script

The Great Works Project: Season Five, Episode Eleven – A script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 11

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

From the bottom of the screen scrolls up the following text: “05-11”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT

FADE IN

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

THE MID-STAGE IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains open. As they part the Mid-Stage lights flip on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.

MS OF THOMAS AT THE TRUNK

THOMAS TYPEWRITER stands by his car, looking into the open trunk. He shuts the trunk and then hops up to sit on top of the closed trunk. From his coat pocket, he pulls out a HANDY-BAR candy bar and a can of SATELLITE SODA. He opens the soda, takes a sip, and sets it down on the trunk. He then unwraps the candy bar and slowly chews. He stares out into nothing. A BUTTERFLY enters stage-left and flies past him.

CAMERA PANS OUT TO LS OF THOMAS ON TRUNK.

The butterfly flits around the parking lot. Thomas watches it.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

The butterfly flies upwards past the tops of the Mid-stage sets.

THE CAMERA DISCONNECTS FROM THE MID-STAGE AND PANS UPWARD. THE CAMERA TRACKS THE SLOW FLIGHT OF THE BUTTERFLY UPWARD.

It flies upwards along the Curtain of Clouds, lazily left and right, ultimately flying out of the frame.

THE CAMERA CONTINUES PANNING UPWARD ALONG THE CURTAIN OF CLOUDS. IT GAINS SPEED SWIFTLY REACHING THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT CLICKS IN PLACE FRAMING THE HIGH-STAGE AND THE NARRATOR’S DOOR.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-MOUSE enters. He is dressed casually and sits down. He relaxes and observes the High-Stage.

THE CAMERA SHIFTS TO EMPHASIZE THE STAGE AREA EXCLUDING THE NARRATOR’S AREA.

The High-stage curtains open. The stage-lights turn on to the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON

A large curved window stretches out across the back of the stage. Twinkling lights out in space can be seen through the window. The window itself is framed by soft yellow framing. The floor and walls are in peaceful hues of yellow and brown. Three plush chairs sit at the edges of the stage. Two chairs on stage-right and one stage-left. CEDAR WAXWINGS, inside his Med-pod, sits in the center of the stage looking out the windows. The twinkling lights move across the space beyond. MINTHRIL MOUSTACHE enters from stage-left. He approaches Cedar.

MINTHRIL MOUSTACHE
“Okay if I sit down.”

CEDAR WAXWINGS
“Sure.”

A moment passes in silence.

MINTHRIL MOUSTACHE
“That is some view.”

CEDAR WAXWINGS
“Absolutely. Really gets you thinking.”

MINTHRIL MOUSTACHE
“Sure does. If I may inquire, what does it get you thinking about?”

CEDAR WAXWINGS
“Like how we’re in a spaceship right and all hurt and bandaged. Our focus is on healing and it hurts and it sucks. Our world is one of pain right, but maybe not really. Maybe we just forgot that we are surrounded by all this beauty. All this wonder.”

MINTHRIL MOUSTACHE
“Truthfully told.”

CEDAR WAXWINGS
“Thanks.”

They look a moment and then Cedar turns towards Minthril.

CEDAR WAXWINGS
“I’m Cedar by the way. Sorry I didn’t introduce myself earlier.”

MINTHRIL MOUSTACHE
“Minthril. Glad to meet you. ”

Minthril leans over as Cedar extends a manipulator arm out of his Medi-Pod. They shake. Once finished, Minthril sits in a chair next to Cedar. They sit in silence for a couple minutes as the constellation of lights twirls outside the window.

MINTHRIL MOUSTACHE
“So, pardon my inquiry, but what brings you to this ship?”

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 UNCLICKS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES DOWN ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT CONTINUES DOWN AND DOWN.

The BUTTERFLY flies in from stage-left. It flies downward.

THE CAMERA SLOWS AND TRACKS THE BUTTERFLY MOVING DOWNWARD.

The Butterfly flies past the top of the Mid-Stage sets.

THE CAMERA GLIDES DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT, LATE AFTERNOON

The apartment is arranged in such a way that the living room and Thomas’ studio are visible. The front third of stage-left is the studio area with its desk and typewriter. The rest of the stage is the living room with its bookshelves and entryway. The desk is topped by a typewriter and a stack of papers. A large wastecan sits to the stage-right side of the desk, while a tall floor lamp sits on the stage-left side. The living room area has three bookcases, each filled with graphic novels, music CDs, books, artwork, and houseplants. The three run in a line stage-left to stage-right. The first and second are touching, with the second parallel to the stage-front and the first at a slight angle. There is a gap between the second and third. This gap leads to the entryway and front door of the apartment behind the second bookcase. The third bookcase sits at a 45 degree angle. The Butterfly flies into the room from the top of the frame and flies out of frame exiting stage-right. APPROACHING FOOTSTEPS emerge from off-stage. KEYS UNLOCK and A DOOR OPENS AND CLOSES. THE DOOR RELOCKS. Thomas Typewriter enters the living room, emerging from the gap between the second and third bookcase. He is carrying packages of moving boxes. He strides stage-right and sets them down on the floor in front of the third bookcase’s corner. He then slowly looks around the room.

THOMAS TYPEWRITER
“Sigh.”

Thomas walks to his writing desk. He extends his arm and in one sweeping motion pushes the typewriter and stack of paper off the desk and into the wastecan. He walks away exiting the living room stage-right. After a moment he walks back into the room and pulls the typewriter out of the trash. He gives it a kiss.

THOMAS TYPEWRITER
(soft whisper) “I’m so sorry about that. Please forgive me.”

He gently sets the typewriter on the floor and then exits stage-right. The stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

The Great Works Project: Season Five, Episode Ten – – – a new script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 10

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT

FADE IN

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

THE MID-STAGE IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part. As they open the stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE, DAYTIME.
The Supply Closet office supply store is a big white box of a building accented by luminous red and nebulous blacks. The front entrance pans across the length of the stage. The glass sliding doors of the front vestibule sit center stage. Thin strips of the white stucco exterior separate the front doors from the long horizontal rows of tinted windows. The bottom portion of the giant “THE SUPPLY CLOSET” store sign peaks past the stage top. From off-screen, the sound of CAR TIRES ON PAVEMENT as someone pulls into one of The Supply Closet’s parking Spaces. CAR DOORS OPEN AND CLOSE followed by FOOTSTEPS come from off-screen. THOMAS TYPEWRITER emerges from stage-left. He walks up to the front doors, pauses as the doors slide open, then continues into the store. The doors close behind him.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE SETS TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES PANNING UPWARD. AT THE TOP OF THE CURTAIN OF CLOUDS THE HIGH-STAGE SLIDES INTO THE FRAME. THE CAMERA LOCKS IN PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON
The observation lounge is located near the top of the Flute, built next to the cafeteria. It is a place where patients and guests can sit in comfort and look out. It offers views of the space surrounding various habitats of The Nines. Off in one direction, the sparks emanating from the IR-RA can be seen glittering like stars. In the other direction the six far-off Palaces of the Three-by-Three glitter like large stars. A large curved window stretches out across the back of the stage. The window is framed by soft yellow framing. The floor and walls are in soft peaceful hues of yellow and brown. Three plush chairs sit at the edges of the stage. Two chairs on stage-right and one stage-left. CEDAR WAXWINGS, in his Medi-pod, enters stage-left, moving past the two chairs and settling center stage. He turns the front of the Medi-pod towards the large observation window. He watches and drifts in thought. Stay with Cedar for a few minutes before the stage lights turn off to the sound of A COMPUTER BOOTING OFF. The glittering sparks in the space outside still glitter in the darkness. The High-Stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT GOES DOWN, DOWN, AND DOWN THE CURTAIN OF CLOUDS. THE TOP OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.
The tall front of The Supply Closet office supply store sits further back and off to the side. We see less this time than previously. It is off to the stage-right. The front doors are near the edge of the stage. Center-stage sits Thomas’ car: a goldenrod 2002 Ford Taurus. It is parked near the cement pylon base of a parking lot light pole. Thomas often forgets where he parks so he prefers to park near tall structures or landmarks he can easily see when he leaves the store. The front doors of The Supply Closet open and THOMAS TYPEWRITER walks out. He walks across the parking lot, carrying a stack of banking boxes, towards his car. When he reaches his car, he sets the boxes on the trunk to free his hands to retrieve the car keys. He manually unlocks the trunk. It pops up a little bit. He pulls off the banking boxes and uses the edge of the stack to pop open the trunk. Thomas sets the boxes down inside.

CUT TO A CS OF THE BOXES IN THE TRUNK

CUT TO A CS OF THE TRUNK WITH ALL THE BOXES ASSEMBLED AND FILLING UP THE TRUNK

CUT TO A CS OF THE BOXES NOW FILLED WITH THOMAS’S VARIOUS BELONGINGS.

CUT TO CS OF THE BOXES EMPTY EXCEPT FOR THE CENTERMOST ONE, WHICH NOW HAS VARIOUS HUMAN ORGANS IN THEM

The boxes are no longer filled with Thomas’s belongings. They are now filled with the various organs from his body. In the center box, sits his heart which beats three times. On one side sits his lungs, which flutter erratically, as if in the grip of a shallow breathing anxiety attack. Intestines fill two other boxes. In another box, we can see his brain.

REVERSE CUT TO THOMAS LOOKING INTO THE TRUNK.

Thomas stares into the trunk, lost in a moment of anxiety. He brings his hand to his heart.

CUT BACK TO TRUNK OF BOXES OF ORGANS

The heart beats fast while the lungs start to slow down. They take deep breaths, slowly in and slowly out. From another box emerges Thomas’s right arm and hand. It pulls its fingers down into a fist. Then it makes a 1-2-3-4 count using its fingers. It slowly counts through the numbers and then repeats. The lungs slow and align with the four count. The count slows even more. The lungs match. The heart starts to slow as well.


CUT BACK TO REVERSE OF THOMAS


Thomas looks into the trunk and takes a deep audible breath for a four count. He then breathes out for four. He repeats and relaxes.


CUT BACK TO CS OF TRUNK


The boxes of organs are gone. The trunk has reverted back to its original form, with the packages in boxes.


CUT BACK TO FRAMING SHOT OF MID-STAGE


Thomas closes the trunk. The Mid-Stage curtains close as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.


FADE OUT

The Great Works Project: Season Five, Episode Nine script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 09

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-09”. 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


LS OF THE TYPEWRITER PUPPET STAGE


The Typewriter Puppet Stage manifests illuminated by unseen lamps. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.


TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE


PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE


PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED


MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part. The stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME

Bordeaux Bank is a bank with a medieval French castle and chivalrous knights theme. The sides of the building are quarry stone. The front door has a large arch and false portcullis. Inside the doorway, a suit of armor stands guard. From off-camera we hear the sound of A CAR PULLING UP AND PARKING, CAR DOOR OPENING, and then FOOTSTEPS. THOMAS TYPEWRITER emerges from stage-right. He walks to mid-stage and enters the bank through its front doors. He pantomimes high-fiving the suit of armor and then proceeds on into the bank. AN OLDER WOLF quickly runs across the stage, stage-left to stage-right.


TRANSITION FROM MID-STAGE TO HIGH-STAGE


THE CAMERA UNLOOSENS FROM FRAMING MID-STAGE AND PANS UPWARD. AFTER SLIDING PAST THE MID-STAGE SETS IT GLIDES ONTO AND OVER THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES UP AND UP TO THE TOP OF THE CURTAIN OF CLOUDS. THE HIGH-STAGE SLIDES INTO VIEW AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA ENDS THE PAN WHEN PROPERLY FRAMING THE HIGH-STAGE.


HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open and the stage-lights click on to the sound of A COMPUTER BOOTING ON revealing…


HIGH-STAGE: EXT. PHYSIO-THERAPY OFFICE 505, DAYTIME
A metallic corridor in the Flute, a door to room 505 Stands near stage-left. On the opposite side of the stage wait CARRO, CEDAR WAXWINGS, and LUCIDO OBSIDIAN. Each is still encased in their Medi-pod. PANACIA FLAUTO enters from stage-left.


PANACIA FLAUTO
“You guys ready to return to your room?”


LUCIDO OBSISIAN, CEDAR WAXWINGS & CARRO
(nearly in unison) “Yes.”


PANACIA FLAUTO
“Good. I’ll review your recuperative schedule with you while we walk back.”


She waves the trio to follow her and then exits stage-left. The three of them follow exiting stage-left in the following order: Lucido, Carro, and then Cedar. The High-Stage curtains close, pause, then reopen.

HIGH-STAGE: INT. JUNCTION 300 IN THE MEDICAL-SHIP THE FLUTE, DAYTIME
The Junction 300 appears on stage as a long metal corridor with an opening in the center. A large arched opening with an ornate trim and large disc at the top. A sculpted relief of a flute is mounted in the large disc. The archway leads to a hallway that appears as a descending ramp to stage-left and an ascending ramp to the stage-right. Yellow and blue lines run across the main hallway and into the archway. The blue lines continue along the ascending and descending sides of the second hallway. The yellow lines only continue down the descending side of the second hallway. A brown-line can be seen in the second hallway moving across both the ascending and descending sides. 300 is stenciled on the wall of the front hallway. PANACEA FLAUTO enters from stage-right.


PANACIA FLAUTO
“So after therapy, the afternoon and evenings will be yours. Most patients rest. The medi-pods tend to increase sleep.”


She enters the archway and turns. LUCIDO OBSIDIAN, CARRO and lastly CEDAR WAXWINGS enter stage-right in their medi-pods. Lucido and Carro continue moving over to Panacia, but Cedar hangs behind. Panacea notices Cedar hanging behind.


PANACIA FLAUTO
“Everything okay Cedar.”


CEDAR WAXWINGS
“If it’s okay, I think I’d like a little time alone.”


PANACIA FLAUTO
“Well, the observation loung at the end of the Commissary has a pretty good view. Just follow the blue line to the top. When you are ready to return to your room follow the yellow lines down. If you get lost, you can ask any of the Nurse-bots or Janitor-bots for directions. This applies to everyone.”


Cedar moves through the archway and exits stage-right through the second corridor and the ascending ramp. Panacea looks towards Lucido and Carro.


PANACIA FLAUTO
“Shall we continue gentlemen.”


CARRO
“He didn’t say goodbye.”


LUCIDO OBSIDIAN
“Yeah, I know, but he probably has a lot on his mind. We all do.”


PANACIA FLAUTA
“It is not too unusual that someone needs a private moment or two after getting here.”


CARRO
“I know, but still.”


PANACIA FLAUTA
“I understand. This way gentlemen.”

They start to walk, exiting stage-left. 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 DETACHES FROM HIGH-STAGE AND PANS DOWNWARD. IT MOVES ACROSS THE CURTAIN OF CLOUDS EVER DESCENDING. SOON THE TOPS OF THE MID-STAGE SETS POP INTO VIEW. THE CAMERA CONTINUES TO PAN DOWNWARD, GLIDING INTO PLACE PROPERLY FRAMING THE MID-STAGE

MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME
Same layout for the Medieval French themed bank as at the beginning of the episode. After a moment, THOMAS TYPEWRITER emerges from the center doorway. He walks out into the sun, puts some small envelopes in a jacket pocket, and then exits stage-right. We hear the sound of A CAR DOOR OPENING AND CLOSING followed by A CAR STARTING. Lastly, we hear the sound of CAR TIRES DRIVING AWAY. The Mid-Stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.


FADE OUT

The Great Works Project Season Five, Episode Eight – a new script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 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