[rave previews for SPRING (trilogy)]

[Wision--SesQuaTercet USA - TM: proposed trademark]Petry System Family Wision USA

in conjunction with

project NEMO


Professors' Spring Break (trilogy)

[stereo-eyes-ed '3.5D' movie-version rating: PG/13]

story by Mr. Raymond Kenneth Petry, Strategic-Director
a Wision--SesQuaTercet USA production

[screenwrite][budget][sets, settings, scenes, roles][music examples][prospectus][script revisions]
[introductory notes to cast and crews][mechanics of screenwriting][project SesQuaTercet][scenes]

[science fiction] This story and its sequels turn the whole cosmos inside-out and present reality in a way you never learned it in the ordinary schools: It's about four post-doctorate university researchers, one woman, three men, who slip-out late one night, hop the fence at an obsolete USNavy yard, and peer inside a curious old rusting submarine roped to the dock ... but which is so modern that, one vehicle leading to another, they ride right out of this cosmos - a little astronomical, linguistical, mathematical, and systematical [ALMS Program] exploration. Subsequently returning to Earth, they find Earth-society subtly alien: and they retrace their steps to return to the infinite outercosmos, forever ... but not without leaving a trail - courtesy their college-smart tag-along - and thence commences a cosmic exodus.

[nota bene: some of the scenes-sets are production-identical]

The movie shall be available digitally recorded wide-screen [2:1] stereo-eyes-ed on disk and tape. The initial shoot shall be direct minute-by-minute to giga-byte hard-drive, 4 megapixels/frame, wavelet-compressed, copy-saved to CDROM - the digitized sound and music edited in synchronized frames, fractions of a second - and the final product released on 3D-HDDVideo Disk. The advantage of digital is its reproducibility for the future of both broadcast and movie-house. Image generation shall be further enhanced and assisted by state-of-the-art computer facility. The final result shall be viewable stereo-eyes-ed '3.5D' with white 'sexichrome' or polarized safety-goggles, and (more widely available) HDDVideo, and standard (telecined celluloid) 35mm film, as well as DVD/DTV and VCR.

[The music exampled and specified in the following outline and screenwrite is the Strategic-Director's selection from hundreds of CD's of existing works by artists whose timbre and lyrics fit each on-screen activity, and is not otherwise representative of project SesQuatercet and its purposes ... beginning with a little unstifled oratorio, it jumps right into the modern dance-rhythm musiques: a 'space-bopera']

Mr. Raymond Kenneth Petry, CS, BA, lecturer, is the author of FUNDAMENTAL CONTROVERSES: Christian Science Class Instruction * RKPetry, which takes-up the Holy Biblical Scripture as a synopsis of mankind's Scientific purpose on Earth - it is comprised of about 35 articles. Mr. Petry, 1973 graduate of UCSD, in mathematics, is a former crypto-TEMPEST engineer with Linkabit CORP [now, M/A-COM] of San Diego CA, on digital-radio satellite communications systems for the USA SAC/CommandPost [now reorganized and transferred]. He has served as the Vice President on his Branch Church Executive Board, and is Founder and current Trustee-Director of The Son Dey School of Christ Science and project 'lambhorn'. He has several science-fiction short-stories in his repertoire published at his SesQuatercet scripting site.

[Mr. Petry also maintains several websites and posts on usenet news-groups and forums in the mathematics, sciences, technologies, digital electronic/computer engineering, and USA Presidential political-campaigning]

Abstract Overview


During a Spring break in our current era, four bright university laboratory researchers - four tall handsome clothes models - venture-out into the night to find happiness among the unknown technologies: Their obstacles begin with highways and mundane fences, and jump right into submarine and nuclear sciences, mathematics, celestial mechanics, astrophysics, cosmology, progressively demanding not only more intellect, but more skills, till they have achieved the seemingly very impossible, and left the entire cosmos itself! But even the outside view looking inward upon our cosmos poses thoughtful dangers, and they return home against a barrage of reluctance, disagreement, resistance, opposition, and ultimately, impossibilities and the new threat of being exposed under immanent alien law!

Mere days later as Spring returns, they must return to their own newly advanced studies - their outward-bound curriculae again - but as they've already been slightly discovered by aliens newly extant, they must drag-along one, a sister replacing their one wayward team-member - again, four tall handsome clothes models. They retrace their previous route with renewed intellectual vantage: looking at their once learned lessons from a perspective of cross-expectancy: and learning twice! This time at the top, they keep going all the way, never to return! And they learn even the very infinite has relative finites to learn, ceasely!

Their sets and settings include, a USNavy dockyard at night, open ocean travel at elevated speeds, confrontations with battleships, the South Pole glacial-ice-flow, and an under-ice research complex,  whole stuffed dinosaurs and un-Earthly animals, an escape-rocket to the backside of the moon, an immense underground space-port-complex full of starships for galactic travel, passing-up Jupiter and Neptune, accelerating to the speed-of-light, a swing-round a point-on-the-space-map, aether-slip-stream travel at super-light speed, an astronomically large metal-ring-city orbiting the event-horizon of a gigantic galaxy center 'black-gravity-hole', a cosmic-elevator, and outside our cosmos, a garden area, curious animals, golden-hued fruits, a sunless day and a focus-blinding-bright single-star semi-night, a sharp-edged sky telescopically speckled with infinitely-many 'black-gravity-hole' stars, a river edging the garden, a distant city, and rockets launching, reached by a golden yellow brick road, but then, their faces and hands glowing in the dark, a two shuttle-craft chase diving for the depths of the ring-city's host 'black-gravity-hole', a barrage of out-coming SafeGuard missiles from the moon, and more missiles from Earth, a crash-landing of the starship in the desert, and a hitchhike home with a famous driver. The retraced route is mostly set-similar until they cross the fields,  enter the supercosmosian domed city, its garden-scaped interior and observatory, and meet supercosmosians.

Back home, on the strangely similar alien Earth, the fiance of the sister follows her lead, and gives chase, taking his university nuclear chemistry class and grad-friends - hundreds of handsome clothes models - with him: Opening at her home cordonned-off by police - appropriately dressed - he discovers a vase with a speck of viable anti-matter, and presents this as a table-top experiment before his next evening class. The grad-friends rush to the desert, ten as an A-I-Response team, rent two helicopters to the UFO landing site where the USArmy investigates, start-up the crashed starship 'UFO', pick-up hundreds more of the students under a barrage of missiles, and relaunch for the moon, encounter a barrage of back-side SafeGuard missiles like a video-game, discover and muse more caverns and launch tens of starships, and the golden flag-ship, for fleet exercises, chase and protect his sister's starship when they eventually arrive (they got ahead) and leave the moon for the planets and the swing-point in-space, the aether-slip-stream, the galaxy center black-hole metal-ring-city, where they nuclear-battle space-aliens in starships, leave the fiance in the ring-city cosmic elevator, race back to protect Earth, the fleet battles the incoming aliens approaching and passing the moon toward Earth, they meet the alien survivors, who escape, and they video-link conference with the President of the USA, then leave, forever; the ring-city has been destroyed, and they pick-up a stranded team of supercosmosian data analysts, and head-out for near galaxies.

Scenes Diagraphics (Props)

[many of these are compounds of real and virtual, registered by matted blue-screen]


A clear night sky full of stars backgrounds the superimposed title credits, as the view glides down upon 4 runners huddled, ready at the side of the highway setting.
Wide open ocean speeding passed at speeds up to transonic, appearing twice, similarly: Clear sky with occasional cloud-puffs. The submarine rides smoothly, and dips below the surface, throwing-up spray. In break, they also fast-pass a battle ship with a dithering swinging leaping dance, and a missile explodes near the battleship. Finally they approach the wide South Pole glacial ice cap: There's a small hole in the base of the ice cap, which their submarine enters, and glides through a rough-cut tunnel lit by their own flood-lights.
Two moons, our moon and the similar alien-planet's moon, in full relief, are approached, passed, from several sides, at slow and fast speeds (seconds) - even blasted by nukes and cometary decoys, spewing-up geysers of moon-dust. The darkside (backside) has runway guide-lights for the starships ports, also their own flood-lights reflect on the moon directly below them. In fling, a nuclear missile battle, with lights and blasts, is fought low over the surface, behind hills, and later a starship takes a watching position above the east side. [optionally the staship caverns may be placed on the north pole, for historic aesthetics] The moon at a distance backgrounds the starship fleet training.
Compounding as a scene and setting, the cavern is miles deep and wide, and layers full of starships and (smaller) spaceships. A railed ledge lets them look and awe the depths and widths; and glass-sided elevators, again with the cavern depth and width as background, take crews down to landings at prospective starships' entrances, typically the wide-points of each vessel, with short open gantry-walks to the air-locks. Starships are lift-elevatored up the cavern center to the huge over-head moon-portal opening, a 100-meter thickness of moon-rock ceiling-roof, collared by the atmosphere-containment sparkly pink zone.
Regular planets, in break, and strange planets, in returns and fling, punctuate the path to and from the outer solar system and Pluton aether-slip-stream anchor-point in space. The strange planets are a Jupiter-star and Saturn-star, illuminating similar rings and moons, and strange-Neptune, with rings and moon, strange-Triton, is least noticeably different. As speed increases passing Neptune the foreward stars bluen, the rearward stars redden.
Although very different objects, streaming-out concentric gridlines are all that show of Pluton-point in space, and the aether-slip-stream corridor - though Pluton gridlines include more approach colors and details. In return and fling, a subjective neutrino blast confronts them: with nebulous white-out splotches and loud clicking-buzzing at 1000 Hz. [In fling, the crowd's horn-of-revelation is half, 503 Hz, in the Presidential front-gate intercom] In the moment of redirection around Pluton-point, the star background view sweep-collapses forward to the relativistic headlight effect: blue-centered, red-rimmed.
In break and returns, this tunnel-vision remains until arrival, slowing to sub-light-speed, while auxiliary diagrammatic reticled circles indicate where stars would be.
In fling [and in the elevator], the stars reappear normal in Golden's advanced capabilities, and galactic supernovae burst, especially when they cross the cosmos, in the final scene.
The galaxy center black-hole, 6 million miles across, is swept cleaner than common theory: it has many gas-dust rings of various thickness, width, color, each deposited by a star, inclined on different orbital planes and ellipticities, mostly near the galaxy plane, a bright red center star-point illumines the bottom-side of all objects.
The metal-ring-city orbits at the speed of light near the event-horizon, closer than gas-dust rings: a long massive continuous metal structure, windows, ports, not quite abandonned. Starships approach and recede at the speed of light - via aether-slip corridors, grid-lines.
In break, Peter's shuttle climbs a long distance out of the black-hole toward the ring-city.
In returns, fling, the outside has been laser-peen-blasted, scorched by the alien starships.
In fling, this ring-city is later finally destroyed: huge pieces with ragged edges are left flipping, gyrating, nutating, librating up-down-forward-backward according to celestial orbital mechanics.
Related to the galaxy center, which drops and shrinks rapidly down-away accelerating extremely faster than the speed of light as the elevator ascends up-and-out the cosmos, every galaxy rotates, swirls, sparkles, and pops with millions of historic supernovae in mere seconds, the cosmic sky changes background and side colors as the elevator climbs to outer strata of the cosmos, finally to the outer-cosmos
The supercosmos sky is clear, thin, comprised of infinitely many black-hole star-points, many extra-bright, variously red, yellow, white, blue-white, too small to be seen even in Harry's pocket telescope, but averaging mottled (bubbly) bright dayglow warm violet uniform across the whole sky, casting no shadows (equivalent to bright overcast-day lighting) - the one exception is the sharp-edged half-of-the-sky huge black-hole and its star-point brighter than a welder's arc (which consternates Harry and Daniel - never look) casting sharp over-shadows (compound shadows, multiple light sources). The supercosmos planet rotates faster than Earth, about once per 2 hours: the sky speeds overhead.
On the horizon in the far distance, beyond the open field traversable by a "uranium-cake" yellow-brick road, spans a supercosmosian multi-domed city.
In break, they turn back to the garden, and go home.
In returns, they cross the stream, run the yellow-brick road across the field, meet and ride with 2 archaeologists on a glider along the road, to and into the city setting. Later in the observatory room, they look-out over the city dome-tops: In the distance are two cosmoliners readying for travel, while local shuttles pass overhead near and far. This view holds into the follow-on superimposed credits, until the music lifts, the cosmosliners lift, turn-about, the music soars, the cosmosliners leave, looking-back on receding city below.
Space-view of the alien-Earth is identical with our Earth: the Earth turns slowly, sun-glow reflects on the oceans. As the starship(s) approach ultra rapidly, a bevy of anti-missiles, rises to confront them. In break, they avoid these. In fling, these are background to the armageddon of starships battling with laser-peening and nuclear blasts; and accumulating gas and dust hazes the view of Earth - and surface cloud formation is agitated by the starships' reverse-thrust energy-dumping.
Avoiding the anti-missiles, the starship plows into the atmosphere: the sky turns quickly black to sky-blue, eventually lower with swirling agitated clouds they'd churned-up.
Over and amid the hills of Nevada:
In break, the starship confronts and shoots-down 3 F-22's attack-craft, laser-peens their anti-aircraft flack, returns rail-gun-flack, exploding their incoming A-A missiles, and lands. They climb-out a low portal, run a mile from the starship to a desert road, and catch a car. They ride miles down the road - the starship looms in the rear window background.
In returns, these scenes are TV-news backgrounds.
In fling, the USArmy Area 51 team works around the 'UFO' starship and up a ramp into the low portal, two helicopters land adjacent, the General's jeep drives-up, the starship lifts-off from its desert setting, leaves a crushed vehicle and 3 white-clad persons beneath, lands further away, boards 700 students [possible insert-scene: they stream-run-up ramps], and volleys rail-gun-flack and laser-peens, explodes incoming SAMissiles, re-launches.
The basic starship is a stealth black {alternatives: stealth-silver-shiny} long slender ovoid, about a kilometer long and a hundred meters wide and high. Golden is remarkable golden, and has an extra layer of height beneath the main control-viewing level. The control room top layer has steeply raked (shallow) wrap-around view windows (centimeters thick) slightly darkened. End-on the starship is hollow: its giant aether-stream thrust coupler slightly scintillates the center view, as though photons passing through were distressed. There is no apparent exhaust. The (apparent) defenses are laser-peening, rail-gun flack, micro-nuke (bullets) and major nuclear missiles (equiv. 1-99KTon) for removing cometary debris. The starship side-slips (steers) by vernier aether-coupling: an effectual defense. [one deflects attention with a gradually enhanced image of itself, while it side-slips] The laser peening causes a small vapor-explosion, eg. shoving opponents sideways to mis-fire.
  • In break and fling (on TV in returns), their Earth-landed starship sits slightly tilted
  • In fling, possibly in returns, on land, erected walking-ramps lead-up to the open portal; and the lower rear near side [left] has been invasively tampered, damaged
  • In returns and fling, the fleet trains with low-power laser-peening beyond the moon, maneuvres are interwoven: grouped first in 2x2's, then in both 4x4's and 4x4x4's
  • In fling, possibly in break and returns, ring-city windows live-view the control room
  • In fling, after the armageddon, CeeBert and Pickel have exterior battle damage
Seen outside-in through the view-window, the interior control room is simple spacious: the helm (left) and navigation (right) stations are in the center facing forward, behind is the captain's chair, at the back are the communications (right) and engineering (left) stations: unseen to the further left and right sides are the extended weapons-control stations. At the room back center enters the escalator coming-up forward from below decks.


The submarine control room has 5 computer screens, before 4 chairs, alternately tall and wide (two-square) rectangular, for multi-media text, diagrams, drawings, live-action: comparable technologically to our commercial present standard multiple-windows, with augmented response, eg. guess-ahead on partial-typing, rapid response, text-zooming explanations with diagrams, screen-touch-branch-guiding.
  • Multi-lingual and proto-lingual computer-linked encyclopedic-dictionary; includes live thermonuclear engine plumbing of the two reactor-to-drive cross-over feed-balance mixer; world submarine-route map.
  • Diagrams include live-action navigation in bay, boat designations, multi-icon torpedoes {asterisks flashing, spinning, sparkling, inside circle, inverts-outside-circle, estimated path option-spread} with audio {dog-barks left and right}, ocean seamounts, battleship.
[these may be blue-screen, matted with light-and-dark actor-reference-mark images]
Computer screens for each of 4 launch-chairs, 2-each, 8 total, for multi-media text, diagrams, drawings, live-action: comparable technologically to our commercial present standard multiple-windows.
In break, includes over-the-horizon ICBM-launch map, Harry's satellite-TV-news.
In returns, includes satellites and orbits, moon, Earth.
[these may be blue-screen, matted with light-and-dark actor-reference-mark images]
Starship live-travel scenery is over-laid with multi-media diagrams on the main windows, as well as displayed on the computer screens which additionally include text-frames, and in fling, recorded introductions, live vid-links and the TV-link. [technology comparable to our commercial present standard advanced technology computer multiple-windows]
The grid-lines are multi-leveled indications of approach-corridors, radial to the point of connection-redirection; additionally yellow, pink, and red zones in the near last moments.
Nota Bene: In the moment of redirection around Pluton-point, the star background view sweep-collapses forward to the relativistic headlight effect: blue-centered, red-rimmed. And, auxiliary diagrammatic reticled circles indicate where stars would be.
In break and returns, this tunnel-vision remains, until arrival, slowing to sub-light-speed.
In fling, the stars reappear normal in Golden's advanced display capabilities, and galactic supernovae burst rapidly, especially when they cross the cosmos, in the final scene.
In break, Peter's ring-city shuttle shows diagrams as he chases Harry into the black-hole.
[these may be blue-screen, matted with light-and-dark actor-reference-mark images]
In returns, the supercosmosian observatory room exhibits the local mass-hole astronomy, including the monster mega-mass-hole, in a 3-D view-sphere, 5 feet in diameter. 
In fling, John's center display shows a simulation of a photon-wavelet entering a black-hole: the view with graduated reticles magnifies continually as the wavelet spirals-in toward the center till the photon roche-limit, below which then breaks-up fuzzy as it enters the delineated false-vacuum threshhold at about a few electron-radii; later, John presents his computed lens construction for looking outside the cosmos playpen: a photon interferograph of the whole cosmos background: a bright white smudged dot surrounded by diminishing blurrier concentric rings of replications, interference patterns, of that white dot, on a mottled background, recomputation clears-up to single significant white dot.
[these may be blue-screen, matted with light-and-dark actor-reference-mark images]
UFO dancing bouncing, F-22 missile radar hunting, locking, growling, firing, tracking, missile-loss air-explosion.
Earth grids, space grids, Earth-wide storm-cloud-fronts rings appearing, churning 400mph.

Props & Attire

Strategic-Director: Mr. Raymond Kenneth Petry

Producer-Director: Wision--SesQuaTercet USA

Casting Director: Wision--SesQuaTercet USA

Tactical-Director: [tbd]

Operations-Director: [tbd]

Screenwriter: Mr. Raymond Kenneth Petry

Register: Wision--SesQuaTercet USA

Recipient: N E M O Nuclear Emergency Management

Owner: Lanthus Surrogate Executive Accessions Management

Licenser: [tbd]


The theory of measurement propounded in this work is not to be cited (as) considering contraband or corpses; Nor are the intellectual appurtenances herein to be used for or in the commission of crimes against persons, peoples, properties, or powers (States). May your tabernacle measure true.


© 1997-2001 Mr. Raymond Kenneth Petry

project SesQuatercet