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

From the easel of Thomas Typewriter: a new painting and a new illustration

From the Easel of Thomas Typewriter, paintings

“AERIAL view of a mental LANDSCAPE” by Thomas Typewriter (watercolor, ink and gesso on stretched canvas, 30″ x 24″)

“Untitled Illustration of a phone call” by Thomas Typewriter (watercolor and ink on paper, 9″ x 13.5″)

From the easel of Thomas Typewriter: 2 new paintings

From the Easel of Thomas Typewriter, paintings

“When I am MORE THAN LESS, more often than not” by Thomas Typewriter (watercolor, ink and gesso on stretched canvas. 30″ x 24″)

“The complexity of STILLNESS” by Thomas Typewriter ( gesso and ink on stretched canvas. 30″ x 24″)

From the desk of Thomas Typewriter: a new 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 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

From the Desk of Thomas Typewriter: The Great Works Project: Season Three, Episode Five 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 05

By Thomas Typewriter
(c) 2020

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

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-05”. 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 unroom fades into view as the thin lamps at the end of each row of the carpet squares flick on. It is a vast space centered around a wooden disk. Rows of grey carpet squares spread out from the central disk. THE OUTER ONE sits on one of the carpet squares. The TYPEWRITER ABSTRACT PUPPET STAGE is already on the wooden disc when the unroom fades into view. Unseen lamps are already on illuminating it from somewhere above.

POV OF THE OUTER ONE LOOKING AT THE TYPEWRITER ABSTRACT PUPPET STAGE.

The sound of TYPEWRITER KEYS CLICK CLACKING flows out from The Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN FROM POV TOWARDS THE TYPEWRITER PUPPET STAGE.

TRANSITION FROM TYPEWRITER PUPPET STAGE TO MID-STAGE

PAN CONTINUES, MOVING IN TOWARDS THE MID-STAGE AREA UNTIL THE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED

The curtains part revealing an unlit stage. It is fully set up and decorated for the following scene just without the stage lights on.

MID-STAGE: INT. OPERAHOUSE BASEMENT BATHROOM, DAYTIME

A door on stage-left opens and THOMAS TYPEWRITER enters. Light spills in from the open door. He fumbles for the light switch. Finally finding it, he flips the light switch, turning on the stage lights. They flip on with the sound of A LIGHT SWITCH CLICKING ON. Thomas looks around. A shower stands off to one side, a toilet sits center, and a sink near the door. A large mirror and vanity line the wall over the sink and toilet. A nautical theme decorates the bathroom. Thomas shuts the door behind him. He walks over to the toilet and URINATES. He finishes, shakes off the last drops, then FLUSHES THE TOILET. Walking over to the sink, he washes his hands and then dries them. Thomas is looking through the vanity. He pulls out a bottle of lotion. Applying a generous dose to his hands, he rubs it in.

THOMAS TYPEWRITER
(sniffing hands) “Lavender. Nice.”

Thomas attempts to leave, but he can not. His hands slide over the doorknob.

INSERT CS OF THOMAS’ HANDS UNABLE TO TURN THE DOORKNOB DUE TO THE AMOUNT OF LOTION ON HIS SKIN.

He tries again and fails. He tries a third time.

THE CAMERA TILTS DOWNWARD SLIGHTLY IN SUCH A WAY AS TO REPRESENT POV OF THE OUTER ONE LOOKING AT THEIR HANDS.

The Outer One’s left hand looks normal, but the right hand has the fingers looking like glowing blue mathematics. The abstraction is spreading.

THE CAMERA TILTS BACK AND MID-STAGE HAS RETURNED FROM THE INSERT.

THOMAS TYPEWRITER
“Nuts, I used too much lotion.”

He sits on the toilet.

THOMAS TYPEWRITER
“Well, looks like I am stuck in here.(looking around) Anything to read?”

Thomas looks around the room. He picks up a bottle of shampoo. He reads the ingredients. He flips it over and reads the other side. He flips it once more.

THOMAS TYPEWRITER
“I’ve already read this. Didn’t care for it the first time. Okay Professor, what else do you recommend to read. The Epic Odes of the Conditioner bottle maybe.”

Thomas picks up the bottle of conditioner. He reads both sides and then sets it down.

THOMAS TYPEWRITER
“Well, I’ve read all the literature a locked bathroom has to offer, now what.”

He looks around the room. Pauses. Sighs.

THOMAS TYPEWRITER
“Guess it’s come to that.

Thomas enters the shower. He closes the curtain.

THOMAS TYPEWRITER
“11…10…9…8…7…6…5…4…3…2…”

FADE OUT

TRANSITION FROM THE MID-STAGE TO THE WRITER’S ROOM

FADE IN

INT. THE WRITER’S ROOM, DAYTIME

The Writer’s Room appears differently than in previous episodes. Now it appears as a long conference table in a tall conference room. Beautiful wood paneling, in warm shades, cover the walls.
At the stage-left head of the table sits Y-Mouse. Down each side of the table sit the other ALPHABET MICE. On the far side of the table, facing the audience, from stage-left to stage-right sit Z-MOUSE, NUMERAL-MOUSE, A-MOUSE, B-MOUSE, C-MOUSE, D-MOUSE, E-MOUSE, F-MOUSE, G-MOUSE, H-MOUSE, I-MOUSE, J-MOUSE, and lastly K-MOUSE. Sitting on the opposite side, with backs to the audience, from stage-left to stage-right sits X-MOUSE, W-MOUSE, V-MOUSE, U-MOUSE, T-MOUSE, S-MOUSE, R-MOUSE, Q-MOUSE, P-MOUSE, O-MOUSE, N-MOUSE, M-MOUSE, and L-MOUSE.

Z # A B C D E F G H I J K
Y [=========================]
X W V U T S R Q P O N M L

They all have a cup of coffee on the desk next to them except S-Mouse, T-Mouse, E-Mouse, and W-Mouse. S-Mouse has cans of sodas. T-Mouse has a pitcher of tea. E-Mouse has a carton of eggnog. W-Mouse has a case of water bottles.

Y-MOUSE
(standing) “Okay everyone, unanswered questions or plot holes. Go.”

A-MOUSE
(stands) “What about that lost astronaut from the commercial?”

Y-MOUSE
“Exactly. What did he do when he crawled onto the broken Carro. What else?”

B-MOUSE
“Where is the Inner-Space Man taking Biff and Rockey? And why?”

M-MOUSE
(stands) “What about Musica and Musidora? Are they mad about the Carro being lost? Do they blame Lucido and Cedar.”

O-MOUSE
“And are they in trouble for losing the ship?”

F-MOUSE
“And what caused that storm?”

Everyone murmurs.

Y-MOUSE
“Great questions, let me get those written down.”

Y-Mouse is busy typing down all the notes, when from stage-right comes a KNOCK KNOCK.

K-MOUSE
“Who is it?”

THOMAS TYPEWRITER
(from off-stage) “Thomas.”

ALL THE ALPHABET MICE EXCEPT Y-MOUSE AND Z-MOUSE
“Thomas!”

K-MOUSE
“Come on in”

Thomas Typewriter enters wearing a pizza delivery outfit. He is carrying a stack of little pizzas and a pile of napkins.

THOMAS TYPEWRITER
“Do you have time for a break? I brought pizzas.”

Y-MOUSE
“We could take a pizza break.”

Thomas kneels and hands out the pizzas. When done, he sits cross-legged by stage-right end of the table.

THOMAS TYPEWRITER
“You redecorated.”

Y-MOUSE
“We hired a firm from Mall X.”

THOMAS TYPEWRITER
“Looks good. So, how’s everyone doing?”

He takes a slice of pizza. He eats it as he listens to everyone’s answer.

D-MOUSE
“Good.”

R-MOUSE
“Really good.”

M-MOUSE
“Would you like a soda, coffee, or tea?”

THOMAS TYPEWRITER
“Soda, please.”

S-MOUSE
(stands) “Silver Apple, Acorn, or Dragon Heart?”

THOMAS TYPEWRITER
“Can always use some more wisdom. Acorn please.”

S-Mouse tosses a can of soda to Thomas. Thomas catches it. The Alphabet Mice start to pass the pizza and napkins out.

THOMAS TYPEWRITER
“Thanks.”

Thomas tries awkwardly to open the small can of soda. His hands are too large to get a grip on the pop tab. He gives up and sets the can to the side.

THOMAS TYPEWRITER
(to self) “Guess I’ll be saving that for later.”

He wipes his face with a napkin.

THOMAS TYPEWRITER
“So, what have you guys been up to? Biff and Rockey, maybe.”

Y-MOUSE
“Compiling loose ends. Stray sub-plots. Once that’s done, maybe Biff and Rockey.”

Thomas frowns.

Y-MOUSE
“Why the long face.”

Thomas sighs and adjusts his sitting position.

THOMAS TYPEWRITER
“I was just hoping for a break in my writer’s block.

The Alphabet Mice exchanged glances. Thomas notices this and decides to move on.

THOMAS TYPEWRITER
“Forget I asked, I’ve just had a lot on my mind.”

Y-MOUSE
“What’s been on your mind. What troubles Thomas Typewriter?”

THOMAS TYPEWRITER
“I asked Ophidia to marry me.”

Everyone congratulates him.

I-MOUSE
“That sounds like good news. How is that bad?”

THOMAS TYPEWRITER
“It’s a big step and I have no future. I am a failure as a screenwriter”

Y-MOUSE
“Now now, none of that.”

THOMAS TYPEWRITER
“No, it’s true. No one wants my scripts. They’re not marketable, not mainstream…too weird, just like me. I don’t know guys, maybe I am just not meant to be successful.”

G-MOUSE
“I don’t know about that.”

Y-MOUSE
“We (gestures to all the Alphabet Mice) don’t believe that, you shouldn’t either.”

THOMAS TYPEWRITER
to G-Mouse) “Thank you.” (to the group) “My agent called me today. He told me the studios let the options on my scripts expire. He’s going to let me go also. No agent. No work. No prospects. What am I supposed to do.”

Y-MOUSE
“Do not mistake the income of the artist for the quality of the art. Nothing we do will last forever. Eventually everything we create will disappear. The mountain wears down, the ceramic cracks. The only thing we truly have for sure are the individual moments of our lives and what we fill those moments with. Fill them with kindness, with attentiveness, with expressions of love for not only family and friends but also yourself, with laughter, with forgiveness, with life.”

The other Alphabet Mice agree.

OPHIDIA OPERAHOUSE
(from off-stage) “Thomas. Thomas where are you?.”

THOMAS TYPEWRITER
“Sounds like I am needed elsewhere. Thanks for listening.”

Y-MOUSE
“No problem. We’ll percolate it up if we make nay progress on Biff and Rockey.”

THOMAS TYPEWRITER
“Thanks.”

All the Alphabet Mice wave goodbye to Thomas as he exits stage-right.

FADE OUT

TRANSITION FROM THE WRITER’S ROOM TO MID-STAGE

FADE IN

MID-STAGE: INT. OPERAHOUSE’S BASEMENT BATHROOM, DAYTIME

The bathroom sits empty.

OPHIDIA
(off-stage, stage left) “Thomas, you in there?”

A KNOCK KNOCK on the bathroom door then it opens. Ophidia enters and looks around. She looks in the shower but does not see any one. She comes out, looks around circularly, then sits down on the toilet.

OPHIDIA OPERAHOUSE
“Where could he be?”

The shower curtain opens and Thomas sticks his head out.

THOMAS TYPEWRITER
“You were looking for me.”

Ophidia SCREAMS, surprised by Thomas’ sudden appearance. Thomas exits the shower and hugs Ophidia

THOMAS TYPEWRITER
“I am so sorry. I didn’t mean to scare you.”

OPHIDIA OPERAHOUSE
“Where have you been?”

THOMAS TYPEWRITER
“I was in the shower.”

OPHIDIA OPERAHOUSE
“But, I looked in there. Where were you.”

THOMAS TYPEWRITER
“Don’t know how you missed me.” (changing subject) “You hungry? Up for some lunch?”

OPHIDIA OPERAHOUSE
“Sure.”

THOMAS TYPEWRITER
“Could we pick out the ring first. I have a place in mind and it won’t take long.”

OPHIDIA OPERAHOUSE
“Sure.”

THOMAS TYPEWRITER
“Ladies first.”

Ophidia stands and exits stage-left through the bathroom door. Thomas steps out of the shower and follows her. He turns off the lights at the light switch by the door. The stage lights turn off with the sound like A LIGHT SWITCH CLICKING OFF. The only light is what flows through the open bathroom door silhouetting Thomas. He closes the door. The Mid-stage curtains close

FADE OUT

From the easel of Thomas Typewriter…

From the Easel of Thomas Typewriter

“Gaping maw, starburst, blood drops, hope. The FUTURE eats the CENTER by Thomas Typewriter. (watercolor, ink and gesso on stretched canvas, 30″ x 24”)

From the Easel of Thomas Typewriter

From the Easel of Thomas Typewriter, paintings

I missed last week’s update. A Thanksgiving cold had me laying low. Additionally my heel spurs and hand/wrist pains returned. I suspect the dark colors, especially black, may be an unconscious response to physical pain. This past year has a never ending peeling away of layers of self-identity. If I am like an onion in that I have layers, am I also like an onion in that my layers are finite?

Enough morbidity, onto the paintings.

“Sometimes REBIRTH.” by Thomas Typewriter (watercolor, ink and gesso on stretched canvas, 16″ x 20″)

“Straight LINES drawn across crooked CURVES, FIGURE WHAT YOU WILL.” by Thomas Typewriter (watercolor, ink and gesso on stretched canvas, 20″ x 16″)

The Great Works Project: Season Three, Episode Four script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 04

By Thomas Typewriter

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-04”. 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 IN THE UNDECORATED SPACE

The unroom, and by extension the screen, sits dark. A soft light turns on in the unroom Not.Seven. A few of the details regarding the unroom become visible: the wooden disc in the center of the room, the rows of grey carpet arranged around the disc, and the thin spindly lamps at the end of the carpet rows.

THE CAMERA IS CURRENTLY AT THE POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISC.

THE CAMERA LOOKS DOWN.

A hand comes into view. It is the hand of THE OUTER ONE. This will be same hand that suffered a papercut from the scriptbook in a previous episode. The ends of the fingers are not fully there anymore. Bits of flesh are missing, replaced by glowing text and numbers. The whole hand glitches. The Outer One rotates their hand examining the changes. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-frame.

THE CAMERA LOOKS UP.

The wooden disc sits empty and dim. Unseen lamps over the disc flip on. The TYPEWRITER ABSTRACT PUPPET STAGE suddenly appears in the light.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN FROM THE OUTER ONE’S POV TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

CONTINUE TO PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, SPECIFICALLY THE MID-STAGE AREA. THE CAMERA WILL CONTINUE TO ZERO IN ON THE MID-STAGE UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED

The curtains of Mid-stage part. As they open, the Mid-stage’s stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME

A wooden front porch runs along the width of the stage. A front door sits to the stage-right side. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the rails. An outdoor thermometer can be seen next to the door. It reads 31 degrees Fahrenheit.
THOMAS TYPEWRITER kneels on one knee in front of OPHIDIA OPERAHOUSE. They are near the door. He holds up a small jewelry box.

OPHIDIA OPERAHOUSE
“Are you proposing to me?”

THOMAS TYPEWRITER
“Yes, and before you answer let me say that your prospects with me don’t look good. Every studio has turned down my scripts, I really have no other job skills, and I will soon be completely broke. I strongly suspect something is broken inside me, something that you or me lack the skills to fix. I am at an utter loss.”

OPHIDIA OPERAHOUSE
“Really. That’s your sales pitch. Marry me, my life is horrible. Am I the lifesaver for the drowning man in this scenario.”

THOMAS TYPEWRITER
“Among other things.”

OPHIDIA OPERAHOUSE
“And you thought I’d fall for that.”

THOMAS TYPEWRITER
“I really didn’t think that far. I just sat in my apartment after the studios dropped my script options and was thinking about what I had lost, and I was more scared that the most interesting, intelligent, thoughtful, sexy person would, could, be out of my life. (pauses) I love you, I need you, please marry me.”

OPHIDIA OPERAHOUSE
(leans over and kisses him on the top of his head) “Of course, I’ll marry you, you weirdo.”

THOMAS TYPEWRITER
“AWESOME!”

He puts away the jewelry box, stands, then embraces Ophidia. She breaks away to ask a question.

OPHIDIA OPERHOUSE
“Let me see the ring?”

THOMAS TYPEWRITER
“What ring?”

OPHIDIA OPERHOUSE
“The engagement ring. The one in that box?”

THOMAS TYPEWRITER
“I don’t have a ring. The jewlery box was for dramatic effect.”

OPHIDIA OPERHOUSE
“Will there be a ring in the future.”

THOMAS TYPEWRITER
“Maybe. Probably.”

They kiss.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA TRANSITIONS FROM MID-STAGE TO HIGH-STAGE. IT PANS UPWARD PAST THE TOP OF THE SETS OF MID-STAGE, ALONG THE CURTAIN OF CLOUDS THAT LINES THE BACK OF THE STAGE, UP TO THE HIGH-STAGE. THE CAMERA ENDS ITS PAN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Out walks Y-MOUSE, ice pack held to head with one hand, glass of water in the other. He puts down the glass and ice pack. Searching his pockets he finds a packet of medicine. He tears it open and pours the contents into the glass.

CUT TO EXTREME CLOSE SHOT OF THE GLASS Y-MOUSE BROUGHT OUT.

Two effervescing tablets fall in. The tablets bubble as they slowly sink to the bottom.

CUT BACK

Y-Mouse picks up the glass, giving it a swirl before drinking it. He then reaches for the ice bag, lifting it to his head. He takes a sip. The bubbles tickle his nose and he grimaces. He turns to the camera as if to say something, pauses, then changes his mind. Turning, Y-Mouse exits through the narrator’s door. It closes. The High-Stage curtains part. The High-stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

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

A stark room of space-age plastic accented by baroque woodwork. Three Medi-pods are distributed evenly across the room. Two smooth metallic doors sit between the pods. One door is the entrance door to room 302, the other is the door for the bathroom. A large curving window sits to stage-left running up and out of sight. Outside the window, a starscape tumbles by. On the other side of the room, stage-right, stands a vid-screen wall. PANACIA THERAPUETAE enters the room, Medical Maestro device tucked under her arm. She walks over to the furthest Medi-pod, removes the Medical Maestro’s stylus and presses it against the Medi-pod.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Cedar Cornelius Waxwings
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Cedar. The left side of his face and chest blink bright red representing his injured areas. His left arm blinks a dark red.

CUT BACK

Panacia walks over to the next Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: CARRO SHIP-TELLIGENCE BRAINBOX
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Carro’s rectangular brainbox. Circles of bright red blink across the outline

CUT BACK

Panacia walks over to the last Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Lucido Cinnabar Obsidian
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Lucido. His legs blink dark red.

CUT BACK

A panel on the wall starts to blink while Panacia reads the last status report on the Medical Maestro. A soft BEEP BEEP can be heard. She looks up and notices the blinking panel. Panacia walks over to the blinking panel. She touches it with the stylus from her Medical Maestro. The other end of the Medical Maestro she places against her head, much like a phone.

PANACIA THERAPUETAE
“Maestro, answer call please. Hello. Oh hi Dad. Yeah they’re stable. Their injuries were pretty critical but the Medi-pods will be able to handle most of it. It will just take awhile. Sure. Sure. Okay. We’ll need to set up appointments with Iasa soon. Maybe in one week, but could be three or four.”

In the entry door we see ELDER GRIM walking past. He is wheeling an old man, MINTHRIL MUSTACHE, in a wheelchair. Panacia notices them

PANACIA THERAPUETAE
“Bubblegum! Those lollypopping kids of death are here. Dad, I’ve got to go.”

She puts the Medical Maestro in her pocket and chases out the door.

PANACIA THERAPUETAE
(off-camera) “Hey leave him along. Get! Get out of here!”

A few moments pass and then we see Panacia wheeling Minthril Mustache back down the hallway.
The lights turn off with the sound of A COMPUTER TURNING OFF and the High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM HIGH-STAGE TO THE CLOUD OF CURTAINS BELOW. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS DOWN TO THE TOP OF THE MID-STAGE SETS. GLIDING OVER THE TOPS FO THE SETS IT FINALLY SETTLES PROPERLY WHEN FRAMING MID-STAGE.

MID-STAGE: OPHIDIA OPERAHOUSE’S BEDROOM

The view is of an overhead shot on Ophidia’s bed. Her two nightstands can be seen on either side of the bed. One has a lamp and alarm clock. The other has various stuffed animals. In the bed lay OPHIDA OPERAHOUSE and THOMAS TYPEWRITER in embrace. Ophidia is sleeping peacefully. Thomas is not. He looks up at the camera and stares, unable to relax and sleep. He stares up at the camera.

THOMAS TYPEWRITER
(voice-over) “What have I done?”

Ophidia moves in her sleep rolling over and putting her arm around Thomas. He looks down at her, puts his arm over hers. The tension in his face drains away.

THOMAS TYPEWRITER
(voice-over) “Maybe the best thing possible.”

The stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage Curtains close.

FADE OUT

“Sometimes the PAIN slips out, for BETTER AND WORSE” by Thomas Typewriter

From the Easel of Thomas Typewriter, paintings

The Great Works Project: Season Three, Episode Three script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 03

By Thomas Typewriter

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

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-03”. 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. THE UNROOM NOT.SEVEN

The unroom Not.Seven fades into view. A large room of an indefinable undiscernible size. A large wooden disc sits on the floor near what could be the center. Radiating out in waves from the wooden disc are rows of grey carpet squares. Spindly tall metallic lamps, with cords snaking off into the distance, stand at the ends of the rows. The lamps cast a soft light across the wooden disc and carpet squares, but not much else of the unroom. THE OUTER ONE sits on one of the carpet squares looking at a paper cut on one of their hands.

POV OF THE OUTER ONE

CUT TO CS OF THE PAPER CUT

The tip of the finger with paper cut is a translucent blue. Abstract text in a different shade of blue can be seen gliding over the changed area. A change, a glitching, appears to be spreading out from the paper cut. The Outer One stares at the paper cut for a few moments before the sound of TYPEWRITER KEYS CLICK CLACKING drift in from outside their focus.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

THE CAMERA TILTS BACK, RETURNING THE OUTER ONE’S POV GAZE TO THE WOODEN DISC.

The wooden disc sits empty. Unseen lamps over the disc turn on and the TYPEWRITER ABSTRACT PUPPET STAGE appears in the center of the wooden disc.

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

THE CAMERA PANS INWARDS TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE’S MID-STAGE AREA. IT MOVES IN TILL THE MID-STAGE’S CURTAINS FILL THE FRAME.

The Mid-Stage curtains open. Surprisingly the stage lights are already on.

MID-STAGE: DISHEVELED AND DAMAGED

THOMAS TYPEWRITER and a HELPING HAND stand center stage, surrounded by broken sets and scattered props. Thomas is trying to sweep up the mess into a dustpan held by the Helping Hand. He turns and looks at the camera.

THOMAS TYPEWRITER
(sweeping the floor) “Give us a moment to tidy this up will you.”

The curtains close and the sound of the stage being CLEANED AND RESTAGED can be heard. The curtains reopen, with the stage lights off. Once the curtains have fully opened, the stage-lights turn on with THE CLICK OF A LIGHT SWITCH TURNING ON revealing…..

MID-STAGE: EXT. OPERAHOUSE’S FRONT PORCH, DAYTIME

A wooden front porch runs across the width of the stage. A storm door sits off to the stage-right. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the hand rails. An outdoor thermometer can be seen next to the storm door. It currently reads 36 degrees Fahrenheit. THOMAS TYPEWRITER enters from stage-left. He walks along the length of the porch to the storm door. He RINGS the doorbell. No answer. He RINGS the doorbell a second time and waits. Still no response. Thomas looks around in confusion. He RINGS the doorbell a third time and waits.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS STRAIGHT UP. IT MOVES UPWARD PAST THE TOP OF THE MID-STAGE SETS REVEALING THE CURTAIN OF CLOUDS BEHIND. THE CAMERA FOLLOWS THE CURTAIN OF CLOUDS UP TO THE HIGH-STAGE AT THE TOP. THE CAMERA STOPS ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The High-stage curtains part. Once fully opened, the stage lights turn on, with the sound of A COMPUTER BOOTING ON, revealing…

HIGH-STAGE: INT. FOYER OF GRIM MANOR, DAYTIME

Welcome to the domicile of the current Grim Reaper of this reality, Grimson Grimaldi, and his family. An imposingly large front door sits in the center of the stage, flanked by cascading stained glass windows on either side. An elaborate staircase, with handrails made of various bones, runs along the stage-right side of the front door. On the stage-left side sits a large wall covered in various pictures of the Grimaldi Family. The staircase and the picture wall each have openings leading to other rooms in the house. A chandelier made of a large dinosaur skull covered in candles hangs above it all.
A silhouette of a figure can be seen through the stained-glass windows walking up to the door. The DOORBELL RINGS. A brief pause then it RINGS a second time. ELDRED GRIMALDI, eldest of Grimson’s seven sons, pokes his head out from the entryway under the stairs.

ELDRED GRIMALDI
(yelling upstairs) “Dad, Door!”

The DOORBELL RINGS again

ELDRED GRIMALDI
“Dad! Someone’s at the door!”

The DOORBELL RINGS a fourth time.

ELDRED GRIMALDI
(to self) “Just great, he’s still sleeping.” (Shouts) “Don’t anybody else bother themselves, I’ll get it.”

Eldred walks out and opens the front door. Outside he finds POSTMAN #33 FROM THE DEAD LETTER OFFICE waiting. Suppliers of the notices of who will die, the Dead Letters Office dispatches its fleet of postmen to the Grim Reapers of all the realities. Postman #33 hands him a package.

POSTMAN #33
“Thank you.”

Postman #33 turns and leaves. Eldred Grimaldi shuts the door. He opens the package and pulls out a scroll with “Updated Book of the Dead” printed on the outside. Unfurling the scroll, he takes a moment to read it.

ELDRED GRIMALDI
(to self) “Hmmm no Obsidian or Waxwings. Really thought they’d be on here after their ship blew up last season. Oh well.” (Shouts) “Anyone wanting to help collect the dead meet me out front in two minutes or else I am leaving without you.”

Eldred leaves through the front door. His silhouette can be seen through the stain-glass windows walking off stage-right.

Eldred Grimaldi’s six brothers race out from the other rooms and upstairs. EMHREN GRIMALDI, ENNER GRIMALDI, and EOVEN GRIMALDI run out from the entryway under the stairs. EPPLIS GRIMALDI, EQUES GRIMALDI, and ELDRITCH GRIMALDI emerge from the entryway by the family photos. If it helps, the birth order of the seven brothers from oldest to youngest is Eldred, Emhren, Enner, Eoven, Epplis, Eques and Eldritch. Eldred appears to be in his mid-twenties while Eldritch appears seven years old.

The silhouette of a carriage pulls up in front. The siblings run to the front door and open it. Eldred Gimaldi sits outside on THE CART OF SOULS pulled by a ghostly steer named SQUANDERED CHOICE CUTS. The brothers hop into the pile of hay in the back of the cart. Elder shakes the reins and Squandered Choice Cuts starts to walk pulling the cart off-stage. The front door swings closed with a loud SLAM.

THE GRIM REAPER GRIMSON GARIBALDI
(from off-stage, upstairs) “Boys, is there someone at the door?”

GRIMSON GARIBALDI, an unlit joint dangling from his skeletal mouth, enters at the top of the stairs. Dressed in a red bathrobe, he looks around.

THE GRIM REAPER GRIMSON GARIBALDI
“Must be hearing things.”

He walks down the stairs and over to the phone. He pulls out a coupon, uncrumples it, then dials the phone. RINGING RINGING…then CLICK as SHELDON SMALLBREADS, employee of the month at Pizza Squad take-out pizza, answers the phone.

SHELDON SMALLBREADS
(voice over)“Hello and thank you for calling Pizza Squad, the only pizza place that offers pizza as a topping choice. How can I help you today.”

THE GRIM REAPER GRIMSON GARIBALDI
“Do you honor coupons that are found under my fridge?”

SHELDON SMALLBREADS
(voice over)”What?”

THE GRIM REAPER GRIMSON GARIBALDI
“Like, I dropped a grape and it rolled under the fridge. I would of let it go, but it was the last grape and I was really into grapes that day, so I rolled the fridge out, got a broom and dustpan because it was all dust and stuff and found a coupon stuck to the floor in something sticky. Never did find that grape though. Man, I could really go for some grapes now. Anyway, I can’t read the expiration date and it is really crinkly. Like is there a maximum amount of crinkleness before it is unacceptable? Is it okay if part of it is still sticky?”

SHELDON SMALLBREADS
(voice over)”Uhhhhh…”

THE GRIM REAPER GRIMSON GARIBALDI
“And lastly does it have to be a Pizza-Pizza coupon? This one I found is for a free burger at Star Sprinkles. Burgers, Pizzas, they’re both round, so that works right?

SHELDON SMALLBREADS
(off-stage) “Uhhhhh…what.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, TRANSITIONING FROM HIGH-STAGE TO MID-STAGE. IT MOVES DOWNWARD ALONG THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, AND FINALLY STOPPING FRAMING MID-STAGE.

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME

THOMAS TYPEWRITER stands in front of the front door waiting for someone to answer. Having already tried the doorbell three times, he knocks on the door. No answer. He knocks again. Still, no answer. He leans in attempting to peer through the window in the door, hoping to spy someone in the house, when….

OPHIDIA OPERAHOUSE
(off-stage) “Thomas is that you?”

Thomas looks around.

OPHIDIA OPERAHOUSE
(off-stage) “Over here.”

Thomas turns and looks over the rail. He spots Ophidia off-stage and waves.

THOMAS TYPEWRITER
“Yeah, it’s me.”

OPHIDIA OPERAHOUSE
“What are you doing here?”

THOMAS TYPEWRITER
“I came here to see you. (looks around) Should I go down there or are you coming up here.”

OPHIDIA OPERAHOUSE
“Stay there, I’ll be right up.”

Thomas waits. The front door opens and Ophidia steps out. They hug.

OPHIDIA OPERAHOUSE
“Sorry about that. I was downstairs animating and I couldn’t hear the doorbell. Were you waiting long.”

THOMAS TYPEWRITER
“No, not long”

OPHIDIA OPERAHOUSE
“Good. So what did you want to talk about.”

Thomas kneels down onto one knee. He reaches up, taking one of Ophidia’s hands in his.

OPHIDIA OPERAHOUSE
“Are you about to do what I think you are?”

THOMAS TYPEWRITER
“Well, this is very stereotypical, so yes. Ophidia,…”

ZOOM IN ON THE COUPLE

THOMAS TYPEWRITER
“Ophidia…no one wants my scripts, I am broke, I am not getting any younger, You can definitely do better, but…”

Thomas pulls out the jewelry box.

THOMAS TYPEWRITER
“So, what do you say?”

OPHIDIA OPERAHOUSE
“I say that’s a horrible proposal.”

The stage-light turn off with the sound of a LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

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