Up Late, Late At Night: Season One, Episode One, Act Five script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

ACT V

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT V————

FADE IN

OPEN ON A CLOSE SHOT OF THE FUNDRAISER FLYER WITH THE STAGE CURTAIN BEHIND IT. THE FLYER ZOOMS AWAY AND THE CAMERA MOVES DOWN TO THE BEHIND THE STAGE

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
The stage curtain lines the back of the stage. D-COP, B-COP, B-RAY and MR. PUPPETS, CLAMSHELL, CASS-E, V-HESS, JEWELCASE, GRETAL and HANSEL are gathered behind stage ready to preform. Everyone is dressed in white and red and stationed with an instrument except B-ray. He is off to the side dressed in a very wide lapeled suit.

B-COP is holding a guitar and wearing a white suit, red vest and pants. Cass-E has her hair down, dressed in white shirt with red vest and pants, stands at a portable organ. Jewelcase is dressed in a red suit with a white undershirt and giant carafe. She stands in front of a keyboard. Hansel sits at a drum kit dressed in white shirt and matching red vest and pants. Clamshell holds a bass guitar and wears a white shirt and red vest/pants outfit similar to the others. Gretel wears a red and white jumper and holds a tambourine. B-COP is dressed in all black, black pants black tee with sleeves cut off and a loosely tied black tie. She is holding a guitar. B-Ray is wearing a head mic and earpiece while holding Mr. Puppets. Mr. Puppets wears a similar ear piece while holding a clipboard.

MR. PUPPETS
(looking at notes on clipboard) “Were on in five Big D.”

D-COP
“Everyone ready?”

All the others nod yes.

D-COP
“And let me remind everyone this is probably my last chance to trick the Laser Judge into giving me a chance to earn her love. Play like my love life depends on it.”

B-COP
“Hopefully you all play better than you drive.”

D-COP
(looking over at B-Ray & Mr. Puppets at the side of the stage ready to work the curtain) “When I count to three, open the curtains.

B-RAY
“Got it.”

D-COP
“1…2…wait. Clamshell, is that Paddles in your coat.”

CLAMSHELL
“Yes.”

D-COP
“Why isn’t he back at the house?”

CLAMSHELL
“I thought he’d get lonely. Besides, he loves to rock out. Isn’t that right Paddles.”

PADDLES
“Woof Woof”

D-COP
“If Laser Judge sees us with her stolen dog, she is going to know we stole the dog.”

B-COP
“You stole.”

D-COP
“I stole. Now get Paddles out of here before anyone sees him. Hide him in the car for now.”

Clamshell and Paddles exit stage-left.

TRANSITION FROM BACKSTAGE TO THE FRONT ENTRANCE

CUT TO…

EXT. FRONT GATES OF LASER JUDGES MANSION, AFTERNOON
A brick wall, the Laser Judge’s property’s fence, runs across the stage. There is a large metal gate and driveway to the stage-left side. A larger cardboard box sits outside the front gate. “FOR DONATION” is written on the outside of the box in large letters. On the stage-right are some cars parked along the grass embankment.

CLAMSHELL enters through the garden gate, walking from the party to where he parked on the road outside the Laser Judge’s estate. PADDLES is still in his shirt. He walks over to the second car, opens the door, and places Paddles inside. The second car’s license plate reads “DCOPS CAR”.

CUT TO MS OF CLAMSHELL AND PADDLES

CLAMSHELL
“Now be good and wait here.”

CUT TO CS OF PADDLES

Paddles wimpers.

CUT TO CS OF CLAMSHELL

CLAMSHELL
“Oh, don’t cry. I’ll be back soon I promise.”

Paddles jumps licking Clamshell’s face

CLAMSHELL
“Oh, that tickles. I love you too boy.”

CUT TO MS OF CLAMSHELL AND PADDLES

Clamshell pushes Paddles into the car and shuts the door.

CLAMSHELL
“Be a good boy while I am gone okay.”

Paddles nods yes. Clamshell walks away.

CS TO PADDLES

Paddles reveals he stole the keys for the car from Clamshell.

PADDLES
(gives a laugh)

He moves over to the steering wheel and starts the car. The Car drives out of frame, stage-left.

CUT TO MS OF CLAMSHELL AT THE GATES

Clamshell is returning to the party, walking up to the front gates. He passes by the box, stops, and backtracks to look inside the box. He removes some clothes and walks through the gate.

TRANSITION FROM FRONT GATES TO PARTY ENTRANCE

EXT. THE PARTY ENTRANCE, AFTERNOON

LS OF PARTY ENTRANCE

NATE TRACK, an eight-track cassette dressed as a security guard, stands at a podium erected on the top of the driveway. This would be in an area of to the side from the driveway, that could serve as access to a path along the side of Laser Judge’s house leading to the garden in the back. The party itself is being held in the back lawn garden. An arch of balloons acts as the gateway to the party. Nate Track stands in front of the archway. CLAMSHELL, dressed in a tux with tails and tophat. Now the thing is that Clamshell’s tux looks all wrinkled since he pulled it was stuffed into a box.

CUT TO MS OF NATE TRACK AND CLAMSHELLS

Clamshell attempts to go through the archway, but Nate blocks his path.

NATE TRACK
“Reservations.”

In response to this question, Clamshell pulls out a monocle and puts it on.

NATE TRACK
“Sir, If you do not have a reservation, I am going to have to ask you step aside.”

To this Clamshell responds by pulling out a second monocle from his jacket. He places the second monocle over the first.

NATE TRACK
“Two monocles! Only the wealthy can afford such eccentricities. I am sorry sir, I didn’t notice your wealth originally. Please accept my sincerest apologies and enjoy the party.”

Nate Track steps to the side of the archway. Clamshell nods and walks through the archway.

CUT BACK TO…

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
Everyone is waiting at their instruments, except B-Ray and Mr. Puppets. They stand off to the side by the curtain and light controls.

B-COP
“What is taking Clamshell so long?”

D-COP
“We don’t have time to wait. Everyone, we go live on the count of three. One…Two…Three…”

B-Ray starts to open the curtains.

CUT TO (OR REVERSAL)

EXT. LASER JUDGE’S GARDEN STAGE

LS OF STAGE FROM AUDIENCE

The curtain opens as we hear a slow beat. Everyone in the band faces towards the audience while D-Cop has his back to the audience. The rest of the band is arranged around him in a semi-circular fashion. D-Cop bops to the beat a few times and then turns around. He moves up to the microphone to speak. In the Audience, near the front of the stage stands LASER JUDGE. Towards the back of the audience stands CLAMSHELL.

D-COP
“Hello everyone, I am D-Cop and together with these fine folks behind me, we are Vega’s Lemons, your entertainment tonight. When the Laser Judge asked us to help out with tonight’s fundraiser to find that lost little bundle of joy, Paddles, well, I’ll be honest, I shed a tear. Thinking of that poor scared dog definitely lost and not taking a bath in someone’s house, well we had to say yes. (Turns to look directly at someone) Laser Judge, I will always say yes to you.”

B-COP
“Ahem”

D-COP
“Oh yes. Enough seriousness, this is a party. Lets enjoy ourselves. Now those youngsters in the audience may not know this one, but trust us old timers when I say, in our day, this song rocked our world. (turns to band) Okay on three. One, Two,…”

The band starts to poorly play Rock-A-Bye Baby.

D-COP
“Rock-a-by baby on the tree top. When the wind blows, the cradle will rock. When the bough breaks…”

CLAMSHELL, dressed in his rumpled found tux and holding a plate of fruit and hors d’oeurves, stands up.

CLAMSHELL
(shouts) “YOU SUCK!

D-COP
“Oh, you know that one. Well, how about this one.”

They start to play Twinkle, Twinkle, Little Star

D-COP
“Twinkle, twinkle, little star…”

CLAMSHELL
“GET OFF THE STAGE!”

Clamshell throws food at the band. D-COP gets hit by food. Then the rest of the audience joins in throwing food at the band.

INSERT CS OF THE VARIOUS MEMBERS OF THE BAND BEING HIT BY FOOD.

The band recoils and tries to shield themselves behind their instruments.

SLOW-MOTION

Then a LOUD CRASH as D-Cop’s car crashes through the wall of the back of the stage. PADDLES, dressed in a rock star outfit, flies out of the windshield. Paddles flies out and lands on the stage, guitar in paws. He slides across the stage to the astonished looks of the band and audience

INSERT VARIOUS CS OF THE SURPRISED LOOKS ON THE AUDIENCE MEMBERS AND BAND MEMBERS

He reaches the front of the stage and starts to shred on his guitar.

SLOW-MOTION ENDS AND REGULAR SPEED RESUMES

Everyone stands frozen and silent, in shock at Paddles arrival. Paddles finishes his guitar solo and stands. He bows the audience.

LASER JUDGE
“Paddles! That’s my Paddles.”

PADDLES
“Woof”

LASER JUDGE
“Come here boy, I’ve missed you so much.”

Paddles jumps off the stage and onto the lap of Laser Judge. They excitedly snuggle.

CLAMSHELL
“Everyone, he must of escaped in the car of the dognapper.”

D-COP
“Now, lets not jump to any incriminating conclusions. The important thing is they are reunited right.”

CLAMSHELL
“The car’s license plate says DCOP. Everyone, D-Cop is the dognapper. DOGNAPPER! DOGNAPPER!”

LASER JUDGE
“He’s right. Dognapper!”

The audience starts to chant “Dognappers!”.

D-COP
“Thank you everyone, you’ve been a great audience, but our time here has come to a close, and let me say…”

CLAMSHELL
“Get them!”

B-COP
“Cheese it fellas!”

The band runs off stage. The audience follows chasing behind them. The audience now has torches and pitchforks.

ONCE EVERYONE HAS LEFT THE FRAME PAN IN ON THE CAR CRASHED THROUGH THE BACK OF THE STAGE.

Pinned under the car, B-Ray hopes help finds him soon.

CS OF B-RAY PINNED UNDER THE CAR

B-RAY
(to Mr. Puppets) “It’s all up to you Mr. Puppets to get help. You’re my last hope.”

CUT TO MS OF B-RAY, WITH THE CAMERA ON THE STAGE OR FLOOR LEVEL.

B-Ray tosses Mr. Puppets.

B-RAY
“Go Mr. Puppets. Run for help.”

Mr. Puppets lands on the stage, next to the camera so that the crumpled Mr. Puppets is in the foreground of the shot and the crushed B-Ray is in the background. Hold the shot a few moments.

B-RAY
“I’m screwed.”

FADE OUT

The Great Works Project: Season Two, Episode Ten script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Ten

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-10”. 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
The unroom Not.Seven is a vast space, a cavern of small and large. A wooden disc sits in the center, surrounded by waves of multi-hued grey carpet squares. Tall spindly metallic lamps attempt to illuminate the room.

OPEN IN POV OF THE OUTER ONE

THE OUTER ONE sits on a carpet square looking at the wooden disc in anticipation. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from some place far away by way of the wooden disc.

THE CAMERA MOVES OUT OF THEN INTO FOCUS

Unseen lamps above the wooden disc click on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON MID-STAGE UNTIL IT FILLS THE SCREEN AND IS PROPERLY FRAMED

MID-STAGE: CURTAINS CLOSED
The curtains part and the stage lights turn on, with the sound of A LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
A desk sits in the center of the stage topped by a typewriter and a ream of paper. A book, a phone, and a pair of headphones sit on top of the paper. A sheet stands ready and loaded in the typewriter. A lamp waits to the stage-right side of the desk, a wastebasket pauses stage-left. A small bookcase, adorned with various houseplants, watches skewed off to the stage-right side. THOMAS TYPEWRITER is sitting at the desk looking off to the side, lost in thought. As his mind drifts, his fingers tap on the desk. TAP…TAP…TAP…

CUT TO CS OF THOMAS’ FINGERS TAPPING ON THE DESKTOP AS THEY SLOWLY DRIFT TOWARDS THE TYPEWRITER

TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…CLICK AS A TYPEWRITER KEY IS PRESSED. Thomas’ fingers pause. Then a second keystroke and CLICK.

CUT BACK

Thomas rotates into the desk and opens a drawer. He pulls out a small jewelry box and sets it next to the typewriter. Looking at the box for a moment he turns to the typewriter and starts to type.

THOMAS TYPEWRITER
(narration) “Biff found his life slipping out of control, and he felt scared.”

Thomas turns from the typewriter and pulls out a book, “Latchkey Kids of Randomness”, from his desk. He opens the book, carefully setting the bookmark to the side, and starts to read.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FORM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT CONTINUES PANNING UPWARDS, FOLLOWING THE CURTAIN OF CLOUDS. THE CAMERA MOVES TO THE TOP OF THE CURTAIN OF CLOUDS FINALLY STOPPING FRAMING THE HIGH-STAGE LOCATED AT THE TOP OF THE CURTAIN OF CLOUDS. IT STOPS PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The curtains part and the stage-lights turn on with the sound of A COMPUTER POWERING ON, revealing…

HIGH-STAGE: INT. THE CARRO’S OBSERVATION DECK
The Observation Deck is in a sad state, showing signs of excessive damage from the recent space storm. Wires hang from the ceiling. Scattered debris covers the floor. The amber emergency alarms are now dim. Smoke pours in from off-stage. A spiderweb of cracks are visible in the observation window. The sound of GLASS CRACKING resonates across the stage.

CUT TO CLOSER SHOT OF THE CRACKING OBSERVATION WINDOWS

The cracks grow and grow till the window shatters. The Observation Deck decompresses. ROARING WIND as all the loose unsecured items are sucked out the window. Soon the ROAR SUBSIDES as the last of the atmosphere escapes. Small bits of debris float by weightlessly.
ARG-0519, a diamond shaped Sat-bot in the employ of the Jovian, moves past the window casting a spotlight from it’s diamond like central eye across the deck. It scans the room then flies off. A few moments later a large simian-like gloved hand grabs the edge of the window.

CUT TO CS OF THE GLOVED HAND

The image cuts to black with the sound of A COMPUTER TURNING OFF. The High-stage curtains soon follow, closing on today’s episode.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT MOVES TO THE CURTAIN OF CLOUDS, FOLLOWING IT TO THE BOTTOM. THE TOPS OF THE MID-STAGE SETS SLIP INTO VIEW. THE CAMERA CONTINUES DOWNWARD TILL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas sits at his desk reading. He reads a few pages then rotates toward his typewriter. Holding his place in the book with one hand, Thomas uses his other hand to hunt and peck at the keyboard.

THOMAS TYPEWRITER
(narration) “But still he moved forward.”

Thomas stops typing and resumes reading. The stage lights turn of with the sound of A LIGHT SWITCH CLICKING OFF, to which Thomas reaches over and turns on his lamp. The Mid-stage curtains close.

FADE OUT

The Great Works Project: Season Two, Episode Eight script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Eight

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-08”. 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

XCS OF GOLDEN COIN

THE OUTER ONE fidgets with one of their golden coins missing out on the details of the unroom Not.Seven surrounding him/her. The coin spins and flips over finger after finger.
If the Outer One were to look up, they would see a large cavernous space of indistinct corners. A wooden disc sits in what feels like a possible center of the unroom. Cascading out from the wooden disc, rows and rows of grey hued carpet squares spread out like waves from a splash. At the edges of each crest stand tall spindly metallic lamps of a soft illumination. The sound of TYPEWRITER KEYS CLICK CLACKING drifts into from outside the frame of reference.

THE XCS TRANSITIONS TO A POV OF THE OUTER ONE. USE AN EFFECT TO MAKE IT SEEM AS IF THE OUTER ONE’S VISION READJUSTS.

THE POV TURNS AS THE OUTER ONE LOOKS UP AT THE WOODEN DISC.
The wooden disc sits empty dressed in shadows. Unseen lamps click on above the disc. In the newly cast light THE TYPEWRITER ABSTRACT PUPPET STAGE appears.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.
MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains part and the stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…
MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
A desk sits in the center of the stage topped with a typewriter and a ream of paper. To either side sits a lamp and a wastebasket. A small bookcase sits off to the stage-right with various house plants on top.
An ALARM CLOCK sounds off-stage. The stage lights come up to a dim level. THOMAS TYPEWRITER enters from stage-right and walks across the stage and exits stage-left. Shortly thereafter a TOILET SEAT LIFTING, URINATION, then A TOILET FLUSHING. The FAUCET TURNS ON AND OFF as Thomas washes his hands. He reenters from stage-left and walks over to the desk yawning and stretching. Removing the page from the typewriter, Thomas reviews what is written on it as he sits down at the desk.

THOMAS TYPEWRITER
“Alright, let’s see where I left off.” (with a more dramatic voice) “The curved view screen displays a vast swirling colorscape only made more abstract by the Space Egg’s velocity.” (taps his fingers on the desk as he thinks) “Okay what happens next. Whats next. Hmmm. Hmmm “ (starts to absentmindedly swivel his chair left and right) “Space Egg , multi-colors, velocity…”

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA UNCOUPLES FROM FRAMING MID-STAGE AND PANS UPWARD. IT MOVES OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT MOVES UP THE CURTAIN OF CLOUDS TO THE TOP AND THE HIGH-STAGE SITUATED THERE. THE CAMERA STOPS PANNING ONCE HIGH-STAGE IS PROPERLY FRAMED.
HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains part and the stage lights turn on, with a sound like A COMPUTER BOOTING ON, revealing…
HIGH-STAGE: EXT. FAR EDGE OF THE FOURTH ZONE OR OUTER SPACE
The Narrator’s door opens. Y-MOUSE walks out.

Y-MOUSE
“Tossed about, struck and striked, that little ship finds itself beyond safety’s reach.”

A model of THE CARRO flies unevenly across the stage. Fill the stage with fog to represent the storm the Carro is caught in. Flashes of light go off in the fog as THUNDER BOOMS.
The curtains close then reopen revealing…
HIGH-STAGE: INT. THE CARRO OBSERVATION DECK
The Observation Deck is severely damaged from when we last saw it in Season One. Wires hang from the ceiling. Bright amber alarm lights blink. CARRO’S terminal has fallen over, as have the other terminals trapping CEDAR WAXWINGS and LUCIDO OBSIDIAN in the debris. Cedar is trapped down stage-left while Lucido is pinned down stage-right. Cedar is laying on his back with his left arm caught under the debris. Meanwhile Lucido is stuck on his belly with his legs pinned. Storm clouds with flashes of lightning can be seen outside the observation windows behind Carro’s terminal.
Lucido is the first to stir. He looks around taking a moment to realize where he is and what has happened.

LUCIDO OBSIDIAN
“Cedar. Carro. You okay.”

Lucido looks at the damaged ship…
INSERT SHOTS OF THE VARIOUS DAMAGED SECTIONS OF THE OBSERVATION DECK.
…at his fallen friends…
INSERT SHOTS OF CARRO THEN CEDAR
…and lets out a stifled gasp…
CUT TO A CLOSE-SHOT OF CEDAR. WE SEE HIS CHEST RISE UP AND DOWN AS HE BREATHES.
…followed by a sigh of relief.
He attempts to stand but realizes his legs are pinned under the terminal. He tries to wiggle loose but yelps in pain and stops.

LUCIDO OBSIDIAN
“Oww…definitely something broken.”

Lucido lays back. He grabs a couple deep breaths then tries to lift the terminal again. He manages to tilt it a short bit but he yells in pain and collapses. The attempts to lift terminal have moved his guitar to the edge of the terminal. It falls off landing near Lucido.

LUCIDO OBSIDIAN
“What have we here.”

Lucido pushes away some debris to reach his guitar.

LUCIDO OBSIDIAN
(to self) “Never thought it would come to this.”

He starts to play the song that Otho Mercutian heard earlier this season. He repeats the tune. He repeats it a third time as dark smoke slowly spills in from off-stage.

LUCIDO
“Come on. Come on. You said you’d be there.”

The guitar then plays on its own.

LUCIDO
“Thank goodness. (coughs)”

Lucido slumps against the floor coughing. The stage lights turn of with the sound of A COMPUTER TURNING OFF while the curtains close to the fading sound of LUCIDO’S COUGHING.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWNWARD TO THE MID-STAGE AT ITS BASE. THE MID-STAGE SETS SLIDE INTO VIEW WITH THE CAMERA FINALLY STOPPING ONCE FRAMING MID-STAGE.
MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas is still swiveling, thinking about what happens next. What to write? What indeed. As he ponders, he keeps stealing glances back to the bookcase. Soon he stops swiveling and stands. He walks over to the bookcase, grabs Latchkey Kids of Randomness by Jonathan J. Wheelwright. He returns to his desk and starts reading the book.
The stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

The Script Illuminated – rough sketching

Art thoughts, The Great Works Project scripts, The Script Illuminated

While writing The Great Works Project, I am aware of the fact someone might actually try to stage this thing. While I view the script and the reading of the script as the medium, I do wonder how it will hold up when transferred off the page. How does it hold up to reinterpretation? To explore that idea I am going to try my hand at reinterpreting The Great Works Project. Maybe I’ll learn something in the process.