———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 13

an epilogue

By Thomas Typewriter

(c) 2025 jason arcand

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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.