Bridges of Madison County - PERUSAL Libretto/Vocal Book

B o o k b y

M a r s h a N o r m a n

M u s i c & Ly r i c s b y

J a s o n R o b e r t B r o w n

B a s e d O n T h e N o v e l b y R o b e r t J a m e s W a l l e r

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ys f

FRANCESCA late 30’s/early 40’s – a beautiful Italian woman, generous, luminous, and funny, now married to a farmer and living in Iowa

RICHARD “BUD” JOHNSON Francesca’s husband – mid 40’s, an Iowa farmer, a good guy, diligent and dependable, but always exhausted and irritated that things haven’t gotten easier.

ROBERT KINCAID — 40-50 – a ruggedly handsome, worldly, visionary photographer

MARIAN early 30’s – Robert’s former wife – a musician, may play other women, including

CHIARA Francesca’s sister still living in Italy.

STATE FAIR SINGER

MICHAEL Francesca and Bud’s son, age 16

CAROLYN Francesca and Bud’s daughter – age 14

MARGE 45-60 – Francesca’s neighbor, sassy and nosy

CHARLIE 60’s – Marge’s husband

In the original concept of the show, these eight actors played all of the ENSEMBLE roles as well, but it is entirely acceptable to the authors to include other actors

ENSEMBLE:

TOWNSPEOPLE

WAITRESS

FIDDLE BAND

STATE FAIR PATRONS

GINNY (etc.)

1 . To B u i l d A H o m e

2 . H o m e B e f o r e Yo u K n o w I t ........................................................................4

3 . Te m p o r a r i l y L o s t ..................................................................................... 1 2

4 W h a t D o Yo u C a l l A M a n L i k e T h a t ? 1 4

4 a K i t c h e n Tr a n s i t i o n # 1 1 6

5 Yo u ’ r e N e v e r A l o n e 2 1

6 . A n o t h e r L i f e ............................................................................................ 2 8

7 . Wo n d e r i n g ............................................................................................... 3 2

8 . L o o k A t M e .............................................................................................. 3 5

9 T h e Wo r l d I n s i d e A F r a m e 3 9

9 a S t a t e F a i r Tr a n s i t i o n

1 0 S o m e t h i n g F r o m A D r e a m

1 0 a . K i t c h e n Tr a n s i t i o n # 2 ............................................................................. 4 6

1 0 b . B i g B a n d .................................................................................................. 4 9

11 . G e t C l o s e r / F a l l i n g I n t o Yo u ................................................................. 5 0

ACT 2

1 2 . S t a t e R o a d 2 1 / T h e R e a l Wo r l d / W h o We A r e ................................... 5 3

1 2 a . Tr a n s i t i o n ................................................................................................ 5 9

1 3 . A l m o s t R e a l ............................................................................................. 6 1

1 3 a M a r g e & C h a r l i e Tr a n s i t i o n 6 4

1 3 b B a c k To B e d 6 6

1 4 B e f o r e a n d A f t e r Yo u / A M i l l i o n M i l e s 6 8

1 4 a . R o b e r t L e a v e s .......................................................................................... 7 4

1 4 b . Tu r m o i l .................................................................................................... 7 9

1 4 c . S t e a l i n g t h e C a r ...................................................................................... 8 1

1 5 R e w i n d 8 4

1 6 W h e n I ’ m G o n e 8 6

1 6 a F r a n c e s c a A l o n e 9 0

1 7 . I t A l l F a d e s Aw a y ................................................................................... 9 2

1 8 . A l w a y s B e t t e r .......................................................................................... 9 4

1 9 . B o w s / E x i t M u s i c .................................................................................. 9 6

TIME: 1965

PLACE: Iowa and Italy

The set contains only what is necessary to suggest the places and the events of the story. Even the bridges themselves may be represented in images alone. Costumes will reveal the time and place. Projections may be used to give us a sense of Robert’s photographic style and skill. The piece may feel at times like a memory or a lucid dream, in that people can appear whenever anyone onstage thinks of them. The center of the world is Francesca herself, everything circles around her, though she is not really aware of this. If you asked her who the main character was, she would say it was Bud or the kids. But it isn’t. It is her story.

C T O N E

P R O L O G U E

Francesca appears from the darkness and sings her journey to America As people are mentioned, they take their places onstage.

# 1 T o B u i l d A H o m e F R A N C E S C A

T H E R E ’ S A B O AT T H AT L E Av E S F R O M N A P O L I

E v E RY T H u R S D AY I N T H E M O R N I N G

A N D A N E Rv O u S B R I D E C A N S H A R E A B E D

W I T H H E R S O L D I E R F R O M T H E S TAT E S .

F O R A W E E K , T H E O C E A N C A R R I E S T H E M

O v E R L O S T A N D C H u R N I N G WAT E R

A N D T H E Y L A N D I N N E W Y O R K H A R B O R

T H E N TO P E N N S Y LvA N I A S TAT I O N

W H E R E T H E Y B O A R D A T R A I N

T H AT S L I C E S L I K E A S C Y T H E

T H R O u G H T H E F I E L D S O F A M E R I C A .

T H I S I S A L B A N Y

T H I S I S B u F FA L O

T H I S I S C L E v E L A N D

T H I S I S S O u T H B E N D

T H I S I S C H I C A G O

T H I S I S O S C E O L A S TAT I O N

W H E R E A T R u C K W I L L TA K E T H E M

D E E P E R I N TO I O WA

TO W I N T E R S E T

A N D T H R E E H u N D R E D A C R E S

WA I T I N G TO B E TA M E D .

A N D B L A D E O F G R A S S B Y B L A D E O F G R A S S

A N D E A R O F C O R N B Y E A R O F C O R N

A N D B A L E O F H AY B Y D AY B Y D AY

T H E Y B u I L D T H E M S E Lv E S A H O M E .

A N D D AY B Y D AY A N D Y E A R B Y Y E A R ,

F R O M B O Y TO M A N , F R O M C A L F TO S T E E R ,

W H AT ’ S L O S T F R O M T H E R E M AY N O T G R O W H E R E ,

( F R A N C E S C A )

B u T C O M E S T H E S u N ,

L O O K W H AT T H E Y ’ v E D O N E :

T H E Y ’ v E B u I LT T H E M S E Lv E S A H O M E .

Years begin passing, from 1948 to 1950 to 1951 If this were a realistic set, a farmhouse would appear.

AT T W E N T Y- O N E , A G I R L B E G I N S

TO G R A S P T H E W O R L D A N D H O W I T S P I N S

S H E G R A B S A B O x O F S A F E T Y P I N S

A N D B u I L D S H E R S E L F A H O M E

A N D H O M E I S S A F E , A N D H O M E I S FA I R ,

T H E P O R C H , T H E B AT H , T H E K I T C H E N C H A I R ,

T H E S H A R P A N D u N FA M I L I A R A I R

T H AT B L O W B Y B L O W

S H E C O M E S TO K N O W

TO B u I L D H E R S E L F A H O M E

It is now 1965. Her husband BUD, 45, her son MICHAEL, 16, and her daughter CAROLYN, 14, come onstage FRANCESCA is 38 now

W I T H A S O N .

A N D A D A u G H T E R .

A N D A M I L L I O N M I L E S B E T W E E N

T H E F I R E S S H E u S E D TO S E T

T H E H E A RT S S H E u S E D TO B R E A K

T H E L I E S S H E u S E D TO T E L L

A N D T H E W O M A N S H E G R E W u P

TO B E .

A A A H …

A A A H

A A A H A A A H … A A A H

A A A H

F R A N C E S C A

I L E A R N TO S P E A K , I L E A R N TO S E W, I L E A R N TO L E T T H E L O N G I N G G O ,

C O M P A N Y

T H E T R A C TO R W H E E L , A F O O T O F S N O W,

I B u I L D M Y S E L F A H O M E

C O M P A N Y A H A H A H

She walks offstage, as though entering her house, or the details of the house arrive to cover her exit

Music up and lights on inside Francesca’s Iowa farmhouse, early on what will be a hot August day.

BUD enters and bangs on Carolyn’s door He’s normally not an emotional man, but he is really irritated.

Carolyn! We are ready to go

He bangs again.

Your steer is in his trailer and it’s all hooked up You’re welcome But we have to be at the fairgrounds in Indianapolis by 8, which means we have to leave NOW.

I’m not going!

He goes downstairs Francesca enters, carrying a load of laundry She is not hurried and intense like the rest of them. But she is dressed as a farm wife now, not an Italian girl Bud continues gathering up things as he tries to get on the road

What is Carolyn upset about?

Did you and Carolyn have a fight?

(running by)

Oh, I want that shirt!

He goes after the shirt in the stack, nearly upsetting the whole thing, trying not to drop the lunch But Francesca manages it gracefully and all is well

That’s Carolyn’s!

Y O u N O T I C E T H AT W E ’ R E G O N E

T H R E E D AY S I S N ’ T v E RY L O N G ,

A N D S O I F A N Y T H I N G G O E S W R O N G ,

J u S T H O L D O N T I G H T

T H E E N D ’ S I N S I G H T

A N D W E ’ L L B E H O M E

F R A N C E S C A

Tell me what you said to Carolyn

I didn’t say anything

I’m sure she’s just nervous

B U D

F R A N C E S C A

B U D

She’s won both the state and the region with this steer What’s she got to be nervous about?

F R A N C E S C A

She’s nervous because this is the Nationals.

—

B U D

WA I T F R A N !

W h a t ?

I D O N O T T H I N K S O , M I C H A E L

R I G H T N O W I A M TA L K I N G TO

Y O u R M O T H E R !

M I C H A E L , G E T T H E L u N C H !

W H AT D I D I S AY ?

G O G E T T H E L u N C H !

J e s u s !

Ye s y o u a re !

C A R O L Y N

B U D

I ’ v E G O T TO M O v E I T O u T R I G H T N O W,

I D O N ’ T H Av E T I M E TO S I T A N D WA I T,

W E G E T A W O R S E S P O T I N T H E S TA L L

F O R E v E RY M I N u T E T H AT W E ’ R E L AT E !

A N D I C A N S E E B Y H O W Y O u ’ R E L O O K I N ’

T H AT Y O u T H I N K I T ’ S R E A L LY G R E AT

T H AT W E ’ L L B E H O M E B E F O R E Y O u K N O W I T.

W E ’ L L B E H O M E

A N D T H E N I W O N ’ T D O T H I S A G A I N .

Y E A H S u R E , Y O u ’ R E L A u G H I N AT M E N O W,

W H E N I G O T T W O K I D S A N D A C O W

M I C H A E L

D A D !

G I v E M E T H E K E Y S !

I ’ M G O N N A D R I v E !

L A S T Y E A R , Y O u S A I D

W H E N I WA S S I x T E E N ,

I C O u L D D R I v E …

A N D I ’ M S I x T E E N !

Y O u G O N N A G O B A C K O N

Y O u R W O R D ?

C O M E O N ! I D R I v E

B E T T E R ’ N Y O u .

I T E L L Y O u N O W

I W O N ’ T B E S q u E E z I N ’ I N T H E

M I D D L E !

( y e l l i n g u p s t a i r s t o C a r o l y n )

I ’ M N O T S q u E E z I N ’ I N T H E

M I D D L E !

H O W ‘ B O u T I F I J u S T

D R I v E T H E L A S T M I L E ?

S O W E C O M E I N T H AT

FA I R I N S T Y L E ?

O H !

I C A N ’ T B E L I E v E T H I S

Bud calls to his daughter one more time

Carolyn!

Michael leaves the kitchen with the lunch

I’ll be in the truck.

(calls from upstairs)

I’m not going!

Then we ’ re going without you!

You can’t do that. Stevie is her steer.

I don’t care if he’s her steer. We’ll change the name on the registration. Say she got sick I’m not kidding I won’t put up with this

Bud and Michael leave as Francesca knocks on the girl’s door.

Sweetheart, it’s Mom

I’m sorry you got upset with Dad, but you

worked so hard with Stevie. All you have to do now is go to Indianapolis… so he can win Steer of the Year.

Carolyn. This could be your college education right here.

You don’t have to marry a farmer This is 1965 You could go to college in Italy, live with Aunt Chiara and find somebody there.

Carolyn!

Why would I go live with Aunt Chiara? Dad says she’s a slut. Ti amo, mama.

(then to Bud, screaming)

Coming!

Carolyn runs down the stairs and out the door, letting it slam behind her.

Francesca comes down the stairs and Bud steps back in the door for a goodbye

Good luck.

(To Francesca, awkwardly)

You’ll be OK here, right?

OK then, we’ll see you Thursday

We’ll call from the road. All right, here we go!

He goes out the door.

And we hear the truck door shut and hear the sound of the truck pulling out of the driveway.

We hear the music of “To Build A Home” as Francesca begins to relax The lights change.

It’s mid-afternoon. The phone rings. FRANCESCA goes to get it, wearing jeans and a faded work shirt with the sleeves rolled up. She is barefoot and drinking a glass of tea. MARGE appears, her nearest neighbor, phone in hand.

Johnsons’

Hey Frannie

Hi Marge

Did everybody get away OK?

Yes, they left this morning I’m so glad they let me stay home You know, I don’t like these big fairs. But they’re a good time for Michael and Carolyn to be with their Dad. He lets them eat whatever they want. Fudge. Corn dogs.

So are you going to do some sketching, or get a haircut maybe? F

No, I’m not doing a thing for three whole days. No cooking, no laundry, no cleaning. I’m just going to sleep late and drink a lot of iced tea, take walks and read seed catalogs. Maybe read seed catalogs.

(now seeing something out the window)

Marge, there’s someone coming up my driveway in a blue truck. M A R G E

If it’s a salesman, don’t you even let him on the porch!

(looking out the window)

Don’t worry Marge. I already have everything I need. Call you later. She hangs up and goes to the door.

ROBERT KINCAID steps out of his truck. He’s wearing a tight military style khaki shirt, three buttons open, a worn belt, jeans and boots. Handsome, lean, no nonsense. A camera hangs around his neck. He is deeply tanned and truly hot.

Francesca steps out onto the porch. There is a moment as they take each other in. The attraction between them is so immediate even we can feel it Then she takes a deep breath and speaks.

Good afternoon

He hands her a business card.

Afternoon to you, Ma’am My name is Robert Kincaid, and the great National Geographic magazine has sent me out to take pictures of these famous covered bridges you ’ ve got here Except my editor told me there were seven of them, and I can only find six. This last one…

The Roseman Bridge, I bet.

Yes, that’s the one. I’d be grateful if you’d just tell me where the bridge is, that’s all.

It’s not far, but the locals have taken down all the signs. Kind of a joke, I guess.

A car goes by and honks. Francesca smiles and waves.

You’re not a local?

I live here. With my husband and kids. But

(a bit surprised)

I’m not from here, no.

Your accent is Italian. I was in Naples just a little while ago.

You were?

uh-huh. Now to get to this bridge…

The mention of home made her feel funny for a moment But she gets hold of herself and gives the directions.

OK To get to the Roseman Bridge from here, you head away from town and take a left at the third brown barn.

(laughs)

Third brown barn. You know what? I only needed to be there for five minutes, it’s too late to shoot today. So I think I’ll just go check into the Motor Court and start again in the morning I’m sorry I bothered you

It’s the brown barn with a bright blue silo beside it

Oh, OK I remember seeing that

Then after the barn, turn left, and go around the tractor, which John leaves on the road this time of year.

On the unmarked dirt road.

It sounds worse than it is. If it would help, I could drive over there and you could follow me in your truck

No, no I don’t want to be any trouble

It’s no trouble, I was going to the library anyway,

(looking at her watch)

but it’s closed now, so—if you ’ re really only going to be there five minutes, there’s no point even taking two cars. I’ll just ride with you, and then you can bring me back here on your way to the Motor Court

Thanks That’s great Thank you

It’s all right When I first moved here, I got lost every day I’m Francesca

They shake hands. Music starts.

# 3 T e m p o r a r i l y L o s t

Much obliged

They walk to the truck.

Where are you from, Mr Kincaid? You sound like you might be southern

I was born in Texas, but I live in Seattle now.

(arriving at the truck)

I’m sorry this truck is such a mess Long trip like this I kind of live in it, so she gets real…

He opens the door for her and closes it.

You just drove halfway across the country?

He seems relieved to be asked a real question.

S M O I N E S E A R L I E R TO D AY.

A N D I ’ v E B E E N L O O K I N G F O R S O M E T H I N G

AT E v ’ RY B R I D G E T H AT I C R O S S E D ,

A N D S O M E T I M E S Y O u C A N F E E L

L I K E T I M E B E C O M E S u N R E A L

W H E N Y O u ’ R E T E M P O R A R I LY L O S T

F R A N C E S C A

(indicating the direction)

Right, go right. I’m sorry. R O B E R T

Y O u S P E N D Y O u R T I M E B E H I N D A C A M E R A ,

S O M E T I M E S Y O u A L M O S T D I S A P P E A R

Y O u S E E A WAT E R FA L L I N C A M E R O O N ,

A N D S TA RT TO W O N D E R W H Y W E ’ R E H E R E

Y O u ’ v E G O T TA TO u C H I T W I T H Y O u R F I N G E R S ,

A N D F E E L T H E WAY T H E WAT E R F L O W S

u N T I L Y O u F I G u R E O u T T H E M E A N I N G

AT L E A S T, I T H I N K T H AT ’ S H O W I T G O E S

There it is. Just around the curve. Roseman Bridge.

He pulls the truck over and stops.

(seeing the bridge)

Oh now, that’s a beauty Be perfect for a sunrise shot in the morning

(opening his door)

I’d like to do a little recon right now if you don’t mind

I’m fine I haven’t been over here for a long time I’ll just wait here

She watches him as he approaches and examines the bridge. At some point, she finds a pad of paper from her purse and a pencil and begins to sketch

I know I said five minutes, but it could be more like ten.

Take your time.

Then I’ll drive you back home.

S

B

C

S

It’s clear enough that these are two great-looking people on either side of a bridge, and this bridge will be crossed He returns from the bridge, gets in the car

There we go. All done. You ready?

(A beat, then:)

Just give me one second.

He takes a final look, then they drive home.

I n T h e C a r

What were you doing? Sketching the bridge?

No, no Grocery list

And now they have arrived back at the house.

Just drive around to the back

The back

You can park in the shade there while I get us a glass of tea

He stops the truck.

I should get going

I know, but aren’t you hot? And the tea is already made

All right, then

(then quickly)

But I need to keep my film as cool as I can. You don’t have any extra ice, do you? F

You can put your film in the fridge if you want. I read that photographers have to do that sometimes.

I’ll just fill the cooler with ice. Thank you, though.

He gets his cooler and follows her into the house.

OK. Come on in.

I n s i d e T h e H o u s e

He sets down his cooler, not quite knowing what to expect Then he watches as she takes her boots off, and pours them each a glass of tea.

Hope you like your tea with sugar

I do

She drinks hers down quickly.

Ah

Is that what you do first when you come in the house? Take off your shoes?

I guess I do Not you, I see

No ma ’ am Real cowboy’s supposed to die with his boots on if he can

Is that how you think of yourself, as a cowboy?

She pours more tea.

Not really I don’t know why I said that

Then suddenly, she remembers the film.

Oh the ice!

(opening the freezer section)

I was so thirsty I forgot about the ice for your film.

She pulls out eight trays.

He brings the cooler to the fridge and they open ice cube trays the old metal kind. This makes a lot of noise, and these trays are very cold. She makes a little yelp at the first one.

Wait Let me help These ice-trays stick to your fingers worse than the ice

And sure enough, he has some kind of trick that makes the ice cubes come out perfectly. She stands back and watches as he fills his cooler, picks the whole thing up and heads outside.

That should do it I’ll just go get my film

She refills the ice trays with water and carries them to the freezer section, all the time watching him out the window While he’s out there, he takes a moment and pumps some water from the well and washes his face and hands, drying them with a towel from the truck

It’s an amazing moment, two people alone, doing ordinary things, very aware of each other, but very comfortable

The phone rings. Carolyn and Michael appear. She keeps watching him as the phone call begins

Michael! What is that in your mouth?

Beef Jerky.

Gross!

Johnsons’.

Michael says I can’t wear his red shirt.

Where are you?

At a gas station.

(grabs the phone away)

Mom!

(grabs it back)

Michael says he has to wear the red shirt or he won’t win And if he wears it, it will stink and his presentation is right before mine.

I don’t stink. You stink.

Do we have another red shirt you could bring me?

For one thing, your Dad would not sit there and wait while I brought you another red shirt. And for another thing, Michael, you don’t need luck to win. Neither does Carolyn, but if she’s scared, the shirt will help.

Thanks, mom.

(to Michael:)

I told you she’d say that

She hangs up the phone.

Is that what you ’ re going to do? Call mom for the rest of your life?

Robert re-enters. He has a six-pack of beer and has on a clean shirt.

Trouble?

No, no Carolyn and Michael are with their Dad on their way to the Indiana State Fair. It’s the 4H National Finals and Carolyn has a very good chance of

(stopping herself)

I’m sorry. My children are at a gas station arguing about who gets to wear the lucky red shirt

And you said the girl should get the shirt

I did How did you know?

Boy should have to work for his luck Girls need it more, with everything they’re up against.

(she notices the beer)

I had some beer in the cooler. I thought you might like to join me.

That sounds good, actually.

OK, then. One beer and then I’ll leave you to your peace and quiet.

You washed up and put on a clean shirt

I did You can’t count on those Motor Court showers I figured I’d clean up while I had the chance. Here you go.

Hands her a beer.

What do you mean, with everything girls are up against?

I guess it’s just some of the stuff I’ve seen in the world.

(stopping himself)

I shouldn’t have said anything

No, please

Truth is, I started to just drive off in the truck, but then I thought that would be rude, after you were so nice to me, so I came back in. But I warn you, I am not very good company

I’m glad you didn’t leave I was hoping maybe you’d show me some pictures of Naples. That’s where I’m from.

(sensing his reluctance)

Didn’t you say you were in Naples recently?

I was. But I’m not sure I have those with me.

There is an uncomfortable silence, then But I appreciate all this (now a toast)

To the National Geographic.

To the National Geographic. They clink bottles. Then drink.

I’ve never been to the real middle of the country like this It feels really empty

I know It’s not what I dreamed of as a girl But it’s very quiet here And the people are nice. Bud told me when we first met

Is that what you call your husband? Bud? The mailbox says Richard Johnson.

Bud’s what everybody’s called him since he was a boy.

So “Bud” told you when you met

He said, there are a lot of things you won’t find in Iowa. But care is not one of them. The people care about each other here. Like last year at the end of the harvest, Bob Hansen got hurt and had to go to the hospital, so early the next morning, Bud Bud enters with neighbors and sings.

G E L S E TO D O

T H O u G H T H E WA S G O N N A L O S E T H E FA R M

WA I T S ‘ T I L C O R A G O E S TO TO W N ,

T u R N S T H E T H R E S H E R O N A N D T H E N L AY S R I G H T D O W N ,

S O T H E H O S P I TA L TO O K O F F H A L F H I S A R M

I K N O W I T A I N ’ T E A S Y,

T H I S I S A L O N G R O A D

N O T H I N ’ I S E A S Y O u T T H E R E O N Y O u R O W N ,

B u T I F Y O u ’ R E R E A D Y TO S TA N D u P,

I T E L L YA , B Y G O D ’ S G R A C E ,

W E ’ R E A L L F R O M T H E S A M E P L A C E ,

R I G H T D O W N TO T H E B O N E :

Y O u ’ R E N E v E R A L O N E

F R A N C E S C A

Everybody pitched in People show up when you need them

C H A R L I E

W E N T D O W N TO T H E H A N S E N P L A C E TO C H E C K O N C O R A A N D B O B

M I C H A E L

W E N T B Y W I T H T H E T R A I L E R - H I T C H , B u T T H AT ’ S A H E L L O F A J O B .

B U D

Language, Michael.

M A R G E

B R O u G H T C O R A A C H I C K E N S T E W, S H E ’ S B A R E LY E AT E N F O R W E E K S .

C A R O L Y N

TO L D H E N RY TO W I P E H I S H A N D S A N D S TA N D u P S T R A I G H T W H E N H E

S P E A K S .

B U D

C L E A N E D O u T T H E A M M O N I A D R u M S

C A R O L Y N

C L E A N E D T H E AT T I C O u T F O R W H E N B O B ’ S B R O T H E R C O M E S

M I C H A E L

P u L L E D I N S I x A C R E S O v E R A L L

M A R G E

H A D A TA L K W I T H T H E B A N K I N A M E S .

C H A R L I E

G O T T H E S TAT E FA R M G u Y S TO S P E E D u P T H E C L A I M S .

C O M P A N Y

T H E Y ’ R E G O N N A M A K E I T T H R O u G H T H E FA L L .

B u T Y O u K N O W I T A I N ’ T E A S Y

T H I S I S A L O N G R O A D .

N O T H I N ’ I S E A S Y O u T T H E R E O N Y O u R O W N

B u T I F Y O u ’ R E R E A D Y TO S TA N D u P, W E ’ R E S TA N D I N ’ B E S I D E Y O u ,

R E A C H O u T A N D W E ’ L L G u I D E Y O u

T H R O u G H T H E G R E AT u N K N O W N :

Y O u ’ R E N E v E R A L O N E .

Y O u ’ R E N E v E R A L O N E

Y O u ’ R E N E v E R A L O N E

C O M P A N Y

O H , O H , O H O H …

O H , O H , O H O H

O H , O H , O H O H

The stage empties of the townspeople until only Bud remains, still at the dining room table

U D

(pointedly to Francesca)

Y O u ’ R E N E v E R A L O N E .

Then Bud leaves the stage and Robert and Francesca are alone.

R O B E R T

So the houses might look empty, but they’re not.

F R A N C E S C A

No, no. Everybody is either working, or… looking out their windows.

R O B E R T

Well. I guess that’s my cue to go. Wouldn’t want your neighbors coming over to ask what my truck’s doing in your back yard. I saw two restaurants in town for supper. Is either one of them F R A N C E S C A

(looks at her watch)

Oh no. I wasn’t thinking. Both those places are closed now. And the Motor Court only has a vending machine. There’s really no place for you to eat until… Des Moines, and they might be closed by the time you get there

R O B E R T

It’s OK I’ve got some carrots in the truck Coupla apples, that’ll do What time does everybody open up for breakfast?

F R A N C E S C A

Early. But that’s when you want to be taking your pictures.

R O B E R T

OK then. I better get going.

(she knows he won’t make it)

F R A N C E S C A

No, no. It’s too late. Why don’t I make you dinner, we could eat together, I mean. I could make pork chops and vegetables…

R O B E R T

No, no. I can’t. I’m good.

He stands as if to go. A moment. F R A N C E S C A

Mr Kincaid In Italy we would never let anybody leave hungry

I know that all right I never ate food like that in my whole life Is there something you Italians know that the rest of us don’t?

F R A N C E S C A

Maybe.

O B E R T

OK then. I accept. But just vegetables for me. I don’t eat meat anymore. It’s not a big deal. I just feel better when I don’t. Tell me what I can do.

F R A N C E S C A

Just go out to the garden and pick whatever looks good. We’ll make a vegetable stew with dumplings. And a salad. I’ll get cleaned up and meet you right back here. R O B E R T

Sounds good.

As Robert goes out the door and Francesca goes to the shower, we see a neighbor woman looking out her window using binoculars. A t M a r g e ’ s W i n d o w

M A R G E

Charlie, come in here quick. I think there’s a man picking vegetables in Frannie’s garden She told me this afternoon, a strange man came up her driveway in a blue truck. You don’t think he’s been there this whole time do you?

C H A R L I E

Marge, would you look at yourself? Put down those binoculars. If Francesca wants to let a photographer have a few zucchini, that’s her business We’re all of us givin’ food away this time of year. Put down those binoculars.

M A R G E

How did you know he was a photographer?

C H A R L I E

Pete sat next to him at lunch in town. Said he was here to take pictures of the covered bridges, Pete told him where they were Drives a dark blue pickup Lives in Washington State. Asked Pete where he should stay, Pete told him the Motor Court.

M A R G E

If Pete told him how to find the bridges, then why did he drive up in Frannie’s driveway this afternoon when we were talking on the phone?

C H A R L I E

Maybe he was lost I saw his truck over at Roseman Bridge myself, so she probably told him the back way.

M A R G E

If he’d have driven up my drive, I’d have told him where to go, that’s for sure.

C H A R L I E

I’ll drive you over to Francesca’s right now, if you want to make a fool of yourself and find out what’s going on with all this vegetable picking.

M A R G E

Oh no. I would never do that.

C H A R L I E

Then stop talking about it and let’s go. What time did the kids say? Did you make a pie?

M A R G E

Yes I did. And a cake. And if we play any Bridge, you have to promise me you won’t open with 5 clubs ever, ever again. I don’t care if your cheating card shark thingamajig tells you to Don’t do it

C H A R L I E

What kind of pie?

Your favorite B a c

M A R G E

Robert is rinsing vegetables at the sink as she comes down the stairs. He has brought a beat-up acoustic guitar into the house with him and leaned it against a wall She’s wearing a clean pair of jeans and a white shirt, the sleeves rolled up, and sandals.

He turns around to look at her He is knocked out by her beauty, and starts to say so Then changes his mind. She still smells of the shower and he’s doing good to speak at all.

R O B E R T

You… you ’ ve got an amazing garden.

Thank you.

(then notices the guitar)

Oh good. You brought in your guitar. I saw it in the back of the truck. I was hoping you’d maybe play something for me I never get to hear any real music

The guitar ’ s not really mine Well, I guess it is now I mean, it belonged to my ex-wife, Marian. I can’t play worth a damn, but it’s not good to leave it outside. I don’t want it in my house, though, and I can’t leave it in the truck. So I don’t know what to do with it.

Well, that’s probably why she gave it to you.

I don’t understand.

So you wouldn’t forget her. Let’s see what you ’ ve found for supper.

(drying his hands)

It’s all washed and ready Squash, leeks, potatoes, carrots, fennel, basil, tomatoes

My Papa liked fennel I think I’m the only person in this county who even grows it

I had this amazing soup in Italy, in a tiny little town somewhere I tried to remember what was in it, and just picked that. I could be wrong about the leeks, but I know there was fennel

I can make you that soup

So I did OK

She looks over his selections of vegetables.

(Teasing him)

No kale, I see.

Don’t like kale. Was I supposed to get kale?

F

No. It’s kind of an American thing.

How about another beer?

I’m sorry I don’t have anything else for us to drink Though there might be a bottle of brandy in that cupboard, if you want to look.

I could use a brandy. This cupboard?

I’ll get it.

She puts down her knife and grabs a kitchen chair. With his help, she gets up on the chair and pushes things around in the upper cupboard until she finds the brandy.

(Handing it to him)

Here it is. I hope it’s still good.

I’m sure it will be. It hasn’t even been opened. How did it get there?

Oh I bought it once, a couple of years ago, thinking…

(decides not to tell)

Thinking we might enjoy it. But I guess we never got around to it.

And do you still think you might enjoy it?

I wanted to know what it tasted like.

Well then. There’s no time like the present. He opens the bottle, looks in the cupboard, finds two glasses and pours them each a drink.

I thought it was an after-dinner drink

Well normally it is, but after dinner tonight, I’m going to drive back to the Motor Court, so I can be at that bridge at dawn. And I think this bottle has waited long enough

All right then

They clink glasses again and she takes a sip.

Oh my goodness Is this what it’s supposed to taste like?

Exactly

I like how it burns a little, at the end

You picked a good one

Are you still in touch with your ex-wife? Marian?

No And I don’t know if my parents are alive, or where my brothers and sisters are

I didn’t mean to pry

I keep to myself, that’s all (then realizing she’s looking at him)

But I don’t want to be rude So Ask away #

(Appreciates his willingness)

Skin these carrots. Was your ex-wife a photographer too?

No, she was a waitress… who wanted to be

or some kind of something else. She was young though, so who knows what she is now

As they cook and eat, his ex-wife Marian appears. Early thirties, effortlessly beautiful if somewhat offbeat Pacific Northwest

I think it needs a little more pepper,

Do you have a

Pepper grinder, I sure do

She opens the cabinet and gets it.

You brought this with you from home

I did And a box of Mama’s recipes I could make real mozzarella if anybody in Iowa would eat it.

(Then looks at him )

You would eat it.

With tomatoes and basil, you bet I would.

( M A R I A N )

A N O T H E R L I F E

B u T I B E L I E v E D I ’ D G R O W TO B E

T H E T H I N G H E N E E D E D M O S T TO S E E ,

A N D I F O u R N I G H T S J u S T S TAY E D T H I S H O T,

I ’ D B R E A K H I M D O W N ,

H E ’ D O P E N u P …

W E L L , O B v I O u S LY N O T

In the kitchen, Francesca drops something and as they both bend down to pick it up, they come close to bumping heads, or touching They laugh, though we only see it in dim light. They seem to move toward each other. But Francesca pulls away from this closeness We see that

B A C K T H E R E I N A S H A D O W, F I N D A P I C T u R E O F A W O M A N

W E A R I N G F O u R Y E A R S O F C O N F u S I O N L I K E A S C A R .

WA L K I N G T H R O u G H T H E D O O R A N D L E Av I N G N O T H I N G B u

That was a great supper. Let me clear the table.

The phone rings. Francesca nods OK to Robert, then goes to get the phone. Robert clears the table as Bud appears.

Johnsons’.

Well, we made it. Thank God, but Michael grabbed the wheel just as we were entering the fairgrounds and nearly turned us over.

Why did he do that?

Because he’s been on me the whole time to let him drive.

I

For a car, not a half-ton truck pulling a 2-ton steer Michael, get those bags

Carolyn bought cigarettes at the gas station

I d i d n o t !

(then to Franny)

Well, look. I’m taking them to dinner now. I’ll call back later. Everything OK there?

Everything’s fine. Love you.

She hangs up the phone and Robert takes a sip from the stew

That was my husband.

Robert is loosening up a little He tries a question

Why didn’t you go with them?

He pours them another brandy

They have a better time without me. And they take hundreds of pictures at these fairs So I just can just watch the slide show when they get back “Mom, Mom, look at this pig!” OK. “And this watermelon.” Wow. It’s as big as the pig.

It’s hard to take a good picture. Sometimes I see tourists taking pictures and I want to say, “get closer,” you know? “Move in on the thing so we can see it ” And turn your camera up to vertical, especially if you ’ re taking pictures of people. People are vertical usually

(a beat)

Are you an artist? I thought your sketch of the bridge was good

Drawing is what I studied in school It’s all I ever wanted to do

But you got married and moved to Iowa and

And now I just draw for myself, when I have time

I’ll wash the dishes if you want You dry

No, no I’ll do them after you go

(he smiles)

Okay. Roseman Bridge at dawn. I’d better get going.

He grabs his backpack and any cameras he brought into the house. They walk to the backdoor.

I enjoyed talking with you.

Thanks again for everything. But especially that wonderful supper. I don’t remember the last time anybody cooked for me. And I was thinking maybe if you kept that brandy at the front of the cupboard, or even out on the counter, you might get a little more enjoyment out of it.

I’ll try that. Goodnight. Take care.

But as he walks away, he begins to sing While he drives through the night, she walks back through the house, does the dishes and then ends up in the swing on the front porch #

( R O B E R T )

B u T Y O u ’ R E W O N D E R I N G

Y O u ’ R E W O N D E R I N G

Y O u ’ R E W O N D E R I N G W H AT T H AT WA S .

N O T H I N G ’ S G O N N A H A P P E N

F R A N C E S C A

N O T H I N G ’ S G O N N A H A P P E N .

He arrives at the inn, gets out of the truck. Francesca steps off the porch and walks through the garden in the moonlight. Or washes the dishes.

R O B E R T

Y O u T u R N A K E Y,

Y O u F L I P A S W I T C H ,

Y O u S E T T L E B A C K I N TO T H E B L I S S F u L u N FA M I L I A R .

Y O u C L O S E Y O u R E Y E S ,

B u T T H E R E ’ S A N I T C H ,

A L I T T L E H u RT Y O u R H E A RT R E T R I E v E S .

B u T Y O u I G N O R E

T H E T I N Y T W I T C H ,

P R E T E N D T H E F E E L I N G W I L L B E G O N E B E F O R E T H E M O R N I N G .

B u T Y O u ’ R E W O N D E R I N G

Y O u ’ R E W O N D E R I N G .

Y O u ’ R E W O N D E R I N G W H E R E Y O u A R E

N O T H I N G ’ S G O N N A H A P P E N

F R A N C E S C A & R O B E R T

N O T H I N G ’ S G O N N A H A P P E N R O B E R T

B u T W O u L D N ’ T I T B E F I N E TO S H A R E

T H E W E AT H E R I N H E R E Y E S , H E R H A I R ,

H E R F O O T S T E P S A S S H E C L I M B S T H E S TA I R ,

T H E S H A D O W I N H E R L I G H T ?

B u T E v E RY T H I N G Y O u K N O W I S T R u E

A N D E v E RY T H I N G Y O u WA N T TO D O

A N D E v E RY T H I N G T H AT M A K E S Y O u Y O u

C O L L I D E S A G A I N S T T H E N I G H T.

A N D N O T H I N G ’ S B L A C K A N D W H I T E .

Francesca sits in the swing as Robert switches off the light in his room.

B

Bud calls again. He appears in his motel room, the kids are now asleep.

Johnsons’

There you are! I called ten minutes ago and you didn’t answer

I think I was asleep in the swing

You sound different Is everything OK? F R A

Well I did have a little glass of that brandy I bought it for an anniversary I think Long time ago.

The anniversary where Michael’s girlfriend fell in the lake. F R A

Michael was very brave going in after her the way he did.

I’m not sure we ever got the complete story on that one.

It’s a beautiful night here. There are thousands of stars out tonight.

I wish I were there with you. Did Marge come over, or Charlie and Marge? What made you think of the brandy?

F R A N C E S C A

No, I was by myself I guess I just thought it had been up there long enough

B U D

OK Now don’t sleep in the swing Go get in the bed

F R A N C E S C A

Goodnight

D a w n

# 8 L o o k A t M e

C O M P A N Y

A H A H A H …

A H A H A H

F r a n c e s c a ’ s H o m e

F R A N C E S C A

T H E B R E E z E S TA RT S TO B L O W, A N D T H E N W H AT D O Y O u K N O W ?

S O M E T H I N G ’ S D I F F E R E N T, I C A N ’ T q u I T E E x P L A I N .

L I K E A S O u N D I N T H E B A C K O F M Y B R A I N ,

B u T u N D E F I N E D

A S H I F T I N T H E L I G H T O R T H E S u N J u S T G O T B R I G H T E R ;

F O R S u R E , T H E R E ’ S A C H A N G E I N T H E A I R

I T ’ S L I K E S O M E T H I N G I WA S N ’ T AWA R E

I ’ D L E F T B E H I N D

H E L O O K E D AT M E .

A N D I T WA S N ’ T T H E L O O K I E x P E C T E D

N O , H E L O O K E D AT M E ,

L I K E H E R E A L LY C O u L D S E E .

q u I E T LY, B u T T H I S S T R A N G E R A N D I , W E C O N N E C T E D

W H E N H E L O O K E D AT M E

W H AT O N E A RT H C O u L D T H AT B E ?

S C E N E T H R E E

T h e B r i d g e A n d To w n

A H A H A H …

R O B E R T

( a t t h e b r i d g e )

H A S S H E S TO O D I N T H I S S P O T ?

H A S S H E TA S T E D T H I S WAT E R ?

H A S S H E WA L K E D O N T H AT B R I D G E ?

W I T H H E R H A I R B L O W I N G I N T H I S B R E E z E

I A M L O O K I N G F O R T H E L I G H T,

I A M L O O K I N G F O R T H E L I G H T,

I A M L O O K I N G F O R

I n T h e To w n

C O M P A N Y

C O M P A N Y

A H A H A H …

A H A H A H …

A H A H A H

A H A H A H …

A H A H A H

A mirror comes onto the stage. Francesca is buying a new dress.

F R A N C E S C A

I S TA RT TO F O R G E T W H AT I L O O K L I K E A N D Y E T

A L L I T TA K E S I S O N E S E C O N D O N E D AY

A L L T H E S E T H I N G S T H AT I ’ v E H I D D E N AWAY

O N E G L A N C E R E v E A L S

T H E A C H E A N D T H E B u z z O F T H E G I R L T H AT I WA S

B E F O R E N O W, B E F O R E H I M , B E F O R E T H E M

I T ’ S R E M A R K A B L E J u S T TO R E M E M B E R

H O W I T F E E L S !

J u S T L O O K AT M E –

AT M Y H A N D S , AT M Y M O u T H , AT M Y S H O u L D E R , TA L K TO M E , L I K E T H E R E ’ S S O M E T H I N G TO S AY

S u D D E N LY,

I N T H I S M I N u T E , I ’ M N O T G E T T I N G O L D E R .

P L E A S E J u S T L O O K AT M E , A N D T H E N P L E A S E WA L K AWAY

By the end of the song, she appears at the bridge, carrying a shopping bag

She gets out of the truck and doesn’t seem him at first She calls out

Mr. Kincaid?

No answer

Mr. Kincaid…

He is behind her.

Right here

Oh, you scared me

(as he shoots)

I’m happy to see you. How did you know I’d still be here?

(A moment)

You’re causing quite a commotion in the town.

Oh, I know. People been drivin’ by all day taking pictures of the hippie taking pictures of the bridge

Did this ever happen before?

Everywhere I go Like it’s not right for a man to just be passing through You’d think I’d be used to it. But I’m always suspect somehow. That time I went to Iceland, a lady wouldn’t rent me a room because she said I was one of the Hidden People Said her mother told her you should never go into a cave with a Hidden Person, so no room for me.

He waits, with his camera just below his eye

Have you been working all day?

Not really. I’ve mainly been waiting.

# 9 T h e W o r l d I n s i d e A F r a m e

F R A N C E S C A

For what? R O B E R T

I T S TA RT S W I T H T H E L I G H T

I T ’ S L I K E Y O u W O u L D N ’ T E v E N K N O W W H I C H WAY TO L O O K

u N T I L T H E S u N S H O W E D Y O u A L I N E ,

S H O W E D Y O u A C O R N E R , B u I LT Y O u A F R A M E

A N D O N C E T H E R E ’ S A F R A M E ,

T H E N Y O u C A N S E E

He walks to her, points at the bridge. See?

Now he puts the camera in front of her.

Now: See?

S E E T H E W O R L D !

H E R E ’ S T H E W O R L D T H R O u G H A S M A L L , S M A L L W I N D O W.

Y O u T H O u G H T I T WA S A B R I D G E ,

Y O u T H O u G H T I T WA S T H E WAT E R ,

Y O u T H O u G H T I T WA S T H E S K Y …

I T ’ S T H E W O R L D , I N S I D E A F R A M E

A N D Y O u WA I T.

A N D Y O u WA I T

A N D Y O u WA I T

A N D Y O u …

R I G H T T H E R E , S O M E T H I N G S H I F T E D ! S O M E T H I N G

T H AT T R E E T H R E W A S H A D O W ! D I D Y O u ?

Excited but controlled, he clicks the shutter.

T H E R E ! T H E R E ! T H E R E !

I T ’ S L I K E A L L Y O u D I D N ’ T K N O W T H AT Y O u W E R E WA I T I N G F O R

I S J u S T O u T S I D E T H E F R A M E ,

A N D I T C A N C H A N G E

T H E WAY Y O u S E E …

He lowers the camera

He looks at FRANCESCA. Sees something.

G

She walks to where he’s pointing. He raises the camera to his eye.

D O N ’ T L O

N O W:

L O O K AT M E .

She does. Electric.

L O O K AT M E .

T H E R E T H E R E

T H E R E T H E R E

T H E R E .

He continues taking pictures of her, and then the roll is finished

T

Don’t worry. This is not for them. This one is for me.

He puts the camera away, digs into his bag and pulls out a canteen

OK. All done. Are you thirsty?

So thirsty.

They sit on the bench He offers her a drink from his canteen

Here you go.

(as she drinks)

What happens after you take the pictures?

I’ll drive into Des Moines tomorrow and send the rolls of film to New York Then I’ll wait around at the Motor Court til they call me and say if I got what they want, or not Then I’m off to New York to take pictures of the Hare Krishnas

He brings out another package. It is wrapped in brown paper.

I brought you a present I was going to leave it in your mailbox

She gives him back the canteen and takes the package.

(She rubs the package)

What is it?

On my way out of Seattle, I picked up a big bag of mail. Last night I went through it and look what I found.

She opens the package. It’s a magazine.

(she studies it)

Is this what it looks like now?

The rest of it is on page 43 Naples Today They said it was the most bombed city in the war. That’s why they sent me there. To document the reconstruction.

When she arrives at the page, her eyes water suddenly

I’m sorry. I thought it would make you happy.

She looks through the pages.

It’s all the places that were destroyed by the bombs. Only here, it’s all back the way it was. This is where I went to the market with Mama. That’s our church. And there’s my…

She stops and wipes her eyes.

There’s my bench.

Wiping her eyes.

I took the picture because it was the only thing that seemed to have survived intact

That bench at the harbor is where I waited for my fiancée, Paolo, to come back from the war.

But he didn’t come home.

There is a moment. She turns more pages.

Oh look at it! I miss it so much I didn’t know how much I ran away from home and now I can’t get back.

She tries to recover, wiping her eyes

Please forgive me. Can I keep this?

I brought it for you.

I will look at it again on a day when I’m not so… weepy. I’m sorry. Will you come to supper tonight?

Of course I’ll go back to the Motor Court and clean up and be there in about an hour.

You can use my shower to clean up.

OK then. I’ll pack up and be right there.

She clasps the magazine to her

Robert, thank you for this.

#

This is what we hope for, that some day, one picture will make a difference to somebody

He senses her need and opens his arms, and she steps into his embrace, still holding the picture between them. Hold on this, then

A t T h e F a i r

Carolyn is waiting for the judges to come to her steer.

C A R O L Y N

I’m so nervous, I can’t stand it

B U D

Well, you have to stand it Just don’t talk to the judges unless they talk to you And say Ma’am and Sir, no matter what they ask you. Like it was the army.

C A R O L Y N

What if he does something stupid?

B U D

Stevie is a steer. What is he going to do? You did everything you can. All you have to do now is wait The judges know what they’re looking for He’s either got it or he doesn’t. My personal opinion is that he does. He could be Steer of the Year for all we know.

C A R O L Y N

Could you stand somewhere else?

You don’t want me with you?

B U D

C A R O L Y N

I want them to know he’s mine. That I raised him, not you.

B U D

OK. Just remember. He’s the big deal here. They don’t like a farm kid being too proud.

C A R O L Y N

I know that. She starts to walk away.

Carolyn! You’re gonna be fine.

B U D

#

They walk into the house, Robert carrying the cooler

The shower is just down the hall there, and I’ll take my bath upstairs.

Want a beer for your bath?

Thank you.

She takes the beer, and the phone rings He heads for the shower Johnsons’.

Hey. It’s me. Everything OK? I’m calling from a pay phone in a bar, I hope you can hear me

Plain as day

Good Well, Carolyn’s steer got into the final round tomorrow Then there are some other things we want to do, so we’ll head home Friday.

F R A N C E S C A

All right. Tell Carolyn I’m very proud of her. And drive carefully. B U D

“Drive carefully?” I’m gonna talk to you five more times before we leave. Frannie?

F R A N C E S C A

It’s just hot. I’ll feel better after my bath.

OK, then. Have a nice bath.

Ciao.

She takes her beer, and heads upstairs for her bath

A t A B a r N e a r T h e F a i r g r o u n d s

BUD takes his seat on the bar. B U D

(To the bartender)

Another whiskey please. Water back.

He looks around. He talks to another (presumably unseen) guy on an adjacent stool. Bud is a little drunk.

Y O u S H O u L D A S E E N M E B A C K I N ’ 4 6 .

I WA S I N u N I F O R M , S P I T- S H I N E D , W H I P P E T- T H I N

H A R D A S A B R I C K , D u M B A S A P O S T, B u T I WA S H Av I N G T H E T I M E O F M Y L I F E

A N D I M E T F R A N N I E T H E R E I N I TA LY

B O Y, S H E WA S B E A u T I F u L , B u T A L L T H O S E G u Y S A R O u N D H E R ,

L O O K , I TA L I A N S , N O O F F E N S E , T H E L A z I E S T P E O P L E I N T H E W O R L D .

A N D TO M E , S H

’ M

W E ’ L L B R I N G T H E H A Rv E S T I N , T H E N TA

(sitting down beside her)

Hey. Want a drink?

What have you been doing?

Talking to people.

About what?

I don’t want to be a farmer.

You don’t want to be a farmer! Dad is going to kill you.

No he won’t I already told Mom She’s going to talk to him

Then who’s going to run the farm?

You are

Francesca steps out of the bath, wraps

into the new pink dress.

The lights fade on Bud. Francesca combs her hair and puts on a little lipstick and some perfume And goes down the stairs

I n T h e K i t c h e n

Robert Kincaid is finishing up cleaning a camera as she walks in He looks up

You are so beautiful. She stands perfectly still She doesn’t move. He gets up to move toward her.

Do you know how beautiful you are? How did I get here?

I invited you

They look at each other for a long moment.

Either that, or the patron saint of Iowa housewives sent you to me

She moves toward the stove.

Or my sister, Chiara She would like this all right I’m feeling like a boring housewife but you come along and I feel like myself again.

As she passes him, he reaches his hand out to stroke her shoulder

Is it OK if I touch you?

Is this what always happens when you come to a town? You meet a woman who opens up to you for some reason, she doesn’t know why, and before she knows it, she’s bought a new dress and invited you for dinner again and

He stops

No. I tried to leave yesterday. I tried not to eat supper here. You saw that. She laughs a little and nods, and maybe reaches her hand up to touch his hand on her shoulder

No, this isn’t what always happens. I never let this happen. I never go into this world where people belong to each other.

(steps away a little)

As soon as I know I got the shots they need, I will be gone and on to the next job. So I know I can’t stay anywhere, regardless of what happens. This is why…

(taking his time to remind her)

I never walk in the house, I never drink the tea, I never stay for supper, I never come back the next night, I never get this close, I never touch your arm, I never do this.

He kisses her.

I understand

And you don’t do this either

No I don’t

They kiss again.

O B E R T

So if you ’ re going to make me go to the Motor Court, do it now, OK I think I could leave now if you wanted me to.

He kisses her again

The phone rings. She starts not to answer it, but he motions to her to take it. She moves across the kitchen to the phone on the wall behind him F R A N C E S C A Johnsons’.

A R G E

Hey!

Hi Marge.

Now as she listens to Marge, she reaches her hand back for him and draws him to her He strokes her shoulder as she talks.

Marge appears in her kitchen M A R G E

I just wanted to check in and make sure you didn’t get carried off by that photographer, whoever he is F R A N C E S C A

He just wanted to know how to find Roseman Bridge

M A R G E

They say he’s a hippie

Robert smiles, lifts her hair and kisses the back of her neck.

F R A N C E S C A

Well, I’m not sure I know what a hippie looks like. But if he’s just taking pictures of the bridges, I’m sure we ’ re in no real danger from him. He was very polite.

M A R G E

If you’d ever turn on your television you’d know what hippies look like. They have long hair and they never take a bath, and they live in communes and have free love with anybody they want.

Marge, I was about to step into my bath, so

Want to come over for coffee in the morning? I tried a new sour cream coffee cake recipe and

No, I can’t. The kids and Bud are staying another day at the fair, so I’m going to Des Moines tomorrow I’m really looking forward to shopping without Bud drumming his fingers on the side of the truck.

I want you to come over tomorrow while Charlie’s at the dentist. So we can talk. F R A N C E S C A

I can’t. And I don’t want my bath water to get cold. So… I’ll call you when I get back. How’s that?

OK. Just promise me if you see that photographer guy again, you’ll call me so I can come see him too.

Bye, Marge. Say hi to Charlie for me.

She hangs up the phone, gently separates from Robert and moves toward the sink. He walks to the radio.

So you ’ re coming with me to Des Moines tomorrow?

If I’m invited

You are How would you feel about a little music?

F R A N C E S C A

I’d like that I don’t know what stations have music though We only use the radio to listen for the weather and the price of corn.

# 1 0 b B i g B a n d

He finds a station with no trouble at all. She seems very nervous. She should be cooking now, but she doesn’t want to

He finds a big band song.

How’s that?

I like it.

She looks at the pasta on the counter.

Would you like to have supper? I could have the pasta ready in a minute.

What I would like to do… is dance.

The music begins to come up over them, like a fog creeping in the door. They move toward each other.

Okay

He smiles, puts his beer on the counter and takes her hand.

It’s your Wednesday night social, coming to you from WGN in Chicago

She takes her hand away and opens a drawer and takes out the two candles she has bought, puts them in brass candleholders and lights them He snaps off the overhead light. The kitchen is transformed.

The music begins again A blues song, dripping with strings He takes her hand again and puts one arm around her waist, drawing her to him. Suddenly, as she moves into his arms, the awkwardness between them vanishes. They dance.

In this song, either MARGE is singing along with the radio in her house, or MARGE has turned into the singer on the radio.

I

N

I

Marge exits.

As the song finishes in music, Francesca and Robert are dancing very slowly, her head buried in his neck. She tilts her head up.

They kiss. He kisses her again and another melody comes up under the radio tune.

W H AT E v E R T H I S I S

F R A N C E S C A

W H AT E v E R W E D O F R O M H E R E , D O N ’ T G I v E I T A N A M E

W E M u S N ’ T R E D u C E I T TO S O M E T H I N G C L E A R O R S I M P L E .

I WA N T TO B E L I E v E T H AT W E A R E T H E F I R S T P E O P L E O N E A RT H TO

K N O W T H I S F E E L I N G ,

TO K N O W T H I S M O M E N T,

TO C R O S S T H I S L I N E

R O B E R T

A D D I N G u P A L L T H O S E M I N u T E S

S TA R I N G T H R O u G H A L L I S AW,

H O W C O u L D I K N O W T H E A N S W E R

W O u L D B E Y O u ?

F R A N C E S C A

H O W C O u L D I K N O W T H E A N S W E R

W O u L D B E Y O u ?

O N LY Y O u .

R O B E R T

R O B E R T & F R A N C E S C A

A L L M Y L I F E I H Av E B E E N FA L L I N G

I H Av E B E E N FA L L I N G I N TO Y O u ,

F R A N C E S C A

T H I S I S W H E R E I L A N D

Y O u A R E W H AT I ’ v E L O O K E D F O R .

N O W I S W H AT I S T R u E

A L L M Y L I F E ,

I H Av E B E E N FA L L I N G

R O B E R T

I N TO Y O u .

As the lights dim and the music fades, she takes his hand and leads him up the stairs

E N D O F A C T O N E

The midway of the Iowa State Fair, 9:30 am. A fiddle band is playing for the amusement of a few patrons, some of whom are dancing and clapping along while they eat their corn dogs or fried dough or whatnot.

A STATE FAIR SINGER leads the fiddle band, encouraging band members to take solos and audience members to sing along.

G O B E F O R E W E G E T D O N E .

O H O H O H O H O H O H O H

O N S TAT E R O A D 2 1 !

S I N G I T W I T H M E : S T A T E F A I R S I N G E R & C O M P A N Y

O H O H O H O H O H O H O H

O N S TAT E R O A D 2 1 !

Fiddle solo

The GUITAR PLAYER takes a solo as the STABLES come into view. MICHAEL is mucking out the stall, dyspeptically, while HE complains to the STABLE BOY the next stall over.

( M I C H A E L )

I W O N ’ T H Av E M Y O L D M A N R I D I N ’ M E

‘ T I L T H E D AY H E u P A N D D I E S

O H , O H , W H AT D O E S H E K N O W

W H E N H I S H E A D ’ S B E E N B u R I E D I N T H E G R O u N D S O L O W ?

O H , O H , W H AT D O E S H E K N O W

A B O u T L I F E I N T H E R E A L W O R L D ?

I S A I D , O H , O H , W H AT D O E S H E K N O W ?

M Y F u S E I S L I T A N D I ’ M G O N N A B L O W,

‘ C A u S E O H , O H , I G O T TA K N O W

A B O u T L I F E I N T H E R E A L W O R L D

While MICHAEL continues cleaning the stall, we go back to the midway. CAROLYN enters with BUD. SHE is in a state of near-hysterical anxiety. HE regards her lovingly but warily.

C A R O L Y N

I G O T A R I N G I N ’ I N M Y E A R S

A N D M Y H A N D S K E E P S H A K I N ’

I AT E S E v E N C O R N D O G S

A N D I T H I N K I M I G H T D I E

F I v E M O R E H O u R S

‘ T I L T H E F I N A L J u D G I N G .

I C A N H O L D I T A L L TO G E T H E R

A N

R L

W E L L , O H O H , W H AT D O T H E Y K N O W

A B O u T W H AT I T TA K E S TO M A K E A B u L L C A L F G R O W ?

O H , O H , W H AT D O T H E Y K N O W

A B O u T L I F E I N T H E R E A L W O R L D ?

C A R O L Y N & M I C H A E L

O H , O H , W H AT D O T H E Y K N O W ?

C A R O L Y N

P R O B ’ LY C A M E O v E R F R O M O H I O

THEY arrive at the stalls. MICHAEL sees them and immediately heads out.

Michael!

Well it’s about time you got here

It was your damn turn

Did you give Stevie his breakfast?

No I ate it myself Bleegh!

(she swats him)

Michael.

MICHAEL starts to leave.

Where are you going?

To the rodeo with Jeff. I’ll see you at three. But MICHAEL is already gone.

(To BUD, referring to Stevie)

Stevie looks ok, right?

(then to Stevie)

You OK, Stevie?

He’s fine, Carolyn. Who is this Jeff your brother is running off with?

(Lying)

I don’t know.

O

O

E

’

The COMPANY joins in the song, including CAROLYN and MICHAEL, both filled with an inchoate longing. (BUD doesn’t sing.)

O

O

O

Across the stage, we are in Francesca’s house. Over the sound of the ruckus of the midway, we see ROBERT as he sits up in the bed and looks at the still-sleeping FRANCESCA.

H E R E C L O S E TO M E .

T H E R E ’ S N O T H I N ’ I N T H I S W O R L D TO D AY

B u T W H O W E A R E A N D W H O W E WA N T TO B E

(optional 2nd verse:)

M AY B E I ’ M B E I N G S E L F I S H

I S H O u L D G E T M Y T H I N G S A N D WA L K O u T O F T H AT D O O R .

M M

B u T M AY B E W E B O T H D E S E Rv E T H I S

A N D B E S I D E S , H O W C O u L D I K E E P F R O M WA N T I N G M O R E ?

M M

Half-awake, FRANCESCA joins his song.

O

Their voices merge with the sound of the State Fair, a huge gorgeous choral bloom.

The fair fades away, leaving just the lovers.

That clock must’ve stopped. It can

Is that a bad time to be in bed?

A moment. Then he leans down to kiss her, and then starts to stretch over her, but she stops him.

I need to get up.

OK

She sits up in the bed a little, then realizes she is naked.

She looks around for her robe or something

This is when we need to be in a hotel, so we can just call downstairs and order some breakfast

Coffee at least

Coffee would be good I can make you a cup Should I go down and do that? Are you hungry?

I might be. I don’t know.

OK. I’ll cook too. How’s toast and eggs?

No, you shouldn’t have to cook breakfast.

It’s OK. I have to leave in a little while anyway, get my film to the post office in Des Moines

Robert

Yes

Is what I felt with you is that what other lovers feel all the time?

No A moment.

It was you

Well It was never me before

He kisses her gently.

#

Well It’s you now And me It’s us now

(falling into him)

Oh Robert.

You still want to drive to Des Moines with me this morning? How far is it?

Far enough.

Far enough so I can kiss you in the street without getting shot?

I think so.

So why don’t you get dressed and I’ll make us a breakfast to go. I’ll put the coffee in my thermos Is there anything else you’d like me to do?

(Beginning to loosen up)

That you haven’t done to me already?

I was thinking like milk the cow Don’t you farm people have chores?

I forget if we have a cow

(making as if to leave)

I’ll go check.

Stop.

He laughs, and goes back to kiss her with fierce happiness. Don’t stop.

(Falling back into the bed)

I adore you.

They have coffee in the kitchen

You really did make the coffee.

I really did.

People laugh at me about that coffee pot.

Well, after the coffee I had in town yesterday, I’m glad to see it.

Bud thinks…

Do you take cream?

No.

I knew that.

How did you know that?

Well, I’m sure this cream is good…

It is. It’s especially good whipped on the top of

Pecan pie.

Or peaches.

But the coffee is better black.

(indicating the coffee)

This is good. Not everybody knows how to make a good cup of coffee.

The other day, you said this life wasn’t what you dreamed of as a girl F R A N C E S C A

No it wasn’t

They drive to Des Moines. During the drive, he asks a question that allows her to sing of her youth in Italy. As in the opening, the scenes are built as she describes them a street in Naples, a farmhouse, the club where the German soldiers danced at night, and the harbor.

# 1 3 A l m o s t R e a l

W H E N A G I R L G R O W S u P I N N A P O L I ,

T H E R E A R E R O A D S L A I D O u T B E F O R E H E R .

A N D Y O u u N D E R S TA N D , I ’ M S P E A K I N G O F

T H E T I M E S B E F O R E T H E WA R

W H E N A G I R L G R O W S u P I N N A P O L I ,

S H E I S M O R E O R L E S S A TA R G E T

F O R H E R M A M M A’ S E x P E C TAT I O N S ,

F O R T H E B O Y S ’ I N FAT u AT I O N S ;

A L L S H E G E T S I S O N E D E C I S I O N :

W I L L S H E G I v E T H E M W H AT T H E Y WA N T ?

CHIARA, Francesca’s older sister, appears as Francesca sings about her She is played the actress who played Marian in the first act.

M Y S I S T E R C H I A R A W O R E T I G H T- F I T T I N G S W E AT E R S ,

u N B u T TO N E D J u S T S O

C H I A R A W O u L D S q u E E z E E v ’ RY D R O P O F AT T E N T I O N

W H E R E v E R S H E ’ D G O

C H I A R A S A I D , “ ’ C E S C A , Y O u M u S T B E P R E PA R E D ”

C H I A R A W O u L D A C T A S T H O u G H N O B O D Y C A R E D .

C H I A R A W O u L D L A u G H AT M E , q u I E T A N D S C A R E D

A N D I D R E A M E D O F A F L AT I N S I E N A

O N T H E M A R K E T S q u A R E ,

W I T H A B O O K A N D A P O T A N D A W I N D O W

A N D A S I N G L E C H A I R –

FA R F R O M L O N E S O M E ,

FA R F R O M C H I A R A ,

A L M O S T R E A L .

PAOLO, appears.

( F R A N C E S C A )

PA O L O WA S A B O Y F R O M D O W N T H E H I L L W I T H S I Lv E R E Y E S

A N D H A I R L I K E C O A L

A N D M A S S I v E H A N D S T H AT T R E M B L E D W H E N H E L O O K E D M Y WAY.

PA O L O WA S A B O Y W H O L O v E D TO S W I M , A N D W H O K N O W S

W H Y I F E L L F O R H I M ,

B u T S O O N E N O u G H I K I S S E D H I M O N A W I N T E R ’ S D AY.

C H I A R A S A I D , “ ’ C E S C A , H E ’ S D u L L A N D H E ’ S D u M B .

Y O u ’ L L E N D u P A FA R M W I F E , E x H A u S T E D A N D N u M B

I ’ M O F F TO T H E S E Rv I C E M A N ’ S C L u B ; Y O u S H O u L D C O M E ! ”

B u T I D R E A M E D O F T H E B E A C H AT A N C O N A ,

W H E R E O u R K I D S W O u L D P L AY,

PA O L O R I G H T B Y M Y S I D E , A N D T H E O C E A N

O N LY S T E P S AWAY

C L O S E TO H E Av E N .

FA R F R O M C H I A R A .

A L M O S T R E A L

C H I A R A W E N T D A N C I N G W H I L E A I R R A I D S I R E N S W E R E S H R I E K I N G .

C H I A R A W O u L D O P E N H E R L E G S J u S T A S E A S Y A S S P E A K I N G

PA O L O W E N T O F F W I T H T H E A R M Y A N D N E v E R R E T u R N E D .

A N D A L L T H AT C H I A R A C O u L D S AY WA S , “ I H O P E N O W Y O u ’ v E

L E A R N E D ”

A N D T H E S T R E E T S W E R E R u B B L E

A N D T H E WAT E R WA S F I LT H Y

A N D T H E R E W E R E N O C I G A R E T T E

BUD appears, 21 years old, in his uniform, clean and young and All-American. I

A

As the song ends, we find ROBERT and FRANCESCA at a restaurant in Des Moines, at a table by the window, finishing their lunch, having their coffee and holding hands across the table. I

And where is Chiara now?

Still in Naples. With husband number 4, I think. Still convinced I’ve wasted my life trying to be perfect

And have you been back to Italy at all? F

No I’d love to go and take Carolyn and Michael But it’s money we don’t have

Still, you ’ ve been cooking for them, so that counts

And I sang to them in Italian when they were little

I wish I was drinking your coffee

(handing him her cup)

Here you go. They laugh together about this (then quickly)

Michael should go to Italy He should go somewhere I’m worried that he’s starting to hate everything here. Iowa is so flat, you feel like the only way out is to blast straight up like a rocket

And you ’ re worried what Michael might do to feel like he’s “out of Iowa ”

That’s exactly what I’m afraid of

And what does Bud think?

Bud won’t tolerate a rebellion I’m afraid he’ll drive Michael away before he has a chance to leave on his own terms.

My father threw me out.

So it could be a good thing, you mean. You turned out just fine.

I guess.

What do you mean, you guess. Look at you.

The waitress brings them a check.

Can I bring you folks anything else?

Robert and Francesca look up at her, almost recognizing her, it seems, then

We’re fine

Thank you

He reaches over for her hand, and brings it to his mouth and kisses it. They stand and walk out of the restaurant holding hands. Another table is illuminated, and now it seems we are in different surroundings entirely. In fact, we are

Marge and Charlie are having lunch.

You’re awful quiet today

M A R G E

If you went away for a week and I spent the whole time in bed with a photographer, would you be mad?

C H A R L I E

Did you actually see Francesca in bed with this man?

M A R G E

That’s not what I asked you. I asked you

C H A R L I E

If I would be mad. I heard you.

M A R G E

Are you telling me you don’t care? That you wouldn’t come home and kill me? Or him? That you wouldn’t throw me out on the street?

C H A R L I E

I don’t know what I’d do. I wouldn’t throw you out. You’d have your reasons, I guess. I mean, look at me.

M A R G E

So you wouldn’t do anything.

I didn’t say that.

C H A R L I E

M A R G E

What in the hell are we doing married to each other for all these years? We can’t even have a real conversation about me screwing some photographer who blew into town drivin’ a dusty truck For God’s sake, the only thing the man ’ s missing is a pack of cigarettes and a dog.

C H A R L I E

He’s got the cigarettes. That’s what Bob said at the Motor Court.

M A R G E

And did Bob say whether he came home to the Motor Court last night?

C H A R L I E

No. He didn’t.

M A R G E

He didn’t say? Or he didn’t come back to the Motor Court?

C H A R L I E

You know the answer to this. Why are you asking me?

M A R G E

He stayed at Frannie’s all night, and then they left this morning in his truck and they’re not back yet She told me last night she was going to Des Moines today

Well Maybe he drove her

C H A R L I E

M A R G E

And you wouldn’t care if it was me in that truck?

C H A R L I E

If it was you in the truck, I would have to leave, I think

M A R G E

You would leave?

C H A R L I E

I would go to Idaho, I guess, and move in with Bill And fish

M A R G E

And leave me here to run this place and explain everything to the kids and face the whole town by myself?

C H A R L I E

I guess so.

M A R G E

You’ve thought about this. You already know which brother you’d go live with if I cheated on you.

C H A R L I E

Marge. I’m not at the fair. You’re not in the truck. We’re right where we want to be.

M A R G E

Are you sure?

C H A R L I E

Yes, I’m sure. Do we have any of that cake left?

# 1 3 b B a c k T o B e d

Lights change again and we are in…

Ah!!

She falls back onto the bed, happy as can be.

He takes his boots off, and then his belt

She watches him.

I liked being out in the world with you today.

Well, I don’t know if I’d call Des Moines “the world,” but I liked it too. Then again, I’ve never felt like this so I don’t know what to call anything.

Felt like what?

Dizzy. And happy. I don’t feel like we ’ re in Iowa. I feel like we ’ ve been picked up in a tornado and we ’ re on our way to

The phone rings. She sits up in the bed and picks it up.

Johnsons’.

Bud appears Robert watches this conversation Bud cannot see him But perhaps can sense him.

Frannie I was getting worried I’ve been calling the house all day

I went to Des Moines

What for?

I went to the movies

You don’t go to the movies

I would if you liked them

What movie did you see?

(beat)

Bud, I’m so tired, I don’t remember the title. A western.

(a moment)

Bud. If the kids left you alone, you should go down to the bar. I’m sure there are some other Dads looking for some company.

Where do you think I’ve been for the last two hours?

I’m glad you ’ re having a good time. Goodnight, Bud. She hangs up the phone and takes a moment.

Goodnight.

Robert feels something new from her but isn’t sure what it is.

Do you want me to go?

No, please.

She kisses him passionately, then after a moment, she sings:

( F R A N C E S C A )

I K N O W M Y FAT E H A S F O u N D M E :

B E F O R E A N D A F T E R Y O u

F O u N D A N D L O S T

TO R N I N H A L F :

B E F O R E A N D A F T E R Y O u .

R O B E R T

I love you, Francesca.

F R A N C E S C A

And I love you. More than my own life, I love you.

R O B E R T

F O R T H E F I R S T T I M E I N M Y L I F E ,

I A M N O T O u T S I D E T H E M O M E N T

W I T H A C A M E R A I N B E T W E E N M E A N D T H E W O R L D

I T H I N K I K N O W

F O R T H E F I R S T T I M E I N M Y L I F E ,

I A M S O M E H O W PA RT O F S O M E T H I N G

Y O u S u R R O u N D M E , Y O u C O N N E C T M E , A N D I T H I N K I C A N ’ T L E T G O .

F O R T H E F I R S T T I M E I N M Y L I F E ,

Y O u H Av E O P E N E D u P A C H A N N E L

T H E R E I S N O T H I N G TO C O N TA I N u S ,

W E A R E J O I N E D , A N D W E A R E F R E E

F O R T H E F I R S T T I M E I N M Y L I F E ,

I A M R I S K I N G S O M E T H I N G P R E C I O u S .

I A M A S K I N G Y O u , F R A N C E S C A :

C O M E W I T H M E

I C A N ’ T T E L L Y O u I K N O W W H AT T H E F u T u R E W I L L B E

W H O K N O W S A N Y T H I N G ?

I J u S T L O O K AT T H O S E E Y E S ; Y O u ’ v E G O T S O M u C H TO S E E .

L E T M E S H O W Y O u T H E R E ’ S

C R O W D S A N D C A M E L S A N D H I L L S I D E S TO C L I M B

A L L I K N O W I S , I N A L L O F T H E T I M E

F R O M M A N ’ S F I R S T B R E AT H

TO G O D ’ S L A S T WA R N I N G , Y O u A N D I A R E J u S T O N E S E C O N D ,

S P I N N I N G B Y I N O N E S P L I T- S E C O N D

( R O B E R T )

Y O u A N D I H Av E J u S T O N E S E C O N D

A N D A M I L L I O N M I L E S TO G O

I D O N ’ T N E E D TO B E R I C H , I D O N ’ T N E E D S O M E T H I N G N E W

F R A N C E S C A

I D O N ’ T WA N T TO G O B A C K TO A W O R L D W I T H O u T T H I S .

R O B E R T

A L L I N E E D , A L L I ’ v E N E E D E D M Y W H O L E L I F E WA S Y O u .

F R A N C E S C A

I F I L E F T T H I S B E H I N D

R O B E R T

P L E A S E J u S T L O O K AT M E :

Y O u W E R E B O R N W I T H A WA N D E R E R ’ S S O u L

T H I S I S H O W Y O u B E G I N TO B E W H O L E .

T H E S TA R S K E E P B u R N I N G ,

W O R L D S K E E P T u R N I N G

R O B E R T & F R A N C E S C A

A N D Y O u A N D I A R E J u S T O N E S E C O N D ,

S P I N N I N G B Y I N J u S T O N E S E C O N D ,

Y O u A N D I H Av E J u S T O N E S E C O N D

R O B E R T

A N D A M I L L I O N M I L E S TO G O …

F R A N C E S C A

F O u N D A N D L O S T

TO R N I N H A L F.

B E F O R E A N D A F T E R Y O u

R O B E R T

C O M E W I T H M E .

O P E N H E A RT,

O P E N D O O R

F R A N C E S C A

B E F O R E A N D A F T E R Y O u

R O B E R T

C O M E W I T H M E

F R A N C E S C A

H O W D O I G O ?

T E L L M E

H O W D O I G O ?

H O W D O I G O W I T H Y O u ?

H O W D O I PA C K A B A G ,

C L O S E A D O O R , T u R N A K E Y,

WA L K AWAY ?

L O O K AT W H E R E I A M

A N D W H O I A M

A N D T E L L M E

I S T H E R E S O M E T H I N G I D O N ’ T K N O W ?

H O W D O I G O ?

H O W C A N I G O

W I T H Y O u ?

R O B E R T

I C A N ’ T T E L L Y O u I K N O W W H AT T H E A N S W E R W I L L B E

I T ’ S I M P O S S I B L E .

B u T T H I S T H I N G , T H I S I S B I G G E R T H A N W H AT W E C A N S E E

T H I S I S D E S T I N Y

W E A R E T I E D , W E A R E L O C K E D , W E A R E B O u N D ;

T H I S W I L L N O T B E R E v E R S E D O R u N W O u N D

W H AT E v E R FAT E T H E S TA R S A R E W E Av I N G ,

W E ’ R E N O T B R E A K I N G ,

I ’ M N O T L E Av I N G ,

A N D Y O u A N D I A R E J u S T O N E S E C O N D

S P I N N I N G B Y I N J u S T O N E S E C O N D .

Y O u A N D I H Av E J u S T O N E S E C O N D

F R A N C E S C A

(giving in)

A N D A M I L L I O N M I L E S TO G O

R O B E R T

A L L M Y L I F E I H Av E B E E N FA L L I N G …

F R A N C E S C A

A L L M Y L I F E I H Av E B E E N FA L L I N G …

They kiss and fall into the bed as the lights fade.

It is nearly noon. Robert jumps out of the bed.

Oh my God, Francesca, it’s almost noon

No It can’t be They could be here in an hour They could be here in half an hour

Do you know what time they were leaving?

She jumps out of the bed, puts a robe on and begins to strip the sheets off the bed. F

Maybe Bud told me, but I wasn’t listening You have to leave I have to change the bed. I have to clean the kitchen and get dressed and…

Francesca. It’s at least an eight-hour drive from Indianapolis, so even if they left at seven, you ’ ve got at least three hours before they get here, maybe four

Robert They can’t find you here

Listen, I’ll be in town all afternoon But if George has the pictures he needs, I’ll have to leave for New York by six.

But what if I can’t get there by six?

Then I’ll wire you the money to come to New York. Or call the magazine. They always know how to find me You call me and I will come get you All you have to do, ever, is call. F

If you carried me to the truck right now and forced me to go with you, I would go.

Is that what you want?

(puts her hands in his hair)

No, I don’t want to leave without seeing them I’m afraid if I did, the guilt of knowing how I had hurt them would turn me into someone you wouldn’t love at all.

No Not possible #

(sobbing or nearly sobbing)

Don’t leave me, Robert.

I’m not leaving you. I’m waiting for you.

He runs down the stairs and she follows

Robert!

Six o ’clock.

But as she gets outside, she hears the door of his truck slam, and hears the engine start. She watches, tears streaming down her face, as the truck rolls out the driveway.

She sinks to the ground, still not understanding why she isn’t with him. Finally, she stands and goes inside and washes her face in the kitchen sink. Or straightens some things, just trying to get everything done Some time passes

And suddenly, the kids barge in the back door, screaming and starving

Mom! Mom!

I won a BLuE RIBBON! Stevie got Best Steer! Want to see it? She shows it without waiting for an answer Then opens the refrigerator door

Wait ‘til you see the slide show.

And I met this great guy who’s going to teach me calf-roping.

You’re going to break your neck.

Don’t say that! Carolyn might like calf-roping

She drinks water from the pitcher in the fridge.

C A R O L Y N

And I’m a way better rider than you are Michael puts the test tubes back in the fridge.

M I C H A E L

Well, I think we should return all the horses to the wild anyway

C A R O L Y N

Michael spent all his time talking to an anti-farm guy

M I C H A E L

An animal rights activist

C A R O L Y N

Just what we need, for all the animals to be free Then they can get hit by cars or break into houses, and eat all the catfood.

By this time they both have made peanut butter sandwiches and carry them into the next room to eat. Their argument continues as they go.

M I C H A E L

That’s not what he wants He wants decent treatment for them, in their life and their death.

C A R O L Y N

Great. Maybe he can talk to vegetables too! Maybe the corn would like to be planted in circles

M I C H A E L

What we should do is ditch this vegetable thing and plant marijuana They say it’s gonna cure glaucoma one day. Or poppies. Last night this guy showed me how if you just scrape back the poppy bark you can get some of the gummy stuff they make

C A R O L Y N

(whispering now)

Shut up, Michael.

(whispering now)

M I C H A E L

—opium out of. All the hospitals use it for morphine.

Then he runs up the stairs.

Francesca picks up the huge bag of laundry the kids have dumped on the floor.

How did all these clothes get so dirty? It looks like you ’ ve been gone for a month.

They had fun.

He sets down his bags. Comes over to her for a hug and she lets him have one but has an armful of laundry which she keeps between them.

I’m sure they had a good time with you.

I think their fair-going days with their parents might be over. I should go to the barn. What time is dinner?

I didn’t get anything to cook. I thought maybe we’d go out.

Frannie, we ’ ve been eating out for days now. We’ve all been looking forward to one of your good meals. We made bets as to what you’d have waiting for us. I said roast beef F

All right It’s four thirty I’ll have to go to the market to get some things I’ll take Michael with me.

What have you been eating? Did you forget we were coming home?

He goes to the refrigerator and opens the door He sees the leftover stew What is this?

vegetable stew.

So put some meat in it and we’ll have that. F

Well, if you think that’s OK.

Whatever you make is OK. We just want to eat and go to bed. Or I do anyway. The kids are probably going to the movies, so maybe it’ll be just you and me I’d like that. Are you OK?

She is near tears. But also terrified that something in her behavior will give away her secret

I’ll make some cornbread. It won’t be long.

Sounds good.

Bud leaves. Tears are streaming down her face. She whispers.

Oh Robert.

Bud starts to leave.

Did you say something?

No

You did I heard you say “Oh something ” What was it? “Oh” what?

(beat)

Ok, I’m going up

Francesca waits til he is up the stairs, then grabs the car keys from the side of the refrigerator and heads for the door And just at that moment, MARGE appears at the screen door.

Marge sees that Francesca is near tears

Frannie? Are you OK?

(noticing the keys)

Where are you going?

I’m having a little trouble with the heat, I think. That’s all. I feel a little faint. I forgot to make dinner I have to

It’s alright Just take your time

Then Francesca pulls herself together and sees that Marge has a box.

Did you bring dinner?

Marge indicates the large bag on the table and unloads the bag, giving Francesca a chance to recover.

Well, I knew the kids and Bud would be starved from their drive home. So I made you a tray of lasagne I know you love it And God knows it’s too hot to cook in this kitchen. And I brought you some bread and a cake. And I would’ve brought Charlie to eat it with you, but he’s had a whole thing of it already and he’s sound asleep. So it’s just me.

Francesca turns and embraces her.

Thank you.

On the other side of the stage we see Robert at a phone booth.

Hi Ginny It’s Robert Kincaid Can you get George for me?

(breaking the embrace)

How could I forget about dinner?

M A R G E

Let’s just get this table set, what do you say? Oh and I brought in your mail. C A R O L Y N

Hi Marge!

As Francesca and Marge get the table set, Carolyn walks through and picks a movie magazine out of the mail.

(on the phone)

Yeah Ginny Sure, I can hold

Marge, Carolyn won a blue ribbon at the nationals Stevie got Best Steer

(giving her a little pat)

Congratulations! I wasn’t sure about that steer. But you proved me wrong, didn’t you!

Mom told me to trust my judgment Francesca embraces her.

I’m so glad to have you back home. I love you so much.

(embracing her)

I’m gonna live here for the rest of my life Even after I get married we ’ re going to live here with you.

And as Marge laughs, Carolyn heads to her room Francesca backs toward the door

I don’t know what to do.

About what? Frannie?

# 1 4 b T u r m o i l

I have to talk to Bud.

I’ll eat with the kids. Carolyn! Michael! Dinner!

Hey George. Good. Glad you liked them. No retakes then? I could stay around here a couple more days if you wanted This town hasn’t changed in 20 years

(then quickly)

No OK I’ll leave for New York around six, six-thirty Be there late tomorrow night

U p s t a i r s

FRAN enters the bedroom.

Bud?

You got something you want to tell me? Like whatever is going on with you

I want to talk about Michael

After I’ve been ready to kill him this whole trip No I don’t want to talk about Michael. I’ve been up since 2:00 am.

Now Michael enters Carolyn’s bedroom where she is reading a movie magazine.

What are they doing in there?

Dad is sending you to the army.

The hell he is.

Michael leaves the room and we go back to Bud and Francesca

I think there’s something you ’ re not telling me. Did you go to the doctor while we were gone?

I’m not sick

Then what is it? Frannie, you are not yourself

I’m homesick, that’s all I miss Mama, and Chiara and Italy and I’m starting to wonder if I’ve wasted my life here.

What do you mean? You have raised a family, Frannie. That’s what we ’ re all here for

Well I’m not just here to cook and clean

I don’t understand

I can’t go on feeling so alone and I need to tell you something

Carolyn calls from offstage.

Michael, what are you doing? Dad!

# 1 4 c S t e a l i n g t h e C a r

Goddamn him!

Bud, I have to tell you

I have to handle this

And Bud walks off to straighten out whatever Michael is doing.

He’s stealing the car!

Bud rushes outside, Carolyn rushes down the stairs, Francesca rushes in, all as if to put out a fire that just started

Goddamn him, I told him he could not drive the car without my permission. Stop! Michael!

But Michael is not speeding away in the car. He rolls down the window.

What’s all the yelling about? I was just going to get us some ice cream, what do we all hate ice cream now?

Bud. Wait. He’s a good boy. You know he’ll drive safely.

You don’t even know who he is any more. You should’ve seen the things he was doing at the fair He thought I didn’t know but Carolyn said

And you believed her? Wake up, Dad She pulls this crap on you all the time All she has to do is make you think I’m doing something wrong and

Then explain why you are in the car with the keys in your hand.

Fine.

(getting out of the car)

I’m out of the car.

He starts to walk toward the house

Are you happy now?

Bud catches him and turns him around hard

Don’t you sass me, boy.

Bud grabs him and shoves him against the car. There is a frozen moment. This kind of thing hasn’t happened in the house before.

Why don’t we all go in town for ice cream?

I don’t want any ice cream if he’s coming.

And why don’t you go jump in the lake?

Bud grabs him and hurls him back toward the car or on the ground.

Dad! What are you doing?

Francesca separates them.

Your Mother is right. We are all going into town for ice cream whether we like it or not I’m sorry I shoved you This is not how we treat each other

You’re going to force me to eat ice cream now?

Bud shoves him into the car.

You’re damn right I am. Get in.

Carolyn gets in the car. Francesca looks at Bud as if at a complete stranger, but gets in the car too. We hear the car engine, but only see Francesca’s face in the darkness of the drive to town.

As they are driving:

Mom?

Nobody talk.

I was just trying to

Shut up! Everybody shut up or I’m stopping the car!

I n To w n

They arrive in silence, and we hear four doors slam Francesca and Carolyn try to talk quietly.

I hate it here

Are you trying to make this worse?

Michael and Dad fought all the way home and Michael told me he doesn’t want to be a farmer.

(gently)

Maybe Dad would let us sit on the bench while he and Michael…

(to Francesca)

We are all going in that soda shop, end of discussion

All right, then. You heard your father. Here we go.

# 1 5 R e w i n d

And then at that moment, Francesca sees Robert across the street. She stops. The music pulses Francesca freezes at the sight of him

Mom?

Francesca doesn’t answer

Mom? Who is that man?

Robert extends his hand to her. Quietly at first, a romantic rush begins in the orchestra.

The rush in the orchestra accelerates as Francesca runs across the street and into Robert’s waiting arms.

Oh Robert. I love you. Take me with you.

OK. Let’s go.

They embrace as if they hadn’t seen each other in years. The romantic music continues. But as she turns around, the music stops as she sees her family, sees Bud’s head on his chest, sees Carolyn crying, and Michael furious and kicking the ground, or getting out a cigarette and walking away.

When she sees this, she reaches out and stops Robert. The music begins the lament that will carry us to the end of the rewind.

Robert nods and watches as she walks backward across the street and ends up exactly as she was when she saw him. The music ends and we are back on the sidewalk as before. Michael is back with the others.

Francesca looks up and sees Robert, as she did before. Tears all gone.

Mom?

Francesca doesn’t answer. She is composed now. It was all in her mind. It never happened.

Who is that man?

He’s a photographer from the National Geographic He came to take pictures of the bridges. He asked me for directions one day.

Francesca takes one more look at Robert and then follows her family inside the shop. Robert watches them go, then after a moment, exits.

Throughout this scene, whenever it would be normal to have a photographer present, we will see Robert taking pictures, as he would, but off in the world, not in the scene. This is Francesca’s memory of him as time takes them further apart.

M A R G E

Charlie, are you almost dressed! The wedding is at 4.

C H A R L I E

That girl is too young to be married. Why is Francesca letting Carolyn get married at 18?

M A R G E

I married you when I was eighteen. They’re both going to Iowa State. She’s a good girl She’s only had one boyfriend and he’s it They’ll be back here in no time and living right down the road. You mark my words.

C H A R L I E

Bud doesn’t like the boy much.

M A R G E

And my father didn’t like you. So there we are. But Charlie?

C H A R L I E

You look real nice in that dress, Marge. You always do.

# 1 6 W h e n I ’ m G o n e

M A R G E

Thank you. But could you try not to cry so much at weddings now? Or take a handkerchief at least

C H A R L I E

Don’t know what it is that gets me Seeing young people so happy, I guess

W H E N I ’ M G O N E , W H E N I ’ M G O N E , TA K

Carolyn is twirling around in her wedding dress.

C A R O L Y N

Am I supposed to be nervous? I thought brides were supposed to be nervous.

Francesca comes out of the bathroom in a very pretty mother-of-the-bride dress F R A N C E S C A

If you were nervous, it would probably mean you weren’t sure it was the right thing.

C A R O L Y N

So if I’m not nervous…

Then you were meant to be together.

R A N C E S C A

Suddenly, Carolyn embraces Francesca, overcome with emotion

C A R O L Y N

I love you, Mom. I love you so much.

Everybody ready in here?

M I C H A E L

Hey, does this mean I’m an only child now? B U D

Michael, I swear. If you don’t grow the hell up…

M I C H A E L

I got into Medical School. What do you want from me?

F R A N C E S C A

Boys.

M I C H A E L

I’m sorry. You’re beautiful, Carrie. Mom, you ’ re the best. Dad, nice pants.

He laughs and he is just so charming and handsome, you can’t help but laugh with him

So shall we do this?

W H E N I ’ M G O N E , C O M E W H AT M AY,

H

I ’ L L L O O K D O W N

AT T H I S P L A C E

W H E N I ’ v E C R O S S E

L E T I T S TAY S O M

L I K E I T I S R I G H T N O

’

W H

Marge, Carolyn and Francesca enter. M A R G E

How on earth could your Michael grow up to be a doctor? I’m sorry if that’s rude, but

I don’t know, Marge I don’t know

(a moment)

M A R G E

What I think is that you flat out saved him That you loved him so hard he didn’t have any choice but to grow up for you. I’m sorry Bud couldn’t be here to see this.

Bud walks into the scene, though not present

We’ll stop in and see him at St. Luke’s on the way home.

Doctor of Medicine, summa cum laude, Michael Johnson. CAROLYN is holding her baby now

The last time I saw Bud, he didn’t expect to come home from the hospital.

I know He thinks we all need to be prepared

M I C H A E L

Mom! Marge! I’ve been looking all over for you

C A R O L Y N

We’re so proud of you Aren’t we proud?

F R A N C E S C A

As proud as we can be and not start flying around

They all walk away as Bud watches. He then walks over to join Charlie.

B U D

W H E N I ’ M G O N E ,

W H E N I ’ M G O N E ,

I W I L L S E E T H E C L O u D S B E L O W M E ,

A N D M Y C H I L D

A N D H I S C H I L D

W H E N I ’ v E C R O S S E D O v E R

L E T T H E M F E E L T H E P R I D E

T H AT I ’ v E K E P T I N S I D E .

W H E N I ’ M G O N E

A t T h e C e m e t e r y

B U D & C H A R L I E

O H , W H E N I WA S B O R N ,

I H A D TO M O R R O W S S T R E T C H E D B E F O R E M E ,

B u T T H E Y E S T E R D AY S P I L E D u P

F R O M T H AT D AY O N .

B U D

W H E N I ’ M G O N E ,

W H E N I ’ M G O N E ,

I ’ L L S I N G G L O RY, H A L L E L u J A H !

F O R M Y W O R K

W I L L B E D O N E

W H E N I ’ v E C R O S S E D O v E R .

A N D I K N O W Y O u ’ L L K N O W

T H AT I L O v E D Y O u S O

W H E N I ’ M G O N E

C O M P A N Y

O O H …

O O H …

O O H

O O H

C O M P A N Y

G L O RY ! G L O RY !

G L O RY ! G L O RY !

G L O RY ! G L O RY !

A H ! O O H …

O O H …

O O H

O O H

It was a beautiful service, Frannie Nice and simple Just what Bud would’ve wanted. M

Thanks for everything, Marge. The reception was perfect. You’ve been such a good friend to all of us for so long.

I can stay here with you tonight, Mom, if that would make you feel better. M

I can stay too.

I’m fine. I just want to sleep. But I’ll have coffee ready in the morning. You can come then I’m so lucky to have the two of you (to Michael and Carolyn)

Thank you for everything you said today. Your dad would’ve been very proud. The kids kiss her and leave. Marge remains. M

I’ll keep a light on over at my house so if you can’t sleep… you’ll know I’m there. F

Marge, it’s always felt so good to know you were looking out for me. No matter what it was all these years

I’ll see you tomorrow

They embrace, Marge leaves.

# 1 6 a F r a n c e s c a A l o n e

The phone rings. SHE picks it up.

Johnsons.

But there is no voice on the other end of the phone.

Johnsons.

(a moment)

Is someone there?

Then when she doesn’t hear anything, she hangs up the phone, and puts her head down on the table and goes to sleep.

During this time, she makes the transition of some ten years She may read or sew, or she may just sit. But she changes in a very profound way. She grows more quiet and more at peace as

I n R o b e r t ’ s O f f i c e

We hear the phone ringing again.

The lights change, and we find Robert sitting at his desk, over a large trash can, into which he is throwing his photos.

National Geographic.

Hi Ginny. It’s Robert Kincaid. Can you get George for me?

He’s in Nepal, Mr. Kincaid. He called you a hundred times to get you to go with him. Where have you been?

You don’t want to know. But I’m home now.

George said if you called, he wants you there as soon as you can get there.

I can’t go anywhere, Ginny. I called to say I’m kind of closing up shop here.

You can’t do that. You’re the best we ’ ve got.

I don’t know about that, but I’m not taking any more pictures My doctors are telling me… Do you still have that number? the one I gave you after I did those pictures of the covered bridges?

G I N N Y

I have it, but she hasn’t called. Do you still want me to tell her how to find you?

R O B E R T

No, don’t give her the number now. I can’t Ginny, thank you so much for helping me wait for her call. In case she needed me.

G I N N Y

Of course. It was my pleasure.

Gotta go now.

R O B E R T

HE drops a stack of negatives in the trash can and sets them on fire. Then another pile of them as well And a final stack of prints As the song goes on, we may see the photographs he is discarding being projected on the screen.

I

Robert packs his cameras into a cardboard box and closes it. I

I T A L L FA

I T A L L FA

As the mandolin plays, Robert sings along, holding one last photograph. Finally, he puts it in the box and seals it.

T H E

AT

A

PA S T T H E B E AT I N G O F M Y H E A RT,

I T W I L L A L L FA D E AWAY B u T Y O u

I T A L L FA D E S AWAY, I T A L L FA D E S AWAY,

I T A L L FA D E S AWAY B u T Y O u

I T A L L FA D E S AWAY, I T A L L FA D E S AWAY,

I T A L L FA D E S AWAY B u T Y O u .

B u T Y O u

B u T Y O u

Y O u .

The lights fade on Robert, and the Bridges appear on the empty stage.

Francesca walks on, older but still luminous She carries an unopened envelope in her hand. She walks through the bridge, sits on the bench, and slowly opens the envelope. First she pulls out a photograph It is the picture that Robert took of her on the bridge so many years ago. She looks at it, then places it on the bench and removes a handwritten letter from the envelope. This is the letter that Robert was writing at the beginning of the previous song.

(reading)

“Dear Francesca. I have wanted to write so many times over the years. I am sorry this is the letter I must write I’ve given away everything and burned all my photos except the one I’ve put in the box for you. So if you are reading this letter, it will mean I am gone to wherever we all go at the end Into the air, I hope, or the light, or even back to dust would be ok with me.

But every day now, I remember some new moment of our time together. I have hoped for your call, but I understand why you made the choice you did. Your love for your family is part of my love for you

I hope you have felt my love every day I have been and always will be yours, forever.

Robert.”

She holds the letter up to her chest and crosses her hands over it, as if hugging him She senses that if she turned around, she would see him, but she resists. She knows this is the only way they can be together now, in song. And she wants him to know how she feels.

( F R A N C E S C A )

B u T W H AT W E D I D

I S T H AT W E L O v E D ,

A N D L O v E I S A LWAY S B E T T E R .

I C O u L D H Av E G O N E W I T H Y O u A N D L E F T B E H I N D T H E C O R N F I E L D S

I C O u L D H Av E S E E N A W O R L D L I K E N O N E I ’ D E v E R K N O W N .

I C O u L D H Av E T I E D M Y D R E A M S TO Y O u R S

A N D S L E P T B E S I D E Y O u O N T H E M O O R S

A N D W H O C A N S AY ? T H AT M I G H T B E B E T T E R .

I C O u L D H Av E N O T B E E N W H E R E M Y C H I L D R E N T u R N E D F O R

A N S W E R S ,

A N D N E v E R S E E N W H AT T H E Y ’ v E B E C O M E N O W T H AT T H E Y ’ R E

G R O W N ,

B u T W H AT I D I D

I S T H AT I L O v E D

A N D L O v E I S A LWAY S B E T T E R

I T I S H A R D ,

I T I S I N S A N E

TO P L A C E O N E L O v E

A B O v E A N O T H E R ,

B u T W H AT A C H O I C E !

A N D W H AT A G I F T !

A N D W H AT A B L E S S I N G !

I C O u L D H Av E N E v E R K N O W N

T H AT L O v E L I K E T H I S E x I S T E D ,

B u T T H E N Y O u K I S S E D M E

A N D Y O u L E F T A N D T H E N I K N E W,

B u T W H AT I S T R u E

I S T H AT W E L O v E D ,

A N D T H AT I L O v E D ,

A N D T H AT I L O v E ,

A N D I W I L L A LWAY S L O v E

A N D L O v E

I S A LWAY S B E T T E R

C O M P A N Y

O H !

O H !

O H ! A H

A H

A H A H

A H A H

A H A H

Robert steps forward, stands directly behind her, and wraps her in his arms.

R O B E R T

Y O u A N D I

A R E J u S T O N E S E C O N D .

S P I N N I N G B Y

I N O N E S P L I T- S E C O N D

Y O u A N D I

H Av E J u S T O N E S E C O N D

A N D A M I L L I O N M I L E S TO G O

C O M P A N Y

( H u M M I N G )

( H u M M I N G )

( H u M M I N G )

( H u M M I N G )

( H u M M I N G )

( H u M M I N G )

( H u M M I N G )

She grabs his arms, pulls him ever tighter, and together they stand in the shadow of the Roseman Bridge as the sun sets

T H E E N D

# 1 9 B o w s / E x i t M u s i c

2 . H o m e B e f o r e Yo u K n o w I t

3 . Te m p o r a l i l y L o s t

7 . Wo n d e r i n g

8 . L o o k A t M e

9 T h e Wo r l d I n s i d e A F r a m e

9 a S t a t e F a i r Tr a n s i t i o n

1 0 S o m e t h i n g F r o m A D r e a m

1 0 a . K i t c h e n Tr a n s i t i o n # 2

1 0 b . B i g B a n d

11 . G e t C l o s e r / F a l l i n g I n t o Yo u

1 2 . S t a t e R o a d 2 1 / T h e R e a l Wo r l d / W h o We A r e

Home Before You Know It

Whydoeshehavetobeajerk?

FRANCESCA: I’m sorry you got upset with Dad, but you’ve worked so hard with Stevie. All you have to do is go to Indianapolis... so he can win Steer of the Year.

FRANCESCA: Carolyn. This could be your college education right here.

FRANCESCA: You don’t have to marry a farmer. This is 1965. You could go to college in Italy, live with Aunt Chiara and find somebody there.

FRANCESCA:

Temporarily Lost 3

Kitchen Transition #1

State Fair Transition

Something From A Dream 10

Kitchen Transition #2

Big Band

dumblit-tlegirl.Well,

boutwhatittakestomakea

bull calf grow?

dotheyknowA-

dotheyknowA-bout

Oh,oh,what

A146

Oh,oh,what

lifeintherealworld?

dotheyknow?They

Oh,oh,what

A150 j œ œ j œœ œ œ dotheyknowA-bout œ œ œ œ œ œ œ

dotheyknow?A-bout

A148

May-beI’mbe-ingself-ish.Ishould

haira-crossmychest,I & — 1 8 8 —T H E B R I D G E S O F M A D I S O N C O U N T Y

can’tthinkwhatelseIwouldneedtosee.

[127] 132 œ œ œ œ œ œ œ œ œ n œ œ œ weareandwhowewanttobe. # 1 2 — S t a t e R o a d 2 1 / T h e R e a l W o r l d / W h o W e A r e

Oh,oh,oh,oh.

Oh,oh,oh,oh.

Oh,oh,oh.

Oh,oh,oh.

Oh,oh.

Idon’tneedtoberich,Idon’tneedsome-thing

Youwerebornwithawan-der-er’ssoul.

When I'm Gone 16

It All Fades Away

packs his cameras into the cardboard box and closes it.)

steps forward, stands directly behind her, and wraps her in his arms.)