Little Men

Episode 17: Opposites Attract

 

SCENE 1: INT. LAURENCE HOUSE - PARLOUR

Scene opens looking at the outside of the Laurence house, and pans inside to show Laurie sitting at his desk going through business papers while Amy stands by the window, looking at pictures she has drawn.

LAURIE:

All this correspondence, how does it pile up so quickly?

AMY:

I don't know.

LAURIE:

Investment proposals, business ventures...

AMY:

I'm tired of painting landscapes.

LAURIE:

Here's the one I was telling you about: the indoor food refrigeration system. Remember? The indoor cabinet that helps preserve food?

AMY:

Sounds good.

LAURIE:

The more I think about it, the better the idea sounds.

AMY:

Perhaps I should paint a still life.

LAURIE:

They're asking for short-term capital to help generate a prototype. There's a risk, of course, but I think the positive outweighs the negative, don't you think?

AMY:

Absolutely! Maybe a bowl of fruit or some flowers.

LAURIE:

I'm going to wire them right away. If this project is as successful as I think it could be…

AMY:

One of Bess's figurines sitting on her night table. It's perfect, isn't it?

LAURIE:

[Looking over his shoulder at Amy.] Yes. Perfect!

SCENE 2: EXT. LAURENCE HOUSE - PARLOUR

Franz is walking down the main street backwards with his students follow him.

FRANZ:

The minutemen gathered right here. Ordinary citizens of Concord, banding together, united in there -

TOMMY:

[Interrupting.] Is this going to be on the test?

FRANZ:

Just listen, Tommy. Imagine a spring day, April 19th 1775 -

NAN:

Oh, wait. Do we need to know dates?

FRANZ:

Yes, but for now -

NAT:

We do? But you told us not to bring our pencils and paper!

FRANZ:

Will all of you just stop. [Stops in front of the hotel and turns to face the students.] Don't you understand? We're lucky enough to walk into a town where so many great things happened!

Behind Franz, a young lady, ISABEL, is trying to clean the windows of the hotel, but a man hassles her as she works. Their words can be heard by everyone nearby.

ISABEL:

Back it off! I said I'm workin'!

MAN:

You're always workin'.

ISABEL:

Yeah, you oughtta try it sometime, instead of always getting in my way.

FRANZ looks over his shoulder, then looks back, trying to ignore the scene behind him.

FRANZ:

This is where history was made. The shot heard round the world!

The MAN leans in towards ISABEL.

MAN:

I gotta better idea. How about you and I go upstairs, huh?

ISABEL:

You'd better mind your manners if you know what's good for you.

MAN:

Hoo, hoo, hoo! I got a feelin’ you'd be good fer me.

FRANZ is disturbed by what he's hearing, but again tries to ignore it.

FRANZ:

Of course, in 1775 -

MAN:

That's what I hear…

ISABEL gives the MAN an annoyed glance and picks up the bucket of water at her feet.

FRANZ:

[Continuing.] this hotel wasn't here, instead, it was a -

FRANZ turns to face hotel at the same moment that ISABEL throws her bucket of water at the unwelcome suitor, missing him and hitting FRANZ. ISABEL gasps in surprise, as the other MAN runs away. ISABEL walks up to FRANZ.

ISABEL:

Oh! I'm so sorry!

FRANZ:

That's all right. [Wipes water off his face with his hands.]

ISABEL:

No, it's not all right. [Begins to dry off his face with her apron.] You're wet. You're... [Starts laughing.] … you're VERY wet.

FRANZ:

I'm aware of that.

The children are standing behind Franz, laughing at what has just happened, while Isabel continues to dry him with her apron.

SCENE 3: INT. PLUMFIELD - KITCHEN

JO is cutting small tomatoes in the kitchen. AMY is with her.

AMY:

The reason I came over early so we could talk and have tea.

JO:

Amy, I can't. I have chores to do. [Holds up eggplant to Amy's nose.] Does that smell fresh to you?

AMY:

[Pushes eggplant away and sighs.] Jo…

JO:

[Sets eggplant down on countertop.] Ugh, we could really use one of those refrigeration cabinets about now. It would keep the vegetables fresh in warm weather.

AMY:

Refrigeration cabinet?

JO:

Yeah. That new invention that you and Laurie are investing in.

AMY:

What?

JO:

Oh, didn't he tell you?

AMY:

No. When did he tell you?

JO:

I don't know. The other day.

AMY:

Why would Laurie go and invest in something without consulting me first? I mean, I am his wife. I think I should have some say in how we spend our money.

JO:

I'm sure he intends to tell you, Amy. It probably just slipped his mind.

AMY:

[To herself, as Jo continues to chop vegetables for dinner.] He should have told me.

SCENE 4: INT. PLUMFIELD - PARLOUR

AMY, JO, and BESS are walking into the parlour.

BESS:

Remember how much trouble I had with arithmetic?

AMY:

Remember? Bess, you were near tears!

BESS:

Well, look! [Hands Amy a test paper.]

AMY:

One hundred!

LAURIE:

[Enters.] Sorry I'm late.

AMY:

[Coolly.] We did say five. [More gently.] I suppose it slipped your mind.

BESS:

Father, look how I did on my test!

LAURIE:

[Looks at the paper.] Bess, that's wonderful!

JO:

Isn't she doing beautifully? Oh, did you show them your story? The one you wrote about your trip to Europe?

BESS:

Oh, no. It's all about Paris. I'll be right back. [Leaves to get her story.]

AMY:

Laurie, why didn't you tell me about the refrigeration cabinet that you invested in?

JO:

Yes, Laurie, regale her.

LAURIE:

I already did.

AMY:

When?

LAURIE:

The other day. Remember, we were in the parlor. You were talking to me about the landscape you're painting.

AMY:

I'm not painting a landscape, Laurie; I'm painting a still-life. Weren't you listening to me?

LAURIE:

Weren't you listening to me?

JO:

You know, I think I smell dinner…

LAURIE:

Obviously, you weren't paying attention, otherwise -

AMY:

[Interrupts.] Obviously you weren't paying attention to me either. I could barely get a response from you when I told you about the still-life I was going to paint.

JO:

You know, I do smell dinner -

LAURIE:

[Irritated.] Well, forgive me if I didn't summon up the appropriate enthusiasm.

AMY:

I don't want your enthusiasm if it has to be...summoned.

JO:

[Calmly.] I have an idea. Why don't we sit down and discuss the refrigeration cabinet and the still-life painting over dinner? Okay?

AMY and LAURIE look at each other, then follow Jo into the dining room.

SCENE 5: INT. PLUMFIELD - FRITZ'S ROOM

FRANZ dips a razor blade in water, wipes it off, and starts to shave. NAN enters.

NAN:

Franz, we're choosin teams to play ball and we're one person short.

FRANZ:

[Looking annoyingly at Nan's reflection in the mirror.] Do you mind?

NAN:

What?

FRANZ:

Knocking?

NAN:

Sorry. [Walks out of room, and knocks on door.]

FRANZ:

Come in.

NAN:

So, wanna play ball with us?

FRANZ:

I can't. I'm busy.

NAN:

[Approaches Franz.] Doin' what?

FRANZ:

[Turns to face Nan.] Shaving?

NAN:

[Giggles.] Shaving what?

FRANZ:

Out!

NAN walks out of the room, giggling, while FRANZ continues to shave.

SCENE 6: INT. GENERAL STORE

FRANZ is in town with DAN and NAN, wearing a suit, hat and glasses. They walk into Gerson's General Store, where ISABEL is standing at the counter, taking care of business with Mr. GERSON.

NAN:

I'll go get the mail.

DAN:

Nick wants me to go check for those hinges.

FRANZ:

Well, come right back. I need help with this list.

GERSON:

[To Isabel.] I said no more credit. You'll have to put something back.

ISABEL:

I can't do that, Mr. Gerson.

GERSON:

Sure you can. How about this flour?

ISABEL:

Well, how do you expect me to back a chocolate cake without any flour?

GERSON:

That's your problem, Miss McGregor, unless you have another thirty-five cents.

ISABEL:

You know that I get paid on Fridays.

GERSON:

Well, then come back on Friday and buy it.

ISABEL:

No, that's too late. My brother's birthday is tomorrow! [Pulls sack of flour to her side of the counter.]

GERSON:

[Pulls sack of flour to his side.] Let go!

ISABEL:

But he wants a chocolate cake!

ISABEL pulls the sack of flour off countertop and trips backwards, dropping the sack on Franz's chest as he walks by. The sack breaks open, sending an explosion of flour all over FRANZ.

ISABEL:

Oh! O-o-o-Oh! Oh, my…

GERSON:

[Comes around the counter and walks past Isabel to get a broom.] Now, look what you've done!

ISABEL:

It was an accident. [To Franz.] Are you all right?

FRANZ:

Y-y-y-yeah.

ISABEL:

Here. Here, let me do that. [Takes Franz's glasses.]

FRANZ:

No, please, I -

ISABEL:

No, I'll just wipe them off. [Wipes off glasses with her skirt, and in the process pops out one of the lenses.] Oh, no.

FRANZ:

What?

ISABEL:

The, uh, glass popped out.

FRANZ:

Give me that. [Takes glasses and sighs in exasperation.]

ISABEL:

[Tilts her head down and takes a closer look at Franz, then recognizes him.] Didn't I…? [Gasps.] Well, how are you? Hello!

FRANZ:

Hello?

ISABEL:

Oh, you must think I'm so awful, and clumsy, and rude!

FRANZ:

I must.

ISABEL:

[Sighs.] Well, of course you would. Considering, you just dried off from the last occasion, and here I… [Giggles.] Well, this should, uh, this should just brush right off, honestly. [Starts dusting flour off Franz's shoulders.]

FRANZ:

Well, that's not necessary.

ISABEL:

Well, I'm almost done.

FRANZ:

D-Don't - [Isabel stops.] I mean, thank you.

ISABEL:

Well, don't thank me. I -

FRANZ:

No, it's just..uh..not another thing, um, because I..uh..bye.

FRANZ walks backwards out of the store and trips on the threshold. DAN runs to his side to help him up, and NAN follows.

DAN:

You all right, Franz?

FRANZ:

[Flustered. Gets up, knocks something over in the doorway.] Sorry...I..just -

DAN and NAN look back at ISABEL and smile as FRANZ walks away, trying to regain his composure.

SCENE 7: INT. PLUMFIELD - KITCHEN

Franz, Nan and Dan walk into the kitchen at Plumfield. Jo is standing by the table, and Nick is washing his hands in the sink.

DAN:

Franz, he's just standin' there, mindin' his own business, when whack! [Pats Franz on the chest where the sack of flour hit.] The sack of flour exploded all over him!

NAN:

It was great!

DAN:

Yeah, she really got ya good, Franz.

FRANZ:

Yes, yes she did.

NAN:

That makes twice.

FRANZ:

I know...that girl, she's so -

NAN:

[Beat.] Pretty?

FRANZ:

Yes, I mean no, she's, she's infuriating, exasperating, always making a scene.

JO:

Hmm. Maybe you should steer clear of her then

FRANZ:

Absolutely. The girl is nothing but trouble. [Exits.]

DAN:

I kinda liked her

NAN:

Me, too

FRANZ:

Obviously, so does Franz.

NICK:

Comin' through loud an’ clear.

NAN:

[Confused.] But he just said she was nothin' but trouble

NICK:

The good kind of trouble

NAN:

Huh?

JO:

Another few years, Nan, you'll understand.

NAN sighs in exasperation and walks past DAN out of the kitchen.

SCENE 8: INT. PLUMFIELD - FRANZ'S ROOM

We see FRANZ put his jacket over the back of a chair. Then he picks it back up, smiles, and sighs happily as he rolls his eyes.

SCENE 9: INT. PLUMFIELD - PARLOUR

MEG, AMY and JO are talking.

MEG:

Distant? How?

AMY:

When Laurie and I talk now...we talk. [Beat.] We don't listen, not really. You heard us, Jo, last night.

JO:

Well, that was one instance.

AMY:

I know, but it started me thinking, and I realized that this kind of thing has been happening a lot lately. There's a certain… I don't know… Lack of interest.

MEG:

Oh, Amy, all relationships experience a little lull now and again.

AMY:

Do you and Edward?

MEG:

Well, no, but our relationship is very new. We still have so much to discover about one another.

AMY:

What if Laurie and I have already discovered everything about each other? What if there's nothing left to know.

MEG:

Amy, don't be so dramatic.

AMY:

I'm not, Meg… I just feel as if we're drifting apart.

JO:

Amy, I remember Fritz and I, we used to get so caught up in the routine of our lives that we would have to stop and remind ourselves to appreciate each other.

MEG:

Yes, maybe that's all you need: a reminder.

AMY:

Do you think so?

JO:

Just talk to Laurie. Get things out in the open.

MEG:

And you never know. Laurie may not even share your doubts.

AMY:

I'll talk to him tonight.

SCENE 10: INT. LAURENCE HOUSE - DINING ROOM (Nighttime)

LAURIE and AMY are eating dinner.

LAURIE:

It's a shock, isn't it? The hundred Bess got on her arithmetic test?

AMY:

She's becoming a regular mathematician.

LAURIE:

How about that story she wrote?

AMY:

I know! So descriptive and eloquent. It felt like we were in Paris all over again. [Beat.] Laurie? I know this will sound silly. I'm sure I'm over-reacting. It's just that I've been feeling lately…

LAURIE:

What is it?

AMY:

Things don't seem as easy between us anymore.

LAURIE:

No, they don't. [Beat.] But that's not to say that things aren't wonderful. I mean, any couple married over fourteen years is bound to experience a little...

AMY:

Lull?

LAURIE:

A lull. That's the perfect word for it. We're experiencing a lull.

AMY:

And that doesn't bother you?

LAURIE:

Bother me? No. Because I know - I mean I'm sure - this is just temporary. [Beat.] It will pass.

AMY:

It will pass, won't it?

LAURIE:

It'll pass. Absolutely.

SCENE 11: EXT. CHURCH (Day time)

JO, MEG, FRANZ and the children are walking out of the church at the end of mass.

NAN:

Well, that was long.

NAT:

Yeah, thanks Nan for snoring. Everyone turned around and thought it was me.

NAN:

Well I was just having the best dream [Turns to Bess.] about the big fish I'm going to catch.

BESS:

Well, it had to be a dream, because everyone knows that I'm going to catch the biggest fish today

AMY:

Bess, fishing? I didn't know you had developed such an interest.

BESS:

Well, it's become kind of of a tradition. You see we have this little... friendly [Glares at Nan.] competition every Sunday

LAURIE:

We thought you'd spend the day with us.

BESS:

Oh, well, I just assumed that -

LAURIE:

Sundays are our chance to be together.

BESS:

But you just had dinner with me the other night with me at Plumfield.

AMY:

I know. But we've scheduled such a lovely afternoon, just the three of us.

BESS:

[Sighs.] Well, I guess the fish can wait.

LAURIE:

Wonderful.

NAN:

[As she walks away.] Guess I win by default.

As the little group disperses, JO pulls AMY aside and leads her towards MEG.

JO:

Hello. I was just wondering... um, have you talked to him?

AMY:

Yes. I feel so much better now that we've discussed everything.

MEG:

See? You just needed to get everything out in the open.

AMY:

Absolutely. You were right.

JO:

So you and Laurie…?

AMY:

We're fine, Jo. We're just...in a little lull. It'll pass.

MEG and JO watch with concern as AMY leaves. ISABEL comes out of the church, holding a box. After talking to the preacher for a while, she spots FRANZ in the crowd.

ISABEL:

Franz!

ISABEL walks towards an embarrassed FRANZ. DAN decides to leave FRANZ and ISABEL alone and walks up to JO and MEG.

DAN:

[To Jo.] That's her. [Motions over his shoulder.]

JO:

Who?

DAN:

The one who dumped flour on Franz.

ISABEL approaches FRANZ.

FRANZ:

How did you know my name?

ISABEL:

Mr. Gerson told me. Here. [Gives box to Franz, who looks at it.] It's a cake.

FRANZ:

Oh. You're not going to throw it at me?

ISABEL:

No, silly, I baked it for you. To make up for all that mess.

FRANZ:

That's nice. You shouldn't have gone to the trouble.

ISABEL:

Not any trouble. I was already baking one for my brother, so I just doubled the recipe.

FRANZ:

So you got the flour after all.

ISABEL:

Oh, sure. Old Gerson makes a fuss now and then but he knows I pay up when I can.

FRANZ:

Yes, Mr. Gerson likes to make a fuss.

Curious, JO approaches FRANZ and ISABEL.

JO:

Hello.

FRANZ:

Jo, um… we were...I mean this is...

ISABEL:

[Extends her hand.] Isabel McGregor.

FRANZ:

Isabel McGregor, this is Jo Bhaer.

JO:

It's a pleasure. I've heard so much about you.

ISABEL:

Oh, I can only imagine. I've caused poor Franz so much trouble.

JO:

Well, I'm sure he hasn't minded much, now have you?

FRANZ:

No, no, not too much.

SCENE 12: INT. PLUMFIELD - KITCHEN

Back at Plumfield, the cake is set out on the table in the kitchen. It's a very sad-looking cake. NICK, JO and FRANZ are gathered around the table while ASIA prepares to cut pieces for them.

ASIA:

Well, I don't care what it looks like. You'll never see me passin’ up a piece of chocolate cake.

NICK:

I'm with you, Asia.

JO:

That was very thoughtful of Miss McGregor, don't you think?

FRANZ:

I suppose.

ASIA:

Well, it's the least she could do after what I heard. Throwin’ all that flour and water on ya.

JO:

She does have spirit.

FRANZ:

Yes.

JO:

A spark, a certain vibrancy. [Reaches around Franz to get a plate.] Maybe you should think about courting her.

ASIA:

What?

FRANZ:

What!?

JO:

Well, he is of courting age, after all.

FRANZ:

That doesn't mean that -

JO:

Well, she did bake you this cake. She obviously thinks very highly of you.

ASIA:

Now, Jo, stop pressuring him.

JO:

I'm not pressuring him.

FRANZ:

I'm really not interested.

JO:

Not interested? Really? [Raises an eyebrow in disbelief.]

FRANZ:

Yes! I'm not interested.

JO:

The way you were standing there, gaping at her.

FRANZ:

Gaping!?

JO:

Yes, Franz! You're jaw was hanging open, you could barely speak!

FRANZ:

Well, she hardly gives me the chance!

NICK:

I know what that's like. [Jo glances at Nick.]

FRANZ:

She's too impetuous, and strong-willed, and loud! This... We're too different. This is silly.

ASIA:

Well, differences are good sometimes. You know what they say... opposites attract?

FRANZ:

"They" don't know what they're talking about.

JO:

I still think you should -

FRANZ:

I am not courting Isabel McGregor, and that's the end of it. Now let's just enjoy our cake.

Everyone simultaneously takes a bite of cake, then make strange faces and stop chewing, showing how strange the cake tastes.

SCENE 13: INT. PLUMFIELD - PARLOUR (Nighttime)

JO is dimming the lanterns when BESS comes downstairs from her room.

BESS:

Aunt Jo?

JO:

Bess, what are you doing sweetheart? You should be in bed.

BESS:

I know. I just couldn't sleep.

JO:

Couldn't sleep?

BESS:

Oh, I'm not sick or anything, I…um… well…

JO:

Why don't you come in?

JO guides BESS to the sofa in the parlour and they sit.

JO:

Tell me, what's wrong?

BESS:

It's my parents.

JO:

Did something happen today?

BESS:

No. Nothing in particular. They've just been acting so strange lately. They seem so tense.

JO:

Well, your father has been working awfully hard lately.

BESS:

No, I mean with each other. It's so strange because they seem to be trying so hard to seem happy, but underneath I know something's wrong. I can feel it. Do you know what it is?

JO:

Bess, I wouldn't worry about this. Married couples, they go through… off days. This will pass.

BESS:

All right.

SCENE 14: EXT. CONCORD

ISABEL is sweeping in front of the hotel when FRANZ passes by on the other side of the street, then turns back. He looks at ISABEL, then waves.

FRANZ:

Hello.

ISABEL:

Hello.

FRANZ walks away and then walks back, finally gathering enough courage to face ISABEL.

ISABEL:

Did you forget something.

FRANZ:

No, no, I just, uh… I, uh…

ISABEL:

Just taking a stroll.

FRANZ:

Yes! I mean no. I, uh… [Crosses the street.] So, this is where you work.

ISABEL:

Yes, this is the "grand palace."

FRANZ:

It's nice. Nice paint, and the windows are exceptionally clean… really sparkling.

ISABEL:

Well, thank you.

FRANZ:

It's funny how you can walk through town all the time and never notice.

ISABEL:

Well, at least you did.

FRANZ:

Isabel…

ISABEL:

Yes, Franz?

FRANZ:

Could you, um… could we… [Beat.] Would you do me the honour of accompanying me on a carriage ride. Perhaps we could enjoy a picnic -

ISABEL:

Yes.

FRANZ:

Say again?

ISABEL:

I said yes, Franz, to your very sweet invitation.

FRANZ:

[Beaming.] Yes… All right… I'll see you soon. [Back away.] Later, uh…. Bye. [Exits.]

SCENE 15: INT. PLUMFIELD - PARLOUR

LAURIE has come to speak with JO about his marriage. Unbeknownst to either on them, BESS stops in the hallway and overhears their conversation.

LAURIE:

I was looking for a reason to come by and talk to you.

JO:

Laurie, you never need an excuse. I'm glad that you came by.

LAURIE:

I'm sure that Amy's spoken to you about our… difficulties.

JO:

Yes, she has. [Beat.] Laurie, Bess is aware of it, too. She came to me last night distraught. She said that she sensed a strain between the two of you yesterday.

LAURIE:

I'm not surprised.

JO:

I spoke with Amy and she said that the two of you had cleared things up.

LAURIE:

We did… sort of… We both feel a certain distance in our marriage.

JO:

And?

LAURIE:

Well, I've been thinking about it. I finally realized when it all started. It was when Bess first moved here to Plumfield.

JO:

Laurie, of course there's going to be a bit of adjustment when a child leaves the home.

LAURIE:

It's more than that, Jo. It seems so… empty at home without her. The only time Amy and I seem to connect now is when we're talking about Bess or when Bess is with us.

JO:

The two of you have so much to offer each other.

LAURIE:

I'm not so sure anymore. We've always been a surprising match. You know that. At first, that was part of the attraction. I remember when we began courting in Paris everything was fresh and romantic and exciting. We fell in love quickly, married quickly, we had Bess quickly. We were the instant family, and that was wonderful. Now Bess is living her and this is the first time that Amy and I have ever really been alone together. I can't help wondering… I mean, is Bess the only thing we have in common now? Did we ever have anything in common? Tell me, Jo, is there a reason for Amy and I to stay together?

In the hallway, we see BESS walk away.

SCENE 16: INT. PLUMFIELD - SCHOOLROOM

FRANZ is looking at himself in the mirror. NAN approaches.

NAN:

Going somewhere?

FRANZ:

What do you want, Nan?

NAN:

Well, when you gave us that assignment, you said five hundred words. You meant five hundred words approximately, right? 'Cause I got a feelin' that mine might be a little short.

FRANZ:

[Turns to face Nan.] How short?

NAN:

Oh, four hundred or so… Give or take a hundred.

FRANZ:

Keep writing.

NAN:

Where are you goin'?

FRANZ:

Who says I'm going anywhere.

NAN:

Well, you've been standing in front of that mirror now for ten minutes.

FRANZ:

Ten minutes? Have you been standing there the whole time?

NAN:

You're gonna go see that girl, aren't ya? That Isabel. [Laughing.] You are, aren't ya? C'mon Franz, where are you takin' her.

FRANZ:

That's really none of your concern.

NAN:

Well, I'm not concerned. I just wanna know.

FRANZ:

[Sighs.] Nan…

NAN:

Where are you takin' her?

FRANZ:

If I tell you, do you promise to leave?

NAN:

Yes, I promise.

FRANZ:

Well, we're going on a carriage ride, followed by a picnic.

NAN:

Sounds good.

FRANZ:

[Animatedly.] You see, there's this poetry reading in the park, and I thought maybe we could -

NAN:

Wait! Back up. Did you say "poetry reading"?

FRANZ:

Yes, what's wrong with that?

NAN:

Well, Franz, you might as well be taking her to school.

FRANZ:

Goodbye, Nan.

NAN:

[Turns to leave.] Fine, but if you ask me, a girl like that is not going to be interested in poetry.

FRANZ:

And what makes you so sure?

NAN:

[Turns back to Franz.] 'Cause she's not the poetry type. She's more like… more like me. You oughtta take her out to the countryside, so something fun.

FRANZ:

Fun?

NAN:

Yeah. And anything's better than a poetry reading. Trust me. [Exits.]

SCENE 17: EXT. ROAD

ISABEL and FRANZ are on a leisurely carriage ride through the countryside.

FRANZ:

Are you comfortable?

ISABEL:

Couldn't be better. You'd better move aside, though.

FRANZ:

Why's that?

ISABEL:

Well, there's a turtle down here, and I think he wants to pass us. [Giggles.]

FRANZ:

Well, it's a winding road. You never know what's coming around the bend.

ISABEL:

It kind of makes it more interesting, don't you think? Do you mind? [Takes the reigns.]

FRANZ:

What do you…? What? Uh… [Isabel urges the horse to go faster.] What are you? Isabel, come on now.

ISABEL:

This is fun!

FRANZ:

No, it's not because, uh… [Isabel giggles in delight.] Come on, Isabel. [Notices a carriage coming towards them.] A carriage!

ISABEL:

[Ignoring Franz's protests.] There's room. No, there's room. There is.

FRANZ:

There's no room.

ISABEL:

[Alarmed.] There's no room!

OTHER DRIVER:

Out of the way!

As the two carriages head towards each other, ISABEL forces their buggy off the road. Unharmed, they come to a stop as the other carriage continues on its way following the close encounter.

ISABEL:

[Laughing.] Now that was close.

FRANZ:

Indeed. It was….thrilling.

SCENE 18: INT. PLUMFIELD - KITCHEN

JO is counting out plates for dinner and hands them to NAT.

JO:

Nine, ten, eleven, twelve. That should be enough. Thank you. [Nat leaves for the dining room. Jo grabs Dan as he walks by.] Oh, Dan, wait. Two more. Amy and Laurie are coming tonight. Thanks.

ASIA:

Planning on coming again? Of course, they're welcome. It seems those two have been eating a lot here lately.

BESS:

[Enters the kitchen from upstairs.] They have, haven't they?

JO:

Bess.

ASIA:

Excuse me. [Exits.]

BESS:

Aunt Jo, I know why my parents have been eating a lot at Plumfield lately. It's because they don’t want to spend time alone together.

JO:

Oh, Bess, that's not true. Your parents -

BESS:

Yes, it is. I overheard you and my father talking yesterday.

JO:

[Beat.] Your parents are going through a difficult time right now, Bess. It's true. But they'll work through it. They just need to remember why their marriage is so special and why the two of them belong together.

BESS:

Well, I think I have an idea to help them remember, but I'm going to need everyone's help, including you.

SCENE 19: EXT. ROAD

ISABEL and FRANZ are standing next to their carriage at the side of the road.

ISABEL:

I'm sorry, Franz. I sure didn't mean to break anything.

FRANZ:

Don't worry. Nick'll fix it.

ISABEL:

Nick?

FRANZ:

Our caretaker. I'll just ride back to Plumfield with it.

ISABEL:

No, we don't need anybody's help. [Rolls up her sleeves.] I've fixed wagons worse than this before.

FRANZ:

You're gonna fix it?

ISABEL:

Of course!

FRANZ:

All right.

SCENE 20: EXT. PLUMFIELD - FRONT PORCH

AMY and LAURIE arrive at Plumfield in their open carriage. JO, BESS and the children have been anticipating their arrival with something special.

LAURIE:

Hi, Jo…

JO:

Hello.

LAURIE:

[To Bess.] Sweetheart.

BESS:

Bonjour, maman et papa. C'est fantastique de vous voir.

AMY:

My, how sophisticated. French lessons today?

JO:

[In a very American accent.] Mais c'est tout… Je ne comprend pas. Bienvenue à Paris, Madame.

NICK:

[Enters from the barn.] Hi! [Catches himself.] I mean, bonjour.

LAURIE:

Bonjour.

BESS:

Entrez, s'il vous plaît.

The children are lined up on the stairs to the porch. Each speaks with a broken accent as they try to remember the French words they have been instructed to say.

TOMMY:

[Bows.] "Bonn… joor…"

NAN:

Um, "lay florz poor la dame." [Hands a bouquet to Amy.]

EMIL:

"Bean vanoo."

AMY and LAURIE look surprised at the table set for them on the porch. They seat themselves at the table at "Chez Bess" restaurant.

AMY:

What's all this?

BESS:

It's for you.

SCENE 21: EXT. WALDEN POND

FRANZ and ISABEL are enjoying a picnic by the pond.

FRANZ:

It was remarkable how you fixed that wagon.

ISABEL:

Oh, well, I couldn't have done it without you.

FRANZ:

All I did was hand you my suspenders.

ISABEL:

Exactly! Without them, I wouldn't have been able to fix it. [Franz brings a forkful of food to his mouth.] Oh, I put a lot of pepper in my potato salad. I like it spicy.

FRANZ:

Me, too. [Takes a bite, and tries not to grimace as he swallows.] Marvelous.

ISABEL:

Marvelous? You know, I've never been out with anyone… so polite. [Beat.] It's lucky we crashed here. It's so beautiful.

FRANZ:

[Looking dreamily at Isabel.] Indeed. [Catches himself.] I mean, yes. It sort of recalls a Lewis Carroll pastoral setting, don't you think.

ISABEL:

Uh…. I wouldn't know.

FRANZ:

Haven't you read "Through the Looking Glass"? [Isabel shakes her head.] It's wonderful. You should.

ISABEL:

Well, I don't get much time for reading really.

FRANZ:

"Middlemarch" is a great novel. I just finished reading that.

ISABEL:

Never heard of it.

FRANZ:

It's by George Eliot.

ISABEL:

Don’t know him either.

FRANZ:

Her.

ISABEL:

Who?

FRANZ:

George Eliot. That's a woman.

ISABEL:

Named George?

FRANZ:

Well, it's a pseudonym.

ISABEL:

Look, Franz, you know you don't have to make fun of me.

FRANZ:

What?

ISABEL:

I mean, I don't know about books or pseu…do…nyms or women named George. I didn't get proper schooling.

FRANZ:

Isabel, I know. I wasn't making fun of you. [Beat.] I just got nervous. That's all.

ISABEL:

Nervous? Why?

FRANZ:

Because I don't know what to say all the time, and I know I'm not the most interesting person.

ISABEL:

You're very interesting.

FRANZ:

Not like you. You're so confident and outspoken. You must be used to boys who are the same and I'm just not that… bold.

ISABEL:

You are a gentleman. You're sweet and kind, and that's why I like being with you.

FRANZ:

I like being with you, too.

SCENE 22: EXT. PLUMFIELD - FRONT PORCH ("Chez Bess")

As LAURIE and AMY enjoy a French dinner, NAT serenades them on his violin. BESS watches with satisfaction when DAN walks up next to her with a bottle of wine.

BESS:

Oh, Dan, wait. All right, I want you to say: Voulez-vous plus de vin, madame et monsieur?

DAN:

I can't remember all that.

BESS:

Of course you can.

DAN:

I feel stupid.

BESS:

Please, Dan. [Dan sighs.] Thank you.

DAN:

[Approaches Laurie and Amy with the wine.] "Voodurrs…. Ploo…" [Gives up.] More wine?

LAURIE:

Yes.

BESS:

[To Asia.] Oh, Asia, I want you -

ASIA:

I know, I know. [Asia serves dinner to Amy and Laurie.] Les poulets.

LAURIE:

C'est magnifique, madame.

BESS:

[To Jo.] They're starting to remember already.

SCENE 23: EXT. CONCORD

FRANZ and ISABEL ride up to the hotel in their carriage following their picnic.

FRANZ:

Whoa! [To Isabel.] I wish you didn't have to work this afternoon.

ISABEL:

I know. Me, too. [Franz gets out of the carriage and offers his hand to Isabel.] I had a fine time today. Thank you.

FRANZ:

Thank you. Perhaps we could - [Franz suddenly becomes aware of the passersby.]

ISABEL:

You were saying? [People look disapprovingly at Isabel who is all covered in grease.]

FRANZ:

Um… I hope the two of us can, uh…

ISABEL:

[Some ladies pass by, giggling at the sight of Isabel.] That's what happens when you fix a wagon.

FRANZ:

Um, I should get going.

ISABEL:

Yes… you… should…

FRANZ:

[Gets back in the wagon.] Isabel -

ISABEL:

[Abruptly.] Thank you for the picnic. I had a wonderful time. Goodbye. [Exits.]

SCENE 24: EXT. PLUMFIELD - FRONT PORCH

LAURIE and AMY have finished their meal. BESS clears the table.

LAURIE:

Must have been trouble to transport us back to France.

AMY:

It's been delightful, Bess, but why?

BESS:

Paris. That's where the two of you first fell in love, isn't it?

AMY:

Yes.

BESS:

Then I thought you might like to remember that old feeling… of loving each other, like you first did.

JO:

[Enters.] Unfortunately, some of our French accents made sure that you never left Massachusetts. [They all laugh.] I'll get some of these dishes.

AMY:

Thank you, Jo.

BESS:

Anyways, don't mind me. Go ahead and talk.

LAURIE:

All right. [To Amy.] Well, we certainly do love Paris, don't we?

AMY:

Yes. There's definitely a magic about that city.

LAURIE:

[To Bess.] And you certainly managed to capture that magic, sweetheart.

BESS:

Thank you.

AMY:

[Almost urgently.] Yes, Bess. Please stay… and tell us how you planned such a wonderful treat.

BESS:

[Disappointed.] Oh, well, I guess I could stay for a bit. [She sits.] I told Jo about the idea, and she thought it was very lovely, so… here we are.

SCENE 25: INT. PLUMFIELD - GIRLS' ROOM

JO enters the girls' room and finds BESS sitting sullenly on her bed. JO sits next to her.

JO:

I'm sorry, Bess. I know what you were hoping for.

BESS:

It was silly to think it would make a difference. You can't change everything.

JO:

That's right.

BESS:

I have to be with them all the time, Aunt Jo.

JO:

Bess, that isn't the answer.

BESS:

I'm leaving Plumfield.

JO:

What?

BESS:

I've made my decision. I mean, my parents need me, Aunt Jo. I have to move home with them.

JO:

I'm sorry.

SCENE 26: INT. PLUMFIELD - GIRLS' ROOM (Later)

BESS is packing as NAN looks on.

NAN:

So you're leaving, just like that?

BESS:

It's not like I have a choice, Nan.

NAN:

Yes, you do. You can stay. Let your parents fight it out by themselves.

BESS:

My parents are not fighting, they're just not very happy with each other right now.

NAN:

And you think having you around'll cause some sort of part. [Beat.] I'm sorry. It's just… well… I'm kinda gonna…. You know.

BESS:

Yeah, me too.

SCENE 27: INT. PLUMFIELD - SCHOOLROOM (Next day)

NICK is fixing a window when FRANZ enters and heads towards the blackboard to clean it.

NICK:

There. That oughtta do it.

FRANZ:

Good morning, Nick. I didn't see you there. [He begins wiping the board.]

NICK:

Everythin' all right, Franz?

FRANZ:

Yes, yes. I'm fine. [Beat.] All right, Nick. I don't want to make a big fuss about it in front of everyone, but… I took Isabel on a picnic.

NICK:

You did? How'd it go?

FRANZ:

Oh, it was splendid. I've never felt so… but you know, our personalities, our backgrounds. We're a terrible match.

NICK:

Are ya?

FRANZ:

Well, yes. Anyone can see that. It's obvious.

NICK:

So you don't wanna see her anymore.

FRANZ:

Well, I… I just think it's important for couples to have things in common. That's all. Don't you?

NICK:

Well, I suppose it helps. The question you gotta ask yourself is this: Are you happier with this girl, or without her. [Exits.]

SCENE 28: INT. LAURENCE HOUSE - PARLOUR

JO has come to see AMY and LAURIE about BESS's decision to leave Plumfield.

JO:

She's determined to move home. She's packing right now.

AMY:

Why?

JO:

Because she thinks it's the only thing that will help.

LAURIE:

Maybe it is.

JO:

How can you be so selfish?

AMY:

Jo…

JO:

You can't burden Bess with this. This is your problem to solve. Now, I understand that you are both having a hard time right now, and I will do anything that I can to help you, but if Bess is truly the only thing keeping your marriage together, then bringing her home to make things feel right again is only going to be as make-believe as the day that you spent yesterday in Paris.

SCENE 29: INT. GENERAL STORE

FRANZ has coming looking for ISABEL.

ISABEL:

Nine, ten, eleven… and twenty-seven cents. That settles it.

GERSON:

Until next week.

ISABEL:

As always, a pleasure doing business with you. [Franz enters.] Franz…

FRANZ:

Isabel, I've been looking all over for you.

ISABEL:

Is that so?

FRANZ:

I just went to the hotel and the manager told me where to find you.

ISABEL:

Well, he'll be expecting me back.

FRANZ:

Wait, Isabel. Look, I know I behaved badly -

ISABEL:

I don't need an explanation.

FRANZ:

But you deserve an apology. I'm sorry. Isabel, if you'd just give me a moment of your time, please…

ISABEL:

[Beat.] Go on.

FRANZ:

Look, I know people are going to look at us and they're going to say we're an odd combination. You, you're so full of fire and spirit. And me, I haven't seen much life outside the classroom. But I also know that ever since you spilled water on me that day, I haven't been able to stop thinking about you. When I'm with you, I feel so happy and alive… and I guess I just want to make you happy too.

ISABEL:

Well, what happens the next time some folks start whispering, or looking at us funny.

FRANZ:

I don't care. I don’t care what people think anymore. [Franz climbs onto a crate and calls out to the patrons.] I intend to court Miss Isabel McGregor, and no one had better have an unkind word to say about it.

ISABEL:

[Smiling.] Why, Franz Bhaer. Must you always make such a scene?

SCENE 30: INT. PLUMFIELD - GIRLS' ROOM

BESS is finishing packing when LAURIE and AMY enter.

BESS:

Oh, father, mother. I'm so glad you came.

AMY:

Bess…

BESS:

It took a while, but I managed to squeeze everything in.

LAURIE:

Sweetheart, we're not taking you home.

BESS:

But I want to go home.

LAURIE:

No.

BESS:

But, father, I gave it a try as I promised, and I'm really not enjoying myself.

AMY:

[They all sit on Bess's bed.] We appreciate what you're trying to do.

BESS:

You don't understand. I'm not trying to do anything.

LAURIE:

Bess, we don’t want to pretend anymore. The difficulties that your mother and I are having, we will deal with them, work them out.

AMY:

And you need to stay here with your friends and continue your studies. You're doing so well. And we are both so proud of you.

BESS:

[Crying.] But I just don't understand.

AMY:

I'm not sure that we understand either. But I do think that your father and I need to spend some time alone together, and get to know each other again.

BESS:

But you guys still love each other, right?

AMY:

[Amy looks at Laurie who smiles and nods.] Yes.

LAURIE:

Very much.

SCENE 31: EXT. PLUMFIELD - FRONT YARD

LAURIE and AMY leave in their carriage as JO waves goodbye. NICK approaches, and JO joins him as they head towards the barn.

SCENE 32: EXT. CONCORD

ISABEL and FRANZ are walking arm in arm. They stop and FRANZ looks around to see if anyone is looking. ISABEL and FRANZ kiss.

SCENE 33: INT. LAURENCE HOUSE - PARLOUR

AMY is working on a painting of BESS's figurine. LAURIE enters, hesitates at his desk, and then walks up behind AMY to admire her work.

LAURIE:

I didn't mean to interrupt.

AMY:

I don't mind.

LAURIE:

Those colours… You wouldn't think so at first, but they do complement each other beautifully.

AMY:

Yes, and they find a lovely balance somehow… when you see them side by side.

THE END

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