———–<.thom.>———–
THE NOT SO PUPPET SHOW
An asymmetry without apologies
Episode #3
“The Broken Book of Beasties
Book I: A Book by Any Other Cover
Part 1”
By Thomas Typewriter
(c) 2026 jason arcand
———–<:type:>———–
FADE IN
The Not So Puppet Show’s short title sequence plays.
FADE OUT
FADE IN
THE BROKEN BOOK OF BEASTIES TITLE SEQUENCE
The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”.” It fades away in a shimmer. In the absence appears the following text: “Part One.” It lingers in the center of the frame.
PAN DOWN
The dark screen fades to light grey as the “Part One” slides off the top of the screen from the camera panning
TRANSITION FROM TITLE TO THE OVERLAPPING HILLS
The dark grey shifts in tone changing to dark clouds.
CONTINUE TO PAN DOWN
EXT. THE OVERLAPPING HILLS, DAYTIME
A series of forested hills in front of a wooded snow-capped mountain slides into view. This is the Overlapping Hills, one of many realms created by the great wizard Orgle. They all share the word Overlap in their names due to how he constructed them. Orgle folded multiple different dimensions over each multiple times until a pocket dimension was formed. The Overlapping Hills are not as well known as Orgle’s other overlaps such as the Overlapping Hotel, the Overlapping Waves, or the Overlapping Trail. Yet, they do contain one of his greatest treasures: The Trilibris. It can be seen in the distance, over the hilltops and at the base of one of the mountains. Its three towers twist and flow creating a kind of hourglass hyper-dimensional shape.
SHIFT TO XLS OF THE TRILIBRIS
CUT TO LS OF THE TRILIBRIS
CUT TO MS. OF THE TRILIBRIS
CUT TO CS OF THE TRILIBRIS DOORS
TRANSITION FROM THE OVERLAP HILLS TO THE TRILIBRIS
ENTER THE BUILDING AND MOVE TO THE MAIN ROOM THROUGH A SERIES OF QUICK CUTS AND FADES
INT. THE TRILIBRIS MAIN ROOM, DAYTIME
The Main Room is a teardrop-shaped dome. The walls are covered in bookcases. Spiral staircases are scattered around the circumference. The bookcases are designed in a way that the books are stacked horizontally and vertically giving the impression of the folds in a human brain. The center of the room is a large open space filled with thick tables and chairs. The top of the dome is glass, stained a light blue, allowing natural light to illuminate the space. The bookshelves are illuminated by pendant lights within the rows. Each desk has a bulbous table lamp to illuminate in case the dome is not allowing enough light. Across from the entryway the bookcases stop. A large alcove is built into the wall. A dark wood wall decorated with gold and brass metal in long blocky snaking patterns illuminated by two torches. In the center of the alcove is a podium holding THE CODEXIAN. A very special book, it is separated from the rest of the main room by golden chains and small golden pedestals. A “Do Not Disturb” sign hangs off the chains.
CUT TO LS OF THE CODEXIAN’S ALCOVE
CUT TO MS OF THE CODEXIAN’S ALCOVE
CUT TO MS OF THE CODEXIAN
The Codexian is a thick book, with covers of a patina encrusted brass. The front cover has a vertical row of three circles made from gold wire on the binding side. The other side is a snaking angular pattern similar to the patterns on the alcove walls. The pattern snakes down to two horizontal lines across the bottom portion of the front cover.
CUT TO CS OF THE CODEXIAN
A TRIUMPHANT MYSTICAL MUSICAL SCORE plays. The score plays a few moments and then it stops with A RECORD NEEDLE SCRATCH.
PAN TO LEFT OF THE CODEXIAN.
A GREY MOUSE crawls up onto the podium. It tentatively approaches the Codexian.
CUT TO MS OF THE GREY MOUSE
The Grey Mouse sniffs along the Codexian, moving to the top corner. It starts to nibble on the edges of the pages.
THE CODEXIAN
“OWWWW!”
CUT TO MS OF THE CODEXIAN
The Round circles on the left of the cover open revealing non-organic golden eyes. The two golden lines along the bottom of the cover move as if lips or a mouth. The Grey Mouse stops chewing.
THE CODEXIAN
“Who did that?”
The Grey Mouse steps away from the Codexian
THE CODEXIAN
“Come on, I know you are there. Who is biting me!”
The Codexian’s eyes scan around the room. Ultimately they settle on the Grey Mouse.
THE CODEXIAN
“Oh, hello there. Were you the one chewing on my corners?”
The Grey Mouse blankly looks at the Codexian. It sneezes. A golden shimmer flickers in the air.
THE CODEXIAN
“Bless you.”
The Grey Mouse stands upright and nods at the Codexian.
THE CODEXIAN
(to self) “Well that’s new.” (to the Grey Mouse) “Let’s try this. Maybe what you’re truly hungry for is a story. If I tell you a story will you stop chewing on me.”
The Grey Mouse nods and then sits down.
THE CODEXIAN
(to self) “Definitely new.” (to the Grey Mouse) “I will need to open up to tell the story, so you may want to adjust your position.”
The Codexian opens and the Grey Mouse moves to the bottom of the podium top. The pages start to move, quickly moving to the middle of the book in a blur.
THE CODEXIAN
“Ahhh, here we go.”
The Codexian is open to a set of pages bordered in golden illumination but the actual area inside the border is blank.
THE CODEXIAN
“The Broken Book of Beasties.
From somewhere in the Trilibris A CHIMING TONE rings out. The blank page starts to fill with an illustration in a style that is a mix of woodcut block print and medieval illuminated scripts. A vast city fills the page.
TRANSITION FROM THE LIBRARY TO AN ILLUSTRATED STORYBOOK STORY
PAN IN ON ILLUSTRATION TO FILL THE FRAME
THE CODEXIAN
(voice-over) “Once there was a vast city filled with magic, wonder and charm.”
The illustration changes to the city in ruins with a giant burst of light exploding from the center of the city. Prismatic storm clouds fill the sky, raining storms. down on the city.
THE CODEXIAN
(voice-over) “The city of magic became a city of too much magic, as the Great Rupture ravaged the city. Magic rained down like storms. melting what was known and unknown equally.”
The illustration changes to people on hills outside the city fleeing. The city gripped in storms. can be seen in the distance.
THE CODEXIAN
(voice-over) “Those who were able fled the city. The Great Rupture lasted decades driving one group further and further from the city.”
The illustration changes to a long stretch of landscape. Hills on the right give way to grasslands, then forests, and then mountains to the right. A group of refugees appears in the hill section. Fade to the group in the grasslands section and prismatic storms in the hills. The illustration changes more with a fade to the refugees in the forests The prismatic storms now fill the hill and grassland sections. The illustration shifts again. The refugees are now in the mountains section. The prismatic storms fill the hills, grassland, and forest sections. The illustration changes one last time. The refugees are gone and the prismatic storms fill the entire page. A THUNDER BOLT CRACKS. The Codexian turns the page.
THE CODEXIAN
(voice-over) “Past landscapes that ate lives, the refugees found a place of safety, or at least which they hoped offered peace.”
The illustration area is filled with many tree branches. Colorful flowers grow along the base of the trees while animals can be seen peeking their faces out of the upper branches. The illustration changes with the trees sliding. They part in the center moving left and right. In the center of the screen sits a valley made from five rivers feeding into a lake in the center. There is a large island in the center of the lake along with a few small islands in sandbars scattered around the lake. The illustration changes again with the sun emerging in the clouds above the valley. Bright sunlight beams. across the page. The illustration changes one last time with the illustrations of the refugees moving in from the left and right side of the frame and walking down to the valley. The Codexian turns the page.
THE CODEXIAN
“Having found sanctuary, the people set about building a new home for themselves.”
The illustration is blank but then small illustrations of people enter from the left and right sides. They break off into five groups, with the fifth group in the center made from the remaining few from each group. Each group then disappears into a cloud of construction dust. CONSTRUCTION SOUNDS can be heard. Slowly simple houses emerge from the construction dust. Once a house is finished the construction dust cloud disappears and the group looks at their work. Once all five houses are completed, the people CHEER.
THE CODEXIAN
“And grow they did. It was as if some creative spirit had been unleashed.”
The small people in the illustration then go to the area behind the houses and start constructing again. Rows of houses emerge from the dust. Once a house is finished, each group builds another behind it. Soon the houses recede into the distance. The construction dust finishes and the houses sit. The sun sets and the people go into their homes. The stars come out and then dawn breaks. Small people exit their houses and do daily chores. The sun rises and sets. Everyone goes back to bed. The day/night cycle speeds up to a blur until sixty days have passed. Time returns to its regular speed on the sixtieth day. The illustration shifts zooming in on a house in the background. A lady leaves at sunrise and walks two houses down to a bakery. She enters the shop and starts baking. Smoke starts to emerge from the bakery’s chimney. As the sun rises to mid-morning, the sign in the window changes from closed to open. The illustration changes to looking in through the window of the bakery. The Baker stands at the counter.
THE CODEXIAN
“And while everyone else was moving forward, one person was stuck looking back. Little did anyone realize she would change the direction of everyone’s life.”
The illustration changes to the baker at the counter. She has a sad far away look in her eyes.
ZOOM IN ON THE BAKER’S FORLORN EXPRESSION
FADE OUT
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 07, Episode 04
By Thomas Typewriter
(c) 2026 Jason Arcand
———–<:type:>———–
FADE IN TO BLACK
From the center bottom of the frame scrolls up the following text: “07-04”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.
FADE OUT
FADE IN
TYPEWRITER ABSTRACT PUPPET STAGE, ANYTIME
Fade in to the TYPEWRITER ABSTRACT PUPPET STAGE getting ready to present a new episode.
MS OF THE TYPEWRITER PUPPET STAGE
The Typewriter Abstract Puppet Stage’s main curtain slowly opens.
PAN IN TO PROPERLY FRAME THE MID-STAGE
MID-STAGE: CURTAINS CLOSED
The stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…
MID-STAGE: INT. SLICE O’PIE RESTAURANT, EVENING
Three booths run across the stage left to right. Along the back of the stage is a soft pastel colored wooden panel wall. Various size photos of fruits, vegetables, and slices of pie hang on the wall. One frame in particular has a still from the Patterson Bigfoot footage. The photo has been altered so that Bigfoot is holding a slice of pie. The booths are currently empty. From stage-right enters THE HOSTESS followed by THOMAS TYPEWRITER and OPHIDIA OPERA HOUSE. The Hostess is carrying two menus. She gestures to the middle booth.
THE HOSTESS
“Here is your booth.”
Thomas Typewriter sits on one side while OPHIDIA sits on the other. The Hostess hands both menus to Thomas who then passes one to Ophidia .
THE HOSTESS
“Your server will be with you shortly.”
OPHIDIA OPERAHOUSE
“Thank you.”
THOMAS TYPEWRITER
(avoiding direct eye contact with the Hostess) “Yes, thank you.”
THE HOSTESS
“You’re welcome.”
The Hostess exits stage-right.
THOMAS TYPEWRITER
“Been a long time since I’ve been to a Slice O’Pie.”
OPHIDIA OPERAHOUSE
(Jokingly) “Bad memories, eh.”
THOMAS TYPEWRITER
“Something like that.”
OPHIDIA OPERAHOUSE
“Oh! I was only kidding. I am so sorry. We can always leave if it is too much. We don’t have to eat here.”
Thomas looks around taking a deep breath.
THOMAS TYPEWRITER
“No, no. Today is your day, your celebration. I’ll be fine.”
OPHIDIA OPERAHOUSE
“Good, cause I really want some pie.”
Thomas Typewriter opens his menu.
THOMAS TYPEWRITER
“So what are you going to order?”
OPHIDIA OPERAHOUSE
“I don’t know. There are so many choices.”
THOMAS TYPEWRITER
“Take all the time you need. I am just glad to be here with you.”
Thomas reaches across the table and grips Ophidia’s hand. She squeezes it in return. They release their hands and return to reading the menus.
TRANSITION FROM MID-STAGE TO HIGH-STAGE.
THE CAMERA DETACHES FROM THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS, ACROSS THE CURTAIN OF CLOUDS LINING THE BACK OF MID-STAGE AND UP TO THE HIGH-STAGE. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open. The stage lights turn on to the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, MORNING
A large curved window lines the back of the stage. Through it we can see outside the ship to space, the twinkling of sparks drifts by. In the distance, some of the lights from the nine bio-habitat Hills, and even glimmers from the tops of the multi-fold towers of the Palace of Stars, can be seen. In the distance the twinkle of the two torches of the dual door entrances to The Mounds. The room itself is decorated in deep reds and oranges. A variety of musical instruments, microphones, amps and speakers are spread out across the open area of the Observation lounge. From stage-left to stage-right there are: A set of keyboards, a drum kit, a microphone with a bass guitar, a microphone and trumpet in a stand, and lastly ELDER GRIM tuning up his upright bass. LUCIDO OBSIDIAN, in a Medi-pod, enters from stage-right.
LUCIDO OBSIDIAN
“Morning.”
ELDER GRIM
“Morning.”
Lucido rolls over to the front most microphone stand and starts putting on the bass guitar. CARRO, in a Medi-pod, rolls in from stage-left.
CARRO
“Morning gentlemen.”
LUCID OBSIDIAN
“Morning.”
ELDER GRIM
“Morning.”
Carro rolls over to the keyboards. They start to turn on the keyboards and testing the notes, making adjustments as they go along. Lucido is struggling with his guitar. Elder sets his upright bass in its stand and walks over to help. As he holds up the guitar for Lucido to grip, MINTHRIL MOUSTACHE rolls in from the stage-right in his wheelchair.
MINTHRIL MOUSTACHE
“Morning gentlemen. Ready to blow the cobwebs off this place.”
They grunt yes, most of their concentration focused on preparing their instruments. Minthril rolls over to the stage-right. He picks up his trumpet and starts getting it ready. CEDAR WAXWINGS, in his Medi-Pod, and PANACEA FLAUTO enter from stage-right. They are holding hands.
MINTHRIL MOUSTACHE
“The lovebirds have arrived. Glad you could join us Cedar.”
CEDAR WAXWINGS
“Morning everyone.”
PANACIA FLAUTO
“Morning everyone. Is it okay if I sit and listen.”
LUCIDO OBSIDIAN
“I’m fine with that.”
ELDER GRIM
“Sure.”
MINTHRIL MOUSTACHE
“Sure.”
CARRO
“Fine with me.”
Cedar rolls to behind the drum kit. Having finished helping Lucido put on his guitar, Elder returns to his upright bass.
LUCIDO OBSIDIAN
“Everyone ready.”
CARRO
“Ready.”
MINTHRIL MOUSTACHE
“Ready.”
ELDER GRIM
“Ready.”
CEDAR WAXWINGS
“Ready.”
LUCIDO OBSIDIAN
“Cedar, count it down.”
CEDAR WAXWINGS
“Okay everyone lets do this. (starts hitting drumsticks together) A ONE. A ONE TWO. A ONE TWO THREE!
The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.
TRANSITION FROM HIGH-STAGE TO MID-STAGE
THE CAMERA UNCOUPLES FROM HIGH-STAGE AND PANS DOWNWARD. IT DESCENDS ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT GLIDES DOWN AND DOWN. SOON THE TOPS OF THE MID-STAGE SETS ROLL UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.
MID-STAGE: INT. SLICE O’PIE RESTAURANT, EVENING
Three booths run across the stage left to right. Along the back of the stage is a soft pastel colored wooden panel wall. Various size photos of fruits, vegetables, and slices of pie hang on the wall. One frame in particular has a still from the Patterson Bigfoot footage. The photo has been altered so that Bigfoot is holding a slice of pie. OPHIDIA OPERAHOUSE sits to one side of the center booth. THOMAS TYPEWRITER sits on the opposite side of the central booth. The two other booths are currently unoccupied.
OPHIDIA OPERAHOUSE
“Really, years?”
THOMAS TYPEWRITER
“Yup. Years since I have been in a Slice O’Pie, eaten here. How about you?”
OPHIDIA OPERAHOUSE
“I tried to take a break after waitressing.”
THOMAS TYPEWRITER
“What do you mean by tried?”
OPHIDIA OPERAHOUSE
“My mom loves this place. It is her ideal idea of casual fast food, so I kept getting dragged back.”
THOMAS TYPEWRITER
“Sure it is casual, but is not exactly fast.”
OPHIDIA OPERAHOUSE
“Well, she went to a lot of tea rooms growing up, so figure what you will. Something I recall about this place, and I don’t know if it was the same where you grew up, but when I was a teenager, this was the hangout spot.”
THOMAS TYPEWRITER
“Oh yeah. Same where I grew up. It had two qualities a certain group of teens desired: open 24 hours and allowed smoking. All the quote-unquote interesting kids flocked there.”
OPHIDIA OPERAHOUSE
“I know those kids.”
THOMAS TYPEWRITER
“I bet you were one of those kids.”
OPHIDIA OPERAHOUSE
“Me? If anyone here was one of those kids, it was you.”
THOMAS TYPEWRITER
“Well, maybe. More likely interesting adjacent.”
OPHIDIA OPERAHOUSE
“Hah.”
Ophidia takes a few bites of her food. Thomas picks up his sandwich and takes small bites. He finishes chewing and looks over at Ophidia as he sips from his straw. His face lights up as he stares at Ophidia. She notices and becomes self-conscious.
OPHIDIA OPERAHOUSE
“What?”
Thomas wiggles his eyebrows. Ophidia giggles.
OPHIDIA OPERAHOUSE
“Interesting adjacent my butt.”
Thomas wiggles his eyebrows some more. Ophidia giggles. He sits back up and starts to eat his sandwich. Ophidia, beaming, cuts a bite of sirloin and takes a bite. They continue eating, happy in each other’s presence. The Mid-Stage stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.
FADE-OUT
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 07, Episode 03
By Thomas Typewriter
(c) 2026 Jason Arcand
———–<:type:>———–
FADE IN TO BLACK
From the center bottom of the frame scrolls up the following text: “07-03”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.
FADE OUT
FADE IN
TYPEWRITER ABSTRACT PUPPET STAGE, ANYTIME
FADE IN TO THE TYPEWRITER ABSTRACT PUPPET STAGE GETTING READY TO PRESENT A NEW EPISODE.
MS OF THE TYPEWRITER PUPPET STAGE
The Typewriter Abstract Puppet Stage’s main curtain slowly opens.
PAN IN TO PROPERLY FRAME THE MID-STAGE
MID-STAGE: CURTAINS CLOSED
The stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…
MID-STAGE: INT. TWIGTOWN CHURCH OF THE GOOD FAITH CHAPEL, EVENING.
Along the back of the stage runs a wooden panel wall. The overall design is minimal. A large wooden cross is mounted in the center of the wall. The cross is not attached directly to the wall, but out from the wall by way of metal rods. This is to allow lights installed on the back of the cross to create a halo-like illumination on the wall behind the cross. The remainder of the stage is decorated with six sets of wooden pews. Three on stage left and three on stage right leaving a small aisle in the center. The pews are orientated facing towards the cross. There is a soft lighting in the room, with the brightest light coming from the lights on the back of cross. THOMAS TEENAGER, dressed in a boy scout uniform, enters from stage-left and sits in the second row of pews, near the aisle. He looks up at the cross in silent contemplation for a few moments before letting out a SOB.
TRANSITION FROM MID-STAGE TO HIGH-STAGE
THE CAMERA DETACHES FROM FRAMING MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE TOP OF THE MID-STAGE SETS. IT CONTINUES UPWARD MOVING ONTO AND OVER THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT PANS HIGHER AND HIGHER. AT THE TOP OF THE CURTAIN OF CLOUDS IT REACHES THE HIGH-STAGE. THE CAMERA LOCKS IN TO PROPERLY FRAMING THE HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains part and the stage lights turn on to the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, MORNING
A large curved window lines the back of the stage. Through it we can see outside the ship to space, the twinkling of sparks drifts by. In the distance, some of the lights from the nine bio-habitat Hills, and even glimmers from the tops of the multi-fold towers of the Palace of Stars, can be seen. In the distance the twinkle of the two torches of the dual door entrances to The Mounds. The room itself is decorated in deep reds and oranges. The lounge has a circular shape. ELDER GRIM enters from stage-right pushing a stack of amphora-crates on a wheeled dolly. He rolls them to the side. He exits and returns with a new stack. Ultimately he rolls five amorphous-crates into the lounge. He leaves and returns then rolls a taller stack of speakers, amps, and sound equipment. In his mouth, he is holding a paper bag while in his left hand he holds a coffee cup. Rolling the sound equipment to the back far corner, he reaches up and takes the paper bag out of his mouth. Sitting down near the window, Elder opens the paper bag. He pulls out a bagel and lox with extra dill. Slowly eating the bagel and sipping the coffee, Elder takes the opportunity to look out the window.
ELDER GRIM
“Reassuring to see the world still has moments of wonder.”
Elder finishes his coffee and bagel. He stands, picks up his trash, and moves off-frame to throw it away. He returns and moves to the amorpha-crate closest to the front of the stage. He opens it and starts to remove the contents, which consist of a guitar stand and a skeletal bass guitar. As he sets up the stand and guitar, the stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.
TRANSITION FROM HIGH-STAGE TO MID-STAGE
THE CAMERA DETACHES FROM FRAMING HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS. GLIDING DOWNWARD ACROSS IT, SOON THE TOPS OF THE MID-STAGE CURTAINS COME INTO VIEW. THE CAMERA CONTINUES PANNING DOWNWARD OVER THE MID-STAGE SETS UNTIL PROPERLY FRAMING THE MID-STAGE.
MID-STAGE: INT. TWIGTOWN CHURCH OF THE GOOD FAITH CHAPEL, EVENING.
THOMAS TEENAGER sits in a middle pew near the aisle, softly sobbing. He looks up to the illuminated cross.
THOMAS TEENAGER
“Hello God. I hope you’re listening. Other people tell me you are. They say to me if you have a problem, turn it over to God. Goodness, what does that even mean. I think I have a problem, but how do I turn it over to you when I am the problem. I am broken structurally, something is wrong with me. I keep making mistakes and can not stop. Disappointing everyone around me, everyone who cares. My parents. I got into another argument with them. I don’t mean to upset them but I do. Not on purpose. But eventually I will forget something or screw up. It seems to be happening more lately. The forgetting. The arguments. It hurts so much to see the disappointment in their faces. The anger. Physical pain, like knives in my throat. They say they are trying to help me reach my potential. My teachers talk about my potential. Everyone has a comment on how much I am not living up to it. Yet no one has any answer about how I can live up this supposed potential. What am I suppose to do. No one knows. I thought I was a nice person. Why isn’t that enough. God, if you are there, please tell me why. Why do I hurt? Why do I keep making mistakes? Why am I not good enough?”
Thomas starts to cry but swallows it down. He sits in silence for a few moments. A voice beckons from off-stage.
SCOUT
(off-stage) “Hey Thomas, you coming. Glen is about to cut his cake.”
Thomas hastily wipes his eyes.
THOMAS TEENAGER
“Yeah, I’ll be right there.”
He stands and exits stage-left. The stage-lights, and cross lights, turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.
FADE-OUT
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 05, Episode 08
By Thomas Typewriter
(c) 2023 thomas typewriter
———–<:type:>———–
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “05-08”. 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
In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out.
THE CAMERA PANS DOWN THROUGH THE DARKNESS
The TYPEWRITER ABSTRACT PUPPET STAGE slides into view. It is rotating swiftly in the darkness. It completes three full rotations slowing down to a full rest with the front of the stage facing the camera. The Mid-Stage Curtains start to open.
PAN IN THROUGH A SERIES OF CUTS UNTIL PROPERLY FRAMING THE HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains open and the stage lights turn on with the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: HANGER JSN0012
This hanger, while still having the metallic handrail and spaced wall struts along the back, has much more decoration than the previous hangers. Long vines are growing along the pendant lamps, with bits of leaf and tendril dropping down. The center of the room contains a completed vision crystal, squarish and sitting on a base that looks like it is roughly chiseled from flint or granite. Winding cables connect the center crystal with a large boulder off to the side. The boulder has a primitive view-screen and controls cut from the stone. The Inner Space man walks over to the central crystal. He looks at the frozen image of CARL CAVEBUNNY and THE THE DINO-STORE frozen in the crystal. They stand on a prehistoric plateau. Carl looks like stone-age rabbit-man dressed in an animal skin. The Dino-store looks like a hybrid of a hardware store and a Tyrannosaurus Rex. In the background of the scene, THE INFORMATIVE SCUTTLER, which is the SCUTTLER he righted, slips past. The Inner-Space man looks around the crystal, tapping on the glass seeing if communication is possible.
THE INNER-SPACE MAN
“Is this a picture or a window? What was and unchangeable or what is and fluid?”
There is a TAP, TAP, TAP. The Inner-Space Man turns his head at the sound. Over on the rocky control panel we see the Informative Scuttler tapping the control panel.
THE INNER-SPACE MAN
“Oh, hello. Are you the same one as before.”
The Informative Scuttler nods yes. It then uses one of its segment-legs to point at a button on the control panel.
THE INNER-SPACE MAN
“Do you want me to push that button?”
The Informative Scuttler again signals yes. The Inner-Space Man walks over to the control panel. He presses the largest button. A THRIM fills the air as the center crystal starts to glow. It gestures to another button. The Inner-Space Man presses the button and the image in the crystal starts to move. We watch Carl the Cavebunny riding atop the head of the Dino-Store as it walks through the valley.
THE INNER-SPACE MAN
“Maybe a window. (turns to the Informative Scuttler) What else can you teach me?”
TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE
THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FLIES ACROSS THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. LOWER AND LOWER TILL THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.
MID-STAGE: INT. ELMHOUSE UPSTAIRS ART STUDIO, DAYTIME
A small desk sits in the middle of a wooden panel wall. The wall is decorated with a framed Alphonse Mucha print. THOMAS THEATREMANAGER sits at his desk, typing on a laptop. He writes in a word editing program. On the screen the following is displayed:
“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.”
SECONDO TYPEWRITER-OPERAHOUSE enters from stage-left. He walks over to the desk as Thomas reviews his writing. He crawls into Thomas’s lap. They hug. Secondo settles in and looks at the screen.
SECONDO TYPEWRITER-OPERAHOUSE
“What are you doing Father?”
THOMAS THEATREMANAGER
“Working on my scripts. Did you just get up?”
SECONDO TYPEWRITER-OPERAHOUSE
“Yes.”
THOMAS TYPEWRITER
“Well good morning.”
SECONDO TYPEWRITER-OPERAHOUSE
“What are you writing about.”
THOMAS TYPEWRITER
“Oh, how I met my sister.”
SECONDO TYPEWRITER-OPERAHOUSE
“Have I met her? Is she the animal doctor?”
THOMAS THEATREMANAGER
“No, that is your mom’s sister. You’ve never met my sister.”
SECONDO TYPEWRITER-OPERAHOUSE
“Why?”
THOMAS THEATREMANAGER
“She moved away then she got sick, like really sick.”
SECONDO TYPEWRITER-OPERAHOUSE
“Is she okay?”
THOMAS THEATREMANAGER
“It’s not one of the diseases you get better from. She’s probably dead by now.”
SECONDO TYPEWRITER-OPERAHOUSE
“How do you not know?”
THOMAS THEATREMANAGER
“Two reasons. Firstly, I didn’t know that my attention span made it hard to stay in touch with people. I want to but my brain just loses awareness. This was before I was diagnosed and learned how to deal with my brain. Secondly, her sickness made it so she lost the ability to talk and move over time.”
SECONDO TYPEWRITER-OPERAHOUSE
“That’s sad. Do you need a hug?”
THOMAS THEATREMANAGER
“Sure.”
Secondo Typewriter-Operahouse turns around and hugs Thomas. Thomas hugs him back, and holds the comfort of the embrace for a long moment. He then releases Secondo, wipes his eyes, and then looks at Secondo.
THOMAS THEATREMANGER
“Thank you. Now if you’re hungry you can grab a snack from the fridge till I finish here. I’ll be down in a moment to make breakfast.”
SECONDO TYPEWRITER-OPERAHOUSE
“Can I pick cherry tomatoes?”
THOMAS THEATREMANGER
“Do we have cherry tomatoes?”
SECONDO TYPEWRITER-OPERAHOUSE
“Oh yeah. Mother bought some yesterday.”
THOMAS THEATREMANGER
“Wow, that was an enthusiastic answer. You sure love your tomatoes don’t you.”
SECONDO TYPEWRITER-OPERAHOUSE
“I sure do.”
SECONDO TYPEWRITER-OPERAHOUSE
“Can I watch TV?”
THOMAS THEATREMANAGER
“Only if you watch PBS kids.”
SECONDO TYPEWRITER-OPERAHOUSE
“Okay.”
THOMAS THEATREMANAGER
“I’ll be done in a moment and then I’ll come down and we can see about breakfast.”
SECONDO TYPEWRITER-OPERAHOUSE
“Okay, bye.”
Secondo exits stage-left. Thomas turns back to his computer screen.
TRANSITION FROM MID-STAGE TO HIGH-STAGE
THE CAMERA DISCONNECTS FROM HIGH-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS AND ONTO THE CURTAIN OF CLOUDS ALONG THE BACK OF THE MID-STAGE. UPWARD IT CONTINUES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. IT PANS INTO PROPERLY FRAMING THE HIGH-STAGE.
HIGH-STAGE: THE CENTRAL LANDING IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES
The stage is still set up the same as in the earlier section of this episode. The large crystal on a pedestal sits near stage-front stage-right, with the concentric rising rings spreading out in an almost ovoid appearance. THE SPACE EGG stands to the side of the crystal looking into it. It turns the light in its central “eye” on and off. Each time the light flashes in the crystal, the crystal starts to glow as if attempting to activate.
THE CAMERA SUBTLY PANS OUTWARD ENOUGH TO INCLUDE THE NARRATOR’S DOOR.
Y-MOUSE leans over the edge of the Narrator’s Alcove, dressed in pajamas and eating a cheese sandwich.
Y-MOUSE
“You should keep doing that.”
The Space Egg freezes.
THE CAMERA PANS IN BLOCKING THE NARRATOR’S DOOR FROM VIEW.
THE SPACE EGG
“Hello?”
THE SPACE EGG looks left and right.
THE SPACE EGG
“Did somebody say something?”
Satisfied no one is in the room, the Space Egg resumes flashing light into the crystal.
THE SPACE EGG
“What would happen if I kept the light on?”
The Space egg switches from flashing the light to a steady beam of light into the crystal. The crystal’s interior glow starts to build. It begins to slightly vibrate and shimmer. The crystal glows brighter and brighter until bursting with white light.
WHITE LIGHT SPREADS FROM THE CRYSTAL FILLING THE ENTIRE FRAME. ALL DETAILS FADE AWAY. SOON THE LIGHT FADES AND THE DETAILS SLOWLY RETURN.
A series of lights built into the pedestal glow. As the bright light fades from the crystal it is actually flowing down into the pedestal and the surrounding concentric rings. A device activates. The pedestal glows and soon the lights spread out to the edges of each concentric ring surrounding the crystal. The Space Egg turns off its light and watches the spreading change. A GIGGLE seems to escape from the crystal. A second GIGGLE soon follows. The Space Egg turns towards the sound seeing that images float in the crystal now. Inside the crystal, we can see BIFF THE RABBIT reading comics.
PAN IN ON THE CRYSTAL THEN THE CAMERA ENTERS THE CRYSTAL
TRANSITION FROM THE WARDROBE OF A THOUSAND AND ONE COSTUMES TO BIFF’S BEDROOM
INT. BIFF’S BEDROOM, DAYTIME
Biff’s bedroom is a squarish room located in the north corner of the second floor. The room has a bed in the center against an outside wall, with a nightstand on one side. Posters for the Cosmic League, The Lamp of Night, and Babysitter Tails decorate his walls. Opposite his bed is the wall with more posters, shelves and a wardrobe. The wall with the window has a small built-in seat under the window. Part of the ceiling curves down in this section, being that the roof comes down, eaves. BIFF THE RABBIT sits on the floor next to a large smooth stone with a set of eyes drawn on it with marker. Spread around him are the large sheets of comics from the newspaper. Biff giggles at the comics and points out funny punchlines to the smooth stone.
BIFF’S MOTHER
(off-camera) “Biff, Dinner time.”
BIFF THE RABBIT
“Be right there Mom.”
Biff folds and sets aside the comics. He stands and moves towards the door. Rocky follows closely behind.
CUT TO
INT. DINING ROOM, EVENING
A large room. One large bay window along with smaller windows built on top of bookcases, ¾ of way up the wall. Dishes and glassware in the bookcases – more like cabinets with glass doors or display cases. Biff walks in and sits down next to his sister DIAN who is already sitting down. His younger brother JAFF walks in.
DIAN
(to Biff and Jaff) “Be on your best behavior. Mom and Dad are in a bad mood tonight.”
Biff is deep in thought and does not register her statement. He absent-mindedly nods.
THE CAMERA FOCUS SHIFTS FROM BIFF IN THE FOREGROUND TO THE KITCHEN IN THE BACKGROUND.
In the kitchen Biff’s parents, BIFF’S MOM and BIFF’S DAD, are plating the food and arguing. Ultimately the mom throws a plate down in anger and walks away. The dad says something with an angry expression and then starts to dish the food. The Mom rejoins them and they walk in and put food on the table. The food starts to be passed around.
FOCUS BACK ONTO BIFF IN THE FOREGROUND
Biff is looking at his plate and starts to mentally drift. A thought bubble appears over his head as the noise of the room fades out. In the bubble we see the comic Biff was reading earlier. A bowl of mashed vegetables can be seen being passed from Din to Biff. Biff takes it without thinking and absent-mindedly scoops some onto his plate as he remembers the comic strip. Each panel is shown in turn till we get to the final panel and the punchline. Biff lightly chuckles.
BIFF’S DAD
“You think this is funny?”
QUICKLY PAN, LIKE A SNAP, BACK TO LS OF TABLE
BIFF
“what?”
The brother and sister look away.
BIFF’S MOM
“Ricc.”
BIFF’S DAD
“No Debe. He’s laughing and that really bothers me. Does he think it was easy for you to put this food together? For me to find work. How little we have. (turns to Biff) Do you?”
BIFF
“I wasn’t laughing at you. I just remembered a joke.”
BIFF’S DAD
“That’s no excuse. You have your head in the clouds. Are you even capable of thinking of other people? Noticing how they feel, that maybe a laugh would be ill-timed.”
BIFF’S MOM
(to Biff) “Maybe it is best you go to your room now.”
Biff looks around the room. His face starts to scrunch up and he leaves the table.
MS OF BIFF IN THE CENTER OF THE SCREEN. KEEP THE CAMERA ON HIS CHAIR WHILE BIFF GETS UP AND LEAVES.
BIFF’S MOM
“Happy now?”
BIFF’S DAD
“Not really.”
CUT TO…
INT. BIFF’S BEDROOM, EVENING
LS OF ROOM FACING DOOR
The door opens and Biff rushes in. He closes the door behind him and jumps onto his bed. He stuffs his face into his pillow and starts to sob. One of his pillows falls off the bed from the recoil of his landing on the bed.
CUT TO CS OF BIFF
Biff’s sobbing dies down. He looks up to the rock on his bookcase.
BIFF THE RABBIT
“Why do I keep getting in trouble?”
Biff wipes his eyes and starts to straighten up his bed. He looks around for the missing pillow. He leans over the bed and sees it on the ground. As he picks it up he sees a spider on the pillow.
CUT TO CS OF SPIDER
CUT BACK TO CS OF BIFF
BIFF THE RABBIT
“Hey there little cousin. That’s not a safe place for you. Let me help.”
Biff scoops up the spider in his hand.
CUT TO LS OF BIFF’S BEDROOM. FACE THE CAMERA TOWARDS THE AREA BETWEEN THE BED AND WINDOWS, PLACING EACH AT THE EDGES OF THE FRAME, BUT STILL IN VIEW.
Biff gently scoots off the bed and walks over to his window. He opens the window.
CUT TO CS OF BIFF AT WINDOW.
Biff gently sets the spider down outside the window.
CUT TO XCS OF SPIDER CRAWLING OFF BIFF’S HAND
The spider slowly walks off Biff’s hand, testing the ground before fully committing.
THE CAMERA PANS OUT A SMALL BIT. AROUND THE EDGES OF THE FRAME CRYSTAL CAN BE SEEN.
TRANSITION FROM IMAGES IN THE CRYSTAL TO THE WARDROBE OF A THOUSAND AND ONE COSTUMES.
CUT BACK TO CENTRAL LANDING OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES.
Zoom out a little bit so that we can see the scene in the crystal with the Space Egg watching it unfold. The Space Egg watches its face has a sad, concerned, interested look. A mix of equal parts concern and interest. The High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.
FADE OUT
———–<.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
Thomas Typewriter 
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