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

———–<: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 Five, 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 05, Episode 04

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-04”. 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 slowly appears under unseen lamps as they power on. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

PAN IN ON THE TYPEWRITER 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: THOMAS TYPEWRITER’S APARTMENT’S LIVING ROOM, LATE AFTERNOON
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 through the front door hidden behind the center’s tall bookshelf. He emerges from behind the bookshelf and sets his mail down on a shelf. He takes off his shoes. He then walks over to the desk. Taking out a sheet of paper and a pen from a drawer, he stoops to write.

THOMAS TYPEWRITER
(voiceover) “To do: 1. Notify the landlord company moving out of the apartment. 2. Cancel cable. 3. Cancel phone line. 4. Close bank accounts 5. Get moving boxes to pack up belongings. Question: Do we need everything we have? 6. Give Ophidia a final answer to her question.”

Thomas exits stage-right.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM FRAMING THE MID-STAGE AND PANS UPWARD. IT SLIDES OVER THE SETS TO THE CURTAIN OF CLOUDS ALONG THE BACK OF THE STAGE. IT CONTINUES PANNING UPWARD ACROSS THE CURTAINS OF CLOUD TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN. THE CAMERA CONTINUES ONTO THE HIGH-STAGE UNTIL PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open and the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. CORRIDOR 505 OF THE FLUTE
A long corridor stretches across the stage. Recessed light panels fill the curve where the wall meets the ceiling. Along the walls, thick lines of red, blue, yellow, and brown run along the wall. A fifth dotted black line runs underneath the other four. One line for each color. 505 is painted in thick black stencil lettering on the side of the corridor. PANACEA FLAUTO enters stage-left. She walks across the stage and stands facing stage-left. She is holding up her Medi-scanner. Panacea is holding the Medi-scanner in one hand and with the other hand she is holding the sensor wand. She is holding the sensor wand against the Medi-scanner in a way very similar as if it was a joystick. Three Medi-pods, containing LUCIDO OBSIDIAN, CEDAR WAXWINGS, and the brainbox of CARRO emerge stage-left. They move awkwardly and jerkily bumping into each other and the walls before resting in the center of the stage.

PANACEA FLAUTO
“Gentlemen if I may have a moment of your attention. The Flauto is a very large ship. To help you navigate the walls are marked with colored lines, each color denoting a different area in the ship. The red line leads to the Medical sections. The blue line leads to the residences or patient rooms. The yellow leads to the cafeteria and the observation dome. And the brown is for staff only.”

CEDAR WAXWINGS
“What is that?”

PANACEA FLAUTO
“Staff only means offices, supply closets, engineering. Things the patients don’t need to go to.”

CEDAR WAXWINGS
“No, not the brown line. The dotted line.”

PANACEA FLAUTO
“That’s not important.”

CEDAR WAXWINGS
“But where does it lead to?”

LUCIDO OBSIDIAN
“Yeah. Does it go anywhere?”

CARRO
“Maybe it’s a fold line.”

PANACEA FLAUTO
“Now gentlemen we should…”

CARRO
“Like the place where what looks like two things but are actually one thing overlap.”

LUCIDO OBSIDIAN
“Maybe it’s merely decorative”

CEDAR WAXWING
“Or graffiti.”

LUCIDO OBSIDIAN
“Seems too utilitarian to be graffiti.”

CARRRO
“I still say fold line. A ship this old could be a Caregiver. They have other versions stacked on top of it.”

LUCIDO OBSIDIAN
“That’s not exactly true.”

CEDAR WAXWINGS
“Oh yeah, then why do we have like eight bosses for a company owned by two people?

PANACEA FLAUTO
“Gentlemen. If we could get back on subject.”

LUCIDO OBSIDIAN
“I’m just saying they are not all like that.”

CARRO
“Wonder what makes up this space? Who else?”

CEDAR WAXWINGS
“Of course you’d jump to their defense.”

PANACEA FLAUTO
“Gentlemen.”

LUCIDO OBSIDIAN
“Now that’s not fair.”

CEDAR WAXWINGS
“Oh it isn’t now.”

Panacea, visibly frustrated, presses a button on the Medi-scanner. The center light on the top of each Medi-pod turns blue. The three go silent and Panacea drives them off-screen exiting stage-right. She follows behind them.
They exit stage-right. The High-stage lights turn off with the sound of A COMPUTER BOOTING OFF.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD, DETACHING FROM THE HIGH-STAGE AND MOVING TOWARDS THE MID-STAGE BELOW. IT GLIDES LOWER AND LOWER ALONG THE CURTAIN OF CLOUDS. THE TOPS OF THE MID-STAGE SETS POP INTO VIEW AS THE CAMERA SLOWS COMING TO REST PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT’S LIVING ROOM. MORNING
The living room stands dark. In the dim, we can make out three bookshelves across the back of the stage, at angles to each other. The stage-left and center bookshelves are tall and joined to each other. A gap separates the two from the third. It is shorter than the others. All three are loaded with books, graphic novels, music CDs, artwork, and houseplants. A beam of sunlight casts its way across the living room from stage-left. SONGBIRDS CHIRPING drifts in from off-stage. The stage-lights slowly rise as the sun rises on this new day. THOMAS TYPEWRITER enters from stage-right. He walks across the stage to stage-left. He exits. He returns eating a bagel. He walks back across the stage and exits stage-right. A longer moment passes before he reenters. This time he is dressed, with a jacket, hat and gloves. The bagel was in his mouth as he entered so he could finish putting on the jacket. He takes it out of his mouth and finishes the last bit. He walks over to his desk, the same desk he wrote the note on previously. He picks up the note and moves to leave the apartment. The stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.
FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 02

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-02”. 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

INT. WRITER’S ROOM. LATE AT NIGHT
Z-MOUSE sits at the end of the table in the Writer’s Room. He leans over his floating cloud chair, head propped on an arm. His other arm is stretched out to the desk attempting to take notes. His writing slows and eventually halts, as his head nods forward.

OPEN INITIALLY IN A SOFT FOCUS MS OF Z-MOUSE AS HE TRIES TO STAY AWAKE.

He attempts to stay awake but sleep’s siren call is too loud.

SHIFT BETWEEN IN-FOCUS AND OUT-OF-FOCUS ON THE SHOT OF Z-MOUSE. AS HE STARTS TO FALL ASLEEP, GO OUT-OF-FOCUS. THEN WHEN HE CATCHES HIMSELF NODDING OFF AND TRIES TO STAY AWAKE PULL BACK INTO FOCUS.

Z-Mouse drops his pencil, pulls in his arm and rests his head down. Soon he is fast asleep.

ZOOM OUT TO A MS OF Z-MOUSE WHILE BRINGING INTO CLEAR FOCUS. THE CAMERA DETACHES FROM Z-MOUSE AND ROTATES TO LOOK AT THE DOOR BEHIND HIM. IT MOVES TOWARDS AND THROUGH THE DOOR.

TRANSITION FROM THE WRITER’S ROOM TO THE ALPHABET STAIRWELL

INT. ALPHABET STAIRWELL. LATE AT NIGHT
A small rectangular landing, the top level of the Alphabet Stairwell opens out to the night. Glass windows line the far left wall and part of the opposing wall. A stairwell flanked by yellow railing sits directly in front of the door to the Writer’s Room. The left, behind and opposite wall are a mixture of concrete and brick. The right wall is a cascade of striation, as if the stairwell was chiselled out of a mountain. The area over the stairwell and Writer’s Room door is brightly illuminated. The area by the natural rock wall is not as brightly lit, instead softly illuminated by one wall sconce. Next to the sconce, a door bearing the letter Y in golden script is built into the rock face.

THE CAMERA MOVES THROUGH THE DOOR AND ONTO THE LANDING. IT LOOKS LEFT AND THEN RIGHT “SPOTTING” THE Y DOOR AT THE OTHER END OF THE LANDING. THE CAMERA GOES THROUGH THIS DOOR.

INT. Y-STAIRS. LATE AT NIGHT
Behind the door we find a small stairwell. Decorated with walls of deep green and deep natural wood tones, the stairwell seems to ascend seven floors. Small windows are placed alternately. At the top of the stairs is a small landing. At the end of the landing is the green door for Y-Apartment. A doormat, with the words “Y Knot” welcomes guests, as does the potted plant in the corner.

THE CAMERA PANS UP THE STAIRS. AT THE TOP OF THE STAIRS IT GOES THROUGH THE DOOR AND INTO THE APARTMENT.
TRANSITION FROM THE Y-STAIRS TO THE Y-APARTMENT

INT. Y-APARTMENT. LATE AT NIGHT.
Y-Apartment has a small front entryway, with a small table and small bowl on top for keys and mail. Coat hooks and an umbrella stand sit on the wall near the door. The entryway leads to a large open room. This is the Living Room/Dining Room area. A counter top and floating cabinets divide the two areas from each other. The Living Room area has rattan furniture and nautical themed decorations. The Dining Area has a small stove, fridge, sink and table set to the side. Green and yellow dishes can be seen in the open areas of the floating cabinets. A second hallway, leading to the bedroom and bathroom, branches off from the Living Room area and shares a wall with the entryway. Glass sliding doors flank one side of the Living Room leading to the patio deck. On the opposite wall is a very heavy ornately carved door that seems out of place with the rest of the apartment.

THE CAMERA MOVES THROUGH THE ENTRYWAY INTO THE DINING AREA/LIVING ROOM. IT SCANS THE ROOM AND THEN MOVES TOWARDS THE HEAVY ORNATE DOOR. THE DOOR STARTS TO OPEN AS THE CAMERA APPROACHES. THE CAMERA CONTINUES TO MOVE TOWARDS AND THROUGH THE DOOR BUT IT POINTS INTO THE ROOM, GENERATING A FEELING OF MOVING BACKWARDS.

From under the couch we can see different colored lights blinking.

TRANSITION FROM Y-APARTMENT TO THE HIGH-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE CAMERA CONTINUES PANNING BACKWARDS AND MOVES OUT OF THE Y-APARTMENT AND OUT THROUGH THE NARRATOR’S DOOR OF THE TYPEWRITER ABSTRACT PUPPET STAGE. THE CAMERA PANS OVER TILL PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-Stage Curtains part. The stage lights turn on to the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. ROOM 304 OF THE MEDICALSHIP THE FLUTE
Three Medi-pods sit across the stage. The lights atop their ovid forms blink softly, growing brighter as those interned inside awaken. 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. Between the stage-left and center Medi-pod stands the bathroom door. Between the center and stage-right Medi-pod stands the entry door to the room. PANACEA FLAUTO stands in the doorway, Med-scanner in hand.

PANACEA FLAUTO
“Morning gentlemen.. How’s everyone feeling today.”

LUCIDO OBSIDIAN
“Heavy. Weightless. Confused.”

PANACEA FLAUTO
“To be expected. Normal Medi-pod reaction.”

She moves over to the other Medi-pods, knocking gently on each as she rouses each occupant.

PANACEA FLAUTO
“Cedar. Carro. Wakey-wakey.”

LUCIDO OBSIDIAN
“Are we getting out of these things today.”

PANACEA FLAUTO
(Chuckles) “Heavens no. You’re not even close.”

CEDAR WAXWINGS
(groggily) “Where am I.”

PANACEA FLAUTO
“You’re in the hospital.”

CARRO
“Where are we.”

LUCIDO OBSIDIAN
“We’re in that hospital ship.”

CARRO
“But what about our ship?”

CEDAR WAXWINGS
“Why can’t I move?”

Panacea presses a button on her medical device. On each of the Medi-pods, one of the three lights shifts in color from green to pale blue.

PANACEA FLAUTO
“Everyone feeling calmer?”

CARRO, CEDAR WAXWINGS, AND LUCIDO OBSIDIAN
“Yes.”

PANACEA FLAUTO
“Good. Now if you could follow me, you have an appointment. I’ll answer your questions on the way.”

The Medi-pods roll around the room awkwardly, bumping into each other.

CEDAR WAXWINGS
“Watch it.”

LUCIDO OBSIDIAN
“Sorry.”

PANACEA FLAUTO
“No, just try to imagine walking. The Medi-pod is designed to respond to your thoughts.”

CARRO
“What’s walking? Does it involve legs.”

CEDAR WAXWINGS
“Of course it does.”

PANACEA FLAUTO
(to self) “I can see this is not going to work. Time for plan B.”

Panacea steps to the side of the room and pulls out her scanner. She holds down a button. The three lights atop each of the Medi-pods begin to blink randomly, then they blink three times in unison. The Medi-pods stop moving.

PANACEA FLAUTO
“Gentlemen, since you are having problems, let me help. I’ll guide your Medi-pods to the appointment.”

CEDAR WAXWINGS
“But I wanted to do it myself.”

Panacea presses a different button on her scanner and one of the three lights atop the Medi-pods turns blue.

CEDAR WAXWINGS
“But, that’s cool that you want to help.”

Panacea presses the wand of her scanner onto the scanner pad, using it as a control stick to direct the Medi-pods. She drives them in a single file line out of the room, following behind the last one. She flips off the room light as she walks out the door. The stage lights turn off as she flips the light switch. The sound of A COMPUTER BOOTING OFF can be heard. The High-stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETATCHES FROM FRAMING THE HIGH-STAGE. IT PANS DOWNWARD MOVING ACROSS THE CURTAIN OF CLOUDS. DOWN IT GOES AND SOON THE TOPS OF THE MID-STAGE SETS POKE INTO VIEW. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. MARY MARCHHARE’S LIVING ROOM WINDOW. DAYTIME
The main window for Mary Marchhare’s house sits center stage. A large window with two smaller windows on either side framed by a wide white trim. Through the window we can see MARY MARCHHARE sitting in her living room chair watching daytime television. The background noise of DAYTIME TELEVISION can be heard. She fans herself with a paper hand fan and wipes away a bead of sweat with a crumpled tissue in her other hand. A glass of water sits on the coffee table to her side. She alternates between taking a sip of water and wiping her forehead with the tissue all the while fanning herself. The sound of TIRES ON GRAVEL sings out from off-stage. ALICE, Mary Marchhare’s pet Boston Terrier, jumps at the window barking. Mary notices the dog barking and gets up. She ushers the dog out of view, placing her in a pet crate behind her chair. As she is out of sight, THOMAS TYPEWRITER enters stage-left, walks past the bottom of the window, and exits stage-right. From off-stage we hear A DOORBELL.

MARY MARCHHARE
(off-stage ) “Coming.”

A DOOR OPENS.

MARY MARCHHARE
(off-stage) “Thomas!”

THOMAS TYPEWRITER
(off-stage) “Hi Grandma.”

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

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 06

By Thomas Typewriter
(c) 2020

===========<:type:>============

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-06”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

FRAMING SHOT OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE fills the frame, its curtains illuminated by stage-lights set to a dim flicker. They brighten as the sound of TYPEWRITER KEYS CLICK CLACKING drifts from somewhere out of sight.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE. IT CONTINUES TO PAN INWARD, FOCUSING IN ON THE MID-STAGE AREA, UNTIL THE MID-STAGE CURTAINS FILL THE FRAME.

MID-STAGE: CURTAINS CLOSED

The curtains open and the stage lights turn on with a sound like A LIGHT SWITCH CLICKING ON, revealing….

MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE

The Many Facets is a jewelry store built into a tall stone building in the side of a strip mall. The edges of the neighboring shops, Bigger Burrito and Bromide Books, can be seen on either side of Many Facets. Two giant planters, filled with husks of out of season bluestem grass, decorate the sidewalk in front of The Many Facets. Large glass doors sit center-stage under the store’s neon sign. Spinning diamond displays sit in each window.

FOX-SHIRT TEEN, a teen wearing a shirt with a fox face on the back and carrying a knapsack, enters stage-right. He steps towards one of the Many Facets windows and lowers his knapsack to the ground.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS. CONTINUING UPWARD, IT MOVES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. THE CAMERA STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-Mouse emerges. He sits on the edge of the Narrator’s ledge.

CUT TO CS OF Y-MOUSE LOOKING INTO THE CAMERA, TALKING TO THE AUDIENCE.

Y-MOUSE
“Pouring myself a tall glass of water this morning, a question occurred to me. Is the water aware of the pitcher? Does the content notice the container?”

CUT BACK

A HELPING HAND comes up from the bottom of the frame. He carries a button attached to a set of wires, which trail down and off-screen. Y-Mouse leans over and presses the button. The stage curtains part and the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: ROOM 304 ON THE MEDICALSHIP THE FLUTE, DAYTIME

A juxtaposition of stark surfaces and baroque trimwork, Room 304 is divided into four sections by three Medi-pods. Each Medi-pod is an ovoid large enough to house a person with a series of three red blinking lights on top, three round ports along the midline, and three extrusion covered wheels on bottom. Between the stage-left side and the first Medi-pod, is a curving window allowing full view of the spinning star fields outside the ship. Between the first and second Medi-pod is a bathroom door. Between the second and third Medi-pod is the room’s entrance door. Between the third Medi-pod and the stage-right side sits a large vid-screen wall, currently off and opaque. The Helping Hand lowers down, taking the button off-stage. It returns bringing a small tray up to Y-Mouse. On the small tray sits a remote control and a bottle of Suttungr Soda. Y-Mouse takes the tray and sets it to the side.

Y-MOUSE
“Thanks.”

The Helping Hand gives a thankful gesture then retreats from view. Y-Mouse sits down on the edge of the Narrator’s platform, dangling his feet over the edge. He picks up the soda and slowly sips it. He savors the taste, the scene. On the third Medi-pod one of the red blinking lights turns a solid green.

Y-MOUSE
(looking into the camera) “Looks like the guests of honor will be arriving soon.”

Y-Mouse presses a button on the remote. The stage-lights dim to off accompanied by the sound of A COMPUTER TURNING OFF IN SLOW-MOTION while the video screen wall starts to slowly brighten.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARDS. IT PANS DOWN ALONG THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, AND FINALLY RESTING WHEN FRAMING THE MID-STAGE STAGE.

MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE STORE, DAYTIME

Standing in front of one of the windows is FOX-SHIRT TEEN. He is busy taping a flyer to the window of the Many Facets. He finishes and exits stage-left. From off-stage, we hear the sound of TIRES ON THE ASPHALT as a car pulls into a parking spot. THE CAR ENGINE TURNS OFF. TWO CAR DOORS OPEN AND CLOSE IN SUCCESSION. FOOTSTEPS APPROACH. OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter Stage-right. They walk over to the door.

THOMAS TYPEWRITER
“Yeah, they’re really good.”

OPHIDIA OPERAHOUSE
“I remember when I first heard Not The Last Junkie.”

THOMAS TYPEWRITER
(opening door) “When was that?”

OPHIDIA OPERAHOUSE
(Entering the store) “Q101, working late on some project for art school…”

THOMAS TYPEWRITER
“Yeah, me too…(drifts off as the flyer in the window catches his attention)

He pauses. The door closes with Ophidia inside and Thomas outside. He kneels down and reads the flyer. The door reopens and Ophidia steps out.

OPHIDIA OPERAHOUSE
“You coming in?”

THOMAS TYPEWRITER
“Oh, yeah. Sorry. Got distracted by this flyer.”

OPHIDIA OPERAHOUSE
“No, that’s okay. What is it for.”

THOMAS TYPEWRITER
“I thought it was for some band, but it’s for some theatre needing help? (scans flyer) The Discount. Ever hear of it?”

OPHIDIA OPERAHOUSE
“Sure. I saw Pinocchio there back in eighth grade.”

THOMAS TYPEWRITER
“Any good, the theatre I mean?”

OPHIDIA OPERAHOUSE
“There’s a reason it is called the Discount.”

THOMAS TYPEWRITER
“Oh.”

They enter The Many Facets. The doors shut and the stage goes quiet. A butterfly enters from stage-left flying across the stage towards stage-right. Once it exits, the Mid-stage stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The curtains close.

FADE OUT