———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 12

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

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

FADE OUT

FADE IN

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

THE MID-STAGE IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED

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

MID-STAGE: INT THOMAS’ APARTMENT, MORNING

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

THOMAS TYPEWRITER
(whisper) “Sorry cousin.”

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

TRANSITION FROM MID-STAGE TO HIGH-STAGE

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

HIGH-STAGE: CURTAINS CLOSED

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

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

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

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

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

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

Carro rotates towards Lucido.

CARRO
“Sorry, I was just thinking.”

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

CARRO
“Vessels and passengers.”

LUCIDO OBSIDIAN
“What do you mean?”

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

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

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

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

CARRO
“Yes.”

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

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

CUT TO MS OF NARRATOR’S DOOR

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

Y-MOUSE
“Meanwhile and elsewhere…”

CUT BACK

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

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

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

HIGH-STAGE: INT. THE GANTRY MEMORYCIRCLE

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

THE SPACE EGG
“Any luck.”

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

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

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

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

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

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

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

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

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

THE SPACE EGG
“You saw Biff pretending.”

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

THE SPACE EGG
“Did you see us?”

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

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

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

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

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

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

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

THE SPACE EGG
“Yes.”

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

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

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

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

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

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

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

THE SPACE EGG
“I don’t know.”

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

FADE OUT