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):
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.
SCREENWRIGHT: the craft of screenwriting8/97