Beginning Act Two as a Forest Person


Forest person that we are now (and taking advantage of the earlier writing we did as a tree person), let's move right along with our developing story.

Let's bring our two story lines closer together (tree version and forest person) and say here, as in the other version, the President refuses the initial demand for ransom (to make a resolution in the U.N. supporting Basque independence). The kidnappers make a second demand in the form of a videotape of the First Lady, which they'll release to the networks if their demands are not met.

This time the President agrees to meet the conditions. The resolution is released in the U.N., and the kidnappers prepare to set the First Lady free, moving toward our midpoint plot point.

We pick up the story from here (we'll change the names to Carlo [formerly Juan] and Andres, a name from each script):

[Previous script]

       INT. FARMHOUSE - BEDROOM - DAY

       The First Lady is reading when Andres enters.

                               ANDRES
                  Get your things.  Time to go.

                               FIRST LADY
                  What do you mean?

                               ANDRES
                  You don't understand me?  I mean 
                  it's time to go.


       EXT. FARMHOUSE - DAY

       Carlo and Andres escort the First Lady to the car.  She gets 
       into the back seat.

       Andres gets behind the wheel, Carlo in the passenger seat.

       The car heads out.


       EXT. COUNTRY ROAD - DAY

       The car is speeding down a country road.


       INT. CAR - DAY

       In the back seat, the First Lady looks upset.  Finally she
       speaks up.

                                FIRST LADY
                   You are quitting too soon.

       There's no reply from the front seat.

       Andres looks at her in the rearview mirror, then at Carlo.

                                 FIRST LADY
                   You should have asked for more support.
                   You are turning me loose too easily.

       Carlo turns to the back seat.

                                 CARLO
                   What kind of support?

                                 FIRST LADY
                   Humanitarian support, for one.  Food and 
                   clothing for your people.  And something 
                   tougher.  An embargo against Spain and 
                   France.  

                                 CARLO
                   You think your husband would agree to this?

                                 FIRST LADY
                   Not if he could find a way out.  If you go 
                   right to the media, the people won't let 
                   him find a way out.  No one in this country 
                   knows your story.

                                 CARLO
                   It's too late now.

                                 FIRST LADY
                   Why?  Turn around and take me back.  Demand
                   new conditions for my release.

       Carlo smiles at her and turns back around.

  
       EXT. SMALL TOWN - DAY

       The car enters a small town.


       INT. CAR - DAY

       Carlo turns to Andres.

                                 CARLO
                   Park in front of the cafe.

                                 ANDRES
                   We don't have time.

                                 CARLO
                   We'll make time.

        Andres looks at Carlo.  Then he turns the wheel to park.


        INT. SMALL TOWN - CAFE - DAY

        They sit in a booth, the men across from the First Lady.
        Carlo leans forward to speak quietly.

                                  CARLO
                   Why do you want to help us?

                                  ANDRES
                   Carlo, it's a trick.

                                  CARLO
                           (to First Lady)
                   You tell me.  Is it a trick?
           
                                   FIRST LADY
                   No.

                                   ANDRES
                   She's lying.

        A WAITRESS appears.

                                   WAITRESS
                   You having lunch?

                                   CARLO
                   Just coffee.


        EXT. CAFE - DAY

        Carlo and Andres stand in front of the cafe, arguing.  We don't
        hear what they're saying.


        INT. CAFE - BOOTH - DAY

        The First Lady sips her coffee, watching the argument through 
        the window.

        She looks around.  There is an EXIT in back, and the realization
        crosses her face that she could get away easily now.

        The realization changes to indecision.  Should she or shouldn't
        she?

        She looks through the window.  Carlo is doing all of the talking.


        EXT. CAFE - DAY

        Carlo moves quickly back inside the cafe.  Through the window, 
        we see him say something to the First Lady.

        Then both come outside and get into the car.

        Carlo gets behind the wheel.  The car does a U-turn and heads 
        back in the direction from which it came.


        INT. FARMHOUSE - DINING ROOM - NIGHT

        Carlo, Andres and the First Lady are eating dinner.  Silence hangs 
        over the table like a storm cloud.

        Finally Andres slams down his fork, gets up and leaves.

                                 FIRST LADY
                    I'm sorry.  I didn't think my idea would be 
                    so controversial.

                                 CARLO
                    Andres has been disappointed so often he doesn't
                    trust much any more.

                                 FIRST LADY
                    What are you going to do?

                                 CARLO
                    What you said.  Go to the media.

                                 FIRST LADY
                    I can help.

        Carlo just looks at her.

                                 FIRST LADY
                    Those things you gave me to read were very 
                    moving.  Your people deserve their freedom, 
                    and that's why I'm doing this.  I think my 
                    government, my husband, can do more.  But he's
                    a very cautious and selfish man.  He'll only 
                    take a stand when it's a popular one.

                                 CARLO
                    The day we took you, you followed him to a 
                    hotel.

                                 FIRST LADY
                    You were following me then?  Of course, you 
                    must have been.  My husband is having an affair.
                    I needed to be sure.

                                 CARLO
                    Does helping us have something to do with that?
        
                                 FIRST LADY
                    I wondered myself.  I don't think so.  This 
                    will make him look like a champion of liberty.

                                 CARLO
                    It must be difficult for you - being so important
                    and yet so unhappy.

                                 FIRST LADY
                    Just before you took me, I'd called my lawyer.
                    I'm filing for divorce.

                                 CARLO
                    He will accept that?

                                 FIRST LADY
                    He has no choice.  But actually it's another 
                    bargaining chip.  He wouldn't want publicity
                    like that.

                                 CARLO
                    I'm surprised you have gotten so involved.

                                 FIRST LADY
                    I am myself.  I like the feeling.

          They exchange smiles.       

In this sequence, then, is the midpoint plot point, where the First Lady makes a decision to join their cause. It's a new ballgame.

[BACK TO TEXT]


MODULE 6: SCREENWRIGHT: the craft of screenwriting

8/97