The Great Works Project: Season 03, Episode 02 script

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts
Season 03, Episode 02

By Thomas Typewriter
(c) 2020

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-02”. 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. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE
The unroom Not.Seven fades into view. Squares of grey hued carpet sit on the floor, arraigned in expanding rows around a central circular wooden disc. Spindly lights help illuminate the grey-hued space.

THE CAMERA IS SITUATED IN THE UNROOM AT THE POV OF THE OUTER ONE SITTING ON ONE OF THE CARPET SQUARES LOOKING AT THE WOODEN DISC IN FRONT OF HIM OR HER.

The wooden disc appears empty but then unseen lamps turn on. THE TYPEWRITER ABSTRACT PUPPET STAGE slowly materializes in the center of the disk.

TRANSITION FROM THE UNROOM TO MID-STAGE

THE CAMERA PANS IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE. THE CAMERA STOPS PANNING ONCE THE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED.
The pleated curtains of Mid-stage fill the picture frame. The curtains part and the stage lights turn on with the CLICK OF A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. PORCH OF THE BEIGE HOUSE, DAYTIME
The Beige House is a large block of a home in a rural setting. The back of the house runs across the stage, brown siding broken by a storm door and a simple window. The storm door opens onto a rail-less wooden deck. A clothesline hangs off the stage-right side. Various BIRDS SING AND CRICKETS CHIRP in the background. THOMAS TEENAGER bursts on stage through the storm door. Gripping his head, he walks off stage stage-right. The curtains close. It soon reopens revealing…

MID-STAGE: EXT. BACK PASTURE, DAYTIME
Tall blades of alfalfa and wildflowers spread across the stage, gently swaying in the soft breeze. The SINGING OF SONGBIRDS AND CHIRPING OF CRICKETS floats louder across the stage. THOMAS TEENAGER enters stage-left. Gripping his head, he stumbles to the center of the stage.

THOMAS TEENAGER
“No. Not now.”

…All sound fades away…

THE RIGHT SPIRITUAL, a glowing right-handed arm reaches down from the top of the stage. It grips Thomas Teenager by the back of the neck. THE LEFT SPIRITUAL, a glowing left-handed arm descends from the top of the stage. It is holding a pitcher filled with liquid light.
Thomas attempts to struggle free, but the Right Spiritual tightens its grip. The Left Spiritual sets down the pitcher of the stage. It then opens the top of Thomas Teenager’s head like a jar. Picking up the pitcher, it pours the glowing liquid into Thomas’ head.

THOMAS TEENAGER
(screams)

THE SCREEN FADES TO WHITE.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA STARTS TO PAN UPWARD, THROUGH THE WHITE. THE CURTAIN OF CLOUDS EVENTUALLY EMERGES THE HIGHER THE CAMERA PANS. IT KEEPS PANNING UPWARD, MOVING ALONG THE CURTAIN OF CLOUDS, TILL REACHING THE HIGH-STAGE. THE CAMERA STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED
The Narrator’s Door opens and out steps Y-MOUSE. He steps forward, and wobbles. He grips the side of the Narrator’s Door to steady himself.

Y-MOUSE
“Ughh. (pauses) Did everything go too bright for you too? Feeling nauseous, Give me a moment.”

Y-Mouse leans over and takes a couple deep breaths.

Y-MOUSE
“Let’s try this again. Is a moment the movement of a clock, bits of now slipping by, or is it something more. A distance of self applied over a landscape oh no…”

Y-Mouse covers his mouth. He jerks. Y-Mouse swiftly exits via the Narrator’s Door. It closes.
The curtains part and the stage lights turn on with the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. THE SPACE EGG
THE INNER-SPACE MAN sits inside the interior of the SPACE EGG. A control panel and view screen sit in front of him. The control panel has a simple LED display in the center. It bears a circle bisected horizontally by a line design motif. The view-screen bears the same design motif. Various shaped hexagonal buttons surround the LED screen on the control panel.
The Inner-Space Man, sporting a long grey beard and long grey hair, is slapping his face. His body is completely mobile, except for his head, which is frozen looking slightly downward at the control panel.

THE INNER-SPACE MAN
“Come on, come on…”

He grips the sides of his head and tries to twist it free.

THE INNER-SPACE MAN
“Why is my head taking longer?”

THE SPACE EGG
(sounding like a slowed down record) “Don’t know. None of this makes sense to me.” (Note that any dialogue the Space Egg speaks also scrolls as text across the LED screen in the center of the control panel.)

THE INNER-SPACE MAN
“Hang tight my ovidian ovoid friend. A little longer and I’ll finish my metamorphosis from frozen dinner to free range chicken ala king. And then it’ll be your turn.”

THE SPACE EGG
(continuing to sound like a slowed down record)”No rush. Not like I am going anywhere.”

The Inner-Space Man continues to rub his head in an effort to lodge it loose from it’s frozen state. As he continues, one of his ears twitches. The stage lights turn off to the sound of A COMPUTER TURNING OFF. The curtains close on High-stage.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM HIGH-STAGE. IT FOLLOWS ALONG THE CURTAIN OF CLOUDS, WHICH SLOWLY FADES TO A SCREEN OF ALL WHITE. THIS WILL BE THE REVERSE OF THE EARLIER TRANSITION FROM MID-STAGE TO HIGH-STAGE. ONCE THE SCREEN HAS BECOME ALL WHITE.

MID-STAGE: EXT. BACK PASTURE, DAYTIME

DISSOLVE TO AN EXTREME CS OF THOMAS TEENAGER’S FACE, SPECIFICALLY HIS CLOSED EYES.

The sound of BIRDS SINGING AND CRICKETS CHIRPING slowly returns. Thomas’ eyes blink open.

CUT TO FRAMING SHOT OF MID-STAGE

THOMAS TEENAGER is lying in the middle of the stage, having fallen over into the alfalfa and wildflowers. The RIGHT SPIRITUAL and LEFT SPIRITUAL can be seen retreating from view. Thomas sits up, wiping away stray tears. He sits a moment and listens. Listens to the birds. Listens to the crickets.

THOMAS TEENAGER
(sighs)

Thomas stands. He takes a moment to steady himself and his viewpoint. He watches as BIRDS enter from stage-right and fly across the stage. They dance in the air around him. A smile slowly spreads across his face. The birds exit stage-left. Thomas Teenager follows them leaving stage-right. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING. The Mid-stage curtains close.

FADE OUT

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

———–<: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.

The Great Works Project: Season Two, Episode Twelve script

Puppet play, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Twelve

an Epilogue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-12”. 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: “an epilogue”. 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

THE TYPEWRITER ABSTRACT PUPPET STAGE
We open this episode already focusing on the TYPEWRITER ABSTRACT PUPPET STAGE.

THE CAMERA FRAMES THE MID-STAGE AREA

MID-STAGE: THOMAS TYPEWRITER’S APARTMENT’S KITCHEN
On stage-right, sits a refrigerator, with a few houseplants on top. Center-stage sits a stove, with two pans on top, next to a counter top and sink. On stage-left sits THOMAS TYPEWRITER at his small kitchen table, with a plate of pasta and a plate of salad. He spins a small jewelry box, lost in thought.

CUT TO A XCS OF THE JEWELRY BOX SPINNING

The Mid-stage Curtains close on the shot of the jewelry box.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM.

THE CAMERA PULLS OUTWARD, PANNING FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM NOT.SEVEN

INT. UNROOM NOT.SEVEN

PAN OUT FROM THE MID-STAGE TO THE OUTER ONE’S POV.

The OUTER ONE sits on one of many carpet squares arranged around a wooden disc in the center of the Unroom Not.Seven. The carpet squares spread out like chairs in an auditorium. The wooden disc, the focus of the Outer One’s attention, sits with the Typewriter Abstract Puppet Stage standing center. Unseen lamps above it illuminate, though not for long. Once the Mid-stage curtains close the unseen lamps turn off. The Typewriter Abstract Puppet Stage disappears, leaving the wooden disc empty.

POV OF THE OUTER ONE WATCHING THE STAGE

The Outer One tries to stay focused, but his/her attention starts to waver.

POV OF THE OUTER ONE LOOKING AROUND THE ROOM TAKING IN THE SPINDLY METALLIC LAMPS, THEIR SNAKING CORDS, THE DISTANT WALLS, AND THE DISTANT CEILING WITH ITS ANGULAR CHANDELIERS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-screen.

POV OF OUTER ONE RAPIDLY LOOKING BACK TO THE WOODEN DISC.

Unseen lamps over the wooden disc flicker to life, taking two or three attempts to light before projecting at full illumination. The new light reveals the return of the Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

As the camera nears the Mid-stage, the Mid-stage curtains part revealing an empty stage. The Curtain of Clouds is fully visible, no longer obscured by any of the Mid-stage sets.

TRANSITION FROM MID-STAGE TO BACK-STAGE

THE CAMERA CONTINUES PANNING IN, ENTERING THE MID-STAGE AREA

The Curtain of Clouds parts revealing…

THE CAMERA CONTINUES PAST THE OPEN CURTAIN OF CLOUDS, STOPPING WHEN PROPERLY FRAMING THE SPACE BEHIND

THE BACK-STAGE: THE CONCURRENT DISTANCES

The back-stage is an empty black field. No illumination. No decoration. No sets. DREAM-BUBBLES, with their soft glow, float down from the stage-top and across the stage. Into this peaceful scene from stage-right, runs THE MAIDEN. Pursuing her is a YUCK-BUBBLE, specifically the Dream-bubble she accidentally injured in Season 02, Episode 0. As it pursues her it bumps into the Dream bubbles. Each Dream-bubble touched by the Yuck-bubble shakes and changes. Their inner illumination darkens to a sickly yellow-green and their sides dent becoming Yuck-bubbles. They join in the pursuit of the Maiden.

They chase her off-stage stage-left. She shortly re-emerges followed by the flock of Yuck-bubbles. She flees off-stage stage-right this time. After a brief pause the Maiden and her pursuers re-enter stage-right. She reaches mid-stage and trips. Scraping her knee, she softly sobs.The Yuck-bubbles stop, confused by her tears. Cautiously, they approach. The Maiden calms down and wipes her eyes. She looks at the Yuck-bubbles. Truly looks, as if seeing them for the first time.

THE MAIDEN
(to the first Yuck-bubble) “You know what it’s like to be hurt don’t you?”

The first Yuck-bubble flickers and nods yes.

THE MAIDEN
“It was me wasn’t it. I hurt you. Didn’t mean to, but did.”

The first Yuck-bubble flickers and nods yes again.

THE MAIDEN
“I’m sorry. You were so beautiful and I wanted to look at you. I didn’t mean to hurt you. I hope you can forgive me.”

She moves closer and lightly kisses the first Yuck-bubble. It shudders and then it changes color back to the original Dream-bubble color. The other Yuck-bubbles then start shudder and change color. The healed flock surround the Maiden before flying off. When they move away we see the Maiden has been replaced by THE MOTHER. She watches the dream bubbles float away absentmindedly rubbing her belly.

The Curtain of Clouds closes on the Back-Stage.

TRANSITION FROM THE BACK-STAGE TO THE MID-STAGE

THE CAMERA PANS OUT. PAST THE CURTAIN OF CLOUDS AND PAST THE MID-STAGE CURTAINS
MID-STAGE: EMPTY STAGE

The Mid-stage curtains close.

TRANSITION FROM MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

THE CAMERA CONTINUES TO PAN OUT RETURNING TO THE POV OF THE OUTER ONE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off. It disappears from the disc leaving it empty. The Unroom returns to dimness.

POV OF THE OUTER ONE LOOKING AT THE STAGE, REALIZING THE SHOW IS OVER, AND THEN LOOKING DOWN AND TO THE SIDE.

Sitting on the carpet square next to him/her, the Outer One sees a book. An elaborately simple book with the following written across the cover:

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

the complete and the all scripts

By Thomas Typewriter

———–<:type:>———–

The Outer One’s hand reaches out and picks up the book. They examines the cover, running his/her hand across the cover and spine as the episode ends.

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

———–<: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

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 Nine

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-09”. 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

INT. THE UNROOM NOT.SEVEN
THE OUTER ONE sits patiently on a small square of carpet in the Unroom Not.Seven. The patches of carpet radiate out from a wooden disc in the potential center of the unroom like waves ripples on a pond.

POV OF THE OUTER ONE LOOKING AT FLOOR

The Outer One has out all his/her golden coins. They are on the floor in a stack. They glint in the soft light cast from the spindly metallic lamps at the end of each row of carpets. TYPEWRITER KEYS CLICK CLACK. The Outer One picks up his/her coins and puts them away.

POV OF THE OUTER ONE AS THEY STAND AND MOVE.

Then they scoot up a few rows to a closer seat to the wooden disc.

POV OF THE OUTER ONE SITTING DOWN AND THEN LOOKING AT THE WOODEN DISC.

The disc sits empty and cloaked in shadow. The metallic lamps do not quite seem able to light the stage, their illumination giving the feeling of bouncing off it. Unseen lamps above the wooden disc flip on changing the view ever so slightly that the TYPEWRITER ABSTRACT PUPPET STAGE materializes in the center of the wooden disc.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED
The Mid-stage 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. DAYTIME
THOMAS TYPEWRITER sits at his writing desk in the center of the stage, reading “Latchkey Kids of Randomness” by John W. Wheelwright. A typewriter and ream of paper sit on top of while a lamp and wastebasket sit on either side of the desk. Behind him, and off to stage-right stands a small bookcase adorned with various houseplants.

Hold on him reading for three to five minutes as he shifts back and forth. A PHONE VIBRATES breaking the serene scene. Thomas removes the phone from his pocket and answers it.

THOMAS TYPEWRITER
“Hello, yes this is Thomas. Oh hi Mark. Sure, I have a minute.(puts a bookmark in the book and closes it) So what’s the good news.” (stands up and starts to pace)

TRANSITION FROM THE MID-STAGE TO HIGH-STAGE

THE CAMERA SHAKES LOOSE FROM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE MID-STAGE SETS TO SEE THE CURTAIN OF CLOUDS LINING THE BACK OF THE STAGE BEHIND THE SETS. IT CONTINUES TO PAN UPWARD FOLLOWING THE CURTAIN OF CLOUDS. IT MOVES TO THE TOP OF THE CURTAIN TO WHERE THE HIGH-STAGE IS LOCATED. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains, as also the Narrator’s Door, are closed. On the edge of the High-stage, with feet dangling over the edge, sits GRIGIO COLORI reading a scriptbook. If we look closer we can see that he is reading the scriptbook for the complete series of “The Great Works Project”.

GRIGIO COLORI
(to self) “So that’s what happens next.”

The High-stage curtains start to part. Grigio sets the scriptbook on the floor. He stands and stretchs. The curtain finishes opening. Grigio misses this but we can just see that the curtain has caught the scriptbook and dragged it off to the side. It falls out of view, over outside the frame. The stage lights turn on, with the sound of A COMPUTER BOOTING UP, revealing…

HIGH-STAGE: INT. THE CARRO OBSERVATION LOUNGE
The Observation lounge is in a sad state, showing signs of excessive damage from the celestial storm. Wires hang from the ceiling. Scattered debris covers the floor. Dim amber emergency alarms blink through the smoke pouring in from off-stage. CARRO’S terminal is toppled over. CEDAR WAXWINGS lies pinned by the arm under rubble stage-left while LUCIDO OBSIDIAN is pinned by his legs under a fallen terminal stage-right. Lucido has one hand resting on his guitar.

GRIGIO COLORI
“Well this seemed a lot worse in the script. (looks around) Time to be a hero.”

Grigio shimmers and his body gains a red and blue stripe replacing two of his grey stripes. He shimmers a second time. The red and blue stripes have returned back to grey but AZURE COLORI and ROSSO COLORI now stand next to him. They exchange knowing nods.

Grigio walks over to Carros’ terminal. He looks through the rubble for Carro’s brainbox.
Meanwhile Azure Colori heads over to Lucido and puts his hands on him. A blue spotlight illuminates them while a METALLIC SPARKLE plays in the background. The spotlight and spakle turn off.
At the same time, Rosso walks over to where Cedar is pinned and kicks the debris off-stage. It arcs up and out of sight. He scoops up Cedar. He then walks over and kicks the debris off Lucido. The terminal crashes off stage. Azure scoops up Lucido.

There is a CRACKING SOUND LIKE A GUNSHOT. Grigio turns…

CUT TO CS OF THE GLASS CRACKING

CUT TO CS OF GRIGIO’S EYES IN SURPRISE…

CUT BACK…

GRIGIO COLORI
“Well gentlemen, looks like our time grows short. The Music Pit is too far, but our rainbows should be able to reach the Flute.”

He finds Carro’s braninbox and walks over to the rest of the group. There is a shimmer and they all disappear in a grey, blue, & red rainbow.

CUT TO MS OF THE OBSERVATION WINDOW AS IT STARTS TO SPIDERWEB WITH CRACKS.
CRACK CRACK CRACKLE

The window shatters outward. The atmosphere starts to escape through the window sucking out all the air and loose debris. The loose wires are pulled taunt towards the open window. The stage lights turn of with the sound of A COMPUTER SHUTTING DOWN and the curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, DISENGAGING FROM HIGH-STAGE TO TRANSITION TO THE CURTAIN OF CLOUDS. IT CONTINUES TO FOLLOW THE CURTAIN DOWN TO THE MID-STAGE SETS. IT SLIDES OVER THE TOP OF THE MID-STAGE SETS TO FINALLY STOP WHEN PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO. DAYTIME
THOMAS TYPEWRITER paces while speaking on the phone.

THOMAS TYPEWRITER
“So they’ve let the options expire. Okay, that sucks. What about one of the other studios. No. Really no one is interested. Okay, that sucks. Yeah, I know no guarantees in life. Yeah, I’ll be fine. Maybe. I might have something new. Not sure yet. I’ll let you know. Thanks. You too. Talk to you later. Bye.”

Thomas sets his phone down. He sits down in his chair, facing off to the side slightly. He does not finish scooting it in, but instead just stares out lost in his thoughts.

The stage lights turn off with the sound of A LIGHT SWITCH CLICKING while the curtains close.

FADE OUT

The Great Works Project: Season Two, Episode Eight script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Eight

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-08”. 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

INT. UNROOM NOT.SEVEN

XCS OF GOLDEN COIN

THE OUTER ONE fidgets with one of their golden coins missing out on the details of the unroom Not.Seven surrounding him/her. The coin spins and flips over finger after finger.
If the Outer One were to look up, they would see a large cavernous space of indistinct corners. A wooden disc sits in what feels like a possible center of the unroom. Cascading out from the wooden disc, rows and rows of grey hued carpet squares spread out like waves from a splash. At the edges of each crest stand tall spindly metallic lamps of a soft illumination. The sound of TYPEWRITER KEYS CLICK CLACKING drifts into from outside the frame of reference.

THE XCS TRANSITIONS TO A POV OF THE OUTER ONE. USE AN EFFECT TO MAKE IT SEEM AS IF THE OUTER ONE’S VISION READJUSTS.

THE POV TURNS AS THE OUTER ONE LOOKS UP AT THE WOODEN DISC.
The wooden disc sits empty dressed in shadows. Unseen lamps click on above the disc. In the newly cast light THE TYPEWRITER ABSTRACT PUPPET STAGE appears.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.
MID-STAGE: CURTAINS CLOSED
The Mid-stage 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 with a typewriter and a ream of paper. To either side sits a lamp and a wastebasket. A small bookcase sits off to the stage-right with various house plants on top.
An ALARM CLOCK sounds off-stage. The stage lights come up to a dim level. THOMAS TYPEWRITER enters from stage-right and walks across the stage and exits stage-left. Shortly thereafter a TOILET SEAT LIFTING, URINATION, then A TOILET FLUSHING. The FAUCET TURNS ON AND OFF as Thomas washes his hands. He reenters from stage-left and walks over to the desk yawning and stretching. Removing the page from the typewriter, Thomas reviews what is written on it as he sits down at the desk.

THOMAS TYPEWRITER
“Alright, let’s see where I left off.” (with a more dramatic voice) “The curved view screen displays a vast swirling colorscape only made more abstract by the Space Egg’s velocity.” (taps his fingers on the desk as he thinks) “Okay what happens next. Whats next. Hmmm. Hmmm “ (starts to absentmindedly swivel his chair left and right) “Space Egg , multi-colors, velocity…”

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA UNCOUPLES FROM FRAMING MID-STAGE AND PANS UPWARD. IT MOVES OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT MOVES UP THE CURTAIN OF CLOUDS TO THE TOP AND THE HIGH-STAGE SITUATED THERE. THE CAMERA STOPS PANNING ONCE HIGH-STAGE IS PROPERLY FRAMED.
HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains part and the stage lights turn on, with a sound like A COMPUTER BOOTING ON, revealing…
HIGH-STAGE: EXT. FAR EDGE OF THE FOURTH ZONE OR OUTER SPACE
The Narrator’s door opens. Y-MOUSE walks out.

Y-MOUSE
“Tossed about, struck and striked, that little ship finds itself beyond safety’s reach.”

A model of THE CARRO flies unevenly across the stage. Fill the stage with fog to represent the storm the Carro is caught in. Flashes of light go off in the fog as THUNDER BOOMS.
The curtains close then reopen revealing…
HIGH-STAGE: INT. THE CARRO OBSERVATION DECK
The Observation Deck is severely damaged from when we last saw it in Season One. Wires hang from the ceiling. Bright amber alarm lights blink. CARRO’S terminal has fallen over, as have the other terminals trapping CEDAR WAXWINGS and LUCIDO OBSIDIAN in the debris. Cedar is trapped down stage-left while Lucido is pinned down stage-right. Cedar is laying on his back with his left arm caught under the debris. Meanwhile Lucido is stuck on his belly with his legs pinned. Storm clouds with flashes of lightning can be seen outside the observation windows behind Carro’s terminal.
Lucido is the first to stir. He looks around taking a moment to realize where he is and what has happened.

LUCIDO OBSIDIAN
“Cedar. Carro. You okay.”

Lucido looks at the damaged ship…
INSERT SHOTS OF THE VARIOUS DAMAGED SECTIONS OF THE OBSERVATION DECK.
…at his fallen friends…
INSERT SHOTS OF CARRO THEN CEDAR
…and lets out a stifled gasp…
CUT TO A CLOSE-SHOT OF CEDAR. WE SEE HIS CHEST RISE UP AND DOWN AS HE BREATHES.
…followed by a sigh of relief.
He attempts to stand but realizes his legs are pinned under the terminal. He tries to wiggle loose but yelps in pain and stops.

LUCIDO OBSIDIAN
“Oww…definitely something broken.”

Lucido lays back. He grabs a couple deep breaths then tries to lift the terminal again. He manages to tilt it a short bit but he yells in pain and collapses. The attempts to lift terminal have moved his guitar to the edge of the terminal. It falls off landing near Lucido.

LUCIDO OBSIDIAN
“What have we here.”

Lucido pushes away some debris to reach his guitar.

LUCIDO OBSIDIAN
(to self) “Never thought it would come to this.”

He starts to play the song that Otho Mercutian heard earlier this season. He repeats the tune. He repeats it a third time as dark smoke slowly spills in from off-stage.

LUCIDO
“Come on. Come on. You said you’d be there.”

The guitar then plays on its own.

LUCIDO
“Thank goodness. (coughs)”

Lucido slumps against the floor coughing. The stage lights turn of with the sound of A COMPUTER TURNING OFF while the curtains close to the fading sound of LUCIDO’S COUGHING.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWNWARD TO THE MID-STAGE AT ITS BASE. THE MID-STAGE SETS SLIDE INTO VIEW WITH THE CAMERA FINALLY STOPPING ONCE FRAMING MID-STAGE.
MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas is still swiveling, thinking about what happens next. What to write? What indeed. As he ponders, he keeps stealing glances back to the bookcase. Soon he stops swiveling and stands. He walks over to the bookcase, grabs Latchkey Kids of Randomness by Jonathan J. Wheelwright. He returns to his desk and starts reading the book.
The stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT