On this day, your day, thank you Brighid.
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 3, Episode 8
By Thomas Typewriter
(c) 2021
===========<: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
“
———–<.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
“The complexity of STILLNESS” by Thomas Typewriter ( gesso and ink on stretched canvas. 30″ x 24″)
———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play in many parts
Season 03, Episode 06
By Thomas Typewriter
(c) 2020
===========<:type:>============
FADE IN TO BLACK
From the bottom center of the screen, the following text scrolls upward: “03-06”. 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
FRAMING SHOT OF THE TYPEWRITER ABSTRACT PUPPET STAGE
THE TYPEWRITER ABSTRACT PUPPET STAGE fills the frame, its curtains illuminated by stage-lights set to a dim flicker. They brighten as the sound of TYPEWRITER KEYS CLICK CLACKING drifts from somewhere out of sight.
TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE
THE CAMERA PANS IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE. IT CONTINUES TO PAN INWARD, FOCUSING IN ON THE MID-STAGE AREA, UNTIL THE MID-STAGE CURTAINS FILL THE FRAME.
MID-STAGE: CURTAINS CLOSED
The curtains open and the stage lights turn on with a sound like A LIGHT SWITCH CLICKING ON, revealing….
MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE
The Many Facets is a jewelry store built into a tall stone building in the side of a strip mall. The edges of the neighboring shops, Bigger Burrito and Bromide Books, can be seen on either side of Many Facets. Two giant planters, filled with husks of out of season bluestem grass, decorate the sidewalk in front of The Many Facets. Large glass doors sit center-stage under the store’s neon sign. Spinning diamond displays sit in each window.
FOX-SHIRT TEEN, a teen wearing a shirt with a fox face on the back and carrying a knapsack, enters stage-right. He steps towards one of the Many Facets windows and lowers his knapsack to the ground.
TRANSITION FROM MID-STAGE TO HIGH-STAGE
THE CAMERA PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS. CONTINUING UPWARD, IT MOVES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. THE CAMERA STOPS WHEN PROPERLY FRAMING HIGH-STAGE.
HIGH-STAGE: CURTAINS CLOSED
The Narrator’s Door opens and Y-Mouse emerges. He sits on the edge of the Narrator’s ledge.
CUT TO CS OF Y-MOUSE LOOKING INTO THE CAMERA, TALKING TO THE AUDIENCE.
Y-MOUSE
“Pouring myself a tall glass of water this morning, a question occurred to me. Is the water aware of the pitcher? Does the content notice the container?”
CUT BACK
A HELPING HAND comes up from the bottom of the frame. He carries a button attached to a set of wires, which trail down and off-screen. Y-Mouse leans over and presses the button. The stage curtains part and the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…
HIGH-STAGE: ROOM 304 ON THE MEDICALSHIP THE FLUTE, DAYTIME
A juxtaposition of stark surfaces and baroque trimwork, Room 304 is divided into four sections by three Medi-pods. Each Medi-pod is an ovoid large enough to house a person with a series of three red blinking lights on top, three round ports along the midline, and three extrusion covered wheels on bottom. Between the stage-left side and the first Medi-pod, is a curving window allowing full view of the spinning star fields outside the ship. Between the first and second Medi-pod is a bathroom door. Between the second and third Medi-pod is the room’s entrance door. Between the third Medi-pod and the stage-right side sits a large vid-screen wall, currently off and opaque. The Helping Hand lowers down, taking the button off-stage. It returns bringing a small tray up to Y-Mouse. On the small tray sits a remote control and a bottle of Suttungr Soda. Y-Mouse takes the tray and sets it to the side.
Y-MOUSE
“Thanks.”
The Helping Hand gives a thankful gesture then retreats from view. Y-Mouse sits down on the edge of the Narrator’s platform, dangling his feet over the edge. He picks up the soda and slowly sips it. He savors the taste, the scene. On the third Medi-pod one of the red blinking lights turns a solid green.
Y-MOUSE
(looking into the camera) “Looks like the guests of honor will be arriving soon.”
Y-Mouse presses a button on the remote. The stage-lights dim to off accompanied by the sound of A COMPUTER TURNING OFF IN SLOW-MOTION while the video screen wall starts to slowly brighten.
TRANSITION FROM HIGH-STAGE TO MID-STAGE
THE CAMERA PANS DOWNWARDS. IT PANS DOWN ALONG THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, AND FINALLY RESTING WHEN FRAMING THE MID-STAGE STAGE.
MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE STORE, DAYTIME
Standing in front of one of the windows is FOX-SHIRT TEEN. He is busy taping a flyer to the window of the Many Facets. He finishes and exits stage-left. From off-stage, we hear the sound of TIRES ON THE ASPHALT as a car pulls into a parking spot. THE CAR ENGINE TURNS OFF. TWO CAR DOORS OPEN AND CLOSE IN SUCCESSION. FOOTSTEPS APPROACH. OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter Stage-right. They walk over to the door.
THOMAS TYPEWRITER
“Yeah, they’re really good.”
OPHIDIA OPERAHOUSE
“I remember when I first heard Not The Last Junkie.”
THOMAS TYPEWRITER
(opening door) “When was that?”
OPHIDIA OPERAHOUSE
(Entering the store) “Q101, working late on some project for art school…”
THOMAS TYPEWRITER
“Yeah, me too…(drifts off as the flyer in the window catches his attention)
He pauses. The door closes with Ophidia inside and Thomas outside. He kneels down and reads the flyer. The door reopens and Ophidia steps out.
OPHIDIA OPERAHOUSE
“You coming in?”
THOMAS TYPEWRITER
“Oh, yeah. Sorry. Got distracted by this flyer.”
OPHIDIA OPERAHOUSE
“No, that’s okay. What is it for.”
THOMAS TYPEWRITER
“I thought it was for some band, but it’s for some theatre needing help? (scans flyer) The Discount. Ever hear of it?”
OPHIDIA OPERAHOUSE
“Sure. I saw Pinocchio there back in eighth grade.”
THOMAS TYPEWRITER
“Any good, the theatre I mean?”
OPHIDIA OPERAHOUSE
“There’s a reason it is called the Discount.”
THOMAS TYPEWRITER
“Oh.”
They enter The Many Facets. The doors shut and the stage goes quiet. A butterfly enters from stage-left flying across the stage towards stage-right. Once it exits, the Mid-stage stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The curtains close.
FADE OUT
Thomas Typewriter 
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