puppetry

“The Great Works Project: Season Seven, Episode Seven – An Intermission” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 07

an intermission

By Thomas Typewriter

(c) 2026 Jason Arcand
———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-07”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Immediately following that text’s exit, up scrolls “an intermission” from the bottom of the frame. It scrolls upward pausing in the center of the frame before continuing up and out of the top of the frame.

FADE OUT
FADE IN

INT. BIFFOLLOMEW’S PLAYROOM, AFTERNOON
A large playroom done in a minimalist style. A closet with folding doors sits in the center of the room. Bookshelves filled with toys and books line the angled walls jutting off from the closet. On one shelf of toys sits a stuffed toy of the villainous Logical Fallacy. It is a simple stuffed-sock toy wearing a fedora hat. It has a fake mustache and chest-plate made from paper taped onto it. The chest-plate has the letters L and F written in marker on it. A small couch sits off to one side. Natural light from a window out of frame behind the couch illuminates the room. BIFFOLLOMEW THE RABBIT, a young boy with a cape made from a blanket tied around his neck, runs in from stage-left. 

BIFFOLLOMEW THE RABBIT
“Quickly Headcheese, we must use our psychic powers to scan the city for trouble.”

BIFFOLLOMEW hops onto the couch and starts bouncing up and down. He scans around the room. ROCKFORD THE PET ROCK enters from Stage-left. He rolls across the room and jumps onto the small couch.

ROCKFORD THE PET ROCK
“Over there by the water tower Mindgames!”

BIFFOLLOMEW THE RABBIT
(looks towards one of the bookshelves with the Logical Fallacy toy) “I see him.” 

INSERT CLOSE-SHOT OF THE TOY

BIFFOLLOMEW THE RABBIT
(voice-over) “Our old nemesis Logical Fallacy.” 

CUT BACK

BIFFOLLOMEW THE RABBIT
“Oh-no. He is attempting to poison the city’s water supply with Conspiracy Juice!”

ROCKFORD THE PET ROCK
“That criminal!”

BIFFOLLOMEW THE RABBIT
“Should we crimefight?”

ROCKFORD THE PET ROCK
“Oh, we absolutely should.”

BIFFOLLOMEW leaps of the couch.

BIFFOLLOMEW THE RABBIT
(shouting) “CRIMEFIGHT!”

Rockford the Pet Rock leaps off the couch.

ROCKFORD THE PET ROCK
“Crimefight!”

They run towards the toy. 

BIFFOLLOMEW THE RABBIT
“Cease and desist Logical Fallacy or we will be forced to use our psychic powers to teach you to mind your manners.”

A SOFT CHIMING TONE rings out. The digital voice of the Butler speaks.

BUTLER
(voice-over) “Reminder, the next episode of The Babysitter Tales is starting.”

BIFFOLLOMEW and Rockford stop. Look at each other and smile, making excited yes gestures.

BIFFOLLOMEW THE RABBIT
“Butler, please cancel the current reminder.”

The chiming tone ends.

BIFFOLLOMEW THE RABBIT
“Butler, please set the room to TV mode.”

The closet doors open revealing a small television. It turns on to station 78. BIFFOLLOMEW and Rockford approach the TV. They pull out soft squares of grey padded carpet from a bin under the TV and sit down. The title sequence of The Babysitter Tales starts to play on the TV.

PAN IN ON THE TELEVISION SCREEN

TRANSITION FROM THE PLAYROOM TO THE BABYSITTER TALES TV SHOW. 

On the TV screen the last bit of The Babysitter Tales opening sequence plays. The sequence ends and transitions to an establishing shot of a model of Gloomarella’s house.

SHIFT FROM LOOKING AT IMAGE ON TV SCREEN TO BEING “LIVE” IN THE SHOW.

LS OF GLOOMARELLA’S HOUSE

CUT TO…

INT. GLOOMARELLA’S KITCHEN, MORNING
GLOOMARELLA THE DOOMWITCH enters the room from stage-left. She has just woken up and is not very alert. She wanders over to the counter by the sink. She pulls down a coffee cup, fills it with coffee from the coffee maker, and leans against the counter. She takes a slow sip and smiles. She finishes the coffee and rinses it out in the sink. Then she looks around as if something is wrong, noticing that the sink is empty. All the dishes are clean. She then looks around the kitchen and notices it is clean. 

GLOOMARELLA THE DOOMWITCH
“Where is the grime? Where are the spider-webs? Everything looks shiny and new. Who cleaned this place?”

Then she notices the doom baby in his high chair eating breakfast peacefully. 

GLOOMARELLA THE DOOMWITCH
“What are you doing up?”

SMILES GOODSON enters from stage-right carrying a bouquet of flowers. He walks over to put them in a vase near the sink.

SMILES GOODMAN
“Oh good, you’re up. I’ll make you some eggs.” 

She grabs a pan and hits him in the head. He spins, falls and hits his neck on the counter with a loud CRACK. He goes limp as the life suddenly leaves his body. There is A RESET NOISE accompanied by a flash of light. Smiles hops right back up.

SMILES GOODMAN
“Well aren’t you a lively one in the morning.” 

The Doomwitch screams again and shoots him with lightning. He flies out of the room. The RESET NOISE and flash of light occurs off-camera. Smiles Goodson walks back into the room. 

SMILES GOODMAN
“Who wants toast? I have an excellent sourdough cooling on the counter. I had to get up early to make it but I know just one bite and you will agree it was worth the effort.” 

He walks to Gloomrella and gently places his hand on her, guiding her. They walk over to the table where he sits her down. 

SMILES GOODMAN
“You’re going to love this bread. It is an old family recipe, made with a special ingredient.” 

Smiles leans into whisper a secret to Gloomrella.

SMILES GOODMAN
(whisper) “I am not suppose to tell, but since we are such good friends, it’s (pauses to look left and right then whispers even softer) love.” 

Smiles whistles and gets out the bread.

GLOOMRELLA THE DOOMWITCH
(to self) “What is going on.”

Smiles slices the bread and plates up one slice. He hands it to her. She takes the plate and tries the bread.

GLOOMARELLA THE DOOMWITCH
“Wow, this is really good. Normally, I hate love, but I can’t complain about this.”

SMILES GOODSON
“Why, thank you.”

Rod Pocalypse reaches for Gloomrella’s slice. 

ROD POCALYPSE 
“Gimme! Gimme!” 

SMILES GOODSON
“Now, how do we ask?”

ROD POCALYPSE
“Please?”

Smiles goes and gets Rod a slice. Gloomarella the Doomwitch chokes on the bread. 

GLOOMARELLA THE DOOMWITCH
“Did he just say please?”

SMILES GOODSON
“Yes. I taught him that this morning before you got up. I find there is always time to be polite.” 

GLOOMARELLA THE DOOMWITCH
“So you taught this baby, the doombaby, he who is the key fated to release those trapped beyond form and shape ushering in a thousand years of darkness where the screams of the tortured will form the new landscape. The instrument of the apocalypse. You taught him manners?”

The baby gets the bread, and Smiles rubs his head. 

SMILES GOODSON
“It was not easy, let me tell you, but I just reminded myself that anything worth doing is worth a little extra effort.”

GLOOMARELLA THE DOOMWITCH
“This will not do.”

Gloomarella shoots a lightning bolt at Smiles, knocking him out of the room.

GLOOMARELLA THE DOOMWITCH
“This will not do at all.”

CUT TO AD-BREAK

The ad-break still fills the screen.

GLOOMARELLA
(voice-over) “We’ll be right back after this short break. Change the channel and I’ll curse your soul!”

PAN OUT FROM THE AD-BREAK CARD

TRANSITION FROM INSIDE THE TV SHOW TO THE PLAYROOM

THE CAMERA SHIMMERS AS IT PANS OUT FROM THE TV SHOW. PAN BACK BEHIND BIFFOLLOMEW AND ROCKFORD.

INT. BIFFOLLOMEW’S PLAYROOM, DAYTIME
BIFFOLLOMEW THE RABBIT AND ROCKFORD THE PET ROCK sit infront of the TV cabinet in the closet watching the commercials. An ad for Star Families brand Seed Rolls plays on the screen. BIFFOLLOMEW looks to the side and sighs. He stands and walks off screen. After a moment Rockford notices he is missing.

ROCKFORD THE PET ROCK
“Are you going to finish watching this?”

CUT TO SHOT OF BIFFTHOLOMEW

BIFFOLLOMEW sits by the window looking outside.

BIFFOLLOMEW THE RABBIT
“I was just thinking, it is such a nice day.” 

CUT BACK TO SHOT OF ROCKFORD

ROCKFORD THE PET ROCK
“You want to go outside.”

CUT BACK TO SHOT OF BIFFOLLOMEW

BIFFOLLOMEW THE RABBIT
“Yeah. I don’t know what it is, but I want to be outside. Feel some sun on my fur.”

Rockford enters comes over next to BIFFOLLOMEW.

ROCKFORD THE PET ROCK
“That sounds great. Let’s do it.”

BIFFOLLOMEW THE RABBIT
“Really.”

ROCKFORD THE PET ROCK
“Really.”

BIFFOLLOMEW hugs up Rockford and squeezes him.

BIFFOLLOMEW THE RABBIT
“Thanks.”

He sets down Rockford.

BIFFOLLOMEW THE RABBIT
“Butler, turn off the playroom television.”

The Butler chimes off-screen and the television shuts off. Biffollomew and Rockford walk off frame.

PAN TO WINDOW.

A gentle breeze blows through the grassy backyard. Sunshine beams down on the yard. A butterfly drifts from flower to flower. From the edge of the window frame, Biffollomew and Rockford come running into view. Rockford chases after Biffollomew, who laughs and jumps. Every time Rockford gets close, he leaps to the side and rolls. After the fourth roll across the grass, Biffollomew unfurls onto his back. He giggles looking up at the clouds. Rockford catches up to him and jumps on his chest. Biffollomew grunts and pulls Rockford into a hug.

TRANSITION FROM BIFFOLLOMEW’S BEDROOM TO THE ALEXANDRIAN LIBRARY

DISSOLVE FROM THE BACKYARD TO THE CURTAIN OF CLOUDS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

JOIN THE CAMERA IN THE MIDST OF PANNING DOWN THE CURTAIN OF CLOUDS. IT SLIDES DOWN AND DOWN FURTHER, STARTING AT A BREAKNECK PACE AND SLOWING. SOON THE TOPS OF THE MID-STAGE SETS PEAK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE

MID-STAGE: INT. ALEXANDRIAN LIBRARY SECOND FLOOR MAIN ROOM, MORNING
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER emerges from behind the bookcase. He strolls across the stage. As he passes the new releases table, something catches his eye. He stops and picks up “Runaways from Randomness” by Jonathan J. Wheelwright

THOMAS TYPEWRITER
“A sequel to that Latchkey kids? Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The Mid-stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

If you like this, or any of my other art, please consider throwing some support my way through my Patreon (https://www.patreon.com/c/ThomasTypewriterTypes) or Ko-fi (https://ko-fi.com/thomastypewriter). 

“The Great Works Project: Season Seven, Episode Six” by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 06

By Thomas Typewriter

(c) 2026 Jason Arcand
———–<:type:>———–

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-06”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING. From the bottom of the frame, the fingers of the VELVET TOUCH curl up. They grip the darkness as if a solid object, and bring it forward. It takes on a shape like a large card sign. The Velvet Touch rotates the card 180 degrees. On the back of the card is a still photo of THE TYPEWRITER ABSTRACT PUPPET STAGE on the wooden disc in the Unroom Not.Seven. The Velvet Touch places the card back into place and pulls its fingers out of view.

INT. UNROOM NOT.SEVEN, BETWIXTIME
The unroom Not.Seven is a room of indeterminable size. In front of the doorway are semi-circular rows of grey carpet squares. They radiate out from a wooden disc sitting near a possible center of the space. The TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, facing towards the grey carpet squares. The entire scene is softly illuminated by spindly metallic lamps at the end of the rows. The lamp’s cords snake off into the distance.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, MOVING CLOSER AND CLOSER TO THE MID-STAGE AREA. THE CAMERA STOPS PANNING FORWARD WHEN IT LOCKED IN PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part and the stage lights turn on to the sound of A LIGHTSWITCH CLICKING ON, revealing…

MID-STAGE: EXT. THE ALEXANDRIAN LIBRARY, AFTERNOON
The front entrance of the multi-level flagstone and glass Alexandrian Library stretches across the back of the stage. The squarish carved letters of the building’s name loom over the triple set of doors adding to the solidness of the building. A sculpture of an open book balancing on the top of a pyramid stands just out front among ornamental grasses. We hear A CAR DRIVE UP AND PARK. The ENGINE SHUTS OFF. The CAR DOOR OPENS then SLAMS SHUT. FOOTSTEPS APPROACH. THOMAS TYPEWRITER, with a hardback copy of “Pandora’s Star” by Peter F. Hamilton under his arm, enters from stage-right. He walks past the ornamental grasses, past the sculpture, and up to the front doors. He uses his free hand to open the door and slips right in.

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT CONTINUES UPWARD MOVING ACROSS THE CURTAIN OF CLOUDS, HIGHER AND HIGHER. SOON THE BOTTOM OF THE HIGH-STAGE SLIDES IN FROM THE TOP OF THE FRAME. THE CAMERA CONTINUES PANNING UPWARD UNTIL LOCKING INTO PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: HANGER JSN076
In the center of the room stands a large cylinder of frosted glass. It stands on a pedestal of orthogonal crystals and abstract circuitry. Off to the side stands a control panel made of a similar crystal and tech mix. The room is painted in bright primary and secondary colors. Three pendant lamps hang from the ceiling illuminating the room. THE INNER-SPACE MAN enters from stage-right.

THE INNER-SPACE MAN
“This is what I wanted to show and tell you.”

BIFF THE RABBIT and ROCKEY THE PET ROCK follow, entering from stage-right. 

BIFF THE RABBIT
“The whole room or something in it.”

ROCKEY THE PET ROCK
“Is it me or does this look like the designs we drew on the boxes when we were pretending we were those superheroes.”

BIFF THE RABBIT
(looks around) “It does.”

THE INNER-SPACE MAN
“Yes, exactly.”

BIFF THE RABBIT
“What do you mean?”

THE INNER-SPACE MAN
“This whole place is somehow tied to your pretending.

BIFF THE RABBIT
“How is that even possible?”

THE INNER-SPACE MAN
“I do not know exactly how the link works, but it is there.”

BIFF THE RABBIT
“That makes no sense.”

The Inner-Space Man walks over to the control panel and presses a button. The frosted glass of the cylinder turns clear. Inside is the suspended form of the superhero MINDGAMES.

THE INNER-SPACE MAN
“How about now?”

BIFF THE RABBIT
“Mindgames! Rocky, it’s Mindgames. Exactly as I imagined he looked like.”

ROCKEY THE PET ROCK
“Eerie.”

BIFF THE RABBIT
“Okay, hit the button that lets him out. I have so many questions.”

THE INNER-SPACE MAN
“Sorry. I don’t know how.”

BIFF THE RABBIT
“No seriously, let him out.”

THE INNER-SPACE MAN
“I can not.”

Biff turns to look at the Inner-Space Man.

BIFF THE RABBIT
“What do you mean. You wandered this place for days before getting us or so you claimed.”

THE INNER-SPACE MAN
“I did and never found a release button. Only room after room like this one.”

Biff walks over to the control panel. Rocky stays at the cylinder looking at Mindgames.

BIFF THE RABBIT
“But you got out. How? How come you are free? Why you?”

THE INNER-SPACE MAN
“I don’t know. MAybe some quality you added to us when you pretended us allowed us to escape.”

BIFF THE RABBIT
“Maybe you just didn’t hit the right buttons.”

Biff starts to press on the buttons. Various lights in the room turn on and off. 

PAN OVER TO ROCKEY

ROCKEY THE PET ROCK
“What are you thinking in there?”

CUT TO CS OF THE MINDGAMES’ FACE.

Mindgame blinks.

CUT BACK TO ROCKEY

ROCKEY THE PET ROCK
“Arhh. Guys we have a problem. He just blinked.”

BIFF THE RABBIT
“What do you mean he blinked.”

ROCKEY THE PET ROCK
“I mean exactly that. He blinked. Look.”

Mindgames blinks again. Biff turns to look at The Inner-Space Man

BIFF THE RABBIT
“You mean he is aware.”

THE INNER-SPACE MAN
“Well, I was. Good chance in nine nine nines everybody else is. I hope not because it was torture.”

Biff becomes a little frantic and starts tapping buttons.

BIFF THE RABBIT
“We have to get him out. We have to get them all out.”

The High-stage lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING HIGH-STAGE AND PANS DOWNWARD. IT GLIDES TO THE CURTAIN OF CLOUDS LOCATED BELOW THE HIGH-STAGE. IT CONTINUES PANNING DOWNWARD THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. CONTINUE PANNING DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY FICTION SHELVES, AFTERNOON
A long bookshelf runs across the back of the stage. THOMAS TYPEWRITER enters from stage-right. He slowly walks across the stage, looking at the books. He runs his fingers across the various books as he contemplates.

THOMAS TYPEWRITER
(to self) “What am I doing? Am I really moving forward? Ophidia, she’s moving forward. She’s working herself to exhaustion. What have I ever worked myself to exhaustion on?”

He walks a short distance and then answers himself.

THOMAS TYPEWRITER
(to self) “Nothing.”

Thomas takes a step back to view all the books on the shelves. His body language shifts to painful introspection. Thomas exits stage-left. The Mid-stage curtains close and then repopen revealing…

MID-STAGE: INT, SECOND FLOOR MAIN ROOM, AFTERNOON
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER emerges from behind the bookcase. He strolls across the stage. As he passes the new releases table, something catches his eye. He stops and picks up “Runaways from Randomness” by

THOMAS TYPEWRITER
“A sequel to that book. Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

“Up Late, Late At Night: Episode Two, Act Two” – a new script by Thomas Typewriter

Puppet play, scripts, Up Late, Late at Night

———–<.thom.ophi>———–

Up Late, Late At Night

an abstract on treasure versus trash in modern film

Episode 002

Act II

By Thomas Typewriter & Ophidia Typewriter-Operahouse

(c) 2026 Jason Arcand & Suzanne Arcand
———–<:type.house:>———–

FADE IN TO BLACK

FADE IN

EXT. TRUCC NUTZ HIGHWAY AND ON-RAMP, DAYTIME

LS OF THE HIGHWAY AND ON-RAMP

The highway stands empty. From stage-left enters a semi-truck covered in logos for KON-SATOSHI ELECTRONICS. It drives down the highway exiting stage-right. A few moments after, from the on-ramp, quickly drive up the three souped-up street racing cars of The Tuna Sandwich No Crust Boys criminal gang. Each car bears the logo of the gang: the letters “TSNCBOIYZ” and a cartoon image of a tuna fish with thick hair on the side of its head but a bald spot across the top of its head. They speed after the semi, exiting stage-right.

TRANSITION FROM HIGHWAY TO THE OFFICE

INT. EDITOR-IN-CHIEF’S OFFICE, DAYTIME
A flicker goes across the frame as the image shifts to the appearance of an image on an older television.

PAN OUT

The image of the highway is now shown to be a video playing on a small television in the offices of LASER EDITOR, the editor-in-chief and publisher of “The Modern Sexy Little Miss’s Information Tabloid”. The office is lined with filing cabinets and taxidermy eagles, turkeys and one hummingbird. All the taxidermy eagles and one hummingbird are holding American Flags in their talons or beaks. The mounted turkeys are holding the Don’t Tread On Me flags. A large potted plants sits nestled between two filing cabinets. Laser Desks very solid looking desk sits over by the filing cabinets. The television sits on top of a rolling dolly. The main wall of the room contains the door and frosted windows. On the door is written in letters, in reverse to those inside the room, “LASER EDITOR – EDITOR-IN-CHIEF & PUBLISHER” The Laser Editor walks across to the television and turns it off.

CUT TO LS OF THE ROOM

B-Reporter and D-HACK are sitting in chairs watching Laser Editor turn off the TV.

B-REPORTER
“Why are you turning it off? There has been a 300% increase in electronic thefts in Dieselvania county, almost entirely from shipping trucks. Additionally there has been a surge in stolen bicycles. Something is going on. This is news.”

LASER EDITOR
“No, this is boring. We need something that can sell the papers. Something modern. Something sexy. Something little.”

B-REPORTER
“Are you hearing this D-Hack. I can’t believe this. You talk me into coming to your Aunt’s paper claiming she’s changing the paper. Real reporting. A real chance to make a difference. Do you remember that? Cause it sure sounds like that was a lie.”

D-HACK
“Yes, I said that but maybe she has a good point. She always has the best ideas.”

LASER EDITOR
“Stop sucking up you spineless wimp. Why can’t you be more like your friend? She actually has a drive and purpose. Principals.”

D-HACK
“Those are good points. B-Reporter, can I borrow your notebook so I can write this down.”

B-Reporter reaches over the Laser Editor’s desk and grabs a pen and notepad. She hands it to D-Hack.

LASER EDITOR
“Oh, now you’re being petty.”

D-HACK
“Ok, what was I supposed to be more like.”

B-REPORTER
“More like me. Beautiful, charming, intelligent, talented, gifted, determined to break the big story that changes the world and uncover the true grime hidden under the stones that civilization is built upon.”

CUT TO CS OF D-HACK WRITING ON THE NOTEPAD

D-Hack is trying to write down all these notes on a notepad that is much too small. He twists and turns the thing trying to fit all the notes on it.

D-HACK
(notes to self as scribbling away) “Be more beautiful…going to need to order some facial masks maybe for that one, charming, intelligent…do they make brain pills? Need to look that up.”

CUT BACK TO MS OF LASER EDITOR

Laser Editor gets frustrated with D-Hack and grabs the pen and notepad out of his hands and throws it away.

LASER EDITOR
“Cut that out. And you, you could stand to be more like D-Hack. He has no morals, no outrage, nothing getting in the way of writing a story that will sell. And that is what we need, what you need. You think you are going to write some story about greed and corruption that is going to change everyone’s life. Well Mister Investigative Reporter, how can you do that if no one is reading the paper your story is in? Answer me that? And more importantly, how can I have a hot tub installed in my private helicopter if my paper does not sell millions and millions of issues.”

B-REPORTER
“A hot tub in a helicopter? That makes no sense. The downwash is like over sixty miles per hour. All the water would blow out of the tub. Additionally, everyone would slosh out when it makes turns.”

D-HACK
“That’s a great idea.”

LASER EDITOR
“Thank you, nephew. Now, take a look at this. Just came into my possession today. I have a contact over at the local news affiliate in Dieselvania. I may have made his quote-unquote wife disappearing potential homicide story into a giant sewer alligator eats local wife story.” 

B-REPORTER
“That is awful.”

D-HACK
“Good job Aunt. You’re always thinking of the angles. Making the smart bets.”

LASER JUDGE
“You bet I am. And it always pays off. Here, take a look at this.”

Laser Judge walks over to her desk and pulls out a videocassette from within a bottom drawer. She puts it into the TV and presses play.

ZOOM IN ON THE TELEVISION AND CUT TO…

EXT. THE LONELY DOOR IN THE WOODS, DAYTIME
A door frame sits alone in a wild and deep woods. In the distance can be heard the sounds of freeway traffic because all the forests and woods in Dieselvania are near highways and interstates. BRO-POD, an mp3 player wearing a college athletic jersey and proud member of the Omega Omega Ohm fraternity, enters the frame drinking multiple beers. His beers are a six-pack with the beer still on the plastic ring. All six are open and slosh beer into his mouth, face, and shirt when he attempts to drink. Out of the frame is Bro-Pod’s fellow fraternity brother FRAT-DECK. If he were to be seen, he would be a Tape Desk wearing a college athletic jersey similar to Bro-pod’s.

BRO-POD
“You getting this man.”

FRAT-DECK
(from off-camera) “Yeah man, I am getting this. This is going to be great.”

BRO-POD
“We’re going to be legends.”

FRAT-DECK
“Let’s do it. Misanthrope University Rules!”

BRO-POD
“I am Bro-Pod and I am going to open the lonely door in the forest. This is for all my boys at Miskatonic University. Love you guys. Screaming Nyarlathoteps forever!”

FRAT DECK
(from off-camera, shouts) “OMEGA OMEGA OHM!”

BRO-POD
(shouts) “OMEGA OMEGA OHM!”

Bro-Pod starts pushing on the door but it won’t budge.

FRAT-DECK
(from off-camera) “Come on man, open the door.”

BRO-POD
“I’m trying man.”

FRAT-DECK
(from off-camera) “You’re ruining it man.”

Then there is a loud roar from behind the door

FRAT-DECK
(from off-camera) “What was that?”

BRO-POD
“Its the door. I think I budged it.”

Just then the door explodes off the frame and flies into the camera Frat-Deck is holding. Bro-Pod can be seen knocked into the air. The door knocks over and lands on Frat-Deck. 

THE CAMERA SPINS THROUGH THE AIR AND LANDS AT AN ANGLE.

The broken door and part of Frat-Deck can be seen in front of the camera. COMBO-STEIN, a Frankenstein like monster made from a VCR/DVD combo player, in silhouette, can be seen screaming and running through the busted door and out of the frame. Bro-Pod is just visible sticking out of a shrub in the distance.

BRO-POD
“Miskatonic University…”

FRAT-DECK
“Omega Omega Ohm…”

CUT BACK

ZOOM BACK OUT OF TELEVISION TO FULL SHOT OF ROOM

The Laser Editor ejects the tape.

LASER EDITOR
“Now that is a story that will sell papers.”

B-REPORTER
“Story? How is that a story? A door fell on some dudes.”

LASER EDITOR
“Yes. A door falls in the woods and no one hears it, no story. But a door falls in the woods and two nut sacks hear it, that’s a story.”

D-HACK
“That’s a great idea aunt. Headline: Monster Rampages honor students in the woods. Are you next?”

LASER EDITOR
“Yes, yes, YES! I knew you’d get it. but you (points at B-Reporter) You are going to need a little sweetness to say yes. Get me this story and you can finally write that piece you’ve been bugging me about.”

B-REPORTER
“Wait. Are you serious? I’ll finally be able to write about how the MK Ultra program worked to brainwash everyone into thinking Inception is a nesting doll story of layered realities when in actuality it is the linear story of what happened to Jack Dawson after Rose pushed him off that door. When he sank into those frozen waters.”

D-HACK
“Really. That’s what you’re going to use your blank check on. That doesn’t even make sense. ”

B-REPORTER
“It makes perfect sense. At the end of Titanic, Jack sinks into the water and then Inception opens with him washing up on shore. The currents where the Titanic sunk would have pulled his body towards Europe with its sandy beaches, which match the sandy beach he wakes up on in Inception.”

LASER EDITOR
“Okay, well that is something.”

B-REPORTER
“Makes more sense than a hot tub in a helicopter.”

LASER EDITOR
“Don’t test me B. Now, here are your tickets and accommodations. You leave right now.”

D-HACK
“I’ll have to stop back at the apartment to pack.”

B-REPORTER
“I’ll ride with you.”

They leave the office. Laser Editor watches them leave and then goes to sit down at her desk.

CUT TO MS OF LASER EDITOR AT DESK

Opening a drawer she pulls out a bottle of alcohol and a glass. She starts to pour herself a drink when the potted plant behind her starts to wiggle. The plant moves up revealing MR. COIN, an oversized novelty coin wearing a fedora, sunglasses, and a trench coat. He looks over at Laser Editor

MR COIN
“Now, you’re not going to actually publish that article on Titanic and Inception are you. It would not do for attention to be brought to our group’s efforts to persuade the public of what is true and not true as it pertains to those particulars.”

LASER EDITOR
“Nope. I’ll tow the line.”

MR COIN
“Excellent.”

Mr. Coin lowers his head back down into the potted plant. Laser Editor drinks her glass slowly. Once done, she sets the glass down on her desk.

CUT TO CS OF THE EMPTY GLASS

FADE OUT

If you like this, or any of my other art, please consider throwing some support my way through my Patreon (https://www.patreon.com/c/ThomasTypewriterTypes) or Ko-fi (https://ko-fi.com/thomastypewriter). 

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

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 05

By Thomas Typewriter

(c) 2026 Jason Arcand
———–<:type:>———–

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-05”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.

FADE OUT
FADE IN

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE appears in the black void.

PAN IN ON MID-STAGE TILL PROPERLY FRAMING IT

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
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 sits at the animator’s lightbox, furiously drawing animation cells. THOMAS TYPEWRITER enters from stage-left. He hangs up his coat and then walks over to Ophidia. He places a hand on her shoulder.

THOMAS TYPEWRITER
“Hi.”

Ophidia stops bopping, pulls down her headphones, and smiles at Thomas.

OPHIDIA OPERAHOUSE
“Hey, good looking.”

Ophidia points to her lips. Thomas takes the hint and kisses her.

THOMAS TYPEWRITER
“You’re sure in a good mood.”

OPHIDIA OPERAHOUSE
“Oh yeah. I love how it feels to animate.”

THOMAS TYPEWRITER
“Have you been working long?”

OPHIDIA OPERAHOUSE
“Maybe. Probably. I came home from dinner and could not sleep. So I started working.”

THOMAS TYPEWRITER
“So, you never went to bed?”

OPHIDIA OPERAHOUSE
“Nope. I am full of electricity.”

THOMAS TYPEWRITER
“Okay electric girl, is there anything I can do to help?”

OPHIDIA OPERAHOUSE
“Could you get me some fresh coffee?”

THOMAS TYPEWRITER
“Sure. Are your parents okay with me being in the kitchen.”

OPHIDIA OPERAHOUSE
“Oh, it’ll be fine. They love you.”

THOMAS TYPEWRITER
“Okay. Fresh coffee coming right up.”

Thomas Typewriter exits stage-left. Ophidia puts back on her headphones and starts bopping to the music.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. THE SETS DISAPPEAR OFF THE BOTTOM OF THE FRAME AS THE CAMERA ASCENDS. IT GLIDES UP AND UP, OVER THE CURTAIN OF CLOUDS. SOON, THE HIGH-STAGE AND NARRATOR’S DOOR AT THE TOP OF THE CURTAIN OF CLOUDS SLIDES INTO VIEW. THE CAMERA SLOWS AND MOVES INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
From behind the curtain, the sounds of A BAND PLAYING MUSIC leak. The High-Stage curtains open and the stage-lights turn on to the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, DAYTIME
A large curve window runs across the back of the stage, showing the sparkle of the sparks drifting through space. Some components of the Flute are visible in the periphery of the window. A long curved couch runs under the window curving around a circular rug. Additional couches wrap around the circle coming out of stage-left and stage-right. The center of the observation area is free of couches, being the main entry point for those wishing to sit in the observation lounge. The entire area is decorated in yellow, amber, and beige. The rug is a contrasting red. A group is currently assembled playing music to practice and get in tune. LUCIDO OBSIDIAN, in his Medi-pod stands in the front of center on the carpet playing guitar. Behind him, CEDAR WAXWINGS plays drums. On the stage left side of the carpet CARRO, in their Medi-pod, plays keyboards. To the stage-right side of the carpet MINTHRIL MOUSTACHE plays trumpet. Next to him, ELDER GRIM plays the upright bass. The group is currently not doing very well playing in harmony. Meanwhile, PANACIA FLAUTO sits on one of the Observation decks couches listening. 
HYGENNIA FLAUTO and two ORDERLI-BOTS enter from stage-right. Hygennia walks over to Panacia and sits down with her. They start to chit-chat. The ORDERLI-BOTS clean the couches. The musicians start to musically line up. They can play longer stretches of harmonious music before hitting discordant notes. IASA FLAUTO enters from stage-right holding a tray filled with three simple coffees from the ship commissary. She hears the music and starts to softly sway to the music. She waves to the musicians and they wave back. Their music clicks even further, lining up to the rhythm of Iasa. She walks over to Hygenia and Panacia. Hygenia takes the coffees. Iasa pulls Panacia up from the couch and starts to get her to dance along with her. Hygenia laughs and takes a coffee and starts to sip. The Orderli-Bots stop cleaning and watch the music and dancing. Panacea and Iasa laugh. Hygenia smiles and joins in.

FINNOCHIO and his sister BALLERIA enter stage-left clapping enthusiastically along with the music. They are followed by some REPAIR-BOTS, lulled up from the Maintenance Tunnels by the sweet tunes, sway to the music. The music goes louder as does the crowd’s response. On each of the Medi-pods the three top lights turn to green over the course of playing. When the third light turns green, the Medi-pod beeps. Carro, Cedar, and Lucido’s robotic arms go limp. They fall out of the melody. The Medi-Pods crack open along a low seem like an egg cracking open. Out pours the fully repaired Lucido, Cedar and Carro, coated in fluid and sliding across the floor. Carro now has a robotic body after the Medi-pod process, where in the earlier episodes he was just a face on a view screen.

As the three slide out of their Medi-pods, Elder and Minthril abruptly stop playing. Iasa, Panacia, and Hygenia swiftly rush to the newly emerged bodies and start to run medical checks. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER AND ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. EVENTUALLY THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME AS THE CAMERA HAS REACHED THE BOTTOM OF THE CURTAIN OF CLOUDS AND THE MID-STAGE. IT PANS DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
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 sits at the animator’s light box, slumped over, asleep.

THOMAS TYPEWRITER
(off-stage) “I’ve got your coffee.”

THOMAS TYPEWRITER enters from stage-left, carrying a tray with a coffee cup and a carafe of coffee. There is also a glass of water on the tray. He enters backwards to navigate the door, balancing the tray best as he can.

THOMAS TYPEWRITER
“Sorry it took as long as it did for me to get the coffee. Your Mom came out and we had a nice talk. She asked if I could make her some tea so I did. Let me know if you want any and I’ll go get you a glass. Your Mom asked me if we set a date for the wedding, which is the funniest thing because my Grandma was just asking me the same thing this morning.”

Thomas places down the tray. 

THOMAS TYPEWRITER
“Isn’t that the craziest thing? Are they sharing a wavelength?”

He picks up the coffee cup and turns to give it to Ophidia.

THOMAS TYPEWRITER
“And you’re asleep.”

Thomas straightens looking at Ophidia. He shrugs and takes a sip of the coffee. He spits it back out into the cup.

THOMAS TYPEWRITER
“Ugh, yuck. How does anyone like that?”

Thomas sets the cup back onto the tray. He then exits Stage-left returning with a blanket. He places the blanket over Ophidia. He gently kisses her on top of her head.

THOMAS TYPEWRITER
“You get your rest, you deserve it. I’ll be over here reading.”

Thomas moves to the chair to the side and pulls out a copy of “Pandora’s Star” by Peter F. Hamilton.

THOMAS TYPEWRITER
(to self) “Thank goodness I have one of Hamilton’s space operas. This will definitely keep me busy.”

Thomas props his feet up on the desk and relaxes into a comfortable reading position. He starts to read, briskly moving through pages then slowing down. He turns back two pages and rereads what he had read. He thinks a moment and then starts to read at a brisk pace. As he is reading he starts to fidget, starting with turning his body left and right. Then he switches to gently swinging his feet left-right. The Mid-Stage stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

“The Great Works Project: Season Six, Episode Ten” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 10

by Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward rapidly the following text: “06-10”. 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
FADE IN


MID-STAGE: CURTAINS CLOSED

DISSOLVE TO A PROPERLY FRAMED SHOT OF MID-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The curtains of the Mid-stage area of the TYPEWRITER ABSTRACT PUPPET STAGE fill the screen. They are currently closed but soon they part. The stage lights turn on with the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: INT. PENCIL CHICKS STUDIOS, DAYTIME
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 light-box 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. THOMAS TYPEWRITER sits at the desk scanning pages. OPHIDIA OPERAHOUSE sits at the desk behind him, drawing animation cells.

THOMAS TYPEWRITER
“Ophidia?”

OPHIDIA OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Would you mind if I laid my head down a moment? I’m a little tired and my eyes are starting to hurt.”

OPHIDIA OPERAHOUSE
“No problem. Go ahead and rest.”

Thomas lays his head down on the desk.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DETACHES FROM THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS HANGING BEHIND. IT CONTINUES UPWARD FOLLOWING THE CURTAIN OF CLOUDS. AT THE TOP, THE HIGH-STAGE EMERGES. LOCK INTO PLACE 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.

HIGH-STAGE: INT. LANDING BAY 0610 OF THE FLUTE MEDICALSHIP, EVENING
A metallic wall runs along the back of the stage. It has two metal support beams bolted to the wall. A brown stripe runs along the wall from the center of the stage to the stage-left. The numbers “0610” are stenciled above. The stripe ends at two large elevator doors. A freestanding mirror is off to the side. On the opposite side of the stage is a large inner bay door and control panel. HYGIEIA FLAUTO stands at the controls. Dressed in a blue workers scrub, sanitary face mask, gloves, a tool bag with a wrench patch and a sanitation patch slung over one shoulder and a belt of a living bronze snake stands at a platform near the large bay doors. Meanwhile, both the elevator signal lights light up. The elevator doors open. PANACEA FLAUTO emerges. The mirror shimmers and a bright light shines out of it. IASO THERAPUTICIA steps through the mirror. The shine fades away and the mirror returns to normal.

IASO FLAUTO
“Sister.”

PANACEA FLAUTO
“Sister.”

HYGIEIA FLAUTO
“Yes, yes, Sisters.”

A control box lowers down on a double cord, one coiled the other straight, to HYGIEIA. She grabs hold of it and presses a button causing the large bay doors to start to open. The doors slowly open with a mechanical rattle. The front portion of THE COUNT sparkship enters. Hygieia presses a second button on the control panel and the Count stops. There is a discharge of smoke and fog as the ship equalizes pressure. Panacea and Iaso walk over and stand by Hygieia.

HYGIEIA FLAUTO
“Alright, the ship is docked. So what are we expecting here.”

Panacea pulls out her Med-corder and reads a file on the screen.

PANACEA FLAUTO
“Dad said they were bringing in two youths, injuries unknown.”

HYGIEIA FLAUTO
“Where does a sparkship find kids in space.”

IASO FLAUTO
“I don’t know but we better be on our best behavior because that ship is Musica’s boyfriend.”

PANACEA FLAUTO
“Musica, as in head of the Solar/Lunar fleet.”

HYGIEIA FLAUTO
“They’ve openly admitteing this? Finally time they did.”

IASO FLAUTO
(to Panacea) “Co-chair, remember she has a twin, but yes.” (to Hygieia) And no, not officially yet, but everyone knows.”

PANACEA FLAUTO
“Oh yeah, the bat girl.”

HYGIEIA FLAUTO
“Be careful what you say, she might here you.”

PANACEA FLAUTO
“Wait, seriously.”

IASO FLAUTO
“She was the one who found your boyfriend with those bat ears.”

Panacea looks between the two of them. Hygieia nods yes. Iaso nods yes. Panacea starts to blush.

PANACEA FLAUTO
“He’s just a…I mean…He’s not my boyfriend. We just like hanging out together.”

Iaso and Hygieia exchange a look.

HYGIEIA FLAUTO
“Guess Musica’s not the only one in denial.”

There is a BEEPING NOISE as a platform lowers from the front of The Carro.

HYGIEIA FLAUTO
“Time to shine ladies.”

The platform continues to lower. BARBARO BUFFO stands on the platform. Next to him is a rolling cart holding a burned Sat-Bot. The top portion of it’s double pyramid octahedron is open. Inside sit FINNOCCIO FORESIGHT and BALLERIA FORESIGHT. They are a pair of newborns cradled in a bed of fennel leaves. 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 UNCOUPLES FROM THE HIGH-STAGE. A BIT OF THE NARRATOR’S STAGE ENTERS THE FRAME AS THE CAMERA PANS DOWNWARD. IT GLIDES ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. THE TOPS OF THE MID-STAGE SETS SLIDE INTO THE FRAME AS THE CAMERA FINISHES PANNING DOWNWARD. IT STOPS WHEN PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME
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. THOMAS TYPEWRITER sits at the desk, head resting on hands and eyes closed. OPHIDIA OPERAHOUSE sits at the animation desk behind him drawing.

CUT TO CS OF THOMAS’ FACE AND HOLD THE SHOT FOR A MOMENT

FADE OUT

TRANSITION FROM MID-STAGE TO THE MANY SANDS

FADE IN

EXT. THE MANY SANDS, DAYTIME.
A fire sits in the center of the stage. Z-MOUSE and THE GHOSTLY sit around the fire conversing. Behind them sand dunes spread stage-left while grassy scrubland spreads to the stage-right. Just to the side of the fire stands a fancy stained lamp on a post made of old and worn boards. The lamp stick has a look to it denoting old and tall. As if it walked to this spot, set down roots like a tree, and branched out.

Z-MOUSE
(writing in notepad) “That is very interesting. And have travelers always reacted that way?”

THE GHOSTLY
“No. Sometimes, and mind you this is a very rare thing, they choose the other path.”

Z-MOUSE
“Do you think it is because they listen to what you have to say?”

THE GHOSTLY
“I’d like to think so, but most likely it is a mixture of dumb luck and listening. What about you? Do all your siblings listen to you.”

Z-MOUSE
“I don’t know. I’ve never really had any ideas to suggest. More of the deep thinker type.”

From stage-left THOMAS TYPEWRITER enters. He is dressed in a pizza delivery uniform and carrying a pizza box and six-pack of Satellite Soda.

THOMAS TYPEWRITER
“Did somebody order a pizza?”

Z-MOUSE
“Thomas!”

THOMAS TYPEWRITER
“Z-Mouse!”

Thomas walks over to the fire and sits down.

THE GHOSTLY
(to Z-Mouse) “Who’s this guy”

Z-MOUSE
“He’s kinda like my boss.”

THE GHOSTLY
“He doesn’t seem much.”

Z-MOUSE
“Don’t be fooled. There’s more parts to him than visible at first. That may not even be his true face.”

THE GHOSTLY
“I see.”

THOMAS TYPEWRITER
“Pizza anyone?”

Z-MOUSE
“I’ll take some.”

THE GHOSTLY
“Me too.”

Thomas opens the pizza box and offers it to Z-Mouse and the Ghostly. They each take a slice. He then offers each a soda. Z-Mouse nods yes but the Ghostly nods no. He breaks off one can and hands it to Z-Mouse. He then breaks off a second can. He opens the can and takes a sip. They sit around the fire eating pizza and drinking soda.

THOMAS TYPEWRITER
(extends hand to the Ghostly) “I’m Thomas by the way.”

THE GHOSTLY
(shakes his hand) “You can call me the Ghostly.”

THOMAS TYPEWRITER
“Good to meet you.”

THE GHOSTLY
“Likewise.”

Thomas sits down. Z-Mouse continues to eat his pizza while The Ghostly sips from her soda.

THOMAS TYPEWRITER
“So what was I interrupting?”

PAN UPWARD TO THE SKY ABOVE THE FIRE. SPARKS DRIFT UP ACROSS A STARRY SKY.

Z-MOUSE
(off-stage) “Not much.”

FADE TO BLACK

“The Great Works Project: Season 6, Episode 8” 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 8

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-08”. 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
FADE IN

EXT. Y-APARTMENT, SUNSET
The darkness of the empty screen slowly starts to develop twinkles of starlight.

PAN DOWN FROM STARRY SKY ACROSS THE WARM COLORS OF A SUNSET

Y-MOUSE
(off-camera) “Beautiful.”

CUT TO

EXT. DECK OF APARTMENT Y, EARLY EVENING.
A wrought iron deck on the edge of the apartment with an art deco inspired metal railing. A deck chair and small table sit off to the side of the sliding door. The view from the deck looks out at sloping hills of late season autumnal trees. Fiery colors burst across the skeletal branches as the fall of leaves and march into winter continues. Y-Mouse sits on his deck watching the sunset, sipping from a tall glass of Seltzer Beer.

MS OF Y-MOUSE

He stares out in deep thought. After a moment, a GROUP OF CHIMES starts to chime. There sounds like six different chimes, each at a different pitch and interval. Through the window and glass doorway, six different colors blink: red, blue, orange, green, yellow, and purple. Each color blinks in intervals with one of the six different chimes. Y-Mouse turns his head to look toward the apartment.

CUT TO CS OF GLASS DOOR SHOWING BLINKING LIGHTS.

CUT BACK

Y-Mouse stretches and stands. He casually strolls into the apartment.

CUT TO LS OF Y-MOUSE FROM ACROSS THE GLASS DOOR

The deck’s sliding glass doors open onto a studio apartment kitchen/living room combo. The kitchen stands off to stage-left and the living room to stage-right. An L-shaped counter divides one area from the other. A wicker couch sits off the stage-right. Just out of frame is a small entryway with a thin table. Above the table hangs three coat hooks. On one side of the table stands the Narrator’s Door. To the other side of the table, down the short hall of the entryway is the door to the Y-Stairwell. Holding his drink, Y-Mouse walks in. He looks at the couch and sees the blinking colored lights coming from under the couch. He nods his head in understanding and walks into the kitchen. He opens a drawer and pulls out a notepad and pencil. He then walks to the Narrator’s door and steps through.

TRACK Y-MOUSE

PAN THROUGH THE NARRATOR’S DOOR

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

TYPEWRITER ABSTRACT PUPPET STAGE: NARRATOR’S BALCONY

LS OF THE NARRATOR’S BALCONY

CUT TO MS OF THE Y-MOUSE

Y-Mouse closes the door behind him as he walks onto the deck and sits on the edge. He looks over at the closed curtains of the High-Stage.

PAN OVER TO PROPERLY FRAMING THE HIGH-STAGE

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

HIGH-STAGE: EXT. THE FAR EDGE OF THE FOREVERCAGE
The vast immaterial unfilled echo is broken by two figures, one small and the other large. THE WARDROBE OF A THOUSAND AND ONE COSTUMES floats off to the stage-right of the center. A small model of THE SPACE EGG floats to the stage-left of the center. It slowly glides towards the Wardrobe.

CUT TO

INT. THE SPACE EGG
THE INNER-SPACE MAN sits in a sleek astronaut’s chair, working buttons on the console. In front of him sits a curved console and curved view screen. The console has a center monitor in the shape of a circle bisected by a long rectangle. This is the Space Egg’s text display. All of the Space Egg’s dialogue will scroll across the text display as it comes out of the speakers. Around the text display sit various-sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently displaying the approaching Wardrobe of a Thousand and One Costumes. Uncomfortably Crammed into the small space behind the pilot’s chair sit BIFF THE RABBIT and ROCKEY THE PET ROCK. A stack of paper and crayons sits between the pair. Drawings of an egg in a detective’s coat and fedora and a giant radioactive monster can be seen in the stack of papers.

THE SPACE EGG
(voice-over?) “There it is.”

THE INNER-SPACE MAN
“Roger. See if you can use that gap in the doors we used last time.”

THE SPACE EGG
“Already on it.”

BIFF THE RABBIT
“What is that!”

THE INNER-SPACE MAN
“It’s a giant wardrobe.”

BIFF THE RABBIT
“I can see that, but why is it so large. When we pretend the Wardrobe of a Thousand And One Costumes is like maybe twice our size. Not the size of a mountain.”

THE INNER-MAN
“Wait, you’ve seen this thing before.”

BIFF THE RABBIT
“Yeah.”

THE INNER-SPACE MAN
“Interesting”

CUT BACK TO


EXT. THE FAR EDGE OF THE FOREVERCAGE
The model of the Space Egg is now very close to the Wardrobe of a Thousand and One Costumes. The wardrobe rotates so that we can see the front doors and the small gap at the bottom. The Space Egg flies into the gap.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE


THE CAMERA DETACHES FROM HIGH-STAGE AND PANS DOWNWARD. IT SCROLLS OVER THE BOTTOM OF THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BELOW. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN AND DOWN. SOON THE TOPS OF THE MID-STAGE SETS PEEK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN, SLIDING OVER THE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIOS, DAYTIME
The stage-lights are off but turn on to the sound of A LIGHT SWITCH CLICKING ON. A long work desk stretches across the stage. A computer, monitor keyboard, and mouse sit near the center of the long desk. Nearby sits a scanner. Behind the desk and off to the stage-right side sits a taller drawing table with an animation light table. Various bins filled with paper and drawing tools sit on a shelf near the drawing table. A taller chair is pushed into the drawing table. OPHIDIA OPERAHOUSE stands just inside the doorway, having flipped on the room’s lights. THOMAS TYPEWRITER stands partially in the doorway.

THOMAS TYPEWRITER
“I am glad to be helping but I am not sure how much help I will be. I really can’t draw anymore, not without my hand acting up.”

OPHIDIA OPERAHOUSE
“That’s okay. I can handle the drawing for both of us. What I need is help on the computer.”

THOMAS TYPEWRITER
“I can handle computers.”

OPHIDIA OPERAHOUSE
“I know you goofball. Now, why don’t you come in here and I’ll show you what I need you to do.”

Thomas and Ophidia enter the room and sit down at the computer desk. Ophidia standing behind him and Thomas in the chair.

OPHIDIA OPERAHOUSE
“Okay, the first thing you do is open this program here.”

She places her hand on top of Thomas’s over the mouse. A strobe light pules across the back of the stage and the sound of FABRIC ROUGHLY SCRAPING OVER FABRIC. Thomas quietly takes in a deep breath and then slowly exhales. The strobe light and fabric scraping sound stop. Ophidia gently guides his hand.

THOMAS TYPEWRITER
“Like this?”

OPHDIA OPERAHOUSE
“Yes, exactly. Just like that.”

THOMAS TYPEWRITER
“I am glad I agreed to this.It feels good to working on art again, even if it is not my own.”

Ophidia gives him a quick kiss

OPHIDIA OPERAHOUSE
“I am glad you said yes too. Okay, once that is open you are going to start scanning from the pile over to the side of you.”

Thomas and Ophidia freeze as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES OVER THE MID-STAGE SETS TO THE CLOUD OF CURTAINS BEHIND. IT ASCENDS TO THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: THE GANTRY OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES
Made of silvery metal, with tall handrails and pole lighting, the Entry Point gives a feeling of a cross between a dock or boardwalk and a spaceship. The long metallic dock joins to a pier-like space opposite the door. A series of round concentric rings, the walkway juts out from the center.

LS FROM GANTRY OUT TOWARDS THE DOORS OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES

The bottom section of the door can be seen extending down from the upper corner of the frame. From the gap between the two doors, a small model of the SPACE EGG flies in. When it enters, two rows of lights slowly blink to life. They light starting at the end nearest the doors moving inward. The Space Egg follows the lights as they turn on.


CUT TO…

HIGH-STAGE: THAT PLATFORM BASE AREA IN THE WARDROBE
Weak lights click on and up brightening the walkway. It is a metal boardwalk with thin pipe rails. The entire space is of such a scope and size that the lights are not bright enough to illuminate the far walls of the space they have flown into. Two corridors branch out from the landing area, going left and right. Just beyond the boardwalk and corridors is an amphitheater-like space with descending rings of seats. In the center is THE LARGE MEMOCRYSTAL, an irregularly shaped crystal. It is the size of a boulder and appears to be made up of various-sized crystals. On the large crystal sits THE INFORMATIVE SCUTTLER powered down and sleeping.


LS OF THE SPACE EGG

THE SPACE EGG enters from stage-left and lands. It’s ring of light dims as it powers down.

CUT TO MS OF THE SPACE EGG

The top of the Space Egg opens up with A PRESSURIZED HISS. THE INNER-SPACE MAN sits in the pilot’s chair with BIFF THE RABBIT and ROCKEY THE PET ROCK crammed behind the chair. They all stand and stretch. The Inner Space Man exits the Space Egg first. He nearly tumbles down while exiting awkwardly, making a loud racket. Biff reaches for him but the Inner-Space Man waves him off while making a few hops to recover his balance.


CUT TO MS OF THE LARGE MEMOCRYSTAL PEDESTAL


The Informative Scuttler languidly perks one of its eye stalks up. The eye stalk focuses and the refocuses as it realizes the others have returned. It starts to power up.

CUT TO MS OF THE INNER-SPACE MAN AND THE SPACE EGG

The Inner-Space Man stands up, righting himself. Rockey moves to the edge of the Space Egg and Biff the Rabbit moves behind him.

THE INNER-SPACE MAN
(to Rockey and Biff) “Careful on that first step. Here, I’ll help”
The Inner-Space Man reaches up and Rockey jumps into his hands. He sets Rockey on the ground. He then reaches up to help Biff.

IRIS EFFECT FOCUSING ON BIFF

CUT BACK TO MS OF THE MEMOCRYSTAL PEDESTAL

It stands up in surprise. It quickly crawls down.

FOLLOW THE SCUTTLER

CUT TO MS OF THE BACK WALL OF THE WARDROBE.

The back wall of the Wardrobe looks like a long wall of dark green stained wood. The wood grain is still visible in large swirls. The floor has changed from the metallic flooring of the gantry to a dark polished stone. A triangular doorway is built into the wall. This doorway is one of many similar doorways stretching the length of the back wall. The doorway is edged by a nice scalloped edge that runs along the floor like a connecting ray between the triangular openings. Each doorway is a little larger than a scuttler. The Scuttler enters from stage-left and hurriedly moves into the nearest doorway. From behind the door CONVERSATIONS OF EXCITED CLICKS AND GEARS WHIRRING sound. The Informative Scuttler reemerges from the doorway dragging THE EMPAATHA KEY. It is a dual-sided key made from a crystal similar to the memocrystals, in colors of gold, silver, and bronze. The top of the key looks like an abstracted doorway. A pair of Scuttlers emerge holding the end of the Empaatha Key. A large group of Scuttlers follows the trio, flowing out of the doorway. In the group are four Scuttlers carrying THE CHOICE CRACTION. It is a squarish stone block composed of grey basalt-like stone. The entire surface is streaked with black obsidian-like crystals and white quartz-like crystals. In the center of the Knowtwhole is an opening made from two overlapping circles. The streaks of obsidian and quartz are visibly increased inside the openings. The parade of scuttlers exits stage-left.

CUT TO THE LANDING GANTRY

MS OF THE INNER-SPACE MAN, BIFF THE RABBIT, AND ROCKEY THE PET ROCK STANDING NEXT TO THE SPACE EGG.

BIFF THE RABBIT
“So, you’re saying all of this, this place, is in my imagination. Like we are physically in that abstract space.”

THE INNER-SPACE MAN
“That is our going theory.”

BIFF THE RABBIT
“That’s a lot to process.”

The group of scuttlers enters from stage-right.

THE INNER-SPACE MAN
“Yes, but there is more…” (pauses as he notices the scuttlers) ”Oh hey, Eggsey it’s our old buddy. What’s up….” (trails off)

They walk past the Inner-Space Man and approach Biff. The Informative Scuttler holds up the Empaatha Key while the others bow.

BIFF THE RABBIT
“Why are they bowing to me?”

ROCKEY THE PET ROCK
“Maybe it’s the noble way you carry yourself.”

THE INNER-SPACE MAN
“I don’t know. Normally they’re constructing things.”

The Informative Scuttler gestures for Biff to take the key.

ROCKEY THE PET ROCK
(whisper to Biff) “Don’t be rude. Take the thing.”

BIFF THE RABBIT
(whisper to Rockey) “How do I know they’re offering it to me. Maybe it is someone else’s”

Rockey steps forward towards the Empaatha Key. The scuttlers shift it back out of reach. He tries a few more times to touch the stone, but the scuttler crowd moves it out of reach each time.

ROCKEY THE PET ROCK
(whispers to Biff) “There. Does that convince you? Now, take it and say thank you. You’re starting to look silly.”

Biff reaches forward and takes the Empaatha Key.

BIFF THE RABBIT
“Thank you?”

The crowd of scuttlers now turns to the Inner-Space Man. They present to him the Choice Craction. He leans over and picks it up.

THE INNER-SPACE MAN
“Thank you?”

The scuttlers turn and all exit except the Informative Scuttler. It crawls back behind the Large Memocrystal.

THE SPACE EGG
“What was that about?”

THE INNER-SPACE MAN
“I don’t know.”

The Inner-Space Man moves closer to the Space egg on one side of the stage while Biff moves closer to Rockey on the other. Each examines the interesting gift they were given.

A LINE GOES UP IN THE CENTER OF THE SCREEN SETTING UP A SPLIT SCREEN

EACH SIDE OF THE SPLIT SCREEN PANS IN ON THE DUO IN THAT SIDE.

EACH SIDE OF THE SPLIT SCREEN PANS INTO A CS OF THE GIFT OBJECTS, THE EMPAATHA KEY OR CHOICE CRACTION, ON THAT SIDE OF THE SPLIT SCREEN


Hold for a few moments before the High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains then close.

FADE OUT

“The Great Works Project: Season Six, Episode Four” – a new script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 4

By Thomas Typewriter

(c) 2024 jason g. arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward the following text: “06-04”. It enters from the bottom of the frame and slowly moves up eventually exiting through the top of the frame.

FADE OUT
FADE IN
TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out from somewhere nearby yet out of sight. Shortly thereafter the TYPEWRITER ABSTRACT PUPPET STAGE materializes.

LS OF THE TYPEWRITER PUPPET STAGE MOVING TO A MS THROUGH A SERIES OF CUTS UTILIZING A CRYSTALLINE EFFECT.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE MID-STAGE

PAN IN ON MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE UNTIL MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains open. The stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. MARY MARCHHARE’S FRONT PORCH AND FRONT WINDOW, DAYTIME
The front wall of Mary Marchhare’s house, with its blue vinyl siding spreads across the stage. A large bay window takes up a large portion of the wall. It is higher than the ground, making the bottom of the window visible in the frame but not the top. On each side of the bay window are smaller windows with movable shutters. At the stage-left side are four steps leading up to a landing and the front door. Mary Marchhare’s Living Room can be seen through the large bay window. White stucco walls are decorated with framed paintings of earlier twentieth-century race cars alongside photographs of various Boston Terrier dogs. There is also a selection of antique clocks on the walls. Near the window sits MARY MARCHHARE in a recliner. Next to the recliner is a shorter chair and an end table with a bulbous lamp. Mary is watching television. THOMAS TYPEWRITER enters from stage-left, carrying two moving boxes. He walks past the front window. BEANIE, Mary Marchhare’s pet Boston Terrier, leaps onto the second chair and barks out the window. BARKS MUFFLED BY GLASS sing out. Mary notices Beanie barking, leans forward, and sees Thomas. She sets down the tissue she had gripped and moves out of sight. Thomas climbs the four steps to the landing in front of the house’s front door. The porchlight next to the front door flips on. The front door opens. Mary Marchhare steps out and gives Thomas a hug.

MARY MARCHHARE
“Thomas!”

THOMAS TYPEWRITER
“Hi Grandma. I am dropping off the last of my stuff.”

MARY MARCHHARE
“Two boxes, that’s not much.”

THOMAS TYPEWRITER
“There’s more. It’s just in the car. Would it be okay if I brought it in through the garage?”

MARY MARCHHARE
“Sure. Since you’ll be living here, I have a garage door opener for you. You can have the spare one.”

THOMAS TYPEWRITER
“Wow. Thanks.”

Mary looks Thomas in the eyes, squaring her shoulders.

MARY MARCHHARE
“And remember, this is only a loan. I get it back when you move out. I do not want any strangers wandering into my house because you lost it. Got it. I am serious.”

THOMAS TYPEWRITER
“Sure, sure. I’ll keep it safe and give it back.”

MARY MARCHHARE
“Good. Now let’s get inside.”

Mary locks the screen door open, sliding the locking tab forward. She then steps inside and holds the inside, bit oak front door, open for Thomas. Thomas walks in. Mary closes the screen door, moving back the locking feature/slider, and then shuts the front door

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNLOCKS FROM THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS. IT CONTINUES PAST THE TOPS OF THE SETS AND ONTO THE CURTAIN OF CLOUDS VISIBLE BEHIND. UP AND UP THE CURTAIN OF CLOUDS TILL REACHING THE HIG-STAGE AT THE TOP. THE CAMERA SETTLES INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains part. The stage lights turn on with the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. PHYSICAL THERAPY ROOM 604 IN THE FLUTE MEDICALSHIP
The room is similar to a ballerina dance studio. The back wall of the stage is covered in pads and some floor-length standing mirrors. Two rails, one at hip height and the other at knee height run across the mirrors. A weight-lifting machine sits on stage-left and another on stage-right. CARRO in their Medi-Pod is using the medi-pods extended arms to lift weights with a rope through a series of pulleys on the stage-left weight machine. IASO FLAUTO stands to the side guiding Carro. In the center of the stage stands CEDAR WAXWINGS in his Medi-pod using the Medi-pods retractable arms to lift dumbells from his side to over his head and back down. At the weight machine on stage-right stands LUCIDO OBSIDIAN in his Medi-pod using the Medi-pod’s retractable arms to crank a resistive lever. PANACEA FLAUTO stands between Cedar and Lucido watching over their motions.


PANACEA FLAUTO
(voice-over or narration) “Maestro, open medical log, please. Today marks an improvement in the attitude of Cedar Waxwing. He is making a full effort in therapy. His previous disposition of sullenness and defeatism have disappeared. Iasa and I had a second meeting and she revised her prediction of his possible recovery to full. If he can keep this up. We have also noticed a change in his friends’ attitudes as well. Lucido Obsidian and Carro were already on track for a near full recovery, but they now look posed for a full recovery. It is nice to see this change. When Cedar and I were in school together I never really cared for him. Maybe it was because I was too busy being interested in Lucido. Maybe it was because he was Lucido’s friend, not my friend. Maybe it was his sarcasm. Such a long time ago, who knows. Anyway, watching TV with him the other day, was nice. He is fun to be around. Haven’t laughed that much in a while. Sure he was still sarcastic but now it makes more sense. Doesn’t seem so abrasive, almost as if instead of attacking it is defensive. Wonder if he would want to watch the next episode. (pause) What am I saying? Maestro, please amend the medical log. Remove everything after recovery to full.”


As the narration finishes, Iasa stands and looks around.

IASA FLAUTO
“That is enough for today. Good job everyone. Keep this up and you will make a full recovery. Cedar, glad to see you trying.”

CEDAR WAXWINGS
“Feels good to try.”

Everyone starts to exit stage-right. Cedar and Panacea are towards the back or the last to leave.

CEDAR WAXWINGS
“Hey, Panacea.”

PANACEA FLAUTO
“Hey to you too. Good job today.”

CEDAR WAXWINGS
“Thanks. Hey, I was wondering if that show we watched…”

PANACEA FLAUTO
“Soapbubble Medical Theatre?”

CEDAR WAXWINGS
“Yeah, that’s the one. Is it every day, every week?

PANACEA FLAUTO
“Once a week. Why?”

CEDAR WAXWINGS
“Could I watch the next one? It was pretty neat.”

PANACEA FLAUTO
(pause) “I don’t see why not. My sisters are always bugging me to socialize more.”

CEDAR WAXWINGS
“Cool. Let me know when and I’ll be there.”

Iasa wiggles her eyebrows at Panacea. She sticks out her tongue. Iasa giggles and makes a face back. They exit. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER THE CURTAIN OF CLOUDS DESCENDING LOWER AND LOWER. THE TOPS OF THE MID-STAGE CURTAINS EMERGE FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD, SLIDING OVER THE MID-STAGE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. MARY MARCHHARE’S LIVING ROOM, DAYTIME.
A large bay window fills the middle of the frame. It looks out onto Mary Marchhare’s front yard. A smaller window of double framing flanks each side of the bay window. To the stage-left side of the bay window sits a recliner chair next to a smaller chair and an end table with a bulbous lamp, a glass of water with a straw, a boxy remote control, and a paper fan. To the stage-right side of the window sits a wooden wardrobe with a larger cathode-ray TV on top. MARY MARCHHARE sits in the recliner watching daytime television. The ambient sound of TELEVISION fills the stage. BEANIE sits in the other chair sleeping. Mary reaches over and picks up the glass of water taking a sip. She sets it down and picks up the fan. She starts to fan herself while dabbing at her face with a tissue in her other hand. THOMAS TYPEWRITER enters from stage-left. He walks to the side of Mary’s chair.

THOMAS TYPEWRITER
(gently touches Mary’s shoulder) “Grandma.”

Mary notices him and reaches for her remote control. She points it at the camera and click it off. The sound of TELEVISION STOPS.

MARY MARCHHARE
(turns to look at Thomas) “Yes.”

THOMAS TYPEWRITER
“Do you have another spot where I could store some boxes? I can’t fit everything in the bedroom. It is cool if you don’t. I’ll go through and donate some of it. I just don’t want to impose or crowd out your stuff.”

MARY MARCHHARE
“There’s room in the back barn, as long as you don’t block my lawnmower. I haven’t used the cabinets since Lawrie died.”

THOMAS TYPEWRITER
“And that won’t put you out?”

MARY MARCHHARE
“No, go ahead. Use it.”

Thomas leans down and kisses his grandma on the cheek while hugging her. She twists enough to hug him back.

MARY MARCHHARE
“The key is on the keyrack. Just make sure you return it when done.”

THOMAS TYPEWRITER
“Thanks Grandma.”

Thomas exits stage-left. Mary reaches for her remote and points it back at the camera. She presses a button and the ambient sound of TELEVISION fills the stage. Mary continues to watch her show. Beanie continues to sleep, rolling over to a more comfortable position. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The stage is illuminated by the soft glow of the television as the Mid-Stage curtains close.

FADE OUT

The Not So Puppet Show – Season One, Episode One by Thomas Typewriter

The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode One

“The Skipping Stone”

By Thomas Typewriter

(c) 2024 thomas typewriter

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

FADE INTO THE TITLE SEQUENCE

The title sequence plays.


FADE OUT
FADE IN

INT. BORDERTOWN MIDDLE SCHOOL LIBRARY, AFTERNOON
The curtains open and the stage-lights turn on. A floor-to-ceiling bookcase spreads across the back of the stage. Off to the stage-right side extends a short wall with a double set of doors for entrance and a single door for the librarian’s office. The door to the librarian’s office is open. The door has a plaque over it with the following text: “Ms. Weaver”. On stage-left side of the stage sits a short wall containing a spinner rack filled with various young adult novels next to a metallic magazine rack. In front of the floor-to-ceiling bookcase sits two round tables with chairs.


PAN TOWARDS THE LIBRARIAN’S OFFICE

CUT TO

INT. BORDERTOWN MIDDLE SCHOOL LIBRARY LIBRARIAN’S OFFICE, AFTERNOON
A smaller room with walls made of large blocks, the Librarian’s Office has a few framed paintings of flowers on the wall and a filing cabinet in one corner. A small potted plant sits on the filing cabinet along with a stack of books and a pitcher for watering the plant. In the center of the room is a wooden desk with a small lamp on it. A name placard sits on the desk with the following text written on it: “Ms. Weaver – Librarian”. An extra wooden chair sits in front of the desk while behind the desk sits MS. WEAVER in a matching chair. She is older with a thin frame, reading glasses on a chain, a dark bob hairdo, and a preference for sweaters. She is in the midst of reading a book. From off-stage comes the sound of A DOOR OPENING AND CLOSING followed by FOOTSTEPS.

THOMAS TOPHAT
(off-stage) “Well, they did it to me again.”

Ms. Weaver picks up a bookmark from the desk and places it in her book. THOMAS TOPHAT walks into the office and puts a note on Ms. Weaver’s desk. She picks up the note and starts to read it. Pulling forth a pen, she makes a note on the page.

MS. WEAVER
“And what crime did you supposedly commit this time.”

THOMAS TOPHAT
“I was taking part in the Inter-Scholars competition and I saw it was multiple-choice tests. Choose A, B, C, or D. So I went through the past ten years of tests to see how often each letter was used and then would use the most common one on the test.”

MS. WEAVER
“Couldn’t you have just studied?”

THOMAS TOPHAT
“That seemed like a lot of work and besides Channel 50 was doing a Mister Ed marathon.”

Ms. Weaver waves him to continue on with his story. Thomas sits down in the chair in the front of the desk.

THOMAS TOPHAT
“Long story short, I answered D to every question and got 1st place. The teachers and other students got very upset when they found out I just put D, hence this detention.”

MS. WEAVER
“Okay. You know the drill. Find a magazine and write a report on one of the articles.”
Thomas stands and exits the room. Ms. Weaver chuckles and then reopens her book. She resumes reading.

CUT BACK TO


INT. BORDERTOWN MIDDLE SCHOOL LIBRARY, AFTERNOON
Thomas Topchat walks out of the Librarian’s office and walks over to the magazine rack. He looks over the magazines on the rack.


THOMAS TOPHAT
(to self) “I’ve already read all these. Okay, guess I’ll use this one.”


Thomas reaches for a magazine in the bottom row. As he pulls it out a small zine falls out. It appears to be printed on a photocopier and hand-assembled. Thomas picks up the zine looking at the cover. The title of the zine is “The Not So Puppet Show” written in large letters across the cover. Under the title is written “The Skipping Stone” in a cursive font.

THOMAS TOPHAT
“What is this?”

Thomas walks over to one of the tables and sits down. He opens the Not So zine and starts to read.

THOMAS TOPHAT
(to self) “On the shoreline of a lake…”

FADE OUT

TRANSITION FROM THE LIBRARY TO THE LAKE

FADE IN


EXT. LAKESIDE, DAYTIME
The front of the stage is the shoreline of a lake. The back of the stage is high grass transitioning into a thick forest. There is a pebble-laden path off to stage left. A fallen log sits on the shoreline.

LS OF THE BEACH
From the path enters THOMAS TYPEWRITER. He walks over to the shoreline and looks out at the water.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “As a child, I grew up close to a river, a short bike from the water’s edge. Something I liked doing was skipping stones. My mind was always too loud and my inner self too large. It all went away as I watched the rocks fly, the waves ripple out.”

As Thomas narrates a piece of background music which is noisy and unpleasant starts to increase in volume. He looks out to the water. When the volume of the cacophony becomes louder than the background sounds of animals and birds, Thomas turns his attention to the shoreline. He scans the beach and finds some rocks. With a flick of his arm, the rock sails out. The background noise stops.

CUT TO LS OF THOMAS ON THE SHORE.

The rock flies out and bounces across the water. It flies towards the camera before sinking under the water. He tosses a second.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “Now that I am back here, something occurs to me. Something always occurs to me in those moments when my thoughts slip away, when I no longer feel too big on the inside, too small on the outside.”

CUT TO LS OF THOMAS TYPEWRITER

Thomas tosses another stone.

THOMAS TYPEWRITER
(narration) “ It occurs to me, that I am like this stone. I am propelled by some force traveling across a surface making waves until my arc ends and I disappear.”

CUT TO A SHOT OF STONE ENDING ITS FLIGHT AND SLIPPING UNDER THE WATER

CUT TO CS OF THE WAVES FROM THE ROCK SLIPPING UNDER THE WATER SPREADING OUT

THOMAS TYPEWRITER
(narration) “And in my flight across this world, I have an effect. The waves of my effect will continue long after my flight has ended. Yet, they are not infinite. They too will eventually run out and disappear. And as all this unfolds I find myself a bystander watching the waves of my actions rippling out, captivated by the patterns of my life but at the same time unable to find any grand purpose to the whole affair.”

CUT BACK TO CS OF THOMAS’S FACE

CUT TO MS OF THOMAS THROWING A TONE

TRANSITION TO THE WAVE SCREEN SEQUENCE.

FADE TO THE WAVE SCREEN BOARD

The Water Shadow Board is a screen, a transparent water tank, and a set of bright lights. The three elements are arranged in a way that the bright lights project through the water tank onto the screen. The screen is filmed so that the shadow of any object moving across or through the water is cast onto the screen. Additionally, the inference patterns caused by the water in motion or waves across the surface of the water are also cast onto the screen. The camera will be positioned to film the screen and the shadows cast, not the tank of water or bright lights. Those will always remain out of frame.

THOMAS TYPEWRITER
(narration) “What is the measure of my life, of my stone’s throw?”

As Thomas narrates, stones are thrown across the surface of the water in the clear tank creating a shadow pattern on the screen.”

THOMAS TYPEWRITER
(narration) “Is it the number of years I live? The number of seconds I remain in flight? The distance traveled? The size or number of waves?”

The shadow patterns flow out to stop.

THOMAS TYPEWRITER
(narration) “Maybe it is something else.”

INSERT TO CS OF A THROWN ROCK BOUNCING OFF THE WATER’S SURFACE, IN SLOW-MOTION.
SLOW THE SLOW MOTION OF THE ROCK BOUNCING OFF THE WATER UNTIL FREEZING AT THE MOMENT OF IMPACT. THEN PLAY IN REVERSE UNTIL THE ROCK IS BACK IN THOMAS’ HAND

CS OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“The answer is simpler than you would believe. I have no control over the duration of my flight or the waves I make. I have no awareness of my path. All I have is the brief moments of contact with the surface. To me, there is only a lifespan of kisses with the water. I only have control over how I kiss, as in the sweet or bitter things I say at that moment and in turn how I take the sweet or bitter things the water says to me. That is my life and that by extension is your life.”

CUT TO CS OF THOMAS CONTEMPLATING WHAT THE SKIPPING STONE SAID.

THE SKIPPING STONE
(off-camera) “Ahem.”

Thomas looks down.

CUT TO A CLOSE SHOT OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“Don’t you think it is time we both lived?”

CUT TO THOMAS NODDING HIS HEAD YES.

Thomas throws the rock. It skips out across the water. Thomas stands and watches the waves spread out and eventually disappear. He then pulls out his phone and dials a number. After a few RINGS, it picks up.

THOMAS TYPEWRITER
“Hey, honey. Yeah, I’m feeling better. How about you. How are you doing? I’d like to listen to whatever you have to say.”

Thomas Typewriter exits.

FADE OUT

TRANSITION FROM NOT SO TO THE LIBRARY

FADE IN

INT. BORDERTOWN MIDDLE SCHOOL LIBRARY, AFTERNOON
A floor-to-ceiling bookcase spreads across the back of the stage. Off to the stage-right side extends a short wall with a double set of doors for entrance and a single door for the librarian’s office. The door to the librarian’s office is open. The door has a plaque over it with the following text: “Ms. Weaver”. On stage-left side of the stage sits a short wall containing a spinner rack filled with various young adult novels next to a metallic magazine rack. In front of the floor-to-ceiling bookcase sits two round tables with chairs. At one of the tables sits THOMAS TOPCOAT reading an issue of the Not So zine. His backpack is lying down on the tabletop near him.

MS OF THOMAS READING NOT SO

Thomas Topcoat closes the Not So zine.

CS OF THOMAS TOPCOAT

He has a distant look in his eye as he mulls over what he just read. He nods his head as an idea forms.

CUT BACK TO MS OF THOMAS

Thomas reaches for his backpack and pulls out a pencil and a spiral notebook. Opening the notebook to a blank page, He starts to write.

PAN OUT

FADE OUT

today in the studio: Jan 25th, 2022

today in the studio

a new script: The Great Works Project: Season Four, Episode One by Thomas Typewriter

scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 01

a prologue

By Thomas Typewriter

(c) 2022 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “04-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “a prologue”. 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

THE VELVET CURTAINS

The darkness slowly transitions to a backdrop of dark black and deep purple velvet curtains. THE VELVET TOUCH, a Helping Hand wearing black fingerless gloves and black fingernail polish, comes into frame. It grips the side of the frame.

THOMAS TYPEWRITER
(Voice-over) “Have you ever looked inside something while it was too close?”

The Velvet Touch pulls image in the frame loose as if printed on a large card. The card rotates around. On the back of the card is the image of The TYPEWRITER ABSTRACT PUPPET STAGE.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The main curtains of the The Typewriter Abstract Puppet Stage part.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE HIGH-STAGE.

PAN FROM LS TO MS TO CS OF THE TYPEWRITER ABSTRACT PUPPET STAGE. AS THE CAMERA NEARS THE STAGE IT ALSO PANS UPWARD TO EVENTUALLY FACE THE HIGH-STAGE AREA.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. A light from beyond the doorway spills out as a faint breeze blows past rippling the High-stage curtains.

THE CAMERA SOFTLY PANS UP AND LEFT SO AS TO ALLOW A MORE DIRECT VIEW INTO THE AREA BEHIND THE NARRATOR’S DOOR

A small apartment spreads out behind the Narrator’s Door. We can not see all of it but we can see the room immediately behind the door. It is the kitchen/living room combo of a studio apartment. The kitchen stands off to stage-left and the living room to stage-right. An L-shaped counter divides one area from the other. A wicker couch sits off the stage-right. Across from the Narrator’s Door we can see a sliding door and part of a deck beyond that.

TRANSITION FROM HIGH-STAGE TO APARTMENT Y

THE CAMERA PANS IN TOWARDS AND THROUGH THE NARRATOR’S DOOR. IT CONTINUES THROUGH THE KITCHEN/LIVING ROOM, MOVING THROUGH THE SLIDING DOORS TO THE DECK OUTSIDE.

EXT. APARTMENT Y’S DECK, EVENING.

A wrought iron deck of the edge of the apartment, the deck contains an art deco inspired metal railing. A deck chair and small table sit off to the side from the sliding door. The view from the deck looks out at sloping hills of autumnal trees. Their fiery colors flow across the treetops like living oceans.

THE CAMERA ROTATES TO THE RIGHT

Y-MOUSE sits in the deck chair, holding a yellow Memory-stone in one hand and a small drink in the other, looking out at the sunset on the hills. Lost in thought, he rubs his thumb across the thin stone in his hand.

Y-MOUSE
“Why did you come to talk to us? What is going on in that head of yours?”

The stone starts to glow. It takes a moment for the light to catch Y-Mouse’s attention. He sets down his drink and looks into the glow.

CS OF Y-MOUSE LOOKING DOWN INTO THE STONE. YELLOW HIGHLIGHTS SPREAD ACROSS HIS FACE AS THE STONE’S GLOW INCREASES.

CUT TO CS OF STONE.

Shapes and figures start to appear in the inner glow of the stone. Images of Thomas Teenager’s bedroom begin to form.

TRANSITION FROM APARTMENT Y TO THOMAS TEENAGER’S BEDROOM

ZOOM IN ON THE IMAGES IN THE MEMORY STONE

INT. THOMAS TEENAGER’S BEDROOM, EVENING

An unmade bed covered with folded blankets runs long ways across the stage. To the stage-left side of the bed sits an old-style bankers desk and a pair of windows. To the stage-right side of the bed sits a vintage lamp lamp, an old chair, and the bedroom door. On the wall over the bed various shelves of stuffed animals and action figures attempt to share space with posters of teddy bears. From off-stage we can hear MUFFLED YELLING mixed with CHRISTMAS SONGS. The door opens and THOMAS TEENAGER enters the room. He slams the door behind him.

THOMAS TEENAGER
“I hate him. Hate him. Hate him.”

Thomas falls onto his bed.

THOMAS TEENAGER
(softly)“…hate myself…”

Thomas draws a deep breath.

THOMAS TEENAGER
“Why does he always say that I am greedy and selfish. Why can he see it but I can’t. I thought I was doing good, that I was finally being a good boy at Christmas. I stopped asking for presents, pretended I was happy at all the events, laughed when everyone else laughed, did my chores…but still…(chokes up)”

Thomas starts to cry, but just as quickly it passes. He looks even more upset.

THOMAS TEENAGER
(narration) “Why can’t I cry. I was about to but then something shifted and I stopped. No tears. No release. Still feel sad. Feel even worse. (takes a deep breath) Three years. Three years of no escape. Swallowing everything, stuffing it down. Feeling worse every day.”

Thomas lays down on the bed clutching his stomach and rubbing his throat.

THOMAS TEENAGER
(narration) “Maybe I can’t cry because I haven’t gotten sad enough. Maybe I need to overload my emotional dam and break it. Shock my system.”

Thomas sits up and wipes his eyes. He walks over to the desk. He opens the lid and moves some comics and RPG notes out of the way. He pulls out a piece of paper and a pen then sits down and starts to write.

THOMAS TEENAGER
(narration) “List of bad things I have done. 1. I ask for too many toys at Christmas, 2. I do not finish my school assignments 3. I said mean words to my brother 4. I did not compliment my mother on her new haircut soon enough. 5. I forgot to wash the dishes yesterday 7. I shoved a broom at Sadie when a toddler. 8. I burned that pizza that one summer because I was distracted playing Mario Brothers. 9. I feel awkward around my classmates. 10. If I wasn’t born my Dad wouldn’t have to work a job he hates. That should be number one.”

Thomas grabs a new sheet of paper and starts to recopy the list.

THE SCREEN CHANGES TO A BRIGHT YELLOW GLOW

TRANSITION FROM THOMAS TEENAGER’S BEDROOM TO APARTMENT Y

EXT. DECK OF APARTMENT Y, EVENING

THE BRIGHT GLOW FADES OUT RETURNING US TO A CS OF THE YELLOW STONE IN Y-MOUSE’S HAND.

The stone stops glowing.

CUT TO CS OF Y-MOUSE’S FACE

Y-MOUSE
“Oh Thomas…”

CUT TO MS OF Y-MOUSE

Y-Mouse stands and walks over to the sliding door. He goes inside.

CUT TO LS OF…

INT. APARTMENT Y KITCHEN/LIVING ROOM, EVENING

Y-Mouse enters through the sliding door, closing the door behind him. He holds the Memory-stone in his hand. He walks over to the couch and pulls a case out from under the sofa. Inside is a large amount of foam padding with slots. In each slot sits a stone similar to the yellow stone but in different colors: red, blue, green, orange, purple, white, black, brown and one empty spot. Y-Mouse places the yellow stone into the empty slot. He closes the case and slides it back under the sofa. Walking over to the phone, he picks it up. DIALTONE. BUTTON BEEPS FOR DIALING 3 3 *. RINGING. RINGING. CLICK OF PICKUP ON OTHER END.

Y-MOUSE
“Hi. Busy. No, good. You better go and get food for everyone. Going to be all-nighter. Yeah, it’s that serious. Have A-Mouse help you. Thanks.”

Y-Mouse hangs up the phone and walks off camera

FADE OUT