“The Great Works Project: Season 6, Episode 8” 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 8

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-08”. It enters from the bottom of the frame and moves up, pausing in the center before continuing upward. It exits through the top of the frame.

FADE OUT
FADE IN

EXT. Y-APARTMENT, SUNSET
The darkness of the empty screen slowly starts to develop twinkles of starlight.

PAN DOWN FROM STARRY SKY ACROSS THE WARM COLORS OF A SUNSET

Y-MOUSE
(off-camera) “Beautiful.”

CUT TO

EXT. DECK OF APARTMENT Y, EARLY EVENING.
A wrought iron deck on the edge of the apartment with an art deco inspired metal railing. A deck chair and small table sit off to the side of the sliding door. The view from the deck looks out at sloping hills of late season autumnal trees. Fiery colors burst across the skeletal branches as the fall of leaves and march into winter continues. Y-Mouse sits on his deck watching the sunset, sipping from a tall glass of Seltzer Beer.

MS OF Y-MOUSE

He stares out in deep thought. After a moment, a GROUP OF CHIMES starts to chime. There sounds like six different chimes, each at a different pitch and interval. Through the window and glass doorway, six different colors blink: red, blue, orange, green, yellow, and purple. Each color blinks in intervals with one of the six different chimes. Y-Mouse turns his head to look toward the apartment.

CUT TO CS OF GLASS DOOR SHOWING BLINKING LIGHTS.

CUT BACK

Y-Mouse stretches and stands. He casually strolls into the apartment.

CUT TO LS OF Y-MOUSE FROM ACROSS THE GLASS DOOR

The deck’s sliding glass doors open onto a studio apartment kitchen/living room combo. The kitchen stands off to stage-left and the living room to stage-right. An L-shaped counter divides one area from the other. A wicker couch sits off the stage-right. Just out of frame is a small entryway with a thin table. Above the table hangs three coat hooks. On one side of the table stands the Narrator’s Door. To the other side of the table, down the short hall of the entryway is the door to the Y-Stairwell. Holding his drink, Y-Mouse walks in. He looks at the couch and sees the blinking colored lights coming from under the couch. He nods his head in understanding and walks into the kitchen. He opens a drawer and pulls out a notepad and pencil. He then walks to the Narrator’s door and steps through.

TRACK Y-MOUSE

PAN THROUGH THE NARRATOR’S DOOR

TRANSITION FROM THE Y-APARTMENT TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

TYPEWRITER ABSTRACT PUPPET STAGE: NARRATOR’S BALCONY

LS OF THE NARRATOR’S BALCONY

CUT TO MS OF THE Y-MOUSE

Y-Mouse closes the door behind him as he walks onto the deck and sits on the edge. He looks over at the closed curtains of the High-Stage.

PAN OVER TO PROPERLY FRAMING THE HIGH-STAGE

HIGH-STAGE: CURTAINS CLOSED
The curtains for the High-Stage part. The stage-lights turn on to the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: EXT. THE FAR EDGE OF THE FOREVERCAGE
The vast immaterial unfilled echo is broken by two figures, one small and the other large. THE WARDROBE OF A THOUSAND AND ONE COSTUMES floats off to the stage-right of the center. A small model of THE SPACE EGG floats to the stage-left of the center. It slowly glides towards the Wardrobe.

CUT TO

INT. THE SPACE EGG
THE INNER-SPACE MAN sits in a sleek astronaut’s chair, working buttons on the console. 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 as it comes out of the speakers. 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 approaching Wardrobe of a Thousand and One Costumes. Uncomfortably Crammed into the small space behind the pilot’s chair sit BIFF THE RABBIT and ROCKEY THE PET ROCK. A stack of paper and crayons sits between the pair. Drawings of an egg in a detective’s coat and fedora and a giant radioactive monster can be seen in the stack of papers.

THE SPACE EGG
(voice-over?) “There it is.”

THE INNER-SPACE MAN
“Roger. See if you can use that gap in the doors we used last time.”

THE SPACE EGG
“Already on it.”

BIFF THE RABBIT
“What is that!”

THE INNER-SPACE MAN
“It’s a giant wardrobe.”

BIFF THE RABBIT
“I can see that, but why is it so large. When we pretend the Wardrobe of a Thousand And One Costumes is like maybe twice our size. Not the size of a mountain.”

THE INNER-MAN
“Wait, you’ve seen this thing before.”

BIFF THE RABBIT
“Yeah.”

THE INNER-SPACE MAN
“Interesting”

CUT BACK TO

EXT. THE FAR EDGE OF THE FOREVERCAGE
The model of the Space Egg is now very close to the Wardrobe of a Thousand and One Costumes. The wardrobe rotates so that we can see the front doors and the small gap at the bottom. The Space Egg flies into the gap.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETACHES FROM HIGH-STAGE AND PANS DOWNWARD. IT SCROLLS OVER THE BOTTOM OF THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BELOW. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN AND DOWN. SOON THE TOPS OF THE MID-STAGE SETS PEEK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN, SLIDING OVER THE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIOS, DAYTIME
The stage-lights are off but turn on to the sound of A LIGHT SWITCH CLICKING ON. A long work desk stretches across the stage. A computer, monitor keyboard, and mouse sit near the center of the long desk. Nearby sits a scanner. Behind the desk and off to the stage-right side sits a taller drawing table with an animation light table. Various bins filled with paper and drawing tools sit on a shelf near the drawing table. A taller chair is pushed into the drawing table. OPHIDIA OPERAHOUSE stands just inside the doorway, having flipped on the room’s lights. THOMAS TYPEWRITER stands partially in the doorway.

THOMAS TYPEWRITER
“I am glad to be helping but I am not sure how much help I will be. I really can’t draw anymore, not without my hand acting up.”

OPHIDIA OPERAHOUSE
“That’s okay. I can handle the drawing for both of us. What I need is help on the computer.”

THOMAS TYPEWRITER
“I can handle computers.”

OPHIDIA OPERAHOUSE
“I know you goofball. Now, why don’t you come in here and I’ll show you what I need you to do.”

Thomas and Ophidia enter the room and sit down at the computer desk. Ophidia standing behind him and Thomas in the chair.

OPHIDIA OPERAHOUSE
“Okay, the first thing you do is open this program here.”

She places her hand on top of Thomas’s over the mouse. A strobe light pules across the back of the stage and the sound of FABRIC ROUGHLY SCRAPING OVER FABRIC. Thomas quietly takes in a deep breath and then slowly exhales. The strobe light and fabric scraping sound stop. Ophidia gently guides his hand.

THOMAS TYPEWRITER
“Like this?”

OPHDIA OPERAHOUSE
“Yes, exactly. Just like that.”

THOMAS TYPEWRITER
“I am glad I agreed to this.It feels good to working on art again, even if it is not my own.”

Ophidia gives him a quick kiss

OPHIDIA OPERAHOUSE
“I am glad you said yes too. Okay, once that is open you are going to start scanning from the pile over to the side of you.”

Thomas and Ophidia freeze as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES OVER THE MID-STAGE SETS TO THE CLOUD OF CURTAINS BEHIND. IT ASCENDS TO THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: THE GANTRY OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES
Made of silvery metal, with tall handrails and pole lighting, the Entry Point gives a feeling of a cross between a dock or boardwalk and a spaceship. The long metallic dock joins to a pier-like space opposite the door. A series of round concentric rings, the walkway juts out from the center.

LS FROM GANTRY OUT TOWARDS THE DOORS OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES

The bottom section of the door can be seen extending down from the upper corner of the frame. From the gap between the two doors, a small model of the SPACE EGG flies in. When it enters, two rows of lights slowly blink to life. They light starting at the end nearest the doors moving inward. The Space Egg follows the lights as they turn on.

CUT TO…

HIGH-STAGE: THAT PLATFORM BASE AREA IN THE WARDROBE
Weak lights click on and up brightening the walkway. It is a metal boardwalk with thin pipe rails. The entire space is of such a scope and size that the lights are not bright enough to illuminate the far walls of the space they have flown into. Two corridors branch out from the landing area, going left and right. Just beyond the boardwalk and corridors is an amphitheater-like space with descending rings of seats. In the center is THE LARGE MEMOCRYSTAL, an irregularly shaped crystal. It is the size of a boulder and appears to be made up of various-sized crystals. On the large crystal sits THE INFORMATIVE SCUTTLER powered down and sleeping.

LS OF THE SPACE EGG

THE SPACE EGG enters from stage-left and lands. It’s ring of light dims as it powers down.

CUT TO MS OF THE SPACE EGG

The top of the Space Egg opens up with A PRESSURIZED HISS. THE INNER-SPACE MAN sits in the pilot’s chair with BIFF THE RABBIT and ROCKEY THE PET ROCK crammed behind the chair. They all stand and stretch. The Inner Space Man exits the Space Egg first. He nearly tumbles down while exiting awkwardly, making a loud racket. Biff reaches for him but the Inner-Space Man waves him off while making a few hops to recover his balance.

CUT TO MS OF THE LARGE MEMOCRYSTAL PEDESTAL

The Informative Scuttler languidly perks one of its eye stalks up. The eye stalk focuses and the refocuses as it realizes the others have returned. It starts to power up.

CUT TO MS OF THE INNER-SPACE MAN AND THE SPACE EGG

The Inner-Space Man stands up, righting himself. Rockey moves to the edge of the Space Egg and Biff the Rabbit moves behind him.

THE INNER-SPACE MAN
(to Rockey and Biff) “Careful on that first step. Here, I’ll help”
The Inner-Space Man reaches up and Rockey jumps into his hands. He sets Rockey on the ground. He then reaches up to help Biff.

IRIS EFFECT FOCUSING ON BIFF

CUT BACK TO MS OF THE MEMOCRYSTAL PEDESTAL

It stands up in surprise. It quickly crawls down.

FOLLOW THE SCUTTLER

CUT TO MS OF THE BACK WALL OF THE WARDROBE.

The back wall of the Wardrobe looks like a long wall of dark green stained wood. The wood grain is still visible in large swirls. The floor has changed from the metallic flooring of the gantry to a dark polished stone. A triangular doorway is built into the wall. This doorway is one of many similar doorways stretching the length of the back wall. The doorway is edged by a nice scalloped edge that runs along the floor like a connecting ray between the triangular openings. Each doorway is a little larger than a scuttler. The Scuttler enters from stage-left and hurriedly moves into the nearest doorway. From behind the door CONVERSATIONS OF EXCITED CLICKS AND GEARS WHIRRING sound. The Informative Scuttler reemerges from the doorway dragging THE EMPAATHA KEY. It is a dual-sided key made from a crystal similar to the memocrystals, in colors of gold, silver, and bronze. The top of the key looks like an abstracted doorway. A pair of Scuttlers emerge holding the end of the Empaatha Key. A large group of Scuttlers follows the trio, flowing out of the doorway. In the group are four Scuttlers carrying THE CHOICE CRACTION. It is a squarish stone block composed of grey basalt-like stone. The entire surface is streaked with black obsidian-like crystals and white quartz-like crystals. In the center of the Knowtwhole is an opening made from two overlapping circles. The streaks of obsidian and quartz are visibly increased inside the openings. The parade of scuttlers exits stage-left.

CUT TO THE LANDING GANTRY

MS OF THE INNER-SPACE MAN, BIFF THE RABBIT, AND ROCKEY THE PET ROCK STANDING NEXT TO THE SPACE EGG.

BIFF THE RABBIT
“So, you’re saying all of this, this place, is in my imagination. Like we are physically in that abstract space.”

THE INNER-SPACE MAN
“That is our going theory.”

BIFF THE RABBIT
“That’s a lot to process.”

The group of scuttlers enters from stage-right.

THE INNER-SPACE MAN
“Yes, but there is more…” (pauses as he notices the scuttlers) ”Oh hey, Eggsey it’s our old buddy. What’s up….” (trails off)

They walk past the Inner-Space Man and approach Biff. The Informative Scuttler holds up the Empaatha Key while the others bow.

BIFF THE RABBIT
“Why are they bowing to me?”

ROCKEY THE PET ROCK
“Maybe it’s the noble way you carry yourself.”

THE INNER-SPACE MAN
“I don’t know. Normally they’re constructing things.”

The Informative Scuttler gestures for Biff to take the key.

ROCKEY THE PET ROCK
(whisper to Biff) “Don’t be rude. Take the thing.”

BIFF THE RABBIT
(whisper to Rockey) “How do I know they’re offering it to me. Maybe it is someone else’s”

Rockey steps forward towards the Empaatha Key. The scuttlers shift it back out of reach. He tries a few more times to touch the stone, but the scuttler crowd moves it out of reach each time.

ROCKEY THE PET ROCK
(whispers to Biff) “There. Does that convince you? Now, take it and say thank you. You’re starting to look silly.”

Biff reaches forward and takes the Empaatha Key.

BIFF THE RABBIT
“Thank you?”

The crowd of scuttlers now turns to the Inner-Space Man. They present to him the Choice Craction. He leans over and picks it up.

THE INNER-SPACE MAN
“Thank you?”

The scuttlers turn and all exit except the Informative Scuttler. It crawls back behind the Large Memocrystal.

THE SPACE EGG
“What was that about?”

THE INNER-SPACE MAN
“I don’t know.”

The Inner-Space Man moves closer to the Space egg on one side of the stage while Biff moves closer to Rockey on the other. Each examines the interesting gift they were given.

A LINE GOES UP IN THE CENTER OF THE SCREEN SETTING UP A SPLIT SCREEN

EACH SIDE OF THE SPLIT SCREEN PANS IN ON THE DUO IN THAT SIDE.

EACH SIDE OF THE SPLIT SCREEN PANS INTO A CS OF THE GIFT OBJECTS, THE EMPAATHA KEY OR CHOICE CRACTION, ON THAT SIDE OF THE SPLIT SCREEN

Hold for a few moments before the High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains then close.

FADE OUT

The Great Works Project: Season 05, Episode 06 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 05, Episode 06

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-06”. 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

HIGH-STAGE: FARTHEST EDGES OF THE FOREVERCAGE

THE WARDROBE OF A THOUSAND AND ONE COSTUMES floats in the center of the stage. Behind it a background of void and emptiness. From stage-left THE SPACE EGG flies into view. It flies over to the Wardrobe and circles it twice.

THE INNER-SPACE MAN
(off-camera) “What is this?”

THE SPACE EGG
(off-camera) “Don’t know.”

The model of the Space Egg stops circling and hovers off to the stage-left side of The Wardrobe of a Thousand and One Costumes. It turns as if looking into the distance, left, right, up and down.

THE SPACE EGG
(off-camera) “Space ends here as far as my sensors can tell. This is it. The very last thing.”

THE INNER-SPACE MAN
(off-camera) “Nothing else.”

THE SPACE EGG
(off-camera) “Nothing else.”

THE INNER-SPACE MAN
(off-camera) “Well in that leather briefcase, let us find a port of entry in this storm.”

THE SPACE EGG
(off-camera) “Meaning?”

THE INNER-SPACE MAN
(off-camera) “Meaning, like a good meal we are going inside.”

THE SPACE EGG
(off-camera) “Okay.”

A light turns on from the front of the Space Egg model. The light moves over The Wardrobe of a Thousand and One Costumes. As it scans the wooden surface, the doors on the Wardrobe CRACK AND HISS, opening partially. Dry ice-like smoke spills out of the crack.

THE SPACE EGG
(off-camera) “Found something. Going in.”

The Space Egg flies into the space between the doors. The Wardrobe of a Thousand And One Costumes’ doors close with a reverse of the previous CRACK AND HISS.

TRANSITION FROM THE FURTHEST EDGES OF CONCEPTION TO THE ENTRY POINT

The High-stage Curtains close and then reopen revealing…

HIGH-STAGE: THE GANTRY OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES

OPEN WITH THE CAMERA IN AN OVERHEAD ANGLED LS OF THE ENTRY POINT

Made of silvery metal, with tall handrails and pole lighting, the Entry Point gives a feeling of a cross between a dock or boardwalk and a spaceship. The long metallic dock joins to a pier-like space opposite the door. A series of round concentric rings, the walkway juts out from the center. The Space Egg enters the frame, moving through the crack in the doors. It flies in the open space to one side of the walkway until it reaches the concentric rings.

CUT TO MS OF THE SPACE EGG FLYING ACROSS THE EMPTY SPACE, MOVING PAST THE RAILS OF LIGHTS.

The Space Egg lands on the landing pad area or one of the outer concentric rings. Weak lights click on and up brightening the walkway. Still, the lights are not bright enough to illuminate the far walls of the space they have flown into. Two corridors branch out from the landing area, going left and right. Down these halls are the individual costumes or frozen pretends. In the center is an irregularly shaped crystal. It is the size of a boulder and appears to be made up of various-sized crystals in hues of blue, red, yellow, orange, green and purple. The lid of the Space Egg opens and the Inner Space Man climbs out.

CUT BACK TO THE REGULAR FRAMING OF THE HIGH-STAGE

THE SPACE EGG
“What is this place.”

THE INNER-SPACE MAN
“I don’t know. Maybe what looks like a wall is actually a window. I am going to look around. You coming?”

THE SPACE EGG
“No way. I’ll stay here.”

THE INNER-SPACE MAN
“Okee dokee artichokee.”

The Inner Space Man walks off. The Space Egg looks around as he leaves. Once he is gone a glow comes from off screen. The Space Egg turns towards the light. The High-stage Curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, DISCONNECTING FROM THE HIGH-STAGE. IT GLIDES OVER THE CURTAIN OF CLOUDS, DOWN AND DOWN, MOVING OVER THE TOPS OF THE MID-STAGE SETS. IT SETTLES FRAMING THE MID-STAGE.

MID-STAGE: EXT. BORDERTOWN JUNIOR HIGH PARKING LOT. EVENING

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

LEXICA BOOKMARK
“Sure, everyone picks The Apology, but for myself, the Odyssey is the truest work.”

LUNA WITCHESCROWN
“Antigone if I had to choose.”

LEXICA BOOKMARK
“Interesting. What are its appeals do you feel?”

LUNA WITCHESCROWN
“Now this is purely subjective on my part.”

LEXICA BOOKMARK
“Obviously.”

LUNA WITCHESCROWN
“But something about how Creon is this figure who comes in with this forcefully, almost bludging, authoritarianism. He spends the first part of the play never listening but then realizes he was wrong and spends the other part of the play apologizing. I find that fascinating.”

LEXICA BOOKMARK
“Interesting because that is one of the reasons I like The Odyssey. There is Odysseus just ravished by the Gods for years. Then it shifts, and we have Minerva going “We took it too far and so now we are going to help you to make amends.”

LUNA WITCHESCROWN
“Oh, Minerva. Love her.”

LEXICA BOOKMARK
“She’s is nice, but I am more of an Apollo girl.”

Thomas Teenager walks nearby.

LUNA WITCHESCROWN
“Hey Thomas, who’s your favorite Greek God?”

Thomas pauses, caught off guard by their question. He stumbles and regains his balance.

THOMAS TEENAGER
“Sorry?”

LEXICA BOOKMARK
“Luna and I were discussing Greek myth and we’re curious since you are nearby, who your favorite Greek deity may be.”

THOMAS TEENAGER
“Oh. (pauses to think) Hermes. Not only did he invent the lyre when a baby but he also delivers a nice bouquet of flowers.”

Luna and Lexica giggle.

LUNA WITCHESCROWN
“Well, Lexica, I think we found another person worth talking to.”

LEXICA BOOKMARK
“I do agree.”

They move closer to Thomas as the stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains start to close.

TRANSITION FROM MID-STAGE TO THE HIGH-STAGE

THE CAMERA MOVES INWARD AVOIDING THE CLOSING CURTAINS. IT THEN PANS UPWARD OVER THE MID-STAGE SETS AND TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT MOVES EVER UPWARD UNTIL REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA MOVES INTO POSITION PROPERLY FRAMING THE HIGH-STAGE AND THE NARRATOR’S DOOR.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-MOUSE steps out dressed in a fancy suit. He has a copy of The Great Works Project Season Five scriptbook in his hands. He opens the book.

CUT TO CS OF Y-MOUSE

Y-MOUSE
“And thus the script read: The High-stage curtains open on a darkened stage. A flashlight pierces the darkness.”

CUT BACK TO FRAMING SHOT

The High-Stage curtains part and open revealing…

HIGH-STAGE: THE JSN CORRIDOR IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES

The High-stage is completely dark. The Once-way itself is a long corridor with metallic rails and wall struts. Pendant lamps, unlit, hang over the top. A light near the Narrator’s Door flips on illuminating Y-Mouse standing next to the microphone. He has a copy of the script in his hands. Next to him is a floor lamp. He CLICKS it on.

Y-MOUSE
“That’s better. Where was I? (consults the script) Oh yes, darkened hallway. The High-stage curtains open on a darkened stage.”

The High-stage curtains open on a darkened stage. The stage-lights have not turned on. A flashlight beam flicks across the stage.

Y-MOUSE
“As we wait and watch, wondering which unknown realm this could turn out to be, hidden from our eyes so simply, a beam of light flashes out from stage-left. It glides over parts of the area not allowing a full illumination, not allowing that which is hidden in shadow to transmute to that which is in light, but allowing us a start, a glimpse.”

The flashlight beam moves across the stage. We can see bits and pieces of the hallway. It is a hallway of minimal detail. Metallic handrails run along the wall of wide spaced apart metal columns. Unlit pendant lamps hang from the ceiling.

Y-MOUSE
“We may not be able to see the full picture but we start to understand that this may be a location in The Wardrobe of a Thousand and One Costumes. The metaphorical and metaphysical repository of the rabbit boy Biff’s playtimes and pretends. Soon the Inner-Space man enters stage-left, flashlight in hand, curious and maybe even a little cautious.”

The INNER SPACE MAN enters from stage-left with a flashlight. He walks across the stage, looking around. He exits stage-right.

Y-MOUSE
“What more will he find?”

The High-Stage curtains close. Y-Mouse turns, CLICKS OFF his lamp, and exits through the Narrator’s Door. It closes behind him.

PAN IN TO FRAME ONLY THE HIGH-STAGE AREA. CROP OUT THE NARRATOR’S DOOR AND NARRATOR’S ROOST.

The High-Stage curtains reopen.

THE HIGH-STAGE: INT. HANGER JSN1

The High-Stage curtains open. The Node looks similar to the JSway Corridoor with it’s metallic handrail and support beams. The main difference is that every other hanging pendant lamp is lit. The Inner-Space Man enters stage-left with flashlight in hand. He walks onto the stage and looks around, casting the flashlight around the room. He then continues onward exiting stage-right. The High-Stage curtains close behind him. The High-Stage Curtains reopen revealing…

THE HIGH-STAGE: INT. HANGER JSN3

This node has all the same features of the JSN corridor and the other hanger: metallic handrail, metallic struts, and hanging pendant lamps. All the lamps are lit casting the room in a yellowish glow. In the center of the stage sits a pedestal with a tall crystalline chamber. It stands about waist high to the Inner-Space Man and has an irregularly shaped uneven top. Wires lead off from the pedestal to a nearby desk covered in a notepad, a pen, and a small desk lamp. From stage-Right enter two SCUTTLERS, each carrying a chunk of translucent crystal. These crystals look very similar to the Memorystone crystals Y-Mouse has in the case under his couch. The Scuttlers move their trapezoidal form towards the center pedestal. The first Scuttler continues onto the pedestal while the second moves to the desk. The first Scuttler places its crystal piece on top of the large crystal on the platform. They both glow and the larger piece absorbs the the smaller. The glow fades. The first Scuttler crawls down to the floor and exits stage-right. The second Scuttler is atop the desk now. It places the crystal shard it is holding on the notepad. Both glow and the crystal shard is absorbed. The desk changes to look more like a control station from a nuclear power reactor. The top of the desk grows two long brackets that hold film reels. Film runs from the first spool, down into the control panel, and back up to the other reel. A candelabra overloaded with candles is the last to grow up from the desk as the glow starts to subside. The last change, the candelabra’s emergence, knocks the second Scuttler off the desk. It lands on its back. It rocks back and forth, unable to get up. The Inner-Space Man emerges from stage-left, flashlight in hand. He walks out, sees the lights are on, and turns off the flashlight. He then proceeds to look around the Node, examining the center pedestal and its crystal. He then follows the cords running out from the base and over to the control desk. He flips a couple switches and spins the reels, investigating the desk. He then spies the second Scuttler. He bends over and picks it up.

THE INNER-SPACE MAN
“Looks like you could use some of all the help.”

He sets the Scuttler down. The Scuttler starts a reboot and restart cycle.

THE INNER-SPACE MAN
“That should be better, better, best.”

The Inner-Space Man stares at the Scuttler as it reboots.

THE INNER-SPACE MAN
“Not much of a talker are you. Well, hope the rest of your day gooses well.”

The Inner-Space Man turns and exits stage-right. The Scuttler finishes rebooting and looks around for the Inner-Space Man. It makes a reaction like it spies him and then exits stage-right. The High-stage lights turn off to the sound of A COMPUTER BOOTING OFF and then the curtains close.

FADE OUT