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.

　　RO............