“The Not So Puppet Show #2 – The Skipping Stone” by Thomas Typewriter

Puppet play, scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

An asymmetry without apologies

Episode #2

“The Skipping Stone”

By Thomas Typewriter

———–<:type:>———–

FADE INTO THE TITLE SEQUENCE

The title sequence plays.

FADE OUT
FADE IN

EXT. LAKESIDE, DAYTIME
The front of the stage is the shoreline of a lake. The back of the stage is high grass transitioning into a thick forest. There is a pebble-laden path off to stage left. A fallen log sits on the shoreline.

LS OF THE BEACH

From the path enters THOMAS TYPEWRITER. He walks over to the shoreline and looks out at the water.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “As a child, I grew up close to a river, a short bike from the water’s edge. Something I liked doing was skipping stones. I often had a brain that was too loud and an interior landscape that was too big. Lots of overload, but skipping rocks helped. The loud thoughts and giant emotions lessened as I watched the rocks fly, the waves ripple out.”

As Thomas narrates a piece of background music which is noisy and unpleasant starts to increase in volume. He looks out to the water. When the volume of the cacophony becomes louder than the background sounds of animals and birds, Thomas turns his attention to the shoreline. He scans the beach and finds some rocks. With a flick of his arm, the rock sails out. The background noise stops.

CUT TO LS OF THOMAS ON THE SHORE.

The rock flies out and bounces across the water. It flies towards the camera before sinking under the water. He tosses a second.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “Now that I am back here, something occurs to me. Something always occurs to me in those moments when my thoughts slip away, when I no longer feel too big on the inside, too small on the outside.”

CUT TO LS OF THOMAS TYPEWRITER

Thomas tosses another stone.

THOMAS TYPEWRITER
(narration) “ It occurs to me, that I am like this stone. I am propelled by some force traveling across a surface making waves until my arc ends and I disappear.”

CUT TO A SHOT OF STONE ENDING ITS FLIGHT AND SLIPPING UNDER THE WATER

CUT TO CS OF THE WAVES FROM THE ROCK SLIPPING UNDER THE WATER SPREADING OUT

THOMAS TYPEWRITER
(narration) “And in my flight across this world, I have an effect. The waves of my effect will continue long after my flight has ended. Yet, they are not infinite. They too will eventually run out and disappear. And as all this unfolds I find myself a bystander watching the waves of my actions rippling out, captivated by the patterns of my life but at the same time unable to find any grand purpose to the whole affair.”

CUT BACK TO CS OF THOMAS’S FACE

CUT TO MS OF THOMAS THROWING A TONE

TRANSITION TO THE WAVE SCREEN SEQUENCE.

FADE TO THE WAVE SCREEN BOARD

WAVE SCREEN BOARD
The Wave Screen Board is a screen, a transparent water tank, and a set of bright lights. The three elements are arranged in a way that the bright lights project through the water tank onto the screen. The screen is filmed so that the shadow of any object moving across or through the water is cast onto the screen. Additionally, the inference patterns caused by the water in motion or waves across the surface of the water are also cast onto the screen. The camera will be positioned to film the screen and the shadows cast, not the tank of water or bright lights. Those will always remain out of frame.

THOMAS TYPEWRITER
(narration) “What is the measure of my life, of my stone’s throw?”

As Thomas narrates, stones are thrown across the surface of the water in the clear tank creating a shadow pattern on the screen.”

THOMAS TYPEWRITER
(narration) “Is it the number of years I live? The number of seconds I remain in flight? The distance traveled? The size or number of waves?”

The shadow patterns flow out to stop.

THOMAS TYPEWRITER
(narration) “Maybe it is something else.”

TRANSITION BACK TO LAKESIDE

CUT TO CS OF A THROWN ROCK BOUNCING OFF THE WATER’S SURFACE, IN SLOW-MOTION.

SLOW THE SLOW MOTION OF THE ROCK BOUNCING OFF THE WATER UNTIL FREEZING AT THE MOMENT OF IMPACT. THEN PLAY IN REVERSE UNTIL THE ROCK IS BACK IN THOMAS’ HAND
CS OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“Why are you overthinking this. I have no control over your throw. You are going to throw the stone however you can. I have no awareness of this. All I have are the brief moments of contact. To my awareness, I only have a limited lifespan of kisses with the water. The only aspect of my life I control is in how I kiss. Do I make moments of sweetness? Of bitterness? Of some mixture of the two? That is my life and that by extension is your life. So what are you going to do with your limited moments. Will you be bitter? Will you be sweet? Will you be somewhere in-between?”

CUT TO CS OF THOMAS CONTEMPLATING WHAT THE SKIPPING STONE SAID.

THOMAS TYPEWRITER
“That is the question.”

THE SKIPPING STONE
(off-camera) “Ahem.”

Thomas looks down.

CUT TO A CLOSE SHOT OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“Don’t you think it is time we both lived?”

CUT TO THOMAS NODDING HIS HEAD YES.

Thomas throws the rock. It skips out across the water. Thomas stands and watches the waves spread out and eventually disappear. He then pulls out his phone and dials a number. After a few RINGS, it picks up.

THOMAS TYPEWRITER
“Hey, honey. Yeah, I’m feeling better. How about you. How are you doing? I’d like to listen to whatever you have to say.”

Thomas Typewriter exits.

FADE OUT

“The Great Works Project: Season Seven, Episode One” by Thomas Typewriter – a new script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 01

a prologue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Immediately following that text’s exit, up scrolls “a prologue” from the bottom of the frame. It scrolls upward pausing in the center of the frame before continuing up and out of the top of the frame.

FADE OUT
FADE IN

EXT. SWORDPOINT HILLS, AFTERNOON
THE OUTER ONE and GRIGIO COLORI stand on one of the hills overlooking Swordpoint Hills. They are near the crest and looking down at the crowds. The Swordpoint, at the center of the hills, is a large stone slab with small stairs. There are five stones on the tableau. Each stone has a beam of light shining upward towards the sky. Surrounding the tableau and snaking out into the hills are multiple lines of people waiting in queue. Small covered stalls can be seen dotted around the hills, each with gate guarded by a muscular bouncer.

CS OF THE TEXT AT THE END OF SEASON 06 FROM THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.

GRIGIO COLORI
(Voice-over) “Okay so that is where season six ends. Should I go on?”

THE OUTER ONE
(Voice-over) “No, that’s probably as good a stopping point as any. You should put that away, we have more pressing concerns.”

The scriptbook closes.

CUT TO MS OF THE OUTER ONE AND GRIGIO

GRIGIO COLORI
“Like what.”

THE OUTER ONE
“Getting here was the easy part. Now comes the hard part – the line.”

The Outer One takes a step forward and looks downward. Grigio watches and copies the action.

PAN TO AN AERIAL LS OF SWORDPOINT.

The multiple long lines of the crowd snake through the hills.

GRIGIO COLORI
“I see what you mean. So where do we start.”

THE OUTER ONE
“We go see a man about credit, but first lets take a break. I am feeling a bit tired.”

GRIGIO COLORI
“Is your wrist bothering you.”

THE OUTER ONE
“Unfortunately, I think it is. A little rest and I should be fine.”

MS OF GRIGIO AND COLORI

They sit down on the grass. The Outer One flops onto his back and takes three deep breaths. As the Outer One lays on the ground his shirt rides up , revealing that the glitching has spread even further. The side of his neck, his entire right arm, and the right side of his chest show signs of the glitching scrolling abstract text.

THE OUTER ONE
“It is going to take me a minute longer than I anticipated to get my wind back. Maybe you should continue reading the scriptbook.”

GRIGIO COLORI
“Sure. Lets see, where was I. Season Seven, Episode One. We open on the Typewriter Abstract Puppet Stage. We start at a long shot and move in closer.”

FADE OUT TO

INT. THE UNROOM NOT.SEVEN

LS OF THE UNROOM FROM THE ENTRYWAY

SLOWLY PAN THROUGH THE ROOM TO THE WOODEN STAGE. THE PAN FOLLOWS A MEANDERING OR SNAKING PATH.

The Unroom Not.Seven is a large space so cavernous that the ceiling and far walls are lost in darkness. A tile floor is decorated with a short wooden stage. Grey carpet squares are arraigned in rows around the stage. Long power cords snake through the squares to spindle like floor lamps at the ends of rows. From the darkness of the ceiling emerge long chains adorned with pendulum lamps. The soft light from the hanging lamps and floor lamps is not enough to fully pierce the darkness of the room. What is visible is seen with a soft light. THE SOUND OF TYPEWRITER KEYS CLICK CLACKING rings out. Unseen lamps above the wooden stage flip on. In their beams of light, THE TYPEWRITER ABSTRACT PUPPET STAGE appears.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE MID-STAGE AREA

MID-STAGE: CURTAINS CLOSED
The Mid-Stage Curtains part revealing that the Mid-Stage is empty and unilluminated.

PAN PAST THE EDGE OF THE MID-STAGE CURTAIN AND THROUGH THE MID-STAGE TOWARDS THE CURTAIN OF CLOUDS

The Curtain of Clouds along the back of the Mid-Stage parts revealing the Back-Stage.

PAN IN UNTIL PROPERLY FRAMING THE BACK-STAGE

BACK-STAGE: THE CONCURRENT DISTANCES, BETWIXTLIGHT
A soft fog rolls across the bottom of the stage while DREAM-BUBBLES drift across the stage. They enter stage-right and exit stage-left. They are not all moving at the same speed, so one may pass another. A soft light starts to be cast from off-stage stage-left. The light grows brighter and brighter until the source of the light, THE LAMPSTICK, enters stage-left. It appears as a bipedal post with a hanging lamp. The post and legs have a rough construction appearance whereas the lamp appears finely crafted. It moves to the center of the stage with a dancing rhythm. Following closely behind are ONDE, AVEN, NETTE, and HERON THE AELIOPHILE.

AVEN
(to Nette) “You sure that thing knows where it is going?”

NETTE
“Yes. There is a magic to the things we make together, and that magic is going to help us find her.”

The Lampstick pauses just off center-stage. It freezes mid-motion.

AVEN
“Now what?”

ONDE
“I don’t know anymore.”

NETTE
“Give it a moment.”

The Lampstick slowly moves it’s lamp left and then right. It jumps up and starts walking, exiting stage-left. Nette follows the Lampstick and exits stage-left. Aven also exits.

ONDE
“Come along Heron.”

Heron runs over to her side and they leave stage-left together. The stage goes dark for a moment and when the lights come back the fog at the bottom of the stage is thicker. Additionally, the quantity and pace of Dream-Bubbles flowing across the top of the stage has increased. A bright light approaches from off-stage stage-left, casting a brighter and brighter light on the fog and dream bubbles. The Lampstick enters stage-left followed by Aven, Nette, Onde, and Heron the Aeliophile. The Lampstick stops mid-stage and starts to blink its light. Aven, Nette and Onde fan out attempting to look for something.

AVEN
“Can any of you see her? Is it sure she is here?”

NETTE
“Yes. But I can’t see her either. The fog is too thick. How did she ever find her way through here.”

ONDE
“I have an idea. Heron could you help us clear the fog?”

Heron starts to whirl his steam pipes blowing away the fog. On the ground, passed out, lays THE MOTHER. Her hair has changed to all silver and she is now THE CRONE.

AVEN, NETTE, AND ONDE
(in unison) “Mother!”

They rush over to her. Aven and Onde lift her up. Nette touches her face trying to wake her.

NETTE
“Wake-up. Wake-up mother. It is okay, we are here now.”

ONDE
“Is she okay?”

AVEN
“I don’t know.”

NETTE
“She’s not waking up.”

AVEN
“We need to get her home.” (turns to the Lampstick) “Could you lead us back home?”

The Lampstick nods yes. It slowly looks left and then right. It hops and starts off exiting stage-left. Onde stands carrying the Crone.

NETTE
“You going to be okay carrying her.”

ONDE
“Yeah, she is surprisingly light.”

Aven exits stage-left. Onde, carrying the Crone, follows her. Nette walks over to Heron and pats him on top.

NETTE
“Good job. Now lets go home.”

Nette and Heron exit stage-left.

FADE OUT

“The Not So Puppet Show #1 – Sing a New Song Chorus Verse” by Thomas Typewriter – a new script

Puppet play, scripts, The Not So Puppet Show, Uncategorized

———–<.thom.>———–

THE NOT SO PUPPET SHOW

An asymmetry without apologies

Episode #1

“Sing a New Song Chorus Verse”

By Thomas Typewriter

———–<:type:>———–

FADE IN

The Not So Puppet Show’s short title sequence plays.

FADE OUT
FADE IN

INT. THE MUSIC HALL OF FRANCIS SPEAKS TO FRANCIS UNIVERSITY, AFTERNOON
The Music Hall is built on a bisecting stage¹. The rear plates will be the Stage. It is a raised concert stage made of dark polished wood with a curved front. A conductor’s podium has been placed at the front of the curve. The back of the stage has no curtain but instead decorative panels made of a similar dark wood, each with a small light built into the design of the top. Curved rows of chairs and music stands have been set up for the musicians. The front plates will be the Seats. It has three rows of chairs. Each row goes from stage-left to stage-right across the stage. The individual chairs are of a simple kind that hinges down with minimal padding.

LS OF SEATS AND STAGE

The first row and second row are already filled with guests. Concertgoer #1-#6 in the first row. Concertgoer #7-#12 in the second row. THOMAS THEATREMANAGER enters from stage-right and walks down the third row of the Seats. He will sit on the chair to the stage-right side of the bisection. OPHIDIA OPERAHOUSE-TYPEWRITER, PRIMO OPERAHOUSE-TYPEWRITER, and SECONDO OPERAHOUSE-TYPEWRITER follow behind him. They walk to the center of the row and sit down.

PAN IN TO MS OF THOMAS

The members of the City of Champions City Symphony start setting up on the stage. Violinist #1, Violinist #2, Violinist #3, Cellist #1, Cellist #2, and Cellist #3 enter stage-left. They filter out to the front row of chairs on the Stage. Trumpeter #1, Trumpeter #2, Trombonist #1, Frenchhorn #1, Flutist #1, Timpani #1 and Marimba #1 enter from stage-left and take up the seats in the second row of chairs on stage. All of the Audience, except Thomas, stand and applaud for the musicians. Thomas turns in his seat and faces the camera.

THOMAS THEATREMANAGER
“I am here at Francis Speaks to Francis University with the family, attempting to hear to the City of Champion’s Symphony’s fall concert. It is a Sunday and I do not have to work. Primo and Secondo are now teenagers, and my time with them grows short. A limited window to show them this can be a world of wonders. And an even smaller window of funding to showcase these wonders due to my recent financial irresponsibility. I need to be creative. Thankfully, I have always been.”

Thomas turns to face the stage. The rows of chairs split in the middle, with the chairs on stage-right sliding to the stage-right. The chairs on the stage-left sliding to the left.

THOMAS THEATREMANAGER
“Let me explain.”

In the newly opened area a giant brain made of building blocks is brought onto the stage by a pair of glowing hands. It is held together by the pressure of the two hands.

THOMAS THEATREMANAGER
“Growing up I always felt broken. Like in the kind of way where my mind was all these different pieces barely being held together. That my parts were constantly slipping apart. Especially once my plurality attempted to be a singularity. Still, we were, sorry, (to self) I am Thomas and I accept these feelings and emotions are part of myself. (to camera) Sorry about that. As I was saying, I was far from perfect at holding it together. I often failed, but managed to pull it back together.”

Then the building block brain falls apart. As the parts are being reassembled, hear the HAMMERING OF A HAMMER ON AN ANVIL. Once the brain is reassembled, the sound of diminishes. The building block brain and hands pull backwards, leaving the visible are, as the two sides of the auditorium slide back into place.

SECONDO TYPEWRITER-OPERAHOUSE
(off-screen) “Dad…”

Thomas turns from looking at the audience and at Secondo in the chairs on the other side of the center.

THOMAS THEATREMANAGER
“Yes.”

SECONDO TYPEWRITER-OPERAHOUSE
“I hope this starts soon.”

THOMAS THEATREMANAGER
“Me too. It shouldn’t be long now.”

SECONDO TYPEWRITER-OPERAHOUSE
“Good.”

Thomas swivels in his seat, so as to be looking behind him and out at the camera.

CUT TO CS OF THOMAS

THOMAS THEATREMANAGER
“These feelings of being on the edge, of being broken, persisted throughout my childhood. Persisted into adulthood, to today. But back then I thought school with its routines would be a stabilizing force but alas no. Often they amplified these feelings…”

CUT BACK

The auditorium splits in the middle again. The left side slides to the left while the right side slides to the right. From the back of the stage, a small classroom slides forward into the area between the orchestra. The small classroom is set-up as a side view of a sixth grade classroom. Two rows of three chairs go across the space with a teacher’s desk and small television on a rolling platform off to the stage-right side. MR. MYSELF&I stands next to the television. THOMAS TEENAGER sits in a center chair. OTHER STUDENT sits in one of the chairs in front of Thomas.

MR MYSELF&I
“Okay class, we are a little ahead in our lessons. Good job. Since we have some free time now, we are going to put on this video.”

Mr. MySelf&I pulls out a VHS tape from the shelf of the rolling cart the television is sitting on. He places the video in the VCR, waits for it to load, and then presses play. He exits stage-left and the lights in the classroom dim. A bright light throws out from the television bathing everyone in cathode light. Thomas gets a fearful look on his face. The Lady, THE LAD, AND THE LOCH appear in the desks next to Thomas. The Loch rolls itself into a bristle. Thomas moves in the exact same fashion. The Loch then starts to bark and growl at the screen. Thomas is frozen in panic.

THE LADY
“This is horrible.”

THE LAD
“Let’s get out of here. I do not want to watch anymore of this.”

The Lance raises his arm up at which time Thomas also moves his arm up in exact mimicry. In the background can be heard the sound of A HAMMER STRIKING METAL ON AN ANVIL. Thomas’ arm slacken as he is distracted by the sound. He looks around for its source. The Lad frustrated by Thomas’s loosing focus raises his arm up even more strongly. Thomas’s arm goes back to being fully raised and his head snaps forward.

MR. MYSELF&I
(off-stage) “Yes, Thomas?”

OTHER STUDENT
“Here goes Thomas going to say or do something weird again.”

THE LADY
(snapping head to look at Other Student) “That bitch. How dare they.”

The Lady returns her gaze to the front of the classroom. When she speaks Thomas also speaks at the same time, as if he is her puppet.

THE LADY & THOMAS TEENAGER
“Sorry Mr. MySelf&I, but would there be time for me to use the bathroom.”

OTHER STUDENT
“Oh, that wasn’t weird.”

THE LADY
(to self) “Fuck her. Saying Thomas is weird. What does she know.”

MR. MYSELF&I
“Yes. Make sure to grab the hallpass and you can go.”

THE LADY & THOMAS TEENAGER
“Thank you.”

The Lance stands and Thomas also stands at the same time and in the same way. The Lady also stands, slapping the Loch on the back of it’s head where it then stands. The small classroom is pulled off the stage. The zones of the stage slide back together. Thomas lifts his arm and puts it across the seat to the side of him allowing him to pivot and face the camera.

THOMAS THEATREMANAGER
“I don’t know why, but through all the cracks in my life, the cracks in my personality, the cracks in my mind, cracks in words when their letters moved and changed, you get the idea, a sense of a blacksmith hammering at a forge slipped through. Red hair, orange fire, sparks of starlight. Slips and glimpses. A face beautiful but also scarred. So it is no surprise to me that I ended up worshiping that marvelous lady of the forge, Brighid. She has always been there in my life, in the background. I thought she was my sole muse. Little did I know.”

The City of Champions Orchestra comes onto the stage. The musicians sit down and tune their instruments as THE CONDUCTOR enters stage-right.

THOMAS THEATREMANAGER
“And the great show begins.”

Thomas turns around to watch the stage. Meanwhile the Conductor walks to the podium in the center of the orchestra and bows to the musicians. He then turns and faces the auditorium chairs and the audience thereby contained. He bows. When he straightens back up he addresses the audience.

THE CONDUCTOR
“Thank you everyone for joining us today. This is our second concert of our season, so we are glad to have you out. Today’s program is called Pictures. We will start with Elar’s Serenade for Strings in e minor, then move into Lizt’s Hungarian Rhapsody No 2 in c minor, Ravel’s Pavane pour une infante defunte before ending our concert with Mussorgsky’s Pictures at an Exhibition.”

The Conductor turns to face the musicians. He picks up his baton and taps on the music stand. The musicians raise their instruments to the ready position. He signals to start and the City of Champions Orchestra starts to play Serenade in Strings in e minor. Thomas turns to face the camera.

THOMAS TYPEWRITER
“And through the first song, I found it nice. Not exactly the kind of music that revs my brain, but pretty nonetheless. It gave me time and spare mental bandwidth to appreciate the musicians. They were really skilled and all of this was done on a volunteer basis. Like how amazing was it that they lived complete lives and still somehow made time to ALSO do this. How amazing is that.”

The orchestra begins to play in fast forward.

THOMAS TYPEWRITER
“ Inspired by the talent and dedication on display, I decided to look with my quote-unquote mystic eye. Brighid was there spreading her energies across the musicians. And it was what happened next that is interesting.”

The sets slide apart from the middle again. Though this time the audience slides fully left and right, while the orchestra only slide half as far left-and right. There needs to be enough space between the two sides of the orchestra to allow a figure to approach but also allow the orchestra to still be seen. From the back shadows of the center space out walks BRIGHID THE BLESSED. She is a tall muscular female with fiery red hair. One side of her face is fair while the other is covered in scars and burns. She wears a simple leggings under a blacksmith’s apron. She is wearing a shawl that trails out to long ribbons and streamers so that when she moves and swings there is a flowing undulation to the movements. She moves along the musicians sweeping her streamers across them as they play. Every musician she touches becomes more focused and confident in the manner they play. The orchestra plays even faster, quickly reaching the end of the song. They bring their instruments to pause as the Conductor looks around. He then signals for the ready, and they raise their instruments to the ready position. He signals and they start playing Lizt’s Hungarian Rhapsody No 2 in c minor. As they play, Brighid the Blessed dances among them, inspiring each. As the song picks up tempo, hidden behind the musicians, AHN’PHERA THE SURPRISE AND THE JOY emerges. They are a thin and tall androgynous figure, dressed in shiny black tap shoes, tan oversized khaki pants held up with black suspenders over a white button up cotton long-sleeve shirt. They have a short haircut with a side part and long bangs swooping over to cover their face. They are bouncing a yellow ball. They move through the back of the musicians, staying hidden, but taking sudden acrobatic or dance moves when a loud note is hit and then sinking into the background. They will also be bouncing the ball around the stage as they move.

THOMAS THEATREMANAGER
“It was then I noticed a second spirit of inspiration. Moving in the background, I could catch fleeting views. Small details. Androgynous. Dressed like a dancer. Moving like some cross of Gene Kelly and Charley Chaplin. They were hypnotic. Then when the song goes into the second section and surprises me, they leap out.”

As the orchestra shifts to playing the friska portion of the piece, Ahn’Phera jumps out to the center of the stage. They dance and clown around Brighid the Blessed, pointing to each of the elements that jumps in unexpectedly.

THOMAS THEATREMANAGER
“I said who is this, and I instantly knew. This was Ahn’Phera, the muse and goddess of surprises in art. They are working through all the artists proving that unexpected element that makes the work interesting and vibrant. Surprises not only for the audience, but also the artist.”

Brighid and Ahn’Phera’s dancing becomes more energetic and lively as the song reaches its crescendo. The piece ends, the two deities pause. Ahn’Phera throws the yellow ball off-stage over the musicians’ heads and silently back flips out of view. Brighid glides out of view. The Audience claps in applause. The two sides of the stage slide back together. The audience members all stand and continue to clap. Thomas slows his clap and rotates to talk to the camera.

THOMAS THEATREMANAGER
“And in the days that would follow, I would ponder what I had seen here. Here was a new muse, but where this was my first full viewing of them, their fingerprints spread across my whole life. The films I did not expect to be good and then turned out great. The song that comes on the radio that you stop what you are doing and have to sing along to. A quick glimpse of something beautiful as you are commuting. That time you accidentally get bumped and end up in the right spot to see angles and ornamentation of the buildings line up. That time the story took a left turn. Hell, anytime any art takes a sudden turn. The world has Bridghit looking over all artists and helping them, among her many duties, but it also has Ahn’Phera dancing in and out ensuring that art has surprises and interesting texture. That is a world I can believe in. A world I can have hope that I can find joy. Blessed be Brighid. Blessed be Ahn’Phera.”

Thomas nods his head in a short prayer then turns back to his family.

THOMAS THEATREMANGER
“Wow. Was that something or was it not? I am so glad I came out with all of you.”

SECONDO OPERAHOUSE-TYPEWRITER
“Thanks Dad. Glad to be here too.”

PRIMO OPERAHOUSE-TYPEWRITER
“I wonder what will be next?”

THOMAS THEATREMANAGER
“That is the question, isn’t it.”

SECONDO OPERAHOUSE-TYPEWRITER
“What ever it is, I’m sure it will be great.”

THOMAS THEATREMANAGER
“I bet you’re right. Now lets quiet down and listen. They are about to start the next song.”

PAN OUT

FADE OUT

¹A Bisecting Stage is a specially constructed and laid out stage. It will be constructed in a way that the stage will be divided in four sections. The front and rear of the stage will be separated. Then the front and rear will also be divided into left and right sections. Each section will be built on a movable plate. This will require four plates. The plates will allow the front part of the stage to be pulled apart followed by the rear part of the stage to be pulled apart. This will allow a third area of the stage to opened up that will be referred to as the Imaginary Section.

“The Great Works Project: Season Six, Episode Eleven” by Thomas Typewriter

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 11

by Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-11”. 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

The sound of TYPEWRITER KEYS CLICK CLACKING rings out from the darkness.

FADE IN

INT. THE HILLTOPS, EVENING
A rounded hill of scrubland stands at the juncture or overlap of vast rolling sand dunes of white, brown, and gold sand meeting a large primeval forest dotted with swaths of prairie flowers. A walking path runs across the Hilltops. Near the center of the Hilltops, just next to the path is a tall post made of irregular length boards roughly nailed together. Hanging from the top of the signpost is an elaborate stained glass lamp, currently lit, suspended on an intricate golden chain. Numerous vines of morning glories, runner beans, and trumpet vines grow up the post. A little further down the path from the signpost sits THOMAS TYPEWRITER, Z-MOUSE, and The GHOSTLY around a camp fire. All of them are eating pizza and drinking soda.
LS OF THOMAS, Z-MOUSE, AND GHOSTLY

Z-MOUSE
(to Thomas) “So what brings you around Thomas.”

THOMAS TYPEWRITER
“I was working for Ophidia, and needed a break.”

CUT TO MS OF THOMAS AND Z-MOUSE

Z-MOUSE
“How’s that going?”

THOMAS TYPEWRITER
“Good.”

CUT TO CS OF THE GHOSTLY

THE GHOSTLY
“Who’s Ophidia?”

CUT TO CS OF THOMAS

THOMAS TYPEWRITER
“An animator and also my fiance.”

CUT TO CS OF GHOSTLY

THE GHOSTLY
“Oh. Congratulations.”

CUT TO MS OF THOMAS, Z-MOUSE, AND GHOSTLY

THOMAS TYPEWRITER
“Thank you. So I was working for Ophidia and it was just so boring. I don’t know how she can stand it but animating is not for me. The inside of my head was just screaming louder and louder. I needed a break. Closed my eyes and turned inwards. ”

Z-MOUSE
“I must admit I am surprised to see you here.”

THOMAS TYPEWRITER
“Yeah, me too. I really thought I was going to end up in the Writer’s Room. Speaking of the Writer’s Room, how is it going? Any progress?”

Z-Mouse shakes his head.

THOMAS TYPEWRITER
“Oh well. How about you? Why aren’t you at the meeting.”

Z-MOUSE
“The dreams were pulling me too strongly to stay awake. Next thing I know I am here.”

THOMAS TYPEWRITER
“And where is here exactly?”

THE GHOSTLY
“This is the Hilltop. The spot where the Sands and the Valleys overlap. All travelers having survived thirst or flood find themselves here before moving onto the Fields.”

Z-MOUSE
“Hilltop? That’s the name of this place?”

THE GHOSTLY
“Truly.”

Z-MOUSE
“That makes your whole speech make more sense.”

THOMAS TYPEWRITER
“So this is like a warning speech?”

Z-MOUSE
“Oh yeah, the Ghostly haunts this trail.”

THE GHOSTLY
“Truly, it is my burden to warn all travelers of the choices they must make when they venture beyond to the Fields.”

Z-MOUSE
“She appears to every traveler and delivers this light show and monologue. A real production. It is really quite a show. You should see it.”

THOMAS TYPEWRITER
“Could I?”

CUT TO CS OF GHOSTLY

THE GHOSTLY
“I don’t know. It’s embarrassing and I’d rather not. I’m enjoying this. Just eating some pizza and hanging out. I don’t get to do this kind of thing very often.”

CUT TO MS OF THOMAS AND Z-MOUSE

THOMAS TYPEWRITER
“Oh please.”

Z-MOUSE
“Don’t be embarrassed.”

THOMAS TYPEWRITER
“Pretty please.”

Z_MOUSE
“Pretty please with a cherry on top.”

THOMAS TYPEWRITER
“Yes, cherry on top. And I promise, we’ll do more eating pizza and shooting the breeze.”

CUT TO CS OF THE GHOSTLY

THE GHOSTLY
“Okay, I’ll do it.”

CUT TO MS OF THOMAS, Z-MOUSE AND THE GHOSTLY

Thomas and Z-Mouse cheer.

THE GHOSTLY
“Give me a moment to prepare.”

The Ghostly stands and fades out of view, disappears.

Z-MOUSE
(to Thomas) “You’re going to really like this.”

THOMAS TYPEWRITER
“I hope so.”

TRANSITION FROM THE HILLTOPS TO THE TYPEWRITER ABSTRACT PUPPET STAGE HIGH-STAGE
THE CAMERA PANS UPWARD TO THE STARS MOVING ON TO THE DARKNESS OF SPACE.
DISSOLVE FROM THE DARKNESS OF SPACE TO THE HIGH-STAGE CURTAINS

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

HIGH-STAGE: EXT. THE DOOR TO PANACEA’S OFFICE IN THE FLUTE MEDICALSHIP, EVENING
A long hallway spreads across the stage. The back of the stage is a metal wall, painted a light matte cream color. Horizontal stripes of yellow, blue and brown run the length of the wall. The yellow stripe runs across the center to a door in the center of the stage. The stripe of yellow follows the doorframe creating an effect of ringing the door.

PANACEA FLAUTO
(voice-over) “Medi-pod: Journal entry starting now. We have finished our examination and initial treatment of the two youths brought to us by the Count. They do show signs of injury consistent to previous cases of decompression and exposure to vacuum but not to the severity that they should have. Additionally they exhibit burns consistent to exposure to high energy. Possibility due to the proximity to the Ir-Ra and its corona.”

CEDAR WAXWINGS, in a Medi-pod rolls in from stage-left. In one hand he is holding a bag of food. He approaches the door and knocks on it.

PANACEA FLAUTO
(voice-over) “The fact that these kids even survived out there was remarkable. What were they doing out there? How did they end up in that Sat-bot? Did somebody save them, and if yes, who?”

Cedar Waxwings extends his arm and knocks a second time.

PANACEA FLAUTO
“Getting sidetracked here. Okay, medical journal. Alright where was I. Burns, right. Besides the previous symptoms they also exhibited minor abrasions and are currently unconscious. Their condition is not severe enough to warrant Medi-pods. (pauses) Medi-pods! Oh, what time is it!”

Cedar Waxwing knocks on the door a third time. He waits a few minutes and then knocks a fourth time. He waits a moment for a response and finally accepting no one is inside turns to leave. From off stage the sound of RUNNING FOOTSTEPS approaches. PANACEA FLAUTO runs in from stage-right.

PANACEA FLAUTO
“Wait!”

Cedar turns and waits for her. She runs over, places on hand on his Medi-pod for support and tries to catch her breath.

PANACEA FLAUTO
(severely winded) “Hate…running…so…much. Hey…Cedar…how…are…you?”

CEDAR WAXWINGS
“You okay.”

PANACEA FLAUTO
“Yeah, just winded.”

CEDAR WAXWINGS
“I brought you some dinner.”

PANACEA FLAUTO
“Thank you.”

CEDAR WAXWINGS
“Did you forget we were going to watch the next episode.”

PANACEA FLAUTO
“Honestly?”

CEDAR WAXWINGS
“Honestly.”

PANACEA FLAUTO
“Yes. Some new patients got admitted and I lost track of time.”

Cedar pulls out a container from his bag and hands it to Panacea.

CEDAR WAXWINGS
“So tell me about it.”

Panacea slides down to sit on the floor and opens the container. She takes a bite of salad.

PANACEA FLAUTO
“Oh, this is good.”

CEDAR WAXWINGS
“Thanks. You are always eating those salads with pine nuts, so I thought you might like this. You were saying new admits.”

PANACEA FLAUTO
“Yeah, so they found these two kids out in space.”

Cedar pulls out his food container from the bag.

CEDAR WAXWINGS
“Really?”

PANACEA FLAUTO
“Really.”

CEDAR WAXWINGS
“Then what?”

The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO THE HILLTOP

DISSOLVE FROM THE HIGH-STAGE CURTAINS TO THE DARKNESS OF SPACE

THE CAMERA PANS DOWNWARD FROM THE DARKNESS OF SPACE ACROSS THE STARS IN THE SKY AND THEN DOWN TO THOMAS AND Z-MOUSE IN THE HILLTOPS

EXT. THE HILLTOP, EVENING.
MS OF THOMAS AND Z-MOUSE
THOMAS TYPEWRITER and Z-MOUSE sit around a log fire burning on the top of a hill. They fidget with anticipation. The fire POPS then briefly flares.

THE GHOSTLY
(off-camera) “Listen well traveler, for having made it this far you are now faced with a choice.”

The flame of the fire dies down, casting Thomas and Z-Mouse into shadow. From out of the frame, stage-right, comes a spectral glow. Thomas and Z-Mouse turn their heads to look at the source of the glow.

CUT TO LS OF THE GHOSTLY
The Ghostly has appeared, floating in the air off to the side of the fire. She glows with a bright spectral energy.

THE GHOSTLY
“For you have survived what the world has given you. You have moved and made distance. Where you started is no longer where you are. Now comes the point where you will reach a fork in the road and must choose a path. But be aware one path leads…”

The Ghostly’s glow dims a little bit.

CS OF THE GHOSTLY

THE GHOSTLY
(as an aside to Thomas Typewriter and Z-Mouse) “And that is where most everyone says ‘Oh, thank you’ and keeps walking on. But if they were to stick around this is how the rest of it would go.”

CUT BACK TO LS OF THE GHOSTLY

THE GHOSTLY
“But be aware that one path leads to Abundance while the other leads to Self-Absorbtion. I am not able to tell you which path is ultimately yours to travel. Nor am I allowed to tell you how to discern which path is which. The steps you have taken before, to get here have determined that. But you have a few more steps to take before choosing, so please listen to this tale of the city that let it’s story become part of your last few steps…last few steps and ….and…and I don’t remember the rest.”

The Ghostly’s glow dims and turns off.

THE GHOSTLY
“It has been centuries since I reached even this point and its all kind of fuzzy to me now.”

Z-MOUSE
“Good thing no one sticks around then.”

THE GHOSTLY
“I know, right.”

THOMAS TYPEWRITER
“Do you remember any of it?”

THE GHOSTLY
“Something about a great golden city in the past and elves. They did something or made some bad magic or talked to the dead and some got corrupted. They can’t get along and the city splits into two.”

Z-MOUSE
“Wow, I might of oversold this.”

THOMAS TYPEWRITER
“You think. Oh, well. A break is a break and I am not going to complain. I’ve got pizza, soda, friends, and the love of someone who sees me. Life is good.”

The Ghostly returns to her seat around the campfire and picks up another slice of pizza.

Z-MOUSE
“I’ll toast to that.”

Thomas, Z-Mouse, and the Ghostly each lift up a can of soda.

THOMAS TYPEWRITER
“Salute!”

Z-MOUSE AND THE GHOSTLY
“Salute!”

THOMAS TYPEWRITER
(to self) “La vita è breve, ma l’arte è lunga.”

They each drink from the soda can and start giggling.

FADE OUT

From the desk of Thomas Typewriter: The William Cell Overture …or… TGWP Season 3, Episode 13 script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 13

“The William Cell Overture”

By Thomas Typewriter

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-13”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Once the first text exits the frame, the following text scrolls up from the bottom center of the screen: “The William Cell Overture”. It scrolls up to the top of the screen, pausing a moment in the center. The second text resumes scrolling exiting through the center top of the frame. From off-screen the sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

FADE OUT

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE ENTIRE TYPEWRITER ABSTRACT PUPPET STAGE THEN PAN IN TOWARDS THE MID-STAGE AREA UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights turn on with the sound of A LIGHTSWITCH CLICKING ON, revealing…

MID-STAGE: INT, THE ELMHOUSE LIVING ROOM, DAYTIME.

A couch sits to the stage-left side of the stage, while a large flat-pack bookcase stands to the stage-right. Various toys and laundry are scattered about. THOMAS TYPEWRITER is pacing while talking on the phone. He maneuvers around unseen toys on the floor.

THOMAS TYPEWRITER
“So you’re all done. Great. What did the they say. Oh. Uh-huh. Wow. Well, we always suspected something was going on and now we know. I’ll be right over to pick you two up. See you soon. Love ya. Bye.”

Thomas hangs up. He puts the phone into his pocket.

TRANSITION FROM MID-STAGE TO SLIDING TUBE TRANSITION

CUT TO…

INT. THE SLIDING TUBE

The Sliding Tube is basically a tube or slide of some fashion that allows transition from the pants pocket to The Pocket Dimension.

CS OF BEGINNING OF THE SLIDING TUBE

At the beginning of the sliding tube, it looks like a regular pants pocket. From the top slides in the cell phone Thomas Typewriter was speaking on. Given Thomas’ finances at the time it is not a smartphone, but a more generic flip phone.

FOLLOW THE CELL PHONE AS IT SLIDES DOWN THE SLIDING TUBE

The cell phone slips out of the bottom of the pocket and slides through a tube of crinkled frame and blinking lights. Midway through the sliding, the cell phone goes through a series of unilluminated sections. As it passes through the darkness it changes from a regular phone to WILLIAM CELL. He reaches the bottom of the Sliding Tub and slides out.

CS AS WILLIAM CELL SLIDES OUT OF THE END OF THE TUBE AND OUT OF THE FRAME.
TRANSITION FROM THE SLIDING TUBE TO THE LOW-STAGE

CUT TO MS OF THE AREA BELOW THE MID-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The lower part of the Typewriter Abstract, the typewriter keys area, splits in the middle and opens up revealing a hidden stage. This is the LOW-STAGE. It takes up most of the area hidden behind the keys, but it does have a decorative side panel on each side of the stage, and under the front of the stage.

PAN INTO PROPERLY FRAMING THE LOW-STAGE.

LOW-STAGE: EXT. THE POCKET DIMENSION, DAYTIME

A flat grassy hill sits in front of a backdrop of rolling hills. The hills recede into the distance. The front of the stage is decorated with small wildflowers.

WILLIAM CELL falls in from the top of the stage. lands on a flat plain. He gets up, dusts himself off, and then starts to pace and think. He pushes one of his number buttons. It makes a BEEP. William shakes his head at it. He hits a different number, making a different beep. He nods approval. Tying different buttons, he begins composing his symphony.

SLOWLY PAN OUT SO AS THE LOW-STAGE AND MOST OF THE PANEL BENEATH ARE VISIBLE.

The UNDER-PANEL, or the panel under the Low-stage, opens revealing the ORANGE SCREAMER. It is a floating head against a dark background, illuminated by a green light.

ORANGE SCREAMER
“Chirp.”

The noise startles William Cell. He looks for the source of the noise but does not see anything. William shakes his head and goes back to composing.

ORANGE SCREAMER
“Chirp. Chirp.”

William twists looking for the source of the noise, losing his place again. A little more frustrated, he returns to composing the melody.

ORANGE SCREAMER
“Chirp. Chirp. Chirp.” (pauses then repeats)

William Cell lurches. In a fit he starts to jump and shout. He rips away at the plants. He rages.

WILLIAM CELL
“Shut up. Shut up! Shut up! Shut up!”

The Orange Screamer shrinks back at William’s outburst. It falls silent. William goes back to composing and pacing.

SLOWLY PAN OUT ENOUGH OUT TO ALLOW THE LOW-STAGE, THE UNDER-PANEL, AND THE LEFT-PANEL IN THE FRAME.

The LEFT-PANEL or the stage-left side panel of the Low-Stage, slides open revealing the GREEN SCREAMER. Another head floating in an empty space, only this one is illuminated by a green light.

GREEN SCREAMER
“Ring.”

William Cell glares stage-left.

ORANGE SCREAMER
(looking to at Green Screamer)”Shhh.”

The Green Screamer winks at the Orange Screamer. The Orange Screamer nods back.

GREEN SCREAMER
(softly)”Ring. Ring. Ring” (repeats)

ORANGE SCREAMER
(softly) “Chirp. Chirp. Chirp.” (repeats)

William stops pacing. His fingers hover over the keypad, waiting for the Screamers to stop. When they do not, he rubs the sides of his head, takes a couple deep breaths, then goes back to pacing and composing. Every time he walks to the left, the RIGHT LOW PANEL slides a little more open. Inside is the PURPLE SCREAMER watching him pace.

PURPLE SCREAMER
(Once the panel has fully receded) “Notification. Notification. Notification.”
William is startled. The Green and Orange Screamers, look towards the stage-right, excited to see the Purple Screamer.

ORANGE SCREAMER
(loudly) “Chirp. Chirp. Chirp…” (repeats)

GREEN SCREAMER
(loudly)”Ring. Ring. Ring…” (repeats)

PURPLE SCREAMER
(loudly) “Notification. Notification. Notification…” (repeats)

William puts his hands over his ears trying to block out the Screamers cacophony. He falls to his knees. Unable to take it anymore, he starts to pound on the keypad, hoping to drown out the din with his own bedlam of mangled notes.

WILLIAM CELL
“STOP IT! STOP IT! STOP IT!”

THE CAMERA PANS OUT,UNTIL MID-STAGE AND LOW-STAGE ARE IN THE FRAME.

Up in MID-STAGE…

MID-STAGE: INT. DOCTOR’S OFFICE WAITING ROOM, DAYTIME

A row of chairs sits in front of a sterile wall. A door stands at one end of the chairs, potted plants the other end. A table covered passes the time in front of the chairs. THOMAS TYPEWRITER sits calmly and patiently in a chair reading a magazine. A nervous jitter betrays his anxiety.

Meanwhile down in LOW-STAGE…

William continues blaring notes hoping to overcome the Screamers continued noises. The noise from LOW-STAGE fills the two stages, building to an uncomfortably loud level.

Meanwhile back up in MID-STAGE…

Thomas’ nervous jitter grows as the volume increases. When the sound reaches a crescendo, the Doctor’s office door opens. The CLICK OF THE DOORKNOB TURNING supersedes all other sounds.

Meanwhile down in LOW-STAGE…

The Screamers fall silent. All the PANELS start to slide shut as the light illuminating each Screamer dims. William stops as well, surprised by the silence. He looks around in surprise.

While at the same time up in MID-STAGE…

Thomas looks to the door. He sets down his magazine and stands. Out runs PRIMO TYPEWRITER-OPERAHOUSE, followed by OPHIDIA TYPEWRITER-OPERAHOUSE. Timbre runs over to hug Thomas. Ophidia gives each a kiss on the head. They start walking stage-right.

ZOOM BACK IN TILL FRAMING ONLY LOW-STAGE, NOT LOW-STAGE PLUS THE SIDE PANELS.

William looks around in disbelief. It is silent. It is peaceful. He stands. He tentatively plays a note on his keypad. It rings through the air and William smiles. He plays another note. Smiling, he returns to the peace of composition.

THE CAMERA SLOWLY PANS OUT FROM THE LOW-STAGE

The lower part of The Typewriter Abstract Puppet Stage that had parted to reveal the LOW-STAGE, slides back into place.

FADE OUT.

From the desk of Thomas Typewriter: a new TGWP script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 11

By Thomas Typewriter

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-11”. 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. UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE, TWIXLIGHT

CS OF A SCRIPTBOOK

We open on a page of the scriptbook currently being read by the Outer One from the previous episode. The pages are the blanks between episodes. Their hand of blue scrolling abstract text and glitches turns the page. The new page reads as follows:

———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play for those looking for their many parts.
Season 03, Episode 11
By Thomas Typewriter
(c) 20??
===========<:type:>===========

FADE OUT AS THE OUTER ONE’S GLITCHEY HAND TURNS THE PAGE.

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

In the darkness unseen lamps turn on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE hiding in the dark.

TRANSITION FROM TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN ON THE MID-STAGE AREA

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights click on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THE SOUTH MEN’S BATHROOM OF THE SILVER SCREEN THEATRE, LATE AFTERNOON

A simply decorated bathroom sits on the stage. On the stage-left side of the stage stands a large mirror and two sinks. In the center of the stage stand three urinals. Then on the Stage-right side of the stage stand four stalls with locking doors. THOMAS TYPEWRITER rushes in from stage-left, hurrying past the sinks and urinals to one of the stalls. His stomach RUMBLES and his pace quickens. Locking himself inside a stall, we can hear the explosive noise of his DIARRHEA.

TRANSITION FROM MID-STAGE TO HIGH-STAGE.

THE CAMERA PANS UPWARD, UP ALONG THE MID-STAGE SETS, PAST THE SET TOPS AND UP ALONG THE CURTAIN OF CLOUDS. REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS, THE CAMERA SLOWS IT PAN. IT STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out steps Y-Mouse.

Y-MOUSE
“What vindications asks the interrupted idea, lost to its own agency, as it wanders across a nowhere.”

Y-Mouse exits and the Narrator’s Door closes behind him. There is a sound of A COMPUTER BOOTING UP then the curtains part revealing…

HIGH-STAGE: THE FAR EDGE OF THE FOREVERCAGE

The screen is an empty blankness, dark and static. From the stage-right side of the stage a scale model of THE SPACE EGG flies on-stage. It moves in such a way that it looks like it is flying but not really moving too far across the stage. From the stage-right side of the stage a scale model of THE WARDROBE OF A THOUSAND AND ONE COSTUMES slides into view. The Space Egg flies towards the Wardrobe of a Thousand and One Costumes. When it crosses the center-line of the High-stage, it rotates the front doors towards the stage front.

CUT TO CS TO THE BOTTOM OF THE WARDROBE’S DOORS, WHERE THEY MEET.

The two doors of the wardrobe dwarf the stage, extending out of the frame. On both doors, the bottom corner has worn away creating a gap. It is just large enough for the Space Egg to fly through. The Space Egg does just that and flies out of view into the Wardrobe of a Thousand and One Costumes. The The sound of A COMPUTER TURNING OFF rings out followed by the High-stage curtains closing.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN . IT CONTINUES DOWN AND DOWN. THE MID-STAGE SETS PEAK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD ALONG THE MID-STAGE UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT SCREEN 8 OF THE SILVER SCREEN, EVENING

OPHIDIA OPERAHOUSE is sitting in the dark watching the movie. The film’s MUFFLED SOUNDTRACK can be heard in the background. She is looking off-stage.

OPHIDIA OPERAHOUSE
“Where could he be?”

The Mid-stage curtains close then reopen revealing…

MID-STAGE: THE SOUTH MEN’S BATHROOM OF THE SILVER SCREEN THEATRE, LATE AFTERNOON

From one of the stalls we hear THOMAS TYPEWRITER MOAN as another bout of gastrointestinal distress shudders his body. The Mid-stage stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new TGWP script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 10

By Thomas Typewriter

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward. It exits the frame at the top edge.

FADE OUT

FADE IN

EXT. THE UNDECORATED SPACE OUTSIDE UNROOM NOT.SEVEN

LS OF THE DOORWAY

A stark darkness broken by a free standing revolving door, lit by unseen lamps spreads out before us. The door bears a design of “.7” denoting it as the door to the unroom Not.Seven. Off to the sides, if we took the time to look, we could see the beginnings of trails made from variously sized sheets of grey paper and cardboard. THE OUTER ONE leans against the door frame of the freestanding door reading a scriptbook.

PAN TO MS OF OUTER ONE

CUT TO POV OF OUTER ONE, LOOKING AT THE SCRIPTBOOK

CUT TO CS OF THE PAGES

The Outer One has the scriptbook open to a cover page for one of the scripts. The page reads as follows:

———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play for those in many parts
Season 03, Episode 10
By Thomas Typewriter
(c) 20XX
———–<:type:>———–

The page is turned by a hand with a flesh of scrolling abstract blue text.

TRANSITION FROM THE UNDECORATED SPACE TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAGE WIPE TO

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains open and the stage-lights turn on with sound of a A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THE SILVER SCREENS BOX OFFICE. EARLY EVENING

A long counter runs across the stage with six registers. Behind the registers hangs a large red LED sign listing all the showtimes.

The showtimes are as follows:

TUGBOAT (R) 4:00 7:00 9:50
Sat & Sum Matinee 1:00

THE ASSASSIN AND THE BUSINESSMAN (R) 3:45 6:45 9:30
Sat & Sun Matinee 12:45

COWBOYS IN LOVE (R) 5:00 8:00
Sat 4 Sun Matinee 1:45

HOODWINKED! (PG) 4:45 7:30 9:40
Sat & Sun Matinee 2:00

A HOLIDAY BEFORE I DIE (PG-13) 3:30 6:30 9:15
Sat & Sun Matinee 12:30

GRIZZLY GRUMPS (R) 4:15 7:15 10:00
Sat & Sun Matinee 1:30

2 MORE WEREWOLVES AND VAMPIRES (R) 5:15 7:45 10:15
Sat & Sun Matinee 2:15

MALICK’S FURTHER PROGRESSION (PG-13) 4:30 8:15
Sat & Sun Matinee 1:15

Two employees are stationed at the box office. At one end of the counter HARRY GRAPEFRUIT is busy reading Atlas Shrugged by Ayn Rand. At the other end of the counter TYLER TUX leans on the register looking out and daydreaming.
OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter from Stage Left. They approach the box office and read the showtimes. Tyler and Harry turn to see them enter. Harry returns back to reading his book.

TYLER TUX
(to Harry) “Seriously.”

HARRY GRAPEFRUIT
(responding without looking away from book) “Greatness requires cultivation.”

Tyler stands at attention and greets Thomas and Ophidia.

TYLER TUX
“Thank you for coming out to the Silver Screens. What movie brings you out tonight?”

OPHIDIA OPERAHOUSE
“I don’t know were still deciding.”

TYLER TUX
“Take as much time as you need. Let me know when you’ve decided.”

Tyler leans back onto the monitor and zones out. Thomas and Ophidia discuss which movie to watch then return to Tyler. He stands at attention.

OPHIDIA OPERAHOUSE
“Hoodwinked.”

HARRY GRAPEFRUIT
(looks up from book) “Seriously? You should pick something else.”

Thomas gives Harry a sour look and Harry quickly returns to his book.

OPHIDIA OPERAHOUSE
“Should we not see it?”

THOMAS TYPEWRITER
“I am sure it’s fine. He didn’t mean anything. And, besides, you love animated films.”

OPHIDIA OPERAHOUSE
“I do love animated films.”

THOMAS TYPEWRITER
(to Ophidia) “See.” (to Tyler) “Two for Hoodwinked please.”

TYLER TUX
“Will you be paying separately or together.”

THOMAS TYPEWRITER
(stepping forward) “Together. It is our special night after all.”

TYLER TUX
“Oh, what is the special occasion.”

OPHIDIA OPERAHOUSE
“We’re getting married!”

THOMAS TYPEWRITER
“I proposed and she said yes.”

HARRY GRAPEFRUIT
(out loud, to no one in particular) “Half of all marriages end in divorce.”

TYLER TUX
“I apologize for him.”

Tyler looks left and right. He pulls out two Silver Screen $1 passes. He clips and puts them in the register.

TYLER TUX
“In honor of your special day, enjoy these dollar discount coupons. So that’ll be two dollars.”

TRANSITION FROM THE MID-STAGE TO THE MANAGER’S OFFICE

CUT TO…

INT. THE SILVER’S SCREEN MANAGER’S OFFICE

A small room paneled in wood grain wallpaper and movie posters, it is bisected by a desk and a large safe. TYLER TUX sits in a cracked chair while STEVEN KINGFISHER, the Silver Screen’s General Manager, sits behind the desk.

STEVEN KINGFISHER
“Tyler, you’re not a Manager. Stop handing out the discount passes.”

TYLER TUX
“Maybe if other employees did not say things that pissed off customers I wouldn’t have to.”

STEVEN KINGFISHER
“Again, you are not a Manager, so this is not your concern. Stop handing out passes.”

TRANSITION FROM THE MANAGER’S OFFICE TO THE MID-STAGE

CUT BACK TO…

MID-STAGE: INT. THE SILVER SCREENS BOX OFFICE. EARLY EVENING

THOMAS TYPEWRITER
“Wow thanks”

OPHIDIA OPERAHOUSE
“Yeah, thanks. That’s awesome”

Thomas pays the two dollars. Tyler prints up the tickets and hands them to Thomas.

TYLER TUX
“Hope you enjoy your movie.”

Thomas and Ophidia leave. Tyler watches them leave stage-right. Once they are gone he looks to Harry.

TYLER TUX
“Harry, why’d you bring up divorce? It freaked out that couple.”

HARRY GRAPEFRUIT
(not looking up from book) “If someone gets offended at what I say that is their problem.”

TYLER TUX
“But why say things that would hurt people. Did you see how happy they were until you said something. Like you could of literally not said anything and they would of been happy. Now they are less happy and by extension the world has a little less happiness in it.”

HARRY GRAPEFRUIT
“I reject your argument.”

TYLER TUX
“And I reject this job, this whole situation.”

Tyler moves around the counter. He takes off his name tag and sets it on the counter. He turns and starts to leave.

TYLER TUX
“Tyler’s out.”

HARRY ORANGEGROVE
“Send me a postcard from the unemployment line.”

Tyler flips off Harry and exits stage-left. Harry resumes reading.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD TO THE TOP OF THE CURTAIN OF CLOUDS WHERE THE HIGH-STAGE IS LOCATED. THE CAMERA SLOWS DOWN AND ULTIMATELY STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out emerges Y-Mouse.

Y-MOUSE
“What is the emptiness left by the end of a moment. Does the expired moment continue to speak to us in long paragraphs of grief. Hollow words spilling across the span of our lives.”

Y-Mouse turns and exits through the Narrator’s Door. The door closes. The High-stage curtains part. Once they have fully opened the stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: EXT. OUTER SPACE, NIGHT

The void of space spreads across the stage. From below-stage up flies a scale model of the sparkship THE COUNT. It travels a diagonal arc exiting top-stage. The High-stage Curtains close then reopen revealing…

HIGH-STAGE: INT. THE COUNT’S CONTROL ROOM, NIGHT

A small pilot’s chamber, the Control Room has a large round center counsel with a row of gold accented vacuum-tube like lights on top. The side walls are made up of various monitors interspersed amongst stain glass windows. BARBARO BUFFO, a mostly bio-goblin and the sparkship’s sole staff member, sits in the pilot chair talking with the ship’s artificial intelligence COUNT. Each time Count speaks, the vacuum tube like lights flicker.

COUNT
“Update on the scans.”

BARBARO BUFFO
(leaning over and looking onto a view screen on the control panel)”The scans show no signs of the missing crafts or source of disturbances.”

COUNT
“Open a channel to that beautifull delight Musica?”

BARBARO BUFFO
“Are you just looking for an excuse to talk to her.”

COUNT
“To even hear a slip of syllable from her lips would be sublime. But to answer your question, yes. Yes I am.”

BARBARO BUFFO
“You’ve got it bad old friend.”

COUNT
“Do I ever.”

BARBARO BUFFO
“Who am I to deny true love.” (flips some switches) “Opening a secure channel now.”

CLICK-CLICK rings out from the speakers in the console.

MUSICA
(voice over speaker) “Hello darling.”

COUNT
“Hello to you too my queen, my angel, my vision.”

MUSICA
(giggles) “Is Barbaro there with you.”

BARBARO BUFFO
“Yeah, I’m here. Hi.”

MUSICA
“I think he’d appreciate if we saved the sweet talk for when we are alone. Now I am sure you didn’t call to just flatter me.”

BARBARO BUFFO
“We’ve finished searching sector 8, and are about to move onto sector 7. No sign of the lost astronaut.”

MUSICA
(voice-over) “And what about the storm.”

BARBARO BUFFO
“No source for that yet either. There might be something closer to the IR-RA. We need to move closer. Permission to head to sector 6 once we finish sweeping sector 7.”

MUSICA
“Granted.”

BARBARO BUFFO
“Understood and over.”

COUNT
“Goodbye Musica.”

MUSICA
“Bye sweetheart. Be safe.”

BARBARO BUFFO
“Aww…thank you.”

MUSICA
“I was talking to Counter, but you be safe too.”

BARBARO BUFFO
“Channel closed. Communication ended.”(flips the communication switches back) “Look at you, getting pretty cosy with the boss.”

COUNT
“Well…”

BARBARO BUFFO
“Transitioning from sector 8 to sector 7.”

Barbaro reaches over and starts to type in the new navigation coordinates. The control room shakes as the sparkship changes direction.

COUNT
“When we get back, where should I take Musica on a date.”

BARBARO BUFFO
“I thought you weren’t dating.”

COUNT
“Currently it’s a long distance thing, but I want more than that. I want to find out if we can be something more.”

BARBARO BUFFO
“You mean a short distance relationship.”

COUNT
“Is that even a term?”

BARBARO BUFFO
“No.”

COUNT
“But yeah, exactly. I get so excited to see her, but I’m also so nervous…it means a lot to me and I want somewhere special to take her.”

BARBARO BUFFO
“Well you could catch a show over at the Fore-thought or the Hind-sight. There’s also one of the Halls. My cousin took a tour of the Hall of Roses and said it was real nice.”

A proximity alarm goes off. BLEEP…BLEEP…BLEEP…BLEEP. One of the monitors, with a radar screen like set-up, shows a small object ahead of The Count.

COUNT
“What is that?”

The High-stage curtains close and then reopen revealing…

HIGH-STAGE: EXT. OUTER SPACE, NIGHT
The model of The Count enters stage-left and flies stage-right towards a small glittering SPACE OBJECT. It is a diamond shaped object warped and burned. The cargo bay doors open and it scoops up the space object. It then flies off, exiting stage-right. The High-stage’s stage-lights turn off with the sound of A COMPUTER TURNING OFF. The the High-stage’s curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD, FOLLOWING THE CURTAIN OF CLOUDS TO THE MID-STAGE SETS. IT MOVES OVER THE TOPS OF THE SETS DOWN TO THE MID-STAGE.

MID-STAGE: INT. SCREEN 8 OF THE SILVER SCREEN, LATE AFTERNOON
Three rows of stadium style movie theatre chairs run across the stage. A yellow safety bar can be seen along the bottom of the stage preventing anyone in the bottom row from falling off the stadium seat risers. Stairs can be seen off to stage-left. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-left. He is carrying a large soda and a large popcorn. She is carrying a box of TIGER TOPS candy and some napkins. They climb the stairs up to the second row and sit towards the middle.

THOMAS TYPEWRITER
(Looking around) “Those guys were not kidding. We are the only ones here.”

OPHIDIA OPERAHOUSE
“Maybe they were right and this movie sucks. Should we go see something else?”

THOMAS TYPEWRITER
“No, it’ll be fine. Your here, I am here, and we’re together. That is all that really matters. Together we’ll find the best tomorrow.”

OPHIDIA OPERAHOUSE
“You are so corny.”

THOMAS TYPEWRITER
“That’s why you love me.”

OPHIDIA OPERAHOUSE
“Among other reasons.”

Thomas leans over and kisses Ophidia on the cheek. She smiles. The stage-lights dim as we hear CLICK CLICK CLICK of a 35mm film projector starting up.

OPHIDIA OPERAHOUSE
“Ohh…the film is starting.”

THOMAS TYPEWRITER
“Awesome.” (puts the drink in the cup holder then uses his free hand to grab hold of Ophidia’s hand.)

While watching the coming attractions Thomas’ STOMACH RUMBLES. The sound of it overwhelms the MUFFLED AUDIO OF THE COMING ATTRACTIONS. Thomas puts a hand on his stomach to quiet it. It rumbles again. He looks down at his stomach in alarm. Ophidia even steals a side glance in concern.

OPHIDIA OPERAHOUSE
“Are you okay?”

THOMAS TYPEWRITER
(panicked look on face) “I’ve go to go.”

Thomas hands the popcorn to Ophidia and exits down the stairs and off stage stage-left. She watches him leave, looks off-stage for a moment in concern, then turns back to the screen.

OPHIDIA OPERAHOUSE
(to self) “I hope he’s alright.”

The Mid-stage stage-lights shut off with the sound of A LIGHT SWITCH CLICKING OFF and the curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 3, Episode 9

By Thomas Typewriter

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-09”. 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

INT. UNROOM NOT.SEVEN, TWIXTLIGHT

CS OF THE MID-STAGE CURTAINS OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The TYPEWRITER ABSTRACT PUPPET STAGE sits on a wooden disc in the possible center of the room of an indeterminable size. Radiating out from the disc are a series of semicircular rows of grey hued carpet squares. The carpet squares are set up as if chairs in an auditorium. The entire area is softly illuminated by tall spindly metallic lamps at the ends of rows. The lamp’s power cords snake off, trailing out of sight. On one of the grey carpet squares, THE OUTER ONE patiently sits watching the Typewriter Abstract Puppet Stage.

PAN DOWNWARD AS THE CAMERA SUBTLY SHIFTS FROM CLOSE-SHOT TO POV OF THE OUTER ONE.

The Outer One looks at the scriptbook on the floor next to them. The cover reads as follows:

THE GREAT WORKS PROJECT
a puppet play in many parts
THE COMPLETE SERIES
BY THOMAS TYPEWRITER

The Outer One’s injury has spread across the whole hand. From fingertip to wrist flesh is replaced by scrolling blue abstract text and a glitching outline. Just below the wrist a series of red icons orbit the flesh as a warning that the injury is spreading. A soft BEEPING drifts from somewhere on the Outer One. SCRAPING FOOTSTEPS from off-screen move towards the Outer One.

CAMERA TILTS UP.

Two PRECEDURES with their long mask-like faces emerging from long trailing cloaks, stand before the Outer One. They, in unison, raise up a gloved hand. The pair then point to it with their other hand and then point at the Outer One. Both shake their heads and wiggle their fingers NO.

THE ENTIRE FRAME SHIFTS AS THE OUTER ONE IS FLUNG BACKWARDS BY AN INVISIBLE FORCE AT AN ACCELERATED PACE OUT OF UNROOM NOT.SEVEN.

EXT. UNROOM NOT.SEVEN, TWIXTLIGHT

The Outer One lands in the darkness outside the unroom flung out the free-standing revolving door. The script flies out of door landing on the ground next to the Outer One. Unseen lamps illuminate the area.

THE CAMERA, THE POV OF THE OUTER ONE, STANDS AND WALKS OVER TO THE DOOR

The Outer One pushes on the doors attempting to re-enter the Unroom. They do not budge.

POV ROTATES

In the distance can be seen a small bridge illuminated by an unseen lamp. Nearer sits the scriptbook on the ground, pages splayed open.

POV WALKING OVER TO THE SCRIPTBOOK.

A hand reaches out. Their fingers of blue scrolling text pick up the scriptbook.

POV ROTATES AND WALKS BACK TO THE LOCKED DOOR.

Gently the Outer One sits down. They open the scriptbook which reads:

“CUT TO
MID-STAGE: INT. SKOLNICK’S ICE SCREAM DELI DINING AREA
Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second is empty. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch. THOMAS TYPEWRITER, with a look that says really sorry about your hand but don’t give up cause I’m rooting for you, and OPHIDIA OPERAHOUSE enter carrying a tray with their orders. They sit at the center table. As they sit, Ophidia takes a small nibble while Thomas hands out some napkins. She takes one and dabs at the side of her face.”

TRANSITION FROM SCRIPTBOOK TO MID-STAGE

CUT TO…

MID-STAGE: INT. SKOLNICK’S ICE SCREAM DELI DINING AREA, DAYTIME

FRAMING SHOT OF MID-STAGE

Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second is empty. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter carrying a tray with their orders. They sit at the center table. As they sit, Ophidia takes a small nibble while Thomas hands out some napkins. She takes one and dabs at the side of her face.

OPERAHOUSE
“Thanks.”

Thomas closes his eyes, clasps his hands and starts to prey. Ophidia joins in.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP PAST THE TOP OF THE MID-STAGE SETS BRINGING THE STAGE’S BACKDROP, THE CURTAIN OF CLOUDS, INTO VIEW. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS. IT FINALLY STOPS AT THE HIGH-STAGE NEAR THE TOP OF THE CURTAIN OF CLOUDS.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Y-Mouse steps out.

Y-MOUSE
“How injurious a moment of distraction, unable to see the overlapping orbits of past, present, and future.”

Y-Mouse turns and leaves. The Narrator’s Door closes. The curtains of High-stage start to open. Once fully parted the stage lights turn on with a noise like A COMPUTER TURNING ON revealing…

HIGH-STAGE: INT. ROOM 302 ON THE MEDICALSHIP THE FLUTE, DAYTIME.

A room of space age smoothness and plastic accentuated with baroque style trim work is divided into three sections by three Medi-pods. Each ovoid device is person size with three red blinking lights on the top, three circular ports around the middle and three wheels on the bottom. To the stage-left side sits a large curved window. The starscape outside The Flute can be seen outside. A small spaceship flies across the window. In-between the first Medi-pod and second is the bathroom door, while between the second and third is the main door. On the stage-right side a Vid-screen wall curves across. The red blinking lights on top of the Medi-pods turn green one at a time. Each color change is accompanied by a BEEP noise.

LUCIDO OBSIDIAN
(mildly electronically distorted voice)”Where am I?”

The stage-lights turn off with the sound of A COMPUTER TURNING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM FRAMING HIGH-STAGE TO FRAMING MID-STAGE, MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS, UP OVER THE TOPS OF THE MID-STAGE SETS, FINALLY RESTING WHEN MID-STAGE IS FRAMED REVEALING….

MID-STAGE: INT. SKOLNICK’S ICE CREAM DELI DINING AREA DAYTIME

Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second finds THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch.

OPHIDIA OPERAHOUSE
“Can I ask you something? Maybe you don’t want to talk about it.”

THOMAS TYPEWRITER
“No. What is it? Go on.”

OPHIDIA OPERAHOUSE
“Well, when you proposed you said you had no job, all your scripts had their options let run out.”

THOMAS TYPEWRITER
“Yes. And I don’t have any new scripts. I am stuck.”

OPHIDIA OPERAHOUSE
“Well, I was thinking that I could use some help on my short and I have extra grant money, so I could hire you. Would you come work for me.”

THOMAS TYPEWRITER
“I don’t know. I kind of like doing my own thing.”

OPHIDIA OPERAHOUSE
“You don’t have to answer me now. Think it over for and let me know.”

THOMAS TYPEWRITER
“Okay. I can at least think about it.”

Ophidia stands up and gathers her tray.

OPHIDIA OPERAHOUSE
(bumping Thomas with her hip)”Come on it’ll be fun. You done with your food.”

THOMAS TYPEWRITER
“Yes.”

OPHIDIA OPERAHOUSE
“Let me take your trash away.”

THOMAS TYPEWRITER
“Sure, thanks.”

Ophidia leans in and kisses him on his cheek. He touches his face where she kissed him and smiles. Ophidia walks to the trashcan off-screen stage-left. Thomas watches her walk away smiling. Then there is a loud STOMACH GURGLE and he grips his stomach. An alarmed look spreads across his face. Ophidia reenters and Thomas hides his alarm with a face smiling and bright.

OPHIDIA OPERAHOUSE
“Ready to see a movie”

Thomas nods his head yes. They both stand and exit stage-right. The lights click off with a sound of A LIGHT SWITCH BEING CLICKED OFF. The curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new “The Great Works Project” script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 3, Episode 8

By Thomas Typewriter

===========<:type:>===========

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-08”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. THE UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE

A large cavernous room of indeterminate volume, the Unroom Not.Seven bears few decorations. In the possible center of the unroom sits a wooden disc. Surrounding the wooden disc on one side, like radiating waves, are rows of grey hued carpet squares. A faint light radiates from spindly metallic lamps at the ends of each row. On one of the carpet squares THE OUTER ONE sits looking at the floor.

OPEN ON POV OF THE OUTER ONE

The Outer One is stacking golden coins in various arraignments, seeing the different patterns that emerge. As they move the coins, the injury on their right hand is visible. The flesh of the fingers and a portion of the knuckles have been replaced with a bluish glow. The glow is filled with scrolling abstract text in a different hue of blue. The injury does not impair the Outer One’s ability to use the hand. From off-camera the sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

POV OF THE OUTER ONE LOOKING UP FROM THE FLOOR TO LOOK AT THE WOODEN DISC.

In the center of the wooden disc, and facing towards the Outer One, sits THE TYPEWRITER ABSTRACT PUPPET STAGE. Unseen lamps above it slowly turn on.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

The main curtain starts to open as the camera pans in.

TRANSITION FROM THE UNROOM TO THE HIGH-STAGE

PAN IN TOWARDS THE HIGH-STAGE AREA OF, STOPPING ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CLOSED CURTAINS

The High-stage curtains part revealing…

HIGH-STAGE: EXT. THE FOREVERCAGE

A vast field of nothingness empty and frozen, the Forevercage spreads in all directions. A small sparkle, THE SPACE EGG, glints stage-left.

CUT TO LONG SHOT OF THE SPARKLE

The Space Egg slowly spins in the distance as it drifts across the Forevercage.

THE INNER-SPACE MAN
(barely audible from off-screen) “…1, 098, 896…”

CUT TO MEDIUM SHOT OF THE SPACE EGG AS IT DRIFTS ACROSS THE FRAME.

THE INNER SPACE-MAN
(faintly from off-screen) “…1, 098, 897…”

Now that we are closer, we see the middle band on the Space Egg briefly HUM and light up.

CUT TO CLOSE SHOT OF THE SPACE EGG AS IT DRIFTS ACROSS THE SCREEN.

THE INNER SPACE MAN
(off-screen) “…1, 098, 898…”

The mid-band of the Space Egg briefly lights up while also emitting a soft HUM. It drifts off screen stage-right.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS, ALONG THE CURTAIN TO THE TOPS OF THE MID-STAGE SETS, OVER THE TOPS AND DOWN TILL FRAMING THE MID-STAGE.

MID-STAGE: INT. SKOLNIC’S ICE CREAM DELI’S FRONT COUNTER, DAYTIME

A counter, for ordering, stands on stage-left while a series of ropes and standards, for customers waiting to order, stretches across the width of the stage. An “ORDER HERE” sign over the counter while a “ENTER HERE TO ORDER” sign hangs at the end of the customer queue. Menu boards hang behind the ordering counter. ABELARD ABLE stands behind the counter ready to take orders. Five customers currently stand in line waiting their turn to order.

ABELARD ABLE
“Next.”

The first person in line, SKOLNIC’S CUSTOMER #1, approaches the counter. Everyone else moves forward. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-right and stand at the end of the queue.

SKOLNIC’S CUSTOMER #1
“Could I have a Reuben on Waffle Cookies with a small Cesar Salad Shake.”

Abelard punches in the order.

ABELARD ABLE
“That’ll be $6.98”

He pays. Abelard hands him a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8896. Pick it up at the other counter. Next.”

Skolnic’s Customer #1 exits Stage-left. SKOLNIC’s CUSTOMER #2 walks up to the counter. All the other customers in the queue move forward. From stage-right enters SKOLNIC’s CUSTOMER #7. She enters the queue behind Thomas Typewriter and Ophidia Operahouse.

SKOLNIC’S CUSTOMER #2
“A Monte Cristo on sugar cookies, with a scoop of ranch on the side please.”

ABELARD ABLE
“That’ll be $4.76”

Skolnic’s Customer #2 pays and Abelard hands her a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8897. Pick it up at the other counter. Next.”

Skolnic’s Customer #2 exits stage-left. SKOLNIC’S CUSTOMER #3 walks up to the counter. Everyone in the queue moves forward. From stage-right enters SKOLNIC’S CUSTOMER #8 and enters the end of the queue.

SKOLNIC’S CUSTOMER #3
“Could I have a Ceasar Salad Shake and a Chicken Noodle Sunday.”

ABELARD ABLE
“That’ll be $7.12.”

He pays Abelard, who then hands him a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8898. Your order will be ready at the other counter. Next.”

Skolnic’s Customer #3 exits stage-left. SKOLNIC’s CUSTOMER #4 walks up to the counter. The rest of the customers in the queue step forward. SKOLNIC’S CUSTOMER #9 enters from stage-right and stands behind Skolnic’s Customer #8 in the queue.

SKOLNIC’S CUSTOMER #4
“Do you still have Bacon Cheeseburgers?”

ABELARD ABLE
“Yes.”

SKOLNIC’S CUSTOMER #4
“Good. I’ll take that on a Chocolate Chip cookie with a large Beet Salad Shake.”

ABELARD ABLE
“That will be $8.02”

SKOLNIC’S CUSTOMER #4
“Here you go.”

She pays Abelard. He hands her a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8899 and will be ready at the other counter.”

SKOLNIC’S CUSTOMER #4
“Thanks. Have a great day.”

ABELARD ABLE
“You too. I can help who’s next.”

Skolnic’s Customer #4 exits stage-left. SKOLNIC’S CUSTOMER #5 walks up to the counter. Everyone in the queue moves forward. SKOLNIC’S CUSTOMER #10 enters from stage-right and stands at the back of the queue.

ABELARD ABLE
“Hi.”

SKOLNIC’S CUSTOMER #5
“Hi. Could I have a Lobster Bisque Sunday with a large Oyster Cracker Cookie.”

ABELARD ABLE
“Sure. That’ll be $7.78”

He pays. Abelard hands him a receipt

ABELARD ABLE
“Here is your receipt. Your order number is 8900. You can pick it up at the other counter. Next.”

Skolnic’s Customer #5 exits stage-right. Thomas Typewriter and Ophidia Operahouse step forward to the counter. Everyone in the queue behind them moves forward. SKOLNIC’S CUSTOMER #11 enters from stage-left and stands at the end of the queue.

ABELARD ABLE
“What can I get you today?”

THOMAS TYPEWRITER
“Oh, thank you. Let’s see. I’ll have the Gyro on a Waffle with a Garden Salad Shake, please.”

OPHIDIA OPERAHOUSE
“And, I’ll have an Italian Beef on Wafer Cookies with a small Cracker Cookie.”

ABELARD ABLE
“No problem, and thanks for visiting today. Will you be paying separately or together?”
Ophidia and Thomas look at each other in surprise and shrug.

THOMAS TYPEWRITER
“Together. I’ll pay.”

OPHIDIA OPERAHOUSE
“Okay, but I get the movie tickets to even it out.”

THOMAS TYPEWRITER
“(looking at Ophidia) Deal. (turns to Abelard) Sorry, how much was it?”

ABELARD ABLE
“No problem. $17.54 is the total.”

Thomas Typewriter pays. Abelard hands him a receipt.

ABELARD ABLE
“Okay, so here is your receipt. Your order number is 8901 and will be ready at the the other counter. Next.”

Thomas Typewriter and Ophidia Operahouse exit stage-left.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD, UP OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT THE TOP. THE CAMERA SLOWS AND STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: THE FOREVERCAGE

The static void of the Forevercage spills across the screen. A few moments pass before the Inner-Space Egg enters from screen-right.

PAN IN UNTIL THE EDGES OF THE HIGH-STAGE ARE NOT-VISIBLE. THE BLACKNESS OF THE FOREVERCAGE SHOULD FILL THE SCREEN.

THE INNER SPACE MAN
(off-screen) “…1, 098, 899…”

There is a short HUM noise from the Space Egg as its middle band partially lights up then shuts off.

THE INNER SPACE MAN
(off-screen) “…1, 098, 900…”

Again a short HUM noise from the Space Egg as its middle band partially lights up then shuts off.

THE INNER SPACE MAN
(off-screen) “…1, 098, 901…”

This time the HUM noise is loud and long as the entire middle band and eye-ring of the Space Egg light up. It stops drifting and comes to a halt. We can hear MORE BUTTON PUSHING and SYSTEMS POWERING UP.

THE SPACE EGG
“Finally.”

THE INNER-SPACE MAN
(off-screen) “Tell me about it.”

THE SPACE EGG
“So what now.”

THE INNER-SPACE MAN
“We see if forever has an end.”

The Space Egg flies off exiting stage-right. The High-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 07

By Thomas Typewriter
(c) 2020

===========<:type:>============

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-07”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

THE CAMERA, CURRENTLY THE POV OF THE OUTER ONE, LOOKS TOWARDS THE WOODEN DISC.

In a room of undiscernible size, THE OUTER ONE sits on a one of many grey squares of carpet arraigned around a wooden disc. The disc currently stands empty. Some of the spindly metallic lamps at the ends of the carpet rows cast a faint light on the wooden disc.

POV OF OUTER ONE AS THEY BRING UP THEIR HANDS.

A right hand comes into view, the flesh of its fingers and thumbs replaced by scrolling lines of blue abstract text. The Other One’s left hand comes into view. It rubs the right hand as if in pain. After a few moments, the sound of TYPEWRITER KEYS CLICK CLACKING sounds out from the wooden disc.

POV OF OUTER ONE SHIFTING GAZE FROM HANDS TO THE WOODEN STAGE.

Unseen lamps over the wooden disc turn on. THE TYPEWRITER ABSTRACT PUPPET STAGE instantly materializes.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE POV PANS INWARD TOWARDS THE MID-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE MID-STAGE

THE CAMERA PANS INWARD TOWARDS THE MID-STAGE UNTIL PROPERLY FRAMING IT.

MID-STAGE: CURTAINS CLOSED

The curtains open and the stage lights turn on with the CLICK OF A LIGHT SWITCH, revealing…

MID-STAGE: INT. THE MANY FACETS JEWELRY STORE SHOWROOM, DAYTIME

EXTREME CS OF A SPINNING DIAMOND

A giant spinning diamond fills the frame, sunlight glittering of its multiple orthogonals.

PAN OUT

The spinning diamond is one of the two spinning diamond displays seen in the window of the The Many Facets jewelry store last episode. As the camera pans out we see more of the interior of the Many Facets. A long glass case runs across the stage. A taller glass case sits on top of the counter. Additionally a smaller display case hangs on the wall behind the counter. A doorway and two large glass windows sit off to the stage-left side. A spinning diamond can be seen in each window. A wide variety of styles of rings, bracelets, necklaces and earrings can be seen in the display cases.

The Many Facets’ two daystaffers, JEROME SALAMANDER and HENNY NETPENNTY, stand behind the counter. Jerome wipes off the glass while Henney puts necklaces away in the display case. OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter from stage-right through the glass doors.

THOMAS TYPEWRITER
“Sorry I let the door close on you. I get distracted sometimes.”

OPHIDIA OPERAHOUSE
“It’s fine.”

JEROME SALAMANDER
(to Ophidia and Thomas) “Hello.”

THOMAS TYPEWRITER
“Hi”

OPHIDIA OPERAHOUSE
“Hi”

JEROME SALAMANDER
“Feel free to look around. I’ll be with you in a moment”

THOMAS TYPEWRITER AND OPHIDIA OPERAHOUSE
“Okay.”

Thomas and Ophidia lean over and start to look at the rings in the nearest counter top display. Jerome picks up his cleaning supplies and sets them down behind the counter near the stage-left side. He walks back. Pausing next to Henny, he leans over and whispers something to her. She nods and then hands him a golden feather keyring filled with many keys. He approaches Thomas and Ophidia at the end of the counter.

JEROME SALAMANDER
“Now then, how may I help you.”

OPHIDIA OPERAHOUSE
“We’re looking for an engagement ring.”

JEROME SALAMANDER
“We’ll that I can help you with. Was there a particular style you were looking for.”

OPHIDIA OPERAHOUSE
“What do you have?”

THOMAS TYPEWRITER
“Correction, what do you have for someone on an artist’s budget?”

JEROME SALAMANDER
“Sir, we have something for all budgets and all tastes. We pride ourselves on making a ring, no matter who you are or where you come from, as special as she is.”

Beaming, Ophidia puts her arm around Thomas. He hugs her back returning her smile. Jerome unlocks the display case and leans over to reach inside. He retrieves a velvety case of rings. He sets the case on the counter.

TRANSITION FROM MID-STAGE TO HIGH-STAGE.

THE CAMERA STARTS TO PAN UPWARD. IT MOVES STRAIGHT UP PAST THE TOP EDGES OF THE MID-STAGE SET, BRINGING THE CURTAIN OF CLOUDS THAT SERVES AS THE BACK OF THE STAGE INTO VIEW. THE CAMERA FOLLOWS THE CURTAIN UPWARDS TO THE TOP WHERE THE HIGH-STAGE SITS. IT STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: BLANK SCREEN

The High-stage curtains are already open when it comes into frame. The stage is dark, like a turned off television. The Narrator’s Door is open and Y-Mouse is sitting on the edge of the Narrator’s Platform. He dangles his feet over the edge while taking a sip of soda. He places the soda down and holds up a remote control. CLICK goes the remote. The High-stage, like a vintage television, shifts from opaque to bright static.

TRANSITION FROM HIGH-STAGE TO LOCAL CHANNELS

ZOOM IN SO THE STATIC BRIGHTNESS FILLS THE FRAME

The channel number 3, in green pixels, blinks in the upper right corner of the screen. The CLICK OF A REMOTE can be heard from off-stage ten times as Y-Mouse uses the remote off-screen to change from Channel 3 to Channel 4. The new channel appears with a station ID card of an image of a dog in a dog-house style race car on a red and white background.

KAV BARITONE, CHANNEL 4 MID-DAY ANNOUNCER
(off-screen) “…Channel 4, the Dog Race, broadcasting to the Nines and more. Up next: Buck and Duck In The 31st Century City. But first these words from our sponsors…”

FADE OUT

TRANSITION FROM STATION ID TO COMMERCIALS

FADE IN

FIRST COMMERCIAL – ELEGANT DINING TABLE, DAYTIME.

BLACK AND WHITE CS OF THE AQUILLA

An electronic device, THE AQUILLA, made of two connected glass hexagons sits on a white tablecloth. A place setting for a fancy meal surrounds it, as if it is has taken the place of the plate.

THE SCREEN GLITCHES.

A hand wearing a black glove covered in gold filigree is now in the frame. It holds a magnifying glass also covered in gold filigree. The gloved hand sets down the magnifying glass. It runs a finger across one of the sides of the Aquilla. The device’s screen flickers then the “By Jove’s” company logo appears followed by The Frame’s logo. The home screen comes up. The black-gloved hand presses the screen opening a note taking app: SCREEN’NOGRAPHER. The hand outstretches a finger and writes the following in the app: “Can you see?”

A drop falls down on the table, landing on the black gloved hand. The screen glitches again and the black gloved hand along with it’s magnifying glass is gone. A rainbow variety of drops of colors fall down on the Frame and the rest of the table. Multi-colors swirl across the scene.

THE CAMERA PANS DOWN AND OVER TO WHERE THE COLORS START TO RUN TOGETHER

Words, in a blocky serif-free font, start to form in the swirling mingling colors. “THE AQUILLA” which changes to “VERSION 10” before finally changing to “SOON”.

FADE OUT

FADE IN

SECOND COMMERCIAL – INT. ONE OF THE GOOD NEIGHBORS BAR & PUB RESTAURANTS. EARLY EVENING

MS FROM BEHIND THE BAR LOOKING OUT AT THE PATRONS

The work crowd has just come one of the Underhills’ most popular franchise bar & pub. It is a busy evening with plenty of mostly Clockwork Elves and mostly Bio-goblins looking to relax after a hard days work at the various Factories, Administrations and Marginalia of the various Hills, Palaces and Places of Interest.

THE SCREEN GLITCHES.

In the back stage-left corner, at a tall table, we now see three individuals different than the Bio-goblins and Clockwork Elves: THE SLASHBUCKLER, THE WORDSLINGER, and THE HEIRESS. The Slashbuckler is a slender woman in a swashbuckler’s large black hat and long black coat, both covered in gold filigree. Next to her The Wordslinger, a man in an immaculate white suit covered in brass filigree, wearing two gunslinger bandoleers holding paperback books. Next to him stands the Heiress. She is a tall women in a black 50’s cocktail dress and black pillbox hat both covered in silver filigree, holding a fennec fox wearing a matching pillbox hat. The three look around the room and out at the camera.

THE SCREEN GLITCHES AGAIN.

They are gone. FRIENDLY EMPLOYEE, portrayed by the mostly Bio-Goblin character actor BRUISER WULFETEETHS, pushes through the crowd to approach the bar. He loosens his tie as he approaches.

FRIENDLY EMPLOYEE
“Bartender, a glass of your worst.”

An off-screen hand places a glass of a foul looking liquid on the counter. Friendly Employee picks up the glass and takes a sip.

FRIENDLY EMPLOYEE
“AHHHH…the best part of the work day (notices someone to his side)…Oh hey, didn’t see you there.”

CUT TO SHOT FROM HIS RIGHT, FROM THE POV OF THE PERSON HE NOTICED

FRIENDLY EMPLOYEE
“How have you been? Oh, I’m sorry to hear that. Had a bit of a rough time myself last year too, but things got better. What happened? I got hired at the Bulb Factory that’s what. Oh, don’t make that face. It’s good work and they know how to treat their employees…”

From off-screen we hear a BEEP.

TRANSITION FROM COMMERCIAL BREAK TO HIGH-STAGE

ABRUPT CUT TO FRAMING SHOT OF HIGH-STAGE

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

Y-Mouse is leaning forward, intently looking at the Medi-pods. One of the Medi-pod’s top lights has changed from red to blinking green.

INSERT CS OF Y-MOUSE’S FACE

Y-MOUSE
(to the camera) “Almost time now.”

REVERT BACK

Y-Mouse stands and stretches. He uses the remote to CLICK off the Vid-screen. He presses the remote a second time to cause the stage-lights to CLICK off. He picks up the tray and exits through the Narrator’s Door. It closes behind him. The lights on top of the Medi-pods continue to glow in the darkness of the unilluminated stage. BEEP. A second Medi-pod has one of its top lights shift from red to blinking green. The third Medi-pod shortly follows after, BEEP and a red light changes to blinking green. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, IT MOVES DOWN ALONG THE CURTAIN OF CLOUDS, UP OVER THE TOPS OF THE MID-STAGE SETS, FINALLY SETTLING WHEN FRAMING THE MID-STAGE.

MID-STAGE: INT. THE MANY FACETS JEWELRY SHOWROOM, DAYTIME

THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE continue their conversation with JEROME SALAMANDER at the end of the jewelry counter. HENNY NETPENNTY is no longer on-stage, having gone to take inventory in the back.

JEROME SALAMANDER
“Very excellent choice. We can have that ready for you next week. Will you be paying for all of it now or putting down a deposit.”

THOMAS TYPEWRITER
“All of it now, if that is alright.”

JEROME SALAMANDER
“That is fine.”

Thomas pulls out his wallet and hands a card to the Salesman. Jerome takes the card and walks off stage-right. Ophidia excitedly grabs Thomas’ arm and leans in to whisper.

OPHIDIA OPERAHOUSE
“It’s really happening. We’re getting married! I can’t believe it.”

THOMAS TYPEWRITER
“I know.”

Ophidia’s stomach grumbles. She looks mortified.

THOMAS TYPEWRITER
“Was that your stomach?”

OPHIDIA
“Yes…I’m so embarrassed. Sorry.”

THOMAS TYPEWRITER
“No it’s fine. At least the salesman wasn’t here. Now that would be embarrassing.”

Ophidia blushes.

THOMAS TYPEWRITER
“Want should get something to eat after this?”

OPHIDIA OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Where would you like to go?”

OPHIDIA OPERAHOUSE
“Skolnic’s Ice Cream Deli”

THOMAS TYPEWRITER
“Skolnic’s Ice Cream Deli it is.”

Jerome Salamander returns and returns Thomas’ credit card.

JEROME SALAMANDER
“The ring will be ready by next Thursday. Anything else I can do for you.”

THOMAS TYPEWRITER
“No, that is all of it. You’ve been very helpful.”

JEROME SALAMANDER
“Glad I could. Have a great day,…and congratulations on the engagement.”

OPHIDIA OPERAHOUSE
“Thank you”

THOMAS TYPEWRITER
“Thank you.”

Thomas and Ophidia exit stage-left through the store’s front doors. As they leave, Jerome Salamander fills out some forms for the ring order. The stage-lights turn of to the CLICK OF A LIGHT SWITCH. The Mid-stage curtains close.

FADE OUT