egg

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 6

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

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

FADE OUT
FADE IN

INT. THE SPACE EGG, MAYBE/MAYBE NOT DAYTIME

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

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

CUT TO


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


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


CUT TO CS OF BIFF AND ROCKEY UNDER THE BED


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


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

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

CUT BACK

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

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

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

ROCKEY THE PET ROCK
“The Deuce Machines.”

BIFF THE RABBIT
“That might work.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

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


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


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

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

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

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

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

CUT TO

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME.
The sound of A LIGHT SWITCH CLICKING OFF punctuates the transition to the Pencil Chicks Studio. A long desk spreads across the stage. It has a monitor, keyboard, mouse, and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE stands just inside the room, while THOMAS TYPEWRITER stands in the doorway. She is looking back at him.

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

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

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

THOMAS TYPEWRITER
“Me too.”

They kiss.

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

THOMAS TYPEWRITER
“Couldn’t hurt.”

TRANSITION FROM MID-STAGE TO THE WINGS

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


EXT. INNER CORRIDOR OF THE WINGS


LS DOWN INTO THE INFINITY OF THE WINGS

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


TRANSITION FROM THE WINGS TO THE HIGH STAGE


HIGH-STAGE: THE FAR EDGE OF THE FOREVER CAGE


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


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

PAN UNTIL PROPERLY FRAMING HIGH-STAGE.


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

FADE OUT

The Great Works Project: Season Five, Episode Twelve – 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 12

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

From the bottom of the screen scrolls up the following text: “05-12”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT


FADE IN

THE CAMERA PANS DOWN. THE DARKNESS SHIFTS TO THE CURTAINS OF THE MID-STAGE.

THE MID-STAGE IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED


The Mid-Stage curtains open revealing the interior of Thomas Typewriter’s Apartment. The stage-lights are off as the curtains open. Once the curtains have fully parted the sound of A LIGHT SWITCH CLICKING ON can be heard followed by BIRDSONG. The stage lights slowly turn of going from a dim setting to brightness as if to represent a sunrise. Though the stage-lights do brighten they only reach three-quarters full brightness.

MID-STAGE: INT THOMAS’ APARTMENT, MORNING

A small table sits front stage, just stage-left of the center. Across the back of the stage rests two tall bookshelves, filled with various books, graphic novels, CDs, artwork, and houseplants. Off to stage-right stands a bookshelf half as tall, topped by houseplants. It is also crammed with books, graphic novels, CDs, and artwork. THOMAS TYPEWRITER enters from stage-left dressed in a T-shirt and boxer shorts, having just woken up. He walks across the stage, yawning. He spies the typewriter sitting on the floor and stops. He yawns a second time and stretches to wake up. He scratches his side as he considers the typewriter. Coming to a decision he exits stage-right. He is gone a few moments where we can can hear the sounds of CABINETS OPENING AND CLOSING and DRAWERS OPENING AND CLOSING off stage. Thomas reenters from stage-right holding carrying a spray bottle and washcloth in one hand and a bowl of cereal, spoon, and cup of water in the other. He walks over to the desk and sets the items in his hand down on the desk. Thomas then exits stage-left and reenters dragging a chair. He pulls it over to the desk. Sitting down he eats a bit of cereal. He sets the bowl down and drinks some water. Returning the cup to the desk, Thomas picks up the typewriter from the floor and sets it in his lap.

THOMAS TYPEWRITER
(whisper) “Sorry cousin.”

Thomas Typewriter stretches to retrieve the spray cleaner and washcloth. He cleans off the typewriter. The stage-lights brighten the remaining amount to full brightness. He sets the spray bottle and rag on the floor, eats a little more cereal, and then stands. He sets the typewriter down on the desk before walking over to the moving boxes by the shelving unit. Grabbing one box, he pops it into shape as he returns to the desk. Thomas gingerly places the typewriter and desk contents into it. He takes out a marker from a drawer and writes the following on the box: “For later. Important.” He puts the marker in the box. Thomas turns and exits stage-left.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM FRAMING THE MID-STAGE. IT PANS UPWARD. GLIDING OVER THE TOP OF THE MID-STAGE SETS IT MOVES ONTO AND ACROSS THE CURTAIN OF CLOUDS. UPWARD IT PANS ALONG THE CURTAIN OF CLOUDS. AT THE TOP IT ENCOUNTERS THE HIGH-STAGE. IT STOPS WHEN PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The High-stage curtains part. They move fully to each side before the stage-lights turn on accompanied by the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. ROOM 304 OF THE MEDICALSHIP THE FLUTE, EVENING

The stage-right side of the room we see a large wall-size vid-screen. To the stage-left side of the room we can see a large window looking out on the space outside. Lights twinkle in the distance. Lights dance in the distance. Along the backwall of the stage are two doors. One door is smaller than the other. The smaller door leads to the bathroom while the larger door leads to the hallway. CARRO, in a medi-pod, looks out the window. LUCIDO OBSIDIAN, in his medi-pod, watches the vid-screen on the opposite side of the room. The image on the vid-screen cycles through the channels. He moves through the various television channels of the Nines: the Doghouse, The Scratching Post, The Birdcage, The Stables, the Fishtank, and even the Molehill. Clips of shows briefly flash on the vid-screen allowing glimpses of such tv shows as Detective Sherlock Dee, the Lion of London, Bio-Booster Armor MacGuyver, Abraham Washington: Love Child of Two Presidents, Gameshow the Gameshow, Deep Sea Fishing for Compliments, Falcon and the Abomnible Snowman, Car 54 Where are the Invaders, and the daily talk shows Underhill Live and Fancy Street.

LUCIDO OBSIDIAN
“Nothing good is on. Carro, do you have any preferences?”

Carro does not respond. Lucido rotates to face Carro and the window.

LUCIDO OBSIDIAN
“You okay buddy. I asked you a question and you didn’t answer.”

Carro rotates towards Lucido.

CARRO
“Sorry, I was just thinking.”

LUCIDO OBSIDIAN
(clicks off vid-screen) “About what?”

CARRO
“Vessels and passengers.”

LUCIDO OBSIDIAN
“What do you mean?”

CARRO
“Oh how I used to be a vessel and now I am a passenger and I’m kind of freaking out. What will I do? What will I be if I am not a spaceship.”

LUCIDO OBSIDIAN
“This is just temporary. I imagine they will have a new ship to load you into soon.”

CARRO
“No, they will not. I never mentioned this but I was outdated and slated to be scrapped in two years. It was why I never really cared about trying hard. That was why I thought the three of us were such a good fit. I’d given up. You’d given up. Cedar’d given up. It worked.”

LUCIDO OBSIDIAN
“Ouch. Was it really that obvious.”

CARRO
“Yes.”

Lucido turns and moves next to Carro. They both look out the window sitting in silence for a moment. The High-Stage curtains close.

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING HIGH-STAGE. IT PANS BACK BRING THE NARRATOR’S DOOR INTO FRAME.

CUT TO MS OF NARRATOR’S DOOR

Y-Mouse, dressed in a fine suit of blue dotted lines stands at the microphone for the Narrator’s Door.

Y-MOUSE
“Meanwhile and elsewhere…”

CUT BACK

Y-Mouse makes a sweeping gesture towards the High-Stage. The High-Stage curtains start to open.

THE CAMERA PANS BACK IN TO PROPERLY FRAME THE HIGH-STAGE.

The High-stage curtains open and the stage-lights are already on revealing…

HIGH-STAGE: INT. THE GANTRY MEMORYCIRCLE

A giant person-sized crystal sits on a pedestal surrounded by ascending rows of seating in an amphitheatre-like design. The pedestal was aluminum and chrome accents spelling out in a cryptic alphabet the letters S, I, N, D, R, and U, and the numbers 3, 8, 11, 22, and 28. The crystal has two flat edges, one on the front and the other on the back. The sides of the large crystal have a more natural jagged crystalline mineral look. Overall the crystal has the look of an unusually large piece of crystal that had two edges cut off and then polished while the remainder was left as it was found. The seating in the rows is made of long curving aluminum and chrome benches with handrails. The giant crystal and pedestal, or The Center Square, is positioned in the center of the stage with the rows of seats off to stage-left and stage-right of it. THE SPACE EGG stands stage-right, just off center, looking into the Center Square. It watches as the flat face on the Center Square repeatedly cycles between a bright inner glow and a dim twinkle. THE INNER SPACE MAN enters stage-left. He is followed by THE LOYAL MECHANISM. The Space Egg turns towards the Inner-Space Man.

THE SPACE EGG
“Any luck.”

THE INNER-SPACE MAN
“No. I found other people but they were stuck much like we were.”

THE SPACE EGG
“That’s unfortunate. Who’s your friend?”

THE INNER-SPACE MAN
(looks down at The Loyal Mechanism) “Oh him. Found him country fried rice in a room. Been following me ever since. There are others like it scuttling all over around here, but they all ignored me.”

THE SPACE EGG
“Well, you do have a winning personality.”

THE INNER-SPACE MAN
“Ha Ha. Now as I was saying, not spraying, this guy did show me the most interesting tidbit. Seven, four, eleven. I think this place is some kind of storehouse, savings for days, for Biff’s imagination.”

THE SPACE EGG
“Makes sense given everything we have seen.”

THE INNER-SPACE MAN
“But how now does that help us.”

THE SPACE EGG
“Did you happen to see Biff when exploring those hallways?”

THE INNER-SPACE MAN
“Yes, but not first try if you don’t. The hallways were filled with rooms looking onto a variety of different people. Different times and places all upside down pineapple cake. Then my new friend showed me a switch. It could adjust the image, new lens in the lighthouse. Will Alexandria burn forever? I was able to see different people in different worlds, and each time I flipped the switch…”

THE SPACE EGG
“You saw Biff pretending.”

THE INNER-SPACE MAN
“I saw Biff pretending.”

THE SPACE EGG
“Did you see us?”

THE INNER-SPACE MAN
“There was one broken machine. Split right in the middle. Figured it could have been our home run home base.”

THE SPACE EGG
“And in this here giant crystal, I saw Biff’s life. I think this place, you, me, this building, are all extensions of Biff. He’s the source, so we should go to the source of the problem.”

THE INNER-SPACE MAN
“Wait. Biff? Go to Biff?”

THE SPACE EGG
“Yes. We should go to Biff.”

THE INNER-SPACE MAN
“Are you serious? Even if we knew how to get to him, which we do not, he’s the reason we got frozen in the first place. No way.”

THE SPACE EGG
“Yes, he’s the reason we were frozen but I’m not sure he even realizes that happened. I don’t think he is even aware that we exist. I have been watching him in this giant crystal and I really think he would help us if he knew. And I am positive he would help us if we asked.”

THE INNER-SPACE MAN
“You really think so?”

THE SPACE EGG
“Yes.”

The Inner-Space Man takes an audible deep breath in, lets out a long breath, and sits down.

THE INNER-SPACE MAN
“Okay. Let’s give it a try. I trust you. If you think he will, then I am willing to try. The question is, how do we get to him.”

The Loyal Mechanism walks forward between the two of them and starts to speak in a beeping language as if saying, “If you want to get to Biff, that’s easy. That can be done right now.”

THE SPACE EGG
“What is going on with your friend?”

THE INNER-SPACE MAN
“No idea. Maybe his battery is low.”

A telescoping antenna emerges from the Loyal Mechanism. It then hums a low resonant note. From off stage comes a responding LOW HUM. The entire stage starts to rumble as the Wardrobe of a Thousand and One Costumes starts to move. The Inner-Space Man and the Space Egg start to weave. The Loyal Mechanism moves over to the Memory Crystal.

THE INNER-SPACE MAN
“What is going on!”

THE SPACE EGG
“I don’t know.”

The entire stage tilts to a severe angle. The Inner-Space Man and the Space Egg fall and slide stage-left out of frame. The Loyal Mechanism dangles from the Memory Crystal. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains 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

(c) 2023 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