Pilot episode of a crime thriller along the lines of Killing Eve meets Great British Bake Off. A struggling art teacher finds inspiration, and evidence of murder, when she befriends Pearl, the owner of a little bakery next door.
CAKED
Pilot:
“Black Forest / Cherry”
TITLE SEQUENCE
MUSIC CUE: “Voice In My Throat” by Pearl and the Beard
Drumbeats in darkness.
INT. BAKERY – DAY
For first eight counts of song CLOSE PANNING across beautiful CAKES in, one after another.
At first two chimes, INSERT CLOSE clips of two different cakes in hands being dropped on the ground one after another, to the beat, slo-mo of impact.
FLASH INSERT: crime scene photo of dried blood caked on brick
BACK TO: continued across beautiful cakes in the case.
Then to next four chimes, CLOSE on four more cakes being dropped.
FLASH INSERTS: in between each cake drop, CLOSE on alternating dried blood on brick and dried red paint on a canvas surface.
As first verse arrives,
EXT. BUTLER STREET NEIGHBORHOOD – EVENING – ESTABLISHING
Spring is just coming on, cherry trees explode into pink against the salmon-colored brick buildings. People walk dogs and jog.
Music skips to last three “you will be the voice in my throat” lines, camera pans past BAKERY to show MARILYNN emerging from her townhouse on the street behind it, carrying a bag of garbage to the DUMPSTER that lies in the parking lot liminal space between them.
EXT. DUMPSTER – DAY
Below the trashbag Marilynn threw in without looking, the dumpster is piled with half-smushed cakes, each one perfectly beautiful but dented slightly from being dropped. Close on one cake.
As song comes to its end, INSERT of a hand twirling a KNIFE
At abrupt end note of song, knife falls to precisely chop down on the cake, revealing a BLOOD-RED interior.
SMASH BLACK.
ACT ONE
INT. MARILYNN’S APARTMENT LIVING ROOM – EVENING
MARILYNN, a young professional who has made great effort to stifle her wild side for the sake of holding a job, now suffers the side effects of banishing her muse. She stares at a blank canvas, a glass of bourbon in one hand and a brush of almost-dry paint in the other. She’s been staring unsuccessfully at the canvas for some time.
INT. MARILYNN’S APARTMENT – NEXT MORNING
ALARM on Marilynn’s phone wakes her from where she passed out on the couch, beside a still-blank canvas.
INT. MARILYNN’S BEDROOM – CONTINUOUS
Marilynne stands before her closest. From between colorful dresses and sweaters, she chooses a professional grey blazer.
EXT. BUTLER STREET
Marilynne heads to the bus stop, passing the BAKERY without a glance. An OLD WOMAN watches her from the bakery’s small outdoor seating area, knitting a small, black ITEM.
EXT. CHILDREN’S MUSEUM – DAY – ESTABLISHING
INT. CHILDREN’S MUSEUM – HALLWAY – DAY
As Marilynne heads for the museum’s art studio, she is intercepted by dour-faced art director JENNIFER, emerging from her office. She holds up a PROTOTYPE for an art project: a box diorama of a kitchen whose walls are made of flames, in which a woman holds a cake.
JENNIFER
What exactly is this?
MARILYNN
A prototype…
JENNIFER
Is the theme “I hope my mother burns in hell?”
MARILYNN
No — “inner demons,” the project would encourage kids to revisit a painful memory and transform it in the safe confinement of a–
JENNIFER
Unless I’m mistaken, you are not a licensed therapist in the state of Pennsylvania.
MARILYNN
No, but I want to help kids use art to find meaning in difficult–
JENNIFER
Marilynn. Your performance review is next week. I know it can be difficult for artists to adjust to teaching, but it’s been three months. You’ve had time to get a feel for the constraints, or really, standards, of this institution. I shouldn’t still have to be weeding out ideas like this. Do collage. Do something simple. Do watercolors. You don’t have to be creative.
INT. ART STUDIO – MORNING
In the quiet hour before the studio opens for business, Marilynn preps materials. Grimly, she slices strips of colored tissue on the paper cutter. The blade crunches through with violent precision, the paper falling away in rainbows.
INT. ART STUDIO – MORNING
A bloodcurdling child’s SCREAM comes from the outside hallway as Marilynn finishes laying the last place at one of the art tables. She looks up, not in worry, but with an expectant smile.
Then children come barreling into the space, one crashing into Marilynn with a hug, others already tearing into the materials like wild animals.
A critical looking MOTHER releases her shy daughter, BECCA, a new student, into Marilynn’s care. The mother looks into the studio with a worried expression.
MOTHER
You aren’t going to be using paints today, are you?
MARILYNN
Today we’re doing collage.
MOTHER
Does that involve paint? Becca wanted to wear her new dress.
MARILYNN
… No. We won’t be using paints.
MOTHER
Thank God.
INT. ART STUDIO – AN HOUR LATER
Kids happily rip and paste strips of tissue paper, some in an orderly manner, some in unorthodox ways– to each other, to the table. Marilynn sits and supervises, as one student, ANDY, carefully pasts a red colored square onto each of her cheeks.
A larger view of the room reveals Becca in the midst of several students who are wrapping her in a cocoon of taped-together paper strips like a mummy. No longer so shy, Becca beams at the attention.
EXT. BUTLER STREET – LATER THAT AFTERNOON
Marilynn gets off the bus at the stop beside the bakery, where the Old Woman sits rocking and knitting. She nods to the old woman, who pays her no mind, and then catching sight of herself in the bakery window, she smiles and pulls off the red tissue that’s still stuck to her face.
Then she notices a streak of bright RED liquid –BLOOD?– on ground, and trailing across the threshold and through the propped-open door. A bit dizzy at the sight, Marilynn covers her eyes with a hand, peeking through her fingers to see as she ducks inside.
The old woman, quietly humming “Cherry Wine” by Hozier, looks after Marilynn as she enters, her attention clearly sharper than we first gave her credit for.
INT. BAKERY – CONTINUOUS
The bakery is furnished with antique chairs and tables, like a baroque tearoom. The mantle of a fireplace hosts a row of SWAROVSKI crystal figurines. There is no one in sight.
Marilynn follows the trail of blood(?) as it grows thicker, and she more light-headed in response. She takes a deep breath and a look up to the ceiling to steel herself, before peering behind the counter through the crack in her fingers.
CLOSE – a great PUDDLE of blood(?) glimmers thickly, sinisterly, behind the counter.
There is a thump. Marilynn has passed out onto an antique couch.
A sweet-looking young woman, PEARL, appears from the back with a mop.
INT. BAKERY – A LITTLE LATER
Marilynn comes-to in one of the bakery’s chairs. Pearl sits nearby, watching her with concern in a red-stained apron. On the table before them sits a beautiful BLACK FOREST CAKE topped with luscious, bright cherries.
PEARL
Are you all right?
MARILYNN
There was blood–
PEARL
(firmly)
Cherries. We had a leaky delivery.
MARILYNN
Cherries… Wow. I’m an idiot.
PEARL
I’m so sorry for frightening you. How’s your head?
MARILYNN
Fine, I’m fine.
(gesturing to a couch)
I landed on pillows. Cherries! Wow. I thought someone was hurt.
PEARL
You came in to help, but you faint at the sight of blood?
Pearl picks up a beautiful antique KNIFE and with the precision of a surgeon, extracts a perfect slice for Marilynn.
PEARL
Here, as an apology for frightening you. Black Forest. My gosh, I’m just glad you didn’t hit your head on anything. Terrible timing, I was gone two seconds to get the mop. You sure you’re okay?
MARILYNN
I’m fine, really.
(looking awkwardly down at the cake)
Thank you, but uh. I’m– I’m not really a cake person–
But seeing Pearl’s distress, she acquiesces and takes a bite, painstakingly swallowing. Nods appreciatively. Pearl can tell she hates it.
MARILYNN
No, it’s really good! I’m just, uh– I should go. I’m glad everything’s alright. Thank you, again, uh–
She stands awkwardly, Pearl holding out her hands protectively in case she gets dizzy again.
MARILYNN
I’m fine, really. Thank you for the cake.
She heads out, her eyes lingering a final moment on the slight red stain that leads across the floorboards. Pearl must have mopped everything up while she was unconscious.
Pearl waves goodbye, a strange look of relief across her otherwise guileless face.
EXT. BAKERY DOORSTEP – CONTINUOUS
Outside, Marilyn gathers her wits about her. Strangely, despite the dizziness and awkwardness of the situation, she realizes she’s feeling something she hasn’t felt in a while– inspiration.
INT. MARILYNN’S LIVING ROOM – MORNING
Her phone ALARM goes off, but she’s already awake. She stands before a canvas again, but this time it’s not empty. A great spray of red covers it, bubbling with cherries. She paints with one hand covering her eyes, just barely peeking through, but a smile on her face.
ACT TWO
INT. CHILDREN’S MUSEUM – DAY
Marilynn and the small boy, Andy, stand side by side facing Jennifer at her desk. The boy is covered head to toe in a layer of bright, colorful little feathers.
ANDY
I wanted to–
JENNIFER
Shush. Marilynn.
Jennifer contemplates what to do about the situation, her eyes dangerous with anger. Marilynn breaks away from her threatening glance to look down at Andy, who grins conspiratorially.
JENNIFER
You let the kids tar and feather–
ANDY
I wanted to–
JENNIFER
–him. You realize this is not your studio. You represent a venerable institution… Marilynn.
(she sighs between her teeth)
I’m rescheduling your performance review for tomorrow– no, no I’ve got the board meeting tomorrow. Friday, Marilynn. Before your classes.
(beat)
Find a way to clean him off before his parents show up.
EXT. BEHIND MUSEUM – CONTINUOUS
Marilynn sprays Andy down with a hose. It looks violent, careless, but Andy loves it, is laughing his ass off as purple, green, blue, and red feathers blast off into a cloud around him.
INT. MARILYNN’S LIVING ROOM – EVENING
Marilynn regards a new, blank canvas, with anger and frustration this time. Again, a glass in her hand. After a finishing sip, it needs refilling. She reaches for the liquor bottle to find it empty. She grabs her keys and wallet with a sigh.
EXT. BUTLER STREET – CONTINUOUS
Marilynn heads down the darkening street for the liquor store. The bakery sits closed and dark.
Nearing the liquor store, she hears a commotion down an alleyway. She pauses, and sees two figures engaged in a struggle. It’s too dark to make out much detail, but the ATTACKER seems to be short, wearing a balaclava.
The attacker jabs in with a weapon, stabbing the victim.
MARILYNN
Hey!
The attacker freezes at the sound, then runs away, leaving the victim to bleed out. Marilynn fumbles with her phone to call the police.
MARILYNN
Butler and 42nd. I think I just witness a stabbing– a murder. I don’t know– I can’t see… I pass out at the sight of blood.
There’s fear in her voice, but also… excitement? Her thudding heart and quick breath sound almost like the headiness of arousal. Then she realizes her own vulnerability, looking around, and runs into the liquor store for safety.
EXT. BUTLER STREET – NIGHT
A police officer escorts Marilynn home. On the walk back, she notices the bakery light is on, the smell of fresh cake wafting from its kitchen.
EXT. BUTLER STREET – MORNING
Marilynn heads to the bus stop, noticing the bakery is closed past its usual opening time. The old woman who normally sits outside is nowhere to be seen.
INT. ART STUDIO – DAY
Trying to prove she can run an organized and professional class before her performance review, Marilynn has written “Draw your favorite food!” on the “Project of the Day” board.
The kids draw quietly, lacking their usual excitement, casting worried glances as quietly anxious Marilynn. She grimaces back, upset to be disappointing them.
Finally, she can’t take it anymore.
MARILYNN
I have an idea.
Becca, Andy, and the others look up with excitement.
MARILYNN
It’s easy to make art about things we already like, right? And we get in the habit of avoiding the things that scare us. But art is about facing your fears. Art helps us make sense of things that are hard. What if… we drew our least favorite food and… and draw yourself getting over it? Any way you like.
Marilynn gets up and draws a big picture of a slice of cake on the board.
MARILYNN
Like… well, I hate cake.
(as she draws)
When I was little my mom couldn’t always afford real food, but cake mix was always on sale, so she would make cake all the time.
(pressing harder into the board as she draws)
But she couldn’t afford to put enough butter or eggs in it, so it sucked. So what– so what I’m going to do is get rid of that cake.
In a growing frenzy, forgetting she’s teaching elementary age kids, Marilynn begins drawing knives stabbing the cake all over and then makes it bleed red like cherries, smudging red pastel all over it. Finally, she pulls away from the board and collects herself.
MARILYNN
Uh– for this activity you may use colored pencils, markers, crayons, and pastels.
There is a pause, and then the kids go to it with eagerness, thrilled with their teacher’s renewed lack of decorum.
Shots of the kids creative drawings of the torments and destructions of various foods like broccoli and brussel sprouts. Marilynn walks around discussing and encouraging, letting the kids describe and show off their ideas.
LATER:
After the kids have left and Marilynn is cleaning up, she stares at the violent drawing she made, and it dawns on her maybe Jennifer is right about her not being child-appropriate. And maybe witnessing a murder has affected her.
EXT. BUTLER STREET – AFTERNOON
The old woman isn’t in front of the bakery, but it looks like it might be open now. Marilynn decides she should warn Pearl about the attacker in the area, and pokes her head in the door.
INT. BAKERY – AFTERNOON
Marilynn looks in just in time to see Pearl do something strange: she holds a perfect cake about a food off the ground, and then intentionally drops it.
MARILYNN
Hello?
Startled, Pearl looks up guiltily, caught in the act of… something. There are dark circles under her eyes. She forces a smile and laughs brightly.
PEARL
Well hello! Give me just a moment, I’m– I’m so clumsy! Ha!
She gets a broom and carefully eases the cake into the dustpan, so it remains whole. She sets it against the wall.
PEARL
“No use crying over spilled cake,” that’s how my grandmother spins it, for the family business. Better than spilled cherries, at least, for you! Now don’t tell me you came for cake–
MARILYNN
No, uh– this is going to sound crazy, but I think I saw a murder last night. Just a block from here.
Pearl freezes, looking at Marilynn carefully, and then reacting with slightly delayed surprise.
PEARL
No! What, are you serious?
MARILYNN
Yeah, I was walking to the– to the store kinda late, and I saw an attack, I think– I called the police, but I don’t know if they caught the guy or what. But, I thought you should know, to be careful– I saw the light was on here last night too, so if you’re working late like, definitely watch out.
PEARL
Oh my gosh. Yeah, I will, for sure. Thanks for telling me. In this neighborhood? That’s so scary, I’m glad you’re okay.
(laughs)
That’s the second time I’ve had to say that to you– you seem destined to get into trouble. I should be telling you to watch out!… You didn’t get close enough to see who did it?
MARILYNN
No, thank God though. The guy– the attacker was kinda short, that’s all I know. Seemed like he had a mask and gloves on, and it was dark.
PEARL
That’s awful. I’m so sorry you had to see that. I’d offer you another slice of cake but–
MARILYNN
Actually,
(eyeballing a slice of bright red cherry cake)
Actually, I’ll take a slice of that. For a friend.
PEARL
For a friend. That’s so nice.
Pearl happily boxes it up, tries to give it to Marilynn for free, but she insists on paying.
PEARL
So do you live around here or…?
MARILYNN
Literally right behind here.
(gesturing)
Next street up.
PEARL
You must pass by here all the time then.
MARILYNN
Twice a day at least. I get on the bus out front. This is your family business, you said? I think I’ve seen your grandma, does she sit out front?
PEARL
Yep! That’s her. She guards the door so I can’t escape.
MARILYNN
You don’t like working here?
PEARL
Oh no, I love baking. But most of that’s done the night before. It’s the sitting around waiting for customers part that gets so boring.
(laughs)
Your dramatic entrances have been the highlight of my week. You should drop in again. You can make up something, if you don’t see any more murders. I mean, I hope you don’t.
(adds more brightly)
Bring your friend around sometime!
MARILYNN
My friend?
(remembers her excuse for getting cake)
Oh! Yeah. Sure.
Pearl smiles, finding Marilynn’s awkwardness charming, or at least inoffensive.
They say their goodbyes and Marilyn exits. Pearl turns away from the counter, twirling the knife expertly, effortlessly, over her hand.
INT. MARILYNN’S LIVING ROOM – AFTERNOON
Back at home, Marilynn sets the cake on a stool like a still life. She removes the prior cherry painting from the easel and puts up a blank canvas.
MARILYNN
Come on, what was it? Cake? Cherries? The color red?
She focuses, trying to draw inspiration from the cake.
MARILYNN
(to her… muse?)
Come on. You were right there. I felt you. Like back then…
BEGIN FLASHBACK:
INT. TRAILER HOME LIVING ROOM – EVENING
TODDLER MARILYNN sits happily in the arms of her MOTHER, a worn-out woman with a recent black eye. Mother shows Marilynn how to fingerpaint on the back of a paper grocery bag. Toddler Marilyn draws a long line of wet acrylic red with her finger.
O.S. the front door SLAMS, causing both Marilynn and Mother to jump.
FLASHBACK CUTS OFF.
BACK TO:
Marilynn stands, having gotten an idea– not one she’s pleased about. She grabs an old box of pencils and a sketchbad.
EXT. BUTLER STREET – EVENING
MUSIC CUE: Chorus of “Oh, Death!” by Pearl and the Beard: “The way you are, the way you’ve always been…”
As the sun sets, Marilynn makes her way back to the scene of the crime.
MARILYNN
This is so stupid.
EXT. ALLEYWAY – EVENING
Marilynn looks around anxiously, but it’s unclear if she’s worried about seeing the criminal or being seen as doing something criminal herself.
The body has been removed, but the area is still taped off as a crime scene. She ducks under the tape, her eyes following a splatter of blood droplets. Knowing what to expect, she covers her eyes with a hand and peeks through the fingers.
Coming to the largest red stain, where the body fell, she fumbles for a nearby milk crate and sits down on it. She fights a momentary wave of dizziness.
BEGIN FLASHBACK:
INT. TRAILER HOME LIVING ROOM – EVENING
O.S. screams and fighting, the sound of domestic violence, as Toddler Marilynn crawls away from the paper where she’d been fingerpainting, heading toward the sound of her mom’s distressed voice.
MUSIC CUE: Chorus, “the way you are, the way you’ve always been”
TODDLER MARILYN’S POV
As she crawls into the
INT. TRAILER HOME KITCHEN – CONTINUOUS
The sounds of fighting growing louder at the far end of the kitchen island, as does the MUSIC MOTIF. As Marilyn makes her way between the island and the interior counter, we hear O.S. climax of SHOUTS as the fight comes to a head, then a YELP and a THUD.
TODDLER MARILYN’S POV
As she reaches the far end of the kitchen island, BLOOD seeps into view from behind it, pooling over the linoleum floor.
Toddler Marilynn pauses. MUSIC crescendos to climax. Toddler Marilynn sits back, and reaches a finger into it… to draw.
BACK TO PRESENT:
Considering the streaks of blood down the brick wall before her, Marilynn presses a red pastel to the paper and begins a downward line.
INTERCUTTING:
Toddler Marilyn looping a line through the blood with her stubby finger / Present day-Marilynn looping the red pastel.
BACK TO FULL FLASHBACK:
Toddler Marilynn’s concentration is broken as her battered Mother enters the frame, scooping her up, carries her out of the kitchen.
TODDLER MARILYNN’S POV – OVER MOTHER’S SHOULDER
She sees her father sprawled on the linoleum, the full picture revealed: the blood pooling from his head grows into the tree of her wiggly drawn lines around the counter.
In shock, she slumps against her Mother’s shoulder– establishing the link between art, violence, and her fainting reflex.
END FLASHBACK.
Now Marilynn pushes past the urge to pass out, drawing art out of violence as she did that first time.
With a final stroke, she finishes the abstract work, a thrilling collision of red lines on the page.
She leans her head back against the alley wall behind her, taking a shaky breath. This doesn’t help her swimming vision, so she moves her head between her knees.
MARILYNN’S POV – GROUND
Something glimmers between her feet, small and white in the dark pavement. Marilynn picks it out. It’s a PEARL.
She pockets it and stands, kicking over the milk crate and stumbling away from the alley.
ACT THREE
INT. CHILDREN’S MUSEUM – DIRECTOR’S OFFICE – DAY
Marilynn stands guiltily before Jennifer’s desk. Jennifer pushes a children’s drawing across the desk’s surface toward her, like an interrogating police officer asking a suspect if they recognize the photo.
The drawing is of a giant hotdog impaling a man like a spear. Mustard and ketchup spurt from his body.
JENNIFER
Did you tell the kids to draw food killing people?
MARILYNN
(to herself)
Who hates hotdogs?
JENNIFER
Excuse me?
MARILYNN
We were using art to face foods we don’t like. Kids can be picky eaters and–
JENNIFER
Marilynn, please sit down.
Marilynn takes a seat. Jennifer gathers her thoughts, looking uncomfortable with what she has to say next.
JENNIFER
I knew we were going to butt heads when I hired you. It’s part of why I hired you. I know I can be… conservative in my approach, and I thought through your fresh ideas, we could reach a synthesis that would be benefit and enrich the museum’s programming. But. Your continued fixation on disruptive –violent, really– projects–
MARILYNN
Have you ever met kids? They love violence. They love to tear, and stomp, and smack down. I know the parents complain, but they don’t get it. The art projects I give them doesn’t make them violent, it helps them chanel violence into something good, something constructive.
JENNIFER
You think this little boy–
(she peers at the sloppy kid’s signature in the corner)
Andy– would have thought to consider how one might impale someone with a hot dog on his own?
Marilynn tries to argue, but Jennifer cuts her off, but gently this time. Concerned.
JENNIFER
Look. What I’m afraid of, is you have some violence in your own past that you’re trying to work out through these classes. You’re not helping kids use art to overcome their personal difficulties, you’re using the kids to help you overcome yours. But I understand. It’s probably what you’ve used art for on your own, and transitioning to working with other people is hard. Here.
(she gives Marilynn a BUSINESS CARD)
That’s my therapist’s. She can refer you to someone. I don’t want to lose you, Marilynn, I think you will be an incredible asset to this institution once you get your shit under control. But you have to get your shit under control. I’m putting you on probation. It’s up to you if you want to figure this out.
EXT. MARILYNN’S APARTMENT – AFTERNOON
Marilynn struggles to get something out the door– the painting she made after the spilled cherries. In her hand she also crumples the crime scene sketch. She’s got a distant look in her eyes. Broken.
As she lifts the canvas into to dumpster, she pauses. Inside she sees a pile of what look like perfect cakes, except each is slightly dented or smooshed.
She looks closer, and sees something protruding from one of the smashed cakes. She sets the canvas against the dumpster and then reaches in.
After digging around in the icing, she pulls out the KNIFE with which Pearl sliced that first piece of black forest cake for her.
She stares at it, wondering why it was baked into a cake– was Pearl that clumsy?
Then, rubbing some of the icing off, she comes across a missing stone in its setting. No, not a stone– a pearl.
Slowly, Marilynn reaches into her pocket, pulling out the random objects she’s collected of late– the BUSINESS CARD and the PEARL from the crime scene. Carefully, she presses the pearl to the handle–
It fits perfectly.
INT. MARILYNN’S LIVINGROOM – CONTINUOUS
Marilynn sits down shakily on her couch. On her lap sits the knife. Her hands are sticky with icing. She pulls out her phone, types in 9-1…
BEGIN FLASHBACK:
INT. TRAILER HOME KITCHEN – EVENING
MUSIC CUE: “Cherry Wine” by Hozier, quietly.
Mother picking up Toddler Marilynn from where she sits beside her father’s dead body. Rocking her. Toddler Marilynn passing out on her shoulder, the KNIFE bloody on the counter the last thing she sees.
Sheltered in the arms of a woman whose hands are bloody; love, art, violence, are all bound together in her soul beginning with this embrace.
END FLASHBACK.
INT. GRANDMA’S APARTMENT – CONTINUOUS
The little old lady previously seen out front of the bakery sits on a flowery couch, knitting. The wall behind her is lined with shelves on which sit SWARKOVSKI figurines, eerily beautiful.
“Cherry Wine” continues diegetically now from a record player nearby.
INT. MARILYNN’s LIVINGROOM – CONTINUOUS
Thinking back on how her mother had a good reason for stabbing someone, Marilynn decides not to call the police. She deletes the numbers “9-1-1.”
Instead, she pulls out the THERAPIST BUSINESS CARD. Begins to type the therapist’s number in her phone.
INT. GRANDMA’S APARTMENT – CONTINUOUS
“Cherry Wine” cont.
Grandma finishes the piece she’s been working on throughout the course of this episode and holds it up to someone O.S. It’s a BALACLAVA.
ZOOM to reveal Pearl, sitting on a couch opposite, sharpening a new ornate antique knife. She looks up, smiles approvingly.
Grandma takes a ball of yarn from a basket to begin the next project. They relax into their respective crafts. Preparing.
CUT TO BLACK.
OUTRO/CREDITS
MUSIC CUE: “Cake” by Melanie Martinez
AUSTIN DEWAR 