From the Desk of Thomas Typewriter 06/29/2020

Art thoughts, From the desk of Thomas Typewriter

A studio update

  1. The Great Works Project

As always, TGWP moves on. I have been working on season 05. It will probably take me another week or two to finish the rough drafts. I like to write the episodes then let them sit and percolate before publishing them. That is why I am working on season 05, even though I am publishing season 02. I view my subconscious as a writing partner and I like to give them a chance to review and rewrite.

  1. Up Late, Late at Night

I have finished the script for season 01, episode 01. Ophidia wants storyboards completed before we start building puppets or filming anything. We’ll see how that goes.

  1. The Script Illuminated

I completed and posted the rough drafts from the first page of the script. The question I am wrestling with now is do I create the illustrations physically or digitally. If physically, then I would need markers, bristol board, rubber cement, and an x-acto knife. If digitally, then I would need to install Corel Draw onto my desktop and laptop. 

  1. Untitled project

Can I help my city, my community, be better? I honestly don’t know. But I have to try and for me the schools are the best place to start. 

  1. A prayer to Brighid

Yesterday, while contemplating your grace, I saw your burning hand. A golden handprint of blazing light and curving lines, it called out to me. Touch my hand, you said, and know the arts, for I am art and art is me. I so wanted to reach out, to place my hand in yours. 

The Script Illuminated – rough sketching

Art thoughts, The Great Works Project scripts, The Script Illuminated

While writing The Great Works Project, I am aware of the fact someone might actually try to stage this thing. While I view the script and the reading of the script as the medium, I do wonder how it will hold up when transferred off the page. How does it hold up to reinterpretation? To explore that idea I am going to try my hand at reinterpreting The Great Works Project. Maybe I’ll learn something in the process.

The Great Works: Season Two, Episode Seven script

Puppet play, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Seven

An Intermission

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-07“. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter the following text, “an intermission” scrolls up from the center of the bottom of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

A wooden disc stands ready in the center of a large space. The corners of the room, though visually indeterminable, are felt. Grey squares of carpet radiate out from the wooden disc like rows of seats in an amphitheater. Light from spindly metallic lamps at the ends of the rows illuminate the carpets and to some degree the features of THE OUTER ONE sitting there.

OPEN WITH POV OF THE OUTER ONE LOOKING AT ONE OF THE LAMPS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts from out of view as the bulbs in the lamp flitter in response.

PAN UP AS THE OUTER ONE SHIFTS HIS GAZE FROM THE LAMP TO THE WOODEN DISC.

The wooden disc sits empty, shrouded in shadows cast by not-there shapes. Unseen lamps above the disc turn on, casting out the shadows shape-less while also revealing 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 TILL IT FILLS THE FRAME

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 KITCHEN

A sink, countertop, and stove run along the back of the stage. A table sits of to stage-left and a refrigerator sits of to stage-right. Three cabinets hang over the countertop. THOMAS TYPEWRITER, dressed in a chef’s apron, is at the stove stirring a marinara sauce in a saucepan. A second pot sits on the stove steaming. He removes the lid and drops in a box of dried pasta that he retrieves from a nearby cabinet. NEW WAVE STYLE MUSIC plays from a nearby speaker. DOORBELLS CHIME catching Thomas’ attention. He stirs the sauce one more time before stepping off stage stage-right to answer the door.

DOOR LOCKS UNLOCK and DOOR HINGES CREAK.

OPHIDIA OPERAHOUSE
(off-stage) “Hi. Hope I’m not too late.”

THOMAS TYPEWRITER
(off-stage) “No right on time. You’re looking very pretty tonight.”

OPHIDIA OPERAHOUSE
(off-stage) “Thanks. You look good too. Here, I got these for you.”

THOMAS TYPEWRITER
(off-stage) “Thank you, they’re beautiful.”

OPHIDIA OPERAHOUSE
(off-stage) “Sure thing.” (sniffs) “Wow, something sure smells good.”

THOMAS TYPEWRITER
(off-stage) “That would be the marinara. I was going to make something else but I didn’t have any capers.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARDS MOVING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT TOP. THE CAMERA SLOWS AND STOPS WHEN PROPERLY FRAMING HIGH-STAGE

HIGH-STAGE: CURTAINS CLOSED

PAN IN ON HIGH-STAGE TILL PROPERLY FRAMED

The High-stage curtains part and the stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

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

The stage is filled with a psychedelic swirling of colors. A miniature of THE SPACE EGG enters stage-left. It rapidly flies across the stage. Chromatic waves spread in its wake. When it reaches mid-stage, there is a SONIC BOOM and the Space Egg flies even faster, exiting stage-right. The High-stage 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 a 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 it is heard by the Inner-Space Man and audience. So as the Space Egg speaks, the words also scroll across the text display. 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 that the ship is flying through.

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

THE INNER-SPACE MAN
“Maybe some music to travel by.”

THE SPACE EGG
“Yes, please.”

The Inner-Space Man presses a button. What comes out of the speakers is not music though. A FAINT MUFFLED MURMURING plays.

THE SPACE EGG
“What music did you pick. This is horrible.”

THE INNER-SPACE MAN
“I don’t know what this is. This is not what I wanted.”

The Inner-Space Man leans in closer to the speaker in the console.

INSERT CS OF THE INNER-SPACE MAN LISTENING TO THE SPEAKER.

NOISE FROM SPEAKER
(very faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(less faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(loud) BIFF!”

CUT BACK TO…

The Inner- Space Man jerks his head away from the speaker. He tries to press a button but the High-stage stage lights turn off cutting him off. The High-stage curtains close then reopen revealing…

HIGH-STAGE: INT. BIFF’S BEDROOM, LATE AFTERNOON

A bed sits center stage, flanked by an end table on one side and a steamer trunk on the other. Posters of various characters from the Cosmic League comic and the Babysitter Tales adorn the walls. A window sits to the side. Sunlight streams in. BIFF, colander crowned, sits in a cardboard box atop the bed. ROCKEY THE PET ROCK sits to the side. The box is decorated in crayon such that it looks like the Space Egg.

ROCKEY THE PET ROCK
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”

BIFF
“Maybe some music for our travels.”

ROCKEY THE PET ROCK
“Yes, please.”

Biff pretends to press some buttons, creating a beep sound effect for each one. He then starts to hum, pretending it is the music coming out of the speakers. Rockey closes his eyes. He sways to the melody.

BIFF’S MOTHER
(off-stage)”Biff. Biff. Time for dinner. (louder) Biff. Biff. Time to stop pretending and wash up for dinner. (louder) BIFF!”

Biff takes off the colander.

BIFF
“Uh-oh. (yelling off-stage to mother) Sorry Mom. Be right down. (to Rockey) Guess pretend time is over. Let’s go wash up.”

Biff gets out of the box and hops off the bed. He turns and picks up Rockey.

BIFF
“I sure hope Mom’s made mashed potatoes.”

ROCKEY THE PET ROCK
“With scallions sprinkled on top.”

BIFF
“You know it. That’s the best.”

They exit stage-right. We can hear the sound of FOOTSTEPS descending stairs. The footsteps fade into the distance. The stage lights turn off to the sound of A COMPUTER TURNING OFF as the High-Stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE.

THE CAMERA UNCOUPLES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS AND CONTINUES DOWN ITS LENGTH. IT COMES TO THE TOP OF THE MID-STAGE SETS AND GLIDES OVER THEM. THE CAMERA STOPS ONCE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN

Ophidia Operahouse grabs some plates from the cupboard and walks over to the table. She sets out the plates, cups, and silverware. Her flowers sit in a vase in the center of the table. Thomas follows with a bowl of salad and a bowl of bucattini with marinara.

THOMAS TYPEWRITER
“So was your mom was always trying to save money.”

OPHIDIA OPERAHOUSE
“Oh yeah. Always. She would talk about how there were too many bills or how dad’s income was not a steady thing. Stuff like that.”

THOMAS TYPEWRITER
“My mom too. Though never while we were on vacation now that I think about it.”

Thomas and Ophidia sit down on opposite sides of the table.

OPHIDIA OPERAHOUSE
“I would of loved that. My mom was still worried about money on vacation. Maybe even more so.”

Thomas fold his hands for a moment of silence. Ophidia catches herself and does likewise. She crosses herself and puts her hands together in prayer. When finished she starts serving herself some food, then passing to Thomas.

THOMAS TYPEWRITER
“Sorry, you were saying.”

OPHIDIA OPERAHOUSE
“Yeah, my mom would try to find some way to save money, like to an almost comical level sometimes.”

THOMAS TYPEWRITER
“What do you mean?”

OPHIDIA OPERAHOUSE
“Like for example, we went to Disneyworld when I was in seventh grade.”

THOMAS TYPEWRITER
“Ooo..luckey. Never been. Was it fun.”

OPHIDIA OPERAHOUSE
“The funnest, right. But my mom was nervous we wouldn’t have enough so she’d pack all this food in her purse for us to eat.”

THOMAS TYPEWRITER
“Can you even fit enough food in a purse for that?”

OPHIDIA OPERAHOUSE
“No. See that was the thing. As good as my Mom was at worrying she was inversly good at planning and scheduling.”

THOMAS TYPEWRITER
“Okay.”

OPHIDIA OPERAHOUSE
“So she got flustered and packed a lunch of cottage cheese and grapefruits.”

THOMAS TYPEWRITER
“Wait..Cottage Cheese? As in that stuff in the plastic tubs?”

OPHIDIA OPERAHOUSE
“Yup.”

THOMAS TYPEWRITER
“Isn’t that a refrigerated item.”

OPHIDIA OPERAHOUSE
“Yes it is. Do you know what two tubs of cottage cheese are like after a day of flopping around in the bottom of a purse in the hot Florida sun?”
Thomas giggles.

OPHIDIA OPERAHOUSE
“Gross. That’s what they are.”

Thomas laughs. Ophidia starts to giggle, soon joining him in laughter. The stage-lights click off, with the sound of A LIGHT SWITCH CLICKING OFF, and the Mid-stage curtains close.

FADE OUT

The Two x Twos Episode 7 (June 22nd, 2020)

Art thoughts, assignments for self, The Great Works Project assignments, The Two x Twos, thinking

PREVIOUSLY IN EPISODE 6

Episode 6 had a few surprises. Ocean Waves and All Systems Red were great. Something I was thinking about was time and connection. Like how events in our lives may be in different points in our lifespan but sometimes a connection occurs. In my head, I visualize this connection like a long ribbon of sunlight and at each end of the ribbon are the two connected moments. The ribbon spreads through time shifting and twisting so that I now feel as if these two moments are one moment, right now. Distance is an illusion. 

Watching Ocean Waves was one of these moments. 

As I watched it, and loved it, I started to think about when the film was made. It was produced and aired in Japan in 1993. Why didn’t I see this movie in 1993? I wouldn’t because it takes time to translate and travel overseas. So maybe I could have seen it in 1994 or 1995. Then it happens…two moments meet. I remembered that I first saw Metropolitan in 1994 one late evening on Channel 11 WTTW (Chicago PBS station). What I felt watching Ocean Waves were the same feelings I felt watching Metropolitan the first time. Wow.

THE TWO X TWOS EPISODE 7 (06/22/2020)

Albums

  1. Aja from Steely Dan
  2. Playlist: The Very Best of 311 from 311

Cinema

  1. Akira (1988)
  2. You Might Be The Killer (2019)

Literature

  1. All’s Well That Ends Well by William Shakespeare
  2. Narrative of the Life of Frederick Douglas by Frederick Douglas

Comic Books/Graphic Novels

  1. Astro City Vol. 01: Life in the Big City
  2. Astro City Vol. 02: Confession

Video Games

  1. 80’s Overdrive (Nintendo 3DS)
  2. Crusader of Centy (Sega Genesis)

One last thing I should mention is that doing the Two x Twos on a weekly basis feels too rushed. I would like to have a little more time to spend exploring each work. Starting today, the Two x Twos will be bi-weekly.

The Great Works Project: Season Two, Episode Six script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Six

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-06. 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 vast cavern of a room, with unseen corners, the Unroom Not.Seven has near its center a wooden disc surrounded by rows of grey carpet squares. From the ends of each row of carpet squares, spindly metallic lamps cast a dim light. The unroom’s lone occupant, THE OUTER ONE, sits on one of the squares spinning a golden coin.

POV OF THE OUTER ONE

The coin spins, solidity turning to ethereal turning back to solidity. As the coin slows we can see it has a simple abstract carving of an anvil on one side and a hammer on the other. They pick up the coin and spin it again.

TYPEWRITER KEYS CLICK CLICK CLACK.

The Outer One stops the spinning coin and looks towards the wooden disc.

POV OF OUTER ONE LOOKING AT THE WOODEN DISC

The disc is empty initially but unseen lamps burst to life over the wooden disc revealing THE TYPEWRITER ABSTRACT PUPPET STAGE sitting mid-disc.

TRANSITION FROM THE UNROOM TO THE TRYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE
TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO HIGH-STAGE

ADD AN UPWARD MOVEMENT TO THE PAN IN TO MOVE THE CAMERA TO THE HIGH-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

As the camera nears the stage, the main curtains open revealing…

HIGH-STAGE: CURTAINS CLOSED

GRIGIO COLORI enters from stage-left. He walks about a quarter of the way across the stage then SNAPS his fingers. The High-Stage curtains part revealing…

HIGH-STAGE: INT. ORFE.O SPARKSHIP’S COMMUNICATION CENTER

The sparkship Orfe.O’s communication center or observation deck, is a room arraigned like an amphitheater with a giant view screen across the back. On the screen is the ship’s AI ORFEO, rendered in a wireframe animation style.

The Orfe.O’s crew of nine females, each dressed in virtual reality gear, stand in an arc in front of the viewscreen facing the audience. Each bears a name tag with not a name, but her title and rank within the ship. From stage-left to stage-right stands VR-1, VR-2, VR-3, VR-4, VR-5, VR-6, VR-7, VR-8 and VR-9. (note: They would pronounce it as Very One, Very Two, Very Three…) All nine wear the same basic style of VR gear, with helmet, visor and gloves wired to long cords running off stage. Each has added her own individual decoration to personalize her gear. VR-1 has a writing pad sticker on her VR helmet. VR-2 has a scroll and quill sticker on her VR gear. VR-3 has a sticker of a flute. VR-4’s VR gear is decorated with roses. VR-5 has stickers of boots on her VR gear. VR-6’s VR gear bears no decoration. VR-7’s VR gear has a sticker of the silhouette of a ballerina. VR-8’s VR gear has a joker playing card taped onto it. Stars cover VR-9’s VR gear.
Each is busy working at her virtual reality work station. Though they can see their workstations, we cannot. To us it will appear as if they are pantomiming navigating the sparkship and running its systems.

ORFE.O
“Minimal structural damage. Orchestra Pit recommends a sixty degree declination to avoid any further structural damage.” (notices Grigio) “Hey, what are you doing here?”

Grigio SNAPS his fingers and the High-Stage curtains close. He moves to the center of the stage and SNAPS his fingers again. The High-stage curtains reopen revealing…

HIGH-STAGE: INT. DIDO+AENEAS SPARKSHIP’S OPERATIONS ROOM

The Dido+Aeneas Operations room has the appearance of two different rooms stuck together. The stage-left side, or the AI DIDO’s side of the stage, is decorated in silver and chrome with a large viewscreen at an angle to the stage-front. The viewscreen fills half the stage. DIDO’s face can be seen in the viewscreen. The other side of the stage belongs to the ship’s other AI AENEAS. It is decorated in hues of gold and bronze. A large viewscreen fills half the stage at a complementary angle to Dido’s viewscreen. AENEAS’s face can be seen in this viewscreen. The two viewscreens are angled such as to form a v, with the stage-left and stage-right sides being closest to the stage front and the center, or where they meet, recessed back.
Two robots, the DIDO-BOT and the AEN-BOT, dance a slow waltz across the triangular area between the viewscreens. The Dido-bot is chrome in color wearing a golden dress with silvery accents. The AEN-BOT is golden in color but wearing a silvery suit accented with bronze. THE BLUE DANUBE WALTZ BY JOHANN STRAUSS II PLAYS as the robots dance.

DIDO
(regular voice) “Oh I remember this song. We danced to it at our wedding.” (more mechanical voice) “Energy spikes detected. Orchestra Pit recommends rerouting.”(regular voice) “How long has it been Aeneas.”

AENEAS
(mechanical voice) “Rerouting orbit.” (normal voice) “The uplifted heart collects no calendars my love.”

The Dido-Bot and Aen-bot dance while Grigio walks across the stage. He mistimes stepping around and they bump into each other. The robots stop.

DIDO
(normal voice) “Who’s that?” (mechanical voice) “Reroute vectors assigned.”

AENEAS
(mechanical voice) “Compensating fuel ratios” (regular voice) “Oh it does appear to be one of Colori’s many faces. What did it call itself. Help me out sweetheart. Not the rage, not the soothing, the individualist.”

DIDO
(normal voice) “Grigio dear.”

AENEAS
(normal voice) “Grigio. Yes that’s it.”

GRIGIO COLORI
“Hi. Sorry about disturbing your dance.”

DIDO
(mechanical voice) “Acceleration within acceptable parameters.” (normal voice) “Apology accepted. What grand adventure brings you to our love nest. Something heroic I hope.”

GRIGIO
“I’m on my way to the Carro.”

AENEAS
(normal voice) “Well good luck then.” (mechanical voice) “Sub-deck electronics within acceptable parameters.”

The Dido-bot and Aen-bot resume dancing. Grigio SNAPS his fingers and the curtain closes. He walks a little ways and SNAPS again. The High-stage curtains reopen revealing…

HIGH-STAGE: INT. JULIAN-3 SPARKSHIP COMMAND DECK

Two rows of terminals run across the stage, with the back row raised higher than the front. Each terminal, except one, is manned by a holographic projection of the ship’s AI JULIAN THREE. The unmanned terminal is broken. Its burned and cracked with wires spilling out.

JULIAN 3.0
“Hull intergity 85%.”

JULIAN 3.1
“We have successfully emerged from the storm.”

JULIAN 3.4
“Redirect all sensors to surrounding space. Danger may still be afoot.”

JULIAN 3.6
“Ship systems have sustained damage. 65% efficiency.”

JULIAN 3.14
“Not to mention Julian 3.15 getting stabbed multiple times by the lightning strikes. Talk about a highly charged situation.”

Grigio laughs at his joke and hi-fives Julian 3.14. All the Julians look at them. Grigio snaps his fingers and the curtains close. Grigio exits stage-right.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD. IT MOVES OFF FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BENEATH. IT FOLLOWS THE CURTAIN OF CLOUDS DOWNWARD TO THE TOPS OF THE MID-STAGE SETS, GLIDING OVER THEM TO FINALLY SETTLE PROPERLY FRAMING MID-STAGE.

The Mid-Stage curtains are open and the stage lights are on when we join the scene revealing…

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY SECOND FLOOR, AFTERNOON

An entrance way and large window stand to the stage-left while a small table and bookshelves stand to the stage-right. Signs hang over the entrance way denoting “Non-fiction” and “Fiction” stage-right while “Checkout” is stage-left and downstairs. The small table has a series of books on display. A sign on the table reads “Staff Picks”.
On the floor next to the staff picks we find THOMAS TYPEWRITER sitting on the floor reading “Latchkey Kids of Randomness” by Jonathan J. Wheelwright. He reads in silence for a few moments before THE LIBRARY AIDE enters from stage-right. Pushing a rolling cart filled with books to reshelve, the Library Aide spots Thomas and moves closer.

THE LIBRARY AIDE
“Excuse me sir.”

Thomas marks his place in the book and then looks up.

THOMAS TYPEWRITER
“Yes.”

THE LIBRARY AIDE
“Is everything alright.”

THOMAS TYPEWRITER
“Yes. Sorry, this book drew me in. Lost track of time.”

THE LIBRARY AIDE
“Oh, that’s fine. It happens more times than you’d believe.”

THOMAS TYPEWRITER
“Do you know what time it is.”

THE LIBRARY AIDE
(looking at watch) “3pm.”

THOMAS TYPEWRITER
“Oh boy, I am going to be late. Do you know where the cooking books are?”

THE LIBRARY AIDE
“Real close. Head straight back three rows. On your left.”

THOMAS TYPEWRITER
“Thanks.”

THE LIBRARY AIDE
“No problem.”

Thomas walks off stage right bringing the book with him.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FROM MID-STAGE AND GLIDES UPWARD. IT PANS UPWARD PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS, CONTINUING UPWARD TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN. IT SLOWS AND STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: INT. SPACE EGG

THE INNER-SPACE MAN sits at the console stuck, frozen about to push a button. The lights in the the console and the viewscreen cycle through levels of dimness.

THE INNER-SPACE MAN
(through gritted teeth) “What’s happening. I’m stuck.”

THE SPACE EGG
(distorted) “Me too.”

THE INNER-SPACE MAN
“Did Biff stop pretending before finishing our story?”

THE SPACE EGG
“Looks like he did. Guess we’re stuck till he returns to pretending our story.”

The Inner-Space Man tries to move, struggles, but can not budge. He exhales in exhaustion and frustration.

THE INNER-SPACE MAM
“Is this to be our fate my ovoid friend. To exist, to know and feel, but to never truly live unless bound within the margins of a child’s playtime.”

THE SPACE EGG
“Maybe we’re cursed.”

THE INNER-SPACE MAN
“If only.”

The stage lights turn off with the sound of A COMPUTER POWERING OFF while the High-stage curtains close.

FADE OUT

Up Late, Late At Night: Season One, Episode One, Act IV script

scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

ACT IV

By Thomas Typewriter & Ophidia Operahouse-Typewriter

(c) 2020

———–<:typehouse:>———–

———–ACT IV———–

FADE IN

EXT. D-COP’S HOUSE, DAYTIME

OPEN ON A LS OF THE FRONT OF D-COP’S HOUSE

Hold the shot a moment, but then we catch a glimpse of the students sneaking one by one from some object in the yard, shrub or shed…etc, to the back of the house. The very first should be V-HESS and the last should be JEWELCASE.

CUT TO MS OF REAR OF D-COP’S HOUSE

V-HESS, CASS-E, HANSEL, GRETEL, B-RAY with MR PUPPET, CLAMSHELL, and JEWELCASE huddle near a window.

CASS-E
(strong whisper) “What are we doing here.”

EVERYONE ELSE
“Yeah.”

V-HESS
“Shhh. You want him to hear us.”

B-RAY
“Then why are we sneaking around his house on a Saturday morning.”

MR. PUPPETS
“Yeah we could be watching cartoons, like the one where the Fonz travels in a spaceship.”

V-HESS
“I’m tired of that guy and that class. It makes no sense. Twenty hours to explain how to adjust the mirrors. Something weird is going on.”

B-COP
(off-screen) “You better believe something weird is going on.”

THE CAMERA PANS OUT ENOUGH TO SHOW B-COP AND THE HUDDLED STUDENTS.

CASS-E
“Oh no. Cheese it fellas!”

B-COP
“Cool it. I am not here to rat you out. I want answers too. Why’s he so excited to teach this class? (turns to V-Hess) So what’s your plan.”

V-HESS
“There’s dog poo everywhere in his backyard. So I made a giant bag of dog poo that we will set on fire. Heck, we could even make two flaming poo bags. Yeah. Double doo-doo doorbell ditch.”

Everyone groans.

B-COP
“That is awful. Why don’t we look in the window instead. Spy on him and see what he is up to.”
Everyone agrees B-Cop’s idea is a better idea. V-Hess throws away the bag of dog poop.

B-COP
“Okay. Now who is the lucky person to look through the window. It’ll need to be the lightest person here.”

Everyone looks around.

CAMERA SHIFTS BACK AND FORTH TILL FINALLY SETTLING ON MR PUPPETS.

MR PUPPETS
“Uh-oh.”

CUT TO…

INT. D-COP’S BATHROOM, DAYTIME

A simple bathroom with a bathtub/shower and toilet along one wall. On the other wall is the vanity, mirror, and towel rack. A window sits up high on the short wall perpendicular to the tub wall and vanity wall.

LS OF BATHROOM

D-COP sits in the bathtub with PADDLES, a dog made from a ping-pong paddle. The bathtub is filled with bubbles from an especially foamy bubble bath. D-COP is singing into a scrub brush. While D-Cop sings we can see the face of Mr. Puppets come into view in the upper window.

D-COP
(singing into scrub brush as if it was a microphone) “I met him at the dance floor.
He turned around and I said I would take more.
When we danced, we danced.
All the stars were shining advanced.
You get the idea.”

D-COP points the scrubbrush to PADDLES

PADDLES
“Woo-Woo-Woof”

D-COP
“That’s when I kissed the Leader of the Pack.
Uh-huh
That’s when I kissed the Leader of the Pack.”

PAN OR TILT THE CAMERA UP SO WE CAN SEE MR. PUPPETS MAKE A FACE AT WHAT HE IS SEEING.

Mr. Puppets leans in further to watch. Soon his face is joined by more of the classmates. Then there is a loud RIPPING NOISE as the wall caves in and everyone topples into the bathroom. D-Cop screams.

Cass-E rises first.

CASS-E
“Cheese it fellas I think he’s noticed us.”

Everyone runs out of the room.

CUT TO…

INT. LIVING ROOM OF D-COP’S HOUSE, DAYTIME

D-Cop’s living room has two sofas and a recliner. A large sofa in the center with a smaller sofa off to stage-left and a recliner to stage-right. V-HESS, B-RAY and Mr. Puppets sit on the smaller sofa. CLAMSHELL, CASS-E, and JEWLECASE sit on the larger sofa leaving a space at the stage-right end. B-COP sits in the recliner. HANSEL AND GRETEL are playing with PADDLES behind the sofa. D-COP is carrying a tray giving drinks to everyone.

B-COP
“So you’re saying the reason you have been acting so weird and why caught you having a bubble-bath sing-along with a dog is that you dognapped Judge Laser’s dog to make her too upset to teach traffic school so she would have to ask you to teach the class and she would then realize how great you are.”

D-Cop sits down on empty spot on larger sofa.

D-COP.
“Yup.”

B-COP
“That’s messed up.”

Clamshell stands up and claps, slow clap. He walks over to D-Cop.

CLAMSHELL
“I just want to say that was the most impressive thing I have ever heard in my years on this planet. I have been needing the guidance of somebody as wise as you. Please teach me to be just like you.”

B-COP
“Whoa, whoa…”

V-Hess stands.

V-HESS
“Just like Clamshell, I just want to say that is the most gnarly bone-curdling thing I have ever heard and I am on board. Teach me your dark ways.”

B-COP
“I think you two are reading this all wrong.”

Cass-E stands.

CASS-E
“Maybe it’s all the medications I take but what all of you are saying makes a lot of sense to me right now and I want to learn your ways of love.”

Clamshell stands.

B-COP
“Oh, not the little old lady too.”

CLAMSHELL
“I may have started this class as a puppeteer…”

CUT TO CS OF B-RAY MR. PUPPETS

B-RAY
“What?”

CUT BACK TO CLAMSHELL

CLAMSHELL
“But you sir are the true master of Puppets. Count me in.”

Just then the phone rings. RING, RING, RING. D-Cop goes over to pick it up, moving into the foreground. Maybe have a shift of some kind, like lighting brighter on him and background darkens. Shift back at end of call.

D-COP
“D-Cop’s residence, D-Cop speaking. What’s that. Oh, hi Laser Judge. Are you crying? Oh, I’m sorry. What’s wrong. (pauses as he listens) No. They did what. Is there anything I can do to help. (listens) Well, I could take over for that if it would help you out. You know I am always willing to help you out. Okay, so dry those tears I’ll be right over and everything will be better. We’ll get through this, together.”

D-Cop hangs up the phone.

D-COP
“That was Laser Judge. Her Garden Party Fundraiser is a disaster. The band canceled on her and she is at a loss. My plan is working…”

B-COP
(off-camera) “No it’s not.”

D-COP
“Luckily for her, old D-Cop is here to save the day, because something you may not know about me my other Minor in college was music.”

D-COP turns around and the visual effect goes away. We now can see that everyone except Paddles and B-Cop are dressed like D-Cop.

CLAMSHELL
“That’s funny because my other minor in college was music.”

V-HESS
“That’s funny too because my other minor in college was also music.”

CASS-E
“Weirdly enough my other minor in college was music.”

CUT TO CS OF B-COP

B-COP
(turns to camera) “I better stick around to save them from themselves.”

FADE OUT

The Two x Twos, or an attempt at a life appreciating the gift of art – Week #6

The Two x Twos

Week 5 went a little smoother than week 4. I was definitely better able to relax and enjoy the various works. Vintage Dance Orchestras Nº 70 was a blast. Loved it. Airborn was riveting. It was one of those books that I just wanted to spend more time in that world. A book like that is a bittersweet thing. I read and read racing through the book only to find myself slowing down as I get closer to the end. Hesitant to finish because I know if I do, then I have to leave that world and the characters I have grown to love. Still worth it though.

Week #6 – the week of 5/29/20

Albums

  1. Ah Um from Charles Mingus
  2. Abandon Ship from Knife Party

Cinema

  1. Alice in Wonderland (1951)
  2. Ocean Waves (1993)

Literature

  1. The Alchemist by Ben Jonson
  2. All Systems Red by Martha Wells

Comic Books/Graphic Novels

  1. Arkham Woods TPB
  2. Arrowsmith: So Smart in Their Fine Clothes TPB

Video Games

  1. KISS Pinball (PS1)
  2. Gravity Falls: Legend of the Gnome Gemulets (3DS) (Slowly but surely…)

The Great Works Project: Season Two, Episode Five script

The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Five

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-05. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

A vast cavern of a space, the full scope of the Unroon Not.Seven is difficult to discern. Small details, such as the wooden disc in the center of the room are visible. Other details such as the rows of grey carpet squares radiating out from the wooden disc, the spindly metallic lamps and their serpentine cords at the ends of the carpet rows. Another discernible detail in this space of fading edges, The OUTER ONE sits on one of many carpet squares patiently waiting for the next show.

POV OF THE OUTER ONE

Small highlights dance across the surface of the wooden disc from the spindly metallic lamps spread across the space. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in.

POV OF OUTER ONE ADJUSTING GAZE TO TAKE IN THE WHOLE OF THE WOODEN DISC.

In the center of the wooden disc appears THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE

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

PAN IN ON MID-STAGE.

MID-STAGE: CURTAINS CLOSED

The curtains part and the stage lights turn on, to the sound of A LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: EXT. THE ALEXANDRIAN LIBRARY, AFTERNOON

The front entrance of the multi-level flagstone and glass Alexandrian Library stretches across the back of the stage. The squarish carved letters of the building’s name loom over the triple set of doors adding to the solidness of the building. A sculpture of an open book balancing on the top of a pyramid stands just out front among ornamental grasses. We hear A CAR DRIVE UP AND PARK. The ENGINE SHUTS OFF. The CAR DOOR OPENS then SLAMS SHUT. FOOTSTEPS APPROACH. THOMAS TYPEWRITER enters from stage-right. He walks past the ornamental grasses, past the sculpture, and up to the front doors. He only enters after taking a moment to admire the weight of the carved letters over the entrance.

…welcome to the spell…
…write your life…
…rewrite your life…

He reaches a hand up lightly touching the letters. Pausing, he makes space for gratitude at something these letters existing and him existing and how now in this moment they meet. The moment acknowledged and the space given, Thomas enters the library through the front entrance. The doors softly close behind him. A butterfly flutters out and away from the grasses.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP AND OVER THE MID-STAGE SETS TO THE CLOUD OF CURTAINS HANGING BEHIND. IT FOLLOWS THE CURTAIN OF CLOUDS UP TO THE HIGH-STAGE AT TOP. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-Mouse emerges. He is wearing thick black glasses, a button up shirt and khaki pants. An SLF (Solar-Lunar Fleet) name badge is clipped to his shirt with the name “Reginald Wordsqueaker”.

Y-MOUSE
“All is not calm in the Orchestra Pit, headquarters of the vast Solar-Lunar Fleet.”

Y-Mouse exits through the Narrator’s Door. It closes. The High-stage curtains part and the stage-lights turn on, to the sound of A COMPUTER BOOTING ON, revealing…

HIGH-STAGE: INT. OFFICES OF SLF’S DIRECTOR OF OPERATIONS, DAYTIME

A large wooden desk built from a baroque pipe organ sits against the wall. Along the other side of the stage is a series of filing cabinets and magnetic tape mainframes. Various instruments clutter pile across the top of the cabinets and mainframes, obscuring the various stuffed animal heads on display. A curved aquarium window curves away off-stage on the other side of the pipe organ desk. MUSICA, she of the golden harp, is sitting at the desk speaking on the telephone.

MUSICA
“No, there have been no updates. Yes, we’re trying everything. Yes…now wait…no…no, we did not realize he was one of your children. Yes. Yes, no…”

MUSIDORA, she of the dark dress, Musica’s twin sister, and second in command of the SLF, enters carrying two cups of coffee. She walks over and hands Musica one of the cups. She then sits off to the side of the desk sipping her coffee as she waits for Musica’s phone call to end.

MUSICA
“We will gladly allocate more resources…yes, oh is that so. Well, you are entitled to your opinion of our work here. And I am entitled to my…Hello…Hello. (hangs up phone) She hung up on me.”

MUSIDORA
“Who was that?”

MUSICA
“The Dianian. Apparently that astronaut who got lost…”

MUSIDORA
“The one making the commercial?”

MUSICA
“Yes, that one. Turns out he was one of her quote-unquote children.”

MUSIDORA
“You don’t say.”

MUSICA
“And she’s blaming us.”

MUSIDORA
“Funny you should say that, because I just got off the phone myself. Had a civil little conversation with our favorite Nutri-Corp executive.”

MUSICA
“Atria?”

MUSIDORA
“Got it in one. See, she also feels the lost astronaut is our fault, and will not stand for Nutri-corp, pardon the pun, bearing any blame. If she gets blamed she’s threatened to pull Nutri-Corps’s support.”

MUSICA
“But they supply all the food for every ship in the fleet. That’d be disastrous.”

MUSIDORA
“I know. What did the Dianian threaten.”

MUSICA
“She’ll go to the Selenian and the Heliosian.”

MUSIDORA
“The big bosses. (pauses) Well we don’t want that.”

MUSICA
“No we don’t. So what…”

ALARM SIRENS erupt cutting off Musica mid-sentence. Musidora and Musica rush out of the office exiting stage-left. The High-stage curtains close. They reopen revealing….

HIGH-STAGE: INT. THE ORCHESTRA PIT CONTROL ROOM, DAYTIME

The Control Room looks very similar to an actual orchestra pit. Chairs arranged in a semi-circle around a raised podium in the center. Though along the back wall, behind the seats but facing the center podium, is a giant over-sized music stand. Alarm lights blink and KLAXON HORNS buzz in the background.

Two large pages of sheet music stand spread across the over-sized music stand. On the pages are a series of moving images. Musical notes, each depicting a different sparkship, are moving around the page as they orbit the Ir-Ra. It appears as two rotating circles in the center of the two pages. The outer circle appears as a treble clef measure and rotates clockwise. The inner circle appears as a bass clef measure and rotates counter-clockwise. Off to the side of the Ir-Ra, there is a tangle of sharp notations making an almost solid black cloud. Any sparkship near the cloud are yellow. In the cloud can be seen one red sixteenth note.

Currently there are fourteen spots arranged around the conductor’s podium, set up in two rows. Each spot has a chair and music stand, except center back row. It has a music stand and a set of timpani. All of the chairs are occupied except two. Seated in the front row, stage-left to stage-right are: VICTORIA OPENWINDOW with her violin, An empty chair with a pearlescent violin on a stand, CRICK CRICKETS with his pseudo-clarinet, VIOLET WOLFBEARD gripping her viola in clawed hands, DULCIAN CURTAL hidden behind her bassoon, HAUT DOUBLETONE resting his oboe on his lap, TIMBRE SCRAMLEDEGGS slowly drawing a bow across his cello, and lastly ARCO PLASMATORCH plucking a rhythm on his Double Bass. Seated in the back row, stage-left to stage-right are: An empty chair containing a french horn folded from the pages of a lost book, CHRISPUS TOPSHELVES with his trumpet, MEL COPPERPOT playing the timpani, TAWNY THINWHISTLE gripping a trombone, and lastly GAUNTLY’S elongated form wrapped inside a tuba. STELLARITE FERN is standing on the conductor’s podium pointing to the various members of the mission control. REGINALD WORDSQUEEKER enters from stage-left and sits down in the empty chair in the back row. STELLARITE FERN stands on the podium watching him enter.

STELLARITE FERN
“Glad you could join us Reginald. Updates people. What’s going on out there.”

ARCO PLASMATORCH
(plays a few short notes on his double bass) “There’s a sudden disturbance along the surface of the Ir-Ra.”

STELLARITE FERN
“Is the Ir-Ra condensing?”

Chrispus Topshelves plays a few notes on his trumpet and looks at the sheet of music on his music stand.

CHRISPUS TOPSHELVES
“No. Energy readings suggest something else.”

STELLARITE FERN
“Okay. Start rerouting all sparkships away from the disturbance.”

Everyone picks up their instruments and commences to play. The notes depicting the sparkships on the giant sheet music display start to change course, drifting away from the Ir-Ra center.
Musica and Musidora enter from stage-right. Stellarite Fern bows in their direction before stepping down from the podium. She moves over and takes a seat at the empty chair in the front row.

MUSICA
“What’s going on people.”

STELLARITE FERN
“There has been an energy surge near the surface of the Ir-Ra.”

MUSIDORA
“It looks like a thunderstorm.”

STELLARITE FERN
“Yes, it is very similar in appearance. Initial scans showed two objects caught in the storm, but sensors now only show one. One of our sparkships.”

MUSICA
“Which one.”

Musidora looks at the display and studies the red sixteenth note in the storm of sharp notes.

STELLARITE FERN
“Unknown currently. Possibly the Carro. Last known coordinates place it near the disturbance.”
The display zooms in onto the lightning storm. A ship symbol can be seen flickering in the lightning.

MUSIDORA
(looking at display)”Looks like we are not quite able to pierce that storm with our sensors. (looks at Musica) Sister would you be so kind?”

Musica brings up her harp and starts to play. A WISTFUL MELODY spreads out. Musidora closes her eyes to listen, bat-like ears popping up on the top of her head.

MUSIDORA
“That is definitely the Carro.”

The Carro’s symbol vibrates and grows brighter. Just then COLORI PASTELLI and OTHO MERCUTIAN enter on a raindow beam from stage-top. He lands next to Musidora. We can see that he has all his colored stripes.

COLORI PASTELLI
“Evening ladies, sorry to interrupt. (looks around) Looks like you have more than enough paint on your brush, but it is of grave importance.”

MUSICA AND MUSIDORA
“Colori. Otho.”

OTHO MERCUTIAN
“Is my son alright?”

MUSICA
“There’s been a storm of unknown origin.”

COLORI PASTELLI
“And the Carro. Lucido was on that ship correct.”

OTHO MERCUTIAN
“Yes.”

MUSICA
“Yes he is, and it is caught in that storm. We can’t get to it.”

MUSIDORA
(looking at Colori) “Though you are welcome to try your usual brash heroics.”

Colori looks at the display and thinks. He closes his eyes and shimmers. His grey stripe is gone replaced by yellow. Next to him stands GRIGIO COLORI.

COLORI PASTELLI
“Can’t fly there. Too far from the Nine Hills. Can we use the grey spaces?”

GRIGIO COLORI
(rubs temples) “Let me think.”

The stage-lights dim and a spotlight sparks to life illuminating Grigio. Everyone else in the scene freezes as we experience an asideal moment.

GRIGIO COLORI
(pulls out a scriptbook for The Great Works Project) What does the script say. Lets see, lets see. Season one, season two, okay, episode one, two, three, ahh, four. Here we go. (Reading from scriptbook)”Grigio Colori quiet and reserved looked at the available information to answer Colori’s question. Looking at the large sheet music display he realized a path was possible. GRIGIO: “I can do it but I’ll need three points to use as relays.”

Grigio puts the scriptbook away and the spotlight cuts out. The stage-lights return to normal and everyone unfreezes.

GRIGIO COLORI
“Yes I can use the grey, but not for the whole distance. I’ll need three jumping off points. Three ships in a near straight line should do it.”

Colori nods yes.

GRIGIO COLORI
(to Musica and Musidora) “Give me three ships in a line to the Carro.”

Musidora nods at Grigio then gestures at the orchestra. They place their instruments at the ready. She conducts them in a short medley. The images on the sheet music display change. It zooms in a bit and three of the ship icons glow. A dotted line connects them.

MUSICA
“You could use the Orfe.O, the Dido+Aeneas, and then the Julian 3.”

Colori and Grigio study the display then look at each other and nod. Colori, taking Otho, flies off stage in a colorful rainbow. Grigio flies off the other way on a greyscale rainbow.
The storm grows bigger on the display and the surface of the Ir-Ra ripples.

MUSICA AND MUSIDORA
“Good luck.”

The stage-lights turn off with the sound of A COMPUTER TURNING OFF and the curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETACHES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. MOVES ONTO AND DOWN THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, FINALLY STOPPING ONCE MID-STAGE IS PROPERLY FRAMED AGAIN.

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY MAIN FLOOR, DAYTIME

A help desk sits in the center of the stage. THE FRONT DESK LIBRARIAN sits at the desk sorting books. A large sign with the library’s name sits over the desk. THOMAS TYPEWRITER enters the from stage-left and approaches the desk. The Librarian stops checking in books and looks up at Thomas.

THE FRONT DESK LIBRARIAN
“Hello, how may I help you?”

THOMAS TYPEWRITER
“Hi. Could you tell me where I can find the cook books.”

THE FRONT DESK LIBRARIAN
“Straight back and up the stairs. Go through and past the fiction section. Non-fiction’s right behind it. Cookbooks should be by the big bay windows.”

THOMAS TYPEWRITER
“Awesome. Thanks.”

Thomas exits stage-right. The librarian goes back to checking in books. Here you might notice that the spines of the stack of books to be checked in contain an overlapping design of two abstracted brain hemispheres. Each a different color.

The curtains close then reopen revealing…

MID-STAGE: INT, THE ALEXANDRIAN LIBRARY SECOND FLOOR, DAYTIME

An entrance way and large window stand to the stage-right while a small table and bookshelves stand to the stage-left. Signs hang over the entrance way denoting “Non-fiction” and “Fiction” stage-left while “Checkout” is stage-right. The small table has a series of books on display. A sign on the table reads “Staff Picks”. Thomas enters from stage-right walks across the stage to stage-left. He walks past the small table and almost keeps walking but instead stops and turns.

THOMAS TYPEWRITER
“No, it couldn’t be.”

He examines one of the books on the shelf, Latchkey Kids of Randomness by Johnathan J. Wheelwright.

THOMAS TYPEWRITER
“It is. That book that girl was reading. I wonder?”

Thomas opens the book and starts to read. Drawn in he slowly sinks to the floor. He continues to read, lost in a good book. The stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

The Two x Twos, or an attempt at a life appreciating the gift of art – Week #5

The Two x Twos, Uncategorized

Week four was a little frustrating. I did not make as much progress as I had hoped too. My kindle’s screen cracked, stopping my reading progress while I sorted that out. My 2DS aggravated my hands and wrists, stopping my gaming progress and also my script writing. Frustrating. Very frustrating…

…deep breath…

…So, I focused on slowing down. Focused on remembering that most of my stress is self-inflicted. A gap forms between what I think should occur and what actually occurs.  Slowing down allows me to start pruning back expectations. Snip, snip, snip and calmness returns. Ultimately I come to this thought: What was the original intention of the Two x Twos exercise? Was it to achieve a box of accomplishments, powering through a to-do list? Was it to enrich your life by exposure to these wonderful creations and what ever magic may be etched inside? The latter obviously. Then lets work towards that and if it takes a while, it takes a while.

Week 5 – May 22nd, 2020

Albums

  1. Album from Girls
  2. Vintage Dance Orchestras Nº 70 from Cisneros Y Su Orquesta Latina

Cinema

  1. Ali Zaoua (2000)
  2. Safety Last! (1923)

Literature

  1. Airborn by Kenneth Oppel (I just started this book when my Kindle’s screen cracked. Shame, as I was really liking it. I did find that if I turned the back lighting of the Kindle to low, like 4 or less, that I can ignore the crack.)
  2. All Systems Red by Martha Wells (I have been looking forward to reading this one for a while now. So excited.)

Comic Books

  1. Angel and the Ape #3
  2. Angel and the Ape #4

Video Games (Going to try switching to using game controllers, which should help my hands. I have a Rock Candy Xbox One controller that is the most comfortable controller I have ever used. Going to switch to that and play for short bursts.)

  1. Kingsley’s Adventure (PS1)
  2. Gravity Falls: Legend of the Gnome Gemulets (3DS)