multiple parts

“The Great Works Project: Season Seven, Episode Seven – An Intermission” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 07

an intermission

By Thomas Typewriter

(c) 2026 Jason Arcand
———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT
FADE IN

INT. BIFFOLLOMEW’S PLAYROOM, AFTERNOON
A large playroom done in a minimalist style. A closet with folding doors sits in the center of the room. Bookshelves filled with toys and books line the angled walls jutting off from the closet. On one shelf of toys sits a stuffed toy of the villainous Logical Fallacy. It is a simple stuffed-sock toy wearing a fedora hat. It has a fake mustache and chest-plate made from paper taped onto it. The chest-plate has the letters L and F written in marker on it. A small couch sits off to one side. Natural light from a window out of frame behind the couch illuminates the room. BIFFOLLOMEW THE RABBIT, a young boy with a cape made from a blanket tied around his neck, runs in from stage-left. 

BIFFOLLOMEW THE RABBIT
“Quickly Headcheese, we must use our psychic powers to scan the city for trouble.”

BIFFOLLOMEW hops onto the couch and starts bouncing up and down. He scans around the room. ROCKFORD THE PET ROCK enters from Stage-left. He rolls across the room and jumps onto the small couch.

ROCKFORD THE PET ROCK
“Over there by the water tower Mindgames!”

BIFFOLLOMEW THE RABBIT
(looks towards one of the bookshelves with the Logical Fallacy toy) “I see him.” 

INSERT CLOSE-SHOT OF THE TOY

BIFFOLLOMEW THE RABBIT
(voice-over) “Our old nemesis Logical Fallacy.” 

CUT BACK

BIFFOLLOMEW THE RABBIT
“Oh-no. He is attempting to poison the city’s water supply with Conspiracy Juice!”

ROCKFORD THE PET ROCK
“That criminal!”

BIFFOLLOMEW THE RABBIT
“Should we crimefight?”

ROCKFORD THE PET ROCK
“Oh, we absolutely should.”

BIFFOLLOMEW leaps of the couch.

BIFFOLLOMEW THE RABBIT
(shouting) “CRIMEFIGHT!”

Rockford the Pet Rock leaps off the couch.

ROCKFORD THE PET ROCK
“Crimefight!”

They run towards the toy. 

BIFFOLLOMEW THE RABBIT
“Cease and desist Logical Fallacy or we will be forced to use our psychic powers to teach you to mind your manners.”

A SOFT CHIMING TONE rings out. The digital voice of the Butler speaks.

BUTLER
(voice-over) “Reminder, the next episode of The Babysitter Tales is starting.”

BIFFOLLOMEW and Rockford stop. Look at each other and smile, making excited yes gestures.

BIFFOLLOMEW THE RABBIT
“Butler, please cancel the current reminder.”

The chiming tone ends.

BIFFOLLOMEW THE RABBIT
“Butler, please set the room to TV mode.”

The closet doors open revealing a small television. It turns on to station 78. BIFFOLLOMEW and Rockford approach the TV. They pull out soft squares of grey padded carpet from a bin under the TV and sit down. The title sequence of The Babysitter Tales starts to play on the TV.

PAN IN ON THE TELEVISION SCREEN

TRANSITION FROM THE PLAYROOM TO THE BABYSITTER TALES TV SHOW. 

On the TV screen the last bit of The Babysitter Tales opening sequence plays. The sequence ends and transitions to an establishing shot of a model of Gloomarella’s house.

SHIFT FROM LOOKING AT IMAGE ON TV SCREEN TO BEING “LIVE” IN THE SHOW.

LS OF GLOOMARELLA’S HOUSE

CUT TO…

INT. GLOOMARELLA’S KITCHEN, MORNING
GLOOMARELLA THE DOOMWITCH enters the room from stage-left. She has just woken up and is not very alert. She wanders over to the counter by the sink. She pulls down a coffee cup, fills it with coffee from the coffee maker, and leans against the counter. She takes a slow sip and smiles. She finishes the coffee and rinses it out in the sink. Then she looks around as if something is wrong, noticing that the sink is empty. All the dishes are clean. She then looks around the kitchen and notices it is clean. 

GLOOMARELLA THE DOOMWITCH
“Where is the grime? Where are the spider-webs? Everything looks shiny and new. Who cleaned this place?”

Then she notices the doom baby in his high chair eating breakfast peacefully. 

GLOOMARELLA THE DOOMWITCH
“What are you doing up?”

SMILES GOODSON enters from stage-right carrying a bouquet of flowers. He walks over to put them in a vase near the sink.

SMILES GOODMAN
“Oh good, you’re up. I’ll make you some eggs.” 

She grabs a pan and hits him in the head. He spins, falls and hits his neck on the counter with a loud CRACK. He goes limp as the life suddenly leaves his body. There is A RESET NOISE accompanied by a flash of light. Smiles hops right back up.

SMILES GOODMAN
“Well aren’t you a lively one in the morning.” 

The Doomwitch screams again and shoots him with lightning. He flies out of the room. The RESET NOISE and flash of light occurs off-camera. Smiles Goodson walks back into the room. 

SMILES GOODMAN
“Who wants toast? I have an excellent sourdough cooling on the counter. I had to get up early to make it but I know just one bite and you will agree it was worth the effort.” 

He walks to Gloomrella and gently places his hand on her, guiding her. They walk over to the table where he sits her down. 

SMILES GOODMAN
“You’re going to love this bread. It is an old family recipe, made with a special ingredient.” 

Smiles leans into whisper a secret to Gloomrella.

SMILES GOODMAN
(whisper) “I am not suppose to tell, but since we are such good friends, it’s (pauses to look left and right then whispers even softer) love.” 

Smiles whistles and gets out the bread.

GLOOMRELLA THE DOOMWITCH
(to self) “What is going on.”

Smiles slices the bread and plates up one slice. He hands it to her. She takes the plate and tries the bread.

GLOOMARELLA THE DOOMWITCH
“Wow, this is really good. Normally, I hate love, but I can’t complain about this.”

SMILES GOODSON
“Why, thank you.”

Rod Pocalypse reaches for Gloomrella’s slice. 

ROD POCALYPSE 
“Gimme! Gimme!” 

SMILES GOODSON
“Now, how do we ask?”

ROD POCALYPSE
“Please?”

Smiles goes and gets Rod a slice. Gloomarella the Doomwitch chokes on the bread. 

GLOOMARELLA THE DOOMWITCH
“Did he just say please?”

SMILES GOODSON
“Yes. I taught him that this morning before you got up. I find there is always time to be polite.” 

GLOOMARELLA THE DOOMWITCH
“So you taught this baby, the doombaby, he who is the key fated to release those trapped beyond form and shape ushering in a thousand years of darkness where the screams of the tortured will form the new landscape. The instrument of the apocalypse. You taught him manners?”

The baby gets the bread, and Smiles rubs his head. 

SMILES GOODSON
“It was not easy, let me tell you, but I just reminded myself that anything worth doing is worth a little extra effort.”

GLOOMARELLA THE DOOMWITCH
“This will not do.”

Gloomarella shoots a lightning bolt at Smiles, knocking him out of the room.

GLOOMARELLA THE DOOMWITCH
“This will not do at all.”

CUT TO AD-BREAK

The ad-break still fills the screen.

GLOOMARELLA
(voice-over) “We’ll be right back after this short break. Change the channel and I’ll curse your soul!”

PAN OUT FROM THE AD-BREAK CARD

TRANSITION FROM INSIDE THE TV SHOW TO THE PLAYROOM

THE CAMERA SHIMMERS AS IT PANS OUT FROM THE TV SHOW. PAN BACK BEHIND BIFFOLLOMEW AND ROCKFORD.

INT. BIFFOLLOMEW’S PLAYROOM, DAYTIME
BIFFOLLOMEW THE RABBIT AND ROCKFORD THE PET ROCK sit infront of the TV cabinet in the closet watching the commercials. An ad for Star Families brand Seed Rolls plays on the screen. BIFFOLLOMEW looks to the side and sighs. He stands and walks off screen. After a moment Rockford notices he is missing.

ROCKFORD THE PET ROCK
“Are you going to finish watching this?”

CUT TO SHOT OF BIFFTHOLOMEW

BIFFOLLOMEW sits by the window looking outside.

BIFFOLLOMEW THE RABBIT
“I was just thinking, it is such a nice day.” 

CUT BACK TO SHOT OF ROCKFORD

ROCKFORD THE PET ROCK
“You want to go outside.”

CUT BACK TO SHOT OF BIFFOLLOMEW

BIFFOLLOMEW THE RABBIT
“Yeah. I don’t know what it is, but I want to be outside. Feel some sun on my fur.”

Rockford enters comes over next to BIFFOLLOMEW.

ROCKFORD THE PET ROCK
“That sounds great. Let’s do it.”

BIFFOLLOMEW THE RABBIT
“Really.”

ROCKFORD THE PET ROCK
“Really.”

BIFFOLLOMEW hugs up Rockford and squeezes him.

BIFFOLLOMEW THE RABBIT
“Thanks.”

He sets down Rockford.

BIFFOLLOMEW THE RABBIT
“Butler, turn off the playroom television.”

The Butler chimes off-screen and the television shuts off. Biffollomew and Rockford walk off frame.

PAN TO WINDOW.

A gentle breeze blows through the grassy backyard. Sunshine beams down on the yard. A butterfly drifts from flower to flower. From the edge of the window frame, Biffollomew and Rockford come running into view. Rockford chases after Biffollomew, who laughs and jumps. Every time Rockford gets close, he leaps to the side and rolls. After the fourth roll across the grass, Biffollomew unfurls onto his back. He giggles looking up at the clouds. Rockford catches up to him and jumps on his chest. Biffollomew grunts and pulls Rockford into a hug.

TRANSITION FROM BIFFOLLOMEW’S BEDROOM TO THE ALEXANDRIAN LIBRARY

DISSOLVE FROM THE BACKYARD TO THE CURTAIN OF CLOUDS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

JOIN THE CAMERA IN THE MIDST OF PANNING DOWN THE CURTAIN OF CLOUDS. IT SLIDES DOWN AND DOWN FURTHER, STARTING AT A BREAKNECK PACE AND SLOWING. SOON THE TOPS OF THE MID-STAGE SETS PEAK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE

MID-STAGE: INT. ALEXANDRIAN LIBRARY SECOND FLOOR MAIN ROOM, MORNING
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER emerges from behind the bookcase. He strolls across the stage. As he passes the new releases table, something catches his eye. He stops and picks up “Runaways from Randomness” by Jonathan J. Wheelwright

THOMAS TYPEWRITER
“A sequel to that Latchkey kids? Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The Mid-stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 06

By Thomas Typewriter

(c) 2026 Jason Arcand
———–<:type:>———–

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-06”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING. From the bottom of the frame, the fingers of the VELVET TOUCH curl up. They grip the darkness as if a solid object, and bring it forward. It takes on a shape like a large card sign. The Velvet Touch rotates the card 180 degrees. On the back of the card is a still photo of THE TYPEWRITER ABSTRACT PUPPET STAGE on the wooden disc in the Unroom Not.Seven. The Velvet Touch places the card back into place and pulls its fingers out of view.

INT. UNROOM NOT.SEVEN, BETWIXTIME
The unroom Not.Seven is a room of indeterminable size. In front of the doorway are semi-circular rows of grey carpet squares. They radiate out from a wooden disc sitting near a possible center of the space. The TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, facing towards the grey carpet squares. The entire scene is softly illuminated by spindly metallic lamps at the end of the rows. The lamp’s cords snake off into the distance.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, MOVING CLOSER AND CLOSER TO THE MID-STAGE AREA. THE CAMERA STOPS PANNING FORWARD WHEN IT LOCKED IN PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part and the stage lights turn on to the sound of A LIGHTSWITCH CLICKING ON, revealing…

MID-STAGE: EXT. THE ALEXANDRIAN LIBRARY, AFTERNOON
The front entrance of the multi-level flagstone and glass Alexandrian Library stretches across the back of the stage. The squarish carved letters of the building’s name loom over the triple set of doors adding to the solidness of the building. A sculpture of an open book balancing on the top of a pyramid stands just out front among ornamental grasses. We hear A CAR DRIVE UP AND PARK. The ENGINE SHUTS OFF. The CAR DOOR OPENS then SLAMS SHUT. FOOTSTEPS APPROACH. THOMAS TYPEWRITER, with a hardback copy of “Pandora’s Star” by Peter F. Hamilton under his arm, enters from stage-right. He walks past the ornamental grasses, past the sculpture, and up to the front doors. He uses his free hand to open the door and slips right in.

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT CONTINUES UPWARD MOVING ACROSS THE CURTAIN OF CLOUDS, HIGHER AND HIGHER. SOON THE BOTTOM OF THE HIGH-STAGE SLIDES IN FROM THE TOP OF THE FRAME. THE CAMERA CONTINUES PANNING UPWARD UNTIL LOCKING INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open and the stage-lights turn on to the sound of A COMPUTER BOOTING ON, revealing…

HIGH-STAGE: HANGER JSN076
In the center of the room stands a large cylinder of frosted glass. It stands on a pedestal of orthogonal crystals and abstract circuitry. Off to the side stands a control panel made of a similar crystal and tech mix. The room is painted in bright primary and secondary colors. Three pendant lamps hang from the ceiling illuminating the room. THE INNER-SPACE MAN enters from stage-right.

THE INNER-SPACE MAN
“This is what I wanted to show and tell you.”

BIFF THE RABBIT and ROCKEY THE PET ROCK follow, entering from stage-right. 

BIFF THE RABBIT
“The whole room or something in it.”

ROCKEY THE PET ROCK
“Is it me or does this look like the designs we drew on the boxes when we were pretending we were those superheroes.”

BIFF THE RABBIT
(looks around) “It does.”

THE INNER-SPACE MAN
“Yes, exactly.”

BIFF THE RABBIT
“What do you mean?”

THE INNER-SPACE MAN
“This whole place is somehow tied to your pretending.

BIFF THE RABBIT
“How is that even possible?”

THE INNER-SPACE MAN
“I do not know exactly how the link works, but it is there.”

BIFF THE RABBIT
“That makes no sense.”

The Inner-Space Man walks over to the control panel and presses a button. The frosted glass of the cylinder turns clear. Inside is the suspended form of the superhero MINDGAMES.

THE INNER-SPACE MAN
“How about now?”

BIFF THE RABBIT
“Mindgames! Rocky, it’s Mindgames. Exactly as I imagined he looked like.”

ROCKEY THE PET ROCK
“Eerie.”

BIFF THE RABBIT
“Okay, hit the button that lets him out. I have so many questions.”

THE INNER-SPACE MAN
“Sorry. I don’t know how.”

BIFF THE RABBIT
“No seriously, let him out.”

THE INNER-SPACE MAN
“I can not.”

Biff turns to look at the Inner-Space Man.

BIFF THE RABBIT
“What do you mean. You wandered this place for days before getting us or so you claimed.”

THE INNER-SPACE MAN
“I did and never found a release button. Only room after room like this one.”

Biff walks over to the control panel. Rocky stays at the cylinder looking at Mindgames.

BIFF THE RABBIT
“But you got out. How? How come you are free? Why you?”

THE INNER-SPACE MAN
“I don’t know. MAybe some quality you added to us when you pretended us allowed us to escape.”

BIFF THE RABBIT
“Maybe you just didn’t hit the right buttons.”

Biff starts to press on the buttons. Various lights in the room turn on and off. 

PAN OVER TO ROCKEY

ROCKEY THE PET ROCK
“What are you thinking in there?”

CUT TO CS OF THE MINDGAMES’ FACE.

Mindgame blinks.

CUT BACK TO ROCKEY

ROCKEY THE PET ROCK
“Arhh. Guys we have a problem. He just blinked.”

BIFF THE RABBIT
“What do you mean he blinked.”

ROCKEY THE PET ROCK
“I mean exactly that. He blinked. Look.”

Mindgames blinks again. Biff turns to look at The Inner-Space Man

BIFF THE RABBIT
“You mean he is aware.”

THE INNER-SPACE MAN
“Well, I was. Good chance in nine nine nines everybody else is. I hope not because it was torture.”

Biff becomes a little frantic and starts tapping buttons.

BIFF THE RABBIT
“We have to get him out. We have to get them all out.”

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

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING HIGH-STAGE AND PANS DOWNWARD. IT GLIDES TO THE CURTAIN OF CLOUDS LOCATED BELOW THE HIGH-STAGE. IT CONTINUES PANNING DOWNWARD THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. CONTINUE PANNING DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY FICTION SHELVES, AFTERNOON
A long bookshelf runs across the back of the stage. THOMAS TYPEWRITER enters from stage-right. He slowly walks across the stage, looking at the books. He runs his fingers across the various books as he contemplates.

THOMAS TYPEWRITER
(to self) “What am I doing? Am I really moving forward? Ophidia, she’s moving forward. She’s working herself to exhaustion. What have I ever worked myself to exhaustion on?”

He walks a short distance and then answers himself.

THOMAS TYPEWRITER
(to self) “Nothing.”

Thomas takes a step back to view all the books on the shelves. His body language shifts to painful introspection. Thomas exits stage-left. The Mid-stage curtains close and then repopen revealing…

MID-STAGE: INT, SECOND FLOOR MAIN ROOM, AFTERNOON
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER emerges from behind the bookcase. He strolls across the stage. As he passes the new releases table, something catches his eye. He stops and picks up “Runaways from Randomness” by

THOMAS TYPEWRITER
“A sequel to that book. Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

“Up Late, Late At Night: Episode Two, Act Two” – a new script by Thomas Typewriter

Puppet play, scripts, Up Late, Late at Night

———–<.thom.ophi>———–

Up Late, Late At Night

an abstract on treasure versus trash in modern film

Episode 002

Act II

By Thomas Typewriter & Ophidia Typewriter-Operahouse

(c) 2026 Jason Arcand & Suzanne Arcand
———–<:type.house:>———–

FADE IN TO BLACK

FADE IN

EXT. TRUCC NUTZ HIGHWAY AND ON-RAMP, DAYTIME

LS OF THE HIGHWAY AND ON-RAMP

The highway stands empty. From stage-left enters a semi-truck covered in logos for KON-SATOSHI ELECTRONICS. It drives down the highway exiting stage-right. A few moments after, from the on-ramp, quickly drive up the three souped-up street racing cars of The Tuna Sandwich No Crust Boys criminal gang. Each car bears the logo of the gang: the letters “TSNCBOIYZ” and a cartoon image of a tuna fish with thick hair on the side of its head but a bald spot across the top of its head. They speed after the semi, exiting stage-right.

TRANSITION FROM HIGHWAY TO THE OFFICE

INT. EDITOR-IN-CHIEF’S OFFICE, DAYTIME
A flicker goes across the frame as the image shifts to the appearance of an image on an older television.

PAN OUT

The image of the highway is now shown to be a video playing on a small television in the offices of LASER EDITOR, the editor-in-chief and publisher of “The Modern Sexy Little Miss’s Information Tabloid”. The office is lined with filing cabinets and taxidermy eagles, turkeys and one hummingbird. All the taxidermy eagles and one hummingbird are holding American Flags in their talons or beaks. The mounted turkeys are holding the Don’t Tread On Me flags. A large potted plants sits nestled between two filing cabinets. Laser Desks very solid looking desk sits over by the filing cabinets. The television sits on top of a rolling dolly. The main wall of the room contains the door and frosted windows. On the door is written in letters, in reverse to those inside the room, “LASER EDITOR – EDITOR-IN-CHIEF & PUBLISHER” The Laser Editor walks across to the television and turns it off.

CUT TO LS OF THE ROOM

B-Reporter and D-HACK are sitting in chairs watching Laser Editor turn off the TV.

B-REPORTER
“Why are you turning it off? There has been a 300% increase in electronic thefts in Dieselvania county, almost entirely from shipping trucks. Additionally there has been a surge in stolen bicycles. Something is going on. This is news.”

LASER EDITOR
“No, this is boring. We need something that can sell the papers. Something modern. Something sexy. Something little.”

B-REPORTER
“Are you hearing this D-Hack. I can’t believe this. You talk me into coming to your Aunt’s paper claiming she’s changing the paper. Real reporting. A real chance to make a difference. Do you remember that? Cause it sure sounds like that was a lie.”

D-HACK
“Yes, I said that but maybe she has a good point. She always has the best ideas.”

LASER EDITOR
“Stop sucking up you spineless wimp. Why can’t you be more like your friend? She actually has a drive and purpose. Principals.”

D-HACK
“Those are good points. B-Reporter, can I borrow your notebook so I can write this down.”

B-Reporter reaches over the Laser Editor’s desk and grabs a pen and notepad. She hands it to D-Hack.

LASER EDITOR
“Oh, now you’re being petty.”

D-HACK
“Ok, what was I supposed to be more like.”

B-REPORTER
“More like me. Beautiful, charming, intelligent, talented, gifted, determined to break the big story that changes the world and uncover the true grime hidden under the stones that civilization is built upon.”

CUT TO CS OF D-HACK WRITING ON THE NOTEPAD

D-Hack is trying to write down all these notes on a notepad that is much too small. He twists and turns the thing trying to fit all the notes on it.

D-HACK
(notes to self as scribbling away) “Be more beautiful…going to need to order some facial masks maybe for that one, charming, intelligent…do they make brain pills? Need to look that up.”

CUT BACK TO MS OF LASER EDITOR

Laser Editor gets frustrated with D-Hack and grabs the pen and notepad out of his hands and throws it away.

LASER EDITOR
“Cut that out. And you, you could stand to be more like D-Hack. He has no morals, no outrage, nothing getting in the way of writing a story that will sell. And that is what we need, what you need. You think you are going to write some story about greed and corruption that is going to change everyone’s life. Well Mister Investigative Reporter, how can you do that if no one is reading the paper your story is in? Answer me that? And more importantly, how can I have a hot tub installed in my private helicopter if my paper does not sell millions and millions of issues.”

B-REPORTER
“A hot tub in a helicopter? That makes no sense. The downwash is like over sixty miles per hour. All the water would blow out of the tub. Additionally, everyone would slosh out when it makes turns.”

D-HACK
“That’s a great idea.”

LASER EDITOR
“Thank you, nephew. Now, take a look at this. Just came into my possession today. I have a contact over at the local news affiliate in Dieselvania. I may have made his quote-unquote wife disappearing potential homicide story into a giant sewer alligator eats local wife story.” 

B-REPORTER
“That is awful.”

D-HACK
“Good job Aunt. You’re always thinking of the angles. Making the smart bets.”

LASER JUDGE
“You bet I am. And it always pays off. Here, take a look at this.”

Laser Judge walks over to her desk and pulls out a videocassette from within a bottom drawer. She puts it into the TV and presses play.

ZOOM IN ON THE TELEVISION AND CUT TO…

EXT. THE LONELY DOOR IN THE WOODS, DAYTIME
A door frame sits alone in a wild and deep woods. In the distance can be heard the sounds of freeway traffic because all the forests and woods in Dieselvania are near highways and interstates. BRO-POD, an mp3 player wearing a college athletic jersey and proud member of the Omega Omega Ohm fraternity, enters the frame drinking multiple beers. His beers are a six-pack with the beer still on the plastic ring. All six are open and slosh beer into his mouth, face, and shirt when he attempts to drink. Out of the frame is Bro-Pod’s fellow fraternity brother FRAT-DECK. If he were to be seen, he would be a Tape Desk wearing a college athletic jersey similar to Bro-pod’s.

BRO-POD
“You getting this man.”

FRAT-DECK
(from off-camera) “Yeah man, I am getting this. This is going to be great.”

BRO-POD
“We’re going to be legends.”

FRAT-DECK
“Let’s do it. Misanthrope University Rules!”

BRO-POD
“I am Bro-Pod and I am going to open the lonely door in the forest. This is for all my boys at Miskatonic University. Love you guys. Screaming Nyarlathoteps forever!”

FRAT DECK
(from off-camera, shouts) “OMEGA OMEGA OHM!”

BRO-POD
(shouts) “OMEGA OMEGA OHM!”

Bro-Pod starts pushing on the door but it won’t budge.

FRAT-DECK
(from off-camera) “Come on man, open the door.”

BRO-POD
“I’m trying man.”

FRAT-DECK
(from off-camera) “You’re ruining it man.”

Then there is a loud roar from behind the door

FRAT-DECK
(from off-camera) “What was that?”

BRO-POD
“Its the door. I think I budged it.”

Just then the door explodes off the frame and flies into the camera Frat-Deck is holding. Bro-Pod can be seen knocked into the air. The door knocks over and lands on Frat-Deck. 

THE CAMERA SPINS THROUGH THE AIR AND LANDS AT AN ANGLE.

The broken door and part of Frat-Deck can be seen in front of the camera. COMBO-STEIN, a Frankenstein like monster made from a VCR/DVD combo player, in silhouette, can be seen screaming and running through the busted door and out of the frame. Bro-Pod is just visible sticking out of a shrub in the distance.

BRO-POD
“Miskatonic University…”

FRAT-DECK
“Omega Omega Ohm…”

CUT BACK

ZOOM BACK OUT OF TELEVISION TO FULL SHOT OF ROOM

The Laser Editor ejects the tape.

LASER EDITOR
“Now that is a story that will sell papers.”

B-REPORTER
“Story? How is that a story? A door fell on some dudes.”

LASER EDITOR
“Yes. A door falls in the woods and no one hears it, no story. But a door falls in the woods and two nut sacks hear it, that’s a story.”

D-HACK
“That’s a great idea aunt. Headline: Monster Rampages honor students in the woods. Are you next?”

LASER EDITOR
“Yes, yes, YES! I knew you’d get it. but you (points at B-Reporter) You are going to need a little sweetness to say yes. Get me this story and you can finally write that piece you’ve been bugging me about.”

B-REPORTER
“Wait. Are you serious? I’ll finally be able to write about how the MK Ultra program worked to brainwash everyone into thinking Inception is a nesting doll story of layered realities when in actuality it is the linear story of what happened to Jack Dawson after Rose pushed him off that door. When he sank into those frozen waters.”

D-HACK
“Really. That’s what you’re going to use your blank check on. That doesn’t even make sense. ”

B-REPORTER
“It makes perfect sense. At the end of Titanic, Jack sinks into the water and then Inception opens with him washing up on shore. The currents where the Titanic sunk would have pulled his body towards Europe with its sandy beaches, which match the sandy beach he wakes up on in Inception.”

LASER EDITOR
“Okay, well that is something.”

B-REPORTER
“Makes more sense than a hot tub in a helicopter.”

LASER EDITOR
“Don’t test me B. Now, here are your tickets and accommodations. You leave right now.”

D-HACK
“I’ll have to stop back at the apartment to pack.”

B-REPORTER
“I’ll ride with you.”

They leave the office. Laser Editor watches them leave and then goes to sit down at her desk.

CUT TO MS OF LASER EDITOR AT DESK

Opening a drawer she pulls out a bottle of alcohol and a glass. She starts to pour herself a drink when the potted plant behind her starts to wiggle. The plant moves up revealing MR. COIN, an oversized novelty coin wearing a fedora, sunglasses, and a trench coat. He looks over at Laser Editor

MR COIN
“Now, you’re not going to actually publish that article on Titanic and Inception are you. It would not do for attention to be brought to our group’s efforts to persuade the public of what is true and not true as it pertains to those particulars.”

LASER EDITOR
“Nope. I’ll tow the line.”

MR COIN
“Excellent.”

Mr. Coin lowers his head back down into the potted plant. Laser Editor drinks her glass slowly. Once done, she sets the glass down on her desk.

CUT TO CS OF THE EMPTY GLASS

FADE OUT

If you like this, or any of my other art, please consider throwing some support my way through my Patreon (https://www.patreon.com/c/ThomasTypewriterTypes) or Ko-fi (https://ko-fi.com/thomastypewriter). 

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

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 05

By Thomas Typewriter

(c) 2026 Jason Arcand
———–<:type:>———–

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-05”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.

FADE OUT
FADE IN

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE appears in the black void.

PAN IN ON MID-STAGE TILL PROPERLY FRAMING IT

MID-STAGE: CURTAINS CLOSED

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

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE sits at the animator’s lightbox, furiously drawing animation cells. THOMAS TYPEWRITER enters from stage-left. He hangs up his coat and then walks over to Ophidia. He places a hand on her shoulder.

THOMAS TYPEWRITER
“Hi.”

Ophidia stops bopping, pulls down her headphones, and smiles at Thomas.

OPHIDIA OPERAHOUSE
“Hey, good looking.”

Ophidia points to her lips. Thomas takes the hint and kisses her.

THOMAS TYPEWRITER
“You’re sure in a good mood.”

OPHIDIA OPERAHOUSE
“Oh yeah. I love how it feels to animate.”

THOMAS TYPEWRITER
“Have you been working long?”

OPHIDIA OPERAHOUSE
“Maybe. Probably. I came home from dinner and could not sleep. So I started working.”

THOMAS TYPEWRITER
“So, you never went to bed?”

OPHIDIA OPERAHOUSE
“Nope. I am full of electricity.”

THOMAS TYPEWRITER
“Okay electric girl, is there anything I can do to help?”

OPHIDIA OPERAHOUSE
“Could you get me some fresh coffee?”

THOMAS TYPEWRITER
“Sure. Are your parents okay with me being in the kitchen.”

OPHIDIA OPERAHOUSE
“Oh, it’ll be fine. They love you.”

THOMAS TYPEWRITER
“Okay. Fresh coffee coming right up.”

Thomas Typewriter exits stage-left. Ophidia puts back on her headphones and starts bopping to the music.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. THE SETS DISAPPEAR OFF THE BOTTOM OF THE FRAME AS THE CAMERA ASCENDS. IT GLIDES UP AND UP, OVER THE CURTAIN OF CLOUDS. SOON, THE HIGH-STAGE AND NARRATOR’S DOOR AT THE TOP OF THE CURTAIN OF CLOUDS SLIDES INTO VIEW. THE CAMERA SLOWS AND MOVES INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
From behind the curtain, the sounds of A BAND PLAYING MUSIC leak. The High-Stage curtains open and the stage-lights turn on to the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, DAYTIME
A large curve window runs across the back of the stage, showing the sparkle of the sparks drifting through space. Some components of the Flute are visible in the periphery of the window. A long curved couch runs under the window curving around a circular rug. Additional couches wrap around the circle coming out of stage-left and stage-right. The center of the observation area is free of couches, being the main entry point for those wishing to sit in the observation lounge. The entire area is decorated in yellow, amber, and beige. The rug is a contrasting red. A group is currently assembled playing music to practice and get in tune. LUCIDO OBSIDIAN, in his Medi-pod stands in the front of center on the carpet playing guitar. Behind him, CEDAR WAXWINGS plays drums. On the stage left side of the carpet CARRO, in their Medi-pod, plays keyboards. To the stage-right side of the carpet MINTHRIL MOUSTACHE plays trumpet. Next to him, ELDER GRIM plays the upright bass. The group is currently not doing very well playing in harmony. Meanwhile, PANACIA FLAUTO sits on one of the Observation decks couches listening. 
HYGENNIA FLAUTO and two ORDERLI-BOTS enter from stage-right. Hygennia walks over to Panacia and sits down with her. They start to chit-chat. The ORDERLI-BOTS clean the couches. The musicians start to musically line up. They can play longer stretches of harmonious music before hitting discordant notes. IASA FLAUTO enters from stage-right holding a tray filled with three simple coffees from the ship commissary. She hears the music and starts to softly sway to the music. She waves to the musicians and they wave back. Their music clicks even further, lining up to the rhythm of Iasa. She walks over to Hygenia and Panacia. Hygenia takes the coffees. Iasa pulls Panacia up from the couch and starts to get her to dance along with her. Hygenia laughs and takes a coffee and starts to sip. The Orderli-Bots stop cleaning and watch the music and dancing. Panacea and Iasa laugh. Hygenia smiles and joins in.

FINNOCHIO and his sister BALLERIA enter stage-left clapping enthusiastically along with the music. They are followed by some REPAIR-BOTS, lulled up from the Maintenance Tunnels by the sweet tunes, sway to the music. The music goes louder as does the crowd’s response. On each of the Medi-pods the three top lights turn to green over the course of playing. When the third light turns green, the Medi-pod beeps. Carro, Cedar, and Lucido’s robotic arms go limp. They fall out of the melody. The Medi-Pods crack open along a low seem like an egg cracking open. Out pours the fully repaired Lucido, Cedar and Carro, coated in fluid and sliding across the floor. Carro now has a robotic body after the Medi-pod process, where in the earlier episodes he was just a face on a view screen.

As the three slide out of their Medi-pods, Elder and Minthril abruptly stop playing. Iasa, Panacia, and Hygenia swiftly rush to the newly emerged bodies and start to run medical checks. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER AND ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. EVENTUALLY THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME AS THE CAMERA HAS REACHED THE BOTTOM OF THE CURTAIN OF CLOUDS AND THE MID-STAGE. IT PANS DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE sits at the animator’s light box, slumped over, asleep.

THOMAS TYPEWRITER
(off-stage) “I’ve got your coffee.”

THOMAS TYPEWRITER enters from stage-left, carrying a tray with a coffee cup and a carafe of coffee. There is also a glass of water on the tray. He enters backwards to navigate the door, balancing the tray best as he can.

THOMAS TYPEWRITER
“Sorry it took as long as it did for me to get the coffee. Your Mom came out and we had a nice talk. She asked if I could make her some tea so I did. Let me know if you want any and I’ll go get you a glass. Your Mom asked me if we set a date for the wedding, which is the funniest thing because my Grandma was just asking me the same thing this morning.”

Thomas places down the tray. 

THOMAS TYPEWRITER
“Isn’t that the craziest thing? Are they sharing a wavelength?”

He picks up the coffee cup and turns to give it to Ophidia.

THOMAS TYPEWRITER
“And you’re asleep.”

Thomas straightens looking at Ophidia. He shrugs and takes a sip of the coffee. He spits it back out into the cup.

THOMAS TYPEWRITER
“Ugh, yuck. How does anyone like that?”

Thomas sets the cup back onto the tray. He then exits Stage-left returning with a blanket. He places the blanket over Ophidia. He gently kisses her on top of her head.

THOMAS TYPEWRITER
“You get your rest, you deserve it. I’ll be over here reading.”

Thomas moves to the chair to the side and pulls out a copy of “Pandora’s Star” by Peter F. Hamilton.

THOMAS TYPEWRITER
(to self) “Thank goodness I have one of Hamilton’s space operas. This will definitely keep me busy.”

Thomas props his feet up on the desk and relaxes into a comfortable reading position. He starts to read, briskly moving through pages then slowing down. He turns back two pages and rereads what he had read. He thinks a moment and then starts to read at a brisk pace. As he is reading he starts to fidget, starting with turning his body left and right. Then he switches to gently swinging his feet left-right. The Mid-Stage stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

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

(c) 2020

===========<: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