EXT. PAY PHONE, GAS STATION - LATE MORNING
Francesca's note is opened in Robert's hand. Her phone numberis written after the "P.S." He stands in the pay phonegetting a busy signal from Francesca's line. He hangs up.
CUT TO
INT. JOHNSON HOUSE - DAYFrancesca, dressed and packed, prepares to leave. She checksher purse to make sure she's got everything. She grabs herbag and exits.
A few beats later, the phone rings. But she doesn't return.
It rings again. We hear Francesca's truck door open andclose. It rings again. We think Francesca is on her way,until
We suddenly hear her burst into the house and see her leapfor the phone.
FRANCESCAHello
INTERCUT --INT. SLOW BEND SALOON/RESTAURANT - DAYRobert is at another pay phone.
ROBERTFrancesca
FRANCESCA(out of breath)Yes! Hi.
ROBERTAm I interrupting anything
FRANCESCANo. I was just... No.
ROBERTI'm sorry I didn't call sooner, but Ijust read your note. I stuffed itinto my pocket. The light was fadingand I had to get my shot.
FRANCESCA(relieved)The light was fading. Huh-huh.
ROBERTI would love to come for dinner.
FRANCESCA(smiles)Wonderful. Uh...
ROBERTListen, I have to shoot Cedar Bridgeuntil a little after sunset. I wanta few night shots. Would you like tocome with me? If you're interested...
FRANCESCAOh, sure. Great.
ROBERTI'll pick you up.
FRANCESCANo. I'll drive myself. I have a fewerrands. I'll meet you there.
ROBERTOkay. See you later.
FRANCESCAYeah. See you later.
Francesca is thrilled. Her mind races with a list of thingsshe must do before tonight. She opens a cabinet, removes acoffee can and empties it of her house money. She quicklycounts it, then shoves it into her purse.
EXT. ON THE ROAD - DAYFrancesca drives past a sign marking Des Moines as the nexttown.
INT. SLOW BEND SALOON/ RESTAURANT - DAYThe second of two eating establishments in Winterset. Alunch time crowd fills the place. Robert is seated at thecounter. He can sense their eyes on him, wondering who thisstranger is and what's he doing here. He knows the whisperedconversation is about him.
A MIDDLE-AGED COUPLE talk at table.
WIFEThelma told me he checked into theMotor Inn and the bill goes toNational Geographic Magazine.
HUSBANDNational Geographic? What the hell'she doing here? We ain't got no nakedpygmies to take pictures of.
WIFEHe's taking pictures of the bridges.
HUSBANDAin't no pygmies there either.
Robert wants to finish his lunch as quickly as possible. Atthat moment, someone enters the restaurant and all theconversation stops. He overhears one waitress turn to theother and whisper --WAITRESSGod. 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 mightthink, 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 onthe vibes in the room. He notices all the patrons stare thenturns away to whisper. The waitress behind the counter ignoresher. A customer eating at the counter places a bag on anempty stool beside her, so the Redfield woman can't sit downnear her.
Robert and the Redfield woman's eyes meet. She is clearlyuncomfortable. She turns, about to leave, when Robert clearshis cameras off of a stool next to him and offers
ROBERTGot room right here if you like.
She is surprised at his courtesy. Others are astounded. Somedisgusted. She accepts his offer and sits beside him.
REDFIELD WOMANThank you.
ROBERTHot out there today.
She nods and smiles. The waitress tosses a menu at her andslams down a glass of water, then moves on down the counter.
The Redfield woman tries to act casual, glancing through themenu. Robert subtly scans the room as all eyes are on them,then turn away.
Robert returns his glace back to the Redfield woman who isnow only pretending to read the menu. She is so embarrassed.
She wants to leave but can't move.
WAITRESSWell, are you ordering anything
Her harsh tone startles the Redfield woman as well as Robert.
Gathering her dignity, she responds.
REDFIELD WOMANNo. 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 WAITRESSI'd've thrown that water right in herface.
WAITRESSPoor Mrs. Delaney.
The waitress walks O.S. leaving the second waitress facingRobert, who looks at her curiously. The second waitress looksback as if to say, "What business is it of yours?" and exits.
CUT TO
EXT. DES MOINES - DAYA metropolis compared to Winterset.
Francesca exits a liquor store with a bottle of wine in apaper bag. She also carries a bag of groceries as she headsdown the street to her parked truck. She passes a DRESS SHOPand stops.
CUT BACK TO
EXT. WINTERSET - DAYRobert enters a general store. He buys a six pack of beerfor his cooler and approaches the counter for the Cashier.
CASHIERThat all
Robert nods. He decides to have some fun and test the waters alittle bit.
ROBERTIsn't it awful about poor Mrs.
Delaney
With this, the damn bursts -CASHIERTragic is more like it. The pain thatwoman has been subjected to by thatno-good husband. I never liked him.
Known him for years. People say he'squiet. Well, it's the quiet ones thatcan sneak up behind you and stab youin the back. I heard yesterday, thatshe confronted him. Gave him theultimatum and you know what he did?--(CONTINUES AS NEEDED)Robert stands astounded, listening to this diatribe of gossip.
CUT BACK TO
INT. DES MOINES DRESS SHOP - DAYFrancesca sits in her slip, alone in a dressing room, withseveral dresses strewn about. The panic of indecision has setin. She looks at herself in the mirror and begins to doubtthat seeing Robert is a good idea. Or perhaps she's imaginingsomething that isn't there. And what about Richard
MEMORY
A few years back. Francesca is dressed up for some formalaffairs. She heads down the stairs. Richard is waiting in thehall, in a suit and tie. He looks at her admiringly.
FRANCESCAReady. You have the keys
But Richard doesn't answer. He's just staring at her.
Francesca stops. Richard looks at her like a little boy.
FRANCESCA (cont'd)What's the matter
Richard is obviously impressed by how she looks, but he can'tsay anything. He just smiles shyly and shakes his head to saynothing is wrong and opens the door for her.
END OF MEMORY
Francesca feels guilty when a SALESWOMAN enters with a prettysummer dress.
SALESWOMANHow about this one
Francesca examines it. She likes it. But the guilt...
FRANCESCAI don't know. I haven't bought adress for myself in so long.
saleswoman nods)I mean, I'm just buying a dress. It'snot a special occasion or anything.
I'm just shopping. Just shopping fora new dress, that's all.
SALESWOMAN(completelyunderstands)That might work. And if he's stillmad, just tell him you could havedone better but you married him outof pity. That's always works for me.