writing

The Great Works Project: Season Six, Episode Six script – a new script by Thomas TYpewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 6

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-06”. It enters from the bottom of the frame and moves up as if in fast forward. It exits through the top of the frame.

FADE OUT
FADE IN

INT. THE SPACE EGG, MAYBE/MAYBE NOT DAYTIME

FADE IN TO A SERIES OF RAPID CUTS OF THE INNER-SPACE MAN, BIFF AND ROCKEY IN THE INSIDE OF THE SPACE EGG AS IT FLIES AT A VERY FAST VELOCITY

The interior of the Space Egg is a circular space filled mostly by a pilot’s chair and control panel. The center of the space is filled with a molded pilot’s chair, currently seating THE INNER-SPACE MAN. His long white beard and hair flip around due to the Space Egg’s current velocity. In front of him is a semi-circular control panel. The center of the panel bears a long display shaped like a rectangle with a circle in the center. Should the Space Egg speak, the dialogue also scrolls across the center display like an LED sign. Various sized semi-translucent hexagonal buttons used for piloting the ship are set across the remaining area of the control panel. Above the control panel is an ovoid-shaped display screen. The entire interior of the Space Egg is designed as some combination of children’s toy and sci-fi movie. Behind the pilot’s chair is a small space, into which BIFF and ROCKEY are currently crammed. They are pressed back into the wall due to the Space Egg’s rapid acceleration. Crayons and pages flutter in the gap between them.

CUT TO


HIGH-STAGE: INT. BIFF’S BEDROOM, DAYTIME
A bed sits center-stage dividing the stage in two. On the stage-left side of the bed, a window sits under a small slant of roof. Posters of various characters from the Cosmic League comic book series and Babysitter Tails television show are hanging on the wall between the bed and window. On the other side, stage-right side, of the bed sits a nightstand topped by a small lamp. Past the nightstand is the bedroom door and the small second-floor landing. BIFF THE RABBIT and ROCKEY THE PET ROCK are hiding under the bed. THE SPACE EGG hovers in the center of the room while THE INNER-SPACE MAN approaches the bed.


THE INNER-SPACE MAN
(leans down to look at Biff and Rockey under the bed) “Well gentlemen, care to leave the confines of this reality?”


CUT TO CS OF BIFF AND ROCKEY UNDER THE BED


BIFF THE RABBIT
(to Rockey in a whisper) “Their trans-dimensional nature might be our best chance to get out of this script. (to the Inner-Space Man) Sure.”


ROCKEY THE PET ROCK
“As long as we can bring our drawings and crayons.”

THE INNER-SPACE MAN
“I wouldn’t have it any other way. You never know when a good drawing will save your life.”

CUT BACK

Biff and Rockey get out from under the bed. They gather up crayons and drawings from the room, placing them into Biff’s backpack, which was under the nightstand.

ROCKEY THE PET ROCK
“We should put in the story that the Soft-boiled Detective and the Big Bag Bug are visited by two robots.”

BIFF THE RABBIT
“Okay, but what do we call them?”

ROCKEY THE PET ROCK
“The Deuce Machines.”

BIFF THE RABBIT
“That might work.”

The Inner Space Man lifts Rockey inside the Space Egg. Then he helps Biff, before climbing in himself. The Space Egg closes. It starts to hover before flying across the threshold of the front of the High-stage and out of the frame.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD MOVING FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS. IT CONTINUES MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS.


The Space Egg quickly enters and then exits our view as the camera races past its descent.


THE CAMERA CONTINUES PANING DOWN THE CURTAIN OF CLOUDS, REACHING THE TOPS OF THE MID-STAGE SETS. IT SLIDES OVER THE SET TOPS, DESCENDING UNTIL FRAMING MID-STAGE.

MID-STAGE: INT. THE RETRO SCREEN 10, EVENING
Four descending rows of theatre chairs fill the stage, with each row higher than the one in front of it. A set of decorative wall lamps can be seen hanging above the back row of chairs. The lamps are at full brightness. THOMAS TYPEWRITER enters from Stage-left behind the top row and then proceeds to exit stage-right. He reenters in the third row from stage-right walking to stage-left and exiting. He repeats this zig-zag walking through the second row and then into the first row. He sits down in a center chair in the first row. The decorative wall lamps dim and the stage goes darker. Thomas reaches down and pulls out a tub of popcorn topped with whipped cream with a cherry on top and a large soda with a crazy straw from under his chair. He starts to drink the soda. From the top of the screen, the SPACE EGG floats down. It slowly turns right, then left surveying the scene. It exits stage left. Thomas leans over trying to eat the cherry topping his popcorn sundae.

OPHIDIA OPERAHOUSE
(voice-over) “And here is where the magic occurs.”

Thomas looks around trying to figure out where the voice is coming from. The decorative wall lamps dim to black, transitioning the stage to darkness.

OPHIDIA OPERAHOUSE
(voice-over) “Thomas. Thomas! Are you paying attention?”

CUT TO

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME.
The sound of A LIGHT SWITCH CLICKING OFF punctuates the transition to the Pencil Chicks Studio. 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. OPHIDIA OPERAHOUSE stands just inside the room, while THOMAS TYPEWRITER stands in the doorway. She is looking back at him.

OPHIDIA OPERAHOUSE
“I said this is where the magic happens.”

THOMAS TYPEWRITER
“Sorry, I drifted off there. Biff and Rockey popped into my head for some reason. Okay, so you were saying something about magic.”

OPHIDIA OPERAHOUSE
“I was saying this is where the magic happens. Over there is my drawing desk, and next to it my supplies, paper, pencils, etc. The computer is where I scan and compile the images. Up above is where I store everything else. There is more, but we’ll get into it once you’re a little more familiar. I didn’t want to overload you on your first day. I am so happy to be doing this with you.”

THOMAS TYPEWRITER
“Me too.”

They kiss.

OPHIDIA OPERAHOUSE
“Maybe I should show you what to do before we’re too distracted.”

THOMAS TYPEWRITER
“Couldn’t hurt.”

TRANSITION FROM MID-STAGE TO THE WINGS

THE CAMERA SHAKES LOOSE FROM PROPERLY FRAMING THE MID-STAGE AND TURNS SLIGHTLY SO THAT THE MID-STAGE CURTAIN IS VISIBLE. THE CAMERA MOVES TOWARDS THE CURTAIN ITSELF BECOMING ENTANGLED. IT TURNS DOWNWARD AND MOVES DOWN AND OUT OF THE CURTAIN INTO THE WINGS.


EXT. INNER CORRIDOR OF THE WINGS


LS DOWN INTO THE INFINITY OF THE WINGS

The Wings extends out to infinity. It is a storage space for the Helping Hands to store all the different scenery and locations used in the plays that are put on in the Typewriter Abstract Puppet Stage. It is a central open inner atrium with four outer walls. Each outer wall is a series of storage areas housing a different scene location. On the nearest bin is the RETRO SCREEN 10 set. The SPACE EGG flies out from the storage area for The Retro. It flies up the center of the open corridor gaining speed, flying out of frame.


TRANSITION FROM THE WINGS TO THE HIGH STAGE


HIGH-STAGE: THE FAR EDGE OF THE FOREVER CAGE


FRAME THE HIGH-STAGE A LITTLE FURTHER PANNED OUT THAN USUAL, SO AS THE CURTAIN OF CLOUDS IS VISIBLE EDGING THE HIGH-STAGE.


From the bottom edge of the High-Stage, the Space Egg flies up. It hovers and twists in the air, rotating to face in towards the High-Stage. It flies forward and into the High-Stage disappearing into the distance.

PAN UNTIL PROPERLY FRAMING HIGH-STAGE.


THE WARDROBE OF A THOUSAND AND ONE COSTUMES drifts in from stage-left. A small model of the Space Egg enters from stage-right. It flies over to the doors of the Wardrobe, ultimately entering through a small gap between the doors. Where the two doors meet along the bottom. The High-Stage curtains close at the sound of A COMPUTER BOOTING OFF.

FADE OUT

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

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode Three

“The Broken Book of Beasties: Book 1, Part 1”

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

Title sequence plays

FADE OUT
FADE IN

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

THOMAS TOPHAT
“I’m back again.”

MS. WEAVER
(off camera) “Thought I’d see you again. I’ve just put out the newest issue of that magazine you liked. It is on the bottom shelf. Go ahead and get started and I’ll come out in a moment to sign your paper.”

Thomas looks over at the magazine rack. He walks over to it and leans down. Looking through the titles in the lower shelves, he spys the Not So Puppet Show zine Issue #3 behind a copy of Highlights and Newsweek. He picks it up and walks over to the table he threw his backpack onto. He sets down the zine and pulls his backpack over to the closest chair. Thomas sits down. From his backpack he removes a spiral notebook and pen. He then opens up the zine.

CUT TO OVER SHOULDER SHOT OF LOOKING DOWN AT THOMAS OPENING AND READING THE ZINE.

Thomas opens the zine, turning past the cover and first page with its publishing info. The cover is decorated with cut-out photocopied photographs. These would be photos so old as to be copyright-free and most likely sourced from discarded books. The first page looks as follows:


“
———–<.thom.>———–
THE BROKEN BOOK OF BEASTIES
“Book I: A Book by Any Other Cover”
Part One
By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter
(c) 2025 jason arcand
———–<:type:>———–

FADE IN

TITLE SEQUENCE
The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”.”

ZOOM IN ON THE LINES “TITLE SEQUENCE PLAYS”


TRANSITION FROM THE BORDERTOWN MIDDLE SCHOOL LIBRARY TO THE BROKEN BOOK OF BEASTIES

FADE OUT

———–<.thom.>———–
THE BROKEN BOOK OF BEASTIES
“Book I: A Book by Any Other Cover”
Part One
By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter
(c) 2025 jason arcand
———–<:type:>———–

FADE IN

TITLE SEQUENCE
The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”. It fades away in a shimmer. In the absence appears the following test: “Part One.”

PAN DOWN

The dark screen fades to light grey as the “Part One” slides off the top of the screen from the camera panning

TRANSITION FROM TITLE TO THE OVERLAP

The dark grey shifts in tone changing to dark clouds.

CONTINUE PAN DOWN

EXT. THE OVERLAP HILLS, DAYTIME
A series of forested hills in front of a forested snow-capped mountain slides into view. This is the Overlap Hills, one of the many realms used by the great wizard Orgle. They are named as such because they are areas of multiple different dimensions folded over each other by Orgle’s vast and great magicks until they create a pocket dimension. The Overlap Hills are not as well known as Orgle’s other overlaps such as the Overlap Hotel, the Overlap Waves, or the Overlap Trail. Yet, they do contain one of his greatest treasures. In the distance stands the Trilibris, Orgle’s special library. It appears as three different columns that seem to fuse with each other but also separate creating a kind of hyper-dimensional hourglass shape.


SHIFT TO XLS OF THE TRILIBRIS

CUT TO LS OF THE TRILIBRIS

CUT TO MS OF THE TRILIBRIS

CUT TO CS OF THE TRILIBRIS DOORS

TRANSITION FROM THE OVERLAP HILLS TO THE TRILIBRIS

ENTER THE BUILDING AND MOVE TO THE MAIN ROOM THROUGH A SERIES OF QUICK CUTS AND FADES

INT. THE TRILIBRIS MAIN ROOM, DAYTIME
The Main Room is a teardrop-shaped dome. The walls are covered in bookcases. Spiral staircases are scattered around the circumference. The bookcases are designed in a way that the books are stacked horizontally and vertically giving the impression of the folds in a human brain. The center of the room is a large open space filled with thick tables and chairs. The top of the dome is glass, stained a light blue, allowing natural light to illuminate the space. The bookshelves are illuminated by pendant lights within the rows. Each desk has a bulbous table lamp to illuminate in case the dome is not allowing enough light. Across from the entryway the bookcases stop. A large alcove is built into the wall. A dark wood wall decorated with gold and brass metal in long blocky snaking patterns illuminated by two torches. In the center of the alcove is a podium holding THE CODEXIAN. A very special book, it is separated from the rest of the main room by golden chains and small golden pedestals. A “Do Not Disturb” sign hangs off the chains.


CUT TO LS OF THE CODEXIAN’S ALCOVE

CUT TO MS OF THE CODEXIAN’S ALCOVE

CUT TO MS OF THE CODEXIAN

The Codexian is a thick book, with covers of a purple stone and thick leather binding. The front cover has a vertical row of three circles made from gold wire on the binding side. The other side is a snaking angular pattern similar to the patterns on the alcove walls. The pattern snakes down to two horizontal lines across the bottom portion of the front cover.

CUT TO CS OF THE CODEXIAN

A TRIUMPHANT MYSTICAL MUSICAL SCORE plays. The score plays for a few moments and then it stops with A RECORD NEEDLE SCRATCH.

PAN TO LEFT OF THE CODEXIAN.

A GREY MOUSE crawls up onto the podium. It tentatively approaches the Codexian.

CUT TO MS OF THE GREY MOUSE

The Grey Mouse sniffs along the Codexian, moving to the top corner. It starts to nibble on the edges of the pages.

THE CODEXIAN
“OWWWW!”

CUT TO MS OF THE CODEXIAN

The Round circles on the left of the cover open revealing non-organic golden eyes. The two golden lines along the bottom of the cover move as if lips or a mouth. The Grey Mouse stops chewing.

THE CODEXIAN
“Who did that?”

The Grey Mouse steps away from the Codexian

THE CODEXIAN
“Come on, I know you are there. Who is biting me!”

The Codexian’s eyes scan around the room. Ultimately they settle on the Grey Mouse.

THE CODEXIAN
“Oh, hello there. Were you the one chewing on my corners?”

The Grey Mouse blankly looks at the Codexian. It sneezes. A golden shimmer flickers in the air.

THE CODEXIAN
“Bless you.”

The Grey Mouse stands upright and nods at the Codexian.

THE CODEXIAN
(to self) “Well that’s new.” (to the Grey Mouse) “Let’s try this. Maybe what you’re truly hungry for is a story. If I tell you a story will you stop chewing on me.”

The Grey Mouse nods and then sits down.

THE CODEXIAN
(to self) “Definitely new.” (to the Grey Mouse) “I will need to open up to tell the story, so you may want to adjust your position.”

The Codexian opens and the Grey Mouse moves to the bottom of the podium top. The pages start to move, quickly moving to the middle of the book in a blur.

THE CODEXIAN
“Ahhh, here we go.”

The Codexian is open to a set of pages bordered in golden illumination but the actual area inside the border is blank.

THE CODEXIAN
“The Broken Book of Beasties.

From somewhere in the Trilibris A CHIMING TONE rings out. The blank page starts to fill with an illustration in a style that is a mix of woodcut block print and medieval illuminated scripts. A vast city fills the page.

TRANSITION FROM THE LIBRARY TO AN ILLUSTRATED STORYBOOK STORY

PAN IN ON ILLUSTRATION TO FILL THE FRAME

THE CODEXIAN
(voice-over) “Once there was a vast city filled with magic, wonder and charm.”

The illustration changes to the city in ruins with a giant burst of light exploding from the center of the city. Prismatic storm clouds fill the sky, raining storms down on the city.

THE CODEXIAN
(voice-over) “The city of magic became a city of too much magic, as the Great Rupture ravaged the city. Magic rained down like storms melting what was known and unknown equally.”

The illustration changes to people on hills outside the city fleeing. The city gripped in storms can be seen in the distance.

THE CODEXIAN
(voice-over) “Those who were able fled the city. The Great Rupture lasted decades driving one group further and further from the city.”

The illustration changes to a long stretch of landscape. Hills on the right give way to grasslands, then forests, and then mountains to the right. A group of refugees appears in the hill section. Fade to the group in the grasslands section and prismatic storms in the hills. The illustration changes more with a fade to the refugees in the forests The prismatic storms now fill the hill and grassland sections. The illustration shifts again. The refugees are now in the mountains section. The prismatic storms fill the hills, grassland, and forest sections. The illustration changes one last time. The refugees are gone and the prismatic storms fill the entire page. A THUNDER BOLT CRACKS. The Codexian turns the page.

THE CODEXIAN
(voice-over) “Past landscapes that ate lives, the refugees found a place of safety, or at least which they hope offered peace.”

The illustration area is filled with many tree branches. Colorful flowers grow along the base of the trees while animals can be seen peeking their faces out of the upper branches. The illustration changes with the trees sliding. They part in the center moving left and right. In the center of the screen sits a valley made from five rivers feeding into a lake in the center. There is a large island in the center of the lake along with a few small islands in sandbars scattered around the lake. The illustration changes again with the sun emerging in the clouds above the valley. Bright sunlight beams across the page. The illustration changes one last time with the illustrations of the refugees moving in from the left and right side of the frame and walking down to the valley. The Codexian turns the page.

THE CODEXIAN
“Having found sanctuary, the people set about building a new home for themselves.”

The illustration is blank but then small illustrations of people enter from the left and right sides. They break off into five groups, with the fifth group in the center made from the remaining few from each group. Each group then disappears into a cloud of construction dust. CONSTRUCTION SOUNDS can be heard. Slowly simple houses emerge from the construction dust. Once a house is finished the construction dust cloud disappears and the group looks at their work. Once all five houses are completed, the people CHEER.

THE CODEXIAN
“And grow they did. It was as if some creative spirit had been unleashed.”

The small people in the illustration then go to the area behind the houses and start constructing again. Rows of houses emerge from the dust. Once a house is finished, each group builds another behind it. Soon the houses recede into the distance. The construction dust finishes and the houses sit. The sun sets and the people go into their homes. The stars come out and then dawn breaks. Small people exit their houses and do daily chores. The sun rises and sets. Everyone goes back to bed. The day/night cycle speeds up to a blur until sixty days have passed. Time returns to its regular speed on the sixtieth day. The illustration shifts zooming in on a house in the background. A lady leaves at sunrise and walks two houses down to a bakery. She enters the shop and starts baking. Smoke starts to emerge from the bakery’s chimney. As the sun rises to mid-morning, the sign in the window changes from closed to open. The illustration changes to looking in through the window of the bakery. The Baker stands at the counter.

THE CODEXIAN
“And while everyone else was moving forward, one person was stuck looking back. Little did anyone realize she would change the direction of everyone’s life.”

The illustration changes to the baker at the counter. She has a sad far away look in her eyes.

ZOOM IN ON THE BAKER’S FORLORN EXPRESSION

TRANSITION FROM WITHIN THE STORY TO THE BORDERTOWNE MIDDLE SCHOOL LIBRARY.

FADE OUT

FADE IN

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

MS OF THE OPEN ZINE

Thomas has the zine open on the table. He is writing down notes in his notebook. As he writes a note about the grey mouse he trails off and starts scribbling doodles of the mouse. His watch BEEPS.

CUT TO MS OF THOMAS

Thomas looks at his watch and realizes it is time to leave.

THOMAS TOPHAT
“Ms. Weaver?”

MS. WEAVER
(off-camera) “Yes?”

THOMAS TOPHAT
“Can I take this with me? I am only partway through.”

MS. WEAVER
(off-camera) “No. Magazines are not allowed to be removed from the library by students. You know that is the policy.”

Thomas stands and walks out of the frame.

THOMAS TOPHAT
(off-camera and softer tone) “Please Ms. Weaver. I’ll take real good care of it.”

MS. WEAVER
(off-camera) “Now, Thomas you know…”

THOMAS TOPHAT
(off-camera) “It’s just I’ve never found anything before that I wanted to read. Everything I read is just because a teacher or my parents tell me to. This is the first thing that I want to read. I really just want to know what happens next.”

There is a short pause.

MS. WEAVER
(off-camera) “Okay. But you must promise to be careful with it. Take good care of it.”

THOMAS TOPHAT
(off-camera) “I will. I will take great care of it. Thank you.”

MS. WEAVER
(off-camera) “You’re going to be late for your next class.”

Thomas reenters the frame and packs up his bag. He slides the zine in last, needing to adjust a few items for everything to fit properly. He then slings his backpack on and starts to exit.

MS. WEAVER
(off-camera) “Take care of it.”

THOMAS TOPHAT
“I will.”

Thomas exits stage-right.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 5

By Thomas Typewriter

(c) 2024 jason arcand

———–<:type:>———–

FADE IN

GRIGIO COLORI
(voice-over) “Where were we?”

THE OUTER ONE
(voice-over) “Episode five.”

GRIGIO COLORI
(voice-over) “Right. Six-five scrolls up etc etc..”

From the center of a blank screen scrolls upward rapidly the following text: “06-05”. It enters from the bottom of the frame and moves up as if in fast-forward. An effect mimicking a VCR tape played in fast-forward is added. The text exits through the top of the frame.

GRIGIO COLORI
(voice-over) “Then we go to the Typewriter Abstract Puppet Stage.”

FADE OUT
TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE
FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

DISSOLVE INTO LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

GRIGIO COLORI
(voice-over) “Lets see, then there is that typewriter noise…

THE OUTER ONE
(voice-over) “I know that sound all too well.”

GRIGIO COLORI
(Voice-over) “Right! So we get that sound then shift to Mid-stage and the story starts.”

THE OUTER ONE
(voice-over) “Do you ever find yourself thinking Thomas put too much stuff before the story begins?”

GRIGIO COLORI
(voice-over) “You mean like us right now?”

THE OUTER ONE
(voice-over) “Maybe…”

The sound of TYPEWRITER KEYS CLICK CLACKING comes from someplace inside the Typewriter Abstract Puppet Stage.

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

THE CAMERA PANS IN TOWARDS THE MID-STAGE AREA UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains open and part. As they slide out of view, the stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. MARY MARCHHARE’S LIVING ROOM, DAYTIME
MARY MARCHHARE sits in her recliner facing towards the audience and camera. She is facing towards her television, which is out of view. Her chair sits off-center of the stage. To the stage-right of her is a large end table and a plush sofa chair. The end table has a large table lamp, a tv remote, and a glass of water with a straw. A crumpled tissue sits off to the side of the glass of water. The second chair sits at a right angle to the end table so that the combination of it, the end table, and Mary’s recliner make an L-like shape. BEANIE, her pet Boston Terrier, is curled in a ball, soundly asleep in the chair. Running at a skewed angle, to help create an illusion of depth, is the large bay window. It runs along the stage-right side of the stage. From this vantage point, we can see that there is a series of large beige curtains on the window, currently retracted. Behind Mary’s chair, bits of the entryway are visible. A large clock hangs on the wall near the front door. THOMAS TYPEWRITER enters from the stage-left, behind Mary’s recliner. He walks around to Mary’s field of vision and gently touches her shoulder. She notices him and reaches for her remote. She turns off the television before looking at him.

MARY MARCHHARE
“Did everything fit?”

THOMAS TYPEWRITER
“Yup. Everything fit fine.”

MARY MARCHHARE
“Good. Did you put the key back?”

THOMAS TYPEWRITER
“Yes. It is back on the key rack.”

MARY MARCHAHRE
“Good. Did you lock the barn door?”

THOMAS TYPEWRITER
“I’ll double-check before I leave.”

MARY MARCHHARE
“You’re leaving?”

THOMAS TYPEWRITER
“Yeah. I need to go over to Ophidia’s. I told her yes, so she’s going to show me how I can help.”

MARY MARCHAHRE
“That’s great. Give me a hug before you go.”

Thomas leans in and gives Mary a hug. She hugs him back.

THOMAS TYPEWRITER
“Okay, I’ll check the lock then I’ll be leaving. Love you and see you later tonight.”

MARY MARCHHARE
“Love you too.”

Thomas exits through the kitchen doorway. Mary Marchhare reaches over for her remote control. She points it towards the camera and clicks a button. The ambient sound of A TELEVISION PROGRAM resumes.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FROM FRAMING MID-STAGE. IT PANS STRAIGHT UPWARD, GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT FOLLOWS THE CURTAIN OF CLOUDS EVER UPWARD. AT THE TOP OF THE CURTAIN OF CLOUDS IT MOVES OVER THE HIGH-STAGE UNTIL PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

PANACEA FLAUTO
(voice-over) “Maestro, open medical journal please. Today was a rough day for the patients Cedar Waxwings, Lucido Obsidian and Carro.”

The High-stage curtains open and the stage-lights turn on accompanied by the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, DAYTIME.
A large curved window lines the back of the stage. Through it we can see outside the ship to space, the twinkling of sparks drifts by. In the distance, some of the lights from the nine bio-habitat Hills, and even glimmers from the tops of the multi-fold towers of the Palace of Stars, can be seen. The room itself is decorated in deep reds and oranges. The lounge has a circular shape. STELLARITE FERN stands in front of the window, looking out at space. Behind her, near stage-front sit, in their medi-pods, CEDAR WAXWINGS, LUCIDO OBSIDIAN, AND CARRO.

PANACEA FLAUTO
(voice-over) “An Administrator from the Solar/Lunar Fleet came and spoke to them for over an hour.”

Stellarite Fern turns around and faces the trio in medi-pods. She holds herself very rigidly posed. She speaks but we can not hear what she says. Cedar and Lucido move their medi-pods arms as if arguing or disagreeing with what she has said. She becomes very agitated with this. She points at each of them individually and then outside at the space. Her words are pronounced with more temper.

PANACEA FLAUTO
(voice-over) “They were suspended pending an investigation. The Solar/Lunar Fleet does not accept the trio’s story of outside forces crashed the ship. It looks like they are going to be blamed and fired. This is a depressing turn of events. I worry that it might set back their progress. Damn, they were really starting to thrive. Will Cedar draw into himself. I hope not. I’d miss hanging out…wait. Maestro delete everything after turn of events.”

Stellarite Fern stops her pointing and rubs her brow. She moves as if explaining one final thing. She straightens her posture and then turns to leave. She walks out the door without looking back. Cedar, Lucido, and Carro turn towards each other as if sharing a statement of woe. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA UNLINKS FROM THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES FROM THE HIGH-STAGE DOWN TO THE CURTAIN OF CLOUDS. THE CAMERA CONTINUES MOVING DOWN THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS SLIDE INTO VIEW. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.

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 40 degrees Fahrenheit. THOMAS TYPEWRITER enters stage-left. He crosses the stage over to the front door. He opens the storm door and KNOCKS on the main door. He waits a moment or two then KNOCKS a second time. The door opens and OPHIDIA OPERAHOUSE greets Thomas.

OPHIDIA OPERAHOUSE
“Thomas, you made it.”

THOMAS TYPEWRITER
“You’re saucy fellow awaits his commands.”

OPHIDIA OPERAHOUSE
“You nut. Come on in here and let’s get started.”

Ophidia steps to the side to make room for Thomas to enter. Thomas steps inside, pausing just inside the doorway. He embraces Ophidia, who gladly returns to affection. They kiss. The pair release each other and move all the way inside. Ophidia shuts the doors. A moment or two passes before 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 Six, Episode Four” – a new script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 4

By Thomas Typewriter

(c) 2024 jason g. arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward the following text: “06-04”. It enters from the bottom of the frame and slowly moves up eventually exiting through the top of the frame.

FADE OUT
FADE IN
TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out from somewhere nearby yet out of sight. Shortly thereafter the TYPEWRITER ABSTRACT PUPPET STAGE materializes.

LS OF THE TYPEWRITER PUPPET STAGE MOVING TO A MS THROUGH A SERIES OF CUTS UTILIZING A CRYSTALLINE EFFECT.

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

PAN IN ON MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE UNTIL MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains open. The stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. MARY MARCHHARE’S FRONT PORCH AND FRONT WINDOW, DAYTIME
The front wall of Mary Marchhare’s house, with its blue vinyl siding spreads across the stage. A large bay window takes up a large portion of the wall. It is higher than the ground, making the bottom of the window visible in the frame but not the top. On each side of the bay window are smaller windows with movable shutters. At the stage-left side are four steps leading up to a landing and the front door. Mary Marchhare’s Living Room can be seen through the large bay window. White stucco walls are decorated with framed paintings of earlier twentieth-century race cars alongside photographs of various Boston Terrier dogs. There is also a selection of antique clocks on the walls. Near the window sits MARY MARCHHARE in a recliner. Next to the recliner is a shorter chair and an end table with a bulbous lamp. Mary is watching television. THOMAS TYPEWRITER enters from stage-left, carrying two moving boxes. He walks past the front window. BEANIE, Mary Marchhare’s pet Boston Terrier, leaps onto the second chair and barks out the window. BARKS MUFFLED BY GLASS sing out. Mary notices Beanie barking, leans forward, and sees Thomas. She sets down the tissue she had gripped and moves out of sight. Thomas climbs the four steps to the landing in front of the house’s front door. The porchlight next to the front door flips on. The front door opens. Mary Marchhare steps out and gives Thomas a hug.

MARY MARCHHARE
“Thomas!”

THOMAS TYPEWRITER
“Hi Grandma. I am dropping off the last of my stuff.”

MARY MARCHHARE
“Two boxes, that’s not much.”

THOMAS TYPEWRITER
“There’s more. It’s just in the car. Would it be okay if I brought it in through the garage?”

MARY MARCHHARE
“Sure. Since you’ll be living here, I have a garage door opener for you. You can have the spare one.”

THOMAS TYPEWRITER
“Wow. Thanks.”

Mary looks Thomas in the eyes, squaring her shoulders.

MARY MARCHHARE
“And remember, this is only a loan. I get it back when you move out. I do not want any strangers wandering into my house because you lost it. Got it. I am serious.”

THOMAS TYPEWRITER
“Sure, sure. I’ll keep it safe and give it back.”

MARY MARCHHARE
“Good. Now let’s get inside.”

Mary locks the screen door open, sliding the locking tab forward. She then steps inside and holds the inside, bit oak front door, open for Thomas. Thomas walks in. Mary closes the screen door, moving back the locking feature/slider, and then shuts the front door

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNLOCKS FROM THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS. IT CONTINUES PAST THE TOPS OF THE SETS AND ONTO THE CURTAIN OF CLOUDS VISIBLE BEHIND. UP AND UP THE CURTAIN OF CLOUDS TILL REACHING THE HIG-STAGE AT THE TOP. THE CAMERA SETTLES INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains part. The stage lights turn on with the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. PHYSICAL THERAPY ROOM 604 IN THE FLUTE MEDICALSHIP
The room is similar to a ballerina dance studio. The back wall of the stage is covered in pads and some floor-length standing mirrors. Two rails, one at hip height and the other at knee height run across the mirrors. A weight-lifting machine sits on stage-left and another on stage-right. CARRO in their Medi-Pod is using the medi-pods extended arms to lift weights with a rope through a series of pulleys on the stage-left weight machine. IASO FLAUTO stands to the side guiding Carro. In the center of the stage stands CEDAR WAXWINGS in his Medi-pod using the Medi-pods retractable arms to lift dumbells from his side to over his head and back down. At the weight machine on stage-right stands LUCIDO OBSIDIAN in his Medi-pod using the Medi-pod’s retractable arms to crank a resistive lever. PANACEA FLAUTO stands between Cedar and Lucido watching over their motions.


PANACEA FLAUTO
(voice-over or narration) “Maestro, open medical log, please. Today marks an improvement in the attitude of Cedar Waxwing. He is making a full effort in therapy. His previous disposition of sullenness and defeatism have disappeared. Iasa and I had a second meeting and she revised her prediction of his possible recovery to full. If he can keep this up. We have also noticed a change in his friends’ attitudes as well. Lucido Obsidian and Carro were already on track for a near full recovery, but they now look posed for a full recovery. It is nice to see this change. When Cedar and I were in school together I never really cared for him. Maybe it was because I was too busy being interested in Lucido. Maybe it was because he was Lucido’s friend, not my friend. Maybe it was his sarcasm. Such a long time ago, who knows. Anyway, watching TV with him the other day, was nice. He is fun to be around. Haven’t laughed that much in a while. Sure he was still sarcastic but now it makes more sense. Doesn’t seem so abrasive, almost as if instead of attacking it is defensive. Wonder if he would want to watch the next episode. (pause) What am I saying? Maestro, please amend the medical log. Remove everything after recovery to full.”


As the narration finishes, Iasa stands and looks around.

IASA FLAUTO
“That is enough for today. Good job everyone. Keep this up and you will make a full recovery. Cedar, glad to see you trying.”

CEDAR WAXWINGS
“Feels good to try.”

Everyone starts to exit stage-right. Cedar and Panacea are towards the back or the last to leave.

CEDAR WAXWINGS
“Hey, Panacea.”

PANACEA FLAUTO
“Hey to you too. Good job today.”

CEDAR WAXWINGS
“Thanks. Hey, I was wondering if that show we watched…”

PANACEA FLAUTO
“Soapbubble Medical Theatre?”

CEDAR WAXWINGS
“Yeah, that’s the one. Is it every day, every week?

PANACEA FLAUTO
“Once a week. Why?”

CEDAR WAXWINGS
“Could I watch the next one? It was pretty neat.”

PANACEA FLAUTO
(pause) “I don’t see why not. My sisters are always bugging me to socialize more.”

CEDAR WAXWINGS
“Cool. Let me know when and I’ll be there.”

Iasa wiggles her eyebrows at Panacea. She sticks out her tongue. Iasa giggles and makes a face back. They exit. 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 THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER THE CURTAIN OF CLOUDS DESCENDING LOWER AND LOWER. THE TOPS OF THE MID-STAGE CURTAINS EMERGE FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD, SLIDING OVER THE MID-STAGE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. MARY MARCHHARE’S LIVING ROOM, DAYTIME.
A large bay window fills the middle of the frame. It looks out onto Mary Marchhare’s front yard. A smaller window of double framing flanks each side of the bay window. To the stage-left side of the bay window sits a recliner chair next to a smaller chair and an end table with a bulbous lamp, a glass of water with a straw, a boxy remote control, and a paper fan. To the stage-right side of the window sits a wooden wardrobe with a larger cathode-ray TV on top. MARY MARCHHARE sits in the recliner watching daytime television. The ambient sound of TELEVISION fills the stage. BEANIE sits in the other chair sleeping. Mary reaches over and picks up the glass of water taking a sip. She sets it down and picks up the fan. She starts to fan herself while dabbing at her face with a tissue in her other hand. THOMAS TYPEWRITER enters from stage-left. He walks to the side of Mary’s chair.

THOMAS TYPEWRITER
(gently touches Mary’s shoulder) “Grandma.”

Mary notices him and reaches for her remote control. She points it at the camera and click it off. The sound of TELEVISION STOPS.

MARY MARCHHARE
(turns to look at Thomas) “Yes.”

THOMAS TYPEWRITER
“Do you have another spot where I could store some boxes? I can’t fit everything in the bedroom. It is cool if you don’t. I’ll go through and donate some of it. I just don’t want to impose or crowd out your stuff.”

MARY MARCHHARE
“There’s room in the back barn, as long as you don’t block my lawnmower. I haven’t used the cabinets since Lawrie died.”

THOMAS TYPEWRITER
“And that won’t put you out?”

MARY MARCHHARE
“No, go ahead. Use it.”

Thomas leans down and kisses his grandma on the cheek while hugging her. She twists enough to hug him back.

MARY MARCHHARE
“The key is on the keyrack. Just make sure you return it when done.”

THOMAS TYPEWRITER
“Thanks Grandma.”

Thomas exits stage-left. Mary reaches for her remote and points it back at the camera. She presses a button and the ambient sound of TELEVISION fills the stage. Mary continues to watch her show. Beanie continues to sleep, rolling over to a more comfortable position. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The stage is illuminated by the soft glow of the television as the Mid-Stage curtains close.

FADE OUT