “Great” works I am working through is available on my Patreon. (https://www.patreon.com/posts/great-works-list-143132846)
The next item from the list…
The Great Works Project assignments, the listGreat Works
“The Great Works Project: Season 06, Episode 12” by Thomas Typewriter
The Great Works Project scripts———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 06, Episode 12
By Thomas Typewriter
(c) 2025 jason arcand
———–<:type:>———–
FADE IN
THE VELVET CURTAIN
MS OF THE VELVET CURTAIN
A velvet stage curtain fills the frame. From below the frame THE VELVET TOUCH emerges. Remember that the Velvet Touch is a Helping Hand that wears long finger-less fishnet gloves. Each of their fingers, except the pinkies, are painted with a black or dark shade of fingernail polish. For this one episode, they are wearing bracelets made of various sized keys. The Velvet Touch waves at the camera and then reaches below the frame for a large cue card. They show the blank side to the camera and then rotate it. On the back, the cue card has the following text written in two columns:
an outsider… a color…
an artist… a letter…
a spirit… two paths…
The Velvet Touch rotates the cue card once more. The other side now displays the following text: “06-12”. The Velvet Touch moves off-screen. The text scrolls up exiting through the top of the frame. From the bottom of the frame scrolls up the following text: “meanwhile and elsewhere”
PAN IN ON THE DARK BEHIND THE VELVET CURTAIN
FADE OUT TO BLACK
GRIGIO COLORI
(offscreen) “From the bottom of the screen scrolls up the following text: “meanwhile…”. It moves upwards, pausing in the center of the frame.
FADE OUT
FADE IN
EXT. THE LONG HILLS, DAYTIME
The Long Hills are a connecting region appearing as a hilly combination of flowering prairie and rolling grassy plains. THE OUTER ONE and GRIGIO COLORI walk along one of the hills.
MS OF OUTER ONE AND GRIGIO AS THEY WALK ACROSS THE LONG HILLS
THE OUTER ONE
“Meanwhile? Doesn’t it say elsewhere.”
GRIGIO COLORI
“No. Meanwhile.”
THE OUTER ONE
“But when I read it earlier it said elsewhere.”
GRIGIO COLORI
“Don’t know what to tell you. It says meanwhile. Here look.”
THE OUTER ONE
“Okay, I believe you. It just seemed kind of out of character for the transitions Thomas was using before now.”
GRIGIO COLORI
“I agree.”
THE OUTER ONE
“Okay. Could Thomas be changing the script. I thought it was already published, but I swear that it said something different before.”
GRIGIO COLORI
“Maybe. That did seem to be a concern for Biff and Rockey in the first season scripts.”
THE OUTER ONE
“But how would we know?”
GRIGIO COLORI
“As a character from said story, I don’t think I am the best person to know if it changed.”
THE OUTER ONE
“Weird.”
There is a long pause.
THE OUTER ONE
“Oh well. Wa la wa. Doesn’t really change our goal does it.”
GRIGIO COLORI
“No it does not.”
THE OUTER ONE
“I still need to get my hand and arm fixed.”
The Outer One holds up his right arm and looks at how it is a translucent form filled with glitching text and symbols. The glitching flesh has now spread past his elbow and up to his bicep.
GRIGIO COLORI
“Yikes. That you do! What happens when if that reaches your head?”
THE OUTER ONE
“Don’t know and don’t want to find out.”
There is another pause.
GRIGIO COLORI
“So, should I keep reading?”
THE OUTER ONE
“Oh…yes, please do. We are almost to Swordpoint but we should have enough time to get a little more in.
GRIGIO COLORI
“From the bottom of the screen scrolls up the word Meanwhile. It pauses a moment in the center of the frame, then continues upward, exiting the frame at the top edge.”
TRANSITION FROM THE LONG HILLS TO THE HILLTOP
THE CAMERA PANS UP FROM THE OUTER ONE AND GRIGIO COLORI TO THE SKY ABOVE THEM. IT PANS ACROSS THE SKY AS THE CLOUDS GIVE WAY TO STARS.
THE CAMERA PANS DOWN FROM THE STARS, DOWN ACROSS A DIFFERENT SKY AND ONTO THE HILLTOP
EXT. THE DOWNHILL
The Downhill is the region just past the Hilltop. It is a gently sloping hillside covered in prairie and wildflowers with solitary trees scattered across. The flowers and grasses are only about shin height. A trail leads out from the Hilltop and down the slope to a large signpost. The trail then splits at the signpost forking to two trails. One trail goes out through the wildflowers and down across the Downhills to a city in the distance. It is far away and difficult to see fine details, but it appears to have many bright warm lights, tall buildings, and a sky overfilled with fluffy clouds in shades of white, sunrise yellow, mid-day blue, and sunset red. The other path also leads off to a city in the distance. This city is also far away and difficult to discern fine detail. What is visible is many tall buildings, tall smokestacks, flickering lights and a sky filled with grey smoke and haze.
LS OF THE DOWNHILL
THOMAS TYPEWRITER emerges from the Hilltop and works his way down the slope. He follows the trail to the point it splits. A signpost stands at the split. It has an arrow pointing down each branch of the trail. One arrow has the following text written on it: “THIStle”. The other has the following text written on it: “THATtle”.
VARIOUS SHOTS OF THOMAS WALKING DOWN THE TRAIL AND APPROACHING THE SIGN.
Thomas stops and looks at the signs.
MS OF THOMAS LOOKING AT THE SIGN
CUT TO CS OF EACH INDIVIDUAL SIGN AND THEN PANNING TO LOOK DOWN THE TRAIL.
CUT BACK
THOMAS TYPEWRITER
“This might be easier if the Ghostly could of remembered the part explaining what each city was.”
OVER THE SHOULDER SHOT AS THOMAS ONCE AGAIN LOOKS DOWN EACH TRAIL.
THOMAS TYPEWRITER
“How do I decide. She said one city might be good and the other bad. I imagine most everyone goes to that city that looks bright. But this is a faerie-tale kind-of scenario. Maybe it only looks good and has evil hidden under the surface, like an allegory for how appearances can be deceiving. Or it could actually be good and be an allegory for like turning your spiritual lead into gold. Conversely the other city looks awful like it could be an allegory for toxic habits. Or it could be cursed to look evil and you have break the curse as an allegory for removing your destructive layers to find the spiritual self underneath. How do I decide. How do I decide? How do I decide? How…How, How, How, How…”
Thomas grips his heart and then his head. He starts to hyperventilate. Leaning over, he works to sit down in a cross legged position. He places his hands on his knees, palm up, and starts to breathe in and breathe out.
THOMAS TYPEWRITER
“In…1…2…3…4…Out…1…2…3…4…In…1…2…3…4…Out…1…2…3…4…In…1…2…3…4…Out…1…2…3…4…and you are safe. You and calm.”
Thomas shifts his hands up to rub his face and refocus.
THOMAS TYPEWRITER
“Started to freak out there. I’ve got to calm down. I’ll just sit here till I figure this out.”
Thomas sits and looks down each path and also the surrounding fields. Then his attention focuses on the fields of wildflowers.
CUT TO MONTAGE OF WILDFLOWERS AND GRASS. SEE BIRDS AND INSECTS.
THOMAS TYPEWRITER
(voice-over) “It is actually pretty here. I wonder how many of these travelers notice that. They might be in such a hurry they overlook the area around the trail. Reminds me of the hay fields where I grew up.”
CUT BACK
Thomas looks at the two signs.
CUT TO MONTAGE OF SHOTS OF THE SIGN POST
THOMAS TYPEWRITER
(voice-over) “Do we really have to follow the trails? Like there doesn’t seem to be anything to physically keep us limited to the path. Instead of choosing one or the other, why don’t I not choose. I think I’d rather walk among the flowers and songbirds than walk to either of those cities.”
He stands and dusts off his pants. He then looks at the signpost.
THOMAS TYPEWRITER
“Thank you world for the two paths, but I think I am going to go with option three.”
Thomas walks past the signpost and into the wildflower fields.
CUT TO MONTAGE OF THOMAS WALKING THROUGH THE WILD FLOWER FIELDS.
As Thomas walks across the wildflower fields off the path, he starts to sink and stumble. The ground is uneven and he is unable to walk in a straight line. Also the ground is slowly sinking lower, but the top of the wildflowers remain at the same height. Thomas gets lower and lower in the wildflowers soon swallowed up to his ribs. He is sweating and breathing heavy.
THOMAS TYPEWRITER
“I did not think this through did I? Is it too late to turn back?.
A glint of light splashes across Thomas’s face. Thomas turns his head as if noticing something. He steps forward and kneels down and parts the grass.
CUT TO MS OF THOMAS LEANING OVER
CUT TO CS OF THE GRASS
As the grass parts, there is something metallic partially buried in the dirt.
INSERT CS OF AN OLD KEY IN THE SOIL.
A sunbeam comes out and the exposed metallic parts glitter. Thomas picks up the key and starts to clean it off.
CUT BACK TO MS OF THOMAS
THOMAS TYPEWRITER
“What is this?”
Thomas intently studies the key, turning it over and over as he stands. He starts to walk forward, distracted by the key. Failing to notice he is sinking, Thomas disappears from view down into the wildflowers. The flowers and grasses pushed aside by his presence slip back into their regular stances as is he was never there.
TRANSITION FROM THE DOWNHILL TO THE SWORD POINT
THE CAMERA PANS UP FROM THE WILDFLOWERS TO THE SKY ABOVE. IT PANS ACROSS THE SKY AS THE CLOUDS GIVE WAY TO STARS.
THE CAMERA PANS DOWN FROM THE STARS, DOWN ACROSS A DIFFERENT SKY AND ONTO SWORD POINT.
EXT. SWORD POINT, LATE AFTERNOON
A series of gentle hills overlook a central stone platform. There is a kind of white light on the platform, but it is too far away to accurately make out. Running out from the stone platform is a labyrinthine queue of people, snaking back and forth on itself. It spreads out across the vast field the stone platform sits in the center of and out to the slopes of the surrounding hills. The queue’s path is marked by pylons and chains. Scattered amongst the queue are nine stations with an entry gate, an awning, and a bouncer attendant .
LS OF THE SWORD POINT AND QUEUE
From the hill in the lower edge of the frame, THE OUTER ONE and GRIGIO COLORI enter.
THE OUTER ONE
“Here we are.”
GRIGIO COLORI
“Swordpoint?”
THE OUTER ONE
“Swordpoint.”
GRIGIO COLORI
“Wow. That is a lot people.”
THE OUTER ONE
“Yup.”
MS OF THE OUTER ONE AND GRIGIO
GRIGIO COLORI
“So how does this work?”
THE OUTER ONE
“We go to the end of the line. Wait our turn. Then we ask our question.”
GRIGIO COLORI
“That easy?”
THE OUTER ONE
“That easy.”
GRIGIO COLORI
“But the line is massive. How long will be waiting.”
THE OUTER ONE
“Centuries. Unless you pay for quicker access.”
GRIGIO COLORI
“Lets do that. So what do we have to do?”
THE OUTER ONE
“Well, we go to one of the Gatekeepers and pay. The amount of value the payment generates will determine how further up the line we get.”
GRIGIO COLORI
“Ohhh. (pause) And you have the waiting fee?”
THE OUTER ONE
“A little. I’m down to three copies.”
The Outer One turns and starts walking towards Swordpoint. Grigio follows behind.
FADE OUT
“The Great Works Project: Season Six, Episode Eleven” by Thomas Typewriter
Puppet play, scripts, The Great Works Project scripts———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 6, Episode 11
by Thomas Typewriter
(c) 2025 jason arcand
———–<:type:>———–
FADE IN
From the center of a blank screen scrolls upward rapidly the following text: “06-11”. It enters from the bottom of the frame and moves up, pausing in the center before continuing upward. It exits through the top of the frame.
FADE OUT
The sound of TYPEWRITER KEYS CLICK CLACKING rings out from the darkness.
FADE IN
INT. THE HILLTOPS, EVENING
A rounded hill of scrubland stands at the juncture or overlap of vast rolling sand dunes of white, brown, and gold sand meeting a large primeval forest dotted with swaths of prairie flowers. A walking path runs across the Hilltops. Near the center of the Hilltops, just next to the path is a tall post made of irregular length boards roughly nailed together. Hanging from the top of the signpost is an elaborate stained glass lamp, currently lit, suspended on an intricate golden chain. Numerous vines of morning glories, runner beans, and trumpet vines grow up the post. A little further down the path from the signpost sits THOMAS TYPEWRITER, Z-MOUSE, and The GHOSTLY around a camp fire. All of them are eating pizza and drinking soda.
LS OF THOMAS, Z-MOUSE, AND GHOSTLY
Z-MOUSE
(to Thomas) “So what brings you around Thomas.”
THOMAS TYPEWRITER
“I was working for Ophidia, and needed a break.”
CUT TO MS OF THOMAS AND Z-MOUSE
Z-MOUSE
“How’s that going?”
THOMAS TYPEWRITER
“Good.”
CUT TO CS OF THE GHOSTLY
THE GHOSTLY
“Who’s Ophidia?”
CUT TO CS OF THOMAS
THOMAS TYPEWRITER
“An animator and also my fiance.”
CUT TO CS OF GHOSTLY
THE GHOSTLY
“Oh. Congratulations.”
CUT TO MS OF THOMAS, Z-MOUSE, AND GHOSTLY
THOMAS TYPEWRITER
“Thank you. So I was working for Ophidia and it was just so boring. I don’t know how she can stand it but animating is not for me. The inside of my head was just screaming louder and louder. I needed a break. Closed my eyes and turned inwards. ”
Z-MOUSE
“I must admit I am surprised to see you here.”
THOMAS TYPEWRITER
“Yeah, me too. I really thought I was going to end up in the Writer’s Room. Speaking of the Writer’s Room, how is it going? Any progress?”
Z-Mouse shakes his head.
THOMAS TYPEWRITER
“Oh well. How about you? Why aren’t you at the meeting.”
Z-MOUSE
“The dreams were pulling me too strongly to stay awake. Next thing I know I am here.”
THOMAS TYPEWRITER
“And where is here exactly?”
THE GHOSTLY
“This is the Hilltop. The spot where the Sands and the Valleys overlap. All travelers having survived thirst or flood find themselves here before moving onto the Fields.”
Z-MOUSE
“Hilltop? That’s the name of this place?”
THE GHOSTLY
“Truly.”
Z-MOUSE
“That makes your whole speech make more sense.”
THOMAS TYPEWRITER
“So this is like a warning speech?”
Z-MOUSE
“Oh yeah, the Ghostly haunts this trail.”
THE GHOSTLY
“Truly, it is my burden to warn all travelers of the choices they must make when they venture beyond to the Fields.”
Z-MOUSE
“She appears to every traveler and delivers this light show and monologue. A real production. It is really quite a show. You should see it.”
THOMAS TYPEWRITER
“Could I?”
CUT TO CS OF GHOSTLY
THE GHOSTLY
“I don’t know. It’s embarrassing and I’d rather not. I’m enjoying this. Just eating some pizza and hanging out. I don’t get to do this kind of thing very often.”
CUT TO MS OF THOMAS AND Z-MOUSE
THOMAS TYPEWRITER
“Oh please.”
Z-MOUSE
“Don’t be embarrassed.”
THOMAS TYPEWRITER
“Pretty please.”
Z_MOUSE
“Pretty please with a cherry on top.”
THOMAS TYPEWRITER
“Yes, cherry on top. And I promise, we’ll do more eating pizza and shooting the breeze.”
CUT TO CS OF THE GHOSTLY
THE GHOSTLY
“Okay, I’ll do it.”
CUT TO MS OF THOMAS, Z-MOUSE AND THE GHOSTLY
Thomas and Z-Mouse cheer.
THE GHOSTLY
“Give me a moment to prepare.”
The Ghostly stands and fades out of view, disappears.
Z-MOUSE
(to Thomas) “You’re going to really like this.”
THOMAS TYPEWRITER
“I hope so.”
TRANSITION FROM THE HILLTOPS TO THE TYPEWRITER ABSTRACT PUPPET STAGE HIGH-STAGE
THE CAMERA PANS UPWARD TO THE STARS MOVING ON TO THE DARKNESS OF SPACE.
DISSOLVE FROM THE DARKNESS OF SPACE TO THE HIGH-STAGE CURTAINS
HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains part and the stage-lights turn on to the sound of A COMPUTER BOOTING UP revealing…
HIGH-STAGE: EXT. THE DOOR TO PANACEA’S OFFICE IN THE FLUTE MEDICALSHIP, EVENING
A long hallway spreads across the stage. The back of the stage is a metal wall, painted a light matte cream color. Horizontal stripes of yellow, blue and brown run the length of the wall. The yellow stripe runs across the center to a door in the center of the stage. The stripe of yellow follows the doorframe creating an effect of ringing the door.
PANACEA FLAUTO
(voice-over) “Medi-pod: Journal entry starting now. We have finished our examination and initial treatment of the two youths brought to us by the Count. They do show signs of injury consistent to previous cases of decompression and exposure to vacuum but not to the severity that they should have. Additionally they exhibit burns consistent to exposure to high energy. Possibility due to the proximity to the Ir-Ra and its corona.”
CEDAR WAXWINGS, in a Medi-pod rolls in from stage-left. In one hand he is holding a bag of food. He approaches the door and knocks on it.
PANACEA FLAUTO
(voice-over) “The fact that these kids even survived out there was remarkable. What were they doing out there? How did they end up in that Sat-bot? Did somebody save them, and if yes, who?”
Cedar Waxwings extends his arm and knocks a second time.
PANACEA FLAUTO
“Getting sidetracked here. Okay, medical journal. Alright where was I. Burns, right. Besides the previous symptoms they also exhibited minor abrasions and are currently unconscious. Their condition is not severe enough to warrant Medi-pods. (pauses) Medi-pods! Oh, what time is it!”
Cedar Waxwing knocks on the door a third time. He waits a few minutes and then knocks a fourth time. He waits a moment for a response and finally accepting no one is inside turns to leave. From off stage the sound of RUNNING FOOTSTEPS approaches. PANACEA FLAUTO runs in from stage-right.
PANACEA FLAUTO
“Wait!”
Cedar turns and waits for her. She runs over, places on hand on his Medi-pod for support and tries to catch her breath.
PANACEA FLAUTO
(severely winded) “Hate…running…so…much. Hey…Cedar…how…are…you?”
CEDAR WAXWINGS
“You okay.”
PANACEA FLAUTO
“Yeah, just winded.”
CEDAR WAXWINGS
“I brought you some dinner.”
PANACEA FLAUTO
“Thank you.”
CEDAR WAXWINGS
“Did you forget we were going to watch the next episode.”
PANACEA FLAUTO
“Honestly?”
CEDAR WAXWINGS
“Honestly.”
PANACEA FLAUTO
“Yes. Some new patients got admitted and I lost track of time.”
Cedar pulls out a container from his bag and hands it to Panacea.
CEDAR WAXWINGS
“So tell me about it.”
Panacea slides down to sit on the floor and opens the container. She takes a bite of salad.
PANACEA FLAUTO
“Oh, this is good.”
CEDAR WAXWINGS
“Thanks. You are always eating those salads with pine nuts, so I thought you might like this. You were saying new admits.”
PANACEA FLAUTO
“Yeah, so they found these two kids out in space.”
Cedar pulls out his food container from the bag.
CEDAR WAXWINGS
“Really?”
PANACEA FLAUTO
“Really.”
CEDAR WAXWINGS
“Then what?”
The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.
TRANSITION FROM HIGH-STAGE TO THE HILLTOP
DISSOLVE FROM THE HIGH-STAGE CURTAINS TO THE DARKNESS OF SPACE
THE CAMERA PANS DOWNWARD FROM THE DARKNESS OF SPACE ACROSS THE STARS IN THE SKY AND THEN DOWN TO THOMAS AND Z-MOUSE IN THE HILLTOPS
EXT. THE HILLTOP, EVENING.
MS OF THOMAS AND Z-MOUSE
THOMAS TYPEWRITER and Z-MOUSE sit around a log fire burning on the top of a hill. They fidget with anticipation. The fire POPS then briefly flares.
THE GHOSTLY
(off-camera) “Listen well traveler, for having made it this far you are now faced with a choice.”
The flame of the fire dies down, casting Thomas and Z-Mouse into shadow. From out of the frame, stage-right, comes a spectral glow. Thomas and Z-Mouse turn their heads to look at the source of the glow.
CUT TO LS OF THE GHOSTLY
The Ghostly has appeared, floating in the air off to the side of the fire. She glows with a bright spectral energy.
THE GHOSTLY
“For you have survived what the world has given you. You have moved and made distance. Where you started is no longer where you are. Now comes the point where you will reach a fork in the road and must choose a path. But be aware one path leads…”
The Ghostly’s glow dims a little bit.
CS OF THE GHOSTLY
THE GHOSTLY
(as an aside to Thomas Typewriter and Z-Mouse) “And that is where most everyone says ‘Oh, thank you’ and keeps walking on. But if they were to stick around this is how the rest of it would go.”
CUT BACK TO LS OF THE GHOSTLY
THE GHOSTLY
“But be aware that one path leads to Abundance while the other leads to Self-Absorbtion. I am not able to tell you which path is ultimately yours to travel. Nor am I allowed to tell you how to discern which path is which. The steps you have taken before, to get here have determined that. But you have a few more steps to take before choosing, so please listen to this tale of the city that let it’s story become part of your last few steps…last few steps and ….and…and I don’t remember the rest.”
The Ghostly’s glow dims and turns off.
THE GHOSTLY
“It has been centuries since I reached even this point and its all kind of fuzzy to me now.”
Z-MOUSE
“Good thing no one sticks around then.”
THE GHOSTLY
“I know, right.”
THOMAS TYPEWRITER
“Do you remember any of it?”
THE GHOSTLY
“Something about a great golden city in the past and elves. They did something or made some bad magic or talked to the dead and some got corrupted. They can’t get along and the city splits into two.”
Z-MOUSE
“Wow, I might of oversold this.”
THOMAS TYPEWRITER
“You think. Oh, well. A break is a break and I am not going to complain. I’ve got pizza, soda, friends, and the love of someone who sees me. Life is good.”
The Ghostly returns to her seat around the campfire and picks up another slice of pizza.
Z-MOUSE
“I’ll toast to that.”
Thomas, Z-Mouse, and the Ghostly each lift up a can of soda.
THOMAS TYPEWRITER
“Salute!”
Z-MOUSE AND THE GHOSTLY
“Salute!”
THOMAS TYPEWRITER
(to self) “La vita è breve, ma l’arte è lunga.”
They each drink from the soda can and start giggling.
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 Five, Episode Five – a new script by Thomas Typewriter
The Great Works Project scripts———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 05, Episode 05
By Thomas Typewriter
(c) 2023 thomas typewriter
———–<:type:>———–
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “05-05”. 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
LS OF THE TYPEWRITER PUPPET STAGE
The Typewriter Puppet Stage manifests illuminated by unseen lamps. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.
TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE
PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE
PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED
MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part. The stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…
MID-STAGE: EXT. OFFICES OF DOUBLEWAY RENTAL PROPERTIES. DAYTIME
A subdued natural stone color building fills the stage. A set of doors rest just stage-left of center. Stage-right of center the building has a twin set of triangular protruding windows. Brickwork of darked brown can be seen over each door and window. Stenciled in gold letters with a black shadow on the doors is the following text: “Doubleway Rental Properties Inc.”. From off-stage we hear the sound of A CAR PULLING INTO A PARKING SPACE followed by CAR DOORS OPENING AND CLOSING. FOOTSTEPS grow louder preceding THOMAS TYPEWRITER entering stage-right. He crosses across the stage to the doors. He pulls open the closest door and goes inside. From stage-left a BUTTERFLY flies in and lands on the bricks above the windows. It flaps its wings as it warms itself in the sun.
TRANSITION FROM MID-STAGE TO HIGH-STAGE
THE CAMERA DISCONNECTS FROM FRAMING THE MID-STAGE AND PANS UPWARD. AFTER GLIDING OVER THE TOPS OF THE MID-STAGE SETS, THE CAMERA ASCENDS ALONG THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. UP AND UP IT PANS. AT THE TOP OF THE CURTAIN OF CLOUDS IT SLOWS AS THE HIGH-STAGE SLIDES INTO VIEW. THE CAMERA FINISHES PANNING WHEN PROPERLY FRAMING THE HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains are closed but open shortly. As they part the High-stage stage lights click on with the sound of A COMPUTER BOOTING UP revealing a scene already in progress.
HIGH-STAGE: INT. PHYSIO-THERAPY OFFICE 505
A small desk sits on the stage-right side of the room. Bare walls, a soft pastel beige-pink divided by a wide horizontal white stripe, move stage-left and stage-right from the corner of the room behind the desk. On the walls are various medical posters related to physical therapy and therapeutic exercises. IASO FLAUTO sits at the desk, dressed in a white medical coat, hair up in a bun, fiddling with her small mirror-shaped medical scanner. Sitting in the front of the desk are the three Medi-pods housing LUCIDO OBSIDIAN, CEDAR WAXWINGS, and CARRO.
IASO FLAUTO
“And everyday we will meet to complete physical therapy.”
CEDAR WAXWINGS
“I don’t understand.”
LUCIDO OBSIDIAN
“Yeah, why physical therapy? How are we suppose to do that in these egg coffins.”
CEDAR WAXWINGS
“Isn’t the Medi-Pods repairing us. We’ll be fine when we get out.”
IASO FLAUTO
“Unfortunately no Cedar. To answer both of your points, yes the Medi-Pods will repair your bodies, and while yes it seems silly to ask you to conduct physical therapy while inside them, it is how they were designed. Normally your injuries would require surgery, a period of convalescence, and then another period of physical therapy and strength rebuilding. The Medi-Pod allows the two stages, healing and recovery, to overlap. ”
CARRO
“But why am I in one. I don’t have a body.”
IASO FLAUTO
“That used to be true. Solar/Lunar decided with your Sparkship shell lost, and honestly guys how’d you crash a Sparkship? A fleet of over one-hundred ships and only one has ever crashed. Yours.”
CEDAR WAXWINGS
“Now hold on, we didn’t crash the ship.”
LUCIDO OBSIDIAN
“Yeah, something hit the ship.”
IASO FLAUTO
“I mean, you guys should be worrying more about why you are not in jail instead of why the Doctor is telling you you have to do physical therapy.”
CARRO
“Oh.”
CEDAR WAXWINGS
“Why are we not in jail?”
IASO FLAUTO
“Heck if I know. Maybe cause coma victims make poor prisoners. Maybe Solar/Lunar is too embarrassed they lost a ship. Who knows. Not my concern.”
CEDAR WAXWINGS
“My dad. My dad is the embarrassed one. He’d never let it get out his son crashed one of his precious ships. Easier to put us here.”
LUCIDO OBSIDIAN
“So, who’s paying for all this.”
IASO FLAUTO
“The Solar/Lunar Fleet”
LUCIDO OBSIDIAN
“Oh.”
IASO FLAUTO
“Right now what is important is that we get you three healthy and healed, and in Carro’s case into a new body. Therapy starts tomorrow morning after breakfast. You can have the rest of the day to yourselves.”
Iaso presses a button on the mirror on her desk.
IASO FLAUTO
“Panacia, we’re done here.”
PANACIA FLAUTO
(off-screen) “I’ll be right there.”
IASO FLAUTO
“That is all for today gentlemen. If you wouldn’t mind waiting outside for Panacia, I have another appointment.”
The three Medi-pods wander out of the medical office. Once they are gone, Iaso turns to the large mirror behind her.
IASO FLAUTO
“Mirror, Mirror on the wall who needs forgiveness today.”
The mirror shifts and shimmers changing from reflecting the medical office to showing the Forgiving Place. Fiery light cast on the edges.
IASO FLAUTO
“Interesting. I’ll be over shortly.”
The High-stage stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.
TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE
THE CAMERA DETACHES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES OVER THE CURTAIN OF CLOUDS, DESCENDING LOWER AND LOWER. IT MOVES OVER THE TOP OF THE MID-STAGE SETS AND DOWNWARD FURTHER UNTIL PROPERLY FRAMING MID-STAGE.
MID-STAGE: EXT. THE DOUBLEWAY RENTAL PROPERTIES OFFICES. DAYTIME
A not-quite two-story pale brown brick building fills most of the stage. It ends just short of stage-right while extending out of sight of stage-left. Double-doors of glass, with the Doubleway Rental Properties logo painted just off-center. To the other side of center, stage-right side, three windows, each of a triangular prism form, jut out from the building. Red brick arches curve over the doors as well as each window. A butterfly rests on the side of the building sunning itself. THOMAS TYPEWRITER exits the building through the double-doors coming into our view. He is carrying a stack of papers. Thomas walks stage-right exiting off stage. From off-stage we hear the sound of CAR DOORS OPENING AND CLOSING, AN ENGINE TURNING ON, and lastly, A CAR DRIVING AWAY. The butterfly on the side of the building leaves the side of the building, flying around the stage. It flies upward, exiting by flying past the edge of the framing image. The stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.
FADE OUT
The Great Works Project: Season 05, Episode 03 – a new script by Thomas Typewriter
scripts, The Great Works Project scripts———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 05, Episode 03
By Thomas Typewriter
(c) 2023 thomas typewriter
———–<:type:>———–
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “05-03”. 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
TYPEWRITER ABSTRACT PUPPET STAGE
The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the dark. The TYPEWRITER ABSTRACT PUPPET STAGE materializes in the distance when unseen lamps turn on over it.
PAN IN ON THE TYPEWRITER ABSTACT PUPPET STAGE
TRANSITION FORM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE MID-STAGE
PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED
MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains open. The stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…
MID-STAGE: MARY MARCHHARE’S LIVING ROOM
Two sofa chairs sit at a perpendicular angle to each other and each at an angle to the front of the stage. A wide side table with a brass bulbous lamp sits between the chairs. A large window, the window seen from the outside on the front of the house, sits behind the chair on the stage-right side. On the wall behind the stage-left chair a giant clock, shaped to look like a pocket watch on a chain, hangs on the wall. A small painting of an early 20th century race car hangs below the clock. Mary Marchhare sits in the chair on stage-left, fanning herself with a small paper fan she keeps in a drawer in the side table when not in use. Thomas Typewriter sits in the chair on stage-right holding a can of Sparkle Soda, deep in conversation.
THOMAS TYPEWRITER
“So that’s all of it Grandma. The proposal, the unemployment, everything.”
MARY MARCHHARE
“Well of course you can stay here while you figure things out.”
THOMAS TYPEWRITER
“I still do not know what to do about Ophelia. About working with her. For her on her film. Animated short.”
MARY MARCHHARE
“You’ll figure it out.”
THOMAS TYPEWRITER
“Did you ever regret working with Grandpa.”
MARY MARCHHARE
“Sure. All the time. He drove me crazy, but I’d do it again in a heartbeat. Silly as it sounds, I sometimes miss his complaining.”
THOMAS TYPEWRITER
“Really. Like what?”
MARY MARCHHARE
“Oh Thomas, I can still hear him. He’d start yelling “Jinny” Jinny, How I hated that nickname and he knew it. Jinny was another term for a stubborn mule where we grew up. I wasn’t a mule. He was the stubborn one.”
THOMAS TYPEWRITER
“When did you first meet Grandpa.”
MARY MARCHHARE
“Well. He used to run with the kids in the neighborhood. This was back in Rockford. He was living with his Grandparents and I was shipped off to my two aunts before going out south with my Grandparents. So I knew of him then, but we weren’t friends.”
The stage lights dim while Mary Marchhare speaks.
THE CAMERA DETACHES FROM THE MID-STAGE AND PANS UPWARD. IT MOVES OVER THE MID-STAGE SETS AND UP TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES PANNING UPWARD. AT THE TOP OF THE CLOUD OF CURTAINS IT REACHES THE HIGH-STAGE. THE CAMERA PANS UP INTO PROPERLY FRAMING THE HIGH-STAGE
HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains part and the stage lights turn on with the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: EXT. THE FORE-GROUND THEATRE, DAYTIME
A boarded up theatrical venue lines the back of the stage. Their are four sets of doors, all with boards over them. To each side of the doors are two sets of poster cases. Each is currently empty. Above the doors is a simple marque for hanging style letters but the only thing on there is “CLOSED”. at the top of the marquee is a neon sign reading the following in a slightly stylized cursive script: “the Four-Grounds”. Sitting on the sidewalk in front of the theatre sits ORTHO MERCUTIAN, a cat-lady wearing a disguise of an old-man. Ortho has an open guitar case in front of them and is playing on a guitar for money from passing pedestrians. At this time there are none. Ortho sets down their guitar and stretches. The strings begin to vibrate on their own. Ortho reaches for the strings putting their fingers over the vibrating strings. A spotlight turns on focused on Ortho Mercutian while the stage-lights dim.
ORTHO MERCUTIAN
“No, I am glad you called. How is he? (pause) That is serious. And his friends? (pause) Same boat huh. What’s Solar/Lunar saying? (pause) Does not sound like them. Must be someone else getting involved. If they really go through with that I’ll cover the shortfall. Just heal them up. (pauses) In the meantime, keep me updated. (pause) Thanks, you too.”
Ortho removes their fingers from the guitar. The spot-light turns off and the stage-lights brighten. Ortho picks up the guitar and starts to play. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.
THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ALONG THE CURTAIN OF CLOUDS. AS IT DESCENDS THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE
MID-STAGE: INT. MARY MARCHHARE’S FRONT PORCH, DAYTIME
A large window sits center-stage. A front door with small landing and steps sits to the stage-right of the window. The window itself occupies most of the stage, being made of three windows. Two smaller windows with screens sandwich buttress a large picture window. The porch lite turns right before the front door opens. THOMAS TYPEWRITER steps out onto the landing. MARY MARCHHARE follows him into the doorway. He turns and gives her a hug.
THOMAS TYPEWRITER
“Thanks again Grandma. Love you.”
Thomas steps away from Mary.
MARY MARCHHARE
“No problem. It’d be nice having another person in the house again.”
THOMAS TYPEWRITER
“So, I’ll be back tomorrow with the first of my stuff.”
MARY MARCHHARE
“Great. I’ll make dinner to celebrate.”
THOMAS TYPEWRITER
“Awesome. What are you thinking about making?”
MARY MARCHHARE
“Cacciatore. Maybe some bread.”
THOMAS TYPEWRITER
“Sounds great. Okay, I’ll see you tomorrow.”
Thomas walks stage-left down off the front porch and out of stage/frame. Mary Marchhare watches from the doorway. Once Thomas is out of frame, she waves goodbye and then closes the door. The stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF while the Mid-Stage curtains close.
FADE OUT
Thomas Typewriter 
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