Great Works

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