spaceship

“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

(c) 2025 jason arcand

———–<: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

The Great Works Project: Season Five, Episode Nine script by Thomas Typewriter

The Great Works Project scripts

———–<.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

The Great Works Project Season Five, Episode Eight – 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 08

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-08”. 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

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out.

THE CAMERA PANS DOWN THROUGH THE DARKNESS

The TYPEWRITER ABSTRACT PUPPET STAGE slides into view. It is rotating swiftly in the darkness. It completes three full rotations slowing down to a full rest with the front of the stage facing the camera. The Mid-Stage Curtains start to open.

PAN IN THROUGH A SERIES OF CUTS UNTIL 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 revealing…

HIGH-STAGE: HANGER JSN0012
This hanger, while still having the metallic handrail and spaced wall struts along the back, has much more decoration than the previous hangers. Long vines are growing along the pendant lamps, with bits of leaf and tendril dropping down. The center of the room contains a completed vision crystal, squarish and sitting on a base that looks like it is roughly chiseled from flint or granite. Winding cables connect the center crystal with a large boulder off to the side. The boulder has a primitive view-screen and controls cut from the stone. The Inner Space man walks over to the central crystal. He looks at the frozen image of CARL CAVEBUNNY and THE THE DINO-STORE frozen in the crystal. They stand on a prehistoric plateau. Carl looks like stone-age rabbit-man dressed in an animal skin. The Dino-store looks like a hybrid of a hardware store and a Tyrannosaurus Rex. In the background of the scene, THE INFORMATIVE SCUTTLER, which is the SCUTTLER he righted, slips past. The Inner-Space man looks around the crystal, tapping on the glass seeing if communication is possible.

THE INNER-SPACE MAN
“Is this a picture or a window? What was and unchangeable or what is and fluid?”

There is a TAP, TAP, TAP. The Inner-Space Man turns his head at the sound. Over on the rocky control panel we see the Informative Scuttler tapping the control panel.

THE INNER-SPACE MAN
“Oh, hello. Are you the same one as before.”

The Informative Scuttler nods yes. It then uses one of its segment-legs to point at a button on the control panel.

THE INNER-SPACE MAN
“Do you want me to push that button?”

The Informative Scuttler again signals yes. The Inner-Space Man walks over to the control panel. He presses the largest button. A THRIM fills the air as the center crystal starts to glow. It gestures to another button. The Inner-Space Man presses the button and the image in the crystal starts to move. We watch Carl the Cavebunny riding atop the head of the Dino-Store as it walks through the valley.

THE INNER-SPACE MAN
“Maybe a window. (turns to the Informative Scuttler) What else can you teach me?”

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FLIES ACROSS THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. LOWER AND LOWER TILL THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. ELMHOUSE UPSTAIRS ART STUDIO, DAYTIME
A small desk sits in the middle of a wooden panel wall. The wall is decorated with a framed Alphonse Mucha print. THOMAS THEATREMANAGER sits at his desk, typing on a laptop. He writes in a word editing program. On the screen the following is displayed:

“MID-STAGE: EXT. BORDERTOWN JUNIOR HIGH PARKING LOT. EVENING
The parking lot spreads across the stage flanked by the red brick back corner and some of the back wall of the Junior High along the stage-right of the stage. This area of the parking lot is empty of parking spots, so only one car is visible off to the stage-left side of the stage. The Border Town High School Show Choir, The Sparkling Songbirds, stand waiting for their upcoming performance during the homecoming football game’s half-time. Dressed in silvery blue outfits, they mill about in a large crowd speaking to themselves. The group consists of eleven teens and one teacher: JOHN, EMILY, AMY, SCOTT, LEXICA BOOKMARK, LUNA WITCHESCROWN, THOMAS TEENAGER, SHELLY, KATHY, MATT, RYAN AND MR TRUMPET. Lexica and Luna are conversing about the appeal of Ancient Greek literature and culture. Mr. Trumpet, Scott, and Annie are reviewing the set-list. Ryan, Matt are discussing their post-game plans. John, Emily, Shelly and Kathy are reviewing the small choreography for tonight’s performance. Off to the side of the group, Thomas Teenager paces back and forth, hoping to mask his overwhelming anxiety at a public performance. Arms outstretched he tries to pretend he is somewhere else: someplace relaxing and controllable. As he walks back towards center-stage he moves near Luna Witchescrown and Lexica Bookmark.”

SECONDO TYPEWRITER-OPERAHOUSE enters from stage-left. He walks over to the desk as Thomas reviews his writing. He crawls into Thomas’s lap. They hug. Secondo settles in and looks at the screen.

SECONDO TYPEWRITER-OPERAHOUSE
“What are you doing Father?”

THOMAS THEATREMANAGER
“Working on my scripts. Did you just get up?”

SECONDO TYPEWRITER-OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Well good morning.”

SECONDO TYPEWRITER-OPERAHOUSE
“What are you writing about.”

THOMAS TYPEWRITER
“Oh, how I met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Have I met her? Is she the animal doctor?”

THOMAS THEATREMANAGER
“No, that is your mom’s sister. You’ve never met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Why?”

THOMAS THEATREMANAGER
“She moved away then she got sick, like really sick.”

SECONDO TYPEWRITER-OPERAHOUSE
“Is she okay?”

THOMAS THEATREMANAGER
“It’s not one of the diseases you get better from. She’s probably dead by now.”

SECONDO TYPEWRITER-OPERAHOUSE
“How do you not know?”

THOMAS THEATREMANAGER
“Two reasons. Firstly, I didn’t know that my attention span made it hard to stay in touch with people. I want to but my brain just loses awareness. This was before I was diagnosed and learned how to deal with my brain. Secondly, her sickness made it so she lost the ability to talk and move over time.”

SECONDO TYPEWRITER-OPERAHOUSE
“That’s sad. Do you need a hug?”

THOMAS THEATREMANAGER
“Sure.”

Secondo Typewriter-Operahouse turns around and hugs Thomas. Thomas hugs him back, and holds the comfort of the embrace for a long moment. He then releases Secondo, wipes his eyes, and then looks at Secondo.

THOMAS THEATREMANGER
“Thank you. Now if you’re hungry you can grab a snack from the fridge till I finish here. I’ll be down in a moment to make breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I pick cherry tomatoes?”

THOMAS THEATREMANGER
“Do we have cherry tomatoes?”

SECONDO TYPEWRITER-OPERAHOUSE
“Oh yeah. Mother bought some yesterday.”

THOMAS THEATREMANGER
“Wow, that was an enthusiastic answer. You sure love your tomatoes don’t you.”

SECONDO TYPEWRITER-OPERAHOUSE
“I sure do.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I watch TV?”

THOMAS THEATREMANAGER
“Only if you watch PBS kids.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay.”

THOMAS THEATREMANAGER
“I’ll be done in a moment and then I’ll come down and we can see about breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay, bye.”

Secondo exits stage-left. Thomas turns back to his computer screen.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS AND ONTO THE CURTAIN OF CLOUDS ALONG THE BACK OF THE MID-STAGE. UPWARD IT CONTINUES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. IT PANS INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: THE CENTRAL LANDING IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES
The stage is still set up the same as in the earlier section of this episode. The large crystal on a pedestal sits near stage-front stage-right, with the concentric rising rings spreading out in an almost ovoid appearance. THE SPACE EGG stands to the side of the crystal looking into it. It turns the light in its central “eye” on and off. Each time the light flashes in the crystal, the crystal starts to glow as if attempting to activate.

THE CAMERA SUBTLY PANS OUTWARD ENOUGH TO INCLUDE THE NARRATOR’S DOOR.

Y-MOUSE leans over the edge of the Narrator’s Alcove, dressed in pajamas and eating a cheese sandwich.

Y-MOUSE
“You should keep doing that.”

The Space Egg freezes.

THE CAMERA PANS IN BLOCKING THE NARRATOR’S DOOR FROM VIEW.

THE SPACE EGG
“Hello?”

THE SPACE EGG looks left and right.

THE SPACE EGG
“Did somebody say something?”

Satisfied no one is in the room, the Space Egg resumes flashing light into the crystal.

THE SPACE EGG
“What would happen if I kept the light on?”

The Space egg switches from flashing the light to a steady beam of light into the crystal. The crystal’s interior glow starts to build. It begins to slightly vibrate and shimmer. The crystal glows brighter and brighter until bursting with white light.

WHITE LIGHT SPREADS FROM THE CRYSTAL FILLING THE ENTIRE FRAME. ALL DETAILS FADE AWAY. SOON THE LIGHT FADES AND THE DETAILS SLOWLY RETURN.

A series of lights built into the pedestal glow. As the bright light fades from the crystal it is actually flowing down into the pedestal and the surrounding concentric rings. A device activates. The pedestal glows and soon the lights spread out to the edges of each concentric ring surrounding the crystal. The Space Egg turns off its light and watches the spreading change. A GIGGLE seems to escape from the crystal. A second GIGGLE soon follows. The Space Egg turns towards the sound seeing that images float in the crystal now. Inside the crystal, we can see BIFF THE RABBIT reading comics.

PAN IN ON THE CRYSTAL THEN THE CAMERA ENTERS THE CRYSTAL

TRANSITION FROM THE WARDROBE OF A THOUSAND AND ONE COSTUMES TO BIFF’S BEDROOM

INT. BIFF’S BEDROOM, DAYTIME
Biff’s bedroom is a squarish room located in the north corner of the second floor. The room has a bed in the center against an outside wall, with a nightstand on one side. Posters for the Cosmic League, The Lamp of Night, and Babysitter Tails decorate his walls. Opposite his bed is the wall with more posters, shelves and a wardrobe. The wall with the window has a small built-in seat under the window. Part of the ceiling curves down in this section, being that the roof comes down, eaves. BIFF THE RABBIT sits on the floor next to a large smooth stone with a set of eyes drawn on it with marker. Spread around him are the large sheets of comics from the newspaper. Biff giggles at the comics and points out funny punchlines to the smooth stone.

BIFF’S MOTHER
(off-camera) “Biff, Dinner time.”

BIFF THE RABBIT
“Be right there Mom.”

Biff folds and sets aside the comics. He stands and moves towards the door. Rocky follows closely behind.

CUT TO

INT. DINING ROOM, EVENING
A large room. One large bay window along with smaller windows built on top of bookcases, ¾ of way up the wall. Dishes and glassware in the bookcases – more like cabinets with glass doors or display cases. Biff walks in and sits down next to his sister DIAN who is already sitting down. His younger brother JAFF walks in.

DIAN
(to Biff and Jaff) “Be on your best behavior. Mom and Dad are in a bad mood tonight.”

Biff is deep in thought and does not register her statement. He absent-mindedly nods.

THE CAMERA FOCUS SHIFTS FROM BIFF IN THE FOREGROUND TO THE KITCHEN IN THE BACKGROUND.

In the kitchen Biff’s parents, BIFF’S MOM and BIFF’S DAD, are plating the food and arguing. Ultimately the mom throws a plate down in anger and walks away. The dad says something with an angry expression and then starts to dish the food. The Mom rejoins them and they walk in and put food on the table. The food starts to be passed around.

FOCUS BACK ONTO BIFF IN THE FOREGROUND

Biff is looking at his plate and starts to mentally drift. A thought bubble appears over his head as the noise of the room fades out. In the bubble we see the comic Biff was reading earlier. A bowl of mashed vegetables can be seen being passed from Din to Biff. Biff takes it without thinking and absent-mindedly scoops some onto his plate as he remembers the comic strip. Each panel is shown in turn till we get to the final panel and the punchline. Biff lightly chuckles.

BIFF’S DAD
“You think this is funny?”

QUICKLY PAN, LIKE A SNAP, BACK TO LS OF TABLE

BIFF
“what?”

The brother and sister look away.

BIFF’S MOM
“Ricc.”

BIFF’S DAD
“No Debe. He’s laughing and that really bothers me. Does he think it was easy for you to put this food together? For me to find work. How little we have. (turns to Biff) Do you?”

BIFF
“I wasn’t laughing at you. I just remembered a joke.”

BIFF’S DAD
“That’s no excuse. You have your head in the clouds. Are you even capable of thinking of other people? Noticing how they feel, that maybe a laugh would be ill-timed.”

BIFF’S MOM
(to Biff) “Maybe it is best you go to your room now.”

Biff looks around the room. His face starts to scrunch up and he leaves the table.

MS OF BIFF IN THE CENTER OF THE SCREEN. KEEP THE CAMERA ON HIS CHAIR WHILE BIFF GETS UP AND LEAVES.

BIFF’S MOM
“Happy now?”

BIFF’S DAD
“Not really.”

CUT TO…

INT. BIFF’S BEDROOM, EVENING

LS OF ROOM FACING DOOR

The door opens and Biff rushes in. He closes the door behind him and jumps onto his bed. He stuffs his face into his pillow and starts to sob. One of his pillows falls off the bed from the recoil of his landing on the bed.

CUT TO CS OF BIFF

Biff’s sobbing dies down. He looks up to the rock on his bookcase.

BIFF THE RABBIT
“Why do I keep getting in trouble?”

Biff wipes his eyes and starts to straighten up his bed. He looks around for the missing pillow. He leans over the bed and sees it on the ground. As he picks it up he sees a spider on the pillow.

CUT TO CS OF SPIDER
CUT BACK TO CS OF BIFF

BIFF THE RABBIT
“Hey there little cousin. That’s not a safe place for you. Let me help.”

Biff scoops up the spider in his hand.

CUT TO LS OF BIFF’S BEDROOM. FACE THE CAMERA TOWARDS THE AREA BETWEEN THE BED AND WINDOWS, PLACING EACH AT THE EDGES OF THE FRAME, BUT STILL IN VIEW.

Biff gently scoots off the bed and walks over to his window. He opens the window.

CUT TO CS OF BIFF AT WINDOW.

Biff gently sets the spider down outside the window.

CUT TO XCS OF SPIDER CRAWLING OFF BIFF’S HAND

The spider slowly walks off Biff’s hand, testing the ground before fully committing.

THE CAMERA PANS OUT A SMALL BIT. AROUND THE EDGES OF THE FRAME CRYSTAL CAN BE SEEN.


TRANSITION FROM IMAGES IN THE CRYSTAL TO THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

CUT BACK TO CENTRAL LANDING OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

Zoom out a little bit so that we can see the scene in the crystal with the Space Egg watching it unfold. The Space Egg watches its face has a sad, concerned, interested look. A mix of equal parts concern and interest. The High-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 Five – a new script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 05

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-05”. 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. OFFICES OF DOUBLEWAY RENTAL PROPERTIES. DAYTIME
A subdued natural stone color building fills the stage. A set of doors rest just stage-left of center. Stage-right of center the building has a twin set of triangular protruding windows. Brickwork of darked brown can be seen over each door and window. Stenciled in gold letters with a black shadow on the doors is the following text: “Doubleway Rental Properties Inc.”. From off-stage we hear the sound of A CAR PULLING INTO A PARKING SPACE followed by CAR DOORS OPENING AND CLOSING. FOOTSTEPS grow louder preceding THOMAS TYPEWRITER entering stage-right. He crosses across the stage to the doors. He pulls open the closest door and goes inside. From stage-left a BUTTERFLY flies in and lands on the bricks above the windows. It flaps its wings as it warms itself in the sun.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM FRAMING THE MID-STAGE AND PANS UPWARD. AFTER GLIDING OVER THE TOPS OF THE MID-STAGE SETS, THE CAMERA ASCENDS ALONG THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. UP AND UP IT PANS. AT THE TOP OF THE CURTAIN OF CLOUDS IT SLOWS AS THE HIGH-STAGE SLIDES INTO VIEW. THE CAMERA FINISHES PANNING WHEN PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains are closed but open shortly. As they part the High-stage stage lights click on with the sound of A COMPUTER BOOTING UP revealing a scene already in progress.

HIGH-STAGE: INT. PHYSIO-THERAPY OFFICE 505
A small desk sits on the stage-right side of the room. Bare walls, a soft pastel beige-pink divided by a wide horizontal white stripe, move stage-left and stage-right from the corner of the room behind the desk. On the walls are various medical posters related to physical therapy and therapeutic exercises. IASO FLAUTO sits at the desk, dressed in a white medical coat, hair up in a bun, fiddling with her small mirror-shaped medical scanner. Sitting in the front of the desk are the three Medi-pods housing LUCIDO OBSIDIAN, CEDAR WAXWINGS, and CARRO.

IASO FLAUTO
“And everyday we will meet to complete physical therapy.”

CEDAR WAXWINGS
“I don’t understand.”

LUCIDO OBSIDIAN
“Yeah, why physical therapy? How are we suppose to do that in these egg coffins.”

CEDAR WAXWINGS
“Isn’t the Medi-Pods repairing us. We’ll be fine when we get out.”

IASO FLAUTO
“Unfortunately no Cedar. To answer both of your points, yes the Medi-Pods will repair your bodies, and while yes it seems silly to ask you to conduct physical therapy while inside them, it is how they were designed. Normally your injuries would require surgery, a period of convalescence, and then another period of physical therapy and strength rebuilding. The Medi-Pod allows the two stages, healing and recovery, to overlap. ”

CARRO
“But why am I in one. I don’t have a body.”

IASO FLAUTO
“That used to be true. Solar/Lunar decided with your Sparkship shell lost, and honestly guys how’d you crash a Sparkship? A fleet of over one-hundred ships and only one has ever crashed. Yours.”

CEDAR WAXWINGS
“Now hold on, we didn’t crash the ship.”

LUCIDO OBSIDIAN
“Yeah, something hit the ship.”

IASO FLAUTO
“I mean, you guys should be worrying more about why you are not in jail instead of why the Doctor is telling you you have to do physical therapy.”

CARRO
“Oh.”

CEDAR WAXWINGS
“Why are we not in jail?”

IASO FLAUTO
“Heck if I know. Maybe cause coma victims make poor prisoners. Maybe Solar/Lunar is too embarrassed they lost a ship. Who knows. Not my concern.”

CEDAR WAXWINGS
“My dad. My dad is the embarrassed one. He’d never let it get out his son crashed one of his precious ships. Easier to put us here.”

LUCIDO OBSIDIAN
“So, who’s paying for all this.”

IASO FLAUTO
“The Solar/Lunar Fleet”

LUCIDO OBSIDIAN
“Oh.”

IASO FLAUTO
“Right now what is important is that we get you three healthy and healed, and in Carro’s case into a new body. Therapy starts tomorrow morning after breakfast. You can have the rest of the day to yourselves.”

Iaso presses a button on the mirror on her desk.

IASO FLAUTO
“Panacia, we’re done here.”

PANACIA FLAUTO
(off-screen) “I’ll be right there.”

IASO FLAUTO
“That is all for today gentlemen. If you wouldn’t mind waiting outside for Panacia, I have another appointment.”

The three Medi-pods wander out of the medical office. Once they are gone, Iaso turns to the large mirror behind her.

IASO FLAUTO
“Mirror, Mirror on the wall who needs forgiveness today.”

The mirror shifts and shimmers changing from reflecting the medical office to showing the Forgiving Place. Fiery light cast on the edges.

IASO FLAUTO
“Interesting. I’ll be over shortly.”

The High-stage stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETACHES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES OVER THE CURTAIN OF CLOUDS, DESCENDING LOWER AND LOWER. IT MOVES OVER THE TOP OF THE MID-STAGE SETS AND DOWNWARD FURTHER UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: EXT. THE DOUBLEWAY RENTAL PROPERTIES OFFICES. DAYTIME
A not-quite two-story pale brown brick building fills most of the stage. It ends just short of stage-right while extending out of sight of stage-left. Double-doors of glass, with the Doubleway Rental Properties logo painted just off-center. To the other side of center, stage-right side, three windows, each of a triangular prism form, jut out from the building. Red brick arches curve over the doors as well as each window. A butterfly rests on the side of the building sunning itself. THOMAS TYPEWRITER exits the building through the double-doors coming into our view. He is carrying a stack of papers. Thomas walks stage-right exiting off stage. From off-stage we hear the sound of CAR DOORS OPENING AND CLOSING, AN ENGINE TURNING ON, and lastly, A CAR DRIVING AWAY. The butterfly on the side of the building leaves the side of the building, flying around the stage. It flies upward, exiting by flying past the edge of the framing image. The stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 04

By Thomas Typewriter

(c) 2020

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-04”. 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 UNDECORATED SPACE

The unroom, and by extension the screen, sits dark. A soft light turns on in the unroom Not.Seven. A few of the details regarding the unroom become visible: the wooden disc in the center of the room, the rows of grey carpet arranged around the disc, and the thin spindly lamps at the end of the carpet rows.

THE CAMERA IS CURRENTLY AT THE POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISC.

THE CAMERA LOOKS DOWN.

A hand comes into view. It is the hand of THE OUTER ONE. This will be same hand that suffered a papercut from the scriptbook in a previous episode. The ends of the fingers are not fully there anymore. Bits of flesh are missing, replaced by glowing text and numbers. The whole hand glitches. The Outer One rotates their hand examining the changes. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-frame.

THE CAMERA LOOKS UP.

The wooden disc sits empty and dim. Unseen lamps over the disc flip on. The TYPEWRITER ABSTRACT PUPPET STAGE suddenly appears in the light.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN FROM THE OUTER ONE’S POV TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

CONTINUE TO PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, SPECIFICALLY THE MID-STAGE AREA. THE CAMERA WILL CONTINUE TO ZERO IN ON THE MID-STAGE UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED

The curtains of Mid-stage part. As they open, the Mid-stage’s stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME

A wooden front porch runs along the width of the stage. A front door sits to the stage-right side. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the rails. An outdoor thermometer can be seen next to the door. It reads 31 degrees Fahrenheit.
THOMAS TYPEWRITER kneels on one knee in front of OPHIDIA OPERAHOUSE. They are near the door. He holds up a small jewelry box.

OPHIDIA OPERAHOUSE
“Are you proposing to me?”

THOMAS TYPEWRITER
“Yes, and before you answer let me say that your prospects with me don’t look good. Every studio has turned down my scripts, I really have no other job skills, and I will soon be completely broke. I strongly suspect something is broken inside me, something that you or me lack the skills to fix. I am at an utter loss.”

OPHIDIA OPERAHOUSE
“Really. That’s your sales pitch. Marry me, my life is horrible. Am I the lifesaver for the drowning man in this scenario.”

THOMAS TYPEWRITER
“Among other things.”

OPHIDIA OPERAHOUSE
“And you thought I’d fall for that.”

THOMAS TYPEWRITER
“I really didn’t think that far. I just sat in my apartment after the studios dropped my script options and was thinking about what I had lost, and I was more scared that the most interesting, intelligent, thoughtful, sexy person would, could, be out of my life. (pauses) I love you, I need you, please marry me.”

OPHIDIA OPERAHOUSE
(leans over and kisses him on the top of his head) “Of course, I’ll marry you, you weirdo.”

THOMAS TYPEWRITER
“AWESOME!”

He puts away the jewelry box, stands, then embraces Ophidia. She breaks away to ask a question.

OPHIDIA OPERHOUSE
“Let me see the ring?”

THOMAS TYPEWRITER
“What ring?”

OPHIDIA OPERHOUSE
“The engagement ring. The one in that box?”

THOMAS TYPEWRITER
“I don’t have a ring. The jewlery box was for dramatic effect.”

OPHIDIA OPERHOUSE
“Will there be a ring in the future.”

THOMAS TYPEWRITER
“Maybe. Probably.”

They kiss.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA TRANSITIONS FROM MID-STAGE TO HIGH-STAGE. IT PANS UPWARD PAST THE TOP OF THE SETS OF MID-STAGE, ALONG THE CURTAIN OF CLOUDS THAT LINES THE BACK OF THE STAGE, UP TO THE HIGH-STAGE. THE CAMERA ENDS ITS PAN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Out walks Y-MOUSE, ice pack held to head with one hand, glass of water in the other. He puts down the glass and ice pack. Searching his pockets he finds a packet of medicine. He tears it open and pours the contents into the glass.

CUT TO EXTREME CLOSE SHOT OF THE GLASS Y-MOUSE BROUGHT OUT.

Two effervescing tablets fall in. The tablets bubble as they slowly sink to the bottom.

CUT BACK

Y-Mouse picks up the glass, giving it a swirl before drinking it. He then reaches for the ice bag, lifting it to his head. He takes a sip. The bubbles tickle his nose and he grimaces. He turns to the camera as if to say something, pauses, then changes his mind. Turning, Y-Mouse exits through the narrator’s door. It closes. The High-Stage curtains part. The High-stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: INT. ROOM 302 ON THE MEDICALSHIP THE FLUTE, DAYTIME

A stark room of space-age plastic accented by baroque woodwork. Three Medi-pods are distributed evenly across the room. Two smooth metallic doors sit between the pods. One door is the entrance door to room 302, the other is the door for the bathroom. A large curving window sits to stage-left running up and out of sight. Outside the window, a starscape tumbles by. On the other side of the room, stage-right, stands a vid-screen wall. PANACIA THERAPUETAE enters the room, Medical Maestro device tucked under her arm. She walks over to the furthest Medi-pod, removes the Medical Maestro’s stylus and presses it against the Medi-pod.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Cedar Cornelius Waxwings
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Cedar. The left side of his face and chest blink bright red representing his injured areas. His left arm blinks a dark red.

CUT BACK

Panacia walks over to the next Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: CARRO SHIP-TELLIGENCE BRAINBOX
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Carro’s rectangular brainbox. Circles of bright red blink across the outline

CUT BACK

Panacia walks over to the last Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Lucido Cinnabar Obsidian
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Lucido. His legs blink dark red.

CUT BACK

A panel on the wall starts to blink while Panacia reads the last status report on the Medical Maestro. A soft BEEP BEEP can be heard. She looks up and notices the blinking panel. Panacia walks over to the blinking panel. She touches it with the stylus from her Medical Maestro. The other end of the Medical Maestro she places against her head, much like a phone.

PANACIA THERAPUETAE
“Maestro, answer call please. Hello. Oh hi Dad. Yeah they’re stable. Their injuries were pretty critical but the Medi-pods will be able to handle most of it. It will just take awhile. Sure. Sure. Okay. We’ll need to set up appointments with Iasa soon. Maybe in one week, but could be three or four.”

In the entry door we see ELDER GRIM walking past. He is wheeling an old man, MINTHRIL MUSTACHE, in a wheelchair. Panacia notices them

PANACIA THERAPUETAE
“Bubblegum! Those lollypopping kids of death are here. Dad, I’ve got to go.”

She puts the Medical Maestro in her pocket and chases out the door.

PANACIA THERAPUETAE
(off-camera) “Hey leave him along. Get! Get out of here!”

A few moments pass and then we see Panacia wheeling Minthril Mustache back down the hallway.
The lights turn off with the sound of A COMPUTER TURNING OFF and the High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM HIGH-STAGE TO THE CLOUD OF CURTAINS BELOW. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS DOWN TO THE TOP OF THE MID-STAGE SETS. GLIDING OVER THE TOPS FO THE SETS IT FINALLY SETTLES PROPERLY WHEN FRAMING MID-STAGE.

MID-STAGE: OPHIDIA OPERAHOUSE’S BEDROOM

The view is of an overhead shot on Ophidia’s bed. Her two nightstands can be seen on either side of the bed. One has a lamp and alarm clock. The other has various stuffed animals. In the bed lay OPHIDA OPERAHOUSE and THOMAS TYPEWRITER in embrace. Ophidia is sleeping peacefully. Thomas is not. He looks up at the camera and stares, unable to relax and sleep. He stares up at the camera.

THOMAS TYPEWRITER
(voice-over) “What have I done?”

Ophidia moves in her sleep rolling over and putting her arm around Thomas. He looks down at her, puts his arm over hers. The tension in his face drains away.

THOMAS TYPEWRITER
(voice-over) “Maybe the best thing possible.”

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

FADE OUT

The Great Works Project: Season Two, Episode Ten script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Ten

By Thomas Typewriter

(c) 2020 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-10”. 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
The unroom Not.Seven is a vast space, a cavern of small and large. A wooden disc sits in the center, surrounded by waves of multi-hued grey carpet squares. Tall spindly metallic lamps attempt to illuminate the room.

OPEN IN POV OF THE OUTER ONE

THE OUTER ONE sits on a carpet square looking at the wooden disc in anticipation. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from some place far away by way of the wooden disc.

THE CAMERA MOVES OUT OF THEN INTO FOCUS

Unseen lamps above the wooden disc click on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON MID-STAGE UNTIL IT FILLS THE SCREEN AND IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED
The curtains part and the stage lights turn on, with the sound of A LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
A desk sits in the center of the stage topped by a typewriter and a ream of paper. A book, a phone, and a pair of headphones sit on top of the paper. A sheet stands ready and loaded in the typewriter. A lamp waits to the stage-right side of the desk, a wastebasket pauses stage-left. A small bookcase, adorned with various houseplants, watches skewed off to the stage-right side. THOMAS TYPEWRITER is sitting at the desk looking off to the side, lost in thought. As his mind drifts, his fingers tap on the desk. TAP…TAP…TAP…

CUT TO CS OF THOMAS’ FINGERS TAPPING ON THE DESKTOP AS THEY SLOWLY DRIFT TOWARDS THE TYPEWRITER

TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…CLICK AS A TYPEWRITER KEY IS PRESSED. Thomas’ fingers pause. Then a second keystroke and CLICK.

CUT BACK

Thomas rotates into the desk and opens a drawer. He pulls out a small jewelry box and sets it next to the typewriter. Looking at the box for a moment he turns to the typewriter and starts to type.

THOMAS TYPEWRITER
(narration) “Biff found his life slipping out of control, and he felt scared.”

Thomas turns from the typewriter and pulls out a book, “Latchkey Kids of Randomness”, from his desk. He opens the book, carefully setting the bookmark to the side, and starts to read.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FORM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT CONTINUES PANNING UPWARDS, FOLLOWING THE CURTAIN OF CLOUDS. THE CAMERA MOVES TO THE TOP OF THE CURTAIN OF CLOUDS FINALLY STOPPING FRAMING THE HIGH-STAGE LOCATED AT THE TOP OF THE CURTAIN OF CLOUDS. IT STOPS PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The curtains part and the stage-lights turn on with the sound of A COMPUTER POWERING ON, revealing…

HIGH-STAGE: INT. THE CARRO’S OBSERVATION DECK
The Observation Deck is in a sad state, showing signs of excessive damage from the recent space storm. Wires hang from the ceiling. Scattered debris covers the floor. The amber emergency alarms are now dim. Smoke pours in from off-stage. A spiderweb of cracks are visible in the observation window. The sound of GLASS CRACKING resonates across the stage.

CUT TO CLOSER SHOT OF THE CRACKING OBSERVATION WINDOWS

The cracks grow and grow till the window shatters. The Observation Deck decompresses. ROARING WIND as all the loose unsecured items are sucked out the window. Soon the ROAR SUBSIDES as the last of the atmosphere escapes. Small bits of debris float by weightlessly.
ARG-0519, a diamond shaped Sat-bot in the employ of the Jovian, moves past the window casting a spotlight from it’s diamond like central eye across the deck. It scans the room then flies off. A few moments later a large simian-like gloved hand grabs the edge of the window.

CUT TO CS OF THE GLOVED HAND

The image cuts to black with the sound of A COMPUTER TURNING OFF. The High-stage curtains soon follow, closing on today’s episode.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT MOVES TO THE CURTAIN OF CLOUDS, FOLLOWING IT TO THE BOTTOM. THE TOPS OF THE MID-STAGE SETS SLIP INTO VIEW. THE CAMERA CONTINUES DOWNWARD TILL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas sits at his desk reading. He reads a few pages then rotates toward his typewriter. Holding his place in the book with one hand, Thomas uses his other hand to hunt and peck at the keyboard.

THOMAS TYPEWRITER
(narration) “But still he moved forward.”

Thomas stops typing and resumes reading. The stage lights turn of with the sound of A LIGHT SWITCH CLICKING OFF, to which Thomas reaches over and turns on his lamp. The Mid-stage curtains close.

FADE OUT