script

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 06, Episode 02

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

GRIGIO COLORI
(voice-over) “Where did we leave off? Oh yes, here was where we left off. Ready? Here we go. Fade into black and then from the bottom of the screen scrolls upward the following text of zero six dash zero two.”

From the bottom of the screen scrolls up the following text: “06-02”. 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 from somewhere in the dark.

GRIGIO COLORI
(voice-over) “Fade out then fade in to the Typewriter Abstract Puppet Stage. Specifically the Mid-stage area of the Typewriter Abstract Puppet Stage.”

TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE

FADE OUT

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE
The Typewriter Abstract Puppet Stage sits in a dark field as if floating in a void. No other room or setting is visible surrounding it.

THE CAMERA MOVES CLOSER THROUGH A SERIES OF CUTS WITH A CRYSTALLINE FILTER.

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

MID-STAGE: CURTAINS CLOSED

THE CAMERA PAUSES THE CRYSTALLINE ZOOM CUTS PROPERLY FRAMING MID-STAGE.

The curtains of Mid-stage fill the frame. A soft light bounces from somewhere beyond and below the front of the Mid-stage across the curtains. The curtains part from the center and stage lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: EXT. HIGHWAY ROUTE 17, DAYTIME
A section of the Route 17 highway stretches across the stage. This section, in particular, passes through farmland surrounding Thomas Teenager’s hometown of Bordertowne, Illinois. A route marker sign and telephone pole form the main set of stage decorations. The route marker sits to the stage-right of the center. The telephone pole sits stage-left of center. In the background, we can see acres and acres of farmer fields covered in snow. From stage-left a black minivan enters, drives across the stage, and exits stage-right. The curtains close and then reopen revealing…

MID-STAGE: INT. THOMAS TEENAGER’S BEDROOM, DAYTIME
A bed stands at the corner of the stage along with a small desk. It is in the style of an old-time banker’s desk with a roll-top. A three-legged stool with elaborate carved legs and feet sits under the desk in the area for the chair. A stereo boombox sits on top of the writing desk along with a corded phone. On the other side of the stage, shelves line the wall filled with books, comic books, toys, and stuffed animals. Next to the shelving is a poster of teddy bears holding hands. On every flat surface in the room, even the bed, sits piles of paper and comic books. The paper is various school assignments and artwork. THOMAS TEENAGER enters stage-right. In one arm he holds a duffel bag while in the other he holds a stack of mail. Thomas sets down the bag and then moves over to his bed. He sits on the edge of the bed going through his mail.

THOMAS TEENAGER
“Junk. Junk. Junk. University? What is this?”

Thomas opens the letter, first setting down the other mail and grabbing a blade from the pencil holder on his desk. He gently cuts the end of the envelope and slides out the letter.

THOMAS TEENAGER
(reading from the letter) “We regret to inform you that due to your failing grades, you are hereby expelled from Bulldog University. Normally, you would be allowed to appeal this decision and be placed on Academic Probation, but due to your academic credit hours exceeding your honor points, you will not. Please have all your belongings and personnel effects removed from your dormitory residence before classes resume on January 15th. The dorms will reopen on January 4th. Before we end, may we recommend that a four-year college is not for everyone and may not be for you. Community college may be more your speed. Sincerely Bulldog University.”

Thomas slumps back onto his bed. He lays unmoving, stuck in a state of shock. After a moment he picks up the phone and dials. The phone RINGS and RINGS before being picked up.

THOMAS TYPEWRITER
“Hi, may I please speak to Samarica? Yes, I can wait. Thank you. (pause as he waits). Hi, Samarica? It is me, Thomas. Fine and how are you? Good. Did you have a good Christmas? Me, too. Well, I am back in town, so we can go on that next date we talked about. What do you mean sorry? You have bad news? Oh. Oh. I see. Your old boyfriend. I see. Back together. How long now. Before we went on our first date. And you didn’t think to mention that before now. You found it too awkward to bring up. Well, good luck with that, and happy new year. Goodbye.”

Thomas hangs up the phone. He stares off into space. The stage-light slowly shift to a red tint. Thomas SCREAMS building to A PRIMAL SCREAM. The sound of METAL RENTING AND GLASS SHATTERING reverbs as the red light turns to a deep red. Thomas stops screaming. The red light and metal and glass sounds fade away. The stage-lights return to regular illumination and hue. He looks around the room. Thomas gets up and walks over to his CD collection. He pulls out “Live Through This” by Hole and places the CD in his CD player. He presses play and listens to the music start. Thomas then exits stage-left. We hear the door to his room OPEN AND CLOSE. FOOTSTEPS and CABINET DOORS OPENING AND CLOSING from off-stage. Thomas’ bedroom door OPENS AND CLOSES. He renters stage-left holding a package of garbage bags.

THOMAS TEENAGER
“Look at all this. What a delusion.”

Thomas opens the bottom of the writing desk and starts to pull out papers, worksheets, and school folders.

THOMAS TEENAGER
“Keeping every paper, every scrap, I ever used. Every assignment. Why? Because I thought I was going to be a great writer. Because I thought scholars would want to study them as they write biographies on my genius. Hubris. A giant pile of hubris and I am suffocating under it. Suffocating under what others expect me to be. Suffocating under what others don’t want me to be. Expected to be a genius. Expected to get a degree. Expected to get a good job. Expected to get the girl. Ha, yeah right. Something is broken inside me. I am a fuck-up now and will always be.”

From the stuffed animals on the selves comes a soft voice. Thomas pauses and listens.

CREAMY
(faint) “Don’t give up hope yet. One foot in front of the other and you’ll cross this bridge.”

Thomas nods his head.

THOMAS TEENAGER
“Yeah, you’re probably right.”

Thomas resumes filling the trash bags. He gathers all the stacks of papers, setting the artwork to the side, but everything else goes into the trash. He opens all the cabinets on the desk removing all the paper. He goes through every surface in the room. Once he has filled his fourth trashbag, he takes a deep breath and exhales. He sets down the trashbag and works his way over to the phone. Thomas picks up the phone, listens for the DIALTONE, and then dials the number for Luna Witchescrown.

THOMAS TEENAGER
“Hey, sis. You got a minute? I’ve had a really bad day and need to talk about it. You do. Thank you.”

The stage lights turn off to the sound of A LIGHT SWITCH SWITCHING OFF. The Mid-stage curtains close.

FADE OUT.

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

The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode One

“The Skipping Stone”

By Thomas Typewriter

(c) 2024 thomas typewriter

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

FADE INTO THE TITLE SEQUENCE

The title sequence plays.


FADE OUT
FADE IN

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


PAN TOWARDS THE LIBRARIAN’S OFFICE

CUT TO

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

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

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

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

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

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

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

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

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

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

CUT BACK TO


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


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


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

THOMAS TOPHAT
“What is this?”

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

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

FADE OUT

TRANSITION FROM THE LIBRARY TO THE LAKE

FADE IN


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

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

CUT TO MS OF THOMAS TYPEWRITER

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

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

CUT TO LS OF THOMAS ON THE SHORE.

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

CUT TO MS OF THOMAS TYPEWRITER

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

CUT TO LS OF THOMAS TYPEWRITER

Thomas tosses another stone.

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

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

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

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

CUT BACK TO CS OF THOMAS’S FACE

CUT TO MS OF THOMAS THROWING A TONE

TRANSITION TO THE WAVE SCREEN SEQUENCE.

FADE TO THE WAVE SCREEN BOARD

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

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

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

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

The shadow patterns flow out to stop.

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

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

CS OF THE ROCK IN THOMAS’ HAND

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

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

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

Thomas looks down.

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

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

CUT TO THOMAS NODDING HIS HEAD YES.

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

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

Thomas Typewriter exits.

FADE OUT

TRANSITION FROM NOT SO TO THE LIBRARY

FADE IN

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

MS OF THOMAS READING NOT SO

Thomas Topcoat closes the Not So zine.

CS OF THOMAS TOPCOAT

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

CUT BACK TO MS OF THOMAS

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

PAN OUT

FADE OUT

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

The Ongoing Dramatis Personae

scripts, The Broken Book of Beasties, The Great Works Project scripts, The Not So Puppet Show, The Ongoing Dramatis catalogues

THE GOLDEN COINS:
(TGWP s00) Eight shiny gold coins the Outer One retrieved from a safe. Each coin bears a symbol on it with the eight symbols as follows: a wand, a castle, a quill, a light bulb, a shield, a harp, and a sword.

A HANDHELD:
(TGWP s00) A handheld video game player used by the Helping Hands in the Not Here, Not Now space. It has a small screen and six buttons in two groups of three. One of the group of buttons is marked as “Yes”, “No”, and “Maybe”. The other three buttons are marked “Sun”, “Star” and “Moon”.

HELPING HANDS:
(TGWP s00) Hands of the Puppeteers used as puppets and brought into full visibility to the audience. There are multiple Helping Hands producing the play, often doing work off-stage. They are usually distinguishable from each other by some individual or multiple characteristics.

THE LEFT HANDED HELPING HAND:
(TGWP s00) One of the pair of Helping Hands that brings the Handheld out and starts to play it. It is a left hand, which is also left-handed, wearing pink fingernail polish.

THE-MAN-WHO-LOVES:
(TGWP s00) A younger man, by comparison, who comes to visit The-Woman-Who-Loved in her hospital room. He reads her his latest script.

THE OUTER ONE:
(TGWP s00) A video game character who yearns for more. He retrieves eight golden coins and flees to a doorway in an unfinished portion of the game.

THE RIGHT HANDED HELPING HAND:
(TGWP s00) One of the pair of Helping Hands that brings the Handheld out and starts to play it. It is a right hand, which is also right-handed, wearing light blue fingernail polish.

THE-WOMAN-WHO-LOVED:
(TGWP s00) An elderly woman in the hospital. She can see the story The-Man-Who-Loves is reading to her.

The Ongoing Dramatis Loci

scripts, The Broken Book of Beasties, The Great Works Project scripts, The Not So Puppet Show, The Ongoing Dramatis catalogues

CHOICE HALL:
(TGWP s00) A long hallway with the appearance of a vintage pixelated video game. One of a series of artificial worlds nested inside other artificial worlds


THE DOORWAYS:
(TGWP s00) Five portals at one end of Choice Hall that lead to other areas within and without the artificial worlds. They appear as five doors up a short set of stairs. The first door is labeled “Fail”. The second doorway is labeled “Find”. The third doorway is labeled “Go”. The fourth doorway is labeled “Murmur”. The fifth doorway is not located with the other four but instead is sealed off in an abandoned hallway hidden from view.


THE GAMETIME:
(TGWP s00) The realm that comes into view when the Helping Hands turn on the handheld video game player. In it, we find the Outer One moving through the Choice Hall.


HOSPITAL ROOM ICU:
(TGWP s00) A hospital room where the Woman-Who-Loved sleeps while hooked up to medical machinery. Various get-well cards with flower designs can be seen on the table next to her bed. All that is seen of this room is the immediate area around her hospital bed.


THE NOT HERE, NOT NOW:
(TGWP s00) A space where the Man-Who-Loves’ story unfolds. It might exist on its own or merely be the imagination of the Woman-Who-Loved.

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 12

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

From the bottom of the screen scrolls up the following text: “05-12”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT


FADE IN

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

THE MID-STAGE IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED


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

MID-STAGE: INT THOMAS’ APARTMENT, MORNING

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

THOMAS TYPEWRITER
(whisper) “Sorry cousin.”

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

TRANSITION FROM MID-STAGE TO HIGH-STAGE

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

HIGH-STAGE: CURTAINS CLOSED

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

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

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

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

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

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

Carro rotates towards Lucido.

CARRO
“Sorry, I was just thinking.”

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

CARRO
“Vessels and passengers.”

LUCIDO OBSIDIAN
“What do you mean?”

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

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

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

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

CARRO
“Yes.”

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

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

CUT TO MS OF NARRATOR’S DOOR

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

Y-MOUSE
“Meanwhile and elsewhere…”

CUT BACK

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

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

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

HIGH-STAGE: INT. THE GANTRY MEMORYCIRCLE

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

THE SPACE EGG
“Any luck.”

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

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

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

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

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

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

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

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

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

THE SPACE EGG
“You saw Biff pretending.”

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

THE SPACE EGG
“Did you see us?”

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

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

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

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

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

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

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

THE SPACE EGG
“Yes.”

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

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

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

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

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

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

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

THE SPACE EGG
“I don’t know.”

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

FADE OUT

The Great Works Project: Season Five, Episode Eleven – A script by Thomas Typewriter

The Great Works Project scripts

———–<.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