Life as a cloud of steam
A puff
A vapor
Sliding past my fingers regardless of grip
Tighter fingers
Softer fists
Unconcerned participation
Concentrated efforts
Leaving behind not the larger
A small beading of wetness
A fleeting heat
Leaving behind a mirror with no reflection
-by Thomas Typewriter
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 6, Episode 9
by Thomas Typewriter
(c) 2025 jason arcand
———–<:type:>———–
FADE IN
From the center of a blank screen scrolls upward rapidly the following text: “06-09”. 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
GRIGIO COLORI
(voice-over) “Fade-in to exterior of the Unroom Not.Seven. Long shot of the revolving door to the unroom Not Dot Seven.”
FADE IN
EXT. UNROOM NOT.SEVEN’S REVOLVING DOORWAY, TWIXTLIGHT
LS OF THE REVOLVING DOOR
The revolving door entryway to the Unroom Not.Seven sits center. The wall it is built into is not visible, giving the doorway the illusion of free standing. A bright round globe is attached to the invisible wall above the revolving door. The door itself is a cross shaped revolving door, made from two lines crossing at ninety-degree angles on a central round pipe. There are four sections in the door allowing up to four people to use the door at one time. Each section is glass panel with a horizontal hand hold or push bar mid-center. Above the push bar painted on the glass is the following symbol: “ .7 ”. The bottom of each interior glass panel has a rubber skirt. Semi-circular glass enclosures wing out from either side of the doorway. There is enough space between them to allow one person using the doorway to exit or enter at a time.
GRIGIO COLORI
(voice-over) “Pan inward from outside the Unroom to inside to the Typewriter Abstract Puppet Stage through a series of cuts.”
The sound of TYPEWRITER KEYS CLICK CLACKING drifts through the doorway.
TRANSITION FROM THE DOORWAY TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAN IN TOWARDS THE DOORWAY AND THEN INTO THE UNROOM NOT.SEVEN THROUGH A SERIES OF CUTS. EACH CUT IS ACCOMPANIED BY THE SOFT SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER.
INT. UNROOM NOT.SEVEN, TWIXTLIGHT
The unroom Not.Seven is a room of indeterminable size. In front of the doorway are semi-circular rows of grey carpet squares. They radiate out from a wooden disc sitting near a possible center of the space. The TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, facing towards the grey carpet squares. The entire scene is softly illuminated by spindly metallic lamps at the end of the rows. The lamp’s cords snake off into the distance, of which you wonder the distance.
LS OF THE UNROOM FROM JUST INSIDE THE DOORWAY
PAN IN TO THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE THROUGH A SERIES OF CUTS. PAN IN UNTIL PROPERLY FRAMING THE MID-STAGE. EACH CUT IS ACCOMPANIED BY THE MODERATE SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER.
MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains part, and the stage-lights turn on with THE LOUDER SOUND OF A PIECE OF PAPER BEING DRAGGED ACROSS ANOTHER and also A CLICK OF A LIGHSWITCH TURNING ON, revealing…
MID-STAGE: A STACK OF PAPERS
CS OF A STACK OF PAPERS.
A tall stack of cells or paper illustrations for Ophidia Operahouse’s short film sit before the camera. From stage-left, THOMAS TYPEWRITER’S fingers come into view and grab the top sheet. They drag and lift the top sheet out of the frame. It makes the PAPER SCRAPING ACROSS PAPER sound we have been hearing before now.
CUT TO
MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk runs across the stage while a drawing desk sits behind the long desk. On the long desk is a computer monitor, small desktop, keyboard, mouse, a scanner, a bin, and a large stack of papers. THOMAS TYPEWRITER sits at the desk moving pages from the stack of papers to the scanner. Thomas leans over grabbing the top page from a stack of papers to the side of the computer. He opens the scanner lid and places the paper inside. After closing the lid, he fiddles with the computer. The HUM AND WHIR of the scanner activating goes out. Thomas opens the scanner lid when it finishes. He removes the sheet of paper and places it in a bin to the opposite side of the desk. Behind him sits OPHIDIA OPERAHOUSE at the second desk. It is an animator’s desk with full light table. Various pencils and squares and drawing guides sit on top of the desk. To her side is a shelf of pull-out bins. Various papers and extra drawing materials fill the bins. Ophidia focuses on her drawing, leaning over to finish a drawing while Thomas scans. As he scans his third piece of paper, Ophidia stretches in her chair. She gets up and walks behind Thomas, tenderly placing her hands on his shoulders. He reaches up one hand, the one not using the computer mouse, and places it on top of her hand.
OPHIDIA OPERAHOUSE
“I’m going to stretch my legs and get a snack. You want anything?”
THOMAS TYPEWRITER
“Something to drink would be nice, if your offering.”
OPHIDIA OPERAHOUSE
“Oh, I am offering.”
THOMAS TYPEWRITER
(looking at Ophidia) “Then I am accepting.”
OPHIDIA OPERAHOUSE
“Be right back then.” “Then I’ll be right back. “Be right back.”
THOMAS TYPEWRITER
“Okay.”
Ophidia exits stage-right. Thomas puts away the sheet he is currently scanning and reaches for a new one.
TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE
THE CAMERA DETACHES FROM PROPERLY FRAMING MID-STAGE AND PANS UPWARD. IT GLIDES UP AND OVER THE SETS, GLIDES OVER THE CURTAIN OF CLOUDS, UPWARD AND UPWARD. ONCE IT REACHES THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE, IT STOPS PANNING WHEN PROPERLY FRAMING HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open then the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: INT. PANACEA FLAUTO’S OFFICE IN THE FLUTE MEDICALSHIP, EARLY EVENING.
Panacea’s office is a desk sitting in the middle of the stage with the back walls lined by filing cabinets of various heights. On top of each filing cabinet are multiple stacks of books and papers. Crammed between the stacks of books, in any open spaces are various rolled up medical charts, boxes, and medical equipment. There is one succulent emerging from the filing cabinets on the stage-left, its long leaves dropping out causing a splash of color in the office. Panacea’s desk is a large metal affair, covered in stacks of medical charts and paperwork. Two spare Med-scanners sit on the side of the desk amidst a collection of empty coffee cups. PANACEA FLAUTO sits at her desk, feet propped up, reading through a stack of files. She has a small black and white Vid-screen, in an antiquated case, sitting on top of the files in one of the pulled out filing cabinet drawers. The Vid-Screen is on but not actually set to a channel yet. It is displaying a static snow signal. There is a KNOCK ON THE DOOR from off-stage.
PANACEA FLAUTO
“Who is it?”
CEDAR WAXWINGS
(off-screen) “Cedar.”
PANACEA FLAUTO
“Oh, come on in.”
Panacea puts the folder away and starts to move the paperwork from her desk. CEDAR WAXWINGS, inside a Medi-pod, rolls into the room from stage-right. He enters holding a bag of food from the ship’s cafeteria.
CEDAR WAXWINGS
“I didn’t know which salad you preferred so I got both. Sorry if that is a problem.”
PANACEA FLAUTO
“That’s no problem. That was nice of you.”
Cedar sets the bag on the desk. Panacea reaches into the bag and pulls out two containers of salad and two cans of Nutri-Soda. She reads the labels on both salads and picks one.
PANACEA FLAUTO
“Did you grab any napkins.”
CEDAR WAXWINGS
“No, sorry. Was I suppose to?”
PANACEA FLAUTO
“That’s okay. I’ve got some in my desk.”
CEDAR WAXWINGS
“From all your desk dinners.”
PANACEA FLAUTO
“Hey, I have a lot of paperwork with this job.”
CEDAR WAXWINGS
“I can see that.”
Cedar holds up his hands in mock surrender. Panacea shakes her head but smiles. She reaches into a drawer and pulls out some napkins. She then turns to the Vid-screen and turns to Channel 200 “The Bird House”. The title credits for the movie “North by North by Northwest” play across the screen.
CEDAR WAXWINGS
(while trying to grab the other salad off the table) “So what’s on tonight?”
Panacea pushes the other salad to the edge of the desk, so as to be closer to Cedar’s reach. Cedar is then able to pick up the salad container.
PANACEA FLAUTO
“Soap Bubble Medical Theatre is on hiatus this week, so I thought we’d watch this oldie, North by North by Northwest. Ever seen it?”
CEDAR WAXWINGS
(pouring salad container into a drawer that opened on the front of his Medi-pod) “No, what is it about”
PANACEA FLAUTO
“It is about a young boy who decides to travel the world looking for new parents but is mistaken for a spy and pursued by shadowy agents.”
CEDAR WAXWINGS
“Sounds interesting.”
PANACEA FLAUTO
“It is. Just watch and you’ll see.”
They turn towards the Vid-screen as the opening sequence for “North by North by Northwest” plays.
NORTH BY NORTH BY NORTHWEST OPENING SEQUENCE:
INT. ATTIC PLAYROOM, DAWN
Open on a nondescript Attic that has been converted to a children’s playroom. The rafters have been covered in a medium-dark paneling with a the top half painted in white to increase the feeling of openness in the space. Green vines and leaves are hand painted along the edges of the white painted areas to add a soothing decorative element. A window is situated at each end of the playroom. The window facing the dawn has shafts of sunlight pouring through it, illuminating strips of the room. A short table with a train set sits in the center of the space. Around the room, various toy vehicles sit scattered among various buildings made of building-block toys. The selection of toys and buildings can vary but there will need to be a cab, a commercial plane, a crop-duster prop plane, a bicycle, a dogsled, a car, a cruise ship, a skyscraper with reflective windows, Mount Rushmore, a country manor, a mall, an igloo, and a hotel.
PROGRESS THROUGH A MONTAGE OF CLOSE-SHOTS OF THE TRAIN AND THE SPECIFIED TOYS AND BUILDING MODELS. EACH SHOT DISSOLVES INTO THE NEXT. END THE SEQUENCE ON AN ANGLED SHOT OF THE SKYSCRAPER.
MATCH DISSOLVE FROM THE IMAGE OF THE MODEL SKYSCRAPER TO A SHOT OF AN ACTUAL SKYSCRAPER. THE PLACEMENTS AND ANGLES OF THE WINDOWS NEED TO BE THE SAME BETWEEN THE MODEL AND THE REAL BUILDING. THE FIRST DETAIL TO COME IN WILL BE THE REFLECTION OF TRAFFIC IN THE WINDOWS. ONCE THE DISSOLVE COMPLETES HOLD THE SHOT TO SHOW THE TRAFFIC AND COMMUTERS IN THE STREET SCUTTLING BY.
CUT TO
EXT. HITCHLEH REIBEL CITY, RUSHHOUR
Hitchleh Reibel City is a large metropolitan city in the midst of rushhour. Countless people are getting off work and heading home for the day. They flood out of buildings at the heart of city, that stab at clouds, to huddle in buses, subways, cabs and cars that flow through routes branching like veins. The oxygen is leaving the city to be distributed to the outlying districts.
PROGRESS THROUGH A MONTAGE OF SHOTS OF PEOPLE LEAVING BUILDINGS, WALKING IN LARGE GROUPS DOWN STREETS, GETTING ONTO BUSES, GETTING ONTO SUBWAYS, GETTING INTO CABS, AND GETTING INTO TRAINS.
CUT TO CRANE SHOT OF GRANTWOOD AVE
NORTH NORTHERLY, a young child of around eleven dressed in a youth ice hockey uniform, is walking down the street.
IRIS IN ON NORTH NORTHERLY
CUT TO A MONTAGE OF NORTH NORTHERLY WALKING ACROSS VARIOUS STREETS AND BRIDGES AND PATHS IN THE CITY AS HE MAKES HIS WAY TO…
INT. THE ROSE & COMPASS MALL, DAYTIME
The Rose & Compass Mall is a large multi-story mall. Glass lined ceilings overlook three levels of shopping. Tiled floors lead to small landscaping beds, tranquil fountains, and a sensible layout of escalators.
FOLLOW NORTH WALKING ACROSS THE MALL TO THE MESSAGE CHAIRS THROUGH A SERIES OF MEDIUM SHOT AND LONG SHOT CUTS.
The Message Chair section of the mall is near the end of one wing of the Rose & Compass Mall. It is located in the common area outside the Old Timerz achor store. On one side can be seen a Skolnic’s Ice Crem Sandwich Parlor, a Huskyberry clothes store, a couple Satelite Soda vending machines and a few benches. The Messaging Chair section itself has four messaging chairs with accompanying coin operation slots. Three of the chairs are occupied by SOUTH SOUTHERLY, WEST WESTERLY, and EAST EARLY. South is a young girl of around ten dressed in a little league baseball uniform. West is a young boy of around ten dressed in a youth football uniform. East is a young boy of around nine dressed in a youth track outfit. They are all in the middle of a circle of chair messages. North walks up, puts some money in the unoccupied chair, and then sits down. The chair starts to shift and then vibrate as the messaging mechanisms kick in.
NORTH NORTHERLY
“Oh, I needed this.”
SOUTH SOUTHERLY
“Tell me about it. I had the worst day.”
WEST SOUTHERLY
“Sorry, but no way you had the worst. I had the worst.”
EAST EARLY
“With all due respect, your both wrong. I had the worst.”
SOUTH SOUTHERLY
“You two don’t know what your talking about. How about you North. You going to claim you had the worst and then we get into this whole one-upmanship thing.”
WEST WESTERLY
“I’d never do that.”
EAST EARLY
“You’d absolutely do that.”
NORTH NORTHLY
“I don’t get it. Just don’t understand.”
WEST WESTERLY
“Understand what?”
NORTH NORTHLY
“Why don’t they like me? I get perfect grades, pitch perfect games, and deliver a perfect Shakespearean soliloquy. What did I do wrong? These are all traits of values to others but not them.”
In the background of the frame, MALL CLERK enters searching for someone.
MALL CLERK
“Mr. Carlson? Mr. Arthur Carlson?”
SOUTH SOUTHERLY
“I stand corrected, your having a worse day.”
WEST WESTERLY
“Worse than mine.”
EAST EARLY
“Definitely.”
MALL CLERK
“Mr Arthur Carlson? Is there a Mr. Arthur Carlson present?”
North leans forward in the messaging chair and throws his arms up in exasperation.
NORTH NORTHLY
“I don’t understand! Owww.”
North recoils his arm and grips is shoulder wincing in pain.
SOUTH SOUTHERLY
“Are you okay?”
WEST WESTERLY
“That looks like it hurts.”
NORTH NORTHLY
“I might have thrown out my shoulder in the game due to the stress of my ongoing existential crisis.”
EAST EARLY
“At least its not an ontological crisis.”
The Mall Clerk sees North gestures and walks over to him.
MALL CLERK
“Mr. Carlson, I have been looking all over the mall for you.”
NORTH NORTHLY
“I’m not Carlson. “
MALL CLERK
“Sorry.”
NORTH NORTHLY
“Do you know somewhere I can buy some aspirin?”
MALL CLERK
“Second floor over by Ramblewoods is a drugstore.”
NORTH NORTHLY
“Okay. Thanks.”
CUT TO
MS OF THE SOFTLY-DRESSED MAN AND LOUDLY-DRESSED MAN
Down the hallway, near the escalator and maps, stand the SOFTLY-DRESSED MAN and the LOUDLY-DRESSED MAN. They are observing the Message Chair Area.
LS OF THE MESSAGE AREA FROM THEIR ANGLE OF VIEW
The events of North Northly walking up to the Message Chairs and speaking with the other children plays out. The Mall Clerk comes in and starts asking for Mr. Carlson. When North raises his arm they look at each other.
INSERT CS OF THEM NODDING AT EACH OTHER.
This should be enough to play in the background of the main scene as Cedar and Panacea eat lunch.
END OF NORTH BY NORTH BY NORTHWEST OPENING SEQUENCE
CEDAR WAXWINGS
“This is nice.”
PANACEA FLAUTO
“Yeah, it is.”
CEDAR WAXWINGS
“I meant the salad, but this is nice too. Can you turn it up?”
PANACEA FLAUTO
“Sure.”
She stands and leans over increasing the volume on the vid-screen. She then sits back down, steals a glance at Cedar and smiles. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The light from the Vid-screen stays on. The High-stage curtains close.
TRANSITION FROM HIGH-STAGE TO MID-STAGE
THE CAMERA UNCOUPLES FROM PROPERLY FRAMING HIGH-STAGE AND PANS DOWNWARD. IT GLIDES TO THE CURTAIN OF CLOUDS LOCATED BELOW THE HIGH-STAGE. IT CONTINUES PANNING DOWNWARD THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. CONTINUE PANNING DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.
MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk runs across the stage while a drawing desk sits behind the long desk. On the long desk is a computer monitor, small desktop, keyboard, mouse, a scanner, a bin, and a large stack of papers. THOMAS TYPEWRITER sits at the desk moving pages from the stack of papers to the scanner. Thomas leans over grabbing the top page from a stack of papers to the side of the computer. He opens the scanner lid and places the paper inside. After closing the lid, he fiddles with the computer. The HUM AND WHIR of the scanner activating goes out. Thomas opens the scanner lid when it finishes. He removes the sheet of paper and places it in a bin to the opposite side of the desk. Behind him is an animators desk with light table and a shelving of pull-out drawers. OPHIDIA OPERAHOUSE enters stage-right carrying a tray with two drinks and a bowl of snacks.
OPHIDIA OPERAHOUSE
“I am back.”
Thomas stops reaching for a new sheet and scoots his chair back, allowing Ophidia room to walk in. She sets the tray down on the computer desk.
OPHIDIA OPERAHOUSE
(handing Thomas a glass) “This is for you.”
THOMAS TYPEWRITER
(taking glass) “Thank you.”
Ophidia retrieves a stool from off screen stage-right and sits down. She picks up the bowl and takes a bite. She then offers some to Thomas. He takes a small handful.
OPHIDIA OPERAHOUSE
“So, hows it going.”
THOMAS TYPEWRITER
“Okay I guess. I never realized how monotonous animation was.”
OPHIDIA OPERAHOUSE
“Yes, but I like it.”
THOMAS TYPEWRITER
“No, I didn’t mean that as an insult. I am sorry if it was. I was just thinking that maybe it was a blessing in disguise that I lost the ability to draw or cartoon.”
OPHIDIA OPERAHOUSE
“That is kind of dark.”
THOMAS TYPEWRITER
“Yeah, but not as much as it sounds. Just more of realizing this would not of worked for me. Also it makes you even more amazing in my eyes that you are able to do this. You are something special.”
OPHIDIA OPERAHOUSE
“Aww, thank you. So, I watched this funny show last night.”
THOMAS TYPEWRITER
“So we’re changing subjects. Okay. What was it?”
Thomas reaches for some more snacks.
OPHIDIA OPERAHOUSE
“Campus Ladies.”
THOMAS TYPEWRITER
“My mom was just going on about that show when I talked to her yesterday. How is it?”
OPHIDIA OPERAHOUSE
“Funny.”
THOMAS TYPEWRITER
“So what is it about?”
Thomas scoots his chair closer to Ophidia. She scoots her stool closer to Thomas.
OPHIDIA OPERAHOUSE
“Well, these two older ladies decide to go back to college.”
THOMAS TYPEWRITER
“Like take night classes or move into a dorm full-time?”
OPHIDIA OPERAHOUSE
“Dorm full time, in fact that is part of the joke. Like their roommate thinks they’re Moms dropping off their kids.”
THOMAS TYPEWRITER
“Really.”
Ophidia starts to giggle and Thomas moves in closer.
OPHIDIA OPERAHOUSE
“Okay, so the ladies decide to go to a party down the hall, to try to meet people. They get blasted and stumble back to their room super late. They find their roommate crying and start tucking her in and kiss her goodnight. I laughed and laughed.”
THOMAS TYPEWRITER
“Did you now?”
Thomas takes a hold of Ophidia’s hand. She returned the gesture with her other hand.
OPHIDIA OPERAHOUSE
“I did.”
THOMAS TYPEWRITER
“Then what happened?”
Thomas and Ophidia lean in closer to each other, about to kiss. The stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.
FADE OUT
It is a shame we can not plant our emotions in the ground
Like a seed, press them away and down
Let the world deal with watering and nurturing our feelings
We are poor caretakers of the self
We’ll return when the flowers bloom
To smell that which is sweet
And that which is scoured
_by Thomas Typewriter
The smallest moments are the largest doorways
To step outside of oneself
It is a tight fit
Requiring effort and sensitivity
But worth the effort
As the scale of the world rotates
Away from timetables and deadlines
Past the horizons, equators, and tropics
_by Thomas Typewriter
———–<.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
Thomas Typewriter 
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