Deconstruction: The Second Colleague

Another defect we need to correct in Act One is that if you back and read Macksey's remarks at the opening of the conference, he name checks Derrida. We need to show that moment of course, and maybe here we catch Lévi-Strauss's reaction, or lack of it, on hearing the name.

We could skip over it for now, and use it in nonlinear fashion later. I think it's more powerful to stick to linear storytelling as closely as possible for now, however, especially in Act One, and so I would put this in sequence with Macksey's remarks in the auditorium.

Note: this is why I got stuck where I did before, wth Macksey looking at Derrida across the courtyard while talking to the newspaper reporter. Derrida is approaching SECOND COLLEAGUE and the young woman with the notebook. Macksey is looking at that as he is finishing his line. I was about to have him say Derrida's name there, because he is supposed to say that in the context of the sentence, but it turns out he should already have said it, as we discussed above, in the auditorium.

So what do we have here then? The NEWSPAPER REPORTER has to say the name there, not Macksey, by rule of storytelling. He interrupts Macksey with the name right as we ZOOM over to Derrida being seen by the SECOND COLLEAGUE and the YOUNG WOMAN, out of doors, and the young woman was about to take a picture of the SECOND COLLEAGUE with her box camera, but SECOND COLLEAGUE sees Derrida and interrupts the photograph, waving him over, to stand next to him, and the young woman is cheerily surprised to have another person for the photo, and they are introduced.

That reminds me that we'd like to make the SECOND COLLEAGUE, who is American, to be precisely J. Hillis Miller. Let's assume for now that we can do that.