From Act Two:
INT. FARMHOUSE - BEDROOM - DAY
The First Lady is reading (1) when Andres enters.
ANDRES
Get your things. Time to go.
FIRST LADY
What do you mean?
ANDRES
You don't understand me? (2) 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, (3) 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 (4) 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. (5)
Carlo turns (6) 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. (7)
EXT. SMALL TOWN - DAY
The car enters a small town. (8)
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. (9)
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. (10)
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. (11)
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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. (12)
INT. FARMHOUSE - BEDROOM - DAY
The First Lady and Carlo are making love. (13)
EXT. SMALL TOWN - MAIN STREET - DAY
Andres' car enters a small town on Main Street. He drives to
a supermarket and parks. (14)
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. (15)
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. (16)
CHECKER
Goddamn, I've never seen the Army on maneuvers
around here. (17)
EXT. COUNTRY STORE - DAY
A local crowd has gathered to see 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 the 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.
[ADD] (18)
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. (19)
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. (20)
EXT. FARMHOUSE - DAY
Andres swerves into the driveway and skids to a stop.
He gets out and races (21) into the house.
INT. FARMHOUSE - LIVING ROOM - DAY
The First Lady and Carlo are dancing close (22) 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 (23)
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. (24)
ANDRES
Shit.
He grabs two rifles and hands one to Carlo.
FIRST LADY
I have to stop them! (25)
She heads for the door.
Carlo makes a move to stop her but Andres grabs him.
ANDRES
She's our only chance. (26)
EXT. FARMHOUSE - DAY
The First Lady comes outside.
Helicopters land outside (27) 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. (28)
INT. FARMHOUSE - DAY
Carlo and Andres have taken positions at the front windows.
CARLO
They're surrounding us. There's no way out.
ANDRES
Then we fight.
He breaks a window with the barrel of his rifle. He takes
aim. (29)
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. (30)
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! (31)
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.
CARLO
We have nothing to fight for here! We
are supposed to be allies! (32)
The First Lady races (33) to Carlo, almost diving into his arms.
They embrace.
The colonel puts down the speaker and talks to an aide. (34)
COL. MCLAUGHLIN
What the hell is that about?
Carlo lifts the First Lady's face to his. (35)
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. (36)
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.
[ADD]
He pulls the trigger. (37)
EXT. FARMHOUSE - DAY
The shot hits the ground in front of the soldier.
Suddenly GUN FIRE starts up everywhere, most of it at the
house.
Carlo grabs the First Lady and knocks her to the ground,
rolling his body on top of hers. (38)
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. (39)
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. (40)
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. (41)
INT. WHITE HOUSE - DAY
The President is on the phone.
PRESIDENT
I have no idea what she thinks (42) she's doing.
INTERCUT PHONE CONVERSATION
The President is talking to the colonel (on a mobile (43)).
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. (44)
INT. FARMHOUSE - NIGHT
Carlo stands near Andres at the back of the house. (45)
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. (46)
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? (47)
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SCREENWRIGHT: the craft of screenwriting8/97