FRANCESCA
This is ridiculous. Stupid!
She replaces the bottle and heads for the bathroom quite composed, then, without warning, makes an immediate 180
degree turn and heads back to the window to sneak a peek.
Seeing him, she gasps.
FRANCESCA (cont'd)
Oh my God.
Watching him, she is possessed by some very frightening feelings and runs from the window, into the bathroom, closing
the door behind her.
EXT. JOHNSON HOUSE - EARLY EVENING
Francesca is gathering some vegetables for dinner, from her garden. Robert is at his truck, in his pants, changing into
a fresh shirt.
INT. KITCHEN - LATER
Francesca is cutting up vegetables. Robert enters with some of his gear.
ROBERT
I'm just going to put some of this film in your fridge. Heat isn't too forgiving out there.
He does. On the radio, TONY BENNETT sings "WRAP YOUR TROUBLES IN DREAMS." Robert approaches Francesca.
ROBERT (cont'd)
Can I help?
FRANCESCA
(surprised)
Help cook?
ROBERT
Sure. Men cook. We don't all eat bananas with our feet, ya know.
FRANCESCA
(laughs)
Okay.
They stand side by side. Francesca hands him a stack of carrots and a knife.
MONTAGE:
Tony Bennett's up-tempo tone plays over a series of images of Francesca and Robert talk and prepare dinner.
-- Four hands side by side, cutting and chopping. Occasionally, a hand brushes against another as it reaches
for something.
-- Robert's hand gently touching Francesca's waist as he reaches around her for an onion.
-- Robert lighting Francesca a cigarette.
-- Robert brings in his cooker through the screen door. HE MAKES SURE IT DOESN'T SLAM. FRANCESCA MAKES A NOTE OF THIS.
-- Robert opens the cooler and removes two cold beers, tossing one to Francesca.
-- Francesca opening a new tablecloth and spreading it out on the table.
-- Francesca handing Robert plates from the shelf, their fingers only barely touching.
END OF MONTAGE
11
INT. KITCHEN - EVENING
Robert and Francesca are in the middle of dinner. But instead of the usual silence that surrounds Johnson family eating,
Francesca is mesmerized by Robert as he manages to eat and tell a story. The scene begins with a LAUGH FROM FRANCESCA.
ROBERT
(laughs)
... No, wait, it gets better.
He stands up and acts it out for her.
ROBERT (cont'd)
You have to get the full picture here. I have three cameras around my neck, a tripod in one hand and my pants down around my ankles. I thought this was a private bush. I look up and this gorilla, this female gorilla, is staring at me with what can best be described as the most lascivious expression I've ever seen on a female with so much body hair.
(Francesca laughs)
I freeze. 'Cause that's what they tell you to do. In this position. She comes towards me and... and she...
(he stops awkwardly)
FRANCESCA
What?
ROBERT
She starts sniffing me.
FRANCESCA
Oh my God...
(laughs)
You're blushing.
ROBERT
It's still a very sensitive memory for me.
FRANCESCA
Then what happened?
ROBERT
We got engaged.
FRANCESCA
Oh you!
She throws a napkin at him.
FRANCESCA (cont'd)
None of this is true!
ROBERT
No, it is. Except for the engagement part. She wouldn't have me, although I still get a Valentine every year.
Francesca is laughing so hard she can't breath. Robert loves making her laugh.
FRANCESCA
You ought to write these stories down.
ROBERT
Nah. I've tried. My writing's too technical, I think. Problem of being a journalist too long is you stop giving yourself permission to invent. I better just stick to making pictures.
FRANCESCA
"Making pictures." I like that. You really love what you do, don't you?
ROBERT
(nods, smiles shyly)
I'm kind of obsessed by it, actually.
FRANCESCA
Why, do you think?
ROBERT
I don't know if obsessions have reasons. I think that's why they're obsessions.
FRANCESCA
You sound like an artist.
ROBERT
No. I wouldn't say that. National Geographic isn't exactly the hub of artistic inspiration. They like their wild life in focus and without any personal comment. I don't mind really. I'm not artist. I'd faced that a long time ago. It's the course of being well-adjusted. I'm too normal.
FRANCESCA
(supportively)
I don't think you're normal.
He looks at her in surprise. She catches herself again.
FRANCESCA
I didn't mean that the way it sounded.
ROBERT
Well, let's just call it a compliment and move on.
(changes subject)
Did you love teaching?
FRANCESCA (cont'd)
Sometimes. When there was a particular student who made a difference. I know they're all supposed to, but it's not
true. You tend to single out one or two you think you can contribute something to.
ROBERT
And did you?
FRANCESCA
I'd like to think so. I know one of them went on to Medical school.
ROBERT
Why did you stop?
FRANCESCA
My children. And Richard didn't like my working.
ROBERT
Do you miss it?
FRANCESCA
I don't know. I've never thought about it... what was the most exciting place you've ever been to? Unless you're tired of talking about it.
ROBERT
You're asking a man if he's too tired to talk about himself? You don't get out much, do you?
Francesca smiles, a little embarrassed.
ROBERT
I'm sorry. That was...
FRANCESCA
(overlapping)
No. It's all right. I just meant, it might be a little dull for you, telling all this to some housewife in the middle of nowhere.
ROBERT
This is your home. It's not nowhere. And it's not dull.
Francesca smiles again, this time relieved.
ROBERT
Let's see -- my favorite place...
Francesca settles in to listen, never taking her eyes off of him.
ROBERT (cont'd)
Well, it's the obvious choice, but I think I'd have to say Africa. It's another world. Not just the people and the cultures but the land, the colors you see at dawns and dusks -- and the life there. It charges every molecule of air.
Francesca is fascinated, being drawn into his imagery.
ROBERT (cont'd)
It's tangible -- the moment to moment of life and death, the co-habitation of man and beast, of beast and beast,
who'll survive, who won't -- and there's no judgement about it. No right or wrong or imposed morality. It's just life. It's a voyeurs paradise really because those animals don't want anybody in their business. You can watch but at a distance.
(excited)
I remember one time I was on a truck headed for the Niger.
Lights begin to dim as Francesca is so taken in by his story, she begins to actually see what he is describing.
ROBERT (cont'd)
We were driving north. The truck was old so I guess the sound of the motor muffled this kind of rumbling in the distance -- until finally, it was upon us like, like a hundred thunder claps all at once...
CU on FRANCESCA as WE BLEND THE SOUNDS OF AFRICA and --
CUT TO:
EXT. AFRICA - DAY
Robert and a driver are in a truck driving north. Robert turns to look out the window and sees:
A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA are running in the grasslands to the right of the truck. Robert
excitedly instructs the driver:
ROBERT
Get us closer!!
The driver veers off towards the stampede as Robert opens his door and makes his way to the flatbed part of the truck with his camera. The truck takes its position within this breathtaking force of wildlife, as giraffes, zebras and
gazelles surround it -- all going in the same direction.
Robert stands in the truck, shooting as fast as he can. The truck races to keep up with the animals. Robert is so pumped
he can hardly catch his breath. Suddenly, the force and beauty of these creatures causes him to lower his camera. He
is unable to film it because it overwhelms him. He just stands there in awe and lets out a primal scream. The animals
gradually veer off to where the truck can no longer follow.
Robert watches them disappear into the distance.
CUT BACK TO:
INT. JOHNSON KITCHEN - NIGHT
Francesca has seen all of this in her mind. Robert smiles at her, sensing how in tune with the story she was.
FRANCESCA
My God. How I'd love to see that.
ROBERT
They have safaris for tourists now. Maybe you can convince your husband.
Francesca smiles. There is an awkward pause between them.
ROBERT (cont'd)
It's a beautiful night. Would you like to go for a walk?
FRANCESCA
Well, it's kind of buggy out there.
ROBERT
(rises)
Have no fear. This Shoshone Medicine Woman taught me how to make bug repellent tea out of tree root.
FRANCESCA
You drink bug repellent?
ROBERT
No, you rub it on you. I have some in the truck. Don't go away.
She shakes her head. He runs out the screen door, not letting it slam. Francesca looks like a teenager with first date
excitement.
12
EXT. PASTURE - NIGHT
Francesca and Robert walk through the pasture. She sniffs her arm.
FRANCESCA
Smells like dirt.
ROBERT
You get used to it.
FRANCESCA
When?
ROBERT
(laughs)
You want to go back in?
FRANCESCA
No. I'm all right. It's working.
Silence. They walk. It is a beautiful night.
ROBERT
You've got it all right here, you know. It's just as beautiful as any other place I've seen. God, it knocks me out.
FRANCESCA
What?
ROBERT
(indicating the night)
This "... Of what I call God and fools can Nature." Who wrote that?
FRANCESCA
Umm, I don't know. I can look it up.
ROBERT
I'd appreciate it. I like knowing who I'm stealing from. If you can't create art I think the least you can do is recognize it around you, don't you think? There is...(genuinely affected)... so much beauty.
She watches him with great appreciation. He smiles at her. Instead of looking away, their eyes remained locked for a
moment. There is clearly an attraction. They simultaneously look away and continue walking.
Francesca's heart is beating a mile a minute yet she can't deny she is enjoying herself. Walking side by side in
silence, Francesca turns back occasionally to look at her house as they get further away from it. Suddenly, the more
distant the house becomes, the more frightened she starts to feel. Something inside her knows she's going too far with
this man -- too far from home. Although a part of her wants it, she is surprised to find a larger part of her finds
too unknown. She stops.
ROBERT (cont'd)
What's wrong?
Francesca looks confused for a moment, not knowing what she wants. She can't move. She searches for a way out.
FRANCESCA
Would you like some coffee? Or maybe, some brandy?
Somehow Robert can sense her uneasiness. He obliges.
ROBERT
How about both?
INT. KITCHEN - NIGHT
Francesca moves about the kitchen preparing coffee -- dropping the coffee pot basket, spilling the grounds. She acts tense. Robert sits at the table opening the brandy bottle Francesca almost opened the night before, aware of her mood.
Francesca gets the coffee going then sets the table with cups and saucers.
ROBERT
You sure you won't let me help you with those dishes?
FRANCESCA
(coldly)
No. I'll do them later.
ROBERT
Francesca?
FRANCESCA
What?
ROBERT
Are you all right?
FRANCESCA
Yes.
ROBERT
Francesca?
FRANCESCA
What?
ROBERT
We're not doing anything wrong, do you.
Francesca freezes. He has read her mind again.
ROBERT (cont'd)
(smiles)
Nothing you can't tell your children about.
Once again, he relieves her of fear and anxiety. He hands her a glass of brandy...
CUT TO:
1995
INT. KITCHEN - DAY
Carolyn and Michael have come to the end of a notebook.
MICHAEL
He's getting her drunk. That's what happened. Jesus, maybe he forced himself. That's why she couldn't tell us.
CAROLYN
Oh, he did not. He's such a nice guy.
MICHAEL
Nice? He's trying to sleep with somebody's wife.
CAROLYN
I don't think so. Not yet anyway. And besides, something like that doesn't make you a bad person. He reminds me
of Steve in a way. Steve's weak, immoral and a liar but he's still a real nice guy. He just shouldn't be married.
(laughs)
At least not to me. You getting hungry? I'm hungry.
Michael nods, then speaks with sincere compassion.
MICHAEL
I had no idea it's gotten that bad, sis.
CAROLYN
Oh, don't feel sorry for me. Please. No one's forcing me to stay.
MICHAEL
Then why do you?
CAROLYN
And do what? Live alone? Go back to school? Find someone else? Start a magazine for confused woman? ... What if I can't do any of those things?
Michael can't answer her. Carolyn looks through the cabinets.
CAROLYN (cont'd)
There's not much here to make.
MICHAEL
Let's go into town and get a bite. We'll take the books with us.
Carolyn nods. Michael looks for the next notebook, checking the dates.
INT. CAR - EARLY EVENING
Michael drives as Carolyn opens the next notebook and reads:
FRANCESCA (V.O.)
"We sat sipping brandy. I thought if anybody walked through the door now there'd be no explaining it. But I didn't care. And I loved that I didn't care. I almost wanted it to happen. Then there'd be no turning back. I wanted to be like him. I lived this life of his. We talked about his wife and I was jealous -- not of her -- but of his leaving. His fearlessness. He knew what he wanted. How did he do that.
