CUT BACK TO:
1965
INT. LIVING ROOM - NIGHT
Francesca sips her brandy. Robert sits in the easy chair.
FRANCESCA
Do you mind if I... ask you why you got divorced?
ROBERT
Not at all. I wasn't around much... So why did I get married? Well, I thought it was a good idea at the time. Have a home base. Roots. You can get lost moving around so much.
FRANCESCA
So what happened?
ROBERT
I never got lost. For some reason, I'm more at home everywhere than at one place. So I decided I'll think of myself as some kind of world citizen. I belong everywhere and nowhere. I'm kin to everyone, and no one in particular. See, once you get into the habit of not needing anyone, it's kind of hard to break.
FRANCESCA
You must get lonely at times.
ROBERT
Never touch the stuff. I've got friends all over the world. Good friends I can see when I want, if I want.
FRANCESCA
Woman friends, too?
ROBERT
I'm a loner, I'm not a monk.
Francesca averts her eyes, before continuing her investigation.
FRANCESCA
You really don't need anyone?
ROBERT
No, I think I need everyone! I love people. I want to meet them all! I just think there are too many out there saying "This is mine." or "She's mine." Too many lines have been drawn. World's breaking apart because of man's weakness for some testosterone conquests over territory and power and people. He wants control over what deep down he knows he has no control over whatsoever and it scares him silly.
FRANCESCA
Why doesn't it scare you?
ROBERT
I embrace Mystery. I don't know what's coming. And I don't mind.
FRANCESCA
Do you ever regret it? The divorce,I mean.
ROBERT
No.
FRANCESCA
Do you ever regret not having a family?
ROBERT
Not everybody's supposed to have a family.
FRANCESCA
But -- how can you just live for what you want? What about other people?
ROBERT
I told you, I love other people.
FRANCESCA
But no one in particular.
ROBERT
No. But I love them just the same.
FRANCESCA
But it's not the same.
ROBERT
That's not what you're saying. I know it's not the same. What you're saying is, it's not as good. Or it's not as normal or proper.
FRANCESCA
No, I'm just saying --
ROBERT
(interrupting)
I'm a little sick of this American Family Ethic everyone seems to be hypnotized by in this country. I guess you think I'm just some poor displaced soul doomed to roam the earth without a self-cleaning oven and home movie.
FRANCESCA
(irritated)
Just because someone chooses to settle down and have a family doesn't necessarily mean they're hypnotized. Just because I've never seen a gazelle stampede doesn't mean I'm asleep in the world.
ROBERT
Do you want to leave your husband?
Francesca is completely stunned and thrown off guard.
FRANCESCA
No. Of course not.
(rising, upset)
13
Beat. Awkward silence. Suddenly there is tension between them.
ROBERT
My mistake. I apologize.
FRANCESCA
What made you ask such a question?
ROBERT
I thought that's what we were
doing -- asking questions.
FRANCESCA
(defensive)
I thought we were just having a conversation. You seem to be reading all this meaning into it. Meanings I must be too simple to, uh... interpret or something.
ROBERT
I already apologized.
Silence. Robert remains seated. Francesca remains at the sink.
ROBERT (cont'd)
It's getting late.
(rises)
Thank you for dinner.
Pause. Francesca feels badly.
FRANCESCA
Listen, I'm sorry I --
ROBERT
No, no. Forgive me. I made a mistake. It was an inappropriate thing to ask.
FRANCESCA
(shrugs it off, then:)
... I feel like something's been spoiled now.
Robert smiles and crosses to her. He takes her hand into both his hands.
ROBERT
It's been a perfect evening. Just the way it is. Thank you.
Francesca smiles. The possibility of a kiss hangs in the air between them until Robert turns to get his film out of the
fridge. As he exits through the screen door, he stops.
ROBERT (cont'd)
One thing though -- don't kid yourself, Francesca. You're anything but a simple woman.
He smiles and exits, catching the screen door before it slams.
Francesca doesn't move for a moment, then crosses to the door as if to run after him when she is stopped by the PHONE
RINGING. She picks up.
FRANCESCA
Hello?
RICHARD (on phone)
Franny?
FRANCESCA
Richard, hi.
RICHARD (on phone)
How are you?
FRANCESCA
Fine. Everyone settled in okay?
RICHARD (on phone)
Just fine. We're all in one room. Michael's on the couch and Carolyn's...
(continues...)
She hears Robert's truck door open and close. She hears the motor being turned on. She half-listens to Richard.
FRANCESCA
Uh-uh... good... Hmmm...
She hears the truck driving away as Richard continues:
RICHARD (on phone)
We got our position in the Fair. Not bad although I would have liked to be third which is not too early and not too late. But I told Carolyn not to worry...
(continues, if needed)
CUT TO:
INT. FRANCESCA BEDROOM - NIGHT
Francesca exits her bathroom, in her bathrobe, shutting the light. She is brushing her hair and thinking of Robert. She sits on the edge of the bed. She sees her reflection in a mirror on the closet door.
She stands and takes her robe off. She steps forward to look at her body -- running her hands gently around her curves, her neck, down the side of her thighs, her face, her breasts.
She shuts off the lights and gets into bed under the covers. She closes her eyes and tentatively begins to explore her body. It is awkward for her but we can see her trying to let herself go. Until she opens her eyes in frustration. It's no good. She can't do it. She feels ashamed. The shame turns into anger.
INT. LIVING ROOM - NIGHT
Francesca sits at a writing table with two large books opened before her containing literary quotations. She searches for the line Robert mentioned in the pasture.
A note sits before her as well. On it reads: "Robert. Again, I'm sorry for last night. Would you like supper again tonight after you're finished. I'd like it very much if I were one of those good friends you have in the world. Anytime is fine -- Francesca... P.S. By the way, "Of what I call God and Fools call Nature" was..." She writes the name BROWNING.
CUT TO:
EXT. ROSEMAN BRIDGE - NIGHT
Francesca is tacking a note for Robert to the bridge. She considers taking it down a moment later, but decides not to. She gets back into her truck and drives away.
WIDE ANGLE OF BRIDGES - DAWN
DISSOLVE TO:
The view of the bridge goes in and out of focus until we realize we are seeing it through Robert's camera lens.
Once the focus it sets, Robert notices something is tacked onto the bridge. He crosses to it hurriedly -- time for the perfect shot is running out -- pulls it down, thumbtack and all, and shoves it into his pocket, unread. He returns to
his camera to take his shots.
CUT TO:
INT. JOHNSON BEDROOM - MORNING
Francesca is making her bed when she hears a truck driving down the road. She looks out the window to see:
Robert's truck. However, it passes right by her house.
Francesca's spirit sinks. She feels silly, ashamed and rejected. She sits on the bed.
FANTASY:
Inside the truck, Robert drives by the house and chuckles to himself at the foolishness of some boring, frustrated
housewife. Francesca's note has been crumbled and stuffed into a dirty ashtray.
END OF FANTASY:
Francesca enters her bathroom, slamming the door behind her.
INT. KITCHEN - LATER THAT MORNING
Francesca sits at the kitchen table in her bathrobe with a cup of coffee -- a comic portrait of shame and self-pity. Her hair is a mess, she hasn't showered or dressed and she stares into space while listening to the bluesy Chicago radio
station.
The sink is full of dirty dishes she refuses to clean. Beside it is an ashtray of butts from the night before. She carries it over to the table and begins fingering for a butt to smoke in desperation. She lights up and stares into space.
FANTASY:
Robert is in Africa talking to TWO ZULU TRIBE MEMBERS. THE DIALOGUE IS SUBTITLED IN SWAHILI:
ROBERT
(laughs)
... and then she tacks this note on the bridge asking me to have dinner with her again!
One Zulu turns to the tower and remarks.
ZULU
How pathetic.
END OF FANTASY:
Francesca put out her cigarette and suddenly gets an idea. She goes to the phone, reads a number off of a slip of paper
and dials.
FRANCESCA (on phone)
Hello? Is Richard Johnson staying there?... No, I don't want to leave a message. Maybe you can help me -- I'm his wife and I live in Winterset Iowa -- I wanted to surprise them by driving up tonight. What would be the fastest route, the Interstate?... Huh-huh... Hold it, let me get a pen.
CUT TO:
14
EXT. PAY PHONE, GAS STATION - LATE MORNING
Francesca's note is opened in Robert's hand. Her phone number is written after the "P.S." He stands in the pay phone
getting a busy signal from Francesca's line. He hangs up.
CUT TO:
INT. JOHNSON HOUSE - DAY
Francesca, dressed and packed, prepares to leave. She checks her purse to make sure she's got everything. She grabs her
bag and exits.
A few beats later, the phone rings. But she doesn't return. It rings again. We hear Francesca's truck door open and
close. It rings again. We think Francesca is on her way, until:
We suddenly hear her burst into the house and see her leap for the phone.
FRANCESCA
Hello?
INTERCUT --
INT. SLOW BEND SALOON/RESTAURANT - DAY
Robert is at another pay phone.
ROBERT
Francesca?
FRANCESCA
(out of breath)
Yes! Hi.
ROBERT
Am I interrupting anything?
FRANCESCA
No. I was just... No.
ROBERT
I'm sorry I didn't call sooner, but I just read your note. I stuffed it into my pocket. The light was fading and I had to get my shot.
FRANCESCA
(relieved)
The light was fading. Huh-huh.
ROBERT
I would love to come for dinner.
FRANCESCA
(smiles)
Wonderful. Uh...
ROBERT
Listen, I have to shoot Cedar Bridge until a little after sunset. I want a few night shots. Would you like to come with me? If you're interested...
FRANCESCA
Oh, sure. Great.
ROBERT
I'll pick you up.
FRANCESCA
No. I'll drive myself. I have a few errands. I'll meet you there.
ROBERT
Okay. See you later.
FRANCESCA
Yeah. See you later.
Francesca is thrilled. Her mind races with a list of things she must do before tonight. She opens a cabinet, removes a coffee can and empties it of her house money. She quickly counts it, then shoves it into her purse.
EXT. ON THE ROAD - DAY
Francesca drives past a sign marking Des Moines as the next town.
INT. SLOW BEND SALOON/ RESTAURANT - DAY
The second of two eating establishments in Winterset. A lunch time crowd fills the place. Robert is seated at the
counter. He can sense their eyes on him, wondering who this stranger is and what's he doing here. He knows the whispered
conversation is about him.
A MIDDLE-AGED COUPLE talk at table.
WIFE
Thelma told me he checked into the Motor Inn and the bill goes to National Geographic Magazine.
HUSBAND
National Geographic? What the hell's he doing here? We ain't got no naked pygmies to take pictures of.
WIFE
He's taking pictures of the bridges.
HUSBAND
Ain't no pygmies there either.
Robert wants to finish his lunch as quickly as possible. At that moment, someone enters the restaurant and all the
conversation stops. He overhears one waitress turn to the other and whisper --
WAITRESS
God. It's Lucy Redfield.
Both the Waitress and Robert (though more subtly) turn to see:
THE REDFIELD WOMAN. But instead of being the harlot we might think, she's actually a rather plain, demure looking woman -- not nearly as fancy or pretty as Mrs. Delaney herself.
As she crosses the counter, Robert immediately picks up on the vibes in the room. He notices all the patrons stare then
turns away to whisper. The waitress behind the counter ignores her. A customer eating at the counter places a bag on an
empty stool beside her, so the Redfield woman can't sit down near her.
Robert and the Redfield woman's eyes meet. She is clearly uncomfortable. She turns, about to leave, when Robert clears his cameras off of a stool next to him and offers:
ROBERT
Got room right here if you like.
She is surprised at his courtesy. Others are astounded. Some disgusted. She accepts his offer and sits beside him.
REDFIELD WOMAN
Thank you.
ROBERT
Hot out there today.
She nods and smiles. The waitress tosses a menu at her and slams down a glass of water, then moves on down the counter. The Redfield woman tries to act casual, glancing through the menu. Robert subtly scans the room as all eyes are on them,
then turn away.
Robert returns his glace back to the Redfield woman who is now only pretending to read the menu. She is so embarrassed.
She wants to leave but can't move.
WAITRESS
Well, are you ordering anything!?
Her harsh tone startles the Redfield woman as well as Robert. Gathering her dignity, she responds.
REDFIELD WOMAN
No. Thank you. I've changed my mind.
She politely nods to Robert, gathers her things and exits. Robert looks to the waitress, as a SECOND WAITRESS enters.
SECOND WAITRESS
I'd've thrown that water right in her face.
WAITRESS
Poor Mrs. Delaney.
The waitress walks O.S. leaving the second waitress facing Robert, who looks at her curiously. The second waitress looks
