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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 10

by Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-10”. It enters from the bottom of the frame and moves up, pausing in the center before continuing upward. It exits through the top of the frame.

FADE OUT
FADE IN

MID-STAGE: CURTAINS CLOSED

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

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

MID-STAGE: INT. PENCIL CHICKS STUDIOS, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s light-box at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. THOMAS TYPEWRITER sits at the desk scanning pages. OPHIDIA OPERAHOUSE sits at the desk behind him, drawing animation cells.

THOMAS TYPEWRITER
“Ophidia?”

OPHIDIA OPERAHOUSE
“Yes.”

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

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

Thomas lays his head down on the desk.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

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

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains open and the stage lights turn on with the sound of A COMPUTER BOOTING ON.

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

IASO FLAUTO
“Sister.”

PANACEA FLAUTO
“Sister.”

HYGIEIA FLAUTO
“Yes, yes, Sisters.”

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

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

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

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

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

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

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

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

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

PANACEA FLAUTO
“Oh yeah, the bat girl.”

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

PANACEA FLAUTO
“Wait, seriously.”

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

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

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

Iaso and Hygieia exchange a look.

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

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

HYGIEIA FLAUTO
“Time to shine ladies.”

The platform continues to lower. BARBARO BUFFO stands on the platform. Next to him is a rolling cart holding a burned Sat-Bot. The top portion of it’s double pyramid octahedron is open. Inside sit FINNOCCIO FORESIGHT and BALLERIA FORESIGHT. They are a pair of newborns cradled in a bed of fennel leaves. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE. A BIT OF THE NARRATOR’S STAGE ENTERS THE FRAME AS THE CAMERA PANS DOWNWARD. IT GLIDES ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. THE TOPS OF THE MID-STAGE SETS SLIDE INTO THE FRAME AS THE CAMERA FINISHES PANNING DOWNWARD. IT STOPS WHEN PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. THOMAS TYPEWRITER sits at the desk, head resting on hands and eyes closed. OPHIDIA OPERAHOUSE sits at the animation desk behind him drawing.

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

FADE OUT

TRANSITION FROM MID-STAGE TO THE MANY SANDS

FADE IN

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

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

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

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

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

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

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

THOMAS TYPEWRITER
“Did somebody order a pizza?”

Z-MOUSE
“Thomas!”

THOMAS TYPEWRITER
“Z-Mouse!”

Thomas walks over to the fire and sits down.

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

Z-MOUSE
“He’s kinda like my boss.”

THE GHOSTLY
“He doesn’t seem much.”

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

THE GHOSTLY
“I see.”

THOMAS TYPEWRITER
“Pizza anyone?”

Z-MOUSE
“I’ll take some.”

THE GHOSTLY
“Me too.”

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

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

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

THOMAS TYPEWRITER
“Good to meet you.”

THE GHOSTLY
“Likewise.”

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

THOMAS TYPEWRITER
“So what was I interrupting?”

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

Z-MOUSE
(off-stage) “Not much.”

FADE TO BLACK

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 02

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-02”. 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. WRITER’S ROOM. LATE AT NIGHT
Z-MOUSE sits at the end of the table in the Writer’s Room. He leans over his floating cloud chair, head propped on an arm. His other arm is stretched out to the desk attempting to take notes. His writing slows and eventually halts, as his head nods forward.

OPEN INITIALLY IN A SOFT FOCUS MS OF Z-MOUSE AS HE TRIES TO STAY AWAKE.

He attempts to stay awake but sleep’s siren call is too loud.

SHIFT BETWEEN IN-FOCUS AND OUT-OF-FOCUS ON THE SHOT OF Z-MOUSE. AS HE STARTS TO FALL ASLEEP, GO OUT-OF-FOCUS. THEN WHEN HE CATCHES HIMSELF NODDING OFF AND TRIES TO STAY AWAKE PULL BACK INTO FOCUS.

Z-Mouse drops his pencil, pulls in his arm and rests his head down. Soon he is fast asleep.

ZOOM OUT TO A MS OF Z-MOUSE WHILE BRINGING INTO CLEAR FOCUS. THE CAMERA DETACHES FROM Z-MOUSE AND ROTATES TO LOOK AT THE DOOR BEHIND HIM. IT MOVES TOWARDS AND THROUGH THE DOOR.

TRANSITION FROM THE WRITER’S ROOM TO THE ALPHABET STAIRWELL

INT. ALPHABET STAIRWELL. LATE AT NIGHT
A small rectangular landing, the top level of the Alphabet Stairwell opens out to the night. Glass windows line the far left wall and part of the opposing wall. A stairwell flanked by yellow railing sits directly in front of the door to the Writer’s Room. The left, behind and opposite wall are a mixture of concrete and brick. The right wall is a cascade of striation, as if the stairwell was chiselled out of a mountain. The area over the stairwell and Writer’s Room door is brightly illuminated. The area by the natural rock wall is not as brightly lit, instead softly illuminated by one wall sconce. Next to the sconce, a door bearing the letter Y in golden script is built into the rock face.

THE CAMERA MOVES THROUGH THE DOOR AND ONTO THE LANDING. IT LOOKS LEFT AND THEN RIGHT “SPOTTING” THE Y DOOR AT THE OTHER END OF THE LANDING. THE CAMERA GOES THROUGH THIS DOOR.

INT. Y-STAIRS. LATE AT NIGHT
Behind the door we find a small stairwell. Decorated with walls of deep green and deep natural wood tones, the stairwell seems to ascend seven floors. Small windows are placed alternately. At the top of the stairs is a small landing. At the end of the landing is the green door for Y-Apartment. A doormat, with the words “Y Knot” welcomes guests, as does the potted plant in the corner.

THE CAMERA PANS UP THE STAIRS. AT THE TOP OF THE STAIRS IT GOES THROUGH THE DOOR AND INTO THE APARTMENT.
TRANSITION FROM THE Y-STAIRS TO THE Y-APARTMENT

INT. Y-APARTMENT. LATE AT NIGHT.
Y-Apartment has a small front entryway, with a small table and small bowl on top for keys and mail. Coat hooks and an umbrella stand sit on the wall near the door. The entryway leads to a large open room. This is the Living Room/Dining Room area. A counter top and floating cabinets divide the two areas from each other. The Living Room area has rattan furniture and nautical themed decorations. The Dining Area has a small stove, fridge, sink and table set to the side. Green and yellow dishes can be seen in the open areas of the floating cabinets. A second hallway, leading to the bedroom and bathroom, branches off from the Living Room area and shares a wall with the entryway. Glass sliding doors flank one side of the Living Room leading to the patio deck. On the opposite wall is a very heavy ornately carved door that seems out of place with the rest of the apartment.

THE CAMERA MOVES THROUGH THE ENTRYWAY INTO THE DINING AREA/LIVING ROOM. IT SCANS THE ROOM AND THEN MOVES TOWARDS THE HEAVY ORNATE DOOR. THE DOOR STARTS TO OPEN AS THE CAMERA APPROACHES. THE CAMERA CONTINUES TO MOVE TOWARDS AND THROUGH THE DOOR BUT IT POINTS INTO THE ROOM, GENERATING A FEELING OF MOVING BACKWARDS.

From under the couch we can see different colored lights blinking.

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

THE CAMERA CONTINUES PANNING BACKWARDS AND MOVES OUT OF THE Y-APARTMENT AND OUT THROUGH THE NARRATOR’S DOOR OF THE TYPEWRITER ABSTRACT PUPPET STAGE. THE CAMERA PANS OVER TILL PROPERLY FRAMING HIGH-STAGE.

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

HIGH-STAGE: INT. ROOM 304 OF THE MEDICALSHIP THE FLUTE
Three Medi-pods sit across the stage. The lights atop their ovid forms blink softly, growing brighter as those interned inside awaken. 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. Between the stage-left and center Medi-pod stands the bathroom door. Between the center and stage-right Medi-pod stands the entry door to the room. PANACEA FLAUTO stands in the doorway, Med-scanner in hand.

PANACEA FLAUTO
“Morning gentlemen.. How’s everyone feeling today.”

LUCIDO OBSIDIAN
“Heavy. Weightless. Confused.”

PANACEA FLAUTO
“To be expected. Normal Medi-pod reaction.”

She moves over to the other Medi-pods, knocking gently on each as she rouses each occupant.

PANACEA FLAUTO
“Cedar. Carro. Wakey-wakey.”

LUCIDO OBSIDIAN
“Are we getting out of these things today.”

PANACEA FLAUTO
(Chuckles) “Heavens no. You’re not even close.”

CEDAR WAXWINGS
(groggily) “Where am I.”

PANACEA FLAUTO
“You’re in the hospital.”

CARRO
“Where are we.”

LUCIDO OBSIDIAN
“We’re in that hospital ship.”

CARRO
“But what about our ship?”

CEDAR WAXWINGS
“Why can’t I move?”

Panacea presses a button on her medical device. On each of the Medi-pods, one of the three lights shifts in color from green to pale blue.

PANACEA FLAUTO
“Everyone feeling calmer?”

CARRO, CEDAR WAXWINGS, AND LUCIDO OBSIDIAN
“Yes.”

PANACEA FLAUTO
“Good. Now if you could follow me, you have an appointment. I’ll answer your questions on the way.”

The Medi-pods roll around the room awkwardly, bumping into each other.

CEDAR WAXWINGS
“Watch it.”

LUCIDO OBSIDIAN
“Sorry.”

PANACEA FLAUTO
“No, just try to imagine walking. The Medi-pod is designed to respond to your thoughts.”

CARRO
“What’s walking? Does it involve legs.”

CEDAR WAXWINGS
“Of course it does.”

PANACEA FLAUTO
(to self) “I can see this is not going to work. Time for plan B.”

Panacea steps to the side of the room and pulls out her scanner. She holds down a button. The three lights atop each of the Medi-pods begin to blink randomly, then they blink three times in unison. The Medi-pods stop moving.

PANACEA FLAUTO
“Gentlemen, since you are having problems, let me help. I’ll guide your Medi-pods to the appointment.”

CEDAR WAXWINGS
“But I wanted to do it myself.”

Panacea presses a different button on her scanner and one of the three lights atop the Medi-pods turns blue.

CEDAR WAXWINGS
“But, that’s cool that you want to help.”

Panacea presses the wand of her scanner onto the scanner pad, using it as a control stick to direct the Medi-pods. She drives them in a single file line out of the room, following behind the last one. She flips off the room light as she walks out the door. The stage lights turn off as she flips the light switch. The sound of A COMPUTER BOOTING OFF can be heard. The High-stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETATCHES FROM FRAMING THE HIGH-STAGE. IT PANS DOWNWARD MOVING ACROSS THE CURTAIN OF CLOUDS. DOWN IT GOES AND SOON THE TOPS OF THE MID-STAGE SETS POKE INTO VIEW. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. MARY MARCHHARE’S LIVING ROOM WINDOW. DAYTIME
The main window for Mary Marchhare’s house sits center stage. A large window with two smaller windows on either side framed by a wide white trim. Through the window we can see MARY MARCHHARE sitting in her living room chair watching daytime television. The background noise of DAYTIME TELEVISION can be heard. She fans herself with a paper hand fan and wipes away a bead of sweat with a crumpled tissue in her other hand. A glass of water sits on the coffee table to her side. She alternates between taking a sip of water and wiping her forehead with the tissue all the while fanning herself. The sound of TIRES ON GRAVEL sings out from off-stage. ALICE, Mary Marchhare’s pet Boston Terrier, jumps at the window barking. Mary notices the dog barking and gets up. She ushers the dog out of view, placing her in a pet crate behind her chair. As she is out of sight, THOMAS TYPEWRITER enters stage-left, walks past the bottom of the window, and exits stage-right. From off-stage we hear A DOORBELL.

MARY MARCHHARE
(off-stage ) “Coming.”

A DOOR OPENS.

MARY MARCHHARE
(off-stage) “Thomas!”

THOMAS TYPEWRITER
(off-stage) “Hi Grandma.”

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

FADE OUT