hecklongtree

I'm still working on my screenplay's middle act. I'm leaning towards doing something with the identity of the two real assassins. Perhaps they, like the patsy Lzaro, and like the special prosecutor, Del Valle, have links to 1960's student activities. They could be former members of a right-wing student group, such as MURO (supposedly linked to the CIA) or the Halcones (Falcons), the PRI-sponsored thugs responsible for the later Corpus Christi Massacre. Or maybe one or more of the assassins could be a turncoat, a student protestor, who, under torture, agreed to help the security forces, as was the case with Scrates Campos Lemus.

I also need to get the campaign worker, Dolores, back into the story. Maybe she could go after the General and try to kill him. It could be one of those Ian Fleming style "woman seeking revenge" stories, like "Goldfinger" (Tilly Masterson seeking to avenge the murder of her sister Jill) or "For Your Eyes Only" (Judy Havelock out to kill her parents' murderer, when, unbeknownst to her, M assigned Bond to do the same thing).

Taking the story in the Ian Fleming direction in Act II would mean departing from Act I's "Chinatown" template. I'm not sure the two acts would fit together. What do you think?