screenwriting

“The Great Works Project: Season Seven, Episode One” by Thomas Typewriter – a new script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 01

a prologue

By Thomas Typewriter

(c) 2026 Jason Arcand

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Immediately following that text’s exit, up scrolls “a prologue” from the bottom of the frame. It scrolls upward pausing in the center of the frame before continuing up and out of the top of the frame.

FADE OUT
FADE IN

EXT. SWORDPOINT HILLS, AFTERNOON
THE OUTER ONE and GRIGIO COLORI stand on one of the hills overlooking Swordpoint Hills. They are near the crest and looking down at the crowds. The Swordpoint, at the center of the hills, is a large stone slab with small stairs. There are five stones on the tableau. Each stone has a beam of light shining upward towards the sky. Surrounding the tableau and snaking out into the hills are multiple lines of people waiting in queue. Small covered stalls can be seen dotted around the hills, each with gate guarded by a muscular bouncer.

CS OF THE TEXT AT THE END OF SEASON 06 FROM THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.

GRIGIO COLORI
(Voice-over) “Okay so that is where season six ends. Should I go on?”

THE OUTER ONE
(Voice-over) “No, that’s probably as good a stopping point as any. You should put that away, we have more pressing concerns.”

The scriptbook closes.

CUT TO MS OF THE OUTER ONE AND GRIGIO

GRIGIO COLORI
“Like what.”

THE OUTER ONE
“Getting here was the easy part. Now comes the hard part – the line.”

The Outer One takes a step forward and looks downward. Grigio watches and copies the action.

PAN TO AN AERIAL LS OF SWORDPOINT. 

The multiple long lines of the crowd snake through the hills.

GRIGIO COLORI
“I see what you mean. So where do we start.”

THE OUTER ONE
“We go see a man about credit, but first lets take a break. I am feeling a bit tired.”

GRIGIO COLORI
“Is your wrist bothering you.”

THE OUTER ONE
“Unfortunately, I think it is. A little rest and I should be fine.”

MS OF GRIGIO AND COLORI

They sit down on the grass. The Outer One flops onto his back and takes three deep breaths. As the Outer One lays on the ground his shirt rides up , revealing that the glitching has spread even further. The side of his neck, his entire right arm, and the right side of his chest show signs of the glitching scrolling abstract text.


THE OUTER ONE
“It is going to take me a minute longer than I anticipated to get my wind back. Maybe you should continue reading the scriptbook.”


GRIGIO COLORI
“Sure. Lets see, where was I. Season Seven, Episode One. We open on the Typewriter Abstract Puppet Stage. We start at a long shot and move in closer.”

FADE OUT TO

INT. THE UNROOM NOT.SEVEN

LS OF THE UNROOM FROM THE ENTRYWAY

SLOWLY PAN THROUGH THE ROOM TO THE WOODEN STAGE. THE PAN FOLLOWS A MEANDERING OR SNAKING PATH.

The Unroom Not.Seven is a large space so cavernous that the ceiling and far walls are lost in darkness. A tile floor is decorated with a short wooden stage. Grey carpet squares are arraigned in rows around the stage. Long power cords snake through the squares to spindle like floor lamps at the ends of rows. From the darkness of the ceiling emerge long chains adorned with pendulum lamps. The soft light from the hanging lamps and floor lamps is not enough to fully pierce the darkness of the room. What is visible is seen with a soft light. THE SOUND OF TYPEWRITER KEYS CLICK CLACKING rings out. Unseen lamps above the wooden stage flip on. In their beams of light, THE TYPEWRITER ABSTRACT PUPPET STAGE appears.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE MID-STAGE AREA

MID-STAGE: CURTAINS CLOSED
The Mid-Stage Curtains part revealing that the Mid-Stage is empty and unilluminated.

PAN PAST THE EDGE OF THE MID-STAGE CURTAIN AND THROUGH THE MID-STAGE TOWARDS THE CURTAIN OF CLOUDS

The Curtain of Clouds along the back of the Mid-Stage parts revealing the Back-Stage.

PAN IN UNTIL PROPERLY FRAMING THE BACK-STAGE

BACK-STAGE: THE CONCURRENT DISTANCES, BETWIXTLIGHT
A soft fog rolls across the bottom of the stage while DREAM-BUBBLES drift across the stage. They enter stage-right and exit stage-left. They are not all moving at the same speed, so one may pass another. A soft light starts to be cast from off-stage stage-left. The light grows brighter and brighter until the source of the light, THE LAMPSTICK, enters stage-left. It appears as a bipedal post with a hanging lamp. The post and legs have a rough construction appearance whereas the lamp appears finely crafted. It moves to the center of the stage with a dancing rhythm. Following closely behind are ONDE, AVEN, NETTE, and HERON THE AELIOPHILE.

AVEN
(to Nette) “You sure that thing knows where it is going?”

NETTE
“Yes. There is a magic to the things we make together, and that magic is going to help us find her.”

The Lampstick pauses just off center-stage. It freezes mid-motion.

AVEN
“Now what?”

ONDE
“I don’t know anymore.”

NETTE
“Give it a moment.”

The Lampstick slowly moves it’s lamp left and then right. It jumps up and starts walking, exiting stage-left. Nette follows the Lampstick and exits stage-left. Aven also exits.

ONDE
“Come along Heron.”

Heron runs over to her side and they leave stage-left together. The stage goes dark for a moment and when the lights come back the fog at the bottom of the stage is thicker. Additionally, the quantity and pace of Dream-Bubbles flowing across the top of the stage has increased. A bright light approaches from off-stage stage-left, casting a brighter and brighter light on the fog and dream bubbles. The Lampstick enters stage-left followed by Aven, Nette, Onde, and Heron the Aeliophile. The Lampstick stops mid-stage and starts to blink its light. Aven, Nette and Onde fan out attempting to look for something.

AVEN
“Can any of you see her? Is it sure she is here?”

NETTE
“Yes. But I can’t see her either. The fog is too thick. How did she ever find her way through here.” 

ONDE
“I have an idea. Heron could you help us clear the fog?”

Heron starts to whirl his steam pipes blowing away the fog. On the ground, passed out, lays THE MOTHER. Her hair has changed to all silver and she is now THE CRONE. 

AVEN, NETTE, AND ONDE
(in unison) “Mother!”

They rush over to her. Aven and Onde lift her up. Nette touches her face trying to wake her.

NETTE
“Wake-up. Wake-up mother. It is okay, we are here now.”

ONDE
“Is she okay?”

AVEN
“I don’t know.”

NETTE
“She’s not waking up.”

AVEN
“We need to get her home.” (turns to the Lampstick) “Could you lead us back home?”

The Lampstick nods yes. It slowly looks left and then right. It hops and starts off exiting stage-left. Onde stands carrying the Crone.

NETTE
“You going to be okay carrying her.”

ONDE
“Yeah, she is surprisingly light.”

Aven exits stage-left. Onde, carrying the Crone, follows her. Nette walks over to Heron and pats him on top.

NETTE
“Good job. Now lets go home.”

Nette and Heron exit stage-left.

FADE OUT

“The Not So Puppet Show #1 – Sing a New Song Chorus Verse” by Thomas Typewriter – a new script

Puppet play, scripts, The Not So Puppet Show, Uncategorized

———–<.thom.>———–

THE NOT SO PUPPET SHOW

An asymmetry without apologies

Episode #1

“Sing a New Song Chorus Verse”

By Thomas Typewriter

(c) 2026 jason arcand

———–<:type:>———–

FADE IN

The Not So Puppet Show’s short title sequence plays.

FADE OUT
FADE IN

INT. THE MUSIC HALL OF FRANCIS SPEAKS TO FRANCIS UNIVERSITY, AFTERNOON
The Music Hall is built on a bisecting stage¹. The rear plates will be the Stage. It is a raised concert stage made of dark polished wood with a curved front. A conductor’s podium has been placed at the front of the curve. The back of the stage has no curtain but instead decorative panels made of a similar dark wood, each with a small light built into the design of the top. Curved rows of chairs and music stands have been set up for the musicians. The front plates will be the Seats. It has three rows of chairs. Each row goes from stage-left to stage-right across the stage. The individual chairs are of a simple kind that hinges down with minimal padding.

LS OF SEATS AND STAGE

The first row and second row are already filled with guests. Concertgoer #1-#6 in the first row. Concertgoer #7-#12 in the second row. THOMAS THEATREMANAGER enters from stage-right and walks down the third row of the Seats. He will sit on the chair to the stage-right side of the bisection. OPHIDIA OPERAHOUSE-TYPEWRITER, PRIMO OPERAHOUSE-TYPEWRITER, and SECONDO OPERAHOUSE-TYPEWRITER follow behind him. They walk to the center of the row and sit down.

PAN IN TO MS OF THOMAS

The members of the City of Champions City Symphony start setting up on the stage. Violinist #1, Violinist #2, Violinist #3, Cellist #1, Cellist #2, and Cellist #3 enter stage-left. They filter out to the front row of chairs on the Stage. Trumpeter #1, Trumpeter #2, Trombonist #1, Frenchhorn #1, Flutist #1, Timpani #1 and Marimba #1 enter from stage-left and take up the seats in the second row of chairs on stage. All of the Audience, except Thomas, stand and applaud for the musicians. Thomas turns in his seat and faces the camera.

THOMAS THEATREMANAGER
“I am here at Francis Speaks to Francis University with the family, attempting to hear to the City of Champion’s Symphony’s fall concert. It is a Sunday and I do not have to work. Primo and Secondo are now teenagers, and my time with them grows short. A limited window to show them this can be a world of wonders. And an even smaller window of funding to showcase these wonders due to my recent financial irresponsibility. I need to be creative. Thankfully, I have always been.”

Thomas turns to face the stage. The rows of chairs split in the middle, with the chairs on stage-right sliding to the stage-right. The chairs on the stage-left sliding to the left.

THOMAS THEATREMANAGER
“Let me explain.”

In the newly opened area a giant brain made of building blocks is brought onto the stage by a pair of glowing hands. It is held together by the pressure of the two hands.

THOMAS THEATREMANAGER
“Growing up I always felt broken. Like in the kind of way where my mind was all these different pieces barely being held together. That my parts were constantly slipping apart. Especially once my plurality attempted to be a singularity. Still, we were, sorry, (to self) I am Thomas and I accept these feelings and emotions are part of myself. (to camera) Sorry about that. As I was saying, I was far from perfect at holding it together. I often failed, but managed to pull it back together.”

Then the building block brain falls apart. As the parts are being reassembled, hear the HAMMERING OF A HAMMER ON AN ANVIL. Once the brain is reassembled, the sound of diminishes. The building block brain and hands pull backwards, leaving the visible are, as the two sides of the auditorium slide back into place.

SECONDO TYPEWRITER-OPERAHOUSE
(off-screen) “Dad…”

Thomas turns from looking at the audience and at Secondo in the chairs on the other side of the center.

THOMAS THEATREMANAGER
“Yes.”

SECONDO TYPEWRITER-OPERAHOUSE
“I hope this starts soon.”

THOMAS THEATREMANAGER
“Me too. It shouldn’t be long now.”

SECONDO TYPEWRITER-OPERAHOUSE
“Good.”

Thomas swivels in his seat, so as to be looking behind him and out at the camera.

CUT TO CS OF THOMAS

THOMAS THEATREMANAGER
“These feelings of being on the edge, of being broken, persisted throughout my childhood. Persisted into adulthood, to today. But back then I thought school with its routines would be a stabilizing force but alas no. Often they amplified these feelings…”

CUT BACK

The auditorium splits in the middle again. The left side slides to the left while the right side slides to the right. From the back of the stage, a small classroom slides forward into the area between the orchestra. The small classroom is set-up as a side view of a sixth grade classroom. Two rows of three chairs go across the space with a teacher’s desk and small television on a rolling platform off to the stage-right side. MR. MYSELF&I stands next to the television. THOMAS TEENAGER sits in a center chair. OTHER STUDENT sits in one of the chairs in front of Thomas.

MR MYSELF&I
“Okay class, we are a little ahead in our lessons. Good job. Since we have some free time now, we are going to put on this video.”

Mr. MySelf&I pulls out a VHS tape from the shelf of the rolling cart the television is sitting on. He places the video in the VCR, waits for it to load, and then presses play. He exits stage-left and the lights in the classroom dim. A bright light throws out from the television bathing everyone in cathode light. Thomas gets a fearful look on his face. The Lady, THE LAD, AND THE LOCH appear in the desks next to Thomas. The Loch rolls itself into a bristle. Thomas moves in the exact same fashion. The Loch then starts to bark and growl at the screen. Thomas is frozen in panic.

THE LADY
“This is horrible.”

THE LAD
“Let’s get out of here. I do not want to watch anymore of this.”

The Lance raises his arm up at which time Thomas also moves his arm up in exact mimicry. In the background can be heard the sound of A HAMMER STRIKING METAL ON AN ANVIL. Thomas’ arm slacken as he is distracted by the sound. He looks around for its source. The Lad frustrated by Thomas’s loosing focus raises his arm up even more strongly. Thomas’s arm goes back to being fully raised and his head snaps forward.

MR. MYSELF&I
(off-stage) “Yes, Thomas?”

OTHER STUDENT
“Here goes Thomas going to say or do something weird again.”

THE LADY
(snapping head to look at Other Student) “That bitch. How dare they.”

The Lady returns her gaze to the front of the classroom. When she speaks Thomas also speaks at the same time, as if he is her puppet.

THE LADY & THOMAS TEENAGER
“Sorry Mr. MySelf&I, but would there be time for me to use the bathroom.”

OTHER STUDENT
“Oh, that wasn’t weird.”

THE LADY
(to self) “Fuck her. Saying Thomas is weird. What does she know.”

MR. MYSELF&I
“Yes. Make sure to grab the hallpass and you can go.”

THE LADY & THOMAS TEENAGER
“Thank you.”

The Lance stands and Thomas also stands at the same time and in the same way. The Lady also stands, slapping the Loch on the back of it’s head where it then stands. The small classroom is pulled off the stage. The zones of the stage slide back together. Thomas lifts his arm and puts it across the seat to the side of him allowing him to pivot and face the camera.

THOMAS THEATREMANAGER
“I don’t know why, but through all the cracks in my life, the cracks in my personality, the cracks in my mind, cracks in words when their letters moved and changed, you get the idea, a sense of a blacksmith hammering at a forge slipped through. Red hair, orange fire, sparks of starlight. Slips and glimpses. A face beautiful but also scarred. So it is no surprise to me that I ended up worshiping that marvelous lady of the forge, Brighid. She has always been there in my life, in the background. I thought she was my sole muse. Little did I know.”

The City of Champions Orchestra comes onto the stage. The musicians sit down and tune their instruments as THE CONDUCTOR enters stage-right.

THOMAS THEATREMANAGER
“And the great show begins.”

Thomas turns around to watch the stage. Meanwhile the Conductor walks to the podium in the center of the orchestra and bows to the musicians. He then turns and faces the auditorium chairs and the audience thereby contained. He bows. When he straightens back up he addresses the audience.

THE CONDUCTOR
“Thank you everyone for joining us today. This is our second concert of our season, so we are glad to have you out. Today’s program is called Pictures. We will start with Elar’s Serenade for Strings in e minor, then move into Lizt’s Hungarian Rhapsody No 2 in c minor, Ravel’s Pavane pour une infante defunte before ending our concert with Mussorgsky’s Pictures at an Exhibition.”

The Conductor turns to face the musicians. He picks up his baton and taps on the music stand. The musicians raise their instruments to the ready position. He signals to start and the City of Champions Orchestra starts to play Serenade in Strings in e minor. Thomas turns to face the camera.

THOMAS TYPEWRITER
“And through the first song, I found it nice. Not exactly the kind of music that revs my brain, but pretty nonetheless. It gave me time and spare mental bandwidth to appreciate the musicians. They were really skilled and all of this was done on a volunteer basis. Like how amazing was it that they lived complete lives and still somehow made time to ALSO do this. How amazing is that.”

The orchestra begins to play in fast forward.

THOMAS TYPEWRITER
“ Inspired by the talent and dedication on display, I decided to look with my quote-unquote mystic eye. Brighid was there spreading her energies across the musicians. And it was what happened next that is interesting.”

The sets slide apart from the middle again. Though this time the audience slides fully left and right, while the orchestra only slide half as far left-and right. There needs to be enough space between the two sides of the orchestra to allow a figure to approach but also allow the orchestra to still be seen. From the back shadows of the center space out walks BRIGHID THE BLESSED. She is a tall muscular female with fiery red hair. One side of her face is fair while the other is covered in scars and burns. She wears a simple leggings under a blacksmith’s apron. She is wearing a shawl that trails out to long ribbons and streamers so that when she moves and swings there is a flowing undulation to the movements. She moves along the musicians sweeping her streamers across them as they play. Every musician she touches becomes more focused and confident in the manner they play. The orchestra plays even faster, quickly reaching the end of the song. They bring their instruments to pause as the Conductor looks around. He then signals for the ready, and they raise their instruments to the ready position. He signals and they start playing Lizt’s Hungarian Rhapsody No 2 in c minor. As they play, Brighid the Blessed dances among them, inspiring each. As the song picks up tempo, hidden behind the musicians, AHN’PHERA THE SURPRISE AND THE JOY emerges. They are a thin and tall androgynous figure, dressed in shiny black tap shoes, tan oversized khaki pants held up with black suspenders over a white button up cotton long-sleeve shirt. They have a short haircut with a side part and long bangs swooping over to cover their face. They are bouncing a yellow ball. They move through the back of the musicians, staying hidden, but taking sudden acrobatic or dance moves when a loud note is hit and then sinking into the background. They will also be bouncing the ball around the stage as they move.

THOMAS THEATREMANAGER
“It was then I noticed a second spirit of inspiration. Moving in the background, I could catch fleeting views. Small details. Androgynous. Dressed like a dancer. Moving like some cross of Gene Kelly and Charley Chaplin. They were hypnotic. Then when the song goes into the second section and surprises me, they leap out.”

As the orchestra shifts to playing the friska portion of the piece, Ahn’Phera jumps out to the center of the stage. They dance and clown around Brighid the Blessed, pointing to each of the elements that jumps in unexpectedly.

THOMAS THEATREMANAGER
“I said who is this, and I instantly knew. This was Ahn’Phera, the muse and goddess of surprises in art. They are working through all the artists proving that unexpected element that makes the work interesting and vibrant. Surprises not only for the audience, but also the artist.”

Brighid and Ahn’Phera’s dancing becomes more energetic and lively as the song reaches its crescendo. The piece ends, the two deities pause. Ahn’Phera throws the yellow ball off-stage over the musicians’ heads and silently back flips out of view. Brighid glides out of view. The Audience claps in applause. The two sides of the stage slide back together. The audience members all stand and continue to clap. Thomas slows his clap and rotates to talk to the camera.

THOMAS THEATREMANAGER
“And in the days that would follow, I would ponder what I had seen here. Here was a new muse, but where this was my first full viewing of them, their fingerprints spread across my whole life. The films I did not expect to be good and then turned out great. The song that comes on the radio that you stop what you are doing and have to sing along to. A quick glimpse of something beautiful as you are commuting. That time you accidentally get bumped and end up in the right spot to see angles and ornamentation of the buildings line up. That time the story took a left turn. Hell, anytime any art takes a sudden turn. The world has Bridghit looking over all artists and helping them, among her many duties, but it also has Ahn’Phera dancing in and out ensuring that art has surprises and interesting texture. That is a world I can believe in. A world I can have hope that I can find joy. Blessed be Brighid. Blessed be Ahn’Phera.”

Thomas nods his head in a short prayer then turns back to his family.

THOMAS THEATREMANGER
“Wow. Was that something or was it not? I am so glad I came out with all of you.”

SECONDO OPERAHOUSE-TYPEWRITER
“Thanks Dad. Glad to be here too.”

PRIMO OPERAHOUSE-TYPEWRITER
“I wonder what will be next?”

THOMAS THEATREMANAGER
“That is the question, isn’t it.”

SECONDO OPERAHOUSE-TYPEWRITER
“What ever it is, I’m sure it will be great.”

THOMAS THEATREMANAGER
“I bet you’re right. Now lets quiet down and listen. They are about to start the next song.”

PAN OUT

FADE OUT

¹A Bisecting Stage is a specially constructed and laid out stage. It will be constructed in a way that the stage will be divided in four sections. The front and rear of the stage will be separated. Then the front and rear will also be divided into left and right sections. Each section will be built on a movable plate. This will require four plates. The plates will allow the front part of the stage to be pulled apart followed by the rear part of the stage to be pulled apart. This will allow a third area of the stage to opened up that will be referred to as the Imaginary Section.

“The Great Works Project: Season Six, Episode Thirteen” by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 13

an epilogue

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN


From the bottom of the screen scrolls up the following text: “06-13”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. A second set of scripts follows. From the bottom of the screen scrolls up the following text: “an epilogue”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. A third set of script scrolls up once the second has left the screen. From the bottom of the screen scrolls up the following text: “The Keys to Sadness”. 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


EXT. THE DOWNHILL, MORNING
The Downhill is the region just past the Hilltop. A traveler through these realms will usually appear in the Sand Dunes, walk to the Hilltop across a landscape that shifts from sand to scrub. They will encounter the Ghostly in the forested area of the Hilltop. Continuing along the trail, they will emerge from the forested Hilltop to a more open gentle downward slope, the Downhill, on their way to the mixed grassland and prairie of The Flatland.

LS OF THE DOWNHILL

THOMAS TYPEWRITER emerges from the forest and works his way down the slope. He follows the trail to a point where it splits. A signpost stands at the split. It is a tall pole covered in a colorful collection of Morning Glories. There are two signs on the post, each pointing down a different trail. One sign has the following text: “THISville”. The other has the following text: “THATville”. The region between the two diverging paths is a prairie grassland filled with many tall grasses and colorful wild flowers.

VARIOUS SHOTS OF THOMAS WALKING DOWN THE TRAIL AND APPROACHING THE SIGN.

MS OF THOMAS LOOKING AT THE SIGN

Thomas stops and looks at the signs.

THOMAS TYPEWRITER
“Thisville or Thatville? Thisville? Thatville? Not really a lot to go on there.”

CUT TO CS OF EACH INDIVIDUAL SIGN AND THEN PANNING TO LOOK DOWN THE TRAIL.

Down the THISville trail is a city in the distance filled with many tall white-ish buildings against a background of dark smoke and clouds. The many buildings seem to be built with outlines of golden light. Glittering shapes can be slighly seen moving through the skies over THISville. Down the THATville trail in the distance is many tall dark colored buildings against a backdrop of greyish white smoke and clouds. The buildings are filled with windows illuminated by harsh flourescent lighting. Glittering shapes can also be seen flittering over the skies here also.


CUT BACK

THOMAS TYPEWRITER
“Which way do I go. She was not very short on details when it came to which was which. One way looks to be cheerful buildings but the sky is so dark and ominous. The other way has a bright sky but those buildings look so harsh. Is either way better than the other? Do I go that way or the other?”

Thomas looks back and forth down the trails.

THOMAS TYPEWRITER
“This is so my luck. I find some clue and guide on what to do next and but it turns out it wasn’t enough. Why does this keep happening to me. (pauses) Deep breath. Panicking and self-pity will get me no closer. Okay, take stock of what is known, then act. (A little drawn out as he is thinking out loud) I know there are two paths. Additionally that ghostly lady said there were two different cities ahead. She also said I needed to choose carefully. Yet, did she really offer any insight into which city was a better choice. She claimed she did, but I don’t know. Is this even a choice I should be making. Am I suppose to be on some mystical otherworldly vision trip to discover a deeper meaning to my life or another one of those deep dreams I get every week?”

Thomas Typewriter sits down.

THOMAS TYPEWRITER
“I’ll just sit here till I figure this out. (to self) Okay so you follow the trail, meet the lady, get told there are two paths and then have to choose a path. The path splits to two choices. A bright-dark city or a dark-bright city. It is just so binary. I hate being forced to choose. Yet…do I have to? Is it really only two choices or have I just limited my view. Forwards is backwards. There are no fences or walls, so in theory I could go any direction.”

Thomas looks around.

CUT TO MONTAGE OF WILDFLOWERS AND GRASS. SEE BIRDS AND INSECTS.

THOMAS TYPEWRITER
(voice-over) “This place is so peaceful. Reminds me of the hay fields where I grew up.”

Thomas’s breathing slows. He extends his breathe in and extends his breathing out. He settles into a four count in, pause, four count out, pause, repeat rhythm.

THOMAS TYPEWRITER
“I know what I am going to do. Instead of walking one of the two paths, I am going to keep walking forward.”
Thomas leaves the trail and starts walking through the grasses and prairie. Butterflies, Dragonflies, Moths and Lacewings buzz around him. Songbirds flitter through the air over him. Thomas smiles at all the beauty around him.

MONTAGE OF THOMAS WALKING THROUGH THE PRAIRIE BETWEEN THE TWO PATHS.

As Thomas walks he the grasses are getting higher and higher. They are ankle high at the start but soon they are shown up to his rib cage. He is actually sweating from the exertion to move through the thicker parts of the prairie.

THOMAS TYPEWRITER
“Really starting to doubt my choice here. This is hard.”

In front of Thomas is a glitter of metal in the grasses. Thomas stops and looks down, parting the grass.

CUT TO CS OF AN OLD KEY IN THE SOIL.

Thomas picks up the key and starts to clean it off.

THOMAS TYPEWRITER
“What is this doing here? What’s your story?”

Thomas sinks into the grass and down into the soil. He is too focused on the key, turning it over and over, to notice the sinking.

PAN DOWN FOLLOWING THOMAS WHILE ALSO ZOOMING IN ON THE KEY.

In the soil we see Thomas drift one way and the key drifts out of his hand.

PAN DOWN FOLLOWING THE KEY AS IT SINKS

The key sinks through the soil. The dirt grows darker and darker transitioning to a black field.

PAN STOPS

The key falls through the darkness exiting through the bottom of the frame.

CUT TO A SERIES OF CLOSE SHOTS OF THE KEY TUMBLING THROUGH DARKNESS

TRANSITION TO THE LOW-STAGE

THE LOW-STAGE: EXT. THE WIDE WATERS OF THE CIRCULAR RIVER, NIGHT
The Low-Stage is initially dark. A crescent moon rises. It’s soft light illuminates a small sailboat, THE MONUMENT, on the wide section of the CIRCULAR RIVER. The figure of WILLIAM SCOTT FRANCIS KEYES falls in from above the frame landing in the boat. The boat rocks from the vibration, soon settling back into the gentle quiet rhythm of the waves. The title card or title graphic appears superimposed over the scene. It reads “THE KEYS OF SADNESS”. It fades away. The moon sets and the sun rises. As the sun fully crests the horizon, William wakes. He can be seen sitting up in the boat, stretching, and reaching for the rudder. William raises the sail, secures the line. First he secures the rudder. The sail billows, capturing wind. The boat sails exiting stage-left.

CUT TO MS OF WILLIAM SAILING THE BOAT.

CUT TO LS

The Monument sails in from stage-left, sails across the frame, and exits stage-right.

PAN TO THE LEFT SIDE PANEL

The left paneling on the Low-Stage slides open. Inside is a smaller stage displaying the Circular River in the past. From stage-left enters a small sailboat, THE MOMENT, piloted by GRANDPA KEYES. YOUNG WILLIAM sits next to him.

LS OF THE MOMENT MOVING ACROSS THE WATER.

CUT TO MS OF WILLIAM AND GRANDPA

YOUNG WILLIAM
“Grandpa?”

GRANDPA KEYES
“Yes.”

YOUNG WILLIAM
“Thank you for taking me sailing with you.”

GRANDPA KEYES
“My pleasure.”

YOUNG WILLIAM
“Grandpa?”

GRANDPA KEYES
“Somebody was bit by the question bug this morning.”

YOUNG WILLIAM
“Sorry.”

GRANDPA KEYES
“No, I didn’t mean it that way. Go ahead and ask your question.”

YOUNG WILLIAM
“Okay. How do you know where to go? Isn’t it confusing?”

Grandpa Keyes looks away from the horizon and down at Young William.

GRANDPA KEYES
“Here, hold this please.”

Young William takes hold of the rudder. Grandpa Keys then reaches to the box and grabs out a map.

GRANDPA KEYES
“The first step is a map. Know the symbols and you will never be lost. Anyone shown you how to read a map?”

YOUNG WILLIAM
“No.”

GRANDPA KEYES
“You want to learn?”

YOUNG WILLIAM
“Yes.”

GRANDPA KEYES
“Okay. Okay, the first thing we want to look for is landmarks. Then we want to find the rose, or north point, to orientate.”

PAN BACK FROM LEFT SIDE PANEL TO THE LOW-STAGE

The Monument sails into the frame from stage-left. William Francis Scott Keyes is consulting a map. He alternates between scanning the horizon and scanning the map, gently nudging the rudder to course-correct as he goes. When the Monument reaches the center of the frame, the wind dies down. The sails deflate and the boat comes to a stop in the center of the frame. The sky darkens and the stage lighting takes on a grayish color.

PAN TO THE STAGE-RIGHT.

The Right Side Panel slides open. It is filled with a dark void. Down floats THOMAS TYPEWRITER. He hovers in the darkness looking at what is occurring on the LOW-STAGE and LEFT SIDE PANEL.

THOMAS TYPEWRITER
(voice-over) “Is this a vision?”

PAN BACK TO LOW-STAGE

A light rain advances across the stage. A gust of wind hits the sails pushing them. William reaches to steady them, but lets the map slip. It flutters off exiting the frame stage-left.

PAN STAGE-LEFT FOLLOWING THE MAP AS IT BLOWS OUT OF THE CENTER LOW-STAGE AND INTO THE LEFT SIDE PANEL.

FRAME IN ON THE LEFT-SIDE PANEL

In the left-side panel, Grandpa Keyes is still sailing with Young William Keyes in the Moment.

CUT TO MS OF GRANDPA KEYES AND YOUNG WILLIAM

GRANDPA KEYES
“Now, the map is a starting point. It can get you were you need, but it relies on your observations. Can you match the symbols to the landscape around you? Not always so easy. To help us we have the second tool, and possibly one of the most important, the compass.

YOUNG WILLIAM
“I thought the compass was on the map?”

GRANDPA KEYES
“Yes, there is a compass on the map, but I am talking about a physical compass. The compass on the map only tells you where North is relative to the landmarks on the map. A physical compass always points north, and through that you can figure out or set your heading.

YOUNG WILLIAM
“How does it work?”

CUT TO CS OF THE COMPASS IN GRANDPA KEYES HANDS

GRANDPA KEYES
(voice-over) “First you hold it flat and let the needle settle pointing north…” (voice over trails off)

PAN FROM SIDE-PANEL BACK TO LOW-STAGE

Go back to the Monument sailing into some rain. William is tying off the sail when we return. A light rain falls down on him. He puts on a raincoat and reaches into a dry box for his compass.

INSERT CS OF THE COMPASS.

WILLIAM FRANCIS SCOTT KEYES
(voice-over) “Like Grandpa showed us. Hold level. Let the needle settle. Remember the compass wants to help us find our way, it just needs our help.

William grips the center ring of the compass with a finger tip resting on North-East.

WILLIAM FRANCIS SCOTT KEYES
(voice-over) “Let it know where home is. I was heading North-East before I lost the map, so that is home little friend.”

William rotates the compass ring until North-East lines up with the north facing end of the compass needle.

WILLIAM FRANCIS SCOTT KEYES
“Now let the compass show you the way.

He then turns his hand until the North facing point of the needle lines back up with north.

CUT BACK TO MS OF WILLIAM

WILLIAM FRANCIS SCOTT KEYES
(pointing) “That way.”

He loosens the sail line a short bit and grabs the tiller. He does all this with one hand since the other is holding the compass.

CUT TO LS OF THE MONUMENT

The boat slowly changes direction in the rain. Lightning starts flashing in the distance. As the boat sails, the lighting grows closer. THUNDER can be heard. The first rumble is far off. The second strikes closer. The third boom is close, with little gap between lighting and thunder. A lightning bolt hits the water next to the Monument.

CUT TO MS OF WILLIAM

William throws up his hands to shield his face from the light. THE THUNDER detonates, rocking him back into his seat. His arm with the compass flies up, the compass slipping from his grip.

CUT TO CS OF THE COMPASS. FOLLOW IT.

It arcs through the air landing in the water, quickly sinking below the waves.

CUT BACK TO LS OF THE MONUMENT

The Monument floats in the water. There is a burn mark on the side nearest the lightning strike. Luckily, the boat was only singed and not on fire. William is lying back on the floor of the boat recovering from the intense flash of light and loud noise.

PAN OVER FROM LOW-STAGE TO THE LEFT SIDE-PANEL

LS OF THE MOMENT SAILING THE CIRCULAR RIVER

CUT TO MS OF GRANDPA KEYES AND YOUNG WILLIAM

Young William is holding the compass while Grandpa Keyes is navigating the boat.

GRANDPA KEYES
“There you go, you’re getting it. (pause) Now, at some points in your life, you’ll find yourself without a map or a compass or any tools.”

YOUNG WILLIAM
“Then what.”

GRANDPA KEYES
“You do like your ancestors and use the stars.”

YOUNG WILLIAM
“How so.”

GRANDPA KEYES
“There are patterns in this world, and if you know how to read them, you can get a sense of where you’ve been, where you are and just possibly where your going. When we are sailing, the stars are an alternate guide we can use.”

YOUNG WILLIAM
“They are patterns?”

GRANDPA KEYES
“We can see patterns in them, yes, and use those patterns to help us. It is too bright to see all of them right now, but the starting point star we can make out during the day. Tonight, when we get back home, I’ll take you out to the backyard and show you the constellations. But for now, let’s focus on the North Star.”

YOUNG WILLIAM
“Does it point north?”

GRANDPA KEYES
“It is always in the north, and bright enough to see during the afternoon and evening. Why don’t you use your compass to find north, and then see if you can spot it.”

Young William looks and uses the compass. Finding the north direction, he looks up and starts to scan the horizon.

CUT TO LS OF THE MOMENT

The Moment sails out of the frame, exiting stage-left.

PAN FROM THE LEFT-SIDE PANEL TO THE LOW STAGE

Night has fallen and there is a break in the storm clouds. The sky is filled with stars. William Francis Scott Keyes comes to and gets up. He rubs his head and looks around, checking on the state of the boat. Deeming it still sea-worthy, he sits at the back. He places his hand on the rudder, but hesitates to move it. He looks around trying to remember which way he was previously headed. He can not recall.

WILLIAM FRANCIS SCOTT KEYES
“Okay. Look for the patterns and you might be able to tell where your headed. First find the North star.”

William scans the sky, finally locating the North Star.

WILLIAM FRANCIS SCOTT KEYES
“There it is. Okay, Mama Bear is leading Baby Bear north except the Dragon crawls between them to the west. There, Baby Bear and Mama Bear. Between them is the Dragon. And if his head is over there, and he is heading west, then east is the other way. That means North-East is that way.”

William points and moves the rudder.

CUT TO LS OF THE MONUMENT

The Monument slowly corrects course as it sails out of frame, exiting stage-left.

CUT TO LS OF THE CIRCULAR RIVER FURTHER ALONG

It sails back into the frame further down the vast Circular River. The night sky has a gap in the storm clouds allowing the stars to be seen shining in the sky. The approaching storm clouds are significantly darker than the receding storm clouds. A heavy storm approaches.

LS OF THE MOMUMENT. PAN WITH THE MONUMENT SO AS IT STAYS IN THE CENTER OF THE FRAME.

The heavy storm rolls across the stage. Heavy rains batter the boat while strong winds push at the sails. William Francis Scott Keyes struggles to pull in the sails and secure the lines. The water becomes choppier. The storm pushes waves of increasing size against the boat.

CUT TO MS OF WILLIAM FRANCIS SCOTT KEYES

William is struggling to secure the gear but the waves are cresting over the side of the boat knocking him back and forth. He finally gives up and grabs onto the seat.

CUT TO CS OF WILLIAM FRANCIS SCOTT KEYES’ FACE

William closes his eyes and grips tight.

WILLIAM FRANCIS SCOTT KEYES
(to self) “Hold on.”

PAN OVER TO THE LEFT SIDE-PANEL

LS OF THE CIRCULAR RIVER IN THE PAST

The Moment sails in from stage-right. Young William is looking ahead, while Grandpa Keyes is at the rudder.

GRANDPA KEYES
“There is one last thing to discuss if you want to learn how to sail.”

WILLIAM KEYES
“Does it apply to life as much as sailing.”

GRANDPA KEYES
“Everything in sailing applies to life, but yes this most definitely does.”

YOUNG WILLIAM
“What is it then?”

GRANDPA KEYES
“Here it is: Hold on.”

YOUNG WILLIAM
“That’s it?”

GRANDPA KEYES
“That’s it.”

YOUNG WILLIAM
(looks at Grandpa for a moment) “Is this a joke?”

GRANDPA KEYES
“No, I am serious.”

YOUNG WILLIAM
“I don’t get it. When would I need to do that?”

GRANDPA KEYES
“Oh, you’d be surprised. Sometimes, in spite of all your preparedness, all your skill, you end up in trouble. And when that happens, the only thing you can do is grab hold of something and endure until the trouble passes.”

YOUNG WILLIAM
“Oh. Okay.”

GRANDPA KEYES
“But it is also hold on to the good moments in your life. Memories of time with loved ones, memories of success, memories of forgiveness, moments of kindness, connection. A good memory can keep up your strength while you hold on, while you waiting out the storm.”

YOUNG WILLIAM
“What do you think of Grandpa?”

GRANDPA KEYES
“Your Grandma.”

YOUNG WILLIAM
“Really.”

GRANDPA KEYES
“Absolutely. I think back to when we were kids and I remember her laugh. It was a great laugh. Her whole face filled with joy. I also think about how even though I was not the nicest to her, she still took a chance on me. If she, a person who could be filled, beaming, with joy and good saw something good in me, maybe I can believe there is.”

YOUNG WILLIAM
“That’s pretty cool Grandpa.”

They sail in silence for a few moments.

YOUNG WILLIAM
“If it is alright with you, I think I’d like to remember this. Our time together.”

Grandpa Keyes reaches over and puts a hand on Young William’s shoulder. He squeezes it then lets go.

PAN OUT SO AS BOTH THE LOW-STAGE, THE LEFT SIDE-PANEL, AND THE RIGHT SIDE-PANEL ARE VISIBLE.

In the left Side-Panel, The Moment lazily sails down the Circular River. In the Low-Stage, the Monument struggles in the storm. The rain stops and the waves sink. The water grows calm. Meanwhile over in the Right Side-Panel, Thomas Typewriter floats in a void watching the events unfolding in the Low-Stage and the Left Side-Panel. Back in the Low-Stage, William Francis Scott Keyes sits up. He takes a moment to look around and see the storm has passed. He cheers in triumph at having survived the storm. He reaches under the bench and pulls out a bucket. He starts to scoop out the water in the boat. In the left Sid-Panel, Young William hears William Francis Scott Keyes shout and looks at him bailing out water. He leans over and says something to his grandfather. Grandpa Keyes nods in agreement. He then hands the map to Young William who folds the map into a boat shape. When finished, Grandpa Keyes hands him the compass. He puts it into the boat and leans over the side of the boat supported by Grandpa Keyes. The paper boat bobs on top of the water. Young William gives it a gentle push and it sails towards the Low-Stage, exiting the Left Side-Panel. Young William and Grandpa Keyes return to their seats. The Moment sails out of frame and the Left Side-Panel closes.


PAN AWAY FROM THE LEFT SIDE-PANEL, SO AS TO FRAME JUST THE LOW-STAGE AND THE RIGHT SIDE-PANEL.

In the Low-Stage, William Francis Scott Keyes continues to bail out the boat. From the side of the frame closest to the Left Side-Panel drifts in the boat made from the folded map. The paper boat bumps into the Monument. William sees it as he dumps a bucket of water. He leans over and retrieves the little boat. He takes out the compass and sets it down near the rudder. He then unfolds the map and looks around the horizon. He sits down at the rudder and turns the boat. It sails out of frame. The curtains on the Low-Stage close.

PAN OVER TO FRAME ONLY THE RIGHT SIDE-PANEL.

Thomas Typewriter floating in the void, drifts up and out of view of the Right Side-Panel.

PAN OUT TO SHOW ALL OF LOW-STAGE AND THE TWO SIDE-PANELS

The lights illuminating the Low-Stage and Side-Panels dim and flicker turning off.

FADE OUT.

“The Great Works Project: Season 06, Episode 12” by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 12

By Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN

THE VELVET CURTAIN

MS OF THE VELVET CURTAIN

A velvet stage curtain fills the frame. From below the frame THE VELVET TOUCH emerges. Remember that the Velvet Touch is a Helping Hand that wears long finger-less fishnet gloves. Each of their fingers, except the pinkies, are painted with a black or dark shade of fingernail polish. For this one episode, they are wearing bracelets made of various sized keys. The Velvet Touch waves at the camera and then reaches below the frame for a large cue card. They show the blank side to the camera and then rotate it. On the back, the cue card has the following text written in two columns:

an outsider… a color…
an artist… a letter…
a spirit… two paths…

The Velvet Touch rotates the cue card once more. The other side now displays the following text: “06-12”. The Velvet Touch moves off-screen. The text scrolls up exiting through the top of the frame. From the bottom of the frame scrolls up the following text: “meanwhile and elsewhere”

PAN IN ON THE DARK BEHIND THE VELVET CURTAIN

FADE OUT TO BLACK

GRIGIO COLORI
(offscreen) “From the bottom of the screen scrolls up the following text: “meanwhile…”. It moves upwards, pausing in the center of the frame.

FADE OUT

FADE IN

EXT. THE LONG HILLS, DAYTIME
The Long Hills are a connecting region appearing as a hilly combination of flowering prairie and rolling grassy plains. THE OUTER ONE and GRIGIO COLORI walk along one of the hills.

MS OF OUTER ONE AND GRIGIO AS THEY WALK ACROSS THE LONG HILLS

THE OUTER ONE
“Meanwhile? Doesn’t it say elsewhere.”

GRIGIO COLORI
“No. Meanwhile.”

THE OUTER ONE
“But when I read it earlier it said elsewhere.”

GRIGIO COLORI
“Don’t know what to tell you. It says meanwhile. Here look.”

THE OUTER ONE
“Okay, I believe you. It just seemed kind of out of character for the transitions Thomas was using before now.”

GRIGIO COLORI
“I agree.”

THE OUTER ONE
“Okay. Could Thomas be changing the script. I thought it was already published, but I swear that it said something different before.”

GRIGIO COLORI
“Maybe. That did seem to be a concern for Biff and Rockey in the first season scripts.”

THE OUTER ONE
“But how would we know?”

GRIGIO COLORI
“As a character from said story, I don’t think I am the best person to know if it changed.”

THE OUTER ONE
“Weird.”

There is a long pause.

THE OUTER ONE
“Oh well. Wa la wa. Doesn’t really change our goal does it.”

GRIGIO COLORI
“No it does not.”

THE OUTER ONE
“I still need to get my hand and arm fixed.”

The Outer One holds up his right arm and looks at how it is a translucent form filled with glitching text and symbols. The glitching flesh has now spread past his elbow and up to his bicep.

GRIGIO COLORI
“Yikes. That you do! What happens when if that reaches your head?”

THE OUTER ONE
“Don’t know and don’t want to find out.”

There is another pause.

GRIGIO COLORI
“So, should I keep reading?”

THE OUTER ONE
“Oh…yes, please do. We are almost to Swordpoint but we should have enough time to get a little more in.

GRIGIO COLORI
“From the bottom of the screen scrolls up the word Meanwhile. It pauses a moment in the center of the frame, then continues upward, exiting the frame at the top edge.”

TRANSITION FROM THE LONG HILLS TO THE HILLTOP

THE CAMERA PANS UP FROM THE OUTER ONE AND GRIGIO COLORI TO THE SKY ABOVE THEM. IT PANS ACROSS THE SKY AS THE CLOUDS GIVE WAY TO STARS.


THE CAMERA PANS DOWN FROM THE STARS, DOWN ACROSS A DIFFERENT SKY AND ONTO THE HILLTOP

EXT. THE DOWNHILL
The Downhill is the region just past the Hilltop. It is a gently sloping hillside covered in prairie and wildflowers with solitary trees scattered across. The flowers and grasses are only about shin height. A trail leads out from the Hilltop and down the slope to a large signpost. The trail then splits at the signpost forking to two trails. One trail goes out through the wildflowers and down across the Downhills to a city in the distance. It is far away and difficult to see fine details, but it appears to have many bright warm lights, tall buildings, and a sky overfilled with fluffy clouds in shades of white, sunrise yellow, mid-day blue, and sunset red. The other path also leads off to a city in the distance. This city is also far away and difficult to discern fine detail. What is visible is many tall buildings, tall smokestacks, flickering lights and a sky filled with grey smoke and haze.


LS OF THE DOWNHILL

THOMAS TYPEWRITER emerges from the Hilltop and works his way down the slope. He follows the trail to the point it splits. A signpost stands at the split. It has an arrow pointing down each branch of the trail. One arrow has the following text written on it: “THIStle”. The other has the following text written on it: “THATtle”.

VARIOUS SHOTS OF THOMAS WALKING DOWN THE TRAIL AND APPROACHING THE SIGN.


Thomas stops and looks at the signs.

MS OF THOMAS LOOKING AT THE SIGN

CUT TO CS OF EACH INDIVIDUAL SIGN AND THEN PANNING TO LOOK DOWN THE TRAIL.

CUT BACK

THOMAS TYPEWRITER
“This might be easier if the Ghostly could of remembered the part explaining what each city was.”

OVER THE SHOULDER SHOT AS THOMAS ONCE AGAIN LOOKS DOWN EACH TRAIL.

THOMAS TYPEWRITER
“How do I decide. She said one city might be good and the other bad. I imagine most everyone goes to that city that looks bright. But this is a faerie-tale kind-of scenario. Maybe it only looks good and has evil hidden under the surface, like an allegory for how appearances can be deceiving. Or it could actually be good and be an allegory for like turning your spiritual lead into gold. Conversely the other city looks awful like it could be an allegory for toxic habits. Or it could be cursed to look evil and you have break the curse as an allegory for removing your destructive layers to find the spiritual self underneath. How do I decide. How do I decide? How do I decide? How…How, How, How, How…”

Thomas grips his heart and then his head. He starts to hyperventilate. Leaning over, he works to sit down in a cross legged position. He places his hands on his knees, palm up, and starts to breathe in and breathe out.

THOMAS TYPEWRITER
“In…1…2…3…4…Out…1…2…3…4…In…1…2…3…4…Out…1…2…3…4…In…1…2…3…4…Out…1…2…3…4…and you are safe. You and calm.”

Thomas shifts his hands up to rub his face and refocus.

THOMAS TYPEWRITER
“Started to freak out there. I’ve got to calm down. I’ll just sit here till I figure this out.”

Thomas sits and looks down each path and also the surrounding fields. Then his attention focuses on the fields of wildflowers.

CUT TO MONTAGE OF WILDFLOWERS AND GRASS. SEE BIRDS AND INSECTS.

THOMAS TYPEWRITER
(voice-over) “It is actually pretty here. I wonder how many of these travelers notice that. They might be in such a hurry they overlook the area around the trail. Reminds me of the hay fields where I grew up.”

CUT BACK

Thomas looks at the two signs.

CUT TO MONTAGE OF SHOTS OF THE SIGN POST

THOMAS TYPEWRITER
(voice-over) “Do we really have to follow the trails? Like there doesn’t seem to be anything to physically keep us limited to the path. Instead of choosing one or the other, why don’t I not choose. I think I’d rather walk among the flowers and songbirds than walk to either of those cities.”

He stands and dusts off his pants. He then looks at the signpost.

THOMAS TYPEWRITER
“Thank you world for the two paths, but I think I am going to go with option three.”

Thomas walks past the signpost and into the wildflower fields.

CUT TO MONTAGE OF THOMAS WALKING THROUGH THE WILD FLOWER FIELDS.

As Thomas walks across the wildflower fields off the path, he starts to sink and stumble. The ground is uneven and he is unable to walk in a straight line. Also the ground is slowly sinking lower, but the top of the wildflowers remain at the same height. Thomas gets lower and lower in the wildflowers soon swallowed up to his ribs. He is sweating and breathing heavy.

THOMAS TYPEWRITER
“I did not think this through did I? Is it too late to turn back?.

A glint of light splashes across Thomas’s face. Thomas turns his head as if noticing something. He steps forward and kneels down and parts the grass.

CUT TO MS OF THOMAS LEANING OVER

CUT TO CS OF THE GRASS

As the grass parts, there is something metallic partially buried in the dirt.

INSERT CS OF AN OLD KEY IN THE SOIL.

A sunbeam comes out and the exposed metallic parts glitter. Thomas picks up the key and starts to clean it off.

CUT BACK TO MS OF THOMAS

THOMAS TYPEWRITER
“What is this?”

Thomas intently studies the key, turning it over and over as he stands. He starts to walk forward, distracted by the key. Failing to notice he is sinking, Thomas disappears from view down into the wildflowers. The flowers and grasses pushed aside by his presence slip back into their regular stances as is he was never there.

TRANSITION FROM THE DOWNHILL TO THE SWORD POINT

THE CAMERA PANS UP FROM THE WILDFLOWERS TO THE SKY ABOVE. IT PANS ACROSS THE SKY AS THE CLOUDS GIVE WAY TO STARS.

THE CAMERA PANS DOWN FROM THE STARS, DOWN ACROSS A DIFFERENT SKY AND ONTO SWORD POINT.

EXT. SWORD POINT, LATE AFTERNOON
A series of gentle hills overlook a central stone platform. There is a kind of white light on the platform, but it is too far away to accurately make out. Running out from the stone platform is a labyrinthine queue of people, snaking back and forth on itself. It spreads out across the vast field the stone platform sits in the center of and out to the slopes of the surrounding hills. The queue’s path is marked by pylons and chains. Scattered amongst the queue are nine stations with an entry gate, an awning, and a bouncer attendant .

LS OF THE SWORD POINT AND QUEUE

From the hill in the lower edge of the frame, THE OUTER ONE and GRIGIO COLORI enter.


THE OUTER ONE
“Here we are.”

GRIGIO COLORI
“Swordpoint?”

THE OUTER ONE
“Swordpoint.”

GRIGIO COLORI
“Wow. That is a lot people.”

THE OUTER ONE
“Yup.”

MS OF THE OUTER ONE AND GRIGIO

GRIGIO COLORI
“So how does this work?”

THE OUTER ONE
“We go to the end of the line. Wait our turn. Then we ask our question.”

GRIGIO COLORI
“That easy?”

THE OUTER ONE
“That easy.”

GRIGIO COLORI
“But the line is massive. How long will be waiting.”

THE OUTER ONE
“Centuries. Unless you pay for quicker access.”

GRIGIO COLORI
“Lets do that. So what do we have to do?”

THE OUTER ONE
“Well, we go to one of the Gatekeepers and pay. The amount of value the payment generates will determine how further up the line we get.”

GRIGIO COLORI
“Ohhh. (pause) And you have the waiting fee?”

THE OUTER ONE
“A little. I’m down to three copies.”

The Outer One turns and starts walking towards Swordpoint. Grigio follows behind.

FADE OUT

“The Great Works Project: Season Six, Episode Ten” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 10

by Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward rapidly the following text: “06-10”. 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


MID-STAGE: CURTAINS CLOSED

DISSOLVE TO A PROPERLY FRAMED SHOT OF MID-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The curtains of the Mid-stage area of the TYPEWRITER ABSTRACT PUPPET STAGE fill the screen. They are currently closed but soon they part. The stage lights turn on with the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: INT. PENCIL CHICKS STUDIOS, DAYTIME
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 light-box 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. THOMAS TYPEWRITER sits at the desk scanning pages. OPHIDIA OPERAHOUSE sits at the desk behind him, drawing animation cells.

THOMAS TYPEWRITER
“Ophidia?”

OPHIDIA OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Would you mind if I laid my head down a moment? I’m a little tired and my eyes are starting to hurt.”

OPHIDIA OPERAHOUSE
“No problem. Go ahead and rest.”

Thomas lays his head down on the desk.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DETACHES FROM THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS HANGING BEHIND. IT CONTINUES UPWARD FOLLOWING THE CURTAIN OF CLOUDS. AT THE TOP, THE HIGH-STAGE EMERGES. LOCK INTO PLACE 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.

HIGH-STAGE: INT. LANDING BAY 0610 OF THE FLUTE MEDICALSHIP, EVENING
A metallic wall runs along the back of the stage. It has two metal support beams bolted to the wall. A brown stripe runs along the wall from the center of the stage to the stage-left. The numbers “0610” are stenciled above. The stripe ends at two large elevator doors. A freestanding mirror is off to the side. On the opposite side of the stage is a large inner bay door and control panel. HYGIEIA FLAUTO stands at the controls. Dressed in a blue workers scrub, sanitary face mask, gloves, a tool bag with a wrench patch and a sanitation patch slung over one shoulder and a belt of a living bronze snake stands at a platform near the large bay doors. Meanwhile, both the elevator signal lights light up. The elevator doors open. PANACEA FLAUTO emerges. The mirror shimmers and a bright light shines out of it. IASO THERAPUTICIA steps through the mirror. The shine fades away and the mirror returns to normal.

IASO FLAUTO
“Sister.”

PANACEA FLAUTO
“Sister.”

HYGIEIA FLAUTO
“Yes, yes, Sisters.”

A control box lowers down on a double cord, one coiled the other straight, to HYGIEIA. She grabs hold of it and presses a button causing the large bay doors to start to open. The doors slowly open with a mechanical rattle. The front portion of THE COUNT sparkship enters. Hygieia presses a second button on the control panel and the Count stops. There is a discharge of smoke and fog as the ship equalizes pressure. Panacea and Iaso walk over and stand by Hygieia.

HYGIEIA FLAUTO
“Alright, the ship is docked. So what are we expecting here.”

Panacea pulls out her Med-corder and reads a file on the screen.

PANACEA FLAUTO
“Dad said they were bringing in two youths, injuries unknown.”

HYGIEIA FLAUTO
“Where does a sparkship find kids in space.”

IASO FLAUTO
“I don’t know but we better be on our best behavior because that ship is Musica’s boyfriend.”

PANACEA FLAUTO
“Musica, as in head of the Solar/Lunar fleet.”

HYGIEIA FLAUTO
“They’ve openly admitteing this? Finally time they did.”

IASO FLAUTO
(to Panacea) “Co-chair, remember she has a twin, but yes.” (to Hygieia) And no, not officially yet, but everyone knows.”

PANACEA FLAUTO
“Oh yeah, the bat girl.”

HYGIEIA FLAUTO
“Be careful what you say, she might here you.”

PANACEA FLAUTO
“Wait, seriously.”

IASO FLAUTO
“She was the one who found your boyfriend with those bat ears.”

Panacea looks between the two of them. Hygieia nods yes. Iaso nods yes. Panacea starts to blush.

PANACEA FLAUTO
“He’s just a…I mean…He’s not my boyfriend. We just like hanging out together.”

Iaso and Hygieia exchange a look.

HYGIEIA FLAUTO
“Guess Musica’s not the only one in denial.”

There is a BEEPING NOISE as a platform lowers from the front of The Carro.

HYGIEIA FLAUTO
“Time to shine ladies.”

The platform continues to lower. BARBARO BUFFO stands on the platform. Next to him is a rolling cart holding a burned Sat-Bot. The top portion of it’s double pyramid octahedron is open. Inside sit FINNOCCIO FORESIGHT and BALLERIA FORESIGHT. They are a pair of newborns cradled in a bed of fennel leaves. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE. A BIT OF THE NARRATOR’S STAGE ENTERS THE FRAME AS THE CAMERA PANS DOWNWARD. IT GLIDES ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. THE TOPS OF THE MID-STAGE SETS SLIDE INTO THE FRAME AS THE CAMERA FINISHES PANNING DOWNWARD. IT STOPS WHEN PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. PENCIL CHICK STUDIOS, DAYTIME
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. THOMAS TYPEWRITER sits at the desk, head resting on hands and eyes closed. OPHIDIA OPERAHOUSE sits at the animation desk behind him drawing.

CUT TO CS OF THOMAS’ FACE AND HOLD THE SHOT FOR A MOMENT

FADE OUT

TRANSITION FROM MID-STAGE TO THE MANY SANDS

FADE IN

EXT. THE MANY SANDS, DAYTIME.
A fire sits in the center of the stage. Z-MOUSE and THE GHOSTLY sit around the fire conversing. Behind them sand dunes spread stage-left while grassy scrubland spreads to the stage-right. Just to the side of the fire stands a fancy stained lamp on a post made of old and worn boards. The lamp stick has a look to it denoting old and tall. As if it walked to this spot, set down roots like a tree, and branched out.

Z-MOUSE
(writing in notepad) “That is very interesting. And have travelers always reacted that way?”

THE GHOSTLY
“No. Sometimes, and mind you this is a very rare thing, they choose the other path.”

Z-MOUSE
“Do you think it is because they listen to what you have to say?”

THE GHOSTLY
“I’d like to think so, but most likely it is a mixture of dumb luck and listening. What about you? Do all your siblings listen to you.”

Z-MOUSE
“I don’t know. I’ve never really had any ideas to suggest. More of the deep thinker type.”

From stage-left THOMAS TYPEWRITER enters. He is dressed in a pizza delivery uniform and carrying a pizza box and six-pack of Satellite Soda.

THOMAS TYPEWRITER
“Did somebody order a pizza?”

Z-MOUSE
“Thomas!”

THOMAS TYPEWRITER
“Z-Mouse!”

Thomas walks over to the fire and sits down.

THE GHOSTLY
(to Z-Mouse) “Who’s this guy”

Z-MOUSE
“He’s kinda like my boss.”

THE GHOSTLY
“He doesn’t seem much.”

Z-MOUSE
“Don’t be fooled. There’s more parts to him than visible at first. That may not even be his true face.”

THE GHOSTLY
“I see.”

THOMAS TYPEWRITER
“Pizza anyone?”

Z-MOUSE
“I’ll take some.”

THE GHOSTLY
“Me too.”

Thomas opens the pizza box and offers it to Z-Mouse and the Ghostly. They each take a slice. He then offers each a soda. Z-Mouse nods yes but the Ghostly nods no. He breaks off one can and hands it to Z-Mouse. He then breaks off a second can. He opens the can and takes a sip. They sit around the fire eating pizza and drinking soda.

THOMAS TYPEWRITER
(extends hand to the Ghostly) “I’m Thomas by the way.”

THE GHOSTLY
(shakes his hand) “You can call me the Ghostly.”

THOMAS TYPEWRITER
“Good to meet you.”

THE GHOSTLY
“Likewise.”

Thomas sits down. Z-Mouse continues to eat his pizza while The Ghostly sips from her soda.

THOMAS TYPEWRITER
“So what was I interrupting?”

PAN UPWARD TO THE SKY ABOVE THE FIRE. SPARKS DRIFT UP ACROSS A STARRY SKY.

Z-MOUSE
(off-stage) “Not much.”

FADE TO BLACK

“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

(c) 2025 jason arcand

———–<: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