From the camera of Thomas Typewriter: “Walking, thinking, sun·shine through the birches”
From the camera of Thomas Typewriter, photographyFrom the desk of Thomas Typewriter: a new TGWP script
From the desk of Thomas Typewriter———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 03, Episode 12
By Thomas Typewriter
(c) 2021
===========<:type:>===========
FADE IN TO BLACK
From the bottom of the screen scrolls up the following text: “03-12”. 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. NARRATOR’S DOOR INSIDE APARTMENT Y, DAYTIME
MS OF NARRATOR’S DOOR
The Narrator’s Door lie in the center of the stage. It is in a small hallway at the end of Apartment Y’s combination Living Room and Kitchen. It has a small coatrack and umbrella stand off to one side. On the other side is a light switch and a red signal light. The Narrator’s Door, on the Apartment side, has a very thick wooden frame with additional rings of thick wooden molding. Y-Mouse paces the small hallway reading from a script page, rehearsing his lines one last time. The red signal light turns on. Y-Mouse notices the light and stops pacing. He sets the page down on the coatrack. He takes a deep breath and then opens the door. There is a bright light from the other side of the door so the short time it is open we are unable to clearly make out what is there. The Narrator’s Door closes.
Y-MOUSE
(heard from the other side of the door) “What vindications asks the interrupted idea, lost to its own agency, as it wanders across a nowhere.”
The Narrator Door reopens and Y-Mouse steps through. The door closes and he slumps against the door relieved. After a moment he stands and walks towards the camera.
CUT TO
INT. APARTMENT Y MAIN ROOM, DAYTIME
LS OF LIVING ROOM AREA
A large room divide in two by a counter, the main room holds both the living room and kitchen. The living room side has a medium size wicker couch and various house plants. Small nautical themed prints and paintings hang on the walls. To the side of the couch, furthest from view, is an end table and table lamp. On the wall nearest the end table is a window and also a sliding patio door. Y-MOUSE enters and walks over to the couch.
CUT TO MS OF Y-MOUSE
He leans his head back and closes his eye.
Y-MOUSE
“Just need to rest my eyes a little before the meeting.”
CUT BACK TO LS OF COUCH
A multi-color glow emanates from under the couch. It grows in intensity.
DISSOLVE OUT
TRANSITION FROM APARTMENT Y TO Y-MOUSE DREAMING
DISSOLVE IN
THE TYPEWRITER ABSTRACT PUPPET STAGE
Y-Mouse floats before the Typewriter Abstract Puppet Stage. The main curtains of the Typewriter Abstract Puppet Stage are closed. They part revealing an empty stage. The Curtain of Clouds, which lines the back of the stage, is fully visible. Y-Mouse flies inward towards the Curtain of Clouds.
THE CAMERA PANS INWARD FOLLOWING Y-MOUSE TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.
TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE BACK-STAGE
THE CAMERA CONTINUES TO FOLLOW Y-MOUSE
The Curtain of Clouds part. Y-Mouse floats through the Mid-Stage, past the Curtain of Clouds, and on into the area beyond. He stops in the Back-Stage and floats watching the events unfold.
BACK-STAGE: THE CONCURRENT DISTANCES
THE CAMERA GLIDES PAST Y-MOUSE TO PROPERLY FRAME BACK-STAGE
We find an empty field of darkness, devoid of any sets or decoration, except for center-stage sit THE TRIPLETS. AVEN, LONDE, and NETTE are crowded around something, laughing and excited at what we can not see. A STEAM like noise can be heard intermittently. From stage-left enters THE MOTHER.
THE MOTHER
“I’m back girls.”
THE TRIPLETS
“Hi.”
THE MOTHER
“Sorry I was gone so long. That calcific went really deep downdream. Hope you were not too lonely.”
The Triplets do not respond. A curious look slides across The Mother’s face. She walks over to the Triplets and leans down. She caresses Nette’s hair.
THE MOTHER
“What are you girl’s up to?”
The Triplets part allowing us to see what they were looking at. A small steam powered automoton, HERON THE AEOLIPILE, walks back and forth, hissing steam.
AVEN
“We made something new.”
Heron waves at The Mother. She’s surprised and waves back.
THE MOTHER
“Is it a wind-up?”
NETTE
“No, it’s something else.”
LONDE
“Here, check it out. It’s friendly.”
Londe holds out her hand for Heron. It climbs in, and she then hands him over to The Mother. She leans in closer. Heron the Aeolipile dances in her hand.
AVEN
“Awww…he likes you.”
THE MOTHER
“Does it have a name?”
LONDE
“Heron the Aeolipile.”
The Mother nods her head
THE MOTHER
“Well hello Heron. I am glad to meet you.”
The Mother sets him back down. Heron starts to dance. The Triplets and The Mother watch. The Mother coughs twice.
THE CAMERA UNLOCKS FROM FRAMING THE BACK-STAGE AND PANS OUTWARD. IT SLIDES PAST Y-MOUSE.
Y-Mouse floats backwards out of the Back-stage.
THE CAMERA KEEPS PACE WITH Y-MOUSE AS HE FLOATS OUT OF THE TYPEWRITER ABSTRACT PUPPET STAGE.
Y-Mouse floats past the Curtain of Clouds. They close behind him. He continues moving through and out of the Mid-stage area. The curtains close on the Mid-stage. Y-Mouse hovers before the Typewriter Abstract Puppet Stage.
TRANSITION FORM THE TYPEWRITER ABSTRACT PUPPET STAGE TO APARTMENT Y.
From off camera an ALARM RINGS.
DISSOLVE TO
INT. APARTMENT Y MAIN ROOM, DAYTIME
MS OF Y-MOUSE
Y-Mouse is asleep on his couch. The multi-colored light has stopped emanating from under the couch. The alarm on his watch is RINGING RINGING RINGING. Y-Mouse wakes up. He forces himself awake and then turns off the alarm on his watch. He stretches.
Y-MOUSE
“Time to get ready for the meeting.”
Y-Mouse reaches under his couch and pulls out a briefcase. He sets it on the couch then stands to get a glass of water from the kitchen.
PAN OUTWARD
FADE OUT
From the easel of Thomas Typewriter: a new painting
From the Easel of Thomas Typewriter, paintings, Uncategorized
From the camera of Thomas Typewriter: a new pho·to·graph
From the camera of Thomas Typewriter, photography
From the camera and easel of Thomas Typewriter: a new pho·to·graph and a failed painting
From the camera of Thomas Typewriter, From the Easel of Thomas Typewriter
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
(c) 2021
===========<: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
(c) 2021
===========<: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 easel of Thomas Typewriter .::. a new painting
From the Easel of Thomas Typewriter, paintings
From the camera of Thomas Typewriter: a new pho·to·graph
From the camera of Thomas Typewriter, photography
From the easel of Thomas Typewriter: a new painting
From the Easel of Thomas Typewriter, paintings
Thomas Typewriter 
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