Dr. j's Adaptation of Continuity of Parks


Julio Cortazar's Continuity of Parks
Dr. j's Analysis of Continuity of Parks
EXT.

Dusk. A BMW moves up the driveway of a wooded estate. A middle-aged, expensively dressed man emerges from the car and enters the house carrying his flight suitcase.

INT.

Leaves his bag at the foot of the stairs. No one is home. He's not surprised. Goes into the Den--a hi-tech "entertainment center." Big screen TV on one wall. Another wall is completely glass and as he walks into the room, we look out the window from his pov and see a beautiful sloping lawn that leads into lovely, park-like woods that surround the house.

He goes to the phone and listens to the messages. First one is from his lawyer about some power of attorney issue. The second message is from his wife. Usual wife greetings:

"Hey, sweetie.. Don't forget we're on at Gonzalez's at 7. I'll be home by 6:30. Call my cell so I know you made it."

He reflects. Gets a bottle of wine and a glass from the bar. Puts them on the table next to his chair and moves to the "entertainment center."

POV shot of him looking for a certain DVD. Pans the collection--Blow-up, Spider's Stratagem, etc.. Finally, finds what he's looking for: Contuinity of Parks. Puts the disk into his player.

Returns to the phone. Calls. No answer. Leaves a message: "Closed the deal. Can't wait to see Frankie's face when I tell him at dinner.

It's 5:30. So hyped about the deal I can't relax. Going to watch the ending of that flick we got the other night. Thought about it on the plane. Should finish about the time you get here. Love ya."

Sits in his chair, turns on the DVD. Goes to the scene menu. Not quite sure where they left off. Starts in the cabin scene. Stops and goes back to the right spot--to a guy running in the woods. Pauses.

Pours a glass of wine, lights a cig., sits back and starts the film.

Cut to POV shot. Gradually dolly-in until we only see the story unfolding on the screen.

Film on the DVD

EXT.

Dusk. Tracking a man running along a path in the woods. Approaches a cabin nestled in the woods. Knocks lightly on the door.

INT

Low key lighting.

His POV of a beautiful blonde smoking in the shadows. (like Phyllis D. in Double Indemnity.)

She rises to meet him and they embrace. Both anxious and not romantic. Something else is on the agenda.

Dialogue: She: " What happened! We've only got a half-hour."

He: "Hung up at the train-crossing. But never mind. Let's go over it one more time."

He pulls out his knife. She gets out a crude map.

She: "Unlocked window to the left of backdoor. Into the kitchen, through the dinning room, then left down to the end of the hall."

He: "Call home in exactly 20 minutes. See who answers."

She: Shutters. "How can you joke about this!"

He: "Hey. 20 minutes."

He leaves the cabin.

EXT.

Steadycam follows him running through the woods.

Steadycam follows him as he comes out of the woods to the back of the house. Quite dark, so we only see a vague outline of the house, draped in shadows.

Goes to the window. Slowly opens it and climbs through.

INT.

Inside the dark kitchen.

POV shots as he goes through the kitchen, into the dinning room. Low key lighting. Slow walking. Lighting and pacing create suspense.

Finds the hall door. Slowly opens it and enters hallway. POV of him walking down the hall to room at end of hall. Sees light from under the door.

Gets to the door. Listens. Muffled sounds. Pulls out his knife. Slowly opens the door.

Slow movement of camera to show Killer's POV looking into the room.

POV of Killer: A man watching a film of a man entering a room of a man watching a film.

The phone rings. The man in the chair hits the pause: freeze frame.

The End.