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 TypewriterFrom 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
From the camera of Thomas Typewriter: a new pho·to·graph
From the camera of Thomas Typewriter, photography
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
(c) 2021
===========<: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 easel of Thomas Typewriter: a new painting
From the Easel of Thomas Typewriter, paintings
From the camera of Thomas Typewriter: two new pho·to·graphs
From the camera of Thomas Typewriter, photography
Thomas Typewriter 
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