scripts

The Great Works Project: Season Three, Episode One script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 01

By Thomas Typewriter

(c) 2020 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “a prologue”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT
FADE IN


INT. UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE
The unroom Not.Seven is a large space, decorated in various shades of gray. Squares of lightly hued carpet sit on the floor, arraigned in expanding rows around a central circular wooden disc. Notice how the boards making the circle show signs of wear and age. THE OUTER ONE sits on one of the carpet squares facing the wooden disk but reading from THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.


OPEN ON XCS OF THE PAGES OF THE SCRIPTBOOK. PREFERABLY OPEN ON THE SCRIPT TO SEASON TWO EPISODE TWELVE.


SWITCH TO POV OF THE OUTER ONE SITTING IN THE UNROOM LOOKING AT THE SCRIPTBOOK.

The Outer One turns one page then another.

CS OF BLANK PAGES TURNING ACROSS THE SCREEN. ALLOW THE PAGES TO MOVE SLOWLY AND THAT WE HAVE TIME TO REALLY SEE THE GRAIN AND TEXTURE OF THE PAPER. TREAT THIS SHOT LIKE THE OUTER ONE IS LOST IN THE DETAILS OF THE PAGE, LETTING THEIR MIND RELAX AND START TO WANDER.

As the pages turn across the camera, one page snags a little catching the Outer One’s right index finger in a small papercut.

THE OUTER ONE
“Ouch.”

CUT TO CLOSE-SHOT OF THE PAPERCUT.

A drop of blood wells up out of the papercut and leaks onto the page of the script. As the paper absorbs the blood, the skin around the the papercut on the Outer One’s hand starts to turn a translucent blue.

CUT BACK TO PAGES TURNING.

After a moment the sound of TYPEWRITER KEYS CLICK CLACKING can be heard from somewhere in front of the Outer One. Only this time the last click of the group sounds distorted.

CUT BACK TO POV OF OUTER ONE LOOKING AT THE PAGES AND HE/SHE LIFTS HIS/HER HEAD AT THE SOUND TO LOOK FORWARD.

The wooden disc stands dusk twilight empty. Soon two unseen lamps burst on, bringing THE TYPEWRITER ABSTRACT PUPPET STAGE into view. A third unseen lamp attempts to turn on, taking multiple flickers to turn on. Each time it flutters, The Typewriter Abstract Puppet Stage flickers immaterial. The third unseen lamp finally powers on completely. The Typewriter Abstract Puppet Stage stands center in the wooden disc ready for the next show.

TRANSITION FROM THE UNROOM TO THE MID-STAGE.

THE CAMERA PANS INWARD TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE MID-STAGE: CURTAINS CLOSED

The Mid-Stage curtains part.

THE MID-STAGE: EMPTY, DEVOID OF SETS OR CHARACTER

THE CAMERA PANS IN TOWARDS AND THEN INTO THE MID-STAGE AREA. IT CONTINUES TOWARDS THE CURTAIN OF CLOUDS AT THE BACK OF THE STAGE.


The Curtain of Clouds parts.


THE CAMERA PANS PAST THE OPENING CLOUD OF CURTAINS INTO THE SPACE BEHIND, TO THE BACK-STAGE.


THE BACK-STAGE: THE CONCURRENT DISTANCES

An empty field of black, THE MOTHER sits center stage watching THE TRIPLETS (AVEN, ONDE, and NETTE) playing with wooden blocks and wind-up toys. The Mother appears to be in her thirties, while the Triplets appear to be toddlers. The Mother moves over to Aven and Onde, demonstrating how to stack the wooden blocks. They mimic her actions.

THE MOTHER
“Wonderful.”

Aven and Onde smile at her praise. She moves over to Nette and demonstrates how to wind-up a wind-up frog. Nette mimics her.

THE MOTHER
“Amazing.”

Nette beams at her praise. The Mother steps back and watches Aven, Onde, and Nette play with their toys. A YUCK-BUBBLE drifts in from stage-left. It slowly drifts over the Mother and Triplets’ heads before finally exiting stage-left.

THE MOTHER
“Be right back girls. Hurts to heal, wrongs to resolve.”

She exits stage-left. The Triplets continue playing in the Mother’s absence. Aven and Onde build towering wooden cities. Nette winds up a population of mechanical animals. The majority of the animals bounce, walk and jump away from the wooden block towers, except for a lion, goat, and snake. They deviate from the rest, moving towards the towers. They smash into the towers. A domino effect of tumbling wooden blocks knocks over all the wooden block structures Aven and Onde built while simultaneously crushing all the wind-ups Nette wound up.

Aven starts to cry at her smashed architecture. Nette starts to bawl at her smashed clockworks. Onde looks between the two unsure what to do. A BELL DINGS as a light bulb appears above her head.
Onde reaches up and grabs the light bulb from over her head. It turns off. She crawls over to Aven and puts the light bulb over Aven’s head. It hovers in the air over her head.

Onde hugs Aven. A BELL DINGS and the light bulb lights up. Aven stops crying. She dries her tears before reaching up and retrieving the light bulb. It turns off.

Aven and Onde crawl over to Nette. Onde hugs Nette while Aven puts the light bulb over Nette’s head. A BELL DINGS as the light bulb flickers on. Nette stops crying. The three sisters all hug each other. Aven reaches up and pulls down the lightbulb. She stashes it away.

Feeling better, the Triplets start to rummage through the wreckage. Every now and then someone finds something interesting and sets it aside.

TRANSITION FROM BACK-STAGE TO OPENING FRAMING SHOT

THE CAMERA STARTS TO PAN BACKWARDS AND AWAY FROM THE BACK-STAGE AREA.

The Curtain of Clouds begins to close.

THE CAMERA CONTINUES TO PAN OUT, MOVING THROUGH AND OUT PAST THE MID-STAGE.

The Mid-Stage curtains close.

THE CAMERA CONTINUES ITS PAN OUTWARD TILL IT FRAMES THE ENTIRE TYPEWRITER ABSTRACT PUPPET STAGE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off.

FADE OUT

From the desk of Thomas Typewriter…Oct. 5th 2020 edition.

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

It is once again Monday, so that means time to catch up and update.

The script side of things for “The Great Works Project” is moving forward nicely. I created a specific spot for all the scriptbooks on the blog. I managed to add the Series Prologue and Season One script books. The Season Two scriptbook will be ready next Wed, so I will add it to the others then. After that I will start posting the Season Three episodes.

I have also started plotting out Season Six.

In regards to The List, I managed to get two of the three reference materials I needed. The third is ordered but will not arrive till later in the week.

(The white marks on the table are gesso stains. My current desk is an old table I used to use to prep canvases and boards on.)

I have dug out my old kindle, ipad and ipod to help me go through the list. Currently they are charging and updating. Once I get the third reference book I’ll start loading content.

From the desk of Thomas Typewriter…09-21-2020

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

Progress continues on The Great Works Project scripts. I’ll finish the final rough draft for Season Five tomorrow or Wednesday. Once that is dine, I’ll start working on crafting the Season Two scriptbook. The last three scripts of Season Five required a complete rewrite. Carro and Z-Mouse suprised me, reacting differently than what I expected. I like when the characters surprise me. A moment of joy.

As for the List, I feel like I need some help. A glaring issue I failed to notice when I compiled the List is the lack of context. I really believed that just exposing one self to great art could trigger a positive change. I still believe that, knowing it to be a powerful form of spellcraft. Yet, with every piece I am left wondering about the context. Why do people like it? What have those before me found special in it? To that end I have ordered three of the books that helped form part of the List*. I ordered “A Lifetime’s Reading: Five Hundred Great Books to be Enjoyed over 50 Years” by Philip Ward along with “1001 Films to Watch Before You Die” and “1001 Albums to Listen to Before You Die.” I hope these will help.

*When creating the List of Great Works, I was concerned about how these lists could be so mono-cultural. I felt that would defeat the purpose. I also was not experienced enough to fully discern the quality of a source. My solution to this was to go overboard and grab a too many sources. Cast a wide net. I of course used the Harvard Shelf of Classics and then added onto it. Here is a list of the sources I used: A Lifetime of Reading by Phillip Ward, Pitchfork.com’s People’s choice Top 200 albums from 1990 to 2010, AFI 100 years 100 Laughs, AFI’s The Top 25 Musicals, AFI’s Top 100, Empire Magazine’s 500 greatest films of all time, NPR Young Fiction Top 100 finalists, NPR Science-fiction/Fantasy top 100 finalists, The Guardian’s Top 25 Blues albums, The Guardian’s Top 20 Operas, The Guardian’s Top 20 classical works, Time Out New York’s survey of animators best animated films, Rolling Stone Magazine’s Top 500 Albums, The Great Works lit collection, The Harvard Shelf of Learning, 1001 Films to Watch before you die, and 1001 Albums to listen to before you die. I also believe I threw the movie Corky Romano on the list just so the list couldn’t be taken entirely serious. The list was important to me but I do not think anyone should take it as anything but suggested reading and viewing.

updating…

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

Progress moves forward on The Great Works Project. 

The scripts, or storytelling side of it, are moving along. Season Two’s finished scripts are on schedule. I should be able to keep to a schedule of a new script every other week. As for the rough drafts, I am nearing the end of writing out Season Five.

The list, or cultural side of it, is moving along as well. The previous three assignments did not really grab my attention. Alien was well-made and suspenseful, but I just couldn’t finish it. The same with Alien Lanes from Guided By Voices. I can appreciate them on an aesthetic level, but it is in a cold detached kind of way. The literature assignment, Altered Carbon, never appeared. My library lost their copy. My new assignments are the album All Directions from The Temptations, the movie Aliens (1986), and the graphic novel American Born Chinese by Gene Luen Yang

Outside that I have been enjoying The Owl House and Star Trek: Lower Decks tv series, A Night without Stars by Peter F. Hamilton, and the Nintendo DS game Henry Hatsworth in the Puzzling Adventure.  With Ophidia, I am attempting to watch the entire run of the tv show Taxi. (Ophidia was telling me last night how she would play the theme song whenever she felt really stressed as a kid. I thought that was interesting because I always felt calmer whenever the theme song played.)