<P><STRONG>[매디슨 카운티의 다리] The Bridges of Madison County</STRONG></P>
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<P>screenplay adaption by</P>
<P>Richard LaGravenese</P>
<P>MARCH 24, 1994, FIRST DRAFT</P>
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<P><BR> Our story begins in 1965, on a hot afternoon in August.</P>
<P> FADE IN</P>
<P> EXT. IOWA LANDSCAPE - DAY</P>
<P> Rolling green hills, lush farmland, vast open space. Not a<BR> house or sign of life in sight. On a long dusty road, a TRUCK<BR> is driving across the screen. Clouds of dirt follow in its<BR> tracks -- its motor, the only sound we hear.</P>
<P> INT. TRUCK - DAY</P>
<P> FRANCESCA JOHNSON is sitting in the front seat of the pick-up<BR> truck. Her expression‎ is distant. Her eyes are sad, as if<BR> hiding a burden she can hardly bear. Her husband, RICHARD<BR> JOHNSON, is driving.</P>
<P> RICHARD<BR> You feeling better Franny?</P>
<P> FRANCESCA<BR> Yes. I'm fine. It's just this heat I<BR> think.</P>
<P> He nods, satisfied. He turns on the radio as the VOICE OF<BR> DINAH WASHINGTON sings a bluesy, haunting love song, "I'LL<BR> CLOSE MY EYES."</P>
<P> DINAH WASHINGTON<BR> (SINGS)<BR> "I'LL CLOSE MY EYES... TO EVERYONE<BR> BUT YOU... AND WHEN I DO... I'LL SEE<BR> YOU STANDING THERE..."<BR> (CONTINUES)</P>
<P> RICHARD<BR> (surprised)<BR> What station is this?</P>
<P> FRANCESCA<BR> It's a Chicago station. I found it<BR> the other day.</P>
<P> RICHARD<BR> Kinda pretty. Is this uh... jazz<BR> kinda singing?</P>
<P> FRANCESCA<BR> (nicely)<BR> I don't know. Can we turn it off? I<BR> have such a headache.</P>
<P> RICHARD<BR> Sure.</P>
<P> Richard shuts it off. Francesca turns her face away from him<BR> to look out at the vast expanse out of the countryside.</P>
<P> EXT. JOHNSON HOUSE - DAY</P>
<P> The truck stops in front of an isolated FARM HOUSE. A wooden<BR> gate stands twenty yards from the front door. A barn and a<BR> hot house sits on either side, surrounded by acres and acres<BR> of beautiful pasture.</P>
<P> CAROLYN JOHNSON, a sixteen-year-old girl, steps out from the<BR> vegetable garden with an arm full of vegetable. She watches<BR> her parents exit the truck.</P>
<P> Francesca carries her groceries, walking briskly through the<BR> front gate and entering the house.</P>
<P> Richard grabs a bag of feed from the flatbed and strolls more<BR> leisurely. When he walks through the front gate, he notices<BR> something on the ground and picks it up. It is a BUTTON with<BR> RED NATURAL surrounding it. As if it had been torn from a<BR> piece of clothing. His daughter approaches him.</P>
<P> RICHARD<BR> Your mother isn't feel well. I want<BR> you to help her out tonight with<BR> dinner.<BR> (she nods)<BR> Tell Michael to put this feed away.</P>
<P> He puts the feed bag down. She exits. He enters the house.</P>
<P> INT. FRONT HALL - DAY</P>
<P> Richard enters the front hall opposite the stairs to the<BR> second floor. To his left is the living room. To his right,<BR> through an archway is the kitchen. He moves towards the stair<BR> when he suddenly hears the kitchen radio turned on and "I'LL<BR> CLOSE MY EYES" continues. It puzzles him. He looks to the<BR> kitchen. Francesca is obviously there but we can't see her.<BR> He is about to call to her when his son, Michael, yells:</P>
<P> MICHAEL (O.S.)<BR> Dad! You bought the wrong feed!</P>
<P> RICHARD<BR> (irritated)<BR> What?!</P>
<P> He exits through the house to the back door.</P>
<P> INT. KITCHEN - LATER</P>
<P> The family-- Francesca, Richard, Carolyn and their seventeen-<BR> year-old son MICHAEL -- are eating supper. No one speaks.</P>
<P> FRANCESCA<BR> So what are you going to do with the<BR> prize money?</P>
<P> CAROLYN<BR> I don't know. I might save up for one<BR> of those hi-fi stereo players like<BR> Peggy has.</P>
<P> Francesca nods. Silence again. She asks her son:</P>
<P> FRANCESCA<BR> Are you seeing Betty tonight?</P>
<P> MICHAEL<BR> (eating)<BR> Nah.</P>
<P> Silence. She is used to her son's one syllable answers.</P>
<P> RICHARD<BR> Oh! Frannie, is this yours?</P>
<P> He places the button with red material on the table. Hiding<BR> her surprise, Francesca takes the button.</P>
<P> FRANCESCA<BR> You found it! I got my dress caught<BR> on that damn gate. You must have eyes<BR> like a hawk.</P>
<P> FRANCESCA (cont'd)<BR> You must all be tired. You got home<BR> so early. What time did you leave<BR> Illinos this morning?</P>
<P> RICHARD<BR> 'Bout 4:30.</P>
<P> FRANCESCA<BR> Well you should all go to bed early.<BR> I'll do the cleaning up.</P>
<P> This last remark she addresses to her daughter. Everyone<BR> returns to their silent eating.</P>
<P> INT. JOHNSON HOUSE - NIGHT</P>
<P> The house is asleep and dark except for a bright light coming<BR> from the kitchen. Carolyn quietly exits her bedroom in her<BR> nightclothes. She was awakened by noises coming from the<BR> kitchen downstairs.</P>
<P> INT. KITCHEN -</P>
<P> She enters to find the lights are on. An empty cake pan and<BR> a half-used bowl of frosting sitting unwashed in the sink.<BR> She hears the motor of the truck being turned on. She moves<BR> to the front hall and looks out through the door to see:</P>
<P> The truck driving away. She calls out:</P>
<P> CAROLYN<BR> Mom!</P>
<P> But she gets no response. She stands there wondering where<BR> her mother could possibly being going this time of night, as<BR> we -</P>
<P> DISSOLVE TO:</P>
<P> THIRTY YEARS LATER - SAME LOCATION</P>
<P> Carolyn, thirty years older, stands in the same doorway of<BR> the same house thinking back to that evening her mother acted<BR> so strangely.</P>
<P> A LAWYER is unpacking a briefcase in the living room off the<BR> front entrance.</P>
<P> Carolyn sees a car with Florida plates driving up to the<BR> house. She smiles.</P>
<P> EXT. JOHNSON HOUSE - DAY</P>
<P> Carolyn steps out of the doorway and heads for the car, out<BR> of which exit her brother Michael and his country girl wife<BR> BETTY, a stout buxom chatterbox. Both boast Florida tans and<BR> fashion styles.</P>
<P> MICHAEL<BR> (to Carolyn)<BR> Explain to me again why we didn't do<BR> this in Des Moines in an air<BR> conditioned office?</P>
<P> CAROLYN<BR> Mom's orders.</P>
<P> MICHAEL<BR> Lawyer here?</P>
<P> CAROLYN<BR> (nods)<BR> I have some sandwich fixings if<BR> you're hungry.</P>
<P> BETTY<BR> (proudly)<BR> No, we just had lunch at the hotel<BR> with my brother and his new wife. She<BR> told me all the dirt. I forgot how<BR> interesting things can get around<BR> here. It was so good to see them. The<BR> last time we visited they were in<BR> Europe. He is doing so well. He<BR> ordered champagne. For lunch! I<BR> nearly died.</P>
<P> MICHAEL<BR> I nearly died when we split the bill.</P>
<P> BETTY<BR> Michael doesn't understand. People<BR> who make the kind of money my brother<BR> makes don't carry money on them. They<BR> keep it all in various accounts.</P>
<P> MICHAEL<BR> Then we should have had lunch at the<BR> bank.</P>
<P> Carolyn tries not to laugh. Betty shoots him a dirty look,<BR> then stops to take in the house and its surroundings.</P>
<P> BETTY<BR> Boy. It sure has been a long time.</P>
<P> MICHAEL<BR> (correcting her)<BR> We were here two Christmases ago.</P>
<P> BETTY<BR> Well, that's a long time.</P>
<P> MICHAEL<BR> It's not that long.</P>
<P> BETTY<BR> (suddenly upset)<BR> Well, why don't I just say black so<BR> you can say white!<BR> (to Carolyn)<BR> Don't be surprised to find your<BR> brother hasn't changed an iota. He<BR> hardly ever talks and when he does<BR> it's in that tone! You should have<BR> heard him at lunch -- not two words<BR> until the bill came and then he says,<BR> "Worth every penny."</P>
<P> MICHAEL<BR> (defensive)<BR> SO!</P>
<P> BETTY<BR> (angry)<BR> You said it in that tone! Like you<BR> were angry at me, my brother, at<BR> the world for forcing you to eat a<BR> nice lunch!</P>
<P> MICHAEL<BR> Oh Jesus.</P>
<P> BETTY<BR> (staring to cry)<BR> I simply can not stand that tone!</P>
<P> CAROLYN<BR> (sympathetically)<BR> Come inside. You're just tired from<BR> the trip.</P>
<P> She comforts Betty who indulges in the attention.</P>
<P> BETTY<BR> I am so sick and tired of apologizing<BR> and not knowing what I've done!</P>
<P> CAROLYN<BR> I'm sure you haven't done anything.<BR> Have some iced tea. How are the kids?</P>
<P> MICHAEL<BR> He dropped them off at Betty's mom.<BR> Where's Steve?</P>
<P> CAROLYN<BR> (uncomfortably)<BR> He's not coming.</P>
<P> Betty suddenly stops crying and abrasively focuses on<BR> Carolyn's problems.</P>
<P> BETTY<BR> Aw, is he still cheating on you,<BR> hon?</P>
<P> Carolyn suddenly hoses sympathy for her.</P>
<P> INT. LIVING ROOM - DAY</P>
<P> The lawyer hands Michael a document.</P>
<P> LAWYER<BR> Just sign here as having received the<BR> contents from the safe deposit box.<BR> (Michael does)<BR> And this one, which clears the bank<BR> of all further responsibility fo0r the<BR> contents.</P>
<P> Betty whispers to Carolyn.</P>
<P> BETTY<BR> This is kind of exciting. You think<BR> we'll find out your mother had<BR> secret millions lying around?</P>
<P> Carolyn smiles weakly. Michael hands back the papers.</P>
<P> LAWYER<BR> All right. Why don't we begin.</P>
<P> He takes out Francesca's Last Will and Testament.</P>
<P> LAWYER (cont'd)<BR> Your mother has been interred at<BR> Lakeside Funeral Home until<BR> arrangements can be made.</P>
<P> MICHAEL<BR> (to Carolyn)<BR> I thought everything WAS arranged.</P>
<P> CAROLYN<BR> Well, there's a problem.</P>
<P> MICHAEL<BR> What problem?</P>
<P> LAWYER<BR> Your mother left explicit<BR> instructions that she wished to be<BR> cremated.</P>
<P> MICHAEL<BR> Cremated?!</P>
<P> BETTY<BR> Eeeww!</P>
<P> CAROLYN<BR> I know. I don't understand it either.</P>
<P> MICHAEL<BR> When did she decide this?</P>
<P> LAWYER<BR> (reading will)<BR> Apparently just before her death.</P>
<P> MICHAEL<BR> Well, that's crazy. I don't know<BR> anybody who gets cremated.</P>
<P> BETTY<BR> My Jewish friend's grandmother did.</P>
<P> MICHAEL<BR> Well, no one in my family did! Dad<BR> bought cemetery plots at Oak Ridge.<BR> One for him, one for mom.</P>
<P> LAWYER<BR> It clearly states in the will --</P>
<P> MICHAEL<BR> I don't care what it says! Maybe Mama<BR> was delirious, you know. She didn't<BR> know what she was saying. If she<BR> wanted to be cremated, why the hell<BR> did she let dad buy two plots, huh?</P>
<P> LAWYER<BR> Well, she was very specific. She<BR> wanted her ashes to be thrown over<BR> Roseman Bridge.</P>
<P> MICHAEL<BR> WHAT!</P>
<P> BETTY<BR> How bizarre!</P>
<P> CAROLYN<BR> Mr. Peterson, are you sure mama wrote<BR> all this?</P>
<P> LAWYER<BR> Well, it was notarized, and witnessed<BR> by a Mrs. Lucy Delaney. Maybe you can<BR> ask her.</P>
<P> MICHAEL<BR> Who the hell is Lucy Delaney?</P>
<P> CAROLYN<BR> I remember a Mrs. Delaney but Mama<BR> told me years ago she died.</P>
<P> MICHAEL<BR> Well, I don't care if it's legal or<BR> not, we're not cremating her and<BR> throwing her all over some bridge<BR> where we can't even go visit her<BR> because she's going to be blown all<BR> over the place like an ashtray.</P>
<P> BETTY<BR> Not to mention people driving over<BR> her and doggies doing their business --</P>
<P> MICHAEL<BR> (interrupting)<BR> We're not doing it! I'm not even sure<BR> it's Christian.</P>
<P> BETTY<BR> Maybe it's an Italian thing. Their<BR> mother was Italian.</P>
<P> MICHAEL<BR> Doesn't matter. Move on.</P>
<P> The women dare not object. The lawyer raises his eyebrows<BR> and continues:</P>
<P> LAWYER<BR> Well, we'll come back to that. Shall<BR> we open the box?</P>
<P> JUMP CUT TO:</P>
<P> MOMENTS LATER</P>
<P> C.U. SAFETY DEPOSIT BOX</P>
<P> A key is inserted and the lid is opened. There are many<BR> papers, deeds, et. Michael begins sorting through these.</P>
<P> Carolyn notices a manila envelope addressed to her mother,<BR> postmarked 1965. She opens it up to find TWO LETTERS and A<BR> PHOTOGRAPH -- FRANCESCA standing NEAR A COVERED BRIDGE, her<BR> hair wind blown, her expression‎ serene, beautiful and sad.<BR> She wears a RED DRESS with buttons down the front.</P>
<P> CAROLYN<BR> Michael, look -- I've never seen this<BR> picture of mama. Have you?</P>
<P> Betty and Michael look over her shoulder. He shakes "no."</P>
<P> CAROLYN (cont'd)<BR> It was in this envelope from 1965.</P>
<P> BETTY<BR> She's not wearing a bra.<BR> (takes bridge photo)<BR> This is Roseman Bridge in case<BR> anyone's interested.</P>
<P> Interested yes, but no one thinks anything of it. Michael<BR> returns to the other papers. Betty takes the photograph for<BR> further examination. Carolyn opens one of the letters and<BR> begins to read.</P>
<P> The following dialogue is heard OS, as CAMERA ANGLES ON<BR> CAROLYN reading one of the letters:</P>
<P> BETTY (O.S.)<BR> It's a beautiful picture of her.</P>
<P> MICHAEL (O.S.)<BR> (to lawyer)<BR> Why are there two deeds here?</P>
<P> LAYER (O.S.)<BR> One of for the original parcel your<BR> father bought and this one is for the<BR> additional acres he purchased in '59.</P>
<P> MICHAEL (O.S.)<BR> And this?</P>
<P> LAWYER (O.S.)<BR> Those are bills of sale from the<BR> equipment your mother sold in ..<BR> (CONTINUES O.S.)</P>
<P> Throughout their conversation, we focus on Carolyn as she<BR> reads and her expression‎ sinks into one of shock and<BR> confusion. She flips to the last page of the letter to read<BR> who it is from. She can't believe her eyes.</P>
<P> BETTY (O.S.)<BR> What's that?</P>
<P> Carolyn jumps a little, so engrossed in her discovery. She<BR> lies.</P>
<P> CAROLYN<BR> Oh, just a old letter from a friend.</P>
<P> BETTY<BR> (laughs)<BR> No treasure maps, huh?</P>
<P> CAROLYN<BR> (laughs nervously)<BR> No.</P>
<P> Betty starts inspecting knit knacks around the house she<BR> might be able to take. Carolyn looks to Michael.</P>
<P> CAROLYN (cont'd)<BR> Michael.</P>
<P> MICHAEL<BR> (reading documents)<BR> Yeah.</P>
<P> CAROLYN<BR> Michael.</P>
<P> MICHAEL<BR> (irritated)<BR> What?!</P>
<P> CAROLYN<BR> Come here a minute.</P>
<P> Michael crosses impatiently to Carolyn. Carolyn looks around<BR> to the others, then guides him OS into the kitchen for<BR> privacy. He protests.</P>
<P> MICHAEL<BR> What? Where are we going?</P>
<P> They exit. Alone with the impatient lawyer, Betty examines a<BR> vase as she pumps him for info.</P>
<P> BETTY<BR> Did she say anything in there about<BR> me? Leaving me anything in particular?</P>
<P> LAWYER<BR> No.</P>
<P> Betty prattles on as she examines each item, much to the<BR> lawyer's dismay, hiding her resentment and hurt.<BR> <BR> BETTY<BR> I didn't expect so. She never liked<BR> me. It's okay. I always knew. Thought<BR> we married too young. Nobody broke<BR> his arm -- that's what I said but you<BR> know mothers and their sons. Also,<BR> she never liked the fact of us moving<BR> to Florida although what's where the<BR> opportunities were. Couldn't deny<BR> that. Suppose we should have visited<BR> more but you know she hardly ever<BR> made an effort to come to Tampa. Not<BR> even to see her grandchildren. She<BR> was a cold woman. They say Italians<BR> are hot-blooded but not her. She was<BR> cool as ice.<BR> (picks up a<BR> candlestick)<BR> She leaves these to anyone?</P>
<P> Michael and Carolyn re-enter the living room. Michael's<BR> expression‎ now matches Carolyn in disbelief.</P>
<P> BETTY (cont'd)<BR> What's going on?</P>
<P> MICHAEL<BR> Um... we were just wondering how it<BR> might be better if me and Carolyn<BR> went over the stuff by ourselves. Not<BR> keep you two waiting around. I'll<BR> contact your office about the legal<BR> work.</P>
<P> Grateful, the lawyer packs up to leave.<BR> <BR> BETTY<BR> I don't mind waiting.<BR> <BR> MICHAEL<BR> Well, there's a lot of boring stuff to<BR> do. Lists of people we have to write<BR> to. Find mama's relatives addresses<BR> in Italy -- stuff like that.<BR> <BR> BETTY<BR> Well, I can help.<BR> <BR> MICHAEL<BR> I said NO!<BR> <BR> That came out a bit aggressively. Betty is hurt.<BR> <BR> MICHAEL (cont'd)<BR> Why don't you go to your mothers. Or<BR> back to the hotel. Sit in some air<BR> conditioning. Take a bath.<BR> <BR> BETTY<BR> (near tears)<BR> I do not need instructions from you<BR> to bathe!<BR> (gets her bag)<BR> I knew you'd do this! I knew I'd come<BR> all the way here and be shut out as<BR> usual! I came to be here for you! I<BR> didn't have to come!<BR> (genuinely hurt)<BR> Lord knows I was never much welcome<BR> in this house before. Apparently dead<BR> or alive, nothing's changed.<BR> <BR> CAROLYN<BR> Aw, Betty.<BR> <BR> Carolyn feels badly for her. An impatient Michael refuses<BR> sympathy. Embarrassed, Betty starts to exit then stops at<BR> the mantle.<BR> <BR> BETTY<BR> Carolyn -- you want these<BR> candlesticks?<BR> <BR> CAROLYN<BR> No. You can have them.<BR> <BR> Betty grabs them both and exits. Carolyn looks at him<BR> disapprovingly. Michael takes the letter from her hand.<BR> <BR> MICHAEL<BR> Now what's this about?<BR> <BR> CUT TO:</P>
<P> INT. KITCHEN - LATER</P>
<P> Sitting at the kitchen table, Carolyn is in the middle of<BR> reading the letter to Michael.</P>
<P> CAROLYN<BR> "-- going over and over in my mind<BR> every detail, every moment of our<BR> time together and I ask myself, "What<BR> happened to me in Madison County?" I<BR> struggle to put it together in a way<BR> that allows me to continue knowing<BR> we're on separate roads. But then I<BR> look through the lens of my camera,<BR> and you're there. I start to write an<BR> article and I find myself writing it<BR> to you. It's clear to me now we have<BR> been moving towards each other,<BR> towards those four days, all our<BR> lives --</P>
<P> MICHAEL<BR> (rises)<BR> Goddamn sonofabitch! I don't want to<BR> hear anymore! Sonofabitch! Burn the<BR> damn thing! I don't want to hear it!<BR> Throw it away!</P>
<P> Carolyn continues reading silently. Michael's curiosity gets<BR> the best of him:</P>
<P> MICHAEL<BR> What's he saying now?</P>
<P> CAROLYN<BR> Well, he just gets on about how if<BR> mama ever needed him, she could find<BR> him through the National Geographic<BR> magazine. He as a photographer. He<BR> promises not to write again. Then all<BR> it says is...<BR> (beat)<BR> I love you... Robert.</P>
<P> MICHAEL<BR> Robert! Jesus! I'll kill him.</P>
<P> CAROLYN<BR> That would be some trick. He's<BR> already dead. That's what this other<BR> letter is.<BR> (takes letter and<BR> skims)<BR> From his attorney. He left most of<BR> his things to mama and requested...<BR> (she stops)</P>
<P> MICHAEL<BR> What?</P>
<P> CAROLYN<BR> That he be cremated and his ashes<BR> thrown on Roseman Bridge.</P>
<P> MICHAEL<BR> DAMN HIM! I knew mama wouldn't have<BR> thought of that herself. It was some<BR> damn perverted... photographic mind<BR> influencing her! When did the bastard<BR> die?</P>
<P> CAROLYN<BR> '82.</P>
<P> MICHAEL<BR> Wait a minute! That was thirty years<BR> after daddy. Do you think...?</P>
<P> CAROLYN<BR> I don't know. I'm completely in the<BR> dark here. That's what I get for<BR> moving away.</P>
<P> MICHAEL<BR> This happened way before we both got<BR> married. I... I can't believe it.<BR> (then, innocently)<BR> You think she had sex with him?</P>
<P> Carolyn cannot believe he is this dense.</P>
<P> CAROLYN<BR> (sarcastic)<BR> My Lord. It must feel real nice<BR> living inside your head with Peter<BR> Pan and the Easter Bunny.</P>
<P> MICHAEL<BR> Don't talk to me like that. She was<BR> my mother for Christsakes. And now I<BR> find out she was... She was a --!</P>
<P> CAROLYN<BR> Don't say that!</P>
<P> MICHAEL<BR> Well, what am I supposed to think?</P>
<P> CAROLYN<BR> I can't believe she never told me? We<BR> spoke at least once a week. How could<BR> she do that?</P>
<P> MICHAEL<BR> How did she meet him? Did Dad know?<BR> Anything else in that envelope?</P>
<P> CAROLYN<BR> No, I don't think so. I --</P>
<P> She dumps it over and a SMALL KEY FALLS OUT. Pause, as<BR> Carolyn and Michael look to each other -- they grab the key<BR> and run out of the kitchen, almost comically falling over<BR> each other in their obsession to put this puzzle together.</P>
<P> A SERIES OF JUMP CUT --</P>
<P> From one lock to another as they try to find the keyhole that<BR> fits the key -- they try closets, attic doors, jewelry boxes,<BR> night tables, vanity drawers... Finally --</P>
<P> INT. BEDROOM - DAY</P>
<P> At the foot of their parents bed sits an WALNUT HOPE CHEST,<BR> covered with a tapestry. Michael and Carolyn look to each<BR> other first, before one removes the tapestry and the other<BR> tries the key. It fits. They open the chest to find:</P>
<P> Camera equipment, a chain with a medallion that reads<BR> "FRANCESCA," three leather bound notebooks -- and a sealed<BR> envelope with "Carolyn or Michael" written on it.</P>
<P> CAROLYN/MICHAEL<BR> You read it!</P>
<P> Carolyn relents. She takes out the lefter and reads:</P>
<P> CAROLYN<BR> "January, 1987. Dear Carolyn. I hope<BR> you're reading this with Michael. I'm<BR> sure he wouldn't be able to read it<BR> by himself and he'll need some help<BR> understanding all this, especially<BR> the parts about me having sex..."</P>
<P> Insulted, Michael pulls the lefter out of her hand and<BR> defiantly attempts to read it aloud himself to disprove his<BR> mother's claim. But after looking at a few lines, he<BR> surrenders and hands the lefter back to his sister.</P>
<P> CAROLYN (cont'd)<BR> "First, and most of all, I love you<BR> both very much and although I feel<BR> fine, I thought it was time to put my<BR> affairs, excuse that word, in order."</P>
<P> MICHAEL<BR> I can't believe she's making jokes.</P>
<P> CAROLYN<BR> Sshhh. "After going through the<BR> safety deposit box, I'm sure you'll<BR> find you're way to this letter. It's<BR> hard to write this to my own<BR> children. I could let this die with<BR> the rest of me, I suppose.<BR> (cont'd)<BR> But as one gets older, one fears<BR> subside. What becomes more and more<BR> important is to be known -- known for<BR> all that you were during this brief<BR> stay. Row said it seems to me to leave<BR> this earth without hose you love the<BR> most ever really knowing who you<BR> were. It's easy for a mother to love<BR> her children no matter what -- it's<BR> something that just happens. I don't<BR> know if it's as simple for children.<BR> You're all so busy being angry at us<BR> for raising you wrong. But I thought<BR> it was important to give you that<BR> chance. To give you the opportunity<BR> to love me for all that I was..."</P>
<P> Carolyn and Michael look to each other like two school<BR> children about to take a difficult exam. They continue.</P>
<P> CAROLYN (cont'd)<BR> "His name was Robert Kincaid. He was<BR> a photographer and he was here in<BR> 1965 shooting an article for National<BR> Geographic on the covered bridges of<BR> Madison County. Remember when we got<BR> that issue and looked at those<BR> bridges we'd seen for years but never<BR> noticed? How we felt like<BR> celebrities? Remember when we started<BR> getting the subscription?</P>
<P> They don't remember.</P>
<P> CAROLYN (cont'd)<BR> I don't want you to be angry with<BR> him. I hope after you know the whole<BR> story, you might even think well of<BR> him. Even grateful.</P>
<P> MICHAEL<BR> Grateful!?</P>
<P> CAROLYN<BR> (reads)<BR> "... It's all there in the three<BR> notebooks. Read them in order.<BR> If you don't want to, I suppose<BR> that's okay too. But in that case I<BR> want you to know something -- I never<BR> stopped loving your father. He was a<BR> very good man. It's just that my love<BR> for Robert was different. He brought<BR> out something in me no one had ever<BR> brought out before, or since. He made<BR> me feel like a woman in a way few<BR> women, maybe more, ever experience..."</P>
<P> MICHAEL<BR> That's it!</P>
<P> Grabbing the letter, he starts putting everything back in the<BR> trunk.</P>
<P> CAROLYN<BR> What are you doing?</P>
<P> MICHAEL<BR> This is crazy. She waits till she's<BR> dead to tell us all this. Well, I got<BR> news for you. She was my mother.<BR> That's enough for me. I don't have to<BR> know who she was.</P>
<P> CAROLYN<BR> Well, I'd like to read them.</P>
<P> MICHAEL<BR> No. We're going to lock this up and --</P>
<P> CAROLYN<BR> STOP IT!<BR> (Michael freezes)<BR> I want to read them! If you don't<BR> want to, then just leave. But don't<BR> you push me around like I'm some mule<BR> you paid for -- I already GOT A<BR> HUSBAND!</P>
<P> Michael is stymied.</P>
<P> INT. KITCHEN - LATER</P>
<P> Carolyn opens the first notebook which is dated AUGUST 1965.<BR> Michael sits beside her with a cup of coffee.</P>
<P> CAROLYN<BR> (reads)<BR> "I suppose his coming into my life<BR> was, in many ways, prepared for<BR> weeks, maybe even months before.<BR> There was a restlessness I feeling.<BR> Out of the blue and for no apparent<BR> reason. There's nothing more<BR> frightening to a woman whose been<BR> settled down for almost twenty years<BR> than to suddenly feel unsettled. I<BR> don't know when it started ... I do<BR> remember one night in particular, a<BR> little over a week before Robert<BR> arrived..."</P>
<P> CAROLYN'S VOICE BECOMES FRANCESCA'S VOICE AS WE:</P>
<P> DISSOLVE TO:</P>
<P> 1965</P>
<P> INT. JOHNSON'S BEDROOM - NIGHT</P>
<P> Richard is fast asleep while Francesca sits up in bed reading.</P>
<P> FRANCESCA (V.O.)<BR> "It was late at night after a long<BR> day. Your father was tired -- fighting<BR> all afternoon with that new<BR> equipment Robert Harrison convinced<BR> him to buy. But I wasn't tired.<BR> Lately, I could hardly sleep more<BR> than two hours a night. I was reading<BR> some John O'Hara novel, skimming the<BR> words, turning the pages without<BR> absorbing what I was reading. My mind<BR> was far away. And no matter how I<BR> tried, I couldn't call it back."</P>
<P> Francesca closes the book and turns off the light. She<BR> nestles into the bed and tries to sleep. After a beat, she<BR> opens her eyes and turns on the light. As she gets out of bed<BR> she awakens Richard.</P>
<P> RICHARD<BR> What time is it?</P>
<P> FRANCESCA<BR> Later. Go back to sleep.</P>
<P> RICHARD<BR> Where you going?</P>
<P> FRANCESCA<BR> I'm not tired. I thought I might<BR> finish Carolyn's skirt.</P>
<P> RICHARD<BR> Now?!<BR> (checks clock)<BR> It's after eleven.</P>
<P> FRANCESCA<BR> I can't sleep.</P>
<P> RICHARD<BR> Again? Maybe you should see a doctor.</P>
<P> FRANCESCA<BR> I'm not sick, Richard. I'm just not<BR> tired, now go back to sleep before<BR> you're up for the whole night too!</P>
<P> Francesca exits. Richard nestles under the covers, mumbling:</P>
<P> RICHARD<BR> If you're not sick, how can it be<BR> contagious?</P>
<P> INT. ATTIC - NIGHT</P>
<P> Francesca sits at her sewing machine, working on Carolyn's<BR> skirt. When the thread runs out, she checks her sewing box<BR> for another spool of that color. Not finding it, she raises<BR> and walks to an opened closet. She pulls on a light cord and<BR> checks her supplies.</P>
<P> There are shelves of boxes, crates, old clothes and shoes all<BR> crammed together. She pulls out one shoe box and an entire<BR> stack of items tumble off the shelf onto her head.</P>
<P> FRANCESCA<BR> Damn it! Shit!</P>
<P> She looks at the mess and decides it's time to re-organize.</P>
<P> LATER:</P>
<P> The clock reads 2:30 AM. The closet has been emptied.<BR> Francesca rummages through box after box.</P>
<P> Two huge piles have been created -- one for items to be thrown<BR> away, another for items to be kept. Francesca is wiping the<BR> bare shelves down with a rag and some cleanser. Looking up to<BR> the bottom of the next shelf, she notices A SHOULDER STRAP<BR> hanging, wedged between the wall and the shelf. Pulling over<BR> a stool, she steps up to be eye level with the shelf.</P>
<P> It is an OLD HANDBAG -- of a style not seen since the forties<BR> when she was a young girl. She pulls it down to examine. It<BR> is very dusty and worn, but the snaps still work. She places<BR> it against her side to see if it would still be fashionable.<BR> She opens it and finds an old lipstick -- reading the bottom<BR> where the name of the shade is located.</P>
<P> FRANCESCA (cont'd)<BR> Ha, they don't even made this color<BR> anymore.</P>
<P> She exits the closet and moves to an old mirror, trying the<BR> lipstick on. As she decides whether or not she likes it, a<BR> thought occurs to her... she remembers something.</P>
<P> She crosses back to the handbag and feels the inside for a<BR> compartment hidden by a flap of material and a snap. She<BR> unsnaps it and an old BACK & WHITE PHOTO slips out. She<BR> looks at its image -- two young people against an Italian<BR> background. Francesca is twenty years younger with her arms<BR> around a handsome, black-haired charmer named --</P>
<P> FRANCESCA (V.O.)<BR> "Niccolo. I couldn't remember the<BR> last time I had seen that face. And<BR> then the memories wouldn't stop.<BR> Like an avalanche..."</P>
<P> CUT TO:</P>
<P> FLASHBACK -</P>
<P> EXT. NAPLES COUNTRYSIDE, 20 YEARS EARLIER - DAY</P>
<P> A hot, breezy summer day. A young vibrant Francesca is<BR> storming through an open field, angry, while Niccolo calls<BR> after her in pursuit.</P>
<P> The following scene is played in Italian with subtitles.</P>
<P> NICCOLO<BR> Francesca! Francesca! Where the hell<BR> are you going?</P>
<P> FRANCESCA<BR> Leave me alone!</P>
<P> NICCOLO<BR> You play these games and I'm supposed<BR> to follow -- run after you like a<BR> schoolboy. Well, I'm not! I'm fed up!</P>
<P> Niccolo stops. Several yards ahead of him, Francesca stops<BR> and turns. Suddenly, she storms back towards him until they<BR> are face to face.</P>
<P> FRANCESCA<BR> So that's it! You just give up!</P>
<P> NICCOLO<BR> What "give up"? You agreed with them!<BR> Mommy and Daddy said stay away from<BR> me and you said all right. What am I<BR> supposed to do?</P>
<P> FRANCESCA<BR> Fight for me!</P>
<P> Niccolo grabs her violently.</P>
<P> NICCOLO<BR> ENOUGH! You don't know what you want!<BR> Stop looking for me to tell you! STOP<BR> IT!</P>
<P> Francesca knows he's right. He releases her.</P>
<P> NICCOLO (cont'd)<BR> We can go back now and end it or we<BR> can go back and you tell them off.<BR> This is your choice! Not mine. But I<BR> won't do this anymore. This is for<BR> children!</P>
<P> Frustrated and sad, Francesca sits upon the ground. Niccolo<BR> knows she cannot face her parents yet he looks sympathetic.</P>
<P> EXT. JOHNSON HOUSE - DAWN 1965</P>
<P> Francesca sits on the back porch in her bathrobe, looking out<BR> over the pasture as if she were watching the previous scene<BR> happen right before her eyes.</P>
<P> In the pasture stands NICCOLO as he was twenty years ago.<BR> Memories have overlapped. A field in Naples is now a pasture<BR> in Iowa and Niccolo is as real to her as the grass. He is<BR> staring at her seated on the porch of her Iowa home, a woman<BR> twenty yards older than when he knew her. He smiles.</P>
<P> FRANCESCA (V.O.)<BR> "I had forgotten this. I had somehow<BR> remembered it being more his fault,<BR> his decision. Then I remembered we<BR> made love in that field before we<BR> left for home. And I remembered it<BR> was my idea. I remembered tearing<BR> his shirt and biting his body, hoping<BR> he would kidnap me. I had forgotten<BR> that too. And I wondered, as I sat<BR> there... how many other things I'd<BR> forgotten."</P>
<P> RICHARD (O.S.)<BR> Frannie.</P>
<P> Startled, Francesca turns as if she were caught in the act.<BR> Richard is fully dressed, prepared to start the day.<BR> Francesca turns back to the pasture -- Niccolo is gone.</P>
<P> CUT TO:</P>
<P> INT. JOHNSON HOUSE - EVENING</P>
<P> It is a week later. Francesca is making dinner. A COUNTRY<BR> STATION is tuned in on the radio.</P>
<P> FRANCESCA (V.O.)<BR> "The following week was the Illinos<BR> State Fair. The two of you were going<BR> with dad to exhibit Carolyn's prize<BR> steer. It was the Sunday night you<BR> left. I know it sounds awful but I<BR> couldn't wait for you all to leave.<BR> You were going to be gone until<BR> Friday. Four days...<BR> (beat)<BR> Just four days..."</P>
<P> Francesca's expression‎ looks as if she needs a break from her<BR> family for more like four years.</P>
<P> FRANCESCA (cont'd)<BR> Michael! Carolyn! Richard! Dinner!</P>
<P> She sets down a bowl of potatoes, a plate of sausages, coffee<BR> and corn as one by one her family enters and sits down.</P>
<P> Michael enters through a screen door from the back, letting<BR> the DOOR SLAM SHUT.</P>
<P> FRANCESCA<BR> Michael, what did I tell you about<BR> that door?</P>
<P> Richard enters after Michael, letting the door SLAM THE same<BR> way. Francesca is about to say something, but gives up.</P>
<P> Everyone begins eating -- in complete silence.</P>
<P> When Michel can't open the ketchup bottle, Francesca grabs<BR> it, palms the top skillfully and twists it off. She hands it<BR> back to Michael who makes no comment.</P>
<P> When Richard scans the table for something that obviously<BR> isn't there, Francesca is up out of her seat before he can<BR> ask, at the fridge, grabbing the sour cream, closing the<BR> fridge and back at the table with incredible swiftness.</P>
<P> When Michel moves his big arm to reach for the salt, he<BR> knows over his cup and saucer, which Francesca catches with<BR> both hands before they hit the floor. Her reflexes are like<BR> a trained athlete.</P>
<P> Finally, Francesca is able to sit and sip her coffee. She<BR> watches her teenage daughter fill her plate with a blank<BR> expression‎ that lets nothing slip through -- no indication of<BR> all the tempests of emotions that go through a teenage girl.</P>
<P> FRANCESCA<BR> You excited about going, Carolyn?</P>
<P> Without looking up, Carolyn fakes a smile. Looking at her,<BR> Francesca remembers Carolyn as a three-year-old girl:</P>
<P> FLASHBACK.</P>
<P> In the same kitchen, THREE-YEAR-OLD CAROLYN runs around her<BR> mother's feet completely naked, squealing with delight as<BR> Francesca flicks her water from the tap.</P>
<P> FLASHBACK ENDS.</P>
<P> Francesca watches as Carolyn eats in silence, distant, locked<BR> in her own secret teenage thoughts and dreams.</P>
<P> Francesca then looks to her son, shoveling food into his<BR> mouth at an alarming rate. She attempts a conversation.</P>
<P> FRANCESCA (cont'd)<BR> How was your date last night?</P>
<P> MICHAEL<BR> (w/o looking at her)<BR> Okay.</P>
<P> FRANCESCA<BR> What's her name?</P>
<P> MICHAEL<BR> Betty.</P>
<P> FRANCESCA<BR> What's she like?</P>
<P> MICHAEL<BR> Okay.</P>
<P> Silence. Frustrated, Francesca has a fantasy -</P>
<P> FANTASY:</P>
<P> Francesca picks up a blunt butter knife, rises out of her seat,<BR> grabs her son and shoves the knife at his throat:</P>
<P> FRANCESCA<BR> Do you like her?</P>
<P> Michael finally reacts with more than one word -- frightened<BR> for his life.</P>
<P> MICHAEL<BR> Uh... Yeah. Yeah. She's real nice.</P>
<P> FRANCESCA<BR> Well, what's nice about her? Tell us!</P>
<P> MICHAEL<BR> Well, she's... she's real pretty and<BR> ... and she's got a cute shape...<BR> she's a good sport, ya know, for<BR> laughs and<BR> (desperate)<BR> ... she loves fried chicken wings and<BR> beer.</P>
<P> FRANCESCA<BR> Isn't that nice? You should bring her<BR> home to meet us!</P>
<P> FANTASY ENDS.</P>
<P> Francesca looks at Michael in disgust.</P>
<P> RICHARD<BR> We better get moving.<BR> (to Francesca)<BR> You sure you don't want to come?</P>
<P> Francesca looks at Richard with complete conviction.</P>
<P> FRANCESCA<BR> I'm positive.</P>
<P> RICHARD<BR> I'm going to miss you.</P>
<P> FRANCESCA<BR> It's only four days.</P>
<P> He gives her a sweet peck on the lips. Francesca smiles,<BR> anxious for them all to leave.</P>
<P> INT. JOHNSON HOUSE - LATER THAT NIGHT</P>
<P> Alone, dressed in her bathrobe, Francesca checks the front<BR> door. She crosses to the living. Noticing two throw pillows<BR> on the floor, she arranged them neatly on the couch. She sits<BR> herself in an easy chair then flicks on a reading lamp and<BR> opens her book. After five seconds, she closes the book. She<BR> crosses to the TV and turns it on, then turns it off before<BR> the picture tuned in.</P>
<P> She turns and leans on the TV, flicking the ON/OFF switch on<BR> and off as her mind wanders. She gets an idea. She crosses to<BR> the hi-fi and looks through several albums she got from her<BR> Columbia Record Club. But nothing inspires her and she<BR> quickly loses the desire for music. She's antsy. She has this<BR> time alone and she doesn't know how to spend it.</P>
<P> She walks through the dining room, passing a china closet<BR> filled with fancy dishes and glasses. She stops. Shoved in<BR> the corner behind is an old, un-opened bottle of BRANDY. She<BR> removes up, setting atop the dining table to open it.</P>
<P> But when she catches a reflection of herself in the window<BR> opposite her, she stops. She sees a lonely, frustrated woman<BR> in a tattered bathrobe anxious to open a bottle of liquor.<BR> Deflated, she returns the brandy to the cupboard and exits.</P>
<P> EXT. BACK PORCH - NIGHT</P>
<P> Francesca sits on the porch with a book in her lap, gazing<BR> out over the pasture. It's a hot night. She opens the top of<BR> her rope a bit. Feeling the air against her skin, she decides<BR> to open it a bit more. She gets an idea.</P>
<P> Standing, she looks to see if anyone is around -- though<BR> rationally she knows there isn't a soul for miles. She turns<BR> off the porch light. With a brave and daring impulse, she<BR> sheds her bathrobe and stand naked under the night sky. The<BR> air feels good against her body. She opens her arms up<BR> against the night sky and moon like an Indian priestess.</P>
<P> Suddenly, she starts hitting her body as mosquitoes begin<BR> attacking her bare torso. Thwarted, she quickly covers<BR> herself with a robe and runs into the house.</P>
<P> CUT TO:</P>
<P> INT. KITCHEN - MORNING</P>
<P> Francesca trudges into the kitchen. As if on automatic, she<BR> takes the coffee pot and fills it with water. She gets the<BR> coffee and begins spooning it out. She stops. She gets the<BR> idea of taking herself out for breakfast and dumps the coffee<BR> pot out.</P>
<P> CUT TO:</P>
<P> EXT. MAIN STREET; WINTERSET - MORNING</P>
<P> A one street town. On either side are rows of storefronts, an<BR> old coffee shop/diner, a bank, a medical center, a newspaper<BR> building, a courthouse and a movie theater showing CAT BALLOU.<BR> The steeple of the local church is the highest structure,<BR> towering over the town from the end of Main Street.</P>
<P> INT. COFFEE SHOP/DINER - MORNING</P>
<P> Dressed in jeans and a light summer blouse, Francesca sits<BR> alone -- treating herself to breakfast and the paper. Some of<BR> the gossip news includes rumors of Frank Sinatra, 49,<BR> marrying Mia Farrow, 19: Cary Grant 61, marrying DYAN CANNON,<BR> 27. Francesca shakes her head in disbelief at such news.</P>
<P> She tries to continue reading, but is distracted by the loud<BR> conversation in the booth beside her:</P>
<P> TWO MIDDLE-AGED WOMAN and ONE MIDDLE-AGED HUSBAND sit after<BR> breakfast discussing the local gossip.</P>
<P> ELEANOR<BR> Oh, this heat! Times like this I wish<BR> we took that offer from your brother<BR> and moved on up to Michigan.</P>
<P> HENRY<BR> They got heat in Michigan.</P>
<P> ELEANOR<BR> Not this kind of heat.</P>
<P> HENRY<BR> Heat is heat.</P>
<P> ELEANOR<BR> Heat is not heat! There's different<BR> kinds! And this heat is much hotter<BR> than what they got in Michigan. You<BR> go and call your brother and see if<BR> he don't say the same thing.</P>
<P> HENRY<BR> I'll get right on it.</P>
<P> Mrs. Delaney, an attractive well-off woman in her forties,<BR> enters the shop and heads for the counter.</P>
<P> GLADYS<BR> (whispers)<BR> Mrs. Delaney.<BR> (Eleanor looks)<BR> Did you hear the latest?</P>
<P> ELEANOR<BR> No, what?</P>
<P> GRADYS<BR> Apparently, she caught them.<BR> (Eleanor gasps)<BR> Ran right into them in Des Moines in<BR> the middle of her shopping.</P>
<P> ELEANOR<BR> Oh, what a horror. Poor woman. That<BR> Redfield girl's got no business<BR> showing her face in daylight.</P>
<P> GRADYS<BR> I don't know how that tramp stands<BR> living here. No one can bear even<BR> speaking to her. She has no friends.</P>
<P> HENRY<BR> Well, nobody put a gun to his head.</P>
<P> ELEANOR<BR> Oh, shut up! It's the woman who's in<BR> control of these situations. Men<BR> don't know which end is up till a<BR> woman points.</P>
<P> Mrs. Delaney acts as if nothing is wrong. Yet, she knows<BR> everyone knows and everyone knows she knows they know, yet no<BR> one says a word. She sits at the counter.</P>
<P> MRS. DELANEY<BR> Just coffee, please.</P>
<P> Francesca hears the gossip continue in hushed tones:</P>
<P> GLADYS<BR> See. Money don't buy happiness. I<BR> must say, she's taking it well.</P>
<P> ELEANOR<BR> I'd kill him. Him and that Redfield<BR> woman. Together. First one then the<BR> other. And then I'd laugh.</P>
<P> GLADYS<BR> I'd laugh first then I'd kill them.<BR> Make sure they heard me laughing.</P>
<P> Eleanor nods. Not being able to stand it, Francesca rises.<BR> She must pass them on the way to the counter, in order to<BR> pay. Eleanor immediately stops her.</P>
<P> ELEANOR<BR> Francesca! So, everybody got off okay<BR> last night?</P>
<P> FRANCESCA<BR> Yes, thanks.</P>
<P> GLADYS<BR> What you going to do all alone for<BR> four days -- a woman of leisure?</P>
<P> FRANCESCA<BR> Oh, you know there's always something<BR> to be done. Have a good day. Henry.</P>
<P> Henry nods back. As she exits, they whisper.</P>
<P> ELEANOR<BR> She's changed.</P>
<P> GLADYS<BR> Oh, yes.</P>
<P> ELEANOR<BR> She used to be so friendly.</P>
<P> HENRY<BR> Maybe she's going through "the<BR> changes."</P>
<P> Eleanor hits him in the chest.</P>
<P> ELEANOR<BR> What do you know about "the changes"?</P>
<P> HENRY<BR> Well, I didn't know they was a secret<BR> club.</P>
<P> ELEANOR<BR> Don't talk about what you don't know.<BR> Besides, she's too young for "the<BR> changes."</P>
<P> GLADYS<BR> My niece had "the changes" when she<BR> was thirty-one.</P>
<P> ELEANOR<BR> No. What a tragedy. What happened?</P>
<P> GLADYS<BR> (wisely)<BR> She changed.</P>
<P> At the counter, Francesca pays up. She looks to Mrs. Delaney<BR> and tries to smile, but Mrs. Delaney works hard at not making<BR> eye contact with anyone. Suddenly, she rises telling the<BR> waitress:</P>
<P> MRS. DELANEY<BR> Excuse me for a moment, I left<BR> something in the car.</P>
<P> She exits quickly. Francesca pays up as the waitress adds:</P>
<P> WAITRESS<BR> Poor woman.</P>
<P> EXT. COFFEE SHOP/DINER - MORNING</P>
<P> Francesca exits and heads for her truck. As she crosses from<BR> one corner to another, she notices down the side street --</P>
<P> Mrs. Delaney sitting alone in her own car, sobbing. Unable to<BR> bear the humiliation, she stole herself away to cry.</P>
<P> Francesca wants to help but feels useless. She quickly heads<BR> for her truck.</P>
<P> CUT TO:</P>
<P> EXT. JOHNSON HOUSE - DAY</P>
<P> Francesca sits on the front porch with some iced tea, trying<BR> to cool herself off. It is a scorcher. She is barefoot, her<BR> blouse hanging out of her jeans, her hair fastened up by a<BR> tortoise shell comb.</P>
<P> Camera begins a slow move into close-up, as she sips her tea<BR> and lets her mind wander. WE INTERCUT HER FANTASIES WITH HER<BR> ON THE PORCH:</P>
<P> FANTASY: Back in town, Francesca slides into Mrs. Delaney's<BR> car. She embraces the woman who cries into her arms.</P>
<P> -- Francesca on the porch.</P>
<P> FANTASY: Mrs. Delaney's car is surrounded by townpeople<BR> staring into it. Francesca hugs Mrs. Delaney closer to her in<BR> defiance.</P>
<P> -- Francesca on the porch.</P>
<P> FANTASY: Mrs. Delaney's car drives up to a train station. She<BR> and Francesca exit with suitcases. They are surrounded by<BR> news reporters as they make their way to the train.</P>
<P> REPORTER<BR> Mrs. Johnson! Mrs. Johnson! Is it<BR> true Cary Grant has proposed to you?</P>
<P> FRANCESCA<BR> Yes. And I've accepted.</P>
<P> REPORTER<BR> What about his engagement to Dyan<BR> Cannon?</P>
<P> FRANCESCA<BR> I said to him Cary you're being<BR> ridiculous. You're more than half her<BR> age. He said no one had ever been<BR> that honest with him and he falls in<BR> love with me.</P>
<P> REPORTER<BR> What about your husband?</P>
<P> FRANCESCA<BR> I'm very sad but Richard said that<BR> since it's Cary Grant, he completely<BR> understands. I'm also taking Mrs.<BR> Delaney away from this town. She'll<BR> be living with Cary and I in Beverly<BR> Hills.</P>
<P> She boards the train with Mrs. Delaney.</P>
<P> END OF FANTASIES.</P>
<P> Tired of her fantasies, Francesca looks up to the sun to<BR> clear her mind. It is blinding. When she looks back out onto<BR> the road, her vision is momentarily blurred. Until, slowly,<BR> out of the blue, she sees:</P>
<P> A TRUCK driving toward her house, kicking up dust, like some<BR> phantom appearing through the etheric plane. Francesca isn't<BR> even sure it's real. She sips cool drink & blinks to<BR> regain her vision. The truck slows down and turns into her<BR> driveway. Francesca watches with suspicious curiosity as:</P>
<P> The truck stops and ROBERT KINCAID steps out. Flashing his<BR> blue eyes in her direction, he smiles and says:</P>
<P> ROBERT<BR> Sorry to bother you, but I've got a<BR> feeling I'm lost.</P>
<P> Francesca remains guarded.</P>
<P> FRANCESCA<BR> Are you supposed to be in Iowa?</P>
<P> ROBERT<BR> (laughs)<BR> Yeah.</P>
<P> FRANCESCA:<BR> Well, you're not that lost.</P>
<P> He laughs. She puts down her tea and crosses to him.</P>
<P> ROBERT<BR> I'm looking for a covered bridge out<BR> this way... uh... wait a minute --</P>
<P> He looks through a small notepad for the name. Francesca<BR> finds herself scanning his body.</P>
<P> FRANCESCA<BR> Roseman Bridge?</P>
<P> ROBERT<BR> That's it.</P>
<P> FRANCESCA<BR> Well, you're pretty close. It's only<BR> about two miles from here.</P>
<P> ROBERT<BR> Oh, terrific. Which way?</P>
<P> Pause as Robert awaits directions and Francesca scans a sudden<BR> impulse.</P>
<P> FRANCESCA<BR> Well, I can take you if you want.</P>
<P> Robert is pleased, but a bit surprised as is Francesca who<BR> anxiously recants:</P>
<P> FRANCESCA (cont'd)<BR> Or I can tell you. I can take you or<BR> tell you. It's up to you. I don't<BR> care. Either way.</P>
<P> Robert smiles finding her sudden nervousness charming.</P>
<P> ROBERT<BR> Well --</P>
<P> Suddenly, from the opposite direction of the road, A CHEVY<BR> barrels by. The driver, FLOYD, toots his horn.</P>
<P> FLOYD<BR> Howdy, Francesca.</P>
<P> FRANCESCA<BR> Hey, Floyd.</P>
<P> He drives off. Francesca knows they've been seen. Slightly<BR> annoyed by Iowain neighborliness, she turns to Robert and<BR> with some defiance says:</P>
<P> FRANCESCA (cont'd)<BR> It'd be better if I show you, I think.</P>
<P> ROBERT<BR> If I'm not taking you away from<BR> anything.</P>
<P> FRANCESCA<BR> No. I was just going to have some<BR> iced tea then split the atom, but<BR> that can wait.<BR> (he smiles)<BR> I just have to get my shoes.</P>
<P> Robert watches her as she turns and heads back to the house.<BR> He watches her lift her blouse and tuck it into her jeans,<BR> revealing her shapely hips and buttocks. He turns back to the<BR> truck and notices the mailbox -- MR & MRS. RICHARD JOHNSON. He<BR> nods as if he knew all along and begins to make room on the<BR> front seat for Francesca.</P>
<P> INT. JOHNSON HOUSE</P>
<P> Francesca is slipping on her boots when she suddenly stops.<BR> "What am I doing?", she asks herself silently.</P>
<P> EXT. JOHNSON DRIVEWAY</P>
<P> Francesca approaches the truck. On the door, she reads:<BR> KINCAID PHOTOGRAPHY, BELLINGHAM, WASHINGTON.</P>
<P> Robert is clearing away paper cups, banana peels, paper bags,<BR> photography equipment. In the back, Francesca notices a<BR> cooler and a guitar case.</P>
<P> ROBERT<BR> I wasn't expect company. Let me<BR> get this out of the way.</P>
<P> He hauls a case of film from the front to the back. Francesca<BR> notices his tanned, muscular arm move in one graceful sweep.</P>
<P> ROBERT (cont'd)<BR> Okay. All set.</P>
<P> Francesca smiles. They both get into the truck.</P>
<P> ROBERT (cont'd)<BR> Now, where are we going?</P>
<P> FRANCESCA<BR> Out, then right.</P>
<P> CUT TO:</P>
<P> EXT. MADISON COUNTY ROAD - DAY</P>
<P> As the truck drives, we see no one else in sight.</P>
<P> INT. KINCAID'S TRUCK</P>
<P> They drive in silence. Francesca is enjoying the breeze against<BR> her face.</P>
<P> ROBERT<BR> Pretty country.</P>
<P> FRANCESCA<BR> Hmm-mmm.</P>
<P> She looks out at the vast expanse. It depresses her.</P>
<P> ROBERT<BR> There's a wonderful smell about<BR> Iowa -- very particular to this part<BR> of the country. Do you know what I<BR> mean?</P>
<P> FRANCESCA<BR> No.</P>
<P> ROBERT<BR> I can't describe it. I think it's<BR> from the loam in the soil. This very<BR> rich, earthy kind of... alive...<BR> No. No, that's not right. Can you<BR> smell it?</P>
<P> FRANCESCA<BR> (shakes her head)<BR> Maybe it's because I live here.</P>
<P> ROBERT<BR> That must be it. It's a great smell.</P>
<P> Francesca wants to know more about him.</P>
<P> FRANCESCA<BR> Are you from Washington originally?</P>
<P> ROBERT<BR> Uh-huh. Lived there till I was twenty<BR> or so and then moved to Chicago when<BR> I got married.</P>
<P> FRANCESCA<BR> Oh. When did you move back?</P>
<P> ROBERT<BR> After the divorce.</P>
<P> FRANCESCA<BR> Oh.</P>
<P> ROBERT<BR> How long you been married?</P>
<P> FRANCESCA<BR> Uh... uh...<BR> (can't remember)<BR> Umm... long time.</P>
<P> ROBERT<BR> You don't look like a native, if you<BR> don't mind my saying so.</P>
<P> FRANCESCA<BR> No, I don't mind. I'm not from here.<BR> I was born in Italy.</P>
<P> ROBERT<BR> Well, from Italy to Iowa -- that's a<BR> story!<BR> (Francesca smiles)<BR> Whereabouts in Italy?</P>
<P> FRANCESCA<BR> Small town on the Eastern side no<BR> one's ever heard of called Bari.</P>
<P> ROBERT<BR> Oh yeah, Bari. I've been there.</P>
<P> FRANCESCA<BR> (surprised)<BR> No, really?</P>
<P> ROBERT<BR> Oh, yeah. Actually, I had an<BR> assignment in Greece and I had to go<BR> through Bari to get the boat at<BR> Brindisi. But it looked so pretty I<BR> got off and stayed for a few days.<BR> Breathtaking country.</P>
<P> Francesca is overcome by the idea of such freedom.</P>
<P> FRANCESCA<BR> You just... got off the train because<BR> it looked pretty?</P>
<P> ROBERT<BR> Yeah. Excuse me a sec.</P>
<P> He reaches over with one arm, brushing slightly against her<BR> thigh. He opens the glove compartment and pulls out a pack of<BR> Camels and a Zippo lighter.</P>
<P> ROBERT<BR> Like one?</P>
<P> Francesca, who doesn't usually smoke, accepts.</P>
<P> FRANCESCA<BR> Sure.</P>
<P> She takes a cigarette out of the pack. Robert drops the pack<BR> and, with the same hand, flicks open the Zippo and ignites it.<BR> Francesca leans over. The road is bumpy and a breeze blows<BR> through both windows.</P>
<P> She cups her hands around his to shelter the flame. She feels<BR> his skin for a brief moment.</P>
<P> She sits back and enjoys the ride and her cigarette as Robert<BR> lights up. Silence. They drive.</P>
<P> ROBERT<BR> So, how long you've been living here?</P>
<P> FRANCESCA<BR> Long.<BR> (changes subject)<BR> You just got off the train and stayed<BR> without knowing anyone there?</P>
<P> ROBERT<BR> (laughs)<BR> Yeah.</P>
<P> EXT. ROSEMAN BRIDGE - DAY</P>
<P> The truck stops. They exit. Robert takes out some equipment.</P>
<P> ROBERT<BR> This won't take long. I'm shooting<BR> tomorrow morning. I just need to do<BR> some prep work.</P>
<P> FRANCESCA<BR> I don't mind waiting.</P>
<P> He smiles and takes his equipment to the bridge. Francesca<BR> slowly follows. She watches his body move. Catching herself,<BR> she stops.</P>
<P> Robert sets up a tripod in the small ravine beneath the<BR> bridge, pointing a view finder up as he plans his shots.<BR> Francesca walks through the bridge, noticing lovers names<BR> scrawled on the inside: CATHY & BUDDY 4 EVER... ROSIE AND<BR> HANK TILL THE END OF TIME. Through a crack in one of the<BR> wooden planks, Francesca watches like a voyeur as Robert<BR> works. She sees him take out a handkerchief and wipe the sweat<BR> off his neck, then inside his shirt and around his chest.<BR> Without knowing where Francesca is, Robert speaks aloud:</P>
<P> ROBERT<BR> Is it always this hot?</P>
<P> Francesca moves quickly away from the plank, like a Peeping<BR> Tom who's been caught.</P>
<P> FRANCESCA<BR> This time of year.</P>
<P> ROBERT<BR> Would you do me a favor and go to the<BR> truck? Inside that leather bag with<BR> the pockets is a package of lens<BR> cleaners. Would you grab me one?</P>
<P> Francesca obliges, grateful for something to occupy her.</P>
<P> Inside the truck, she scans for the leather bag. She sees it<BR> next to a duffel bag. The bag' zipper is opened. She<BR> glimpses inside as Robert's personal things -- clothes, socks,<BR> underwear, shaving kit. Life magazines from July and August,<BR> one depicting the death of Aldai Stevenson; the other a cover<BR> photo of the Watts riots. She grabs the leather bag and<BR> opens it.</P>
<P> At the bridge, Francesca looks for Robert in the raving but<BR> he is gone. She looks through the bridge to the other end<BR> and sees only the tripod. No Robert. She walks through the<BR> bridge and out the other end. She finds Robert bent over,<BR> picking flowers.</P>
<P> FRANCESCA<BR> Oh there you are.</P>
<P> ROBERT<BR> Oh! You caught me.</P>
<P> He rises with a bouquet of wildflowers for her.</P>
<P> ROBERT<BR> Thanks for your help.</P>
<P> Francesca smiles, not knowing how to take this.</P>
<P> ROBERT<BR> Men sill give women flowers, don't<BR> they? I mean, as a sign of<BR> appreciation? I'm not that out of<BR> date, am I?</P>
<P> FRANCESCA<BR> No, not at all --<BR> (suddenly)<BR> except those are poisonous.</P>
<P> ROBERT<BR> WHAT!</P>
<P> He flings the flowers down. He wipes his hands furiously.</P>
<P> FRANCESCA<BR> I'm sorry. I was kidding.</P>
<P> Robert looks at her with a shocked smirk, secretly liking her<BR> strange behavior.</P>
<P> FRANCESCA<BR> I'm sorry. I don't know what -- I'm<BR> sorry. Really. They're lovely.</P>
<P> She begins picking up the flowers.</P>
<P> ROBERT<BR> (smiling)<BR> Are you by nature a sadistic person?</P>
<P> FRANCESCA<BR> No, I'm not.<BR> (trying not to laugh)<BR> I don't know why I said that. I've<BR> been in a very... strange mood all<BR> day. I've never done anything like<BR> that before. It's... I'm just...<BR> (looking for excuse)<BR> Well, you know, the whole world is<BR> just going nuts.</P>
<P> Robert looks at her like she's nuts. Francesca tries to dig<BR> herself out of her hole. Robert enjoys offering no help.</P>
<P> FRANCESCA<BR> What with those riots in Los Angeles<BR> and people burning draft cards and<BR> ... Adlai Stevenson dying last month.</P>
<P> She rises with the flowers. Robert gives her a friendly pat<BR> on the arm.</P>
<P> ROBERT<BR> Shouldn't let things get to you so<BR> much.</P>
<P> He continues with his work. Francesca expresses relief and<BR> embarrassment behind his back.</P>
<P> INT. TRUCK - LATER</P>
<P> Driving back, Francesca sits with her feet up on the<BR> dashboard. Robert drives while he fiddles with the radio. All<BR> he can find are country stations.</P>
<P> FRANCESCA<BR> Looking for something in particular?<BR> There's not much of a selection.</P>
<P> ROBERT<BR> I found this Chicago station before.<BR> Wait a minute...<BR> (he tunes it in)<BR> Here it is.</P>
<P> We hear a BLUES SINGER with a sax arrangement.</P>
<P> FRANCESCA<BR> Oh, that's nice.</P>
<P> ROBERT<BR> Want another cigarette?</P>
<P> FRANCESCA<BR> Sure.</P>
<P> Francesca's having a great time.</P>
<P> EXT. JOHNSON HOUSE - DAY</P>
<P> Robert's truck drives down the road and into the driveway.</P>
<P> ROBERT<BR> Well, thank you for all your help,<BR> Mrs. Johnson.</P>
<P> FRANCESCA<BR> Francesca.</P>
<P> ROBERT<BR> Francesca. Robert.</P>
<P> Francesca nods, as if to say hello and goodbye in the same<BR> moment. She gets out of the car, closes the door, then asks:</P>
<P> FRANCESCA<BR> Would you like some iced tea?</P>
<P> INT. KITCHEN - DAY</P>
<P> Robert fiddles with the kitchen radio, tuning in to the<BR> Chicago station. Francesca is making iced tea. Robert sits<BR> back down at the kitchen table.</P>
<P> FRANCESCA<BR> Lemon?</P>
<P> ROBERT<BR> Sure.</P>
<P> With her back to him, Robert never takes his eyes off her.<BR> She turns and crosses to him, with the tea.</P>
<P> ROBERT (cont'd)<BR> Thanks.</P>
<P> Francesca smiles and sips her own. She watches him gulp down<BR> the tea so fast, some of it dribbles down the side of his<BR> face and neck. Francesca finds it sexy. He empties it.</P>
<P> FRANCESCA<BR> Would you like another one?</P>
<P> Robert nods and he pulls out his cigarettes.</P>
<P> ROBERT<BR> Mind if I smoke?</P>
<P> FRANCESCA<BR> (at the sink)<BR> Not at all.</P>
<P> Robert lights up as he watches her fix another iced tea. He<BR> watches her slip off one boot, then the other -- never missing<BR> a beat of her preparation. He can't help eyeing her body.<BR> When she returns, she also has the flowers he picked for her<BR> arranged in a Casper the Friendly Ghost jelly glass. She<BR> places them on the table and sits.</P>
<P> ROBERT<BR> Sure you want to keep those in the<BR> house?</P>
<P> FRANCESCA<BR> I'm so sorry about that. It was<BR> rude. I think I just got nervous<BR> for some reason.</P>
<P> ROBERT<BR> I thought it was funny.</P>
<P> She likes that.</P>
<P> FRANCESCA<BR> Where are you staying while you're<BR> here?</P>
<P> ROBERT<BR> A little place with cabins. The<BR> something-Motor Inn. I haven't<BR> checked in yet.</P>
<P> FRANCESCA<BR> And how long are you here for?</P>
<P> ROBERT<BR> As long as it takes, I might stay a<BR> week. No more I don't think. Where's<BR> your family?</P>
<P> FRANCESCA<BR> My husband took the kids to the<BR> Illinos State Fair. My daughter's<BR> entering a prize steer.</P>
<P> ROBERT<BR> Oh. How old?</P>
<P> FRANCESCA<BR> About a year and a half.</P>
<P> ROBERT<BR> No, your kids.</P>
<P> FRANCESCA<BR> Oh. Michael's 17 and Carolyn's 16.</P>
<P> ROBERT<BR> Must be nice having kids.</P>
<P> Francesca looks at him and FANTASIZES SAYING:</P>
<P> FANTASY:</P>
<P> FRANCESCA<BR> Not any more. It's awful. They're<BR> awful. I can't stand them.</P>
<P> END OF FANTASY:</P>
<P> But in reality, Francesca chooses instead to say:</P>
<P> FRANCESCA (cont'd)<BR> They're not kids anymore. Things<BR> change.</P>
<P> ROBERT<BR> Everything does. One of the laws of<BR> nature. People are always so afraid<BR> of change. But if you look at it like<BR> it's something you can count on<BR> happening, it's actually a comfort.<BR> Not many things you can count on for<BR> sure.</P>
<P> FRANCESCA<BR> I guess. Except I'm one of the people<BR> it frightens.</P>
<P> ROBERT<BR> I doubt that.</P>
<P> FRANCESCA<BR> Why?</P>
<P> ROBERT<BR> Italy to Iowa? I'd call that a change.</P>
<P> FRANCESCA<BR> (explaining)<BR> Richard was in the army. I met him<BR> while I was living in Naples. I<BR> didn't know where Iowa was. I only<BR> cared that it was America. And of<BR> course, being with Richard.</P>
<P> ROBERT<BR> What's he like?</P>
<P> As Francesca thinks of an answer, she looks over to the<BR> entranceway between the kitchen and the front hall and sees:</P>
<P> FANTASY:</P>
<P> Richard standing there in his underwear, reaching over his shoulder.</P>
<P> RICHARD<BR> Franny, could you clean out my boil<BR> again?</P>
<P> END OF FANTASY:</P>
<P> Francesca answers Robert, half of her still in fantasy --</P>
<P> FRANCESCA<BR> He's very... clean.</P>
<P> ROBERT<BR> Clean?</P>
<P> FRANCESCA<BR> (catching herself)<BR> No. I mean yes, he's clean but he's<BR> also other things. He's a very hard<BR> worker. Very honest. Very caring.<BR> Gentle. Good father.</P>
<P> ROBERT<BR> And clean.</P>
<P> FRANCESCA<BR> Yes. Very clean.</P>
<P> They drink. Francesca thinks she sounds like an idiot.</P>
<P> ROBERT<BR> So you must like Oiwa, I guess.</P>
<P> Francesca looks at him. She wants to tell the truth, but<BR> holds back.</P>
<P> FRANCESCA<BR> It's... uh... uh...</P>
<P> She stops. Robert smiles.</P>
<P> ROBERT<BR> Go ahead. I won't tell anyone.</P>
<P> Surprised, Francesca looks at him oddly -- as if he already<BR> knows and is giving her permission.</P>
<P> FRANCESCA<BR> It's...<BR> (tries again)<BR> I...<BR> (finally)<BR> I hate it!</P>
<P> She covers her mouth, like a reflex -- worried someone heard.<BR> Robert just smiles and nods.</P>
<P> Francesca is so taken by his understanding and acceptance,<BR> she lets the flood gates open, speaking faster than her mind<BR> can keep up --</P>
<P> FRANCESCA (cont'd)<BR> (without a pause)<BR> I hate it! I hate it! I HATE IT! I<BR> hate the corn and the dust and the<BR> town and the cows and that SMELL that<BR> you love! I hate the people.<BR> Everybody knows everybody's business,<BR> I mean it's nice now and then,<BR> they're always there to help out, but<BR> that's just it, it's like they're<BR> waiting for something awful to happen<BR> to help out and when nothing awful is<BR> happening, then they just sit around<BR> and talk about what is happening<BR> which is none of their business. I<BR> want to kill them sometimes for how<BR> cruel they can be --</P>
<P> Camera begins slowly moving out to a wider angle...</P>
<P> FRANCESCA (cont'd)<BR> -- everybody's talking about poor Mrs.<BR> Delaney whose husband is having an<BR> affair with that Redfield woman and<BR> "isn't it a shame," and "isn't it<BR> awful," and the truth is THEY'RE<BR> LOVING IT! Poor woman can't even be<BR> cheated on without the grocery man<BR> knowing about it -- no one respects<BR> anyone's privacy. You're not even<BR> safe in your own home! They think<BR> they can just walk right into your<BR> house because they BAKED you<BR> something. It's like they have a<BR> secret password and YOU CAN'T KEEP<BR> THEM OUT! I live in fear of that door<BR> opening and having a peach cobbler<BR> shoved at me...<BR> (CONTINUES MOS IF<BR> NEEDED)</P>
<P> Throughout this rapid fire monologue, camera has moved to a<BR> wide angle as Robert just sits and listens, letting her get<BR> it all off her chest. She continues as we:</P>
<P> DISSOLVE TO:</P>
<P> INT. LIVING ROOM</P>
<P> Francesca is lying on the couch as Robert places a cold cloth<BR> on her head. Her "confession" took a lot out offer.</P>
<P> ROBERT<BR> Feeling better?</P>
<P> FRANCESCA<BR> Much.</P>
<P> ROBERT<BR> Is the dizziness gone?</P>
<P> FRANCESCA<BR> I think so.</P>
<P> She sits up. She feels exposed. But also, relieved.</P>
<P> ROBERT<BR> I better go. You sure you're all<BR> right?<BR> (she nods)<BR> It's been a pleasure. Sincerely.</P>
<P> FRANCESCA<BR> I feel so embarrassed.</P>
<P> ROBERT<BR> Why? You uncorked a bottle. From what<BR> I can tell, I got here just in time.<BR> Any later and you'd have made the<BR> front page, running down Main Street<BR> naked, smoking Camels out of your<BR> butt.</P>
<P> FRANCESCA<BR> (laughs)<BR> But I... We don't even know each<BR> other.</P>
<P> ROBERT<BR> (sincerely)<BR> You have no reason to feel ashamed.<BR> You haven't said anything you don't<BR> have a right to. And if anybody tells<BR> you different -- you just send them to<BR> me.</P>
<P> She smiles. He turns to exit.</P>
<P> ROBERT (cont'd)<BR> Better get my stuff.</P>
<P> Francesca surprises herself. She doesn't want him to go.</P>
<P> FRANCESCA<BR> Would you like to stay for dinner?<BR> (he turns)<BR> There aren't many choices in town and<BR> ... anyway, you'd have to eat alone.<BR> So would I.</P>
<P> ROBERT<BR> That's very nice of you. I don't get<BR> many dinner invitations on the job.<BR> It would be a welcome change. Thanks.</P>
<P> CUT TO:</P>
<P> INT. BEDROOM - LATER</P>
<P> Francesca rushes in and starts to disrobe, getting ready to<BR> shower and change for dinner. She glances out the window and<BR> sees:</P>
<P> EXT. JOHNSON HOUSE</P>
<P> Robert is at the water pump. His shirt is off and he is<BR> washing himself. (WE INTERCUT THE TWO.)</P>
<P> Francesca finds herself staring, a bit open mouthed. He has<BR> a muscular, firm body. She watches how the water cascades<BR> over his body. How he seems so unashamed, so "in his skin,"<BR> moving with such strength and grace.</P>
<P> Robert pauses and looks out over the open pasture. The cold<BR> water feels good. Since the pump is the back of the house,<BR> hidden from the road, no one can see him. He decides to take<BR> off his pants and cool himself further.</P>
<P> Francesca begins watching this in shock until she has to<BR> literally pull herself away from the window with such a force<BR> that she rams herself into a chest of drawers, knocking over<BR> an array of perfume bottles and a mirror. She deftly catches<BR> a falling bottle and freezes. Taking a breath, she pulls<BR> herself together.</P>
<P> FRANCESCA<BR> This is ridiculous. Stupid!</P>
<P> She replaces the bottle and heads for the bathroom quite<BR> composed, then, without warning, makes an immediate 180<BR> degree turn and heads back to the window to sneak a peek.</P>
<P> Seeing him, she gasps.</P>
<P> FRANCESCA (cont'd)<BR> Oh my God.</P>
<P> Watching him, she is possessed by some very frightening<BR> feelings and runs from the window, into the bathroom, closing<BR> the door behind her.</P>
<P> EXT. JOHNSON HOUSE - EARLY EVENING</P>
<P> Francesca is gathering some vegetables for dinner, from her<BR> garden. Robert is at his truck, in his pants, changing into<BR> a fresh shirt.</P>
<P> INT. KITCHEN - LATER</P>
<P> Francesca is cutting up vegetables. Robert enters with some<BR> of his gear.</P>
<P> ROBERT<BR> I'm just going to put some of this<BR> film in your fridge. Heat isn't too<BR> forgiving out there.</P>
<P> He does. On the radio, TONY BENNETT sings "WRAP YOUR TROUBLES<BR> IN DREAMS." Robert approaches Francesca.</P>
<P> ROBERT (cont'd)<BR> Can I help?</P>
<P> FRANCESCA<BR> (surprised)<BR> Help cook?</P>
<P> ROBERT<BR> Sure. Men cook. We don't all eat<BR> bananas with our feet, ya know.</P>
<P> FRANCESCA<BR> (laughs)<BR> Okay.</P>
<P> They stand side by side. Francesca hands him a stack of<BR> carrots and a knife.</P>
<P> MONTAGE:</P>
<P> Tony Bennett's up-tempo tone plays over a series of images of<BR> Francesca and Robert talk and prepare dinner.</P>
<P> -- Four hands side by side, cutting and chopping.<BR> Occasionally, a hand brushes against another as it reaches<BR> for something.</P>
<P> -- Robert's hand gently touching Francesca's waist as he<BR> reaches around her for an onion.</P>
<P> -- Robert lighting Francesca a cigarette.</P>
<P> -- Robert brings in his cooker through the screen door. HE<BR> MAKES SURE IT DOESN'T SLAM. FRANCESCA MAKES A NOTE OF THIS.</P>
<P> -- Robert opens the cooler and removes two cold beers, tossing<BR> one to Francesca.</P>
<P> -- Francesca opening a new tablecloth and spreading it out on<BR> the table.</P>
<P> -- Francesca handing Robert plates from the shelf, their<BR> fingers only barely touching.</P>
<P> END OF MONTAGE</P>
<P> INT. KITCHEN - EVENING</P>
<P> Robert and Francesca are in the middle of dinner. But instead<BR> of the usual silence that surrounds Johnson family eating,<BR> Francesca is mesmerized by Robert as he manages to eat and<BR> tell a story. The scene begins with a LAUGH FROM FRANCESCA.</P>
<P> ROBERT<BR> (laughs)<BR> ... No, wait, it gets better.</P>
<P> He stands up and acts it out for her.</P>
<P> ROBERT (cont'd)<BR> You have to get the full picture<BR> here. I have three cameras around my<BR> neck, a tripod in one hand and my<BR> pants down around my ankles. I<BR> thought this was a private bush. I<BR> look up and this gorilla, this female<BR> gorilla, is staring at me with what<BR> can best be described as the most<BR> lascivious expression‎ I've ever seen<BR> on a female with so much body hair.<BR> (Francesca laughs)<BR> I freeze. 'Cause that's what they tell<BR> you to do. In this position. She comes<BR> towards me and... and she...<BR> (he stops awkwardly)</P>
<P> FRANCESCA<BR> What?</P>
<P> ROBERT<BR> She starts sniffing me.</P>
<P> FRANCESCA<BR> Oh my God...<BR> (laughs)<BR> You're blushing.</P>
<P> ROBERT<BR> It's still a very sensitive memory<BR> for me.</P>
<P> FRANCESCA<BR> Then what happened?</P>
<P> ROBERT<BR> We got engaged.</P>
<P> FRANCESCA<BR> Oh you!</P>
<P> She throws a napkin at him.</P>
<P> FRANCESCA (cont'd)<BR> None of this is true!</P>
<P> ROBERT<BR> No, it is. Except for the engagement<BR> part. She wouldn't have me, although<BR> I still get a Valentine every year.</P>
<P> Francesca is laughing so hard she can't breath. Robert loves<BR> making her laugh.</P>
<P> FRANCESCA<BR> You ought to write these stories<BR> down.</P>
<P> ROBERT<BR> Nah. I've tried. My writing's too<BR> technical, I think. Problem of being<BR> a journalist too long is you stop<BR> giving yourself permission to invent.<BR> I better just stick to making pictures.</P>
<P> FRANCESCA<BR> "Making pictures." I like that. You<BR> really love what you do, don't you?</P>
<P> ROBERT<BR> (nods, smiles shyly)<BR> I'm kind of obsessed by it, actually.</P>
<P> FRANCESCA<BR> Why, do you think?</P>
<P> ROBERT<BR> I don't know if obsessions have<BR> reasons. I think that's why they're<BR> obsessions.</P>
<P> FRANCESCA<BR> You sound like an artist.</P>
<P> ROBERT<BR> No. I wouldn't say that. National<BR> Geographic isn't exactly the hub of<BR> artistic inspiration. They like their<BR> wild life in focus and without any<BR> personal comment. I don't mind<BR> really. I'm not artist. I'd faced that<BR> a long time ago. It's the course of<BR> being well-adjusted. I'm too normal.</P>
<P> FRANCESCA<BR> (supportively)<BR> I don't think you're normal.</P>
<P> He looks at her in surprise. She catches herself again.</P>
<P> FRANCESCA<BR> I didn't mean that the way it sounded.</P>
<P> ROBERT<BR> Well, let's just call it a compliment<BR> and move on.<BR> (changes subject)<BR> Did you love teaching?</P>
<P> FRANCESCA (cont'd)<BR> Sometimes. When there was a particular<BR> student who made a difference. I know<BR> they're all supposed to, but it's not<BR> true. You tend to single out one or<BR> two you think you can contribute<BR> something to.</P>
<P> ROBERT<BR> And did you?</P>
<P> FRANCESCA<BR> I'd like to think so. I know one of<BR> them went on to Medical school.</P>
<P> ROBERT<BR> Why did you stop?</P>
<P> FRANCESCA<BR> My children. And Richard didn't like<BR> my working.</P>
<P> ROBERT<BR> Do you miss it?</P>
<P> FRANCESCA<BR> I don't know. I've never thought<BR> about it... what was the most<BR> exciting place you've ever been to?<BR> Unless you're tired of talking about<BR> it.</P>
<P> ROBERT<BR> You're asking a man if he's too tired<BR> to talk about himself? You don't get<BR> out much, do you?</P>
<P> Francesca smiles, a little embarrassed.</P>
<P> ROBERT<BR> I'm sorry. That was...</P>
<P> FRANCESCA<BR> (overlapping)<BR> No. It's all right. I just meant, it<BR> might be a little dull for you,<BR> telling all this to some housewife<BR> in the middle of nowhere.</P>
<P> ROBERT<BR> This is your home. It's not nowhere.<BR> And it's not dull.</P>
<P> Francesca smiles again, this time relieved.</P>
<P> ROBERT<BR> Let's see -- my favorite place...</P>
<P> Francesca settles in to listen, never taking her eyes off of him.</P>
<P> ROBERT (cont'd)<BR> Well, it's the obvious choice, but I<BR> think I'd have to say Africa. It's<BR> another world. Not just the people<BR> and the cultures but the land, the<BR> colors you see at dawns and dusks --<BR> and the life there. It charges every<BR> molecule of air.</P>
<P> Francesca is fascinated, being drawn into his imagery.</P>
<P> ROBERT (cont'd)<BR> It's tangible -- the moment to moment<BR> of life and death, the co-habitation<BR> of man and beast, of beast and beast,<BR> who'll survive, who won't -- and<BR> there's no judgement about it. No<BR> right or wrong or imposed morality.<BR> It's just life. It's a voyeurs<BR> paradise really because those animals<BR> don't want anybody in their business.<BR> You can watch but at a distance.<BR> (excited)<BR> I remember one time I was on a truck<BR> headed for the Niger.</P>
<P> Lights begin to dim as Francesca is so taken in by his story,<BR> she begins to actually see what he is describing.</P>
<P> ROBERT (cont'd)<BR> We were driving north. The truck was<BR> old so I guess the sound of the motor<BR> muffled this kind of rumbling in the<BR> distance -- until finally, it was upon<BR> us like, like a hundred thunder claps<BR> all at once...</P>
<P> CU on FRANCESCA as WE BLEND THE SOUNDS OF AFRICA and --</P>
<P> CUT TO:</P>
<P> EXT. AFRICA - DAY</P>
<P> Robert and a driver are in a truck driving north. Robert<BR> turns to look out the window and sees:</P>
<P> A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA are<BR> running in the grasslands to the right of the truck. Robert<BR> excitedly instructs the driver:</P>
<P> ROBERT<BR> Get us closer!!</P>
<P> The driver veers off towards the stampede as Robert opens his<BR> door and makes his way to the flatbed part of the truck with<BR> his camera. The truck takes its position within this<BR> breathtaking force of wildlife, as giraffes, zebras and<BR> gazelles surround it -- all going in the same direction.</P>
<P> Robert stands in the truck, shooting as fast as he can. The<BR> truck races to keep up with the animals. Robert is so pumped<BR> he can hardly catch his breath. Suddenly, the force and<BR> beauty of these creatures causes him to lower his camera. He<BR> is unable to film it because it overwhelms him. He just<BR> stands there in awe and lets out a primal scream. The animals<BR> gradually veer off to where the truck can no longer follow.<BR> Robert watches them disappear into the distance.</P>
<P> CUT BACK TO:</P>
<P> INT. JOHNSON KITCHEN - NIGHT</P>
<P> Francesca has seen all of this in her mind. Robert smiles at<BR> her, sensing how in tune with the story she was.</P>
<P> FRANCESCA<BR> My God. How I'd love to see that.</P>
<P> ROBERT<BR> They have safaris for tourists now.<BR> Maybe you can convince your husband.</P>
<P> Francesca smiles. There is an awkward pause between them.</P>
<P> ROBERT (cont'd)<BR> It's a beautiful night. Would you<BR> like to go for a walk?</P>
<P> FRANCESCA<BR> Well, it's kind of buggy out there.</P>
<P> ROBERT<BR> (rises)<BR> Have no fear. This Shoshone Medicine<BR> Woman taught me how to make bug<BR> repellent tea out of tree root.</P>
<P> FRANCESCA<BR> You drink bug repellent?</P>
<P> ROBERT<BR> No, you rub it on you. I have some in<BR> the truck. Don't go away.</P>
<P> She shakes her head. He runs out the screen door, not letting<BR> it slam. Francesca looks like a teenager with first date<BR> excitement.</P>
<P> EXT. PASTURE - NIGHT</P>
<P> Francesca and Robert walk through the pasture. She sniffs her<BR> arm.</P>
<P> FRANCESCA<BR> Smells like dirt.</P>
<P> ROBERT<BR> You get used to it.</P>
<P> FRANCESCA<BR> When?</P>
<P> ROBERT<BR> (laughs)<BR> You want to go back in?</P>
<P> FRANCESCA<BR> No. I'm all right. It's working.</P>
<P> Silence. They walk. It is a beautiful night.</P>
<P> ROBERT<BR> You've got it all right here, you<BR> know. It's just as beautiful as any<BR> other place I've seen. God, it<BR> knocks me out.</P>
<P> FRANCESCA<BR> What?</P>
<P> ROBERT<BR> (indicating the night)<BR> This "... Of what I call God and<BR> fools can Nature." Who wrote that?</P>
<P> FRANCESCA<BR> Umm, I don't know. I can look it up.</P>
<P> ROBERT<BR> I'd appreciate it. I like knowing who<BR> I'm stealing from. If you can't<BR> create art I think the least you can<BR> do is recognize it around you, don't<BR> you think? There is...<BR> (genuinely affected)<BR> ... so much beauty.</P>
<P> She watches him with great appreciation. He smiles at her.<BR> Instead of looking away, their eyes remained locked for a<BR> moment. There is clearly an attraction. They simultaneously<BR> look away and continue walking.</P>
<P> Francesca's heart is beating a mile a minute yet she can't<BR> deny she is enjoying herself. Walking side by side in<BR> silence, Francesca turns back occasionally to look at her<BR> house as they get further away from it. Suddenly, the more<BR> distant the house becomes, the more frightened she starts to<BR> feel. Something inside her knows she's going too far with<BR> this man -- too far from home. Although a part of her wants<BR> it, she is surprised to find a larger part of her finds<BR> too unknown. She stops.</P>
<P> ROBERT (cont'd)<BR> What's wrong?</P>
<P> Francesca looks confused for a moment, not knowing what she<BR> wants. She can't move. She searches for a way out.</P>
<P> FRANCESCA<BR> Would you like some coffee? Or maybe,<BR> some brandy?</P>
<P> Somehow Robert can sense her uneasiness. He obliges.</P>
<P> ROBERT<BR> How about both?</P>
<P> INT. KITCHEN - NIGHT</P>
<P> Francesca moves about the kitchen preparing coffee -- dropping<BR> the coffee pot basket, spilling the grounds. She acts tense.<BR> Robert sits at the table opening the brandy bottle Francesca<BR> almost opened the night before, aware of her mood.</P>
<P> Francesca gets the coffee going then sets the table with cups<BR> and saucers.</P>
<P> ROBERT<BR> You sure you won't let me help you<BR> with those dishes?</P>
<P> FRANCESCA<BR> (coldly)<BR> No. I'll do them later.</P>
<P> ROBERT<BR> Francesca?</P>
<P> FRANCESCA<BR> What?</P>
<P> ROBERT<BR> Are you all right?</P>
<P> FRANCESCA<BR> Yes.</P>
<P> ROBERT<BR> Francesca?</P>
<P> FRANCESCA<BR> What?</P>
<P> ROBERT<BR> We're not doing anything wrong, do<BR> you.</P>
<P> Francesca freezes. He has read her mind again.</P>
<P> ROBERT (cont'd)<BR> (smiles)<BR> Nothing you can't tell your children<BR> about.</P>
<P> Once again, he relieves her of fear and anxiety. He hands her<BR> a glass of brandy...</P>
<P> CUT TO:</P>
<P> 1995</P>
<P> INT. KITCHEN - DAY</P>
<P> Carolyn and Michael have come to the end of a notebook.</P>
<P> MICHAEL<BR> He's getting her drunk. That's what<BR> happened. Jesus, maybe he forced<BR> himself. That's why she couldn't tell<BR> us.</P>
<P> CAROLYN<BR> Oh, he did not. He's such a nice guy.</P>
<P> MICHAEL<BR> Nice? He's trying to sleep with<BR> somebody's wife.</P>
<P> CAROLYN<BR> I don't think so. Not yet anyway. And<BR> besides, something like that doesn't<BR> make you a bad person. He reminds me<BR> of Steve in a way. Steve's weak,<BR> immoral and a liar but he's still a<BR> real nice guy. He just shouldn't be<BR> married.<BR> (laughs)<BR> At least not to me. You getting<BR> hungry? I'm hungry.</P>
<P> Michael nods, then speaks with sincere compassion.</P>
<P> MICHAEL<BR> I had no idea it's gotten that bad,<BR> sis.</P>
<P> CAROLYN<BR> Oh, don't feel sorry for me. Please.<BR> No one's forcing me to stay.</P>
<P> MICHAEL<BR> Then why do you?</P>
<P> CAROLYN<BR> And do what? Live alone? Go back to<BR> school? Find someone else? Start a<BR> magazine for confused woman? ... What<BR> if I can't do any of those things?</P>
<P> Michael can't answer her. Carolyn looks through the cabinets.</P>
<P> CAROLYN (cont'd)<BR> There's not much here to make.</P>
<P> MICHAEL<BR> Let's go into town and get a bite.<BR> We'll take the books with us.</P>
<P> Carolyn nods. Michael looks for the next notebook, checking<BR> the dates.</P>
<P> INT. CAR - EARLY EVENING</P>
<P> Michael drives as Carolyn opens the next notebook and reads:</P>
<P> FRANCESCA (V.O.)<BR> "We sat sipping brandy. I thought if<BR> anybody walked through the door now<BR> there'd be no explaining it. But I<BR> didn't care. And I loved that I<BR> didn't care. I almost wanted it to<BR> happen. Then there'd be no turning<BR> back. I wanted to be like him. I<BR> lived this life of his. We talked<BR> about his wife and I was jealous --<BR> not of her -- but of his leaving. His<BR> fearlessness. He knew what he wanted.<BR> How did he do that.</P>
<P> CUT BACK TO:</P>
<P> 1965</P>
<P> INT. LIVING ROOM - NIGHT</P>
<P> Francesca sips her brandy. Robert sits in the easy chair.</P>
<P> FRANCESCA<BR> Do you mind if I... ask you why you<BR> got divorced?</P>
<P> ROBERT<BR> Not at all. I wasn't around much...<BR> So why did I get married? Well, I<BR> thought it was a good idea at the<BR> time. Have a home base. Roots. You<BR> can get lost moving around so much.</P>
<P> FRANCESCA<BR> So what happened?</P>
<P> ROBERT<BR> I never got lost. For some reason,<BR> I'm more at home everywhere than at<BR> one place. So I decided I'll think of<BR> myself as some kind of world citizen.<BR> I belong everywhere and nowhere. I'm<BR> kin to everyone, and no one in<BR> particular. See, once you get into<BR> the habit of not needing anyone, it's<BR> kind of hard to break.</P>
<P> FRANCESCA<BR> You must get lonely at times.</P>
<P> ROBERT<BR> Never touch the stuff. I've got<BR> friends all over the world. Good<BR> friends I can see when I want, if I<BR> want.</P>
<P> FRANCESCA<BR> Woman friends, too?</P>
<P> ROBERT<BR> I'm a loner, I'm not a monk.</P>
<P> Francesca averts her eyes, before continuing her investigation.</P>
<P> FRANCESCA<BR> You really don't need anyone?</P>
<P> ROBERT<BR> No, I think I need everyone! I love<BR> people. I want to meet them all!<BR> I just think there are too many out<BR> there saying "This is mine." or<BR> "She's mine." Too many lines have<BR> been drawn. World's breaking apart<BR> because of man's weakness for some<BR> testosterone conquests over territory<BR> and power and people. He wants<BR> control over what deep down he knows<BR> he has no control over whatsoever and<BR> it scares him silly.</P>
<P> FRANCESCA<BR> Why doesn't it scare you?</P>
<P> ROBERT<BR> I embrace Mystery. I don't know<BR> what's coming. And I don't mind.</P>
<P> FRANCESCA<BR> Do you ever regret it? The divorce,<BR> I mean.<BR> <BR> ROBERT<BR> No.<BR> <BR> FRANCESCA<BR> Do you ever regret not having a<BR> family?</P>
<P> ROBERT<BR> Not everybody's supposed to have a<BR> family.</P>
<P> FRANCESCA<BR> But -- how can you just live for what<BR> you want? What about other people?</P>
<P> ROBERT<BR> I told you, I love other people.</P>
<P> FRANCESCA<BR> But no one in particular.</P>
<P> ROBERT<BR> No. But I love them just the same.</P>
<P> FRANCESCA<BR> But it's not the same.</P>
<P> ROBERT<BR> That's not what you're saying. I know<BR> it's not the same. What you're saying<BR> is, it's not as good. Or it's not as<BR> normal or proper.</P>
<P> FRANCESCA<BR> No, I'm just saying --</P>
<P> ROBERT<BR> (interrupting)<BR> I'm a little sick of this American<BR> Family Ethic everyone seems to be<BR> hypnotized by in this country. I<BR> guess you think I'm just some poor<BR> displaced soul doomed to roam the<BR> earth without a self-cleaning oven<BR> and home movie.</P>
<P> FRANCESCA<BR> (irritated)<BR> Just because someone chooses to<BR> settle down and have a family doesn't<BR> necessarily mean they're hypnotized.<BR> Just because I've never seen a<BR> gazelle stampede doesn't mean I'm<BR> asleep in the world.</P>
<P> ROBERT<BR> Do you want to leave your husband?</P>
<P> Francesca is completely stunned and thrown off guard.</P>
<P> FRANCESCA<BR> No. Of course not.<BR> (rising, upset)</P>
<P> Beat. Awkward silence. Suddenly there is tension between them.</P>
<P> ROBERT<BR> My mistake. I apologize.</P>
<P> FRANCESCA<BR> What made you ask such a question?</P>
<P> ROBERT<BR> I thought that's what we were<BR> doing -- asking questions.</P>
<P> FRANCESCA<BR> (defensive)<BR> I thought we were just having a<BR> conversation. You seem to be reading<BR> all this meaning into it. Meanings I<BR> must be too simple to, uh...<BR> interpret or something.</P>
<P> ROBERT<BR> I already apologized.</P>
<P> Silence. Robert remains seated. Francesca remains at the sink.</P>
<P> ROBERT (cont'd)<BR> It's getting late.<BR> (rises)<BR> Thank you for dinner.</P>
<P> Pause. Francesca feels badly.</P>
<P> FRANCESCA<BR> Listen, I'm sorry I --</P>
<P> ROBERT<BR> No, no. Forgive me. I made a mistake.<BR> It was an inappropriate thing to ask.</P>
<P> FRANCESCA<BR> (shrugs it off, then:)<BR> ... I feel like something's been<BR> spoiled now.</P>
<P> Robert smiles and crosses to her. He takes her hand into both<BR> his hands.</P>
<P> ROBERT<BR> It's been a perfect evening. Just the<BR> way it is. Thank you.</P>
<P> Francesca smiles. The possibility of a kiss hangs in the air<BR> between them until Robert turns to get his film out of the<BR> fridge. As he exits through the screen door, he stops.</P>
<P> ROBERT (cont'd)<BR> One thing though -- don't kid yourself,<BR> Francesca. You're anything but a<BR> simple woman.</P>
<P> He smiles and exits, catching the screen door before it<BR> slams.</P>
<P> Francesca doesn't move for a moment, then crosses to the door<BR> as if to run after him when she is stopped by the PHONE<BR> RINGING. She picks up.</P>
<P> FRANCESCA<BR> Hello?</P>
<P> RICHARD (on phone)<BR> Franny?</P>
<P> FRANCESCA<BR> Richard, hi.</P>
<P> RICHARD (on phone)<BR> How are you?</P>
<P> FRANCESCA<BR> Fine. Everyone settled in okay?</P>
<P> RICHARD (on phone)<BR> Just fine. We're all in one room.<BR> Michael's on the couch and<BR> Carolyn's...<BR> (continues...)</P>
<P> She hears Robert's truck door open and close. She hears the<BR> motor being turned on. She half-listens to Richard.</P>
<P> FRANCESCA<BR> Uh-uh... good... Hmmm...</P>
<P> She hears the truck driving away as Richard continues:</P>
<P> RICHARD (on phone)<BR> We got our position in the Fair. Not<BR> bad although I would have liked to be<BR> third which is not too early and not<BR> too late. But I told Carolyn not to<BR> worry...<BR> (continues, if needed)</P>
<P> CUT TO:</P>
<P> INT. FRANCESCA BEDROOM - NIGHT</P>
<P> Francesca exits her bathroom, in her bathrobe, shutting the<BR> light. She is brushing her hair and thinking of Robert. She<BR> sits on the edge of the bed. She sees her reflection in a<BR> mirror on the closet door.</P>
<P> She stands and takes her robe off. She steps forward to look<BR> at her body -- running her hands gently around her curves, her<BR> neck, down the side of her thighs, her face, her breasts.</P>
<P> She shuts off the lights and gets into bed under the covers.<BR> She closes her eyes and tentatively begins to explore her<BR> body. It is awkward for her but we can see her trying to let<BR> herself go. Until she opens her eyes in frustration. It's no<BR> good. She can't do it. She feels ashamed. The shame turns<BR> into anger.</P>
<P> INT. LIVING ROOM - NIGHT</P>
<P> Francesca sits at a writing table with two large books opened<BR> before her containing literary quotations. She searches for<BR> the line Robert mentioned in the pasture.</P>
<P> A note sits before her as well. On it reads: "Robert. Again,<BR> I'm sorry for last night. Would you like supper again tonight<BR> after you're finished. I'd like it very much if I were one of<BR> those good friends you have in the world. Anytime is fine --<BR> Francesca... P.S. By the way, "Of what I call God and Fools<BR> call Nature" was..." She writes the name BROWNING.</P>
<P> CUT TO:</P>
<P> EXT. ROSEMAN BRIDGE - NIGHT</P>
<P> Francesca is tacking a note for Robert to the bridge. She<BR> considers taking it down a moment later, but decides not to.<BR> She gets back into her truck and drives away.</P>
<P> WIDE ANGLE OF BRIDGES - DAWN</P>
<P> DISSOLVE TO:</P>
<P> The view of the bridge goes in and out of focus until we<BR> realize we are seeing it through Robert's camera lens.</P>
<P> Once the focus it sets, Robert notices something is tacked<BR> onto the bridge. He crosses to it hurriedly -- time for the<BR> perfect shot is running out -- pulls it down, thumbtack and<BR> all, and shoves it into his pocket, unread. He returns to<BR> his camera to take his shots.</P>
<P> CUT TO:</P>
<P> INT. JOHNSON BEDROOM - MORNING</P>
<P> Francesca is making her bed when she hears a truck driving<BR> down the road. She looks out the window to see:</P>
<P> Robert's truck. However, it passes right by her house.</P>
<P> Francesca's spirit sinks. She feels silly, ashamed and<BR> rejected. She sits on the bed.</P>
<P> FANTASY:</P>
<P> Inside the truck, Robert drives by the house and chuckles to<BR> himself at the foolishness of some boring, frustrated<BR> housewife. Francesca's note has been crumbled and stuffed<BR> into a dirty ashtray.</P>
<P> END OF FANTASY:</P>
<P> Francesca enters her bathroom, slamming the door behind her.</P>
<P> INT. KITCHEN - LATER THAT MORNING</P>
<P> Francesca sits at the kitchen table in her bathrobe with a<BR> cup of coffee -- a comic portrait of shame and self-pity. Her<BR> hair is a mess, she hasn't showered or dressed and she stares<BR> into space while listening to the bluesy Chicago radio<BR> station.</P>
<P> The sink is full of dirty dishes she refuses to clean. Beside<BR> it is an ashtray of butts from the night before. She carries<BR> it over to the table and begins fingering for a butt to<BR> smoke in desperation. She lights up and stares into space.</P>
<P> FANTASY:</P>
<P> Robert is in Africa talking to TWO ZULU TRIBE MEMBERS. THE<BR> DIALOGUE IS SUBTITLED IN SWAHILI:</P>
<P> ROBERT<BR> (laughs)<BR> ... and then she tacks this note on<BR> the bridge asking me to have dinner<BR> with her again!</P>
<P> One Zulu turns to the tower and remarks.</P>
<P> ZULU<BR> How pathetic.</P>
<P> END OF FANTASY:</P>
<P> Francesca put out her cigarette and suddenly gets an idea.<BR> She goes to the phone, reads a number off of a slip of paper<BR> and dials.</P>
<P> FRANCESCA (on phone)<BR> Hello? Is Richard Johnson staying<BR> there?... No, I don't want to leave<BR> a message. Maybe you can help me --<BR> I'm his wife and I live in Winterset<BR> Iowa -- I wanted to surprise them by<BR> driving up tonight. What would be the<BR> fastest route, the Interstate?... Huh-<BR> huh... Hold it, let me get a pen.</P>
<P> CUT TO:</P>
<P> EXT. PAY PHONE, GAS STATION - LATE MORNING</P>
<P> Francesca's note is opened in Robert's hand. Her phone number<BR> is written after the "P.S." He stands in the pay phone<BR> getting a busy signal from Francesca's line. He hangs up.</P>
<P> CUT TO:</P>
<P> INT. JOHNSON HOUSE - DAY</P>
<P> Francesca, dressed and packed, prepares to leave. She checks<BR> her purse to make sure she's got everything. She grabs her<BR> bag and exits.</P>
<P> A few beats later, the phone rings. But she doesn't return.<BR> It rings again. We hear Francesca's truck door open and<BR> close. It rings again. We think Francesca is on her way,<BR> until:</P>
<P> We suddenly hear her burst into the house and see her leap<BR> for the phone.</P>
<P> FRANCESCA<BR> Hello?</P>
<P> INTERCUT --</P>
<P> INT. SLOW BEND SALOON/RESTAURANT - DAY</P>
<P> Robert is at another pay phone.</P>
<P> ROBERT<BR> Francesca?</P>
<P> FRANCESCA<BR> (out of breath)<BR> Yes! Hi.</P>
<P> ROBERT<BR> Am I interrupting anything?</P>
<P> FRANCESCA<BR> No. I was just... No.</P>
<P> ROBERT<BR> I'm sorry I didn't call sooner, but I<BR> just read your note. I stuffed it<BR> into my pocket. The light was fading<BR> and I had to get my shot.</P>
<P> FRANCESCA<BR> (relieved)<BR> The light was fading. Huh-huh.</P>
<P> ROBERT<BR> I would love to come for dinner.</P>
<P> FRANCESCA<BR> (smiles)<BR> Wonderful. Uh...</P>
<P> ROBERT<BR> Listen, I have to shoot Cedar Bridge<BR> until a little after sunset. I want<BR> a few night shots. Would you like to<BR> come with me? If you're interested...</P>
<P> FRANCESCA<BR> Oh, sure. Great.</P>
<P> ROBERT<BR> I'll pick you up.</P>
<P> FRANCESCA<BR> No. I'll drive myself. I have a few<BR> errands. I'll meet you there.</P>
<P> ROBERT<BR> Okay. See you later.</P>
<P> FRANCESCA<BR> Yeah. See you later.</P>
<P> Francesca is thrilled. Her mind races with a list of things<BR> she must do before tonight. She opens a cabinet, removes a<BR> coffee can and empties it of her house money. She quickly<BR> counts it, then shoves it into her purse.</P>
<P> EXT. ON THE ROAD - DAY</P>
<P> Francesca drives past a sign marking Des Moines as the next<BR> town.</P>
<P> INT. SLOW BEND SALOON/ RESTAURANT - DAY</P>
<P> The second of two eating establishments in Winterset. A<BR> lunch time crowd fills the place. Robert is seated at the<BR> counter. He can sense their eyes on him, wondering who this<BR> stranger is and what's he doing here. He knows the whispered<BR> conversation is about him.</P>
<P> A MIDDLE-AGED COUPLE talk at table.</P>
<P> WIFE<BR> Thelma told me he checked into the<BR> Motor Inn and the bill goes to<BR> National Geographic Magazine.</P>
<P> HUSBAND<BR> National Geographic? What the hell's<BR> he doing here? We ain't got no naked<BR> pygmies to take pictures of.</P>
<P> WIFE<BR> He's taking pictures of the bridges.</P>
<P> HUSBAND<BR> Ain't no pygmies there either.</P>
<P> Robert wants to finish his lunch as quickly as possible. At<BR> that moment, someone enters the restaurant and all the<BR> conversation stops. He overhears one waitress turn to the<BR> other and whisper --</P>
<P> WAITRESS<BR> God. It's Lucy Redfield.</P>
<P> Both the Waitress and Robert (though more subtly) turn to see:</P>
<P> THE REDFIELD WOMAN. But instead of being the harlot we might<BR> think, she's actually a rather plain, demure looking woman --<BR> not nearly as fancy or pretty as Mrs. Delaney herself.</P>
<P> As she crosses the counter, Robert immediately picks up on<BR> the vibes in the room. He notices all the patrons stare then<BR> turns away to whisper. The waitress behind the counter ignores<BR> her. A customer eating at the counter places a bag on an<BR> empty stool beside her, so the Redfield woman can't sit down<BR> near her.</P>
<P> Robert and the Redfield woman's eyes meet. She is clearly<BR> uncomfortable. She turns, about to leave, when Robert clears<BR> his cameras off of a stool next to him and offers:</P>
<P> ROBERT<BR> Got room right here if you like.</P>
<P> She is surprised at his courtesy. Others are astounded. Some<BR> disgusted. She accepts his offer and sits beside him.</P>
<P> REDFIELD WOMAN<BR> Thank you.</P>
<P> ROBERT<BR> Hot out there today.</P>
<P> She nods and smiles. The waitress tosses a menu at her and<BR> slams down a glass of water, then moves on down the counter.<BR> The Redfield woman tries to act casual, glancing through the<BR> menu. Robert subtly scans the room as all eyes are on them,<BR> then turn away.</P>
<P> Robert returns his glace back to the Redfield woman who is<BR> now only pretending to read the menu. She is so embarrassed.<BR> She wants to leave but can't move.</P>
<P> WAITRESS<BR> Well, are you ordering anything!?</P>
<P> Her harsh tone startles the Redfield woman as well as Robert.<BR> Gathering her dignity, she responds.</P>
<P> REDFIELD WOMAN<BR> No. Thank you. I've changed my mind.</P>
<P> She politely nods to Robert, gathers her things and exits.<BR> Robert looks to the waitress, as a SECOND WAITRESS enters.</P>
<P> SECOND WAITRESS<BR> I'd've thrown that water right in her<BR> face.</P>
<P> WAITRESS<BR> Poor Mrs. Delaney.</P>
<P> The waitress walks O.S. leaving the second waitress facing<BR> Robert, who looks at her curiously. The second waitress looks<BR> back as if to say, "What business is it of yours?" and exits.</P>
<P> CUT TO:</P>
<P> EXT. DES MOINES - DAY</P>
<P> A metropolis compared to Winterset.</P>
<P> Francesca exits a liquor store with a bottle of wine in a<BR> paper bag. She also carries a bag of groceries as she heads<BR> down the street to her parked truck. She passes a DRESS SHOP<BR> and stops.</P>
<P> CUT BACK TO:</P>
<P> EXT. WINTERSET - DAY</P>
<P> Robert enters a general store. He buys a six pack of beer<BR> for his cooler and approaches the counter for the Cashier.</P>
<P> CASHIER<BR> That all?</P>
<P> Robert nods. He decides to have some fun and test the waters a<BR> little bit.</P>
<P> ROBERT<BR> Isn't it awful about poor Mrs.<BR> Delaney?</P>
<P> With this, the damn bursts -</P>
<P> CASHIER<BR> Tragic is more like it. The pain that<BR> woman has been subjected to by that<BR> no-good husband. I never liked him.<BR> Known him for years. People say he's<BR> quiet. Well, it's the quiet ones that<BR> can sneak up behind you and stab you<BR> in the back. I heard yesterday, that<BR> she confronted him. Gave him the<BR> ultimatum and you know what he did?--<BR> (CONTINUES AS NEEDED)</P>
<P> Robert stands astounded, listening to this diatribe of gossip.</P>
<P> CUT BACK TO:</P>
<P> INT. DES MOINES DRESS SHOP - DAY</P>
<P> Francesca sits in her slip, alone in a dressing room, with<BR> several dresses strewn about. The panic of indecision has set<BR> in. She looks at herself in the mirror and begins to doubt<BR> that seeing Robert is a good idea. Or perhaps she's imagining<BR> something that isn't there. And what about Richard?</P>
<P> MEMORY:</P>
<P> A few years back. Francesca is dressed up for some formal<BR> affairs. She heads down the stairs. Richard is waiting in the<BR> hall, in a suit and tie. He looks at her admiringly.</P>
<P> FRANCESCA<BR> Ready. You have the keys?</P>
<P> But Richard doesn't answer. He's just staring at her.<BR> Francesca stops. Richard looks at her like a little boy.</P>
<P> FRANCESCA (cont'd)<BR> What's the matter?</P>
<P> Richard is obviously impressed by how she looks, but he can't<BR> say anything. He just smiles shyly and shakes his head to say<BR> nothing is wrong and opens the door for her.</P>
<P> END OF MEMORY:</P>
<P> Francesca feels guilty when a SALESWOMAN enters with a pretty<BR> summer dress.</P>
<P> SALESWOMAN<BR> How about this one?</P>
<P> Francesca examines it. She likes it. But the guilt...</P>
<P> FRANCESCA<BR> I don't know. I haven't bought a<BR> dress for myself in so long.<BR> (saleswoman nods)<BR> I mean, I'm just buying a dress. It's<BR> not a special occasion or anything.<BR> I'm just shopping. Just shopping for<BR> a new dress, that's all.</P>
<P> SALESWOMAN<BR> (completely<BR> understands)<BR> That might work. And if he's still<BR> mad, just tell him you could have<BR> done better but you married him out<BR> of pity. That's always works for me.</P>
<P> CUT TO:</P>
<P> INT. JOHNSON HOUSE - LATE AFTERNOON</P>
<P> Francesca enters with her new dress, groceries and wine as<BR> the PHONE RINGS. She puts everything down to answer.</P>
<P> FRANCESCA<BR> Hello?</P>
<P> Intercut ROBERT at a pay phone.</P>
<P> ROBERT<BR> It's Robert.</P>
<P> FRANCESCA<BR> Oh, hi. Look, I'm running a little<BR> late, but I'll still...</P>
<P> ROBERT<BR> (w/difficulty)<BR> Listen, don't take this the wrong way<BR> but, I'm wondering if this is such a<BR> good idea.</P>
<P> Francesca's heart sinks.</P>
<P> FRANCESCA<BR> Oh.</P>
<P> ROBERT<BR> I uh... I had lunch in town today.<BR> Happened to cross paths with "that<BR> Redfield woman." I apologize. I<BR> thought you were half-joking about<BR> that.</P>
<P> FRANCESCA<BR> Oh. I guess you got the whole story.</P>
<P> ROBERT<BR> The cashier at the general store was<BR> very dangerous.</P>
<P> FRANCESCA<BR> I think he's running for town crier<BR> next year.</P>
<P> ROBERT<BR> I now know more about their affair<BR> than I remember about my marriage.<BR> (seriously)<BR> Francesca, the last thing I want to<BR> do is put you in any kind of<BR> situation that would... even though<BR> we know it's just -- I mean, it's<BR> nothing like that, but if anybody saw<BR> us or...<BR> (can't finish)</P>
<P> FRANCESCA<BR> (disappointed)<BR> I understand.<BR> (touched)<BR> That's very kind of you.</P>
<P> Silence. Both want to meet. Both experience the idea of not<BR> seeing each other even again in this brief moment. Someone<BR> has to say something to save it -- but who will it be?</P>
<P> FRANCESCA (cont'd)<BR> Robert?</P>
<P> ROBERT<BR> Yeah?</P>
<P> FRANCESCA<BR> I want you to come.</P>
<P> Robert is relieved.</P>
<P> FRANCESCA (cont'd)<BR> I'll meet you at the bridge just like<BR> we planned all right. Don't worry about<BR> the rest of it... I'm not.</P>
<P> ROBERT<BR> All right. See you there.</P>
<P> Francesca smiles and hangs up. In that moment, Francesca<BR> realizes consciously what she is doing and what she wants.</P>
<P> CUT TO:</P>
<P> EXT. CEDAR BRIDGE - DUSK</P>
<P> Robert is already there, working. He checks his watch,<BR> anxious for Francesca to arrive, when he hears a truck<BR> driving up. He looks to see Francesca stop and get out. By<BR> their expressions we can tell how glad they are to see each<BR> other.</P>
<P> FRANCESCA<BR> Sorry I'm late. Richard called.</P>
<P> ROBERT<BR> Oh, how is he?</P>
<P> FRANCESCA<BR> Fine. They're all having a good time.<BR> How many more shots do you have?</P>
<P> ROBERT<BR> Couple. Want to help?</P>
<P> She nods. He extends his hand. She pauses, then takes it. He<BR> leads her to the bridge. Walking away from camera, they say:</P>
<P> ROBERT (cont'd)<BR> I should stop off at the motel to<BR> clean up before dinner.</P>
<P> FRANCESCA<BR> Well, I have plumbing at my house.</P>
<P> CUT TO:</P>
<P> INT. JOHNSON BEDROOM - EARLY MORNING</P>
<P> Francesca enters. Robert is in the bathroom, in the shower,<BR> with the bathroom door slightly ajar. His clothes are laid on<BR> the bed with his bag beside them. A fresh shirt is folded.<BR> Francesca takes his dirty shirt and decides to clean it. As<BR> she exits, her eye can't help roaming toward the bathroom<BR> door. For a moment, she pauses to listen to the sound of the<BR> water as it hits his body.</P>
<P> INT. KITCHEN - LATER</P>
<P> Francesca is busy preparing dinner. Robert enters, cleaned<BR> and dressed.</P>
<P> ROBERT<BR> Can I help?</P>
<P> FRANCESCA<BR> Actually, no. I've got everything<BR> under control. I'd like to clean up<BR> myself a bit. I'm going to take a<BR> bath. Dinner'll be ready in about a<BR> half hour.</P>
<P> ROBERT<BR> How about if I set the table?</P>
<P> FRANCESCA<BR> Sure.</P>
<P> ROBERT<BR> Would you like a beer for your bath?</P>
<P> FRANCESCA<BR> (surprised)<BR> Yes, that'd be nice.</P>
<P> Robert gets her one.</P>
<P> INT. BATHROOM - LATER</P>
<P> Francesca lounges in a tub with a beer poured into a wine<BR> glass. She finds it very elegant. She takes a deep breath,<BR> thinking "What's going to happen tonight?"</P>
<P> INT. KITCHEN - LATER</P>
<P> Robert is at the radio when Francesca enters in her new<BR> dress. She looks beautiful. And it's all over Robert's face.</P>
<P> FRANCESCA<BR> What's wrong?</P>
<P> Unlike her husband, Robert has an answer.</P>
<P> ROBERT<BR> Absolutely nothing. You're just sort<BR> of a knockout in that dress.</P>
<P> She smiles and crosses to the stove.</P>
<P> FRANCESCA<BR> Table looks beautiful.</P>
<P> He can't take his eyes off of her. On the radio we hear DIHAH<BR> WASHINGTON begin to sing "IF IT'S THE LAST THING I DO" -- a<BR> beautiful, blusey lovesong. Francesca pulls out a pan of hot<BR> rolls as THE PHONE RINGS. Francesca moves toward it with a<BR> roll, which she tosses to Robert. He burns his fingers and he<BR> smiles at her joke. The song plays throughout.</P>
<P> FRANCESCA (cont'd)<BR> Hello? Hi, Madge?</P>
<P> Francesca and Robert do not take their eyes off of each other<BR> throughout the call. Robert takes a bit of the roll.</P>
<P> FRANCESCA (cont'd)<BR> Huh-huh. Nothing, just making<BR> myself some dinner... No what?...<BR> Oh... I heard about him. Yeah, I hear<BR> he's some kind of photographer.<BR> (Robert smiles)<BR> No, I didn't... Huh-huh... Hippie?<BR> I don't know, is that what hippies<BR> look like?...</P>
<P> Robert steps closer to her, purposely reaching across her<BR> body for a napkin.</P>
<P> FRANCESCA (cont'd)<BR> Oh he is, huh? Well, don't tell Floyd,<BR> he'll be out with a shotgun...</P>
<P> She notices a crumb on Robert's mouth and wipes it off.<BR> Robert takes her hand and holds it, lowering it to his side.</P>
<P> FRANCESCA (cont'd)<BR> Well, listen, I have a pot boiling.<BR> I've got to go... No, they don't get<BR> home until Friday morning... Well,<BR> maybe I'll give you a call. Okay. Bye.</P>
<P> She hangs up. The two are now almost face to face. Robert<BR> raises her hand up and slips his free one around her waist.<BR> They begin to dance to the song. The kitchen lights have not<BR> been turned on since the sun went down. The sky, a dark<BR> orange and magenta, illuminates the room through the window.<BR> They never take their eyes off of each other. Suddenly,<BR> Robert stops.</P>
<P> ROBERT<BR> You're shaking. Are you cold?</P>
<P> Francesca shakes her head. They dance a bit more, but<BR> Francesca is shaking which makes it difficult. They both<BR> stop. Robert places his huge hands on either side of her<BR> face, gently stroking her hair away from her cheek. He<BR> whispers.</P>
<P> ROBERT (cont'd)<BR> If you want me to stop, tell me how.</P>
<P> He brushes his cheek and face softly against hers. Francesca<BR> rubs hers against him. She can barely breathe.</P>
<P> ROBERT (cont'd)<BR> Francesca, I won't be sorry. I won't<BR> apologize for this.</P>
<P> FRANCESCA<BR> Nobody's asking you to.</P>
<P> They kiss. Hands gently explore. Their bodies touch. Their<BR> lips never spend more than seconds away from each other.<BR> Robert gently slide his hands down her breasts and torso,<BR> exploring every inch of her. Francesca grips his massive<BR> back, sliding up to his neck and hair. Robert lifts her leg<BR> and presses it against his hip, kissing her neck and<BR> shoulders. Francesca starts to lose herself, clutching his<BR> head at her breast then pulling him up to her mouth once<BR> again.</P>
<P> CUT TO:</P>
<P> 1995</P>
<P> INT. SLOW BEND CAFE - PRESENT DAY - EVENING</P>
<P> The same saloon/restaurant of twenty-five years ago has been<BR> turned into a modern cafe yet the original charm is still<BR> there.</P>
<P> Carolyn and Michael sit in a booth, with half-eaten dinners<BR> before them. Carolyn has been reading the book to Michael<BR> when she looks across from her to find -- Michael looking like<BR> a little boy who is fighting not to cry.</P>
<P> CAROLYN<BR> What's the matter?</P>
<P> Michael shakes his head. He can't or won't explain. He's too<BR> upset. His eyes tear up. Carolyn feels badly for him.</P>
<P> MICHAEL<BR> I'm going to get some air.</P>
<P> He exits. Carolyn smiles sympathetically. Somehow this last<BR> passage of their mothers doesn't affect her in the same way.<BR> She returns to the book but first asks a passing waitress,<BR> with great urgency.</P>
<P> CAROLYN<BR> Can I smoke here?</P>
<P> The waitress nods. Carolyn needs a cigarette for the rest of<BR> this. She opens her bag to get her pack. Inside her bag she<BR> notices a BUSINESS CARD. She picks it up to read IRA NEWMAN,<BR> attorney. Divorce. Pre-Nuptials. Marital Litigation. She<BR> pauses for a moment. Then, tossing the card back inside, she<BR> lights her cigarette and takes a drag. We follow the curls of<BR> smoke up as we:</P>
<P> DISSOLVE TO:</P>
<P> 1965</P>
<P> INT. JOHNSON LIVING ROOM</P>
<P> Camera moves down curls of smoke, to reveal:</P>
<P> Robert and Francesca in each others arms, under a blanket on<BR> the living room floor on a bed of couch pillows, smoking a<BR> cigarette after lovemaking. Francesca seems miles away --<BR> feelings of regret and guilt creeping in.</P>
<P> ROBERT<BR> Are you comfortable?<BR> (she nods)<BR> Do you... want to move to the<BR> bedroom?</P>
<P> FRANCESCA<BR> No. I can't. Not yet.</P>
<P> She can't bring herself to go into her husband bed.</P>
<P> ROBERT<BR> You want to eat something?</P>
<P> FRANCESCA<BR> Are you hungry?</P>
<P> ROBERT<BR> No.</P>
<P> Silence. Robert shifts his body to face her.</P>
<P> ROBERT (cont'd)<BR> Honey. Are you all right?</P>
<P> She looks at him and starts to cry, shaking her head. The room<BR> is filled with memories of her family. She nestles in his arms.<BR> He folds her. She closes her eyes.</P>
<P> FRANCESCA<BR> Take me somewhere.</P>
<P> ROBERT<BR> What?</P>
<P> FRANCESCA<BR> Right now. Tell me someplace you've<BR> been -- someplace on the other side<BR> of the world. Anywhere but here.</P>
<P> ROBERT<BR> (thinks, then:)<BR> How about Italy?</P>
<P> FRANCESCA<BR> Yes.</P>
<P> ROBERT<BR> How about Bari?</P>
<P> FRANCESCA<BR> Yes. Tell me about the day you got<BR> off the train.</P>
<P> ROBERT<BR> Have you ever been to that station?</P>
<P> FRANCESCA<BR> Yes.</P>
<P> ROBERT<BR> You know that little place nearby<BR> with the striped awning that sells<BR> sandwiches and little pizzas...</P>
<P> The two transport themselves together to another place, where<BR> there is no familiar memories surrounding them to interfere.</P>
<P> CUT TO:</P>
<P> EXT. JOHNSON PORCH - NIGHT</P>
<P> The two sit in bathrobes on the porch looking out over the<BR> pasture. They have plates of dinner on their laps. They eat<BR> voraciously.</P>
<P> ROBERT<BR> Do you have anymore of the stew?</P>
<P> Chewing, Francesca nods and leans over, picks a pot off the<BR> porch and ladles some more onto his plate. Too much falls out<BR> and it spills onto the robe.</P>
<P> FRANCESCA<BR> Oh, I'm sorry.</P>
<P> ROBERT<BR> It's okay. It's not that hot anymore.<BR> Thanks God.</P>
<P> Francesca hands him a dish rag. Robert wipes off the food<BR> revealing his bare leg. She reaches over and touches it. He<BR> looks at her and smiles. She leans over and kisses him<BR> passionately until, suddenly, she pulls away. She looks<BR> upset. She rises and moves away to look out to the pasture.<BR> Robert can sense what is wrong.</P>
<P> ROBERT (cont'd)<BR> You think too much, you know that?</P>
<P> FRANCESCA<BR> I just feel like I'm getting a little<BR> ... out of control that's all. It's<BR> kind of frightening.</P>
<P> ROBERT<BR> Why?</P>
<P> FRANCESCA<BR> Why!? Because, I'm having thoughts I<BR> hardly know what to do with. I...<BR> can't seem to... stop them.</P>
<P> ROBERT<BR> Nobody's asking you to.</P>
<P> FRANCESCA<BR> (excited)<BR> And arraccinos and zeppolis. Yes! I<BR> know it!</P>
<P> ROBERT<BR> I sat outside and had coffee.</P>
<P> FRANCESCA<BR> Where? Near the doorway or the near the<BR> front of the church?</P>
<P> ROBERT<BR> Near the church.</P>
<P> FRANCESCA<BR> (closes her eyes)<BR> I sat there once. It was hot. Like<BR> today. I'd been shopping. I had all<BR> these bags around my feet I kept<BR> having to move every time the waiter<BR> came by...</P>
<P> DISSOLVE TO:</P>
<P> EXT. SANDWICH CAFE - BARI - DAY</P>
<P> Francesca sits at the outdoor cafe in Bari with shopping bags<BR> around her feet. She re-arranges them as the waiter passes<BR> by, mumbling something vulgar under his breath. When she<BR> looks up -- Robert is standing there. She smiles. He offers<BR> her hand. She takes it and rises. They leave the cafe.</P>
<P> MONTAGE:</P>
<P> Francesca and Robert together against the breathtaking<BR> backdrop of the Italian countryside.</P>
<P> EXT. BARI COUNTRYSIDE - DAY</P>
<P> On a lakefront, Robert and Francesca make love.</P>
<P> WE INTERCUT WITH:</P>
<P> INT. JOHNSON LIVING ROOM - EVENING</P>
<P> FRANCESCA AND ROBERT MAKING LOVE ONCE AGAIN.</P>
<P> Francesca looks at him and understands he is giving her full<BR> permission to explore whatever she wants. Hesitantly, she<BR> crosses to him and takes his plate away. She stands before<BR> him, leaning him back into his chair. She slowly,<BR> tentatively, opens her robe. She strokes his hair, then<BR> caresses his head and gently guides it between her legs.</P>
<P> 1994</P>
<P> INT. SLOW BEND RESTAURANT - NIGHT</P>
<P> C.U. on an ashtray filled with cigarette butts as Carolyn<BR> anxiously lights another. These last entries have over<BR> stimulated her. She calls to the waitress abruptly.</P>
<P> CAROLYN<BR> Can I get another cup of coffee,<BR> please?</P>
<P> When she looks up, she sees Michael has returned. He sits.</P>
<P> CAROLYN (cont'd)<BR> Where did you go?</P>
<P> MICHAEL<BR> Bar across the street.</P>
<P> CAROLYN<BR> Have you called Betty?<BR> (she shakes his head)<BR> Maybe you should.</P>
<P> MICHAEL<BR> I found out who Lucy Delaney is.<BR> (she looks interested)<BR> Remember the Delaneys from Hillcrest<BR> Road?</P>
<P> CAROLYN<BR> Yeah. But I thought she died.</P>
<P> MICHAEL<BR> He remarried. Apparently they were<BR> having an affair for years.<BR> Apparently the first Mrs. Delaney was<BR> a bit of a stiff.</P>
<P> CAROLYN<BR> You mean -- she didn't like sex?</P>
<P> MICHAEL<BR> (nods, then simply:)<BR> I bet mom could've helped her.</P>
<P> CAROLYN<BR> Boy. All these years I've resented<BR> not living the wild life in some<BR> place like Paris and all the time I<BR> could've moved back to Iowa... Are<BR> you drunk?</P>
<P> MICHAEL<BR> Not yet. You want to go?</P>
<P> CAROLYN<BR> I think I better. Between the book<BR> and the coffee, I'm this close to<BR> raping the busboy.</P>
<P> EXT. IOWA LAKEFRONT - NIGHT</P>
<P> Michael and Carolyn have parked in a secluded area near a<BR> lake. Some place where the moonlight and the scenery create<BR> a beautiful backdrop. They sit on the ground, leaving the<BR> headlights and the radio on. They are getting drunk sharing<BR> a bottle of whiskey.</P>
<P> MICHAEL<BR> I used to love this place. I used to<BR> take Kathy Reynolds down here.</P>
<P> CAROLYN<BR> You never dated Kathy Reynolds!</P>
<P> MICHAEL<BR> Not officially. Her and Steve Kendall<BR> were pinned at birth. But I was crazy<BR> about her. And for about three months,<BR> I managed to catch her during her<BR> "exploring" stage.</P>
<P> CAROLYN<BR> I never knew that.</P>
<P> MICHAEL<BR> (sadly)<BR> Nobody did.</P>
<P> CAROLYN<BR> Was this during Betty?</P>
<P> MICHAEL<BR> Everything was during Betty. God we<BR> were so young. Why did we think we<BR> had to do it all so fast? I've never<BR> cheated on Betty. Not once we were<BR> married, I mean.</P>
<P> CAROLYN<BR> Did we want to?</P>
<P> MICHAEL<BR> Only about a thousand times. What do<BR> I do now? "What's good enough for mom<BR> is good enough for me?"</P>
<P> CAROLYN<BR> (pissed off)<BR> What gets me is I'm 46 years old.<BR> I've been in this crummy fucking<BR> marriage -</P>
<P> MICHAEL<BR> Carolyn!</P>
<P> CAROLYN<BR> (ignores him)<BR> -- for over twenty years because<BR> that's what I was taught -- you stick<BR> with it! Normal people don't get<BR> divorced. I can't remember the last<BR> time my husband made love to me so<BR> intensely that he transported me to<BR> Europe, for Christ's sake -- quite<BR> frankly, I don't think he ever did!<BR> And now I find out in between bake<BR> sales, my mother was Anais Nin!</P>
<P> MICHAEL<BR> What about me! I feel really weird.<BR> Like she cheated on me, not dad.<BR> Isn't that sick? I don't mean I<BR> wanted to sleep with her or anything<BR> but -- ya know -- being the only son.<BR> You're sort of made to feel like<BR> you're the prince of the kingdom, ya<BR> know? And in the back of your mind,<BR> you kind of think your mother doesn't<BR> need sex anymore because she has you.</P>
<P> CAROLYN<BR> You're right -- that is sick.</P>
<P> They drink.</P>
<P> MICHAEL<BR> If she was so unhappy, why didn't she<BR> leave?</P>
<P> They look to each other without an answer. Then simultaneously<BR> they reach for the notebooks.</P>
<P> MICHAEL (cont'd)<BR> Can I read it now? I think I'm ready.</P>
<P> Carolyn offers him the book then lays back in a relaxed<BR> position in order to listen. Michael flips to an ear marked<BR> page.</P>
<P> MICHAEL (cont'd)<BR> What paragraph were you up to?</P>
<P> CAROLYN<BR> (casually)<BR> She just made him perform oral sex on<BR> the porch.</P>
<P> Michael freezes. He loses his nerve. Carolyn helps.</P>
<P> CAROLYN (cont'd)<BR> Go ahead, Michael. You've got to do<BR> this. Just think, "Today I am a man."</P>
<P> Michael nods and takes another swig. He reads:</P>
<P> MICHAEL<BR> "I'd never had a man make love to me<BR> that way before."<BR> (stops)<BR> Oh Jesus.<BR> (continues)<BR> "I couldn't believe the feelings<BR> bursting inside of me. As if I had<BR> opened some forbidden Pandora's box."</P>
<P> Camera begins to move to wide angle as Francesca takes over.</P>
<P> FRANCESCA<BR> "It seems, thinking about it now,<BR> that in those few days I lived a<BR> completely different life as a<BR> completely different woman. What was<BR> recognizable as me before Robert was<BR> gone. We decided to spend Wednesday<BR> away from Winterset. Away from<BR> Madison County. Away from pastures<BR> and bridges and people too familiar<BR> and reminders too painful. We let the<BR> day take us where it wanted..."</P>
<P> 1965</P>
<P> INT. DES MOINES MOVIE THEATER - DAY</P>
<P> VIVIEN LEIGH is walking down a ships stairs in the 1965 film<BR> "SHIP OF FOOLS." She is alone on screen. She walks, slightly<BR> intoxicated. Suddenly, Charleston music plays out of nowhere<BR> and she begins to dance, by herself, without any self-<BR> consciousness.</P>
<P> In the movie theatre, Robert sits with his arm around<BR> Francesca like teenage lovers. Her head is nestled in his<BR> chest as she eats from a bag of popcorn. Robert barely keeps<BR> his eyes on the screen, staring at Francesca and stroking her<BR> hair.</P>
<P> EXT. DOWNTOWN DES MOINES STREET - DAY</P>
<P> Francesca and Robert walk hand-in-hand, window shopping and<BR> taking in the sights. For Francesca, it is as if she is<BR> seeing everything for the first time.</P>
<P> INT. BOOK STORE - DAY</P>
<P> Robert introduces Francesca to the photography section,<BR> showing her a book of one of his favorite photographers,<BR> Walker Evans. Francesca admires one photograph in particular<BR> -- a mother and child during the depression.</P>
<P> FRANCESCA<BR> On that one is beautiful. Look at<BR> their expressions. As if the camera<BR> weren't on them at all. As if they<BR> had no strength left to hide what<BR> they were feeling.</P>
<P> ROBERT<BR> He's a genius. They're not<BR> photographs -- they're stories, entire<BR> histories captured in moments.</P>
<P> FRANCESCA<BR> I bet you could do a book.</P>
<P> ROBERT<BR> No. I couldn't.</P>
<P> FRANCESCA<BR> Why do you say that?</P>
<P> ROBERT<BR> Because I already tried once.</P>
<P> Francesca is surprised. She senses his disappointment.</P>
<P> ROBERT (cont'd)<BR> It's no big deal. I know how to work<BR> a camera, how to make it "make<BR> pictures" -- but I don't know how to<BR> make it make art.<BR> (laughs)<BR> At least that's what six publishers<BR> said. To take what we see of this<BR> world and give it back with a bit of<BR> ourselves in it. It's a mystery to me.</P>
<P> FRANCESCA<BR> (smiles, supportive)<BR> But you don't mind.</P>
<P> ROBERT<BR> (smiles)<BR> No, I don't mind.</P>
<P> She brushes his hair away from his face affectionately. As he<BR> looks at another book, she notices their reflection in a<BR> mirror. She puts her arm through his. They look like a couple<BR> to her -- two people who belong together.</P>
<P> INT. FANCY RESTAURANT - DAY</P>
<P> Francesca and Robert have an elegant lunch.</P>
<P> FRANCESCA<BR> What were you like when you were<BR> younger?</P>
<P> ROBERT<BR> (smiles)<BR> Trouble. Why?</P>
<P> FRANCESCA<BR> (laughs)<BR> I just wondered. Why were you trouble?</P>
<P> ROBERT<BR> I had a temper.</P>
<P> FRANCESCA<BR> What were your parents like?</P>
<P> Pause. Robert doesn't reply. She looks at him curiously.</P>
<P> ROBERT<BR> I can't do this, honey.</P>
<P> FRANCESCA<BR> What?</P>
<P> ROBERT<BR> Try and live a lifetime before<BR> Friday. Cram it all in.<BR> (shakes his head)</P>
<P> This is the first time either has mentioned their time clock.<BR> Francesca nods, understandingly.</P>
<P> Across the room, Francesca notices A MOTHER having dessert<BR> with her FIVE-YEAR-OLD DAUGHTER, a pretty little girl in a<BR> fancy yellow dress. The mother rises and exits to the ladies<BR> room while the little girl continues eating a large sundae.</P>
<P> Francesca smiles. As the girl licks a spoon of fudge, she<BR> sees Francesca looking at her and smiles back. Robert watches<BR> the silent exchange as he eats. Francesca makes a funny face<BR> at her. The little girl giggles as she spoons more ice-cream.<BR> Unfortunately, she spoons too much and the ice-cream falls on<BR> her pretty dress. She tries to take it off her, but she slips<BR> through her fingers and stains her even more. She looks at<BR> Francesca as if she's about to cry. Francesca smiles.</P>
<P> FRANCESCA<BR> Excuse me a minute.</P>
<P> Robert watches her cross to the little girl and kneel beside<BR> her. He sees her consoling the little girl while taking a<BR> napkin and dabbing it in the water glass.</P>
<P> She helps the girl carefully wipe away the mess, all the<BR> while calming her. The mother re-enters the scene and shakes<BR> her head at her daughter. The daughter is afraid of being<BR> reproached but the mother is smiling. She and Francesca begin<BR> talking. She thanks Francesca. Robert sees the two mothers<BR> exchanging a moment of common experience and brief<BR> friendship. The mother and daughter take their leave as<BR> Francesca says goodbye and returns to the table. Robert looks<BR> at her lovingly. Francesca returns to her meal, but suddenly<BR> she is no longer hungry. Robert senses something is upsetting<BR> her.</P>
<P> ROBERT<BR> You're somewhere else, where?</P>
<P> FRANCESCA<BR> Just that it's been a perfect day and<BR> that I'd like to skip my fancy<BR> dessert and go home after this.</P>
<P> ROBERT<BR> Uh-huh. And?</P>
<P> FRANCESCA<BR> (beat)<BR> You're right, you know. We don't have<BR> much time.</P>
<P> Uncomfortable silence hangs between them. A waiter passes by.</P>
<P> ROBERT<BR> Check, please.</P>
<P> OS, as the MOTHER YELLS:</P>
<P> MOTHER<BR> REBECCA! REBECCA!</P>
<P> Both Robert and Francesca look to the voice.</P>
<P> EXT. RESTAURANT - DAY</P>
<P> The mother stands on the street frantically calling for her<BR> daughter.</P>
<P> MOTHER<BR> REBECCA!</P>
<P> The Maitre'd, Francesca and Robert exit the restaurant.</P>
<P> MOTHER<BR> Oh my God...!</P>
<P> FRANCESCA<BR> What happened?</P>
<P> MOTHER<BR> I was paying the check. She ran<BR> outside. I told her to wait for me<BR> right here! Oh God, where is she?<BR> Rebecca!</P>
<P> The sidewalk is filled with people. Francesca looks to<BR> Robert. He recognizes the concern in her expression‎. Going<BR> home will have to wait.</P>
<P> ROBERT<BR> I'll check down here. Someone call<BR> the police.</P>
<P> The Maitre'd goes back inside. Francesca comforts the mother.</P>
<P> FRANCESCA<BR> Think for a second. Is there<BR> someplace she said she wanted to go?</P>
<P> MOTHER<BR> I don't remember!</P>
<P> EXT. STREET</P>
<P> Robert searches through the street, poking in and out of<BR> storefronts, looking across the street.</P>
<P> EXT. RESTAURANT</P>
<P> Francesca and the mother search in the opposite direction.</P>
<P> EXT. STREET</P>
<P> Through the crowd of people, Robert looks across the four<BR> lane Main Street to a LARGE CITY PARK. He crosses to it.</P>
<P> INT. RESTAURANT - AN HOUR LATER</P>
<P> Francesca sits with the mother as TWO POLICEMEN take down a<BR> description. The mother is crying. A waiter brings over some<BR> water for her. The Maitre'd stands by.</P>
<P> MOTHER<BR> She was right outside. I turned my<BR> head for a second.</P>
<P> POLICEMAN<BR> When was this?</P>
<P> FRANCESCA<BR> About an hour ago.</P>
<P> MOTHER<BR> They're not going to find her!</P>
<P> FRANCESCA<BR> Yes, they are.</P>
<P> At that moment, the mother looks up and cries.</P>
<P> MOTHER<BR> REBECCA!</P>
<P> She jumps out of her seat as all turn to see:</P>
<P> Robert holding the little girl in his arms, entering the<BR> restaurant. He carefully hands her over to the mother. The<BR> two wrap their arms around each other. Francesca looks to<BR> Robert, loving him even more now.</P>
<P> FRANCESCA<BR> Where was she?</P>
<P> ROBERT<BR> Across the street. She went into the<BR> park and got turned around and didn't<BR> know her way out.</P>
<P> MOTHER<BR> You crossed the street by yourself?!</P>
<P> REBECCA<BR> (crying)<BR> It was a green light.</P>
<P> The mother is too relieved to be mad. Robert sits down.</P>
<P> MOTHER<BR> Thank you so much!</P>
<P> ROBERT<BR> (frazzled)<BR> I need a drink.</P>
<P> Everyone laughs out of relief. Francesca wraps her arm around<BR> his shoulder and kisses his forehead. He kisses her back.</P>
<P> INT. TRUCK - DUSK</P>
<P> Robert drives as Francesca sits inside his arm. Neither speaks.</P>
<P> INT. JOHNSON HOUSE - DUSK</P>
<P> Francesca calmly leads Robert up to her bedroom.</P>
<P> INT. JOHNSON BEDROOM</P>
<P> Naked, Francesca guides Robert into bed beneath the covers.<BR> They begin to make love -- softly, lovingly -- like a couple<BR> that are beyond the erotic, discovery stage; a couple that<BR> have been together and in love for years.</P>
<P> LATER -</P>
<P> Francesca puts her arm around him as he nestles his head to<BR> her breast. Francesca strokes his hair as Robert closes his<BR> eyes.</P>
<P> ROBERT<BR> I don't know why I'm so tired all of<BR> a sudden.</P>
<P> FRANCESCA<BR> Long day. Go to sleep.</P>
<P> ROBERT<BR> Am I too heavy for you?</P>
<P> FRANCESCA<BR> No.</P>
<P> Robert settles into her. But Francesca is wide awake.<BR> Something is on her mind -- "Tomorrow? What happens after<BR> tomorrow?"</P>
<P> INT. KITCHEN - MORNING</P>
<P> Francesca is serving Robert breakfast, then sits down beside<BR> him. Silence. We can sense some tension between them -- this<BR> being their last day together.</P>
<P> Francesca seems ingeniously friendly. Robert is suspicious.</P>
<P> FRANCESCA<BR> Sleep all right?</P>
<P> ROBERT<BR> Yes, thanks.</P>
<P> FRANCESCA<BR> Good. More coffee?<BR> (he nods, she pours)<BR> Robert, I hope you don't mind my<BR> asking, but I feel like I should.</P>
<P> ROBERT<BR> What?</P>
<P> FRANCESCA<BR> Well, these... women friends of<BR> yours... all over the world. How<BR> does it work? Do you see some of them<BR> again? Do you forget others? Do you<BR> write them now and then? How do you<BR> manage it?</P>
<P> Her facetiousness startles Robert.</P>
<P> ROBERT<BR> I... What do you want?</P>
<P> FRANCESCA<BR> Well, I just want to know the<BR> procedure. I don't want to upset your<BR> routine. Do you want any jam?</P>
<P> ROBERT<BR> (insulted)<BR> Routine! I don't have a routine. And<BR> if you think that's what this is -</P>
<P> FRANCESCA<BR> Well, what is this?</P>
<P> ROBERT<BR> (upset)<BR> Well, why is that up to me? You're<BR> the one who's married. You told me<BR> you have no intention of leaving your<BR> husband.</P>
<P> FRANCESCA<BR> To do what? Be with someone who needs<BR> everyone and no one in particular? I<BR> mean, what would be the point. Would<BR> you pass the butter?</P>
<P> ROBERT<BR> I was honest with you. I told you who<BR> I was.</P>
<P> FRANCESCA<BR> Yes. Absolutely. You have this habit<BR> of not needing and that it's hard to<BR> break. I understand.<BR> (beat)<BR> Of course, in that case, why sleep --<BR> you don't need rest or for that<BR> matter eat, you don't need food.</P>
<P> She takes his plate away from him, rises and throws it into<BR> the sink.</P>
<P> ROBERT<BR> What are you doing?</P>
<P> FRANCESCA<BR> (sarcastic)<BR> Gee, I don't know. I guess I'm not<BR> cut out to be a World Citizen who<BR> experiences everything and nothing<BR> at the same time.</P>
<P> ROBERT<BR> How do you know what I experience?</P>
<P> FRANCESCA<BR> (angry)<BR> I know you! What can this possibly<BR> mean to anyone who doesn't "need"<BR> meaning -<BR> (mocking)<BR> "Who goes with the Mystery" -- who<BR> pretends he isn't scared to death.</P>
<P> ROBERT<BR> Stop it!</P>
<P> FRANCESCA<BR> You have no idea what you've done to<BR> me, do you? And after you leave, I'm<BR> going to have to wonder for the rest<BR> of my life what happened here. If<BR> anything happened at all! And I'll<BR> have to wonder if you find yourself<BR> in some... housewife's kitchen in<BR> Romania if you'll sit there and tell<BR> her about your world of good friends<BR> and secretly include me in that group.</P>
<P> ROBERT<BR> What do you want me to say?</P>
<P> FRANCESCA<BR> (nonchantly)<BR> I don't want you to say anything. I<BR> don't need you to say anything.</P>
<P> Robert rises, knocking his chair aside.</P>
<P> ROBERT<BR> STOP IT!</P>
<P> FRANCESCA<BR> Fine. More eggs or should we just<BR> fuck on the linoleum one last time?</P>
<P> ROBERT<BR> (grabs her)<BR> I told you! I won't apologize for who<BR> I am.</P>
<P> FRANCESCA<BR> No one's asking you to!</P>
<P> ROBERT<BR> I won't be made to feel like I've<BR> done something wrong.</P>
<P> FRANCESCA<BR> (angry)<BR> You won't be made to feel! Period.<BR> You've carved out this little part<BR> for yourself in the world where you<BR> get to be a voyeur, a hermit and a<BR> lover whenever you feel like it and<BR> the rest of us are just supposed to<BR> feel so incredibly grateful for the<BR> brief time you've touched our lives!<BR> Well, go to hell! It isn't human not<BR> to feel lonely -- it isn't human not<BR> to afraid! You're a hypocrite and<BR> you're a phony!</P>
<P> ROBERT<BR> (cries out)<BR> I DON'T WANT TO NEED YOU!</P>
<P> FRANCESCA<BR> WHY?</P>
<P> ROBERT<BR> BECAUSE I CAN'T HAVE YOU!</P>
<P> FRANCESCA<BR> WHAT DOES THAT HAVE TO DO WITH IT?</P>
<P> He throws a cup at the wall. It breaks apart. Covering his<BR> face, Robert turns away from her as he holds onto the sink.<BR> Francesca reaches for him but he pulls away, embarrassed.</P>
<P> FRANCESCA (cont'd)<BR> (softly)<BR> Don't you see, I've got to know the<BR> truth, Robert. I've got to know the<BR> truth or I'll go crazy. Either way.<BR> Just tell me. But I can't act like<BR> this is enough because it has to be.<BR> I can't pretend I don't feel what I<BR> feel because it's over tomorrow.</P>
<P> Robert, keeping his face from her, tries to tell her:</P>
<P> ROBERT<BR> If I've done anything to make you<BR> think that what's happened between us<BR> is nothing new for me -- is some<BR> routine -- then I do apologize.</P>
<P> FRANCESCA<BR> What makes it different, Robert?</P>
<P> Robert turns to face her. He is so hopelessly in love he can<BR> hardly find the words. His eyes fill up with tears.</P>
<P> ROBERT<BR> Because... if I even think about<BR> tomorrow -- if I...<BR> (voice cracks)<BR> even think about leaving here without<BR> you -- I'm not sure I can... that I -<BR> (he shakes his head)</P>
<P> He can't even finish. He kneels down before her wrapping his<BR> arms around her and burying his face into her body. Francesca<BR> starts to cry -- out of happiness, out of pain -- holding onto<BR> him as if for dear life.</P>
<P> FRANCESCA<BR> Oh God... what are we going to do?</P>
<P> She kisses him -- over and over, not wanting to be even an<BR> inch apart. As if any space between them might separate them<BR> forever.</P>
<P> Suddenly, OS, they hear a CAR DRIVE UP to the house. They<BR> panic. Francesca runs to the window to see:</P>
<P> MADGE, a girlfriend, has come for a visit. Madge is holding<BR> a homemade dessert.</P>
<P> FRANCESCA (cont'd)<BR> No. No. Where's your truck?</P>
<P> ROBERT<BR> Behind the barn. I better go.</P>
<P> Francesca turns to him -- speechless -- not wanting him to go.</P>
<P> ROBERT (cont'd)<BR> Don't worry. I meant upstairs.</P>
<P> He exits. Francesca gathers herself and heads for the front<BR> entrance, quickly cleaning up the plates.</P>
<P> INT. FRONT HALL - DAY</P>
<P> Francesca opens the door to Madge.</P>
<P> FRANCESCA<BR> Madge?</P>
<P> MADGE<BR> Hi. I made some brown betty. I sent<BR> Floyd off to town with the boy. I said -<BR> (entering)<BR> "Floyd, I'm going to visit my<BR> girlfriend and spend the afternoon<BR> and that's all there is to it. He<BR> said who's going to make lunch? I<BR> said I'm taking a sick day. Eat at<BR> the dinner." Isn't that hilarious?<BR> (MOVES INTO KITCHEN)<BR> He didn't dare raise an eyebrow -- I<BR> don't even want to tell you how late<BR> he was out last night with those good<BR> for nothings from the Sandford ranch.<BR> I am so sorry, honey, I let two days<BR> pass before I came by, but with the<BR> boy home the time just escapes me.<BR> Have you heard from Richard? How's<BR> the fair? God, it's hot.</P>
<P> Following her into the kitchen, Francesca doesn't know which<BR> question to answer first.</P>
<P> EXT. PORCH - LATER THAT DAY</P>
<P> Madge and Francesca sit facing the pasture beside a table<BR> with coffee and brown betty. We parachute into the middle of<BR> the scene.</P>
<P> MADGE<BR> ... I said to her, "what's the point<BR> of summer school if all he's going to<BR> do are these art projects. The boy<BR> needs so much work in math and his<BR> spelling is a nightmare...<BR> (continues)</P>
<P> Francesca isn't listening. Her mind wanders.</P>
<P> FANTASY:</P>
<P> FRANCESCA<BR> Madge. Please. Something's happened.<BR> I've met someone. I've fallen in love<BR> in a way I've never thought could<BR> happen my entire life. It's our last<BR> day together. I feel like I'm going to<BR> die when he leaves. Please. Help me.</P>
<P> MADGE<BR> Oh, honey. I'm so sorry. But you've<BR> got to be grateful for even feeling<BR> the little you've be given. Believe<BR> me. Go to him. Don't let him leave<BR> without these new precious hours<BR> you've got left. And if you need<BR> anyone to cry on, you know where I am.</P>
<P> END OF FANTASY:</P>
<P> Madge shoves a plate at her.</P>
<P> MADGE (cont'd)<BR> More brown betty?</P>
<P> Francesca takes the plate. She can't think straight.</P>
<P> MADGE (cont'd)<BR> ... Anyway, I'm glad that's over<BR> with. Sara doing so well though.<BR> Everyone thought I was crazy having<BR> them so far apart, but...<BR> (CONTINUES...)</P>
<P> FANTASY:</P>
<P> Francesca stands behind Madge, as the latter chatters on MOS.<BR> She calmly picks up the brown betty and, from behind, shoves<BR> it into Madge's face and holds it there, trying to suffocate<BR> her with it. Madge struggles.</P>
<P> END OF FANTASY:</P>
<P> Francesca's mind races as Madge continues.</P>
<P> MADGE<BR> ... without one lesson. The<BR> instructor couldn't believe it. So,<BR> who knows -- she may have talent.<BR> How's Carolyn doing? What are her<BR> plans for next year?</P>
<P> Francesca realizes this is her moment. She holds her head and<BR> leans over, unsteadily.</P>
<P> MADGE (cont'd)<BR> Honey, what's wrong?</P>
<P> FRANCESCA<BR> I don't know. I woke up a little<BR> dizzy. I didn't sleep well. I think<BR> I need to lay down.</P>
<P> MADGE<BR> You want me to call the doctor?</P>
<P> FRANCESCA<BR> No, no. I just didn't sleep well.<BR> I'm not used to sleeping alone. And<BR> this heat. Would you mind?</P>
<P> MADGE<BR> No, of course not. I'll just clean up.</P>
<P> FRANCESCA<BR> No, leave it. I'll do it later.<BR> Listen, maybe you and Floyd can come<BR> for dinner on Saturday. I'm sure<BR> Richard'll have so many stories to<BR> tell you both about the fair and all.</P>
<P> MADGE<BR> Oh, that'll be nice.</P>
<P> CUT TO:</P>
<P> INT. BEDROOM - LATER THAT DAY</P>
<P> Francesca enters to find Richard, laying on the bed fully<BR> clothed. She sits beside him. He strokes her arm, then guides<BR> her to lay down. Once she's in his arms, he speaks.</P>
<P> ROBERT<BR> Come with me.</P>
<P> Francesca knew he was going to say this. Either answer she<BR> gives frightens her.</P>
<P> FRANCESCA<BR> Hold me.</P>
<P> She turns to him and they embrace. Robert, however, fears<BR> only one response. On the soundtrack, we hear the song "DARN<BR> THAT DREAM."</P>
<P> CUT TO:</P>
<P> INT. KITCHEN - EVENING</P>
<P> The song continues over the next few images. Camera slowly<BR> pans from the radio, upon which the song is playing, to a<BR> beautifully set table and candles. It arrives on Robert<BR> preparing dinner.</P>
<P> INT. BEDROOM</P>
<P> Camera pans the room from two OPENED SUITCASES, as Francesca<BR> packs to leave. She moves about the room as if with blinders<BR> on -- focused on her task, refusing to take in any sign or<BR> memories that might hinder her. She is wearing a RED DRESS,<BR> with BUTTONS down the front.</P>
<P> INT. KITCHEN</P>
<P> Robert stands at the sink rinsing out some utensils. Waiting<BR> for the water to turn hot, he looks out through the window<BR> above the sink. He sees a beautiful view of beautiful night.<BR> He pauses as it strikes him that this is a view Francesca has<BR> seen a million times -- that soon she would not see ever again.</P>
<P> INT. SECOND FLOOR LANDING</P>
<P> Camera follows her as she exits the bedroom with her<BR> suitcases, then walks down the hall to the stairs, then down<BR> the staircase to the front hall.</P>
<P> She quietly sets the suitcases down, hearing the radio and<BR> Robert in the kitchen. She pauses, then enters the living<BR> room. One of the throw pillows has fallen off the couch. She<BR> replaces it then takes a moment to look about the room. She<BR> slowly sits down on the couch.</P>
<P> We hear voices of the past, auditory memories conjured up by<BR> each stick of furniture Francesca sees.</P>
<P> FRANCESCA (V.O.)<BR> Michael, get off the back of that<BR> chair! What did I tell you!</P>
<P> WE HEAR HIM FALL AND BEGIN TO CRY.</P>
<P> FRANCESCA (V.O.)<BR> All you all right, honey. Let me see...</P>
<P> A sound of Christmas music... of toddlers running and<BR> laughing... A birthday party for Carolyn...</P>
<P> CAROLYN (V.O.)<BR> Mama, look -- look at the dress Aunt<BR> Patty sent!</P>
<P> RICHARD (V.O.)<BR> Franny, BONNAZA's on!</P>
<P> ROBERT<BR> Francesca?</P>
<P> Francesca snaps out for it and turns to find Robert.</P>
<P> ROBERT (cont'd)<BR> I've got dinner.</P>
<P> She smiles.</P>
<P> INT. KITCHEN</P>
<P> They eat by candlelight. Neither speaks. Neither is very<BR> hungry.</P>
<P> ROBERT<BR> Would you like a beer?</P>
<P> She smiles and shakes her head. Robert opens a bottle and<BR> takes a sip.</P>
<P> ROBERT (cont'd)<BR> You know what I'd like to do before<BR> we leave? I'd like to take a picture<BR> of you -- at Roseman bridge. Maybe<BR> just as the sun's coming up.</P>
<P> FRANCESCA<BR> Yes. I'd like that.</P>
<P> Pause. Robert smiles back and takes another sip. Then,<BR> knowing full well what hangs heavy between them, he asks:</P>
<P> ROBERT<BR> Tell me why you're not coming with me?</P>
<P> Francesca stops pretending to eat. She looks at him, having<BR> forgotten how well he can read her.</P>
<P> FRANCESCA<BR> No matter how I keep turning it<BR> around in my mind -- it doesn't seem<BR> like the right thing.</P>
<P> ROBERT<BR> For who?</P>
<P> FRANCESCA<BR> For anyone. They'll never be able to<BR> live through the talk. Richard will<BR> never be able to. He doesn't deserve<BR> that. He hasn't hurt anyone in his<BR> life.</P>
<P> ROBERT<BR> (getting aggressive)<BR> Then he can move! People move!</P>
<P> FRANCESCA<BR> His family's lived for almost a<BR> hundred years. Richard doesn't know<BR> how to live anywhere else. And the<BR> kids...</P>
<P> ROBERT<BR> The kids are grown! They don't need<BR> you anymore. You told me that. They<BR> hardly talk to you.</P>
<P> FRANCESCA<BR> No, they don't say much. But<BR> Carolyn's 16. She's just about to<BR> find out about all this for herself<BR> -- she's going to fall in love,<BR> she's going to try and figure out<BR> how to build a life with someone.<BR> If I leave what does that say to her?</P>
<P> ROBERT<BR> What about us? What about me?</P>
<P> FRANCESCA<BR> You've got to know deep down that the<BR> minute we leave here. It'll all<BR> change.</P>
<P> ROBERT<BR> Yeah. It could get better.</P>
<P> FRANCESCA<BR> No matter how much distance we put<BR> between us and this house, I bring<BR> with it with me. And I'll feel it<BR> every minute we're together. And I'll<BR> blame loving you for how much it<BR> hurts. And then even these four days<BR> won't be anything more than something<BR> sordid and... a mistake.</P>
<P> ROBERT<BR> (desperately)<BR> Francesca, listen to me. You think<BR> what's happened to us happens to just<BR> anybody? What we feel for each other?<BR> How much we feel? We're not even two<BR> separate people anymore. Some people<BR> search their whole lives for it and<BR> wind up alone -- most people don't<BR> even think it exists and you're going<BR> to tell me that giving it up is the<BR> right thing to do? That staying here<BR> alone in a marriage, alone in a town<BR> you hate, in a house you don't feel<BR> apart of anymore -- you're telling me<BR> that's the right thing to do!?</P>
<P> FRANCESCA<BR> We are the choices we've made, Robert.</P>
<P> ROBERT<BR> (rises)<BR> TO HELL WITH YOU!</P>
<P> He turns his back on her.</P>
<P> FRANCESCA<BR> Robert. Please.<BR> (desperate to explain)<BR> You don't understand -- no one does.<BR> When a woman makes the choice to<BR> marry, to have children -- in one way<BR> her life begins but in another way it<BR> stops. You build a life of details.<BR> You become a mother, a wife and you<BR> stop and stay steady so that your<BR> children can move. And when they<BR> leave they take your life of details<BR> with them. And then you're expected<BR> move again only you don't remember<BR> what moves you because no one has<BR> asked in so long. Not even yourself.<BR> You never in your life think that<BR> love like this can happen to you.</P>
<P> ROBERT<BR> But now that you have it -</P>
<P> FRANCESCA<BR> I want to keep it forever. I want to<BR> love you the way I do now the rest of<BR> my life. Don't you understand -- we'll<BR> lose it if we leave. I can't make an<BR> entire life disappear to start a new<BR> one. All I can do is try to hold onto<BR> to both. Help me. Help me not lose<BR> loving you.</P>
<P> She embraces him. He wraps his arms around her. He whispers.</P>
<P> ROBERT<BR> Don't leave me. Don't leave me alone.<BR> Please.</P>
<P> This breaks her heart, knowing how hard it is for him to say<BR> this. She holds him tighter, until -</P>
<P> ROBERT (cont'd)<BR> Listen. Maybe you feel this way,<BR> maybe you don't. Maybe it's just<BR> because you're in this house. Maybe<BR> ... maybe when they come back<BR> tomorrow you'll feel differently.<BR> Don't you think that's possible?</P>
<P> FRANCESCA<BR> I don't know. Please...</P>
<P> ROBERT<BR> I'm going to be here a few more days.<BR> I'll be at the Inn. We have some<BR> time. Let's not say any more now.</P>
<P> FRANCESCA<BR> No. Don't do this.</P>
<P> ROBERT<BR> I CAN'T SAY GOODBYE YET! We'll leave<BR> it for now. We're not saying goodbye.<BR> We're not making any decision. Maybe<BR> you'll change your mind. Maybe we'll<BR> accidentally run into each other and<BR> ... and you'll change your mind.</P>
<P> FRANCESCA<BR> Robert, if that happens, you'll have<BR> to decide. I won't be able to.</P>
<P> She cries in his arms. He kisses her as if for the last time.<BR> Then, quickly, separates himself and leaves the house.</P>
<P> EXT. JOHNSON HOUSE</P>
<P> Robert walks briskly towards his truck not wanting to look<BR> back. He gets in, starts it up and drives away.</P>
<P> Francesca exits the house and watches the truck recede into<BR> the distance. She stops when she reaches the front gate,<BR> leaning against it. She murmurs to herself -</P>
<P> FRANCESCA<BR> Keep going. Please.</P>
<P> The truck drives away. Then, suddenly, stops. Francesca's<BR> heart quickens. She watches as the truck stands on the road<BR> in the distance. As if Robert was deciding to turn around or<BR> keep going. Francesca waits. Suddenly, the door to the truck<BR> flies open and Robert exits. Francesca loses all restraint.</P>
<P> She opens the gate but her dress is caught on it. Robert<BR> stands by the truck. Francesca tears at the dress, ripping<BR> off a button which falls to the ground. She runs down the<BR> road. Seeing her, Robert runs towards her as well.</P>
<P> They grab each other furiously. For these few moments, all<BR> considerations are gone. As he kisses her, he murmurs:</P>
<P> ROBERT<BR> I forgot to take your picture.</P>
<P> She laughs through her tears as they continue to kiss. Camera<BR> pans up to the road beyond Robert's truck.</P>
<P> WE SEE RICHARD'S TRUCK DRIVING TOWARDS THEM. For a moment it<BR> seems as if they will be caught until we realize RICHARD'S<BR> TRUCK IS BEING SUPERIMPOSED as the LIGHT GRADUALLY BRIGHTENS<BR> TO REVEAL:</P>
<P> MORNING.</P>
<P> EXT. JOHNSON HOUSE</P>
<P> Richard, Michael and Carolyn drive down the road toward the<BR> house. Robert's truck, and all traces of him, are gone.</P>
<P> Francesca steps into the doorway in a house dress to welcome<BR> her family home -- wondering how this will feel.</P>
<P> JOHNSON KITCHEN - EVENING</P>
<P> The Johnson family has dinner as Francesca narrates:</P>
<P> FRANCESCA (V.O.)<BR> You all came home. And with you, my<BR> life of details.</P>
<P> EXT. JOHNSON HOUSE</P>
<P> Everyone is doing various daily chores.</P>
<P> FRANCESCA (V.O.)<BR> A day or two past and with each<BR> thought of him, a task would present<BR> itself like a life saver, pulling me<BR> further and further away from those<BR> four days.</P>
<P> INT. LIVING ROOM - EVENING</P>
<P> Francesca is reading. Richard watches TV.</P>
<P> FRANCESCA (V.O.)<BR> I was grateful. I felt safe.</P>
<P> CUT TO:</P>
<P> EXT. WINTERSET - MAIN STREET - DAY</P>
<P> Richard and Francesca drive up to the general store to buy<BR> groceries. Francesca heads for the store as Richard crosses<BR> the street.</P>
<P> FRANCESCA<BR> Want anything special for dinner?</P>
<P> RICHARD<BR> Hmm. How about that brown sugar meat<BR> loaf you make?</P>
<P> FRANCESCA<BR> (smiles)<BR> Okay.</P>
<P> She enters the store.</P>
<P> INT. GENERAL STORE - DAY</P>
<P> Francesca makes small talk with the grocery lady as she buys<BR> what she needs.</P>
<P> EXT. MAIN STREET - DAY</P>
<P> Francesca places a bag of groceries on the front seat of the<BR> truck, then gets in herself to wait for Richard. She takes a<BR> deep breath and removes a handkerchief from her bag to wipe<BR> the sweat from her face. She freezes -</P>
<P> Through the windshield, she sees ROBERT standing beside his<BR> truck across the street, staring at her. Her heart stops.<BR> For a moment, she isn't even sure he's real.</P>
<P> The town moves about its business around them. But neither<BR> notice or care. Whatever safety or forgetfulness she felt is<BR> gone. Her feelings burst through. She sits there helpless<BR> before him -- willing to go or stay depending on what he did.</P>
<P> He begins walking towards her. She prepares herself. Her life<BR> will change -- it has to. There's not turning back.</P>
<P> But the closer Robert gets, the clearer he can see that she<BR> is crying. And he stops.</P>
<P> Without any words, he realizes what taking her with him would<BR> mean. With just a glance, he sacrifices her. With their eyes<BR> locked in the middle of Main Street -- in front of the whole<BR> town -- they smile and say goodbye.</P>
<P> Robert returns to his truck. He drives off down Main Street,<BR> taking the first left.</P>
<P> Moments later, Richard throws the feed bag into the back of<BR> his truck and gets in. Francesca is wiping her eyes.</P>
<P> He doesn't notice. He drives off in the same direction as<BR> Robert.</P>
<P> FRANCESCA (V.O.)<BR> For a moment, I didn't know where I<BR> was. And for a split second, the<BR> thought crossed my mind that he<BR> really didn't want me -- that it was<BR> easy to walk away.</P>
<P> As they pass the corner where Robert made his left turn,<BR> Francesca turns to look and sees:</P>
<P> ROBERT'S TRUCK IS PARKED just off the corner. As if he had to<BR> drive away to get out of sight, but couldn't bring himself to<BR> drive any further.</P>
<P> The sight of him hiding there breaks Francesca's heart, she<BR> turns away from her husband to hide the tears.</P>
<P> EXT. JOHNSON HOUSE - DAY</P>
<P> WE REPLAY THE OPENING SCENE FROM THE MOVIE:</P>
<P> Carolyn is in the yard picking vegetables. Her parents drive<BR> up in their truck. She steps out with her bag of groceries<BR> and walks briskly into the house. Richard follows more slowly<BR> with his bag of feed, stopping at the gate to pick up the<BR> button from Francesca's red dress.</P>
<P> INT. KITCHEN</P>
<P> Francesca enters and places her groceries on the counter. She<BR> tries to compose herself. She sees the radio before her. She<BR> turns it on. The Dinah Washington song "I'LL CLOSE MY EYES"<BR> evokes every feeling of love and loss within her. She begins<BR> to cry.</P>
<P> She hears Richard enter the house. She stands out of sight,<BR> holding her hand to her mouth to muffle her crying. She hears:</P>
<P> MICHAEL (O.S.)<BR> Dad! You bought the wrong feed!</P>
<P> RICHARD<BR> What!?</P>
<P> She hears Richard exit the house.</P>
<P> EXT. LUCY REDFIELD'S HOUSE - NIGHT</P>
<P> A hand knocks on a door. Lucy Redfield opens it to find<BR> Francesca standing there with a cake.</P>
<P> FRANCESCA<BR> Hi. I'm Francesca Johnson. I just<BR> feel awful I haven't come to visit<BR> sooner. I hope I'm not interrupting<BR> anything. Is it too late?</P>
<P> Lucy is shocked and moved at the same time.</P>
<P> LUCY<BR> No. Not at all.</P>
<P> FRANCESCA<BR> I was wondering if... maybe you'd<BR> like some company.<BR> (almost manic)<BR> I baked a cake!</P>
<P> Lucy looks at the cake. She's a little dazed by all this.</P>
<P> LUCY<BR> Uh... sure. Please. Come in. I'll<BR> make coffee.</P>
<P> Francesca enters. Lucy closes the door.</P>
<P> CUT TO:</P>
<P> EXT. IOWA LAKEFRONT - DAWN</P>
<P> Michael continues reading beside Carolyn as the sun rises.</P>
<P> MICHAEL<BR> "We became inseparable, Lucy and I.<BR> The funny thing is, I didn't tell her<BR> about Robert until years later. But,<BR> for some reason, being with her<BR> somehow made me feel it was safe to<BR> think about him. To continue loving<BR> him. The town loved talking about the<BR> two of us but we didn't care. And<BR> neither did your father. Which I<BR> thought was a lovely thing. I<BR> received Robert's letter and my<BR> photograph soon after. I always<BR> wondered if your father found them.<BR> I was never quite sure..."</P>
<P> INT. KITCHEN - EVENING</P>
<P> At dinner, Richard remembers the button he found.</P>
<P> RICHARD<BR> Oh, Franny, is this yours?</P>
<P> Francesca sees the button. She speaks her original lines MOS<BR> as HER NARRATION is hard:</P>
<P> FRANCESCA (V.O.)<BR> I almost told him. In that moment I<BR> felt as if I couldn't hold it back.<BR> If he really loved me maybe he'd<BR> understand.</P>
<P> She returns to her meal. The family eats in silence.</P>
<P> FRANCESCA (cont'd; V.O.)<BR> But love won't obey our expectations.<BR> Its mystery is pure and absolute.<BR> What Robert and I had, could not<BR> continue if we were together. What<BR> Richard and I shared would vanish if<BR> we were apart. But how I wanted to<BR> share this. How would our lives have<BR> changed if I had? Could anyone else<BR> have seen the beauty of it?</P>
<P> INT. JOHNSON KITCHEN - NIGHT</P>
<P> Francesca moves about the kitchen with a frantic pace as she<BR> puts the finishing touches on a cake. Placing the frosting<BR> bowl in the sink, she hears someone upstairs exiting their<BR> bedroom. She quickly gathers the cake and her bag and exits<BR> through the screen door.</P>
<P> EXT. JOHNSON HOUSE - NIGHT</P>
<P> Fighting tears, she walks to the truck from around the house.<BR> She gets in and starts it. She vaguely hears her daughter<BR> from the front door.</P>
<P> CAROLYN<BR> Mom?</P>
<P> But she doesn't acknowledge it and drives away.</P>
<P> EXT. MOTOR INN - NIGHT</P>
<P> Her truck approaches and then speeds past the Inn where<BR> Robert is staying. We can see his truck in the parking lot.</P>
<P> 1979</P>
<P> INT. JOHNSON BEDROOM - NIGHT</P>
<P> And older Francesca cares for a sickly Richard. He lies in bed<BR> beside an array of medicines and tonics. She wipes his<BR> forehead with a cool cloth as he takes his pills.</P>
<P> FRANCESCA<BR> Better?</P>
<P> He nods. She smiles. She shuts off the light and lays beside<BR> him.</P>
<P> RICHARD<BR> Franny?</P>
<P> FRANCESCA<BR> Hmm?</P>
<P> RICHARD<BR> I just want to say... I know you had<BR> your own dreams. I'm sorry I couldn't<BR> give them to you. I love you so much.</P>
<P> Francesca turns to him. She is so touched, tears fill her<BR> eyes. She nestles close to him, wrapping her arms around him.</P>
<P> 1982</P>
<P> EXT. DES MOINES</P>
<P> Francesca eats at the same restaurant she shared with Robert.</P>
<P> FRANCESCA (V.O.)<BR> After your father died, I tried to<BR> get in touch with Robert but found<BR> out he had left the National<BR> Geographic soon after the Madison<BR> County. No one seemed to know where<BR> he was. My only connections to him<BR> were the places we'd been to that one<BR> day. And so each week, I'd re-visit<BR> them.</P>
<P> EXT. JOHNSON HOUSE - DAY</P>
<P> Francesca greets a UPS man with an envelope and a package.</P>
<P> FRANCESCA (V.O.)<BR> And then one day, I received the<BR> letter from his attorney, with a<BR> package.</P>
<P> INT. JOHNSON LIVING ROOM</P>
<P> Francesca reads the letter informing her of Robert's death.<BR> She then unwraps the package to reveal a MEDALLION with her<BR> name inscribed and A PHOTOGRAPHY BOOK; a published collection<BR> of black and white photos by Robert Kincaid entitled "Four<BR> Days." Beautiful, dramatic black and white representations of<BR> love and passion, loneliness and pain, and union. On the<BR> front page there reads an inscription "FOR F."</P>
<P> ROBERT (V.O.)<BR> "There is a pleasure in the pathless<BR> woods... There is a rapture on the<BR> lonely shore... There is society<BR> where none intrudes... By the deep<BR> sea and music in its roar... I love<BR> not man the less, but Nature more...<BR> From these our interviews, in which<BR> I steal... From all I may be, or<BR> have been before... To mingle with the<BR> Universe and feel... What I can<BR> ne'er express, yet cannot all conceal."</P>
<P> The quote is Byron's. She smiles with pride as she cries.</P>
<P> CUT TO:</P>
<P> EXT. IOWA LAKEFRONT - EARLY MORNING</P>
<P> Michael sits with his arm around Carolyn as they look out<BR> over the lake. The notebooks are closed, but Francesca's<BR> narrations continue over the next few scenes.</P>
<P> FRANCESCA (V.O.)<BR> There has not been a day since that<BR> I have not thought of him. When he<BR> said we were no longer two people, he<BR> was right.</P>
<P> INT. JOHNSON BEDROOM</P>
<P> Carolyn, looking through her mom's closet, finds the summer<BR> dress she bought in Des Moines to wear for Robert.</P>
<P> FRANCESCA (V.O.)<BR> We were bound together as tightly as<BR> two people can be. If it hadn't been<BR> for him, I don't think I would have<BR> lasted on the farm all these years.<BR> Remember that dress of mine you<BR> wanted, Carolyn -- the one you said I<BR> never wore. Well, I know I was silly.<BR> But to me, it was as if you were<BR> asking to wear my wedding dress to go<BR> to the movies.</P>
<P> Carolyn smiles as she holds the dress before her.</P>
<P> INT. MOTEL - DAY</P>
<P> A tired Michael finds his way through the motel to his room.</P>
<P> FRANCESCA (V.O.)<BR> After reading all this, I hope you<BR> can now understand my burial request.<BR> It was not the ravings of some mad<BR> old lady. I gave my life to my<BR> family. I wish to give Robert what is<BR> left of me.</P>
<P> INT. MOTEL ROOM</P>
<P> Michael enters to find his two children watching TV and an<BR> angry Betty folding clothes.</P>
<P> CHILDREN<BR> Hey, Dad!</P>
<P> He looks at them lovingly, then at Betty who angrily motions<BR> for him to follow her into the bedroom.</P>
<P> She slams the door behind him and talks in a irate whisper.</P>
<P> BETTY<BR> You have been out all night long! Do<BR> I have a right to ask where you've<BR> been or is this a family secret?</P>
<P> Michael just looks at her. He gently takes her hand.</P>
<P> MICHAEL<BR> No. No more secrets.</P>
<P> He kisses her hand. Betty is floored.</P>
<P> MICHAEL (cont'd)<BR> Do I make you happy, Betty?<BR> (she is stunned)<BR> Because I want to. I want to more<BR> than anything.</P>
<P> He gently kisses her cheek then embraces her. Betty -- for the<BR> first time in her life -- is utterly speechless.</P>
<P> INT. JOHNSON BEDROOM</P>
<P> Wearing her mother's dress, Carolyn sits on the bed holding<BR> the phone, waiting for Steve to pick up. In her other hand,<BR> she holds the divorce lawyers card.</P>
<P> CAROLYN<BR> (on the phone)<BR> Hi, Steve? It's me. Good. You?...<BR> Listen, we have to talk... Well,<BR> how about you?... Uh, no -- I've<BR> decided I'm going to stay for a<BR> while... I don't know how long...<BR> No, I won't be coming back...<BR> I'm not angry, Steve. I'm not angry<BR> at all.<BR> (smiles)</P>
<P> CUT TO:</P>
<P> EXT. ROSEMAN BRIDGE - DAY</P>
<P> Michael and his family stand beside Carolyn and a Priest.</P>
<P> FRANCESCA (V.O.)<BR> "I gave Lucy his photography book. If<BR> you're interested, take a look. If my<BR> words still leave something unclear,<BR> perhaps his pictures can illuminate.<BR> After all, that's what an artist does<BR> best... "</P>
<P> Michael receives the urn from the priest. He and Carolyn walk<BR> away from the group towards the bridge. They stop. Carolyn<BR> removes the lip. Michael sets his mother's ashes free.</P>
<P> FRANCESCA (V.O.)<BR> "I love you both with all my heart.<BR> Do what you have to, to be happy in<BR> this life. There is so much beauty."</P>
<P><BR> THE END</P>
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