screenwriting

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

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 10

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT

FADE IN

THE CAMERA PANS DOWN. THE DARKNESS SHIFTS TO THE CURTAINS OF THE MID-STAGE.

THE MID-STAGE IS PROPERLY FRAMED

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

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE, DAYTIME.
The Supply Closet office supply store is a big white box of a building accented by luminous red and nebulous blacks. The front entrance pans across the length of the stage. The glass sliding doors of the front vestibule sit center stage. Thin strips of the white stucco exterior separate the front doors from the long horizontal rows of tinted windows. The bottom portion of the giant “THE SUPPLY CLOSET” store sign peaks past the stage top. From off-screen, the sound of CAR TIRES ON PAVEMENT as someone pulls into one of The Supply Closet’s parking Spaces. CAR DOORS OPEN AND CLOSE followed by FOOTSTEPS come from off-screen. THOMAS TYPEWRITER emerges from stage-left. He walks up to the front doors, pauses as the doors slide open, then continues into the store. The doors close behind him.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE SETS TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES PANNING UPWARD. AT THE TOP OF THE CURTAIN OF CLOUDS THE HIGH-STAGE SLIDES INTO THE FRAME. THE CAMERA LOCKS IN PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON
The observation lounge is located near the top of the Flute, built next to the cafeteria. It is a place where patients and guests can sit in comfort and look out. It offers views of the space surrounding various habitats of The Nines. Off in one direction, the sparks emanating from the IR-RA can be seen glittering like stars. In the other direction the six far-off Palaces of the Three-by-Three glitter like large stars. A large curved window stretches out across the back of the stage. The window is framed by soft yellow framing. The floor and walls are in soft peaceful hues of yellow and brown. Three plush chairs sit at the edges of the stage. Two chairs on stage-right and one stage-left. CEDAR WAXWINGS, in his Medi-pod, enters stage-left, moving past the two chairs and settling center stage. He turns the front of the Medi-pod towards the large observation window. He watches and drifts in thought. Stay with Cedar for a few minutes before the stage lights turn off to the sound of A COMPUTER BOOTING OFF. The glittering sparks in the space outside still glitter in the darkness. The High-Stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT GOES DOWN, DOWN, AND DOWN THE CURTAIN OF CLOUDS. THE TOP OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.
The tall front of The Supply Closet office supply store sits further back and off to the side. We see less this time than previously. It is off to the stage-right. The front doors are near the edge of the stage. Center-stage sits Thomas’ car: a goldenrod 2002 Ford Taurus. It is parked near the cement pylon base of a parking lot light pole. Thomas often forgets where he parks so he prefers to park near tall structures or landmarks he can easily see when he leaves the store. The front doors of The Supply Closet open and THOMAS TYPEWRITER walks out. He walks across the parking lot, carrying a stack of banking boxes, towards his car. When he reaches his car, he sets the boxes on the trunk to free his hands to retrieve the car keys. He manually unlocks the trunk. It pops up a little bit. He pulls off the banking boxes and uses the edge of the stack to pop open the trunk. Thomas sets the boxes down inside.

CUT TO A CS OF THE BOXES IN THE TRUNK

CUT TO A CS OF THE TRUNK WITH ALL THE BOXES ASSEMBLED AND FILLING UP THE TRUNK

CUT TO A CS OF THE BOXES NOW FILLED WITH THOMAS’S VARIOUS BELONGINGS.

CUT TO CS OF THE BOXES EMPTY EXCEPT FOR THE CENTERMOST ONE, WHICH NOW HAS VARIOUS HUMAN ORGANS IN THEM

The boxes are no longer filled with Thomas’s belongings. They are now filled with the various organs from his body. In the center box, sits his heart which beats three times. On one side sits his lungs, which flutter erratically, as if in the grip of a shallow breathing anxiety attack. Intestines fill two other boxes. In another box, we can see his brain.

REVERSE CUT TO THOMAS LOOKING INTO THE TRUNK.

Thomas stares into the trunk, lost in a moment of anxiety. He brings his hand to his heart.

CUT BACK TO TRUNK OF BOXES OF ORGANS

The heart beats fast while the lungs start to slow down. They take deep breaths, slowly in and slowly out. From another box emerges Thomas’s right arm and hand. It pulls its fingers down into a fist. Then it makes a 1-2-3-4 count using its fingers. It slowly counts through the numbers and then repeats. The lungs slow and align with the four count. The count slows even more. The lungs match. The heart starts to slow as well.


CUT BACK TO REVERSE OF THOMAS


Thomas looks into the trunk and takes a deep audible breath for a four count. He then breathes out for four. He repeats and relaxes.


CUT BACK TO CS OF TRUNK


The boxes of organs are gone. The trunk has reverted back to its original form, with the packages in boxes.


CUT BACK TO FRAMING SHOT OF MID-STAGE


Thomas closes the trunk. The Mid-Stage curtains close as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.


FADE OUT

The Great Works Project: Season Five, Episode Nine script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 09

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-09”. 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


LS OF THE TYPEWRITER PUPPET STAGE


The Typewriter Puppet Stage manifests illuminated by unseen lamps. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.


TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE


PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE


PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED


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

MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME

Bordeaux Bank is a bank with a medieval French castle and chivalrous knights theme. The sides of the building are quarry stone. The front door has a large arch and false portcullis. Inside the doorway, a suit of armor stands guard. From off-camera we hear the sound of A CAR PULLING UP AND PARKING, CAR DOOR OPENING, and then FOOTSTEPS. THOMAS TYPEWRITER emerges from stage-right. He walks to mid-stage and enters the bank through its front doors. He pantomimes high-fiving the suit of armor and then proceeds on into the bank. AN OLDER WOLF quickly runs across the stage, stage-left to stage-right.


TRANSITION FROM MID-STAGE TO HIGH-STAGE


THE CAMERA UNLOOSENS FROM FRAMING MID-STAGE AND PANS UPWARD. AFTER SLIDING PAST THE MID-STAGE SETS IT GLIDES ONTO AND OVER THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES UP AND UP TO THE TOP OF THE CURTAIN OF CLOUDS. THE HIGH-STAGE SLIDES INTO VIEW AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA ENDS THE PAN WHEN PROPERLY FRAMING THE HIGH-STAGE.


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


HIGH-STAGE: EXT. PHYSIO-THERAPY OFFICE 505, DAYTIME
A metallic corridor in the Flute, a door to room 505 Stands near stage-left. On the opposite side of the stage wait CARRO, CEDAR WAXWINGS, and LUCIDO OBSIDIAN. Each is still encased in their Medi-pod. PANACIA FLAUTO enters from stage-left.


PANACIA FLAUTO
“You guys ready to return to your room?”


LUCIDO OBSISIAN, CEDAR WAXWINGS & CARRO
(nearly in unison) “Yes.”


PANACIA FLAUTO
“Good. I’ll review your recuperative schedule with you while we walk back.”


She waves the trio to follow her and then exits stage-left. The three of them follow exiting stage-left in the following order: Lucido, Carro, and then Cedar. The High-Stage curtains close, pause, then reopen.

HIGH-STAGE: INT. JUNCTION 300 IN THE MEDICAL-SHIP THE FLUTE, DAYTIME
The Junction 300 appears on stage as a long metal corridor with an opening in the center. A large arched opening with an ornate trim and large disc at the top. A sculpted relief of a flute is mounted in the large disc. The archway leads to a hallway that appears as a descending ramp to stage-left and an ascending ramp to the stage-right. Yellow and blue lines run across the main hallway and into the archway. The blue lines continue along the ascending and descending sides of the second hallway. The yellow lines only continue down the descending side of the second hallway. A brown-line can be seen in the second hallway moving across both the ascending and descending sides. 300 is stenciled on the wall of the front hallway. PANACEA FLAUTO enters from stage-right.


PANACIA FLAUTO
“So after therapy, the afternoon and evenings will be yours. Most patients rest. The medi-pods tend to increase sleep.”


She enters the archway and turns. LUCIDO OBSIDIAN, CARRO and lastly CEDAR WAXWINGS enter stage-right in their medi-pods. Lucido and Carro continue moving over to Panacia, but Cedar hangs behind. Panacea notices Cedar hanging behind.


PANACIA FLAUTO
“Everything okay Cedar.”


CEDAR WAXWINGS
“If it’s okay, I think I’d like a little time alone.”


PANACIA FLAUTO
“Well, the observation loung at the end of the Commissary has a pretty good view. Just follow the blue line to the top. When you are ready to return to your room follow the yellow lines down. If you get lost, you can ask any of the Nurse-bots or Janitor-bots for directions. This applies to everyone.”


Cedar moves through the archway and exits stage-right through the second corridor and the ascending ramp. Panacea looks towards Lucido and Carro.


PANACIA FLAUTO
“Shall we continue gentlemen.”


CARRO
“He didn’t say goodbye.”


LUCIDO OBSIDIAN
“Yeah, I know, but he probably has a lot on his mind. We all do.”


PANACIA FLAUTA
“It is not too unusual that someone needs a private moment or two after getting here.”


CARRO
“I know, but still.”


PANACIA FLAUTA
“I understand. This way gentlemen.”

They start to walk, exiting stage-left. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE


THE CAMERA DETACHES FROM HIGH-STAGE AND PANS DOWNWARD. IT MOVES ACROSS THE CURTAIN OF CLOUDS EVER DESCENDING. SOON THE TOPS OF THE MID-STAGE SETS POP INTO VIEW. THE CAMERA CONTINUES TO PAN DOWNWARD, GLIDING INTO PLACE PROPERLY FRAMING THE MID-STAGE

MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME
Same layout for the Medieval French themed bank as at the beginning of the episode. After a moment, THOMAS TYPEWRITER emerges from the center doorway. He walks out into the sun, puts some small envelopes in a jacket pocket, and then exits stage-right. We hear the sound of A CAR DOOR OPENING AND CLOSING followed by A CAR STARTING. Lastly, we hear the sound of CAR TIRES DRIVING AWAY. The Mid-Stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.


FADE OUT

The Great Works Project: Season Five, Episode Seven script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 07

an intermission

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls the following text: “05-07”. It moves upwards, pausing a moment in the center of the frame, and then continues upward ultimately exiting the frame at the top edge. It is then followed by “an intermission” scrolling up from the bottom of the frame. It moves upwards, pausing in the center a moment, and then exiting the top of the frame.


FADE OUT

FADE IN


INT. BIFFARD’S BEDROOM, AFTERNOON

DISSOLVE FROM BRIGHT WHITE THROUGH THE RANGE OF COLORS TO MS OF BIFFARD THE RABBIT AND ROCKCHESTER THE PET ROCK ON BIFF’S BED IN BIFF’S BEDROOM.

Biffard’s bedroom is a moderately sized bedroom in the upper corner of the second floor of his parent’s house. Stage-left windows look outside at the backyard and nearby willow and birch trees. A section of the sloped roof angles down the ceiling towards the windows. In the center of the room sits Biffard’s bed, with a nightstand on either side. The stage-right nightstand has a lamp and alarm clock on it. The stage-left nightstand is taller and more like a bookcase. Each shelf is filled with either comic books bearing titles like “The Cosmic League”, “Tri-Dino”, “Alpha Aardvark”, “The Brown Brag”, “The Blue Vibe at the Dog Show”, and “The Prehistoric Protectors” or large picture books on dinosaurs. The walls of Biff’s bedroom contain posters bearing the Cosmic League and Babysitter Tales characters. There are also smaller posters of dinosaurs. The stage-right side of the bedroom has a door leading out to the 2nd-floor landing. Off-camera, near the door, is a small closet. BIFFARD THE RABBIT, a young child dressed in stripes of yellow and honey gold, is jumping up and down holding ROCKCHESTER THE PET ROCK. As we fade in, we join them in mid-fall. Time starts slowly building up to regular speed when Biff bounces. The two of them are laughing.

BIFFARD THE RABBIT
“Oh no, Dinostore. The citizens of Prehistoric Plateau need our deep discounts but we have to cross the Bumpy Badlands to get there.”

ROCKCHESTER THE PET ROCK
“Rawwrr, you better hold tight.”

They jump up and down

BIFFARD’S MOTHER
(off-camera) “Biff. Biff. Biff!”

Biffard and Rockey stop bouncing.

BIFFARD THE RABBIT
(yelling through the doorway) “What Mom?”

BIFFARD’S MOTHER
(off-camera) “You’re show’s starting.”

Biffard and Rockchester stop bouncing, look at each other, and run downstairs. Exit stage-right through the door. FOOTSTEPS THUDDING as they run down the stairs.

TRANSITION FROM BIFFARD’S BEDROOM TO THE TV DEN

CUT TO

INT. THE TV DEN, AFTERNOON

LS OF THE TV IN THE TV DEN

A brown wood paneled room almost square in shape, the TV Den is just off the main entryway and stairwell. The room contains bookcases, a television, a sofa and an entryway. A soft thick pile rug covers the floor. A large tube television in a wooden cabinet is on the wall opposite the large sofa covered in knitted throws in mixes of brightly colored pastels and deep earth tones . A knitted doily hangs over the edges of the side of the TV. A short glass coffee table sits on the rug between the sofa and TV. The end table next to the sofa currently has a bulbous table lamp and a stack of drink coasters made from slices of stone. Their swirling colors match well with the mix of colors on the throws. A long rectangular window sits above the sofa. In the bookcase, besides many movie cassettes with names like “The Fish Wife”, “The Four Saints”, “Crime Town”, “At the Caves of the Little Sister” and “The Bridge Builder” along with some of Biffard’s drawings Additionally mixed in the other shelves are various books, family photos, sports awards from Biffard’s younger brother and academic awards from Biffard’s older sister. Biffard the Rabbit and Rockchester the Pet Rock run into the frame from the main entryway to the TV Den. They turn on the tv and sit down close to the screen. A LOUD POP AND HUM rings as a bright dot of light dances across the center of the screen. The light expands and quivers till the whole of the screen is filled with the end of the opening sequence from “The Babysitter Tales”. It is a title card with an empty space in the center with illustrations of Gloomarella the Doom Witch, Rod Pocalypse the Doom Baby and Smiles Goodson. In the center appears the text “Episode 1”

TRANSITION FROM BIFFARD’S REALITY TO THE REALITY OF THE TV SHOW THE BABYSITTER’S TAIL.

ZOOM IN ON THE TELEVISION SCREEN SO THAT IT FILLS THE FRAME. IT PANS INTO THE SCREEN MOVING PAST THE PIXELS AND INTO THE STORY

EXT. FRONT GATES TO GLOOM MANOR, LATE AFTERNOON

There is an iron gate built into a gap in a brick wall. The brick wall is not straight and square but of a curving top. Random bricks have broken over the years and have been roughly replaced by large stones. A large wild swath of ivy covers one side. A single streetlamp is visible next to the gate. It has two bulbs in its curving metallic design but only one flickers with life. A layer of fog rolls across the ground hiding it from view. A Fogboat, one of the many magical vehicles of the great city of The Smokestacks, emerges from a large billow of fog. Taking advantage of the large amount of smog produced by the Smokestacks many factories both mundane and magical, the city adapted the pollution into a transit system. The fogboat is a commercial cab style, yellow in color with black and white checkered lines along its side. The cab company name “Yellow Crane” is painted in a circle on the side of the Fogboat. The cab is driven by GLAFIAT GLIMMENS, an older zebrey. In the rear of the cab sit MORTIMER DEWDROP LILLIPADDLING and his wife MONTRICIA DEWDROP LILLIPADDLING. A pair of Rabbittoads, they are dressed in an effort of finery that is all the rage of the middle-class and upper-middle-class management families of the Smokestacks. Mortimer and Montricia exit the cab, using the door on the sidewalk side, or passenger side. They walk towards the front of the boat and the front gate.

GLAFIAT GLIMMENS
“Mister. You don’t want to stay here. This is a cursed place. I’ll even take you back free of charge, just don’t stay here.”

MORTIMER DEWDROP LILLIPADDLING
“But we’re expected. It’d be rude to not continue. Keep the meter running. We’ll be back soon enough.”

They walk up through the gate.

CUT TO CS OF GLAFIAT GLIMMENS

Glafiat reaches across and into his glove box. He opens it and removes a Curio of the Hope of Security, a small irregular stone nearly polished into a pyramid on a long string of beads, he kisses the engravings of two open eyes and two open hands. He places the charm on the dash and looks around nervously.

CUT TO

EXT. GLOOM MANOR FRONT PORCH, DAYTIME

A path of stone moving past overgrown foliage, landscaping both beautiful and sinister. The front porch has a wooden plank base but the railings have rotten away. To the side, we can see a group of trash cans. Metallic and dented. The house itself, the manor has a large window and a large door. The siding is large wooden shingles with paint peeling and signs of moss in the shadowy areas. A wooden porch hangs over the porch, and skeleton-like gargoyle statues sit on the top of the porch. Overgrown topiary boxwoods line the trail path from the front gates to the front porch. Various brightly flowering plants and menacing magical venus fly traps are widely scattered among the boxwoods. Miscellaneous lanterns hang from the porch roof to provide illumination at night. A collection of metal fogboat license plates are bolted to the wall between the door and the window.

LS OF THE COUPLE AS THEY WALK UP THE PATH TO THE DOOR.

CUT TO MS OF THE COUPLE AT THE DOOR

The couple approaches the door. The front door is large and weathered with wide heavy bolted hinges. A large metallic knocker with a face designed into it is mounted in the center of the door. They set their bag down. Mortimer knocks on the door using a heavy metallic door knocker made in the shape of a face. KNOCK. KNOCK. KNOCK. Mortimer and Montricia wait nervously.

GLOOMARELLA THE DOOM WITCH
(coming from face in the door knocker) “What do you want?”

Mortimer and Montricia look at each other unsure of what to do or how to proceed.

MORTIMER DEWDROP LILLIPADDLING
(to Montricia) “Do I talk into the door knocker? Into the door?”

GLOOMARELLA THE GLOOM WITCH
“Just talk.”

MORTIMER DEWDROP LILLIPADDLING
(leans in really close to the knocker) “I spoke to you earlier about an enhancement.”

GLOOMARELLA THE DOOM WITCH
“You my ten o’clock or eleven o’clock?”

Mortimer looks at Montricia unsure how to answer. Montricia shrugs.

MORTIMER DEWDROP LILLIPADDLING
“My name is Mortimer Dewdrop Lillipaddling and you told me you had something to help me at work. I work at a bank and keep getting passed over for a promotion.”

MONTRICIA DEWDROP LILLIPADDLING
“He never wants it badly enough.”

GLOOMARELLA THE DOOM WITCH
(through the knocker) “Oh, the wimpy banker. Yeah, I have your potion ready. It’ll give you the strength and drive of an animal chasing its prey. But remember to only take one drop a day. Wait…or was it don’t take one drop? (trails off a moment then returns to) Sorry, my little one has not been sleeping and I am a little tired. Let us see (examines the bottle)Yes, one drop. No more than one drop…(looks at Mortimer taking in his size)…three drops. No more than three drops a day. You have my payment?”

Montricia holds up the suitcase she has been carrying.

MONTRICIA DEWDROP LILLIPADDLING
“Right here.”

The front door cracks open a slight bit.

GLOOMARELLA THE DOOM WITCH
(through the door crack) “Put it on the ground.”

CS OF SPACE IN FRONT OF DOOR

Montricia puts it on the ground. The withered hand of the Gloom Witch reaches out and slides the suitcase into the doorway and out of view. A moment later she slowly slides a vial of potion out.

CUT BACK TO MS

Mortimer exchanges looks with Montricia. She gestures for him to pick up the vial. He leans over and picks up the potion.

MORTIMER DEWDROP LILLIPADDLING
“And this potion will help me get that promotion at the bank.”

GLOOMARELLA THE DOOM WITCH
“Oh, it’ll do more than that.”

MORTIMER DEWDROP LILLIPADDLING
“Like what else.”

GLOOMARELLA THE DOOM WITCH
“Ahhhh…, I’m sorry I don’t recall at the moment. Something good probably. Haven’t been sleeping much lately. Raccoons have been knocking over the trash cans and waking the baby. Cry, Cry, change me, feed me, Wah, Wah. You know how it is.”

MORTIMER DEWDROP LILLIPADDLING
“Never much cared for children myself.”

GLOOMARELLA THE DOOM WITCH
“Oh. (she closes the door and returns to speaking through the knocker) I release you! Now go. Seriously get out of here.”

MONTRICIA DEWDROP LILLIPADDLING
“But does he take one drop or more than one drop?

The two stare at the door waiting for a response. Morticia reaches for the door knocker as if to knock on the door again except it disappears in a ball of shadowy purple light.

GLOOMARELLA THE DOOM WITCH
(spooky voice in the air) “GO AWAY!”

They yelp and hastily depart from the house.

CAMERA PANS OUT

FADE OUT