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Keckler: A | Grade It Now!
Bonnie Goetz Murdered

And now they take us back to the 4H. Okay, screw this -- get us back to the cursed Richmond Farmhouse where no one should live ever, ever again! As sad as I am to give Hawkins short shrift, I can't plod through this scene fast enough! Hawkins calls his Mystery Man and tells him that the bomb is secure. He thanks Mystery Man for the heads-up but wonders why he's helping him. Mystery Man says he wants the truth to come out about "this government, or should [he] say, 'this company.'" Hawkins plays dumb and asks if he means J&R has something to do with the attacks. "Naw, that doesn't compute," Hawkins says, drawing him out, "Companies don't overthrow governments, they enrich them." Mystery Man drops the name "Project Boxcar," and says that it's the covert operation run by the Cheyenne government to eliminate any and all evidence of the nuclear bomb attacks. That evidence being, of course, Hawkins, his bomb, and his team. Oh, and one more thing, "This report." Hawkins looks at his SPRINT phone and sees he has picture mail. He gets to his computer and downloads the scanned images of a 1993 Continuity of Government Report from the DOD. Being lazy about reading, Hawkins puts the phone back to his ear and asks, "What is this?" It's a classified disaster plan commissioned by the government and prepared by J&R. It proposes a scenario of twenty-five cities destroyed by nuclear weapons and ferrets out targets, specs, contingencies -- all the chinks in the U.S. armor. J&R had it all in that report. It was supposed to be a plan of protection but someone got hold of it, took their worst nightmare and made it come true. "Okay," Hawkins says, trying to take this all in, "How do you know about this?" "Because I helped write it," Mystery Man reports. While we let Hawkins deal with all that, we're going back to Richmond Farm where THEY KILLED BONNIE I CAN'T BELIEVE THEY KILLED BONNIE.

Well, with music comes tears, and here we have Damien Rice's "9 Crimes" talking about loaded guns and leaving me out with the waste. The sheriff-mobile screeches up -- at least, I think it screeches but we're in music-time, so we can't hear it -- with lights flashing. Jake's not the driver, because it allows him to be effectively urgent by opening the car door before the car even stops. I'd like to believe Jake couldn't drive because he was too upset, but I really can't imagine him sitting there twiddling angsty thumbs while yokel-yukker Bill took the wheel. However, I'll shut up, because the shot is so beautifully effective, it trounces any character quibble. Jake slowly but determinedly walks up to the farmhouse. Eric is already there, standing next to a van. It's hard to see if it's the coroner or an ambulance. Eric's face just says, "I'm so sorry," as he shakes his head. We're in Jake's vision as he passes Eric by and goes up the steps. His head is slightly turned to the side as he walks forward, like he's trying to deflect what he's going to find inside. He walks into the house where his dad died and he looks from the bullet holes in the wall down to Mimi on a stretcher with an oxygen mask being held to her face. His gaze lingers on her briefly before he tears it away to look elsewhere. His eyes widen. Stanley is on the floor cradling Bonnie's lifeless body in his lap. Stanley has one hand on Bonnie's forehead, the other under her back. He slowly looks up at Jake. The camera gives Jake a tragic close-up and his eyes intensify when he realizes that Bonnie is dead. His lower lip slightly shudders, as his horrified expression tries to retreat into itself rather than deal with the reality. Behind him, Bill sees Bonnie and looks like he's going to throw up. Emily runs in as well, but we don't really care about her. Stanley's eyes are red and raw. He shakes his head, his mouth tightly closed to keep from screaming. His body quakes over his deaf baby sister and he smoothes her hair back. Bonnie's blood makes patterns on her pink shirt.

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