(Robert and Francesca are in the middle of dinner. But instead of the usual silence that surrounds Johnson family eating, Francesca is mesmerized by Robert as he manages to eat and tell a story. The scene begins with a LAUGH FROM FRANCESCA.)

ROBERT (laughs) ... No, wait, it gets better. He stands up and acts it out for her.
ROBERT (cont'd) You have to get the full picture here. I have three cameras around my neck, a tripod in one hand and my pants down around my ankles. I thought this was a private bush. I look up and this gorilla, this female gorilla, is staring at me with what can best be described as the most lascivious expression I've ever seen on a female with so much body hair. (Francesca laughs) I freeze. 'Cause that's what they tell you to do. In this position. She comes towards me and... and she...(he stops awkwardly)
FRANCESCA What?
ROBERT She starts sniffing me.
FRANCESCA Oh my God...(laughs) You're blushing.
ROBERT It's still a very sensitive memory for me.
FRANCESCA Then what happened?
ROBERT We got engaged.
FRANCESCA Oh you!

(She throws a napkin at him.)
FRANCESCA (cont'd) None of this is true!
ROBERT No, it is. Except for the engagement part. She wouldn't have me, although I still get a Valentine every year.
(Francesca is laughing so hard she can't breath. Robert loves making her laugh.)
FRANCESCA You ought to write these stories down.
ROBERT Nah. I've tried. My writing's too technical, I think. Problem of being a journalist too long is you stop giving yourself permission to invent. I better just stick to making pictures.
FRANCESCA "Making pictures." I like that. You really love what you do, don't you?
ROBERT (nods, smiles shyly) I'm kind of obsessed by it, actually.
FRANCESCA Why, do you think?
ROBERT I don't know if obsessions have reasons. I think that's why they're obsessions.
FRANCESCA You sound like an artist.
ROBERT No. I wouldn't say that. National Geographic isn't exactly the hub of artistic inspiration. They like their wild life in focus and without any personal comment. I don't mind really. I'm not artist. I'd faced that a long time ago. It's the course of being well-adjusted. I'm too normal.
FRANCESCA (supportively) I don't think you're normal.

(He looks at her in surprise. She catches herself again.)

FRANCESCA I didn't mean that the way it sounded.
ROBERT Well, let's just call it a compliment and move on. (changes subject) Did you love teaching?
FRANCESCA (cont'd) Sometimes. When there was a particular student who made a difference. I know they're all supposed to, but it's not true. You tend to single out one or two you think you can contribute something to.
ROBERT And did you?
FRANCESCA I'd like to think so. I know one of them went on to Medical school.
ROBERT Why did you stop?
FRANCESCA My children. And Richard didn't like my working.
ROBERT Do you miss it?
FRANCESCA I don't know. I've never thought about it... what was the most exciting place you've ever been to? Unless you're tired of talking about it.
ROBERT You're asking a man if he's too tired to talk about himself? You don't get out much, do you?

(Francesca smiles, a little embarrassed.)

ROBERT I'm sorry. That was...
FRANCESCA (overlapping) No. It's all right. I just meant, it might be a little dull for you, telling all this to some housewife in the middle of nowhere.
ROBERT This is your home. It's not nowhere. And it's not dull.

(Francesca smiles again, this time relieved.)
ROBERT Let's see -- my favorite place...
(Francesca settles in to listen, never taking her eyes off of him.)

ROBERT (cont'd) Well, it's the obvious choice, but I think I'd have to say Africa. It's another world. Not just the people and the cultures but the land, the colors you see at dawns and dusks -- and the life there. It charges every molecule of air.

(Francesca is fascinated, being drawn into his imagery.)

ROBERT (cont'd) It's tangible -- the moment to moment of life and death, the co-habitation of man and beast, of beast and beast, who'll survive, who won't -- and there's no judgement about it. No right or wrong or imposed morality. It's just life. It's a voyeurs paradise really because those animals don't want anybody in their business. You can watch but at a distance. (excited) I remember one time I was on a truck headed for the Niger.

(Lights begin to dim as Francesca is so taken in by his story, she begins to actually see what he is describing.)

ROBERT (cont'd) We were driving north. The truck was old so I guess the sound of the motor muffled this kind of rumbling in the distance -- until finally, it was upon us like, like a hundred thunder claps all at once...

CUT TO:

EXT. AFRICA - DAY

(Robert and a driver are in a truck driving north. Robert turns to look out the window and sees?

(A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA are running in the grasslands to the right of the truck. Robert excitedly instructs the driver.

ROBERT Get us closer!!
(The driver veers off towards the stampede as Robert opens his door and makes his way to the flatbed part of the truck with his camera. The truck takes its position within this breathtaking force of wildlife, as giraffes, zebras and gazelles surround it -- all going in the same direction.)

(Robert stands in the truck, shooting as fast as he can. The truck races to keep up with the animals. Robert is so pumped he can hardly catch his breath. Suddenly, the force and beauty of these creatures causes him to lower his camera. He is unable to film it because it overwhelms him. He just stands there in awe and lets out a primal scream. The animals gradually veer off to where the truck can no longer follow. Robert watches them disappear into the distance.)

CUT BACK TO:

INT. JOHNSON KITCHEN - NIGHT

(Francesca has seen all of this in her mind. Robert smiles at her, sensing how in tune with the story she was.)

FRANCESCA My God. How I'd love to see that.
ROBERT They have safaris for tourists now. Maybe you can convince your husband.

(Francesca smiles. There is an awkward pause between them.)

ROBERT (cont'd) It's a beautiful night. Would you like to go for a walk?
FRANCESCA Well, it's kind of buggy out there.
ROBERT (rises) Have no fear. This Shoshone Medicine Woman taught me how to make bug repellent tea out of tree root.
FRANCESCA You drink bug repellent?
ROBERT No, you rub it on you. I have some in the truck. Don't go away.

(She shakes her head. He runs out the screen door, not letting it slam. Francesca looks like a teenager with first date excitement.)

EXT. PASTURE - NIGHT

(Francesca and Robert walk through the pasture. She sniffs her arm.)
FRANCESCA Smells like dirt.
ROBERT You get used to it.
FRANCESCA When?
ROBERT (laughs) You want to go back in?
FRANCESCA No. I'm all right. It's working.

(Silence. They walk. It is a beautiful night.)

ROBERT You've got it all right here, you know. It's just as beautiful as any other place I've seen. God, it knocks me out.
FRANCESCA What?
ROBERT (indicating the night) This "... Of what I call God and fools can Nature." Who wrote that?
FRANCESCA Umm, I don't know. I can look it up.
ROBERT I'd appreciate it. I like knowing who I'm stealing from. If you can't create art I think the least you can do is recognize it around you, don't you think? There is... (genuinely affected)... so much beauty.

(She watches him with great appreciation. He smiles at her. Instead of looking away, their eyes remained locked for a moment. There is clearly an attraction. They simultaneously look away and continue walking.)

(Francesca's heart is beating a mile a minute yet she can't deny she is enjoying herself. Walking side by side in silence, Francesca turns back occasionally to look at her house as they get further away from it. Suddenly, the more distant the house becomes, the more frightened she starts to feel. Something inside her knows she's going too far with this man -- too far from home. Although a part of her wants it, she is surprised to find a larger part of her finds too unknown. She stops.)

ROBERT (cont'd) What's wrong?

(Francesca looks confused for a moment, not knowing what she
wants. She can't move. She searches for a way out.)

FRANCESCA Would you like some coffee? Or maybe, some brandy?

(Somehow Robert can sense her uneasiness. He obliges.)

ROBERT How about both?

INT. KITCHEN - NIGHT

(Francesca moves about the kitchen preparing coffee -- dropping
the coffee pot basket, spilling the grounds. She acts tense.
Robert sits at the table opening the brandy bottle Francesca
almost opened the night before, aware of her mood.)

(Francesca gets the coffee going then sets the table with cups and saucers.)
ROBERT You sure you won't let me help you with those dishes?
FRANCESCA (coldly) No. I'll do them later.
ROBERT Francesca?
FRANCESCA What?
ROBERT Are you all right?
FRANCESCA Yes
ROBERT Francesca?
FRANCESCA What?
ROBERT We're not doing anything wrong, do you?

(Francesca freezes. He has read her mind again._
ROBERT (cont'd) (smiles) Nothing you can't tell your children about.

(Once again, he relieves her of fear and anxiety. He hands her a glass of brandy...)

 

Useful lanuage items:

mesmerize 施催眠术于某人。Back

lascivious 好色的、猥亵的。 Back

the hub of artistic inspiration 艺术灵感的中心。Back

You don't get out much, do you? 你不常出去吧？Back

imposed morality 强加于的道德。Back

The driver veers off towards the stampede. 司机改变方向开向那些溃散的动物。Back

sensing how in tune with the story she was 感觉到了她完全沉浸在了故事当中。in tune with 与步调一致。Back

it knocks me out. 我简直陶醉了。Back