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SCENE 1 (3s): Close-up. Suburban high school parking lot, late afternoon, overcast sky, low gray light. A white American teenage girl, mid-teens, stands on crutches, backpack over one shoulder. A crumpled paper cup flies in from off-screen and hits her in the shoulder. It bounces off. She flinches hard — then freezes, jaw clenched, eyes glassy, staring straight ahead. She does not cry. She does not move. SCENE 2 (4s): Cut to: A white American teenage boy, 17, letterman jacket, leaning halfway out of a silver car window. His expression is over-the-top, theatrical mockery — wide grin, eyebrows raised, performing for his audience. He holds up his arms and mimics limping with huge, exaggerated movements, dragging one leg. His friends inside the car erupt in loud laughter. The boy points at the girl and doubles over, gasping, like it's the funniest thing he's ever seen. DIALOGUE — Boy: "Ohhh watch out, everybody — here comes Hop-Along!" [explosive laughter from inside the car] SCENE 3 (3s): Cut to: Ground level. A mud-caked combat boot hits the asphalt. One step. Heavy. Deliberate. Then another. Camera tilts up slowly — worn camouflage uniform, name tape reading MILLER, arms loose at the sides. The soldier is white, mid-forties, physically imposing, completely still in his expression. He walks toward the car without hurrying. SCENE 4 (4s): Cut to: The boy's face. The laughter dies instantly. His exaggerated grin collapses — eyes go wide, body pulls back into the car seat, shoulders rising toward his ears. He looks up at the soldier, then away, then back. He can't hold eye contact. His hand grips the car door. DIALOGUE — Soldier [quiet, level, no anger]: "You think that's funny?" — Boy [voice cracking]: "No, sir. No." NO logos, NO brand names, NO watermarks, NO text overlays, NO subtitles. Cinematic, grounded realism, Netflix short-form drama tone.

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SCENE 1 (3s): Close-up. Suburban high school parking lot, late afternoon, overcast sky, low gray light. A white Ameri...

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