EXT. IOWA LAKEFRONT - NIGHT
Michael and Carolyn have parked in a secluded area near alake. Some place where the moonlight and the scenery createa beautiful backdrop. They sit on the ground, leaving theheadlights and the radio on. They are getting drunk sharinga bottle of whiskey.
MICHAELI used to love this place. I used totake Kathy Reynolds down here.
CAROLYNYou never dated Kathy Reynolds
MICHAELNot officially. Her and Steve Kendallwere pinned at birth. But I was crazyabout her. And for about three months,I managed to catch her during her"exploring" stage.
CAROLYNI never knew that.
MICHAEL(sadly)Nobody did.
CAROLYNWas this during Betty
MICHAELEverything was during Betty. God wewere so young. Why did we think wehad to do it all so fast? I've nevercheated on Betty. Not once we weremarried, I mean.
CAROLYNDid we want to
MICHAELOnly about a thousand times. What doI do now? "What's good enough for momis good enough for me?"CAROLYN(pissed off)What gets me is I'm 46 years old.
I've been in this crummy fuckingmarriage -MICHAELCarolyn
CAROLYN(ignores him)-- for over twenty years becausethat's what I was taught -- you stickwith it! Normal people don't getdivorced. I can't remember the lasttime my husband made love to me sointensely that he transported me toEurope, for Christ's sake -- quitefrankly, I don't think he ever did
And now I find out in between bakesales, my mother was Anais Nin
MICHAELWhat about me! I feel really weird.
Like she cheated on me, not dad.
Isn't that sick? I don't mean Iwanted to sleep with her or anythingbut -- ya know -- being the only son.
You're sort of made to feel likeyou're the prince of the kingdom, yaknow? And in the back of your mind,you kind of think your mother doesn'tneed sex anymore because she has you.
CAROLYNYou're right -- that is sick.
They drink.
MICHAELIf she was so unhappy, why didn't sheleave
They look to each other without an answer. Then simultaneouslythey reach for the notebooks.
MICHAEL (cont'd)Can I read it now? I think I'm ready.
Carolyn offers him the book then lays back in a relaxedposition in order to listen. Michael flips to an ear markedpage.
MICHAEL (cont'd)What paragraph were you up to
CAROLYN(casually)She just made him perform oral sex onthe porch.
Michael freezes. He loses his nerve. Carolyn helps.
CAROLYN (cont'd)Go ahead, Michael. You've got to dothis. Just think, "Today I am a man."Michael nods and takes another swig. He reads
MICHAEL"I'd never had a man make love to methat way before."(stops)Oh Jesus.
continues)"I couldn't believe the feelingsbursting inside of me. As if I hadopened some forbidden Pandora's box."Camera begins to move to wide angle as Francesca takes over.
FRANCESCA"It seems, thinking about it now,that in those few days I lived acompletely different life as acompletely different woman. What wasrecognizable as me before Robert wasgone. We decided to spend Wednesdayaway from Winterset. Away fromMadison County. Away from pasturesand bridges and people too familiarand reminders too painful. We let theday take us where it wanted..."1965INT. DES MOINES MOVIE THEATER - DAYVIVIEN LEIGH is walking down a ships stairs in the 1965 film"SHIP OF FOOLS." She is alone on screen. She walks, slightlyintoxicated. Suddenly, Charleston music plays out of nowhereand she begins to dance, by herself, without any self-consciousness.
In the movie theatre, Robert sits with his arm aroundFrancesca like teenage lovers. Her head is nestled in hischest as she eats from a bag of popcorn. Robert barely keepshis eyes on the screen, staring at Francesca and stroking herhair.
EXT. DOWNTOWN DES MOINES STREET - DAYFrancesca and Robert walk hand-in-hand, window shopping andtaking in the sights. For Francesca, it is as if she isseeing everything for the first time.
INT. BOOK STORE - DAYRobert introduces Francesca to the photography section,showing her a book of one of his favorite photographers,Walker Evans. Francesca admires one photograph in particular-- a mother and child during the depression.
FRANCESCAOn that one is beautiful. Look attheir expressions. As if the cameraweren't on them at all. As if theyhad no strength left to hide whatthey were feeling.
ROBERTHe's a genius. They're notphotographs -- they're stories, entirehistories captured in moments.
FRANCESCAI bet you could do a book.
ROBERTNo. I couldn't.
FRANCESCAWhy do you say that
ROBERTBecause I already tried once.
Francesca is surprised. She senses his disappointment.
ROBERT (cont'd)It's no big deal. I know how to worka camera, how to make it "makepictures" -- but I don't know how tomake it make art.
laughs)At least that's what six publisherssaid. To take what we see of thisworld and give it back with a bit ofourselves in it. It's a mystery to me.
FRANCESCA(smiles, supportive)But you don't mind.
ROBERT(smiles)No, I don't mind.
She brushes his hair away from his face affectionately. As helooks at another book, she notices their reflection in amirror. She puts her arm through his. They look like a coupleto her -- two people who belong together.
INT. FANCY RESTAURANT - DAYFrancesca and Robert have an elegant lunch.
FRANCESCAWhat were you like when you wereyounger
ROBERT(smiles)Trouble. Why
FRANCESCA(laughs)I just wondered. Why were you trouble
ROBERTI had a temper.
FRANCESCAWhat were your parents like
Pause. Robert doesn't reply. She looks at him curiously.
ROBERTI can't do this, honey.
FRANCESCAWhat
ROBERTTry and live a lifetime beforeFriday. Cram it all in.
shakes his head)This is the first time either has mentioned their time clock.
Francesca nods, understandingly.
Across the room, Francesca notices A MOTHER having dessertwith her FIVE-YEAR-OLD DAUGHTER, a pretty little girl in afancy yellow dress. The mother rises and exits to the ladiesroom while the little girl continues eating a large sundae.
Francesca smiles. As the girl licks a spoon of fudge, shesees Francesca looking at her and smiles back. Robert watchesthe silent exchange as he eats. Francesca makes a funny faceat her. The little girl giggles as she spoons more ice-cream.
Unfortunately, she spoons too much and the ice-cream falls onher pretty dress. She tries to take it off her, but she slipsthrough her fingers and stains her even more. She looks atFrancesca as if she's about to cry. Francesca smiles.
FRANCESCAExcuse me a minute.
Robert watches her cross to the little girl and kneel besideher. He sees her consoling the little girl while taking anapkin and dabbing it in the water glass.
She helps the girl carefully wipe away the mess, all thewhile calming her. The mother re-enters the scene and shakesher head at her daughter. The daughter is afraid of beingreproached but the mother is smiling. She and Francesca begintalking. She thanks Francesca. Robert sees the two mothersexchanging a moment of common experience and brieffriendship. The mother and daughter take their leave asFrancesca says goodbye and returns to the table. Robert looksat her lovingly. Francesca returns to her meal, but suddenlyshe is no longer hungry. Robert senses something is upsettingher.
ROBERTYou're somewhere else, where
FRANCESCAJust that it's been a perfect day andthat I'd like to skip my fancydessert and go home after this.
ROBERTUh-huh. And
FRANCESCA(beat)You're right, you know. We don't havemuch time.
Uncomfortable silence hangs between them. A waiter passes by.
ROBERTCheck, please.
OS, as the MOTHER YELLS
MOTHERREBECCA! REBECCA