———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Four

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-04. 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

A disc of wood sits surrounded by rows of grey carpet squares in a cavernous room. The light cast by spindly metallic lamps barely reaches out beyond the center of the unroom. A lone occupant, THE OUTER ONE, sits on one of the darker grey carpet squares observing the nearest lamp.

POV OF THE OUTER ONE LOOKING AT A METALLIC LAMP AT THE END OF THEIR ROW OF CARPET SQUARES.

The sound of TYPEWRITER KEYS CLICK CLACKING rings out from the wooden disc.

THE POV OF THE OUTER ONE TURNS TO LOOK AT THE WOODEN DISC.

Unseen lamps over the wooden disc flip on illuminating THE TYPEWRITER ABSTRACT PUPPET STAGE mid-disc.

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

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, MID-DAY

Open on THOMAS TYPEWRITER sitting at his desk in the center of the stage. The lamp, to one side, illuminates the nearby wastebasket, desk, and typewriter. Thomas’ fingers feverishly move over the keys as his head bobs to the music from his headphones.

THOMAS TYPEWRITER
(voice-over) “Fade in from black. EXTERIOR SHOT – A realm outside time and space. Multiple colors dance across the screen in a kaleidoscopic intensity. Far shot of the Space Egg hurtling through this higher realm, chromatic waves left in its wake. Cut to medium shot of the SPACE EGG, allowing us to see the high speeds compressing and stretching its form. Cut to INTERIOR OF SPACE EGG. The INNER-SPACE MAN sits in a padded futuristic style astronaut’s chair. In front of him rests a curved console and curved view screen.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP OVER THE TOP OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS TILL REACHING THE HIGH-STAGE AT THE TOP. THE CAMERA STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out walks Y-Mouse. He is dressed in an evening robe and carrying a newspaper under one arm, a cup of coffee in the other.

Y-MOUSE
“When monsters attack, every commute becomes rush hour. (takes a sip of coffee. Rereads the line back to himself.) When monsters attack every commute becomes rush hour. (makes a sour face) Ohh that is awful. Just awful. (looks into the camera) Give me one moment will you. (Looks down into the High-stage) Writer’s Room please.”

A HELPING HAND emerges from the stage and picks up Y-Mouse. It carries him off-stage.

TRANSITION FROM HIGH-STAGE TO THE WRITER’S ROOM
CUT TO

INT. THE WRITER’S ROOM

A large room similar to a college lecture hall, the writers room is four rows of tables and chairs flanked by stairs on either side. Each row is a long table where the writers sit. Stairs run along the stage-left and stage-right side. The bottom row is shorter than the other three rows, to allow room for a door on the stage-left and a motivational poster on the stage-right. The poster reads: A Happy Writer is a Writer with a Deathline.

Seated in the rows are THE ALPHABET MICE, the writers responsible for the dialogue Y-Mouse reads. Sitting in the top row is A-MOUSE, B-MOUSE, D-MOUSE, E-MOUSE, F-MOUSE, G-MOUSE, H-MOUSE, and I-MOUSE. Sitting in the second row is J-MOUSE, C-MOUSE and K-MOUSE sharing a typewriter, M-MOUSE, N-MOUSE, O-MOUSE, and P-MOUSE. The third rows finds an empty chair then R-MOUSE, S-MOUSE, T-MOUSE, Q-MOUSE sharing notes with U-MOUSE, V-MOUSE, and lastly W-MOUSE. The bottom row finds X-MOUSE busily writing, an empty desk, and then Z-MOUSE asleep at his desk.

Every writer, has a typewriter and cup of coffee, except C-Mouse, P-Mouse, T-Mouse, and W-Mouse. P-Mouse prefers pen and paper to typewriters. T-Mouse prefers tea to coffee. C-Mouse prefers cola to coffee. W-Mouse prefers water.

As we join the Alphabet Mice, the room is filled with a cacophony of TYPEWRITER KEYS CLICK CLACKING and VOICES MURMURING. A-Mouse stands and knocks his coffee cup on the desk. KNOCK, KNOCK, KNOCKS. Everyone quiets and looks his way.

A-MOUSE
(pulling out the paper in her typewriter to read) “Okay Okay how about this. Y-Mouse comes out and says “Sometimes when somebody says that’s the way I found it, that is the way they found it.”

Everyone boos and throws wadded pieces of paper at her. P-Mouse stands and knocks his coffee mug. KNOCK, KNOCK, KNOCKS. Everyone quiets down and turns his way.

P-MOUSE
“How about this. Y-Mouse comes out and says “It was the best of times. It was the worst of times. It was the best of traffic. It was the worst of traffic.”

Everyone boos and throws waded paper at him. X-Mouse stands and KNOCKS, KNOCKS, KNOCKS his coffee cup drawing everyone’s attention.

X-MOUSE
“What about this: Moving through our lives, we believe we grow older, grow wiser, and grow kinder, but what hidden hurts, what buried frustrations, lurk like monsters in the dark waiting for the moment to strike again.”

Everyone nods their heads and murmurs approval. The Helping Hand carrying Y-Mouse emerges from the ceiling lowering Y-Mouse to the floor. It lets go and retreats off screen.

Y-MOUSE
“Guys what are you doing? That last script was horrible.”

B-MOUSE
“Sorry. We know. We’ve been working on a replacement.”

X-MOUSE
“What do you think of this?”

He hands his dialogue to Y-Mouse. He reads it and nods his head.

Y-MOUSE
“Not perfect, a little akward but definitely shows promise. Put a little more polish on it and I think we’ve got something here. Send it up to my apartment when finished.”

THE ALPHABET MICE (EXCEPT Z-MOUSE)
“Will do.”

Y-Mouse snaps his fingers and the Helping Hand returns. It picks him up and carries him off-stage. The Alphabet Mice return to typing.

TRANSITION FROM THE WRITER’S ROOM TO THE HIGH-STAGE
CUT TO

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out walks Y-Mouse.

Y-MOUSE
“We grow older. We mature. We believe that our kindnesses, our loves, our experiences have made us a better person. But what hidden hurts, what discarded disappointments, lurk like monsters in our shadows.”

Y-Mouse exits through the Narrator’s Door which closes behind him. The curtains part, and the stage lights turn on with the sound of A COMPUTER TURNING ON, revealing…

THE HIGH-STAGE: EXT. THE INNER HIGHWAY SECTION 4, DAYTIME

An elevated section of concrete and steel, Inner Highway Section 4 is filled with cars. Seed-like glide ships, horse-headed hot-rods, buccaneer balloons, and wind-up wagons are waiting for GRAND DAYPASS JONES, mostly bio-goblin, to turn his sign from STOP to GO. Behind, him the construction crew works on trimming the tree tops. A large robotic Mecha-crane lifts DENSITY DOUBLEDIP, mostly clockwork elf, up to trim the branches, while FORNAXITE SEAHAVEN, Administrator, supervises from the ground.

As the tree limbs are cut, we can see the driver of the horse-headed hot-rod, KRINKLE CANDYWRAPPER, becoming agitated. His anger grows and grows till he explodes. Literally explodes in light and JET TURBINE ROARING. Everyone pauses and turns towards the noise and light. The light and noise fade leaving behind THE FYRE GIANT in the place of Krinkle Candywrapper and his horse-headed hot-rod. Head ablaze, clothed in smoldering metal, he runs towards the construction crew.
The construction workers yell and run away. The other drivers follow suit driving away. A rainbow descends from the sky, stage-left, bringing COLORI PASTELLI into the scene. A humanoid box of crayons, he currently has red, blue, yellow, green, orange, purple, white, and black stripes. The grey stripe is missing, instead replaced with yellow. COLORI is holding his four faithful hounds: BRAWN, BRAINS, BEAUTY, and BONGO. The hounds hop away and bark at the monster drawing his attention. The monster grips his ears in pain. He picks up the Mecha-crane and and throws it at them.

SWITCH TO SLOW-MOTION…

Colori Pastelli holds up his hands, shining green, and shimmers and then ROSSO COLORI is standing next to him. The red stripe on Colori has turned yellow. Rosso leaps at the flying car. He kicks it away, knocking it into The Fyre Giant’s head. It flies off-stage stage-right as The Fyre Giant falls down. He bounces off the ground with a THUNDEROUS THUD. Rosso Colori lands on his chest.

SWITCH OUT OF SLOW-MOTION, AND BACK TO REGULAR SPEED

COLORI PASTELLI
“Hounds, take this monster to the Forgiving Place. I’ll be along shortly.”

Brains, Brawn, and Beauty grab the Fyre Giant’s feet and drag the monster stage-left and off-stage. Bongo ignores them currently being distracted by a butterfly that flew out of some grasses nearby.Colori and Rosso shimmer, leaving only Colori on the stage. His red stripe has returned.

COLORI PASTELLI
“Bongo.”

BONGO
(snapping out of daze and looking around)”Oh…yeah, sorry.”

Bongo exits stage-left. OTHO MERCUTIAN, a coyote man wearing a plaid suit and thick glasses enters from stage-right. Colori notices him and waves.

COLORI PASTELLI
“Didn’t expect to see you here.”

OTHO MERCUTIAN
“I wanted to talk, so I followed the trail of destruction.”

COLORI PASTELLI
“True. I do leave my mark wherever I go. So, What brings you out of Universitytown.”

OTHO MERCUTIAN
“My son is in trouble.”

Colori’s face grows serious.

OTHO MERCUTIAN
“Can you help?”

COLORI PASTELLI
“I’ll try.”

OTHO MERCUTIAN
“Good. To the Music Hall.”

He grabs hold of Otho’s shoulder and they exit the stage in a rainbow. The High-stage curtains start to close while the stage-lights turn off to the sound of A COMPUTER POWERING OFF.

TRANSITION FROM HIGH-STAGE TO LOW-STAGE ALONG THE CURTAIN OF CLOUDS.
THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE. IT MOVES ONTO THE CURTAIN OF CLOUDS, FOLLOWING IT DOWN TO THE TOPS OF THE MID-STAGE SETS. IT SLIDES OVER THE TOPS SETTLING PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO MID-DAY

Thomas Typewriter continues typing at his desk.

THOMAS TYPEWRITER
(narration) “Cut to INTERIOR OF SPACE EGG. The INNER-SPACE MAN sits in a padded futuristic style astronaut’s chair. In front of him rests a curved console and curved view screen. Various sized glowing hexagonal buttons are spaced around the input/output screen on the console. The curved view screen displays a vast swirling colorscape only made more abstract by the Space Egg’s velocity. “

The PHONE RINGS, startling Thomas. He stops typing and picks up the phone checking to see who could be calling him. Seeing it is Ophidia Operahouse, he smiles deeply. Thomas slides his headphones off and answers the phone.

THOMAS TYPEWRITER
“Hi, no you didn’t wake me? Sure, I can talk. For you I’d make time. Just writing. Might be onto something. Don’t know. The ideas are so slippery lately. (pause as he listens) Maybe I do need to get out, but I’d rather stay in. Stay in with you. (pause) Sure I could do that. I love to cook. I’ll cook you dinner. (pause) You will. Awesome. (stands and starts to walk off-stage) So how’s your day going?”

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

FADE OUT

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Two

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-02. 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 large cavernous space of the Unroom, THE OUTER ONE sits on one of many grey carpet squares lost in thought. The carpet squares radiate out from a wooden disc in the center of the unroom. Spindly metal lamps stand at the ends of the rows of carpets barely able to illuminate the room. The carpet squares bathe in light while the wooden disc swims in shadows.

THE CAMERA IS THE POV OF THE OUTER ONE LOOKING AT THE CARPET SQUARE THEY ARE SITTING ON.

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

THE CAMERA TILTS UP AS THE OUTER ONE SHIFTS THEIR GAZE FROM THE CARPET SQUARES TO THE WOODEN DISC.

The wooden disc sits empty in the dark. Unseen lamps flip on. THE TYPEWRITER ABSTRACT PUPPET STAGE manifests in the newly cast light splashing across the wooden disc.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAN IN ON MID-STAGE

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

MID-STAGE: CURTAINS CLOSED

The Mid-Stage sits silent and still. Once the camera properly frames Mid-stage the curtains part. The stage-lights turn on with the sound of a LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: INT. THE SLICE-O-PIE RESTAURANT

Three restaurant style booths run across the stage. Various sized photos of pies and fruits, all ornately framed, hang on the wall above the booths. A small framed photo of a rabbit next to a rock sits off to the stage left. Over on the stage right hangs a small framed photo of a still from the Patterson Bigfoot footage.

The center booth is the only booth currently occupied, though the MURMUR OF A CROWD can be heard. Sitting in the booth are THOMAS TWENTYSOMETHING, THE LADY, THE LANCE, and THE LOCH. Thomas is looking at the menu, while the Lance and the Lady are looking around the restaurant. The Loch is sniffing the salt and pepper shakers.

THE LADY
“Busy night.”

THOMAS TWENTYSOMETHING
“Yup.”

THE LANCE
“More than yup. A full night indeed. I mean look at all these gorgeous ladies. Sure working up my appetite, if you catch my drift.”

THOMAS TWENTYSOMETHING
“Yeah right. Can we just eat dinner tonight. No woman here is interested in talking to us.”

THE LANCE
“Not with your head buried in that menu.”

The Loch sneezes from sniffing the pepper. Thomas leans over and puts his hand over the salt and pepper shaker in the Loch’s paws. Thomas shakes his head. The Loch sets them down. Thomas returns to his menu while the Loch reads over his shoulder.

THE LADY
“None of that Lance, you leave him alone.”

THE LANCE
“Why are you always defending him. You know as well as me if he just tried he’s succeed. He’s a good looking guy and he’s wasting it. Wasting his chances, no our chances. I’m tired of waiting on the sidelines.”

The Lance looks off stage-right and raises his hand waving to someone off-stage. A come here kind of wave. When he does this, Thomas does the same exact motion. Thomas merely looks up from his menu and frowns. The Loch reaches over and puts his paw on the Lance’s chest then shakes his head no. The Lance puts his hand down. Thomas is then able to lower his hand.

THE LADY
(glaring at the Lance) “We agreed we were not going to do that unless it was an emergency.”

THE LANCE
“Whatever.”

The Lance sinks into his seat pouting. THE WAITRESS enters from stage-right.

THE WAITRESS
(to Thomas) “Are we ready to order.”

THOMAS TWENTYSOMETHING
“Sure thing. I’ll have a Crispy Bird Special, a bowl of Mickey-Stronney soup and a Squirrelly Temple.”

THE WAITRESS
(playfully) “Someone’s got a big appetite tonight.”

THE LANCE
“Ohhh…she’s hitting on you. Don’t blow it.”

THOMAS TWENTYSOMETHING
(acting shy) “Maybe.”

The Waitress writes down the order and leaves.

THE LADY
“Why didn’t you talk more to her?”

Thomas shrugs. They fall into an awkward silence. The Waitress reemerges bringing a Squirrelly Temple soda and a bowl of soup. She sets them down on the table.

THE WAITRESS
“Here you go, and your Crispy Bird will be ready soon. Anything else I can get you right now.”

THOMAS TWENTYSOMETHING
“No thank you, we’re good.”

The Waitress makes a funny face then leaves. Thomas takes a sip of his soda.

THE LADY
(reaches over and takes hold of his hand)”Thomas we need to talk.”

Thomas immediately stops sipping.

THOMAS TWENTYSOMETHING
“Okay.”

THE LADY
“We will be leaving.”

THOMAS TWENTYSOMETHING
“Really? But I haven’t even got my order yet.”

The Lance and the Loch reach over putting their hand and paw on top of The Lady’s.

THE LANCE
“No, Thomas. We’re leaving. Us. (gestures to The Lady, The Loch and himself) We’re going away.”

Thomas looks at all of them. Each nods yes.

THOMAS TWENTYSOMETHING
“Oh.”

THE LADY
(starting to cry) “We’ll miss you and maybe you’ll miss us, but the cracks in you that made us are healing. You don’t need us anymore.”

THOMAS TWENTYSOMETHING
“When.”

THE LANCE
(looks at watch)”Judging from the speed of service tonight, when the Crispy Bird arrives.”

TRANSITION FROM THE MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD, UP OVER THE TOPS OF THE MID-STAGE SETS, TO THE CURTAIN OF CLOUDS. IT CONTINUES PANNING FOLLOWING THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN. THE CAMERA SLOWS AND STOPS ONCE PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The High-stage curtains sit closed. A small shudder moves across the curtain preceding their parting. The High-stage stage-lights turn on with the sound of a COMPUTER BOOTING ON revealing…

HIGH-STAGE: EXT. THE MULTI-COLORED HIGHER PLANES OF REALITY

The stage is filled with a backdrop of swirling colors. From stage-left enters a miniature of THE SPACE EGG. It is rapidly flying across the stage leaving chromatic waves trailing in its wake. When it reaches mid-stage, there is a LOUD THUNDEROUS CLAP and the Space Egg flies even faster, exiting stage-left. The curtains close and then reopen revealing…

HIGH-STAGE: INT. THE SPACE EGG

THE INNER-SPACE MAN sits in a sleek astronaut’s chair. In front of him sits a curved console and curved view screen. The console has a center monitor in the shape of a circle bisected by a long rectangle. This is the Space Egg’s text display. All of the Space Egg’s dialogue will scroll across the text display at the same time as it is heard by the Inner-Space Man and audience.  Around the text display sit various sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently displaying the many colors of the Higher Planes of Reality outside the ship. Given the ship’s current speeds, the colors are blurring together

THE INNER-SPACE MAN
“Status Update.”

THE SPACE EGG
“Current speed exceeds the Speed of Thought. We have broken through the Reality Barrier.”

THE INNER-SPACE MAN
“Tip top. The infinite canvas of what could and what was spreads out before us.”

THE SPACE EGG
“Since we have exceeded three-dimensionality shouldn’t you use more than two metrics in describing our current options.”

THE INNER-SPACE MAN
“Excellent point my friend. Or should I say egg-scellent point.”

THE SPACE EGG
“Maybe don’t.”

THE INNER-SPACE MAN
“Noted. Now lets see…what did and what didn’t spreads out before us. Where to first?” (pulls out travel brochures from a storage compartment under his chair, though if you wanted to have him grab the brochures from a glove box in the Space Egg’s console that is fine as well.) “Do we sail the salt-spired Oceans of Tears? Navigate the Streams of Thought? Watch the sun set on an Era? Explore the hidden tombs of the Food Pyramid?”

THE SPACE EGG
“Maybe it’s my programming but I sure love myself a salt spire, so I vote Ocean of Tears.”

THE INNER-SPACE MAN
“Fantastic choice. Says in this brochure that its far shores have the best Halls of Memories of any higher dimensional space.”

THE SPACE EGG
“Now we have to go. Put in the coordinates.”

The Inner-Space Man enters the coordinates. He makes BEEP BEEP BOOP sounds as he presses the buttons on the console.

THE SPACE EGG
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”

THE INNER-SPACE MAN
“Maybe some travel tunes?”

THE SPACE EGG
“You know it!”

The Inner-Space Man presses a button. At that exact same moment the High-stage stage lights turn off with the sound of A COMPUTER BOOTING OFF. The curtains close.

THE INNER-SPACE MAN
(voice over. It slows down and drawls out as it goes)”What just happened?”

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD. FROM THE HIGH-STAGE IT MOVES TO THE CURTAIN OF CLOUDS CONTINUING ON DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS TO THE MID-STAGE, STOPPING ONCE IT IS FRAMED PROPERLY.

MID-STAGE: INT. THE SLICE-O-PIE RESTAURANT

THOMAS TWENTYSOMETHING is sitting at the center booth with THE LANCE, THE LADY and THE LOCH. THE WAITRESS enters with the food and sets it down on the table. She looks at his sad face and feels for him.

THE LANCE
“Speak of the devil.”

THE WAITRESS
“Oh don’t be so sad looking. Maybe a slice of pie before you go. Always cheers me up.”

Thomas looks up at the waitress. He studies her a moment, letting her words sink in.

THOMAS TWENTYSOMETHING
“Maybe one slice before we go.”

THE WAITRESS
“Great, I’ll be back in a little bit to find out what kind you’d like.”

Thomas nods. He turns and looks at the Lady, the Lance, and the Loch one last time before they leave. The Lady gets up first, walks around to Thomas and hugs him before exiting stage-left. The Lance follows next, hugging Thomas and then exiting. Finally the Loch gets up, bear hugs Thomas, then exits. Thomas sets down his fork, puts his head in his hands. He wipes his eyes with his napkin. The Waitress reenters from stage-right with a pie menu. She walks it over to Thomas

THE WAITRESS
“Do you know what you want, or do you need a moment.”

THOMAS TWENTYSOMETHING
(avoiding eye contact with the Waitress) “A moment. If possible.”

THE WAITRESS
“Don’t worry about it Hon. Take your time, you’ll figure out what you want eventually.”

The Waitress exits stage-right.

THOMAS TWENTYSOMETHING
(to self)”Will I?”

The Mid-stage stage lights turn of with the sound of a LIGHT SWITCH CLICKING OFF as the curtains close.

FADE OUT

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode One

a prologue

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-01. 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 CAMERA SITS IN THE POV OF SOMEONE SITTING OFF CENTER LOOKING TOWARDS THE CENTER OF THE ROOM.

In the center of the unroom sits a large wooden disc. Arranged in rows radiating outward from the wooden disc, much like chairs in an auditorium, are a series of carpet squares. A rainbow of greys, every intensity, every hue, dances around us. At the ends of each row, tall spindly metal lamps illuminate the room. Their dark serpentine cords trail off into the dim edges of the unroom.

A sound of METAL BELLS AND CELESTE MELODIES rings out followed by unseen lamps flicking on casting light across the TYPEWRITER ABSTRACT PUPPET STAGE. Now visible on the wooden disc, it draws our attention.

PAN IN ON THE MID-STAGE AREA

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

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part. There are no decorations on the Mid-stage today.

CONTINUE TO PAN IN TO AND THROUGH THE MID-STAGE

TRANSITION FROM MID-STAGE TO BACK-STAGE

The Curtain of Clouds, visible against the back of the Mid-stage parts revealing…

THE BACK-STAGE: THE CONCURRENT DISTANCES

CONTINUE TO PAN PAST THE CURTAIN OF CLOUDS UNTIL THE CONCURRENT DISTANCES FILLS THE SCREEN.

The Concurrent Distances manifest this episode as a void. No decoration. No sets. Darkness.

PAUSE AND HOLD THE SHOT OF THE CONCURRENT DISTANCES TO ALLOW THE EMPTINESS OF IT TO SET IN.

From stage-right emerges a DREAM-BUBBLE. Languidly blinking, it drifts from one side of the stage to the other, exiting stage-left. Shortly thereafter another Dream-bubble floats in, drifting from stage-right to stage-left.

The Dream-bubble reemerges from stage-right but moves swiftly this time from stage-right to stage-left. THE MAIDEN leaps on stage chasing after the Dream-Bubble. She pursues it off-stage.

They return shortly, it fleeing and she pursuing. The Dream-Bubble almost escapes, but she leaps and grabs hold of it. She opens her grip to examine it, but the Dream-bubble has turned a sickly yellowish-green color. It is lumpy and uneven. Dented where she grabbed it.

THE MAIDEN
“Yuck.”

She throws it away where it sits on the floor irregularly blinking. The Maiden notices the other Dream-bubbles now floating on-stage from stage-left and stage-right. She sits and watches in fascination.

THE MAIDEN
“Pretty.”

She stands and follows the Dream Bubbles off stage. Moments later the damaged Dream-bubble awkwardly hovers up from the ground. It flies off stage, limping the opposite way the Maiden exited.

PAN OUT

TRANSITION FROM BACK-STAGE TO MID-STAGE

PAN OUT TILL THE MID-STAGE CURTAINS FILL THE FRAME

TRANSITION FROM THE MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

CONTINUE PANNING OUT TILL RETURNING TO THE OUTER ONE’S POV FROM THE BEGINNING OF THE EPISODE

The Mid-stage curtains close. The unseen lamps illuminating the Typewriter Abstract Puppet Stage dim to dark.

FADE OUT