———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 05, Episode 11
By Thomas Typewriter
(c) 2024 thomas typewriter
———–<:type:>———–
FADE INTO BLACK
From the bottom of the screen scrolls up the following text: “05-11”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.
FADE OUT
FADE IN
THE CAMERA PANS DOWN. THE DARKNESS SHIFTS TO THE CURTAINS OF THE MID-STAGE.
THE MID-STAGE IS PROPERLY FRAMED
MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains open. As they part the Mid-Stage lights flip on with the sound of A LIGHT SWITCH CLICKING ON revealing…
MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.
MS OF THOMAS AT THE TRUNK
THOMAS TYPEWRITER stands by his car, looking into the open trunk. He shuts the trunk and then hops up to sit on top of the closed trunk. From his coat pocket, he pulls out a HANDY-BAR candy bar and a can of SATELLITE SODA. He opens the soda, takes a sip, and sets it down on the trunk. He then unwraps the candy bar and slowly chews. He stares out into nothing. A BUTTERFLY enters stage-left and flies past him.
CAMERA PANS OUT TO LS OF THOMAS ON TRUNK.
The butterfly flits around the parking lot. Thomas watches it.
TRANSITION FROM MID-STAGE TO HIGH-STAGE
The butterfly flies upwards past the tops of the Mid-stage sets.
THE CAMERA DISCONNECTS FROM THE MID-STAGE AND PANS UPWARD. THE CAMERA TRACKS THE SLOW FLIGHT OF THE BUTTERFLY UPWARD.
It flies upwards along the Curtain of Clouds, lazily left and right, ultimately flying out of the frame.
THE CAMERA CONTINUES PANNING UPWARD ALONG THE CURTAIN OF CLOUDS. IT GAINS SPEED SWIFTLY REACHING THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT CLICKS IN PLACE FRAMING THE HIGH-STAGE AND THE NARRATOR’S DOOR.
HIGH-STAGE: CURTAINS CLOSED
The Narrator’s Door opens and Y-MOUSE enters. He is dressed casually and sits down. He relaxes and observes the High-Stage.
THE CAMERA SHIFTS TO EMPHASIZE THE STAGE AREA EXCLUDING THE NARRATOR’S AREA.
The High-stage curtains open. The stage-lights turn on to the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON
A large curved window stretches out across the back of the stage. Twinkling lights out in space can be seen through the window. The window itself is framed by soft yellow framing. The floor and walls are in peaceful hues of yellow and brown. Three plush chairs sit at the edges of the stage. Two chairs on stage-right and one stage-left. CEDAR WAXWINGS, inside his Med-pod, sits in the center of the stage looking out the windows. The twinkling lights move across the space beyond. MINTHRIL MOUSTACHE enters from stage-left. He approaches Cedar.
MINTHRIL MOUSTACHE
“Okay if I sit down.”
CEDAR WAXWINGS
“Sure.”
A moment passes in silence.
MINTHRIL MOUSTACHE
“That is some view.”
CEDAR WAXWINGS
“Absolutely. Really gets you thinking.”
MINTHRIL MOUSTACHE
“Sure does. If I may inquire, what does it get you thinking about?”
CEDAR WAXWINGS
“Like how we’re in a spaceship right and all hurt and bandaged. Our focus is on healing and it hurts and it sucks. Our world is one of pain right, but maybe not really. Maybe we just forgot that we are surrounded by all this beauty. All this wonder.”
MINTHRIL MOUSTACHE
“Truthfully told.”
CEDAR WAXWINGS
“Thanks.”
They look a moment and then Cedar turns towards Minthril.
CEDAR WAXWINGS
“I’m Cedar by the way. Sorry I didn’t introduce myself earlier.”
MINTHRIL MOUSTACHE
“Minthril. Glad to meet you. ”
Minthril leans over as Cedar extends a manipulator arm out of his Medi-Pod. They shake. Once finished, Minthril sits in a chair next to Cedar. They sit in silence for a couple minutes as the constellation of lights twirls outside the window.
MINTHRIL MOUSTACHE
“So, pardon my inquiry, but what brings you to this ship?”
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 UNCLICKS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES DOWN ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT CONTINUES DOWN AND DOWN.
The BUTTERFLY flies in from stage-left. It flies downward.
THE CAMERA SLOWS AND TRACKS THE BUTTERFLY MOVING DOWNWARD.
The Butterfly flies past the top of the Mid-Stage sets.
THE CAMERA GLIDES DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.
MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT, LATE AFTERNOON
The apartment is arranged in such a way that the living room and Thomas’ studio are visible. The front third of stage-left is the studio area with its desk and typewriter. The rest of the stage is the living room with its bookshelves and entryway. The desk is topped by a typewriter and a stack of papers. A large wastecan sits to the stage-right side of the desk, while a tall floor lamp sits on the stage-left side. The living room area has three bookcases, each filled with graphic novels, music CDs, books, artwork, and houseplants. The three run in a line stage-left to stage-right. The first and second are touching, with the second parallel to the stage-front and the first at a slight angle. There is a gap between the second and third. This gap leads to the entryway and front door of the apartment behind the second bookcase. The third bookcase sits at a 45 degree angle. The Butterfly flies into the room from the top of the frame and flies out of frame exiting stage-right. APPROACHING FOOTSTEPS emerge from off-stage. KEYS UNLOCK and A DOOR OPENS AND CLOSES. THE DOOR RELOCKS. Thomas Typewriter enters the living room, emerging from the gap between the second and third bookcase. He is carrying packages of moving boxes. He strides stage-right and sets them down on the floor in front of the third bookcase’s corner. He then slowly looks around the room.
THOMAS TYPEWRITER
“Sigh.”
Thomas walks to his writing desk. He extends his arm and in one sweeping motion pushes the typewriter and stack of paper off the desk and into the wastecan. He walks away exiting the living room stage-right. After a moment he walks back into the room and pulls the typewriter out of the trash. He gives it a kiss.
THOMAS TYPEWRITER
(soft whisper) “I’m so sorry about that. Please forgive me.”
He gently sets the typewriter on the floor and then exits stage-right. The stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.
FADE OUT
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 05, Episode 10
By Thomas Typewriter
(c) 2024 thomas typewriter
———–<:type:>———–
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “05-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.
FADE OUT
FADE IN
THE CAMERA PANS DOWN. THE DARKNESS SHIFTS TO THE CURTAINS OF THE MID-STAGE.
THE MID-STAGE IS PROPERLY FRAMED
MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part. As they open the stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…
MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE, DAYTIME.
The Supply Closet office supply store is a big white box of a building accented by luminous red and nebulous blacks. The front entrance pans across the length of the stage. The glass sliding doors of the front vestibule sit center stage. Thin strips of the white stucco exterior separate the front doors from the long horizontal rows of tinted windows. The bottom portion of the giant “THE SUPPLY CLOSET” store sign peaks past the stage top. From off-screen, the sound of CAR TIRES ON PAVEMENT as someone pulls into one of The Supply Closet’s parking Spaces. CAR DOORS OPEN AND CLOSE followed by FOOTSTEPS come from off-screen. THOMAS TYPEWRITER emerges from stage-left. He walks up to the front doors, pauses as the doors slide open, then continues into the store. The doors close behind him.
TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE
THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE SETS TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES PANNING UPWARD. AT THE TOP OF THE CURTAIN OF CLOUDS THE HIGH-STAGE SLIDES INTO THE FRAME. THE CAMERA LOCKS IN PROPERLY FRAMING THE HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains part and the stage lights turn on with the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON
The observation lounge is located near the top of the Flute, built next to the cafeteria. It is a place where patients and guests can sit in comfort and look out. It offers views of the space surrounding various habitats of The Nines. Off in one direction, the sparks emanating from the IR-RA can be seen glittering like stars. In the other direction the six far-off Palaces of the Three-by-Three glitter like large stars. A large curved window stretches out across the back of the stage. The window is framed by soft yellow framing. The floor and walls are in soft peaceful hues of yellow and brown. Three plush chairs sit at the edges of the stage. Two chairs on stage-right and one stage-left. CEDAR WAXWINGS, in his Medi-pod, enters stage-left, moving past the two chairs and settling center stage. He turns the front of the Medi-pod towards the large observation window. He watches and drifts in thought. Stay with Cedar for a few minutes before the stage lights turn off to the sound of A COMPUTER BOOTING OFF. The glittering sparks in the space outside still glitter in the darkness. The High-Stage curtains close.
TRANSITION FROM HIGH-STAGE TO MID-STAGE
THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT GOES DOWN, DOWN, AND DOWN THE CURTAIN OF CLOUDS. THE TOP OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.
MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.
The tall front of The Supply Closet office supply store sits further back and off to the side. We see less this time than previously. It is off to the stage-right. The front doors are near the edge of the stage. Center-stage sits Thomas’ car: a goldenrod 2002 Ford Taurus. It is parked near the cement pylon base of a parking lot light pole. Thomas often forgets where he parks so he prefers to park near tall structures or landmarks he can easily see when he leaves the store. The front doors of The Supply Closet open and THOMAS TYPEWRITER walks out. He walks across the parking lot, carrying a stack of banking boxes, towards his car. When he reaches his car, he sets the boxes on the trunk to free his hands to retrieve the car keys. He manually unlocks the trunk. It pops up a little bit. He pulls off the banking boxes and uses the edge of the stack to pop open the trunk. Thomas sets the boxes down inside.
CUT TO A CS OF THE BOXES IN THE TRUNK
CUT TO A CS OF THE TRUNK WITH ALL THE BOXES ASSEMBLED AND FILLING UP THE TRUNK
CUT TO A CS OF THE BOXES NOW FILLED WITH THOMAS’S VARIOUS BELONGINGS.
CUT TO CS OF THE BOXES EMPTY EXCEPT FOR THE CENTERMOST ONE, WHICH NOW HAS VARIOUS HUMAN ORGANS IN THEM
The boxes are no longer filled with Thomas’s belongings. They are now filled with the various organs from his body. In the center box, sits his heart which beats three times. On one side sits his lungs, which flutter erratically, as if in the grip of a shallow breathing anxiety attack. Intestines fill two other boxes. In another box, we can see his brain.
REVERSE CUT TO THOMAS LOOKING INTO THE TRUNK.
Thomas stares into the trunk, lost in a moment of anxiety. He brings his hand to his heart.
CUT BACK TO TRUNK OF BOXES OF ORGANS
The heart beats fast while the lungs start to slow down. They take deep breaths, slowly in and slowly out. From another box emerges Thomas’s right arm and hand. It pulls its fingers down into a fist. Then it makes a 1-2-3-4 count using its fingers. It slowly counts through the numbers and then repeats. The lungs slow and align with the four count. The count slows even more. The lungs match. The heart starts to slow as well.
CUT BACK TO REVERSE OF THOMAS
Thomas looks into the trunk and takes a deep audible breath for a four count. He then breathes out for four. He repeats and relaxes.
CUT BACK TO CS OF TRUNK
The boxes of organs are gone. The trunk has reverted back to its original form, with the packages in boxes.
CUT BACK TO FRAMING SHOT OF MID-STAGE
Thomas closes the trunk. The Mid-Stage curtains close as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.
FADE OUT
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 05, Episode 09
By Thomas Typewriter
(c) 2023 thomas typewriter
———–<:type:>———–
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “05-09”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.
FADE OUT
FADE IN
LS OF THE TYPEWRITER PUPPET STAGE
The Typewriter Puppet Stage manifests illuminated by unseen lamps. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.
TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE
PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE
PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED
MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part. The stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…
MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME
Bordeaux Bank is a bank with a medieval French castle and chivalrous knights theme. The sides of the building are quarry stone. The front door has a large arch and false portcullis. Inside the doorway, a suit of armor stands guard. From off-camera we hear the sound of A CAR PULLING UP AND PARKING, CAR DOOR OPENING, and then FOOTSTEPS. THOMAS TYPEWRITER emerges from stage-right. He walks to mid-stage and enters the bank through its front doors. He pantomimes high-fiving the suit of armor and then proceeds on into the bank. AN OLDER WOLF quickly runs across the stage, stage-left to stage-right.
TRANSITION FROM MID-STAGE TO HIGH-STAGE
THE CAMERA UNLOOSENS FROM FRAMING MID-STAGE AND PANS UPWARD. AFTER SLIDING PAST THE MID-STAGE SETS IT GLIDES ONTO AND OVER THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES UP AND UP TO THE TOP OF THE CURTAIN OF CLOUDS. THE HIGH-STAGE SLIDES INTO VIEW AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA ENDS THE PAN WHEN PROPERLY FRAMING THE HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open and the stage-lights click on to the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: EXT. PHYSIO-THERAPY OFFICE 505, DAYTIME
A metallic corridor in the Flute, a door to room 505 Stands near stage-left. On the opposite side of the stage wait CARRO, CEDAR WAXWINGS, and LUCIDO OBSIDIAN. Each is still encased in their Medi-pod. PANACIA FLAUTO enters from stage-left.
PANACIA FLAUTO
“You guys ready to return to your room?”
LUCIDO OBSISIAN, CEDAR WAXWINGS & CARRO
(nearly in unison) “Yes.”
PANACIA FLAUTO
“Good. I’ll review your recuperative schedule with you while we walk back.”
She waves the trio to follow her and then exits stage-left. The three of them follow exiting stage-left in the following order: Lucido, Carro, and then Cedar. The High-Stage curtains close, pause, then reopen.
HIGH-STAGE: INT. JUNCTION 300 IN THE MEDICAL-SHIP THE FLUTE, DAYTIME
The Junction 300 appears on stage as a long metal corridor with an opening in the center. A large arched opening with an ornate trim and large disc at the top. A sculpted relief of a flute is mounted in the large disc. The archway leads to a hallway that appears as a descending ramp to stage-left and an ascending ramp to the stage-right. Yellow and blue lines run across the main hallway and into the archway. The blue lines continue along the ascending and descending sides of the second hallway. The yellow lines only continue down the descending side of the second hallway. A brown-line can be seen in the second hallway moving across both the ascending and descending sides. 300 is stenciled on the wall of the front hallway. PANACEA FLAUTO enters from stage-right.
PANACIA FLAUTO
“So after therapy, the afternoon and evenings will be yours. Most patients rest. The medi-pods tend to increase sleep.”
She enters the archway and turns. LUCIDO OBSIDIAN, CARRO and lastly CEDAR WAXWINGS enter stage-right in their medi-pods. Lucido and Carro continue moving over to Panacia, but Cedar hangs behind. Panacea notices Cedar hanging behind.
PANACIA FLAUTO
“Everything okay Cedar.”
CEDAR WAXWINGS
“If it’s okay, I think I’d like a little time alone.”
PANACIA FLAUTO
“Well, the observation loung at the end of the Commissary has a pretty good view. Just follow the blue line to the top. When you are ready to return to your room follow the yellow lines down. If you get lost, you can ask any of the Nurse-bots or Janitor-bots for directions. This applies to everyone.”
Cedar moves through the archway and exits stage-right through the second corridor and the ascending ramp. Panacea looks towards Lucido and Carro.
PANACIA FLAUTO
“Shall we continue gentlemen.”
CARRO
“He didn’t say goodbye.”
LUCIDO OBSIDIAN
“Yeah, I know, but he probably has a lot on his mind. We all do.”
PANACIA FLAUTA
“It is not too unusual that someone needs a private moment or two after getting here.”
CARRO
“I know, but still.”
PANACIA FLAUTA
“I understand. This way gentlemen.”
They start to walk, exiting stage-left. 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 HIGH-STAGE AND PANS DOWNWARD. IT MOVES ACROSS THE CURTAIN OF CLOUDS EVER DESCENDING. SOON THE TOPS OF THE MID-STAGE SETS POP INTO VIEW. THE CAMERA CONTINUES TO PAN DOWNWARD, GLIDING INTO PLACE PROPERLY FRAMING THE MID-STAGE
MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME
Same layout for the Medieval French themed bank as at the beginning of the episode. After a moment, THOMAS TYPEWRITER emerges from the center doorway. He walks out into the sun, puts some small envelopes in a jacket pocket, and then exits stage-right. We hear the sound of A CAR DOOR OPENING AND CLOSING followed by A CAR STARTING. Lastly, we hear the sound of CAR TIRES DRIVING AWAY. The Mid-Stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.
FADE OUT
Thomas Typewriter 
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