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The Great Works Project: Season Six, Episode Six script – a new script by Thomas TYpewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 6

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-06”. It enters from the bottom of the frame and moves up as if in fast forward. It exits through the top of the frame.

FADE OUT
FADE IN

INT. THE SPACE EGG, MAYBE/MAYBE NOT DAYTIME

FADE IN TO A SERIES OF RAPID CUTS OF THE INNER-SPACE MAN, BIFF AND ROCKEY IN THE INSIDE OF THE SPACE EGG AS IT FLIES AT A VERY FAST VELOCITY

The interior of the Space Egg is a circular space filled mostly by a pilot’s chair and control panel. The center of the space is filled with a molded pilot’s chair, currently seating THE INNER-SPACE MAN. His long white beard and hair flip around due to the Space Egg’s current velocity. In front of him is a semi-circular control panel. The center of the panel bears a long display shaped like a rectangle with a circle in the center. Should the Space Egg speak, the dialogue also scrolls across the center display like an LED sign. Various sized semi-translucent hexagonal buttons used for piloting the ship are set across the remaining area of the control panel. Above the control panel is an ovoid-shaped display screen. The entire interior of the Space Egg is designed as some combination of children’s toy and sci-fi movie. Behind the pilot’s chair is a small space, into which BIFF and ROCKEY are currently crammed. They are pressed back into the wall due to the Space Egg’s rapid acceleration. Crayons and pages flutter in the gap between them.

CUT TO


HIGH-STAGE: INT. BIFF’S BEDROOM, DAYTIME
A bed sits center-stage dividing the stage in two. On the stage-left side of the bed, a window sits under a small slant of roof. Posters of various characters from the Cosmic League comic book series and Babysitter Tails television show are hanging on the wall between the bed and window. On the other side, stage-right side, of the bed sits a nightstand topped by a small lamp. Past the nightstand is the bedroom door and the small second-floor landing. BIFF THE RABBIT and ROCKEY THE PET ROCK are hiding under the bed. THE SPACE EGG hovers in the center of the room while THE INNER-SPACE MAN approaches the bed.


THE INNER-SPACE MAN
(leans down to look at Biff and Rockey under the bed) “Well gentlemen, care to leave the confines of this reality?”


CUT TO CS OF BIFF AND ROCKEY UNDER THE BED


BIFF THE RABBIT
(to Rockey in a whisper) “Their trans-dimensional nature might be our best chance to get out of this script. (to the Inner-Space Man) Sure.”


ROCKEY THE PET ROCK
“As long as we can bring our drawings and crayons.”

THE INNER-SPACE MAN
“I wouldn’t have it any other way. You never know when a good drawing will save your life.”

CUT BACK

Biff and Rockey get out from under the bed. They gather up crayons and drawings from the room, placing them into Biff’s backpack, which was under the nightstand.

ROCKEY THE PET ROCK
“We should put in the story that the Soft-boiled Detective and the Big Bag Bug are visited by two robots.”

BIFF THE RABBIT
“Okay, but what do we call them?”

ROCKEY THE PET ROCK
“The Deuce Machines.”

BIFF THE RABBIT
“That might work.”

The Inner Space Man lifts Rockey inside the Space Egg. Then he helps Biff, before climbing in himself. The Space Egg closes. It starts to hover before flying across the threshold of the front of the High-stage and out of the frame.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD MOVING FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS. IT CONTINUES MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS.


The Space Egg quickly enters and then exits our view as the camera races past its descent.


THE CAMERA CONTINUES PANING DOWN THE CURTAIN OF CLOUDS, REACHING THE TOPS OF THE MID-STAGE SETS. IT SLIDES OVER THE SET TOPS, DESCENDING UNTIL FRAMING MID-STAGE.

MID-STAGE: INT. THE RETRO SCREEN 10, EVENING
Four descending rows of theatre chairs fill the stage, with each row higher than the one in front of it. A set of decorative wall lamps can be seen hanging above the back row of chairs. The lamps are at full brightness. THOMAS TYPEWRITER enters from Stage-left behind the top row and then proceeds to exit stage-right. He reenters in the third row from stage-right walking to stage-left and exiting. He repeats this zig-zag walking through the second row and then into the first row. He sits down in a center chair in the first row. The decorative wall lamps dim and the stage goes darker. Thomas reaches down and pulls out a tub of popcorn topped with whipped cream with a cherry on top and a large soda with a crazy straw from under his chair. He starts to drink the soda. From the top of the screen, the SPACE EGG floats down. It slowly turns right, then left surveying the scene. It exits stage left. Thomas leans over trying to eat the cherry topping his popcorn sundae.

OPHIDIA OPERAHOUSE
(voice-over) “And here is where the magic occurs.”

Thomas looks around trying to figure out where the voice is coming from. The decorative wall lamps dim to black, transitioning the stage to darkness.

OPHIDIA OPERAHOUSE
(voice-over) “Thomas. Thomas! Are you paying attention?”

CUT TO

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME.
The sound of A LIGHT SWITCH CLICKING OFF punctuates the transition to the Pencil Chicks Studio. A long desk spreads across the stage. It has a monitor, keyboard, mouse, and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE stands just inside the room, while THOMAS TYPEWRITER stands in the doorway. She is looking back at him.

OPHIDIA OPERAHOUSE
“I said this is where the magic happens.”

THOMAS TYPEWRITER
“Sorry, I drifted off there. Biff and Rockey popped into my head for some reason. Okay, so you were saying something about magic.”

OPHIDIA OPERAHOUSE
“I was saying this is where the magic happens. Over there is my drawing desk, and next to it my supplies, paper, pencils, etc. The computer is where I scan and compile the images. Up above is where I store everything else. There is more, but we’ll get into it once you’re a little more familiar. I didn’t want to overload you on your first day. I am so happy to be doing this with you.”

THOMAS TYPEWRITER
“Me too.”

They kiss.

OPHIDIA OPERAHOUSE
“Maybe I should show you what to do before we’re too distracted.”

THOMAS TYPEWRITER
“Couldn’t hurt.”

TRANSITION FROM MID-STAGE TO THE WINGS

THE CAMERA SHAKES LOOSE FROM PROPERLY FRAMING THE MID-STAGE AND TURNS SLIGHTLY SO THAT THE MID-STAGE CURTAIN IS VISIBLE. THE CAMERA MOVES TOWARDS THE CURTAIN ITSELF BECOMING ENTANGLED. IT TURNS DOWNWARD AND MOVES DOWN AND OUT OF THE CURTAIN INTO THE WINGS.


EXT. INNER CORRIDOR OF THE WINGS


LS DOWN INTO THE INFINITY OF THE WINGS

The Wings extends out to infinity. It is a storage space for the Helping Hands to store all the different scenery and locations used in the plays that are put on in the Typewriter Abstract Puppet Stage. It is a central open inner atrium with four outer walls. Each outer wall is a series of storage areas housing a different scene location. On the nearest bin is the RETRO SCREEN 10 set. The SPACE EGG flies out from the storage area for The Retro. It flies up the center of the open corridor gaining speed, flying out of frame.


TRANSITION FROM THE WINGS TO THE HIGH STAGE


HIGH-STAGE: THE FAR EDGE OF THE FOREVER CAGE


FRAME THE HIGH-STAGE A LITTLE FURTHER PANNED OUT THAN USUAL, SO AS THE CURTAIN OF CLOUDS IS VISIBLE EDGING THE HIGH-STAGE.


From the bottom edge of the High-Stage, the Space Egg flies up. It hovers and twists in the air, rotating to face in towards the High-Stage. It flies forward and into the High-Stage disappearing into the distance.

PAN UNTIL PROPERLY FRAMING HIGH-STAGE.


THE WARDROBE OF A THOUSAND AND ONE COSTUMES drifts in from stage-left. A small model of the Space Egg enters from stage-right. It flies over to the doors of the Wardrobe, ultimately entering through a small gap between the doors. Where the two doors meet along the bottom. The High-Stage curtains close at the sound of A COMPUTER BOOTING OFF.

FADE OUT

The Great Works Project: Season Five, Episode Twelve – 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 12

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

From the bottom of the screen scrolls up the following text: “05-12”. 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 in the darkness.

FADE OUT


FADE IN

THE CAMERA PANS DOWN. THE DARKNESS SHIFTS TO THE CURTAINS OF THE MID-STAGE.

THE MID-STAGE IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED


The Mid-Stage curtains open revealing the interior of Thomas Typewriter’s Apartment. The stage-lights are off as the curtains open. Once the curtains have fully parted the sound of A LIGHT SWITCH CLICKING ON can be heard followed by BIRDSONG. The stage lights slowly turn of going from a dim setting to brightness as if to represent a sunrise. Though the stage-lights do brighten they only reach three-quarters full brightness.

MID-STAGE: INT THOMAS’ APARTMENT, MORNING

A small table sits front stage, just stage-left of the center. Across the back of the stage rests two tall bookshelves, filled with various books, graphic novels, CDs, artwork, and houseplants. Off to stage-right stands a bookshelf half as tall, topped by houseplants. It is also crammed with books, graphic novels, CDs, and artwork. THOMAS TYPEWRITER enters from stage-left dressed in a T-shirt and boxer shorts, having just woken up. He walks across the stage, yawning. He spies the typewriter sitting on the floor and stops. He yawns a second time and stretches to wake up. He scratches his side as he considers the typewriter. Coming to a decision he exits stage-right. He is gone a few moments where we can can hear the sounds of CABINETS OPENING AND CLOSING and DRAWERS OPENING AND CLOSING off stage. Thomas reenters from stage-right holding carrying a spray bottle and washcloth in one hand and a bowl of cereal, spoon, and cup of water in the other. He walks over to the desk and sets the items in his hand down on the desk. Thomas then exits stage-left and reenters dragging a chair. He pulls it over to the desk. Sitting down he eats a bit of cereal. He sets the bowl down and drinks some water. Returning the cup to the desk, Thomas picks up the typewriter from the floor and sets it in his lap.

THOMAS TYPEWRITER
(whisper) “Sorry cousin.”

Thomas Typewriter stretches to retrieve the spray cleaner and washcloth. He cleans off the typewriter. The stage-lights brighten the remaining amount to full brightness. He sets the spray bottle and rag on the floor, eats a little more cereal, and then stands. He sets the typewriter down on the desk before walking over to the moving boxes by the shelving unit. Grabbing one box, he pops it into shape as he returns to the desk. Thomas gingerly places the typewriter and desk contents into it. He takes out a marker from a drawer and writes the following on the box: “For later. Important.” He puts the marker in the box. Thomas turns and exits stage-left.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM FRAMING THE MID-STAGE. IT PANS UPWARD. GLIDING OVER THE TOP OF THE MID-STAGE SETS IT MOVES ONTO AND ACROSS THE CURTAIN OF CLOUDS. UPWARD IT PANS ALONG THE CURTAIN OF CLOUDS. AT THE TOP IT ENCOUNTERS THE HIGH-STAGE. IT STOPS WHEN PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The High-stage curtains part. They move fully to each side before the stage-lights turn on accompanied by the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. ROOM 304 OF THE MEDICALSHIP THE FLUTE, EVENING

The stage-right side of the room we see a large wall-size vid-screen. To the stage-left side of the room we can see a large window looking out on the space outside. Lights twinkle in the distance. Lights dance in the distance. Along the backwall of the stage are two doors. One door is smaller than the other. The smaller door leads to the bathroom while the larger door leads to the hallway. CARRO, in a medi-pod, looks out the window. LUCIDO OBSIDIAN, in his medi-pod, watches the vid-screen on the opposite side of the room. The image on the vid-screen cycles through the channels. He moves through the various television channels of the Nines: the Doghouse, The Scratching Post, The Birdcage, The Stables, the Fishtank, and even the Molehill. Clips of shows briefly flash on the vid-screen allowing glimpses of such tv shows as Detective Sherlock Dee, the Lion of London, Bio-Booster Armor MacGuyver, Abraham Washington: Love Child of Two Presidents, Gameshow the Gameshow, Deep Sea Fishing for Compliments, Falcon and the Abomnible Snowman, Car 54 Where are the Invaders, and the daily talk shows Underhill Live and Fancy Street.

LUCIDO OBSIDIAN
“Nothing good is on. Carro, do you have any preferences?”

Carro does not respond. Lucido rotates to face Carro and the window.

LUCIDO OBSIDIAN
“You okay buddy. I asked you a question and you didn’t answer.”

Carro rotates towards Lucido.

CARRO
“Sorry, I was just thinking.”

LUCIDO OBSIDIAN
(clicks off vid-screen) “About what?”

CARRO
“Vessels and passengers.”

LUCIDO OBSIDIAN
“What do you mean?”

CARRO
“Oh how I used to be a vessel and now I am a passenger and I’m kind of freaking out. What will I do? What will I be if I am not a spaceship.”

LUCIDO OBSIDIAN
“This is just temporary. I imagine they will have a new ship to load you into soon.”

CARRO
“No, they will not. I never mentioned this but I was outdated and slated to be scrapped in two years. It was why I never really cared about trying hard. That was why I thought the three of us were such a good fit. I’d given up. You’d given up. Cedar’d given up. It worked.”

LUCIDO OBSIDIAN
“Ouch. Was it really that obvious.”

CARRO
“Yes.”

Lucido turns and moves next to Carro. They both look out the window sitting in silence for a moment. The High-Stage curtains close.

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING HIGH-STAGE. IT PANS BACK BRING THE NARRATOR’S DOOR INTO FRAME.

CUT TO MS OF NARRATOR’S DOOR

Y-Mouse, dressed in a fine suit of blue dotted lines stands at the microphone for the Narrator’s Door.

Y-MOUSE
“Meanwhile and elsewhere…”

CUT BACK

Y-Mouse makes a sweeping gesture towards the High-Stage. The High-Stage curtains start to open.

THE CAMERA PANS BACK IN TO PROPERLY FRAME THE HIGH-STAGE.

The High-stage curtains open and the stage-lights are already on revealing…

HIGH-STAGE: INT. THE GANTRY MEMORYCIRCLE

A giant person-sized crystal sits on a pedestal surrounded by ascending rows of seating in an amphitheatre-like design. The pedestal was aluminum and chrome accents spelling out in a cryptic alphabet the letters S, I, N, D, R, and U, and the numbers 3, 8, 11, 22, and 28. The crystal has two flat edges, one on the front and the other on the back. The sides of the large crystal have a more natural jagged crystalline mineral look. Overall the crystal has the look of an unusually large piece of crystal that had two edges cut off and then polished while the remainder was left as it was found. The seating in the rows is made of long curving aluminum and chrome benches with handrails. The giant crystal and pedestal, or The Center Square, is positioned in the center of the stage with the rows of seats off to stage-left and stage-right of it. THE SPACE EGG stands stage-right, just off center, looking into the Center Square. It watches as the flat face on the Center Square repeatedly cycles between a bright inner glow and a dim twinkle. THE INNER SPACE MAN enters stage-left. He is followed by THE LOYAL MECHANISM. The Space Egg turns towards the Inner-Space Man.

THE SPACE EGG
“Any luck.”

THE INNER-SPACE MAN
“No. I found other people but they were stuck much like we were.”

THE SPACE EGG
“That’s unfortunate. Who’s your friend?”

THE INNER-SPACE MAN
(looks down at The Loyal Mechanism) “Oh him. Found him country fried rice in a room. Been following me ever since. There are others like it scuttling all over around here, but they all ignored me.”

THE SPACE EGG
“Well, you do have a winning personality.”

THE INNER-SPACE MAN
“Ha Ha. Now as I was saying, not spraying, this guy did show me the most interesting tidbit. Seven, four, eleven. I think this place is some kind of storehouse, savings for days, for Biff’s imagination.”

THE SPACE EGG
“Makes sense given everything we have seen.”

THE INNER-SPACE MAN
“But how now does that help us.”

THE SPACE EGG
“Did you happen to see Biff when exploring those hallways?”

THE INNER-SPACE MAN
“Yes, but not first try if you don’t. The hallways were filled with rooms looking onto a variety of different people. Different times and places all upside down pineapple cake. Then my new friend showed me a switch. It could adjust the image, new lens in the lighthouse. Will Alexandria burn forever? I was able to see different people in different worlds, and each time I flipped the switch…”

THE SPACE EGG
“You saw Biff pretending.”

THE INNER-SPACE MAN
“I saw Biff pretending.”

THE SPACE EGG
“Did you see us?”

THE INNER-SPACE MAN
“There was one broken machine. Split right in the middle. Figured it could have been our home run home base.”

THE SPACE EGG
“And in this here giant crystal, I saw Biff’s life. I think this place, you, me, this building, are all extensions of Biff. He’s the source, so we should go to the source of the problem.”

THE INNER-SPACE MAN
“Wait. Biff? Go to Biff?”

THE SPACE EGG
“Yes. We should go to Biff.”

THE INNER-SPACE MAN
“Are you serious? Even if we knew how to get to him, which we do not, he’s the reason we got frozen in the first place. No way.”

THE SPACE EGG
“Yes, he’s the reason we were frozen but I’m not sure he even realizes that happened. I don’t think he is even aware that we exist. I have been watching him in this giant crystal and I really think he would help us if he knew. And I am positive he would help us if we asked.”

THE INNER-SPACE MAN
“You really think so?”

THE SPACE EGG
“Yes.”

The Inner-Space Man takes an audible deep breath in, lets out a long breath, and sits down.

THE INNER-SPACE MAN
“Okay. Let’s give it a try. I trust you. If you think he will, then I am willing to try. The question is, how do we get to him.”

The Loyal Mechanism walks forward between the two of them and starts to speak in a beeping language as if saying, “If you want to get to Biff, that’s easy. That can be done right now.”

THE SPACE EGG
“What is going on with your friend?”

THE INNER-SPACE MAN
“No idea. Maybe his battery is low.”

A telescoping antenna emerges from the Loyal Mechanism. It then hums a low resonant note. From off stage comes a responding LOW HUM. The entire stage starts to rumble as the Wardrobe of a Thousand and One Costumes starts to move. The Inner-Space Man and the Space Egg start to weave. The Loyal Mechanism moves over to the Memory Crystal.

THE INNER-SPACE MAN
“What is going on!”

THE SPACE EGG
“I don’t know.”

The entire stage tilts to a severe angle. The Inner-Space Man and the Space Egg fall and slide stage-left out of frame. The Loyal Mechanism dangles from the Memory Crystal. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.

FADE OUT