[Quick Summary: Years after her son was taken, an Irish mother travels with a journalist to find the truth.]
This script gets one of my highest praises: It's a pleasurable read.
I liked the smooth way the writers turn up the heat on Martin:
"To escape his embarrassment he walks over to JANE, standing close by.
MARTIN: Could I get a glass of...Pinot Grigio please?
JANE is obviously not in the mood for niceties:
JANE: It's just red or white.
MARTIN: Oh yes, sorry. White then please.
But as she pours it, there is the first glimmer of recognition. She's sure she's seen Martin before."
There's a subtle, but definite uptick in conflict:
- Martin is embarrassed by colleagues (conflict)
- He tries to escape into alcohol (release)
- Instead he gets a smart bartender (more conflict)
I think it works because of the "release" beat.
With it, there's good rhythm. The audience has a breather before escalation.
Without it, there's only conflict-conflict-conflict. There's no momentum to escalate.
WHAT I'VE LEARNED: It's like shifting from first to second gear in a manual car. There's always a lull before moving to a faster gear.
by Steve Coogan and Jeff Pope
Based on the book The Lost Child of Philomena Lee by Martin Sixsmith