screenwriting

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 6

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

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

FADE OUT
FADE IN

INT. THE SPACE EGG, MAYBE/MAYBE NOT DAYTIME

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

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

CUT TO


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


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


CUT TO CS OF BIFF AND ROCKEY UNDER THE BED


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


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

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

CUT BACK

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

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

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

ROCKEY THE PET ROCK
“The Deuce Machines.”

BIFF THE RABBIT
“That might work.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

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


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


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

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

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

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

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

CUT TO

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

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

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

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

THOMAS TYPEWRITER
“Me too.”

They kiss.

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

THOMAS TYPEWRITER
“Couldn’t hurt.”

TRANSITION FROM MID-STAGE TO THE WINGS

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


EXT. INNER CORRIDOR OF THE WINGS


LS DOWN INTO THE INFINITY OF THE WINGS

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


TRANSITION FROM THE WINGS TO THE HIGH STAGE


HIGH-STAGE: THE FAR EDGE OF THE FOREVER CAGE


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


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

PAN UNTIL PROPERLY FRAMING HIGH-STAGE.


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

FADE OUT

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

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode Three

“The Broken Book of Beasties: Book 1, Part 1”

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

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 with the following text: “Ms. Weaver”. On the 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. THOMAS TOPHAT enters the room through the wooden doors and throws his backpack into a chair at the nearest table.

THOMAS TOPHAT
“I’m back again.”

MS. WEAVER
(off camera) “Thought I’d see you again. I’ve just put out the newest issue of that magazine you liked. It is on the bottom shelf. Go ahead and get started and I’ll come out in a moment to sign your paper.”

Thomas looks over at the magazine rack. He walks over to it and leans down. Looking through the titles in the lower shelves, he spys the Not So Puppet Show zine Issue #3 behind a copy of Highlights and Newsweek. He picks it up and walks over to the table he threw his backpack onto. He sets down the zine and pulls his backpack over to the closest chair. Thomas sits down. From his backpack he removes a spiral notebook and pen. He then opens up the zine.

CUT TO OVER SHOULDER SHOT OF LOOKING DOWN AT THOMAS OPENING AND READING THE ZINE.

Thomas opens the zine, turning past the cover and first page with its publishing info. The cover is decorated with cut-out photocopied photographs. These would be photos so old as to be copyright-free and most likely sourced from discarded books. The first page looks as follows:


“
———–<.thom.>———–
THE BROKEN BOOK OF BEASTIES
“Book I: A Book by Any Other Cover”
Part One
By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter
(c) 2025 jason arcand
———–<:type:>———–

FADE IN

TITLE SEQUENCE
The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”.”

ZOOM IN ON THE LINES “TITLE SEQUENCE PLAYS”


TRANSITION FROM THE BORDERTOWN MIDDLE SCHOOL LIBRARY TO THE BROKEN BOOK OF BEASTIES

FADE OUT

———–<.thom.>———–
THE BROKEN BOOK OF BEASTIES
“Book I: A Book by Any Other Cover”
Part One
By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter
(c) 2025 jason arcand
———–<:type:>———–

FADE IN

TITLE SEQUENCE
The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”. It fades away in a shimmer. In the absence appears the following test: “Part One.”

PAN DOWN

The dark screen fades to light grey as the “Part One” slides off the top of the screen from the camera panning

TRANSITION FROM TITLE TO THE OVERLAP

The dark grey shifts in tone changing to dark clouds.

CONTINUE PAN DOWN

EXT. THE OVERLAP HILLS, DAYTIME
A series of forested hills in front of a forested snow-capped mountain slides into view. This is the Overlap Hills, one of the many realms used by the great wizard Orgle. They are named as such because they are areas of multiple different dimensions folded over each other by Orgle’s vast and great magicks until they create a pocket dimension. The Overlap Hills are not as well known as Orgle’s other overlaps such as the Overlap Hotel, the Overlap Waves, or the Overlap Trail. Yet, they do contain one of his greatest treasures. In the distance stands the Trilibris, Orgle’s special library. It appears as three different columns that seem to fuse with each other but also separate creating a kind of hyper-dimensional hourglass shape.


SHIFT TO XLS OF THE TRILIBRIS

CUT TO LS OF THE TRILIBRIS

CUT TO MS OF THE TRILIBRIS

CUT TO CS OF THE TRILIBRIS DOORS

TRANSITION FROM THE OVERLAP HILLS TO THE TRILIBRIS

ENTER THE BUILDING AND MOVE TO THE MAIN ROOM THROUGH A SERIES OF QUICK CUTS AND FADES

INT. THE TRILIBRIS MAIN ROOM, DAYTIME
The Main Room is a teardrop-shaped dome. The walls are covered in bookcases. Spiral staircases are scattered around the circumference. The bookcases are designed in a way that the books are stacked horizontally and vertically giving the impression of the folds in a human brain. The center of the room is a large open space filled with thick tables and chairs. The top of the dome is glass, stained a light blue, allowing natural light to illuminate the space. The bookshelves are illuminated by pendant lights within the rows. Each desk has a bulbous table lamp to illuminate in case the dome is not allowing enough light. Across from the entryway the bookcases stop. A large alcove is built into the wall. A dark wood wall decorated with gold and brass metal in long blocky snaking patterns illuminated by two torches. In the center of the alcove is a podium holding THE CODEXIAN. A very special book, it is separated from the rest of the main room by golden chains and small golden pedestals. A “Do Not Disturb” sign hangs off the chains.


CUT TO LS OF THE CODEXIAN’S ALCOVE

CUT TO MS OF THE CODEXIAN’S ALCOVE

CUT TO MS OF THE CODEXIAN

The Codexian is a thick book, with covers of a purple stone and thick leather binding. The front cover has a vertical row of three circles made from gold wire on the binding side. The other side is a snaking angular pattern similar to the patterns on the alcove walls. The pattern snakes down to two horizontal lines across the bottom portion of the front cover.

CUT TO CS OF THE CODEXIAN

A TRIUMPHANT MYSTICAL MUSICAL SCORE plays. The score plays for a few moments and then it stops with A RECORD NEEDLE SCRATCH.

PAN TO LEFT OF THE CODEXIAN.

A GREY MOUSE crawls up onto the podium. It tentatively approaches the Codexian.

CUT TO MS OF THE GREY MOUSE

The Grey Mouse sniffs along the Codexian, moving to the top corner. It starts to nibble on the edges of the pages.

THE CODEXIAN
“OWWWW!”

CUT TO MS OF THE CODEXIAN

The Round circles on the left of the cover open revealing non-organic golden eyes. The two golden lines along the bottom of the cover move as if lips or a mouth. The Grey Mouse stops chewing.

THE CODEXIAN
“Who did that?”

The Grey Mouse steps away from the Codexian

THE CODEXIAN
“Come on, I know you are there. Who is biting me!”

The Codexian’s eyes scan around the room. Ultimately they settle on the Grey Mouse.

THE CODEXIAN
“Oh, hello there. Were you the one chewing on my corners?”

The Grey Mouse blankly looks at the Codexian. It sneezes. A golden shimmer flickers in the air.

THE CODEXIAN
“Bless you.”

The Grey Mouse stands upright and nods at the Codexian.

THE CODEXIAN
(to self) “Well that’s new.” (to the Grey Mouse) “Let’s try this. Maybe what you’re truly hungry for is a story. If I tell you a story will you stop chewing on me.”

The Grey Mouse nods and then sits down.

THE CODEXIAN
(to self) “Definitely new.” (to the Grey Mouse) “I will need to open up to tell the story, so you may want to adjust your position.”

The Codexian opens and the Grey Mouse moves to the bottom of the podium top. The pages start to move, quickly moving to the middle of the book in a blur.

THE CODEXIAN
“Ahhh, here we go.”

The Codexian is open to a set of pages bordered in golden illumination but the actual area inside the border is blank.

THE CODEXIAN
“The Broken Book of Beasties.

From somewhere in the Trilibris A CHIMING TONE rings out. The blank page starts to fill with an illustration in a style that is a mix of woodcut block print and medieval illuminated scripts. A vast city fills the page.

TRANSITION FROM THE LIBRARY TO AN ILLUSTRATED STORYBOOK STORY

PAN IN ON ILLUSTRATION TO FILL THE FRAME

THE CODEXIAN
(voice-over) “Once there was a vast city filled with magic, wonder and charm.”

The illustration changes to the city in ruins with a giant burst of light exploding from the center of the city. Prismatic storm clouds fill the sky, raining storms down on the city.

THE CODEXIAN
(voice-over) “The city of magic became a city of too much magic, as the Great Rupture ravaged the city. Magic rained down like storms melting what was known and unknown equally.”

The illustration changes to people on hills outside the city fleeing. The city gripped in storms can be seen in the distance.

THE CODEXIAN
(voice-over) “Those who were able fled the city. The Great Rupture lasted decades driving one group further and further from the city.”

The illustration changes to a long stretch of landscape. Hills on the right give way to grasslands, then forests, and then mountains to the right. A group of refugees appears in the hill section. Fade to the group in the grasslands section and prismatic storms in the hills. The illustration changes more with a fade to the refugees in the forests The prismatic storms now fill the hill and grassland sections. The illustration shifts again. The refugees are now in the mountains section. The prismatic storms fill the hills, grassland, and forest sections. The illustration changes one last time. The refugees are gone and the prismatic storms fill the entire page. A THUNDER BOLT CRACKS. The Codexian turns the page.

THE CODEXIAN
(voice-over) “Past landscapes that ate lives, the refugees found a place of safety, or at least which they hope offered peace.”

The illustration area is filled with many tree branches. Colorful flowers grow along the base of the trees while animals can be seen peeking their faces out of the upper branches. The illustration changes with the trees sliding. They part in the center moving left and right. In the center of the screen sits a valley made from five rivers feeding into a lake in the center. There is a large island in the center of the lake along with a few small islands in sandbars scattered around the lake. The illustration changes again with the sun emerging in the clouds above the valley. Bright sunlight beams across the page. The illustration changes one last time with the illustrations of the refugees moving in from the left and right side of the frame and walking down to the valley. The Codexian turns the page.

THE CODEXIAN
“Having found sanctuary, the people set about building a new home for themselves.”

The illustration is blank but then small illustrations of people enter from the left and right sides. They break off into five groups, with the fifth group in the center made from the remaining few from each group. Each group then disappears into a cloud of construction dust. CONSTRUCTION SOUNDS can be heard. Slowly simple houses emerge from the construction dust. Once a house is finished the construction dust cloud disappears and the group looks at their work. Once all five houses are completed, the people CHEER.

THE CODEXIAN
“And grow they did. It was as if some creative spirit had been unleashed.”

The small people in the illustration then go to the area behind the houses and start constructing again. Rows of houses emerge from the dust. Once a house is finished, each group builds another behind it. Soon the houses recede into the distance. The construction dust finishes and the houses sit. The sun sets and the people go into their homes. The stars come out and then dawn breaks. Small people exit their houses and do daily chores. The sun rises and sets. Everyone goes back to bed. The day/night cycle speeds up to a blur until sixty days have passed. Time returns to its regular speed on the sixtieth day. The illustration shifts zooming in on a house in the background. A lady leaves at sunrise and walks two houses down to a bakery. She enters the shop and starts baking. Smoke starts to emerge from the bakery’s chimney. As the sun rises to mid-morning, the sign in the window changes from closed to open. The illustration changes to looking in through the window of the bakery. The Baker stands at the counter.

THE CODEXIAN
“And while everyone else was moving forward, one person was stuck looking back. Little did anyone realize she would change the direction of everyone’s life.”

The illustration changes to the baker at the counter. She has a sad far away look in her eyes.

ZOOM IN ON THE BAKER’S FORLORN EXPRESSION

TRANSITION FROM WITHIN THE STORY TO THE BORDERTOWNE MIDDLE SCHOOL LIBRARY.

FADE OUT

FADE IN

INT. THE BORDERTOWNE MIDDLE SCHOOL LIBRARY
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.

MS OF THE OPEN ZINE

Thomas has the zine open on the table. He is writing down notes in his notebook. As he writes a note about the grey mouse he trails off and starts scribbling doodles of the mouse. His watch BEEPS.

CUT TO MS OF THOMAS

Thomas looks at his watch and realizes it is time to leave.

THOMAS TOPHAT
“Ms. Weaver?”

MS. WEAVER
(off-camera) “Yes?”

THOMAS TOPHAT
“Can I take this with me? I am only partway through.”

MS. WEAVER
(off-camera) “No. Magazines are not allowed to be removed from the library by students. You know that is the policy.”

Thomas stands and walks out of the frame.

THOMAS TOPHAT
(off-camera and softer tone) “Please Ms. Weaver. I’ll take real good care of it.”

MS. WEAVER
(off-camera) “Now, Thomas you know…”

THOMAS TOPHAT
(off-camera) “It’s just I’ve never found anything before that I wanted to read. Everything I read is just because a teacher or my parents tell me to. This is the first thing that I want to read. I really just want to know what happens next.”

There is a short pause.

MS. WEAVER
(off-camera) “Okay. But you must promise to be careful with it. Take good care of it.”

THOMAS TOPHAT
(off-camera) “I will. I will take great care of it. Thank you.”

MS. WEAVER
(off-camera) “You’re going to be late for your next class.”

Thomas reenters the frame and packs up his bag. He slides the zine in last, needing to adjust a few items for everything to fit properly. He then slings his backpack on and starts to exit.

MS. WEAVER
(off-camera) “Take care of it.”

THOMAS TOPHAT
“I will.”

Thomas exits stage-right.

FADE OUT

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

(c) 2024 jason arcand

———–<: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 Six, Episode Four” – a new script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 4

By Thomas Typewriter

(c) 2024 jason g. arcand

———–<:type:>———–

FADE IN


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

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

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

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

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

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

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

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

MARY MARCHHARE
“Thomas!”

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

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

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

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

THOMAS TYPEWRITER
“Wow. Thanks.”

Mary looks Thomas in the eyes, squaring her shoulders.

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

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

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

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

TRANSITION FROM MID-STAGE TO HIGH-STAGE

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

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

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


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


As the narration finishes, Iasa stands and looks around.

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

CEDAR WAXWINGS
“Feels good to try.”

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

CEDAR WAXWINGS
“Hey, Panacea.”

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

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

PANACEA FLAUTO
“Soapbubble Medical Theatre?”

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

PANACEA FLAUTO
“Once a week. Why?”

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

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

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

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

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

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

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

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

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

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

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

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

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

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

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

THOMAS TYPEWRITER
“Thanks Grandma.”

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

FADE OUT

The Great Works Project: Season Six, Episode Three by Thomas Typewriter

scripts, The Great Works Project assignments

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 06, Episode 03

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK


From the bottom of the screen scrolls up the following text: “06-03”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT
FADE IN

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 stand closed. After a moment they open. The stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT FRONT ROOM, DAYTIME
A writing desk sits center stage. In the background, on the stage-right side, sits a short bookcase. The desk has two moving boxes stacked on top of it. The bottom box is labeled “Typewriter”. The top box is labeled “Papers, Scripts, Misc…” The bookcase is nearly empty with only some books remaining on one of the shelves. THOMAS TYPEWRITER is standing by the bookcase with books and loading them into a moving box. He loads the last books, puts on the lid, and writes “Books” on the side of the box with a marker from his pocket. He stands and looks around the apartment.

THOMAS TYPEWRITER
“We gave it a good try didn’t we. Going to miss you.”

He reaches into his pocket and pulls out his phone. He dials into the phone. It RINGS and RINGS before being picked up.

THOMAS TYPEWRITER
“Hi. May I speak to Ophidia please. Oh, hi Ophidia. How are you today? Good. Oh, just finishing packing the last bits of my apartment. You? Cool, cool. So, I thought over what you asked, you know about me helping and working on your project. I have an answer.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT FOLLOWS THE CURTAIN OF CLOUDS MOVING UPWARD HIGHER AND HIGHER. IT REACHES THE TOP OF THE CURTAIN OF CLOUDS AND SLIDES TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. IT RESTS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains are closed for a moment but then start to part. As they are nearly fully open the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. PANACEA FLAUTO’S OFFICE ON THE FLUTE MEDICALSHIP, DAYTIME
Panacea’s office is a desk sitting in the middle of the stage with the back walls lined by filing cabinets of various heights. On top of each filing cabinet are multiple stacks of books and papers. Crammed between the stacks of books, in any open spaces are various rolled up medical charts, boxes, and medical equipment. There is one succulent emerging from the filing cabinets on the stage-left, its long leaves dropping out causing a splash of color in the office. Panacea’s desk is a large metal affair, covered in stacks of medical charts and paperwork. Two spare Med-scanners sit on the side of the desk amidst a collection of empty coffee cups. PANACEA FLAUTO sits at her desk eating a salad. She has a small black and white Vid-screen, in an antiquated case, sitting on top of the files in one of the pulled out filing cabinet drawers. She is watching the latest episode of “Soapbubbles Medical Theatre” on Channel Four, The Dog House.

SOAPBUBBLES MEDICAL THEATRE EPISODE #06081938
It is a weekly show that presents a different radio play preformed by the Doctors and Nurses of an operation room. The audience sits up in the observation gallery. Each episode is hosted by a gravelly yet soothing voiced mostly bio-goblin ORSON WELLWISHER.

THE LOGO FILLS THE SCREEN THEN FADES AWAY

ORSON WELLWISHER
(voice over) “Broadcasting live from The Caducean Mystery Hospital in the heart of the Eighth Hill, this is your host Orson Wellwisher.

CUT TO MS OF THE OPERATING TABLE.

A series of nurses and Doctors are around the table. A patient sits on the operating table, mouth covered by a breathing machine. The closest doctor, Orson Wellwisher, turns and looks at the camera.

CUT TO CS OF ORSON

ORSON WELLWISHER
“Today, we find ourselves caught in a tale of intrigue, deception, mistaken identities and a well-mixed martini in Soapbubble Operating Theatre presentation of THE THIRD THIN MAN with tonight’s special guests…

CUT TO CS OF WILLIAM P. J. COTTONGIN

William P. J. Cotton-Gin stands across the operating table from Orson. He is a tall angular mostly-clockwork elf that takes off his medical mask and smiles into the camera.

ORSON WELLWISHER
(voice-over) “…William P. J. Cottongin,…”

William nods at the camera and then puts his mask back on.

ORSON WELLWISHER
“And Myna Bird Loy”

CUT TO CS OF MYNA BIRD LOY

Myna Bird Loy is one of the nurses carrying a tray of surgical tools to the operating table. She is a thin avian mostly bio-goblin. She looks up as if caught unaware and smiles for the camera. Panacea watches the show, half turned towards the vid-screen while also half turned towards her salad. She sets down her salad so she can hold the microphone from her Med-Scanner.

PANACEA FLAUTO
(Narration or voice over) “Maestro, update Medical Journal, starting now. The most unusual thing happened the other day. Cedar Waxwings stopped by my office to discuss his treatment. Up to that point he and his friends were giving the minimal effort in their therapy sessions. Iasa and I had a meeting planned later to discuss options for increasing their participation. Confidentially, I wonder if maybe I do not understand their situation, emotionally. Iasa advocates for patience, but I do not. Sometimes I am envious of her patience and good-nature. (pause) Maestro edit entry. Strike everything after the bit with the meeting and participation.”

There is a KNOCK on the door.

PANACEA FLAUTO
“Hello.”

CEDAR WAXWINGS
(off-screen) “Can I come in? Are you busy.”

PANACEA FLAUTO
“Come in, come in. I was just eating some lunch before some meetings this afternoon.”

CEDAR WAXWINGS in his ovoid Medi-pod rolls into the room, bumping into the chairs. Panacea turns to watch him enter. She misses a change on the Vid-screen. From the background of the operating room, THE SLASHBUCKLER, THE WORDSLINGER, and THE HEIRESS come into view. The Slashbuckler is a slender woman in black medical scrubs covered in gold filligree. Next to her stands The Wordslinger in white medical scrubs covered in brass filligree. Next to him stands the Heiress. She is dressed in black medical scrubs covered in silver filligree while holding a Fennec Fox dressed in matching medical scrubs. They attempt to wave at the screen to get the viewers attention.

PANACEA FLAUTO
“What can I do for you.”

CEDAR WAXWINGS
“I have a simple question.”

PANACEA FLAUTO
“Okay. I can deal with simple. What is your question?”

CEDAR WAXWINGS
“Will I be able to play the drums again, once we’re done healing.”

PANACEA FLAUTO
“Well…”

On the Vid-Screen, The Slashbuckler, The Wordslinger, and the Heiress freeze as a deep red outline encases them. A single diamond red design appears in the corner of the screen and blinks twice. They dissolve to static before dissapearing completely. The red diamond dissolves from the screen and the show resumes.

CEDAR WAXWINGS
“Be honest.”

Panacea sets down her salad and turns back to the Vid-Screen. She presses a button on the side and it goes dark. She turns back and directly looks at Cedar.

PANACEA FLAUTO
“Given the amount of effort you are giving. No. You are not doing the therapy and you will be crippled when you exit the Medi-pod.”

CEDAR WAXWINGS
“No drumming then.”

PANACEA FLAUTO
“Drumming? You’ll lucky to be able stand without pain. Every step you take will be crooked and painful.”

CEDAR WAXWINGS
“I secretly suspected as much.”

PANACEA FLAUTO
“So why are you not trying harder. Why are you resisting.”

CEDAR WAXWINGS
“Fear. Misplaced anger. Dumb reasons.”

PANACEA FLAUTO
“Listen, I get it. When you first woke up, I didn’t want to alarm you or freak you. But honestly, you guys were in a spaceship that blew up. Who should be dead, but your not grasping what a miracle it is that you can try.”

CEDAR WAXWINGS
“Your right we should be dead, but we are not and it has messed with my head. You are also right that I have not been dedicated or even really trying. It’s not you or your sisters.”

PANACEA FLAUTO
“Well what is it? My sister and I are trying our best to heal you and you are throwing it back in our faces. We’re trained to distance ourselves emotionally, but still it stings.”

CEDAR WAXWINGS
“I get that and I am sorry. It’s me. I am the problem.”

PANACEA FLAUTO
“Finally we agree on something.”

CEDAR WAXWINGS
“Ouch. But your probably not wrong. I find myself wondering if I have been lying to myself. The problem was other people, the job, my father. If only they did this or that, my life would be better. Not my fault I quit everything I ever tried. I put it on them, yet here I am in this eggshell finding myself never have having dedicated to anything. A life of drifting. I wasn’t qualified for the Solar/Lunar Fleet except my dad pulling the strings. Only got the job, kept the job, because of my dad. How sad is that.”

PANACEA FLAUTO
“Pretty sad, but not that unusual. You think your the first person to come into my office and saw oh no, what have I been doing with my life.”

CEDAR WAXWINGS
“Ha, true, but that doesn’t change that I have wasted a lot of my life. There were so many moments of magic and wonder moving through my life and I ignored them because they were not the quote-unquote right kind of moments.”

PANACEA FLAUTO
“Well, you’re not dead yet.”

CEDAR WAXWINGS
“No, I am not. (pauses thinking) If I try really hard in therapy will I be able to drum.”

PANACEA FLAUTO
“Not only that, but you would probably help inspire your friends to try harder. You’ll be helping yourself and them.”

CEDAR WAXWINGS
“I do not know if I am worthy of being an inspiration but I do want to drum again.”

PANACEA FLAUTO
“Then come tomorrow, try your best in therapy. Then the day after, try your best. Then the day after that try your best. Then keep repeating.”

CEDAR WAXWINGS
“That simple, huh?”

PANACEA FLAUTO
“In theory, yes. Practically, not so much. We all get a little confused sometimes and forget to repeat.”

CEDAR WAXWINGS
“Some of us more than others.”

PANACEA FLAUTO
“Yes, some more than others.”

There is a pause as Panacea takes another bite of salad.

CEDAR WAXWINGS
“So, what were you watching.”

PANACEA FLAUTO
“Watching?”

CEDAR WAXWINGS
“On the Vid-screen. You were watching something when I came in. What was it?”

PANACEA FLAUTO
“Oh that. Soapbubble Operational Theatre. It’s where a bunch surgeons who also happen to be actors put on a play.”

CEDAR WAXWINGS
“Can I watch it with you? I mean, if you don’t mind.”

Panacea smiles and leans over turning the vid-screen back on. The doctors and nurses are crowded around the operating table.

PANACEA FLAUTO
“That guy is Orson Wellwisher. He is the host of the show and one of my favorites.”

CEDAR WAXWINGS
“Okay. Who are the other people.”

PANACEA FLAUTO
“The tall guy is William P. J. Cottongin. He is playing a visiting surgeon accidentally drawn into the murder mystery.”

Cedar moves closer to the table to get a better view as the High-stage curtains close. The stage lights turn of with the sound of A COMPUTER BOOTING OFF.

TRANSITION FROM THE HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT GLIDES ONTO AND OVER THE CURTAIN OF CLOUDS. MOVING EVER DOWNWARD THE TOPS OF THE MID-STAGE SETS PEAK INTO THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD OVER THE MID-STAGE SETS TILL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT FRONTROOM, DAYTIME
A writing desk sits center stage. In the background, on the stage-right side, sits a short bookcase. The desk has two moving boxes stacked on top of it. The bottom box is labeled “Typewriter”. The top box is labeled “Papers, Scripts, Misc…” The bookcase is nearly empty with only some books remaining on one of the shelves. THOMAS TYPEWRITER is pacing the room speaking to OPHIDIA OPERAHOUSE on his mobile phone.

THOMAS TYPEWRITER
“So, I thought over what you asked, you know about me helping and working on your project. I have an answer. I will do it.”

There is a LOUD SQUEAL OF DELIGHT from the phone. The squeal catches Thomas off guard, far too loud for how close he has the phone to his ear. Thomas winces and moves the phone away from his ear until the noise subsides.

THOMAS TYPEWRITER
“I am happy about it too. So what do I need to do first? Any paperwork or forms?”

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

FADE OUT

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

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode Two

“My Feet Move and Something Deep Eats”

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE IN

Title sequence plays.

FADE OUT TO WHITE

FADE IN

INT. BORDERTOWNE MIDDLE SCHOOL LIBRARIAN’S OFFICE, DAYTIME
The Librarian’s Office is a 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 reading from a hardcover novel.

MS OF MS. WEAVER

From off-stage the sound of A DOOR OPENING and FOOTSTEPS can be heard. Ms. Weaver moves her eyes up in anticipation of the person making the noise.

CUT TO OVER SHOULDER SHOT OF MS. WEAVER LOOKING AT THE DOOR TO HER OFFICE.

THOMAS TOPHAT enters the room. With a sour look on his face, he hands a note to Ms. Weaver. She turns her book upside down, laying it on the desk freeing her hands. Taking the note from him, she reads it.

MS. WEAVER
“And you did this? In front of the whole class.”

THOMAS TOPHAT
“Not exactly the whole class. I just didn’t have time to go to my locker and back to my next class. It’s on the opposite side of the building.”

MS. WEAVER
“And you thought it was a better idea to change at your desk in the middle of class.”

THOMAS TOPHAT
“First off, it was not the middle of class. It was the end. Second, it’s not like I took my underwear off. I was classy and quick.”

MS. WEAVER
“Classy and quick. (chuckles) Okay, so what dressed as that you couldn’t wear it the next class.”

THOMAS TOPHAT
“I was dressed like a fly. Made a special coat with extra arms and wings, bug eyes, antennas…it was pretty cool.”

MS. WEAVER
“And why were you dressed as a fly?”

THOMAS TOPHAT
“It was for a presentation on an Emily Dickinson poem my group was doing.”

MS. WEAVER
“I Heard a Fly Buzzing strikes again.”

Thomas nods his head yes. Ms. Weaver laughs.

MS. WEAVER
“You’re not the first to dress like a fly for that poem, but probably the first to get in trouble.”

THOMAS TOPHAT
“And here I thought I wouldn’t leave my mark at these hallowed halls.”

Ms Weaver chuckles.

MS. WEAVER
“Okay, go write your report.”

Thomas hesitates to move, working up his nerve to ask something.

THOMAS TOPHAT
“There wouldn’t happen to be a new issue of that thing I read last time?”

Ms. Weaver reaches into a drawer in her desk and pulls out the next issue of The Not So zine. She tosses it on the desk and it slides over to Thomas. He picks it up and starts to leave the office. Ms. Weaver picks up her book and resumes reading.

THOMAS TOPHAT
(reading out loud to self) “An art table spreads across the stage…”

Thomas starts reading out loud to himself as Ms. Weaver chuckles softly. She resumes reading as Thomas leaves the room.

FADE OUT

TRANSITION FROM THE LIBRARY TO THE TYPEWRITER STUDIOS

FADE IN

INT. TYPEWRITER STUDIOS, DAYTIME
An art table made up of a long sheet of plywood stacked on top of shelving fills the front of the stage. A writing area fills the center of the desk with a painting station off to the stage-right and a photography area off to the stage-right. The writing area has a laptop and lamp. The painting station has jars of acrylic paint and watercolor ink stored in plastic bins. A paintbrush holder with a spiral holding clip sits next to the bins. Various glass jars, all former pickle and jelly jars, line the front edge of the painting area. Next to the jars is a large gallon jug of gesso and a stack of stretched canvases. The photography station has a series of mirrors stacked on top of each other separated by a kitchen towel for padding. A bin sits on top of the mirrors filled with children’s wooden blocks, a flashlight, and a ring light. The photography station and the writing desk area are separated by a large chunk of Rose Quartz and a smaller chunk of Gabbro. THOMAS TYPEWRITER sits at the writing desk typing away on the laptop. The sound of KEYS CLICK CLACKING rings out.

MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(voice-over) “More often than I would like, I get clouded and obscured.”

Thomas’ expression shifts to concerned.

CUT TO CS OF THOMAS’ FINGERS TYPING

The fingers start to vibrate in a way not connected to typing fast. Smoke starts to leak from the joints of his hands and fingers. He stops typing.

CUT BACK TO MS OF THOMAS

Thomas stops typing.

THE VIEW SWITCHES TO THE INNER SELF SPACE BY SUPERIMPOSING THE INNER SELF AREA OVER THE RIBS AND TORSO AREA OF THOMAS TYPEWRITER. THOMAS AND HIS ART STUDIO FADE OUT. ZOOM IN ON THE INNER SELF SPACE UNTIL IT FILLS THE FRAME

THE INNER SELF SPACE is a box with the camera set in a set point above the box looking down. The floor of the box is a light box that has a grey-tone woodblock skeleton on top of it. This would be the torso area of Thomas’ torso, so ribs, lower spine, and should blades. A grey tone outlines the area where the flesh ends. It has the effect of looking down on a kind of x-ray of Thomas’ chest. Clumps of black wool or cotton, with touches of brown and sickly yellow-green start to fill the Inner Self Space from the pelvis area working up to the neck.

THOMAS TYPEWRITER
(voice-over) “In those moments I feel so off. As if my insides are no longer made of the same materials. As if I am filling up with some substance, some emotion…some sensation… and the pressure is going to burst. I become overwhelmed, no good to myself or anyone else.”

CUT BACK TO MS OF THOMAS TYPEWRITER ONCE THE DARK CLUMPS FILL THE FRAME
Thomas, with smoke leaking from his finger joints and the orifices in his head, closes his laptop. He stands and exits stage-left.

TRANSITION FROM ART STUDIO TO FRONT ENTRANCE

INT. THE ELMHOUSE FRONT ENTRANCE, DAYTIME
The front door sits just off center of the frame with a combination coat and shoe rack sitting to the side. The coat rack hooks hold a collection of light jackets in adult and child sizes. There is also a ball cap with the logo for the City of Champions Community College (CCC). The floor is made of worn hardwood planks that are starting to buckle in a few places. To the side of the coat rack is a set of small baskets mounted to the wall. There are two with one holding Ophidia’s keys, wallet, and phone while the other holds Thomas’ items.

MS OF THE COAT RACK WITH PART OF THE FRONT DOOR VISIBLE IN THE EDGE OF THE FRAME.

THOMAS TYPEWRITER enters from stage-left and walks over to the coat rack. He slips on his jacket. Smoke still leaks from his hands, shirt collar, ears, mouth, eyes or tear ducts, and nose.

CUT TO MONTAGE OF CLOSE SHOTS OF EACH ACTION

Thomas grabs his keys and then his wallet. He puts on his shoes, tying each shoe’s laces. Thomas finally grabs his cap.

CUT BACK TO MS

THOMAS TYPEWRITER
(calling off-screen) “Hey Ophidia, I am going out for a walk.”

OPHIDIA OPERAHOUSE-TYPEWRITER
(off-screen) “You want me to come with.”

THOMAS TYPEWRITER
“I’m in a bad spot, so maybe best if you don’t.”

OPHIDIA OPERAHOUSE-TYPEWRITER
(off-screen) “Okay. I’ll be here if you change your mind. Love you.”

THOMAS TYPEWRITER
“Love you too.”

CUT TO

TRANSITION FROM ELMHOUSE INTERIOR TO EXTERIOR

EXT. ELMHOUSE FRONT STEPS, DAYTIME
A white door in a white frame with a matching white storm door stands at the top of set of steps built from stone pavers. A porch light is mounted to the top left-side of the door. A window is visible on each side of the door. A mailbox is mounted below the porch light between the door and window.

LS OF THE FRONT DOOR

THOMAS TYPEWRITER opens the front door and steps outside. He walks forward enough to close the door behind him. With the door closed he steps down off the front steps and starts to go for a walk through his neighborhood. He exits the frame.

CUT TO

TRANSITION FROM THE EXTERIOR OF THE ELMHOUSE TO THE SPLIT SCREEN

THE SPLIT SCREEN
In this section the frame will be divided into two sections. The top third of the screen will be images and scenes from the physical or external world of Thomas walking through his neighborhood. The bottom two-thirds of the frame will be the Inner Self Space.

THE TOP FRAME (PHYSICAL WORLD) SHOWS A LS OF THOMAS TYPEWRITER STARTING TO WALK DOWN THE BLOCK.

THE BOTTOM FRAME (INNER SELF SPACE) IS INITIALLY DARK BUT SLOWLY LIGHTS TURN ON REVEALING THE SHAPE AND LOOK OF THE SPACE.

The Inner Self Space is a light table with the camera suspended over it. The light table has a design laid over it similar to an x-ray of the chest of Thomas Typewriter. The body of Thomas is bright while the area outside his body is black. The amount of internal organs and skeleton is minimal. Specifically only his ribs, scapula, lungs and heart are visible. Thomas’ bones are visible in a light-grey-blue. His heart is a light-grey-red. His lungs are a light-grey-yellow. The entire surface of the Inner Self Space is covered in dark puffs of cotton or similar substances. There are bits of dark green and yellow-browns in the puff balls. Ultimately the color of the puff balls need to match with the color of the smoke pouring out of Thomas in the previous section.

THE TOP FRAME CUTS TO CS OF THOMAS’ FEET WALKING

THOMAS TYPEWRITER
(narration) “Luckily for me, when I walk something deep rises to eat.”

In the bottom of the Inner Self Space, at a spot corresponding to Thomas’ groin, the scales of THE SOMETHING DEEP start to glow. The Something Deep is a dragon-like puppet with a swiveling head and body. The other important detail is the puppet is built over a vacuum such that it can suck up the puff balls. The vacuum is off currently.

THOMAS TYPEWRITER
(narration) “It took me awhile before I realized it existed. Discernment of my inner self took many years, longer than my peers. In fact, it was by accident. Looking to escape the presence of my parents after an argument, I fled to the fields and pastures surrounding my childhood home. As I got further and further from the house, I started to notice flowers, butterflies, birds…like I was wandering into a painting that became more and more detailed the further I went. Soon something was happening to all that overload I was feeling on the inside. It was being consumed and reduced.”

The Something Deep’s eyes open and glow bright red.

THOMAS TYPEWRITER
(narration) “I couldn’t always walk the meadow when overwhelmed, but I eventually realized it wasn’t the meadow itself that helped me process.”

In the Physical World, Thomas’ feet stop moving. A BIRD CALL is heard from off frame.

IN THE PHYSICAL WORLD CUT TO CS OF THOMAS TURNING HIS HEAD TO LOOK AT SOMETHING THEN CUT TO A CS OF A SONGBIRD IN THE BRANCHES OF A TREE.

In the Inner Self Space the vacuum built into the Something Deep turns on. It starts to move “eating” or sucking up the dark puffs.

THOMAS TYPEWRITER
(narration) “It was the moving. The getting out of the rut of thought and noticing a new detail whether that be an interesting detail in the world or just the change in heart rate.”

IN THE PHYSICAL SPACE CUT BACK TO CS OF THOMAS TYPEWRITER’S FEET WALKING.

In the Physical World, Thomas starts walking again. While in the Inner Self Space, the Something Deep slithers through the space sucking up all the dark puffs. Once they are gone, the Something Deep returns to the groin area. Its eyes close and scales stop glowing. As the Something Deep starts to slumber, an insight projects in the center of frame. BIFF THE RABBIT and ROCKEY THE PET ROCK are sitting on a rug in Biff’s bedroom with an open box of crayons. Every crayon is black. Biff is holding up a crayon and looking at it. In the Physical World, Thomas’ feet slow and then stop.

BIFF THE RABBIT
“I know Thomas has written that the crayons turning black confuses us and is then we go to the faerie realm to find it, but you know, looking at this crayon something occurs to me. This isn’t really a problem. You can still draw with a black crayon.”

ROCKEY THE PET ROCK
“I thought that was weird too. It is not like they are broken or unusable. Let’s just draw something else.”

BIFF THE RABBIT
“Yeah, lets do that instead.”

The projection of Biff and Rockey ends.

IN THE PHYSICAL SPACE CUT TO CS OF THOMAS’ FACE.

Thomas has a thought, a realization.

IN PHYSICAL SPACE CUT TO CS OF THOMAS PULLING A NOTEBOOK FROM A POCKET AND THEN WRITING IN IT.

Thomas pulls out his sketchbook and jots down a quick note. He returns the sketchbook to his pocket and resumes walking.

IN THE PHYSICAL SPACE CUT BACK TO CS OF THOMAS’ FEET.

In the Physical Space, Thomas’ walks out of the frame.

THE INNER SELF SPACE DIMS TO BLACK AND THEN THE PHYSICAL SPACE DIMS TO BLACK.

CUT TO

EXT. ELMHOUSE, DAYTIME


LS OF FRONT DOOR AND FRONT STEPS


Thomas Typewriter enters the frame and walks up to the front door. He has a lightness to his step. After opening the door, he enters.


CUT TO


INT. ELMHOUSE, DAYTIME
The front entrance are has a hat rack and shoe stand next to the front door.


MS OF THOMAS


Thomas stands inside the door. He takes off his hat and hangs it on the rack followed by his keys and phone. He then slips off his shoes.


CUT TO CS OF THE HAT BEING HUNG UP. SLOW DOWN THE PLAYBACK SPEED.


CUT TO CS OF THE KEYS BEING HUNG UP. SLOW DOWN THE PLAYBACK SPEED.


CUT TO CS OF THE PHONE BEING HUNG UP. SLOW DOWN THE PLAYBACK SPEED.


CUT TO CS OF THE SHOES BEING SLIPPED OFF AND PUT IN THE SHOE RACK. SLOW DOWN THE PLAYBACK SPEED.


While Thomas is putting away his things, a voice from within the house calls out.


OPHIDIA OPERAHOUSE-TYPEWRITER
(voice-over) “Thomas, is that you?”

THOMAS TYPEWRITER
(voice-over) “Yeah, it is me. I’m back.”

OPHIDIA OPERAHOUSE-TYPEWRITER
(voice-over) “How was your walk?”

THOMAS TYPEWRITER
(voice-over) “Good. It was good.”

THOMAS TYPEWRITER
“I had a break through. Figured out some things for the script.”

OPHIDIA OPERAHOUSE
“That’s great.”

THOMAS TYPEWRITER
“Which room are you in?”

OPHIDIA OPERAHOUSE
(voice-over) “The kitchen. Why?”

THOMAS TYPEWRITER
“Because I want to give you a kiss or two.”

OPHIDIA OPERAHOUSE
(voice-over) “I’ll never turn that down.”

Thomas Typewriter walks towards the kitchen exiting the frame.

FADE OUT

TRANSITION FROM THE ELMHOUSE TO THE LIBRARY

FADE IN

INT. BORDERTOWN JUNIOR HIGH LIBRARY, DAYTIME
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. THOMAS TOPHAT sits at the stage-right table reading the Not So zine.

CS OF THOMAS TOPHAT’S FEET TAPPING.

Thomas absent-mindedly jiggles his feet as he reads the zine. His feet go still.

CUT TO MS OF THOMAS AT THE TABLE.

Thomas closes the zine, taking a moment lost in thought. He shakes his head and refocuses. Reaching over, he pulls out a notepad and pen from his backpack. He opens the notebook to the next available blank page and starts to write his essay.

PAN OUT

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

The Great Works Project: Season Six, Episode One by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 01
a prologue

By Thomas Typewriter

(c) 2024 thomas typewriter

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “06-01”. 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 “a prologue” 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

THE VELVET CURTAIN

MS OF THE VELVET CURTAIN

A velvet stage curtain fills the frame. From below the frame THE VELVET TOUCH emerges. Remember that the Velvet Touch is a Helping Hand that wears long fingerless fishnet gloves. Each of their fingers, except the pinkies, are painted with a black or dark shade of fingernail polish. The Velvet Touch gestures a greeting at the camera and then reaches below the frame for a large cue card. They show the blank side to the camera and then rotate it. On the back, the cue card has the following text written: “A story…” The Velvet Touch then flips the card back around and now the blank side has text on it. It has the following text written on it, divided into two columns:

“a saw blade… a wand…
a castle… a quill…
a light bulb… a shield…
a harp… an outsider…”

The Velvet Touch rotates the cue card one more time. The writing of “a Story” on the other side has been replaced. It now bears the following text: “…in a progression…”. The Velvet Touch sets the cue card down off-screen, below the frame. They then grab the edges of the Velvet Curtain, opening them to reveal a dark screen behind them.

PAN IN ON THE DARK BEHIND THE VELVET CURTAIN

FADE OUT TO BLACK

GRIGIO COLORI
(offscreen) “Fade into black. From the bottom of the screen scrolls up the following text zero, six, dash, zero, one

FADE OUT
FADE IN

EXT. THE LONG HILLS, DAYTIME

The Long Hills are a connecting region appearing as a hilly combination of flowering prairie and rolling grassy plains. GRIGIO COLORI and THE OUTER ONE walk along one of the hills towards the back of The Long Hills.

GRIGIO COLORI
“Can I ask you something?”

THE OUTER ONE
“Sure”

GRIGIO COLORI
“You like these plays? This Thomas Typewriter stuff?”

THE OUTER ONE
“Sure.”

GRIGIO COLORI
“What do you like about it? ”

THE OUTER ONE
“Well, it makes me smile. I’ve always liked puppets and science fiction, so there’s that. But, and I’ve wondered about this too, and I think there is also this other part of it. I think I identify with Thomas. Like how he struggled with sadness and loneliness but managed to write this silly epic anyway helped me feel a little better about my own struggles.”

GRIGIO COLORI
“That was something we did discuss and debate a lot. We, and by we I mean myself and the other characters in the story, wondered if anyone was enjoying it. Was anyone being helped by our story? We couldn’t tell being inside it. We hoped we were helping.”

THE OUTER ONE
“Sure. I think you were. Maybe not as many as Thomas hoped for. He made so much art just on his own, with little recognition. Just going in everyday and writing some more, painting a little more. Maybe that was why he was lonely.”

GRIGIO COLORI
“I’ve read the scripts. He was lonely long before then.”

THE OUTER ONE
“You’re probably right. There was one other reason I liked his stories.”

GRIGIO COLORI
“Oh, what was that?”

THE OUTER ONE
“The characters.”

GRIGIO COLORI
“Present company included?”

THE OUTER ONE
“Present company definitely included.”

GRIGIO COLORI
“Oh you charmer, am I blushing?”

THE OUTER ONE
“Maybe a little.”

GRIGIO COLORI
“Should I continue reading.”

THE OUTER ONE
“Yes, please.”

GRIGIO COLORI
(opening scriptbook) “Transition to the Typewriter Abstract Puppet Stage.”

THE OUTER ONE
“I always thought that was a crazy name.”

GRIGIO COLORI
(to the Outer One) “Me too.” (looking back at scriptbook) “Fade out then Fade in to a field of darkness. The sound of typewriter keys click clacking sound out from somewhere in the distance.”

THE OUTER ONE
“That’s a sound we know all too well.”

GRIGIO COLORI
“True. That and light switches.”

FADE OUT
FADE IN

A FIELD OF DARKNESS

From off-stage the sound of TYPEWRITER KEYS CLICK CLACKING. Unseen lamps turn on in the dark and illuminate the suddenly appearing TYPEWRITER ABSTRACT PUPPET STAGE

THE OUTER ONE
(off-screen) “You ever think we have all these different ways of the Typewriter Abstract Puppet Stage appearing because Thomas gets bored of writing the same thing?

GRIGIO COLORI
(off-screen) “I know I would.”

TRANSITION FROM A FIELD OF DARKNESS TO THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE. AS THE CAMERA MOVES CLOSER MOVE IN ON THE MID-STAGE AREA.

TRANSITION FROM THE TYPEWRITER ABSTRACT TO THE MID-STAGE

The mid-stage curtains open and we continue moving inward. The mid-stage is undecorated. We move through it towards the Curtain of Clouds. The Curtain of Clouds part.

TRANSITION FROM MID-STAGE TO BACK-STAGE

BACK-STAGE: THE CONCURRENT DISTANCES

THE CAMERA PANS THROUGH THE OPEN CURTAIN OF CLOUDS UNTIL PROPERLY FRAMING THE BACK-STAGE BEHIND THE CURTAINS

Fog rolls across the bottom of the stage, with a background of nebulous degree. The landscape looks like a lost or unformed realm just outside dreams. VARIOUS DREAM-BUBBLES float across the stage both stage-left to stage-right and stage-right to stage-left. After a few moments, NETTE, ONDE, and AVEN along with the AEOLIPILE enter stage-left. They walk to the center of the stage and look around.

AVEN
“Do you see her?”

ONDE
“No.”

NETTE
“She could be anywhere. All this fog is messing up my vision.”

AVEN
“It is only going to get worse as we move more downdream.”

They look around while Aeolipile dances with a Dream-bubble in the background.

ONDE
“What do we do?”

AVEN
“I do not know.”

NETTE
“There has to be something we can do. We just need to think of something. Figure it out.”

They rub their faces in thought when a light bulb appears over Nette’s head. Aven and Onde turn and look at her. Nette reaches up and pulls down the light bulb. She then reaches into her pocket and pulls out another light bulb. She looks at them and smiles.

NETTE
“I’ve got an idea.”

AVEN
“We noticed.”

NETTE
“Did you bring anything with you? What supplies do you have?”

ONDE
“We left in a rush so we didn’t pack much.”

NETTE
“Fine. That’s fine, what do you have.”

ONDE
“I have some scrapwood and a few nails.”

AVEN
“I have some wire and colored glass.”

NETTE
“That will have to do. Ladies, while I will always advocate for solving your own problems, sometimes you need to ask for help. And sometimes you need to do both.”

Nette points at the Aelophile. Aven and Onde turn and look at the Aelopile dancing with the Dream-bubbles. Nette then points at the items in her hand. Aven and Onde turn and look at the items in her hands. Nette gestures between Aelophile and the lightbulb in her hand. Light bulbs pop on over Onde’s and Aven’s heads. Nette walks over and removes the bulbs, adding them to the other two she is holding.

CAMERA PANS OUTWARD

The Curtain of Clouds closes.

TRANSITION FROM BACK-STAGE TO MID-STAGE

THE CAMERA CONTINUES PANNING OUTWARD MOVING THROUGH THE MID-STAGE AREA AND OUT FROM THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM MID-STAGE TO THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

The Mid-stage curtains close. The unseen lamps over the Typewriter Abstract Puppet Stage dim and turn off.

FADE OUT