The Great Works Project: Season Three, Episode One script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 01

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “a prologue”. 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 UNDOCUMENTED SPACE
The unroom Not.Seven is a large space, decorated in various shades of gray. Squares of lightly hued carpet sit on the floor, arraigned in expanding rows around a central circular wooden disc. Notice how the boards making the circle show signs of wear and age. THE OUTER ONE sits on one of the carpet squares facing the wooden disk but reading from THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.

OPEN ON XCS OF THE PAGES OF THE SCRIPTBOOK. PREFERABLY OPEN ON THE SCRIPT TO SEASON TWO EPISODE TWELVE.

SWITCH TO POV OF THE OUTER ONE SITTING IN THE UNROOM LOOKING AT THE SCRIPTBOOK.

The Outer One turns one page then another.

CS OF BLANK PAGES TURNING ACROSS THE SCREEN. ALLOW THE PAGES TO MOVE SLOWLY AND THAT WE HAVE TIME TO REALLY SEE THE GRAIN AND TEXTURE OF THE PAPER. TREAT THIS SHOT LIKE THE OUTER ONE IS LOST IN THE DETAILS OF THE PAGE, LETTING THEIR MIND RELAX AND START TO WANDER.

As the pages turn across the camera, one page snags a little catching the Outer One’s right index finger in a small papercut.

THE OUTER ONE
“Ouch.”

CUT TO CLOSE-SHOT OF THE PAPERCUT.

A drop of blood wells up out of the papercut and leaks onto the page of the script. As the paper absorbs the blood, the skin around the the papercut on the Outer One’s hand starts to turn a translucent blue.

CUT BACK TO PAGES TURNING.

After a moment the sound of TYPEWRITER KEYS CLICK CLACKING can be heard from somewhere in front of the Outer One. Only this time the last click of the group sounds distorted.

CUT BACK TO POV OF OUTER ONE LOOKING AT THE PAGES AND HE/SHE LIFTS HIS/HER HEAD AT THE SOUND TO LOOK FORWARD.

The wooden disc stands dusk twilight empty. Soon two unseen lamps burst on, bringing THE TYPEWRITER ABSTRACT PUPPET STAGE into view. A third unseen lamp attempts to turn on, taking multiple flickers to turn on. Each time it flutters, The Typewriter Abstract Puppet Stage flickers immaterial. The third unseen lamp finally powers on completely. The Typewriter Abstract Puppet Stage stands center in the wooden disc ready for the next show.

TRANSITION FROM THE UNROOM TO THE MID-STAGE.

THE CAMERA PANS INWARD TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE MID-STAGE: CURTAINS CLOSED

The Mid-Stage curtains part.

THE MID-STAGE: EMPTY, DEVOID OF SETS OR CHARACTER

THE CAMERA PANS IN TOWARDS AND THEN INTO THE MID-STAGE AREA. IT CONTINUES TOWARDS THE CURTAIN OF CLOUDS AT THE BACK OF THE STAGE.

The Curtain of Clouds parts.

THE CAMERA PANS PAST THE OPENING CLOUD OF CURTAINS INTO THE SPACE BEHIND, TO THE BACK-STAGE.

THE BACK-STAGE: THE CONCURRENT DISTANCES

An empty field of black, THE MOTHER sits center stage watching THE TRIPLETS (AVEN, ONDE, and NETTE) playing with wooden blocks and wind-up toys. The Mother appears to be in her thirties, while the Triplets appear to be toddlers. The Mother moves over to Aven and Onde, demonstrating how to stack the wooden blocks. They mimic her actions.

THE MOTHER
“Wonderful.”

Aven and Onde smile at her praise. She moves over to Nette and demonstrates how to wind-up a wind-up frog. Nette mimics her.

THE MOTHER
“Amazing.”

Nette beams at her praise. The Mother steps back and watches Aven, Onde, and Nette play with their toys. A YUCK-BUBBLE drifts in from stage-left. It slowly drifts over the Mother and Triplets’ heads before finally exiting stage-left.

THE MOTHER
“Be right back girls. Hurts to heal, wrongs to resolve.”

She exits stage-left. The Triplets continue playing in the Mother’s absence. Aven and Onde build towering wooden cities. Nette winds up a population of mechanical animals. The majority of the animals bounce, walk and jump away from the wooden block towers, except for a lion, goat, and snake. They deviate from the rest, moving towards the towers. They smash into the towers. A domino effect of tumbling wooden blocks knocks over all the wooden block structures Aven and Onde built while simultaneously crushing all the wind-ups Nette wound up.

Aven starts to cry at her smashed architecture. Nette starts to bawl at her smashed clockworks. Onde looks between the two unsure what to do. A BELL DINGS as a light bulb appears above her head.
Onde reaches up and grabs the light bulb from over her head. It turns off. She crawls over to Aven and puts the light bulb over Aven’s head. It hovers in the air over her head.

Onde hugs Aven. A BELL DINGS and the light bulb lights up. Aven stops crying. She dries her tears before reaching up and retrieving the light bulb. It turns off.

Aven and Onde crawl over to Nette. Onde hugs Nette while Aven puts the light bulb over Nette’s head. A BELL DINGS as the light bulb flickers on. Nette stops crying. The three sisters all hug each other. Aven reaches up and pulls down the lightbulb. She stashes it away.

Feeling better, the Triplets start to rummage through the wreckage. Every now and then someone finds something interesting and sets it aside.

TRANSITION FROM BACK-STAGE TO OPENING FRAMING SHOT

THE CAMERA STARTS TO PAN BACKWARDS AND AWAY FROM THE BACK-STAGE AREA.

The Curtain of Clouds begins to close.

THE CAMERA CONTINUES TO PAN OUT, MOVING THROUGH AND OUT PAST THE MID-STAGE.

The Mid-Stage curtains close.

THE CAMERA CONTINUES ITS PAN OUTWARD TILL IT FRAMES THE ENTIRE TYPEWRITER ABSTRACT PUPPET STAGE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off.

FADE OUT

Work continues on puppet construction for “Up Late, Late at Night”

Puppet play, Up Late, Late at Night

Ophidia and I were finally able to come to agreement on the design for two of the puppets. Now for the rest…

D-Vid. This would be the base puppet. He would wear different costumes depending on his role. This would also apply to B-Max, Cass-E, Clamshell, Jewelcase, V-Hess, and maybe a few others.

T-Rash the Trash God. I need to pick up some more supplies so he is not painted yet. Ultimately he should be a dull, corroded, or tarnished type of color. I will also need to make a template of him in case I screw up the painting job.

writing and puppet building…

today in the studio

The Great Works Project: Season Two, Episode Twelve script

Puppet play, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Twelve

an Epilogue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-12”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “an epilogue”. 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

THE TYPEWRITER ABSTRACT PUPPET STAGE
We open this episode already focusing on the TYPEWRITER ABSTRACT PUPPET STAGE.

THE CAMERA FRAMES THE MID-STAGE AREA

MID-STAGE: THOMAS TYPEWRITER’S APARTMENT’S KITCHEN
On stage-right, sits a refrigerator, with a few houseplants on top. Center-stage sits a stove, with two pans on top, next to a counter top and sink. On stage-left sits THOMAS TYPEWRITER at his small kitchen table, with a plate of pasta and a plate of salad. He spins a small jewelry box, lost in thought.

CUT TO A XCS OF THE JEWELRY BOX SPINNING

The Mid-stage Curtains close on the shot of the jewelry box.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM.

THE CAMERA PULLS OUTWARD, PANNING FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM NOT.SEVEN

INT. UNROOM NOT.SEVEN

PAN OUT FROM THE MID-STAGE TO THE OUTER ONE’S POV.

The OUTER ONE sits on one of many carpet squares arranged around a wooden disc in the center of the Unroom Not.Seven. The carpet squares spread out like chairs in an auditorium. The wooden disc, the focus of the Outer One’s attention, sits with the Typewriter Abstract Puppet Stage standing center. Unseen lamps above it illuminate, though not for long. Once the Mid-stage curtains close the unseen lamps turn off. The Typewriter Abstract Puppet Stage disappears, leaving the wooden disc empty.

POV OF THE OUTER ONE WATCHING THE STAGE

The Outer One tries to stay focused, but his/her attention starts to waver.

POV OF THE OUTER ONE LOOKING AROUND THE ROOM TAKING IN THE SPINDLY METALLIC LAMPS, THEIR SNAKING CORDS, THE DISTANT WALLS, AND THE DISTANT CEILING WITH ITS ANGULAR CHANDELIERS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-screen.

POV OF OUTER ONE RAPIDLY LOOKING BACK TO THE WOODEN DISC.

Unseen lamps over the wooden disc flicker to life, taking two or three attempts to light before projecting at full illumination. The new light reveals the return of the Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

As the camera nears the Mid-stage, the Mid-stage curtains part revealing an empty stage. The Curtain of Clouds is fully visible, no longer obscured by any of the Mid-stage sets.

TRANSITION FROM MID-STAGE TO BACK-STAGE

THE CAMERA CONTINUES PANNING IN, ENTERING THE MID-STAGE AREA

The Curtain of Clouds parts revealing…

THE CAMERA CONTINUES PAST THE OPEN CURTAIN OF CLOUDS, STOPPING WHEN PROPERLY FRAMING THE SPACE BEHIND

THE BACK-STAGE: THE CONCURRENT DISTANCES

The back-stage is an empty black field. No illumination. No decoration. No sets. DREAM-BUBBLES, with their soft glow, float down from the stage-top and across the stage. Into this peaceful scene from stage-right, runs THE MAIDEN. Pursuing her is a YUCK-BUBBLE, specifically the Dream-bubble she accidentally injured in Season 02, Episode 0. As it pursues her it bumps into the Dream bubbles. Each Dream-bubble touched by the Yuck-bubble shakes and changes. Their inner illumination darkens to a sickly yellow-green and their sides dent becoming Yuck-bubbles. They join in the pursuit of the Maiden.

They chase her off-stage stage-left. She shortly re-emerges followed by the flock of Yuck-bubbles. She flees off-stage stage-right this time. After a brief pause the Maiden and her pursuers re-enter stage-right. She reaches mid-stage and trips. Scraping her knee, she softly sobs.The Yuck-bubbles stop, confused by her tears. Cautiously, they approach. The Maiden calms down and wipes her eyes. She looks at the Yuck-bubbles. Truly looks, as if seeing them for the first time.

THE MAIDEN
(to the first Yuck-bubble) “You know what it’s like to be hurt don’t you?”

The first Yuck-bubble flickers and nods yes.

THE MAIDEN
“It was me wasn’t it. I hurt you. Didn’t mean to, but did.”

The first Yuck-bubble flickers and nods yes again.

THE MAIDEN
“I’m sorry. You were so beautiful and I wanted to look at you. I didn’t mean to hurt you. I hope you can forgive me.”

She moves closer and lightly kisses the first Yuck-bubble. It shudders and then it changes color back to the original Dream-bubble color. The other Yuck-bubbles then start shudder and change color. The healed flock surround the Maiden before flying off. When they move away we see the Maiden has been replaced by THE MOTHER. She watches the dream bubbles float away absentmindedly rubbing her belly.

The Curtain of Clouds closes on the Back-Stage.

TRANSITION FROM THE BACK-STAGE TO THE MID-STAGE

THE CAMERA PANS OUT. PAST THE CURTAIN OF CLOUDS AND PAST THE MID-STAGE CURTAINS
MID-STAGE: EMPTY STAGE

The Mid-stage curtains close.

TRANSITION FROM MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

THE CAMERA CONTINUES TO PAN OUT RETURNING TO THE POV OF THE OUTER ONE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off. It disappears from the disc leaving it empty. The Unroom returns to dimness.

POV OF THE OUTER ONE LOOKING AT THE STAGE, REALIZING THE SHOW IS OVER, AND THEN LOOKING DOWN AND TO THE SIDE.

Sitting on the carpet square next to him/her, the Outer One sees a book. An elaborately simple book with the following written across the cover:

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

the complete and the all scripts

By Thomas Typewriter

———–<:type:>———–

The Outer One’s hand reaches out and picks up the book. They examines the cover, running his/her hand across the cover and spine as the episode ends.

FADE OUT

Character design

Uncategorized

With the script for episode 1 of “Up Late, Late at Night finished, Ophidia and myself have moved onto designing and building the puppets. I like to design ten or so different designs then show them to Ophidia for her input. Then we will repeat the until reaching a design we both like.

Ophidia did not like any of my first designs, so she jotted designs down. She wanted a design more in spirit with this mask we bought on our honeymoon.

The Great Works Project: Season Two, Episode Eleven script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Eleven

By Thomas Typewriter

dearoldtypewriter@gmail.com

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-11”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

We enter the unroom Not.Seven, a room of unseen corners and discrete angles, focused on a wooden disc centrally located. Around the wooden disc are rows of grey carpet squares with spindly metallic lamps, cords snaking off, casting soft light. THE OUTER ONE sits on one of the carpet squares near the disc. Patiently waiting.

POV OF THE OUTER ONE LOOKING DOWN AT THE CARPET SQUARES IN FRONT OF HIM/HER

The Outer One’s hand comes into view as he/she reaches out to touch a carpet square. Fingers run across the carpet feeling, touching, sensing. As if saying what is this material. The Outer One lifts an edge up exploring a fraying seam. From off-screen TYPEWRITER KEYS CLICK CLACK.

POV OF THE OUTER ONE SHIFTS FROM LOOKING AT THE CARPET SQUARES TO LOOKING AT THE WOODEN DISC.

The wooden disc sits shadowed and empty. Suddenly unseen lamps over the disc turn on manifesting the TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER PUPPET STAGE. STOP ONCE THE MID-STAGE PROPERLY FILLS THE FRAME.

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

THOMAS TYPEWRITER sits at his desk in the middle of the stage, feet propped up, reading “Latchkey Kids of Randomness”. On his desk sits his typewriter, a ream of paper, his phone, and a small jewelry box. To either side of the desk sit a lamp and a wastebasket. A small bookcase topped with houseplants sits behind him and off to the stage-right. Thomas turns the last page then closes the book. Stunned and awed, Thomas stares out.

THOMAS TYPEWRITER
“Wow.”

His STOMACH RUMBLES bringing his attention back to the here and now. He checks the time on his phone.

THOMAS TYPEWRITER
“Oh man. Almost missed dinner.”

Thomas stands, grabs his phone and the jewelry box. He bows towards his typewriter. The typewriter bows back. Thomas turns and exits stage-right.

TRANSITION FROM MID-STAGE TO HIGH-STAGE ALONG THE CURTAIN OF CLOUDS.

THE CAMERA PANS UPWARD, UNTANGLING FROM MID-STAGE. IT MOVES UPWARD GLIDING OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THEM. IT CONTINUES MOVING UP TO THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT CONTINUES TO THE HIGH-STAGE, STOPPING ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

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

HIGH-STAGE: INT. THE SPACE EGG
The INNER-SPACE MAN sits in a padded sleek astronaut’s chair. A curved console and curved view screen sit in front of him. The console has a center monitor in the shape of a circle bisected by a long rectangle. Around the text display sit various sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently blank.

The Inner-Space Man is frozen in place, just about to press a button. We see him strain to move but he cannot. He, like all of Biff’s pretend characters, are immobile when Biff returns his costume to the Wardrobe of a Thousand and One Costumes at play-time’s end. Looking at his eyes we can see that the Inner-Space Man is aware of his petrification. Defiance flashes across his eyes as he rebels against the idea, the reality, that his life is dictated by another.

THE INNER-SPACE MAN
(voice-over, which starts really soft but grows in volume as The Inner-Space-Man chants) I can do this. I’ve broken past the boundaries of space and time. I am more than a story. I am real, so c’mon finger, move, just a little, come on you can move, move,move, you can do it, move, move, move, just a little further, move, move, move, move, move, move, MOVE, MOVE, MOVE, MOVE (continue chant as needed)…”

INSERT CLOSE SHOT OF THE FINGER HOVERING OVER THE BUTTON WHILE THE INNER-SPACE MAN CHANTS. SUPERIMPOSE A CLOCK OVER THE SHOT TO DENOTE THE PASSAGE OF TIME. AS THE CLOCK’S HANDS SPIN FASTER HAVE IT TRANSITION TO THE SUPERIMPOSITION OF A CALENDAR THAT HAS THE DAYS FLYING OFF. ONCE A THOUSAND DAYS HAVE SPILLED OFF REMOVE THE CALENDAR.

CUT TO EXTREME CLOSE SHOT OF THE FINGER HOVERING OVER THE HEXAGONAL BUTTON.

The finger twitches.

CUT BACK TO…

The Inner-Space Man’s eyes broadcast surprise, relief, and victory. Note that the Inner-Space Man, given the passage of time, will have longer hair and a beard.

THE INNER-SPACE MAN
(voice-over) “And now brown cow for the next finger.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES TO AND THEN DOWN THE CURTAIN OF CLOUDS. IT FOLLOWS THE CURTAIN OF CLOUDS TO THE MID-STAGE, GLIDING OVER THE TOPS OF THE MID-STAGE SETS. IT STOPS ONCE PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN
A sink, countertop, and stove run along the center of the stage. A series of cabinets hang over the countertop. A refrigerator sits off to stage-right. A table with a vase of flowers, Thomas Typewriter’ phone, and the jewelry box sits off to the other. Two chairs are pushed in at the table.

THOMAS TYPEWRITER stands at his stove stirring a small pot of sauce. On a back burner, pasta cooks in a pot of boiling water. A TIMER BUZZES on the stove and Thomas turns off the heat to back burner. He quickly grabs two oven mitts, drains the pasta in the sink, then dumps the pasta into the saucepan. He gives the pasta and sauce a few quick stirs before turning off the heat on the front burners.
He then goes over to the refrigerator and pulls out a head of lettuce and a head of escarole. He places them on a cutting board and slices off a bit. This he puts in a small bowl. He returns the escarole and lettuce to the refrigerator. He grabs from the cabinets olive oil, balsamic vinegar, and a plate. He sets the plate off to the side. He then pours a small bit of olive oil and balsamic vinegar on the salad. He picks up the salad and the plate placing them on the the table.

Thomas returns picking up the sauce pan and carries it over to the table. Carefully, he pours some of the sauce covered pasta onto his plate. He places the pan back on the stove. He pulls out some silverware from a drawer and a can of Black Cherry Satellite Soda from the fridge. Satisfied, Thomas sits down to eat. He places his hands in prayer and offers a silent gratitude to the spirits that sacrificed their bodies to be his meal.

THOMAS TYPEWRITER
“Know that we honor what you have given up, we acknowledge it was not without pain, giving up your life so ours may continue, and we say thank you. Now return back to the bright realms, to family and friends, to laugh and love again. Linger here no more. Amen”

As Thomas eats, he starts to fiddle with the jewelry box. Turning it round and round.

CUT TO CS OF JEWELRY BOX AND THOMAS ROTATING IT.

CUT TO EXTREME CS OF JEWELRY BOX AND THOMAS ROTATING IT.

The Mid-stage curtains close on the shot of the rotating jewelry box.

FADE OUT

Up Late, Late at Night: Season One, Episode One, Act VI script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

Act VI

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT VI———–

FADE IN

EXT. VARIOUS LOCATIONS ACROSS THE GLOBE, DAYTIME

LS OF THE CHASE

D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS are running from the angry mob of LASER JUDGE, PADDLES, CLAMSHELL and the PARTY GUESTS. D-Cop’s group are stage-right in the frame while Laser Judge’s group are stage-left.

Have each group running in place as the background cycles through photos of famous landmarks across the world. A simple chase montage to give an impression that they are being chased very far.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

The background is a photo of the front of the COMMUNITY COLLEGE UNIVERSITY. This should be a generic university that we could use over and over. If need be, a model can be built and a photo taken of the model.

D-COP’S group (D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS) enter stage-left and run across the screen exiting stage-right. LASER JUDGE’S group (LASER JUDGE, PADDLES, CLAMSHELL, and the PARTY GUESTS) soon follow. They enter stage-left, run across the screen and then exit stage-right.

ZOOM IN ON ONE OF THE BUILDINGS IN BACKGROUND OF THE COMMUNITY COLLEGE UNIVERSITY

FADE TO

INT. COMMUNITY COLLEGE UNIVERSITY CLASSROOM MPG-27.5

LS OF THE BACK HALF OF CLASSROOM

The back half of the classroom is divided into two rows, with the front row being lower than the back row. Each row is a series of desks arranged in one long line facing the front. In the center desk of the front row sits GIBLETS. He is unconscious.

PAN IN ON GIBLETS. GO FROM LS TO MS.

Giblets wakes with a start. He sits up and looks around.

GIBLETS
“Is class over? (looks around)Guess so.”

Giblets stands up. He reaches over and picks up his guitar and slings it over his back. He exits stage-right.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

LS OF COLLEGE FRONT

Giblets walks across the screen, stage-left to stage-right then exits.

CUT TO

EXT. COUNTRY ROAD, AFTERNOON

LS OF COUNTRY ROAD LOOKING DOWN THE ROAD AT A SLIGHT ANGLE AND ELEVATED. LOOKING DOWN.

The country road is two-lane, with a gravel edge and drainage ditch on either side. Telephone poles line one side of the road while trees or fencing line the other side.
GIBLETS enters the frame, back to camera, and walks away from the camera, into the distance. He walks slowly along the side of the road as SLOW MELANCHOLIC PIANO MUSIC plays

FADE TO BLACK

TRANSITION FROM TV SHOW TO THE TRASH HOLE

PAN OUT CAMERA SLIGHTLY TO SHOW THE BLACK SCREEN IS THE BLACK SCREEN ON A TV SET.

INT. THE TRASH HOLE. NIGHT

LS OF THE TV AREA

The broken TV which D-Vid and B-Max were working on, and ultimately zapped into, shows a screen of black. Soon end credits scroll across the screen. If needed, the name of the show that played is “U-turns Me” directed by “Alan Smitheelufagus”

CUT TO MS OF T-RASH THE TRASH GOD

T-RASH watches the end credits roll.

T-RASH THE TRASH GOD
“I liked that. Wonder what is on next.”

FADE OUT

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

updating…

From the desk of Thomas Typewriter, Up Late, Late at Night

The storm last week covered our streets in tree branches. Everywhere I drive in The City of Champions, there are piles of debris in every yard. Luckily, my house and family were unharmed. Just giant elm branches and drooping telephone lines in my backyard. The branches I’ll work into building some new garden beds. The dropping telephone line I’ll try to convince the Utility company to come out and fix. Automated customer service prompts here I come.

Up Late, Late at Night continues its glacial pace forward. Ophidia is out of habit on storyboarding, so she is working to get back into a groove. I have no room to complain, because I am no speed demon when it comes to the scripts. I’ll post the Season One, Episode One, Act Five script on Wednesday. Then I’ll finish and post the Act Six script next week. After that, Ophidia will work on storyboards while I start constructing puppets.

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