Let me write some scenes from the last half of Act Two. First, let's review some new story steps:
I pick up after this:
EXT. FARMHOUSE - DAY
Andres comes out and gets into the car. He drives off alone.
INT. FARMHOUSE - LIVING ROOM - DAY
Carlo is watching from the window. The First Lady comes up
beside him and puts her arms around him.
FIRST LADY
Are you two going to be all right?
CARLO
I think so. He doesn't trust you.
FIRST LADY
Do you?
Carlo studies her. Then they embrace and kiss.
INT. FARMHOUSE - BEDROOM - DAY
The First Lady and Carlo are making love.
With Carlo, the First Lady has found physical passion she
hasn't felt in a long time. She is on fire.
EXT. SMALL TOWN - MAIN STREET - DAY
Andres' car enters a small town on Main Street. He drives to
a supermarket and parks.
INT. FARMHOUSE - BEDROOM - DAY
The First Lady and Carlo sit up in bed after lovemaking.
CARLO
We will be going home soon. I want
you to come with me.
FIRST LADY
I don't know. I feel in the way.
CARLO
You've done more for us than we could
ever have done alone.
FIRST LADY
I don't think we're in a position to think
that far ahead.
He starts to say something but she puts a finger on his lips.
Then she kisses him.
INT. COUNTRY STORE - DAY
Andres is at the check out stand when there is sudden traffic
outside. Through the window, we see military vehicles.
CHECKER
Goddamn, I've never seen the Army on maneuvers
around here.
EXT. COUNTRY STORE - DAY
A local crowd has gathered to watch the Army pass by. There are
trucks, jeeps, some tanks and other weaponry.
Andres comes outside. One look is enough for him - and he hurries
to his car.
EXT. MAIN STREET - DAY
Andres is passing the long line of military vehicles along the
shoulder of the road.
INT. CAR - DAY
He looks tense and worried as he speeds along the shoulder.
EXT. MAIN STREET - DAY
Finally Andres reaches the head of the line and turns back onto
Main Street just at the edge of town.
He races off for the farmhouse.
INT. FARMHOUSE - KITCHEN - DAY
The First Lady and Carlo are in the kitchen, starting dinner
together.
They are in a playful mood, almost like newly weds.
They sip from glasses of red wine.
They kiss and pinch one another.
They laugh a lot.
EXT. FARMHOUSE - DAY
Andres swerves into the driveway and skids to a stop.
He gets out and races into the house.
INT. FARMHOUSE - LIVING ROOM - DAY
The First Lady and Carlo are slow-dancing to a ballad on
the radio when Andres enters.
Carlo immediately sees that something is wrong and stops
dancing.
CARLO
What is it?
ANDRES
The goddamn Army's coming.
INT. FARMHOUSE - CARLO'S BEDROOM - DAY
Carlo is quickly packing as the First Lady watches.
FIRST LADY
I can talk to them.
CARLO
How do you know they'll listen? How
do you know your husband doesn't find this
a convenient way to get rid of you?
The First Lady's expression tells us that she hasn't thought
of this before - and the possibility frightens her.
EXT. FARMHOUSE - DAY
Helicopters have the farmhouse in sight and begin circling down
to land.
INT. FARMHOUSE - DAY
Carlo and Andres, at the door with their suitcases, hear the
WHIR of the choppers.
ANDRES
Shit.
He grabs two rifles and hands one to Carlo.
FIRST LADY
I know I can stop them!
She heads for the door.
Carlo makes a move to stop her but Andres grabs him.
ANDRES
She's our only chance.
EXT. FARMHOUSE - DAY
The First Lady comes outside.
Helicopters land outside the farmhouse, surrounding it. As
soon as they touch earth, soldiers jump out and take position.
The line of Army vehicles is pulling up.
The First Lady is screaming at the choppers, her words lost
in the loud WHIRRING of the blades.
INT. FARMHOUSE - DAY
Carlo and Andres have taken positions at the front windows.
CARLO
We're sitting ducks.
ANDRES
Then we fight.
He breaks a window with the barrel of his rifle. He takes
aim.
CARLO
You'll put her in danger.
ANDRES
How do you know she's not behind this?
How did they find us?
CARLO
Because I know.
Carlo takes his rifle and moves to the door. Andres watches him.
ANDRES
Love makes you blind. She is with them.
Carlo stares at Andres. Then he leans his rifle against the
wall and opens the door.
EXT. FARMHOUSE - DAY
The First Lady is moving slowly toward the front helicopters.
Behind them approach the ARMY OFFICERS in charge, headed by
COL. MCLAUGHLIN, 60s, a tough bird with years of combat experience.
He talks into a portable speaker.
COL. MCLAUGHLIN
Hold fire!
The First Lady shouts back at him.
FIRST LADY
Don't do this!
COL. MCLAUGHLIN
Come ahead, ma'am! We have you covered!
You, behind her, raise your hands high
above your head!
The First Lady turns and sees Carlo moving slowly forward.
He is unarmed.
CARLO
We have nothing to fight for here! We
are supposed to be allies!
The First Lady races to Carlo, almost diving into his arms.
They embrace.
The colonel puts down the speaker and talks to an aide.
COL. MCLAUGHLIN
What the hell is that about?
Carlo lifts the First Lady's face to his.
CARLO
Do you know why they're doing this?
FIRST LADY
No.
CARLO
Then maybe you can talk to them.
FIRST LADY
Only if you'll come with me.
The colonel raises the speaker again.
COL. MCLAUGHLIN
We're coming in for you, ma'am!
He nods to a soldier in the group, who moves forward to
fetch her.
The First Lady takes Carlo's hand.
FIRST LADY
I'm in no danger! Let us all come forward
peacefully!
The soldier approaches, his rifle raised.
INT. FARMHOUSE - DAY
Andres sees the soldier approaching. He takes aim.
He pulls the trigger.
EXT. FARMHOUSE - DAY
The shot hits the ground in front of the soldier.
Suddenly GUN FIRE starts up everywhere, most of it aimed at the
house.
Carlo grabs the First Lady and knocks her to the ground,
rolling his body on top of hers.
CARLO
Are you all right?
The First Lady nods, yes.
Andres is firing from inside the house. Shots from the Army
splinter the outside of the window frame.
Carlo takes the First Lady's hand and leads a quick beeline
for the door.
They dive inside the house just in time, shots pockmarking the
door as it swings closed behind them.
COL. MCLAUGHLIN
Hold your fire!
He lowers the speaker.
COL. MCLAUGHLIN
Goddammit, what side is she on here?
INT. FARMHOUSE - DAY
Carlo picks up his rifle and hurries beside Andres.
ANDRES
I'll cover the back.
FIRST LADY
I want to help.
Carlo and Andres exchange a glance. Andres shakes his head, no.
FIRST LADY
You need all the help you can get. Give
me a gun.
Andres looks at Carlo, as if to say, "Your decision." He moves
out to cover the back of the house.
CARLO
Can you handle this?
He hands the rifle to the First Lady.
FIRST LADY
What about you?
CARLO
Guns we've got plenty of. You cover
the front. I'll float where I'm needed.
He moves off but turns before he's gone.
CARLO
Thank you.
The First Lady manages to smile. Then she takes her position
at the broken window.
INT. WHITE HOUSE - DAY
The President is on the phone.
PRESIDENT
I have no idea what she thinks she's doing.
INTERCUT PHONE CONVERSATION
The President is talking to the colonel (on a mobile).
COL. MCLAUGHLIN
Well, they can't go anywhere. I suggest
we wait them out.
PRESIDENT
Do they have a phone? I'd like to talk to
her.
COL. MCLAUGHLIN
Wasn't that handled on your end?
PRESIDENT
Right. Colonel, just hang tight til you
hear from me.
BACK TO SCENE
The President hangs up. His office is filled with staff.
PRESIDENT
Anybody got the phone number there?
Aides look at each other. Who has it? Oops.
AIDE
I'll get right on it, sir.
EXT. FARMHOUSE - NIGHT
The Army surrounds the house. A standoff.
INT. FARMHOUSE - NIGHT
Carlo stands near Andres at the back of the house.
CARLO
You okay?
Andres shrugs.
CARLO
We're getting out of this. Somehow.
Another shrug.
CARLO
I don't think they'll attack with her
here.
Andres just looks at him. He eyes read, "Sucker."
At the front of the house, the First Lady is having a hard
time staying awake when Carlo moves into the room.
She turns quickly, her rifle pointing at him. Then she
realizes who it is.
FIRST LADY
Sorry.
CARLO
I think if they were going to do something
tonight, we'd've seen it by now. Why don't
you take a nap? I'll take the watch.
FIRST LADY
Are you sure?
Carlo smiles and nods.
The First Lady kisses him on the cheek, then stretches out
on the sofa.
Carlo peers out into the dark night. When will they attack?
Okay, this is where I'll stop. I still want to raise the stakes but I'm not quite sure how I want to do that yet.
They are surrounded - the only way out is through negotiation. The President is the key - and he needs to be here, to confront the First Lady directly.
So that's the direction I plan to go in. But later.
SCREENWRIGHT: the craft of screenwriting4/98