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.INT.FITTS HOUSE - RICKY'S BEDROOM - CONTINUOUSWe're behind Ricky, as he videotapes Jane in her window.Shehas now removed her shirt and jeans.She stands there in herbra and panties, then reaches behind her back to unhook thebra.On VIDEO: we ZOOM toward JANE as she takes off her braclumsily.She's obviously embarrassed, but she's gone this farand there's no turning back.She stands there with her breastsexposed, trying to look defiant, but she's achinglyvulnerable.We continue ZOOMING toward her face, as close aswe can get to the desperate yearning in her eyes.Suddenly, the door is thrown open and the Colonel enters,incensed, carrying his KEYS.Startled, Ricky turns around.Assoon as his eyes meet his father's, he knows what's up.RICKYDad, I just wanted to show-COLONELYou little bastard -He lunges toward RICKY, who scrambles to dodge him.But theColonel is too fast and too agile; he quickly grabs the boy bythe throat and shoves him up against the wall.EXT.BURNHAM HOUSE - CONTINUOUSJane's POV: In the WINDOW across from us, the Colonelproceeds to give Ricky a serious beating, punching his face.INT.FITTS HOUSE - RICKY'S BEDROOM - ContinuousRicky's lip is bleeping, but he maintains a clear steady gazeat this father during this violence.COLONEL(unnerved)Fight back you little pussy!RICKYNo, sir.I won't fight you.Gradually, the COLONEL winds down.He lets go OF RICKY andsinks into a chair, breathing hard.COLONELHow did you get in there?RICKYI picked the lock.COLONELWhat were you looking for? Money?Are you on dope again?RICKYNo sir.I was showing mygirlfriend your Nazi plate.A beat.COLONELGirlfriend?RICKYYes, sir.She lives next door.TheColonel glances toward the window.His POV: IN the window across from us, JANE peeks out frombehind the curtain.She quickly pulls it shut.RICKY (cont'd)Her name's Jane.A beat.the COLONEL is Suddenly, deeply shamed.COLONELThis is for your own good, boy.You have no respect for otherpeople's things, for authority,for.anything.RICKYI know.I'm sorry.COLONELYou need structure, you needdiscipline -RICKY(simultaneous)Discipline.I know.Thank youfor trying to teach me.(then)Don't give up on me, Dad.The COLONEL, still breathing heavily, regards his son.FORthe briefest moment, we see a flash of tenderness across hisface, but then it's gone.He gets up.COLONELYou stay out of there.He leaves, quickly, glancing BACK toward the window on hisway out.Ricky then gets up and goes into his bathroom, wherehe starts to calmly wash the blood from his face.INT.BURNHAM HOUSE - JANE' S BEDROOM - CONTINUOUSJANE sits on her bed crying, shaken By What she just saw.INT.FITTS HOUSE - THE COLONEL'S STUDY - CONTINUOUSThe COLONEL enters, still breathing heavily, and locks thedoor behind him.He paces for a moment, agitated, then crossesto the built-in CABINET behind his desk and opens it.Heremoves the Nazi platter and gingerly places it on the desk,then does the same with several other items until he uncoversa small METAL BOX.He sits behind the desk, staring at thebox, troubled.He finally opens it.ANGLE ON the open box: it's filled with PHOTOGRAPHS.TheColonel pulls one from the bottom of the box.CLOSE on the grainy BLACK & WHITE PHOTOGRAPH IN his callusedhands: it's of TWO YOUNG SERVICEMEN standing in front of aJeep, both shirtless and wearing fatigues.Their muscular armsare draped lazily around each other's shoulders as they grinfor the camera.One of these men is the Colonel himself,albeit much younger - almost thirty years younger.CLOSE on the Colonel's face as he studies the photo.Hisbreathing has finally relaxed; his face has gone vacant.INT.FITTS HOUSE - MASTER BEDROOM - NIGHTIt's late at night.We're looking down on the Colonel andBarbara in bed.She SNORES softly, but the Colonel is awake,staring straight up at us.After a moment he pushes thecovers back, gets out of bed and exits the room noisily, butBarbara is sleeping the sleep of the dead and doesn't wake.INT.FITTS HOUSE - KITCHEN - MOMENTS LATERThe COLONEL enters, agitated.He flips on the LIGHTS, thenopens the refrigerator, scans its contents, and closes thedoor without having noticed what was inside.He paces aroundthe kitchen, then stops in his tracks when he sees:His POV: Through the window over the sink, we can see Throughthe GARAGE DOOR WINDOW of the Burnham house next door.Insidethe garage, Lester, wearing only briefs, stands doing shoulderpresses.His upper body, glistening in sweat, is pumped.The COLONEL quickly crosses to the light switch and switchesthe LIGHTS OFF.He stands absolutely still for a moment, thendrags a chair from the kitchen table over to the sink and sitsin the dark, watching Lester.FADE to BLACK.IN darkness, we HEAR repetitive GUNSHOTS.FADE IN:INT.INDOOR FIRING RANGE - DAYCarolyn, wearing PROTECTIVE HEADGEAR, is holding a GLOCK 19AUTOMATIC REVOLVER with both hands, FIRING it directly at us.A DIFFERENT ANGLE reveals she is at an INDOOR FIRING range.She empties a round and stands there, exhilarated by theexperience.An ATTENDANT approaches with a new round ofammunition.ATTENDANT(loading gun)I gotta say, Mrs.Burnham, whenyou first came in here, I thoughtyou would be hopeless.But you'rea natural [ Pobierz całość w formacie PDF ]