《廊桥遗梦》——The Bridges of Madison County（中英文对照）完结_派派后花园

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[Novel] 《廊桥遗梦》——The Bridges of Madison County（中英文对照）完结

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The Bridges of Madison County is a 1992 best-selling novel by Robert James Waller which tells the story of a married but lonely Italian woman, living in 1960s Madison County, Iowa, who engages in an affair with a National Geographic photographer from Bellingham, Washington who is visiting Madison County in order to create a photographic essay on the covered bridges in the area. The novel is presented as a novelization of a true story, but it is in fact entirely fiction. However, the author has stated in an interview that there are strong similarities between the main character and himself.
The novel is one of the bestselling books of the twentieth century, with 50 million copies sold worldwide.
It was originally published in the UK under the title Love in Black and White.
The Bridges of Madison County was made into a 1995 film of the same name, adapted by Richard LaGravenese and directed by Clint Eastwood. It stars Eastwood and Meryl Streep.
An epilogue entitled A Thousand Country Roads was published in 2002. It tells the remainder of the two main characters' story after their four-day affair. They never meet again, but their lives are interlocked until death.
　　《廊桥遗梦》是美国作家罗伯特·詹姆斯·沃勒著作。这部书是风靡世界的畅销书，发行量极为可观。它的中译本在中国的图书市场上也“火”了一把，还拿了外国文学图书奖。《廊桥遗梦》不仅是一部爱情小说，它的价值在于向我们指出了一种人生的选择，一种人生理想。续书《梦系廊桥》像很多畅销的续篇一样，其产生过程是作者与读者间的一次互动。同名电影是根据小说改编而成，该片以其对婚外恋情的探讨和对中年人心理情感的体现受到了观众和评论界的广泛关注。
　　卡洛琳和迈克姐弟两人都面临着家庭离异困扰这时母亲弗朗西斯卡去世消息将们召回了童年时生活乡村母亲留下一封长信中们了解到了母亲深埋心底一段感情秘密……   1965年一天一家人都去了集市弗朗西斯卡独自留家中摄影记者罗伯特·金凯车停了门前向打听曼迪逊桥所弗朗西斯卡上车亲自带到了桥边罗伯特忙着观察造型、选取角度最后采了一把野菊花送给弗朗西斯卡以表谢意弗朗西斯卡心中泛起了一种特别滋味于邀请去喝冰茶两人互相讲起了自己婚姻…

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Chapter 1
THE BRIDGES OF MADISON COUNTYscreenplay adaption byRichard LaGraveneseMARCH 24, 1994, FIRST DRAFTOur story begins in 1965, on a hot afternoon in August.
　　FADE INEXT. IOWA LANDSCAPE - DAYRolling green hills, lush farmland, vast open space. Not ahouse or sign of life in sight. On a long dusty road, a TRUCKis driving across the screen. Clouds of dirt follow in itstracks -- its motor, the only sound we hear.
　　INT. TRUCK - DAYFRANCESCA JOHNSON is sitting in the front seat of the pick-uptruck. Her expression is distant. Her eyes are sad, as ifhiding a burden she can hardly bear. Her husband, RICHARDJOHNSON, is driving.
　　RICHARDYou feeling better Franny?
　　FRANCESCAYes. I'm fine. It's just this heat Ithink.
　　He nods, satisfied. He turns on the radio as the VOICE OFDINAH WASHINGTON sings a bluesy, haunting love song, "I'LLCLOSE MY EYES."DINAH WASHINGTON(SINGS)"I'LL CLOSE MY EYES... TO EVERYONEBUT YOU... AND WHEN I DO... I'LL SEEYOU STANDING THERE..."(CONTINUES)RICHARD(surprised)What station is this?
　　FRANCESCAIt's a Chicago station. I found itthe other day.
　　RICHARDKinda pretty. Is this uh... jazzkinda singing?
　　FRANCESCA(nicely)I don't know. Can we turn it off? Ihave such a headache.
　　RICHARDSure.
　　Richard shuts it off. Francesca turns her face away from himto look out at the vast expanse out of the countryside.
　　EXT. JOHNSON HOUSE - DAYThe truck stops in front of an isolated FARM HOUSE. A woodengate stands twenty yards from the front door. A barn and ahot house sits on either side, surrounded by acres and acresof beautiful pasture.
　　CAROLYN JOHNSON, a sixteen-year-old girl, steps out from thevegetable garden with an arm full of vegetable. She watchesher parents exit the truck.
　　Francesca carries her groceries, walking briskly through thefront gate and entering the house.
　　Richard grabs a bag of feed from the flatbed and strolls moreleisurely. When he walks through the front gate, he noticessomething on the ground and picks it up. It is a BUTTON withRED NATURAL surrounding it. As if it had been torn from apiece of clothing. His daughter approaches him.
　　RICHARDYour mother isn't feel well. I wantyou to help her out tonight withdinner.
　　(she nods)Tell Michael to put this feed away.
　　He puts the feed bag down. She exits. He enters the house.
　　INT. FRONT HALL - DAYRichard enters the front hall opposite the stairs to thesecond floor. To his left is the living room. To his right,through an archway is the kitchen. He moves towards the stairwhen he suddenly hears the kitchen radio turned on and "I'LLCLOSE MY EYES" continues. It puzzles him. He looks to thekitchen. Francesca is obviously there but we can't see her.
　　He is about to call to her when his son, Michael, yells:
　　MICHAEL (O.S.)Dad! You bought the wrong feed!
　　RICHARD(irritated)What?!
　　He exits through the house to the back door.
　　INT. KITCHEN - LATERThe family-- Francesca, Richard, Carolyn and their seventeen-year-old son MICHAEL -- are eating supper. No one speaks.
　　FRANCESCASo what are you going to do with theprize money?
　　CAROLYNI don't know. I might save up for oneof those hi-fi stereo players likePeggy has.
　　Francesca nods. Silence again. She asks her son:
　　FRANCESCAAre you seeing Betty tonight?
　　MICHAEL(eating)Nah.
　　Silence. She is used to her son's one syllable answers.
　　RICHARDOh! Frannie, is this yours?
　　He places the button with red material on the table. Hidingher surprise, Francesca takes the button.
　　FRANCESCAYou found it! I got my dress caughton that damn gate. You must have eyeslike a hawk.
　　FRANCESCA (cont'd)You must all be tired. You got homeso early. What time did you leaveIllinos this morning?
　　RICHARD'Bout 4:30.
　　FRANCESCAWell you should all go to bed early.
　　I'll do the cleaning up.
　　This last remark she addresses to her daughter. Everyonereturns to their silent eating.
　　INT. JOHNSON HOUSE - NIGHTThe house is asleep and dark except for a bright light comingfrom the kitchen. Carolyn quietly exits her bedroom in hernightclothes. She was awakened by noises coming from thekitchen downstairs.
　　INT. KITCHEN -She enters to find the lights are on. An empty cake pan anda half-used bowl of frosting sitting unwashed in the sink.
　　She hears the motor of the truck being turned on. She movesto the front hall and looks out through the door to see:
　　The truck driving away. She calls out:
　　CAROLYNMom!
　　But she gets no response. She stands there wondering whereher mother could possibly being going this time of night, aswe -DISSOLVE TO:
　　THIRTY YEARS LATER - SAME LOCATIONCarolyn, thirty years older, stands in the same doorway ofthe same house thinking back to that evening her mother actedso strangely.
　　A LAWYER is unpacking a briefcase in the living room off thefront entrance.
　　Carolyn sees a car with Florida plates driving up to thehouse. She smiles.
　　从开满蝴蝶花的草丛中,从千百条乡间道路的尘埃中,常有关不住的歌声飞出来.本故事就是其中之一.一九八九年的一个秋日,下午晚些时候,我正坐在书桌前注视着眼前电脑荧屏上闪烁的光标,电话铃了.
　　线路那一头讲话人是一个原籍依阿华州名叫迈可.约翰逊的人.现在他住在佛罗里达,说是依阿华的一个朋友送过他一本我写过的书,他看了,他妹妹卡洛琳也看了这本书,他们现在有一个故事,想必我会感兴趣.他讲话很谨慎,对故事内容守口如瓶,只说他和卡洛琳愿意到依阿华来同我面谈.
　　他们竟然准备为此费这么大劲,倒引起了我的好奇心,尽管我一向对这类献故事的事抱怀疑态度.于是我同意下星期在梅得音见他们.在机场附近的一家假日旅馆中寒喧过后,尴尬的局面缓和下来,他们两人坐在我对面,窗外夜幕渐渐降临,正下着小雪.
　　他们让我作出承诺:假如我决定不写这故事,那就绝对不把一九六五年在麦迪逊县发生的事以及以后二十四年中发生的与此有关的任何情节透露出去,行,这是合理的要求.毕竟这故事是属于他们的,不是我的.
　　于是我就注意倾听,全神贯注地听,也问一些难以回答的问题.他们只管讲,不断地讲下去,卡洛琳几次不加掩饰地哭了.迈可强忍住眼泪.他们给我看了一些文件,杂志剪页和他们的母亲弗朗西丝卡的一部分日记.
　　客房服务员进来又出去,一遍一遍添咖啡.随着他们的叙述我开始看到一些形象,先得有形象,言语才会出来.然后我开始听到言语,开始看见这些语言写在纸上.大约到半夜刚过的时分,我答应把这故事写下来-或者至少试试看.
　　他们下决心把这故事公之于众,对他们不是一件轻易的事.情况很微妙,事关他们的母亲也触及他们的父亲.迈可和卡洛琳承认,把故事讲出来很可能引起一些粗俗的闲言碎语,并且使理查德与弗朗西丝卡.约翰逊夫妇在人们心目中留下的印象遭到无情的贬低.
　　但是在方今这个千金之诺随意找破,爱情只不过是逢场作戏的世界上,他们认为这个不寻常的故事还是值得讲出来的.我当时就相信这一点,现在更加坚信不疑,他们的估计是正确的.
　　在我研究和写作的过程中,又要求会见过三次迈可和卡洛琳.每次他们都毫无怨言地到依阿华来,因为他们切望这个故事能得到准确的叙述.有时我们只是谈,有时我们缓缓驱车上路,由他们指给我看那些在故事中占一席之地的场所.
　　除了迈可和卡洛琳的帮助之外,我以下要讲的故事的依据是:弗朗西丝卡.约翰逊的日记在美国西北地区,特别是华盛顿州的西雅图和贝灵汉作的调查,在依阿华州麦迪逊县悄悄进行的的寻访,从罗伯特.金凯的摄影文章中收集到的情况.各杂志编辑提供的帮助,摄影胶卷和器材制造商提供的细节,还有同金凯的故乡俄亥俄州巴恩斯维尔的老人们意味隽永的长谈他们还记得金凯的童年.
　　尽管做了大量调查,还是有许多空白点,在这种情况下,我用了一些想象力,不过只是在我作出合理的判断时才这样做.这判断力来自我通过调查研究对金凯与弗朗西丝卡的深刻了解.我确信我对实际发生的事已了解得差不多了.
　　有一个空白点是关于金凯横穿美国北部的一些旅行的详情.根据随后陆续发表的一系列摄影图片,弗朗西丝卡日记中简短的提及以及他本人给一个杂志编辑的亲笔短笺,我们知道他确实作了这次旅行.以这些材料为线索,我沿着我认为是金凯一九六五年八月从贝灵汉到麦迪逊县的路线作了一次旅行,在行程终了时,我觉得自己在很多方面变成了罗伯特.金凯.
　　不过,想要抓住金凯其人的本质,还是我写作和研究中最大的难题.他是一个让人捉摸不透的人物.有时好像很普通,有时又虚无缥缈,甚至像个幽灵.他的作品表现出精美绝伦的专业修养.然而他把自己看成是一种在一个日益醉心于组织化的世界中正在被淘汰的稀有雄性动物.他有一次谈到他头脑中时光的"残酷的哀号".弗朗西丝卡形容他生活在"一个奇异的,鬼魂出没的,远在达尔文进化论中物种起源之前的世界里.'
　　还有两个吸引人的问题没有答案:第一,我们无法确定金凯的摄影集的下落.从他的工作性质来看,一定有成千上万帧照片,却从来没有找到.我们猜想-而这是与他对自己在这个世界是的地位的看法一致的----他在临死前都给销毁了.
　　第二个问题是关于他一九七五年到一九八二年这段时期的生活.能得到的情况极少.我们只知道他有几年在西雅图靠肖像摄影勉强维持生活,并且继续不断地拍摄皮吉特海峡.此外就一无所知.有一点有意思的是,所有的社会保险部门和退伍军人机构寄给他的信都有他的笔迹写的"退回寄信人",给退了回去.
　　准备和写作这本书的过程改变了我的世界观,使我的思想方法发生变化,最重要的是,减少了我对人际可能达到的境界所抱有的愤世观.通过我的调查研究结识了弗朗西丝卡.约翰逊和罗伯特.金凯之后,我发现人际关系的界限还可以比我原以为的更加拓展.也许你读这本书的过程中也会有同样的体验.
　　可这不是一件容易的事.在一个日益麻木不仁的世界上,我们的知觉都已生了硬痂,我们都生活在自己的茧壳之中.伟大的激情和肉麻的温情之间的分限线究竟在哪里,我无法确定.但是我们往往倾向于对前者的可能性嗤之以鼻,给真挚的深情贴上故作多情的标签,这就使我们难以进入那种柔美的境界,而这种境界是理解弗朗西丝卡.约翰逊和罗伯特.金凯的故事所必需的.我知道我自己最初在能够动笔之前就有这种倾向.
　　不过,如果你在读下去的时候能如诗人柯尔律治所说,暂时收起你的不信,那么我敢肯定你会感受到与我同样的体验.在你冷漠的心房里,你也许竟然会像弗朗西卡一样,发现又有了能跳舞的天地.
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Chapter 2
　　EXT. JOHNSON HOUSE - DAYCarolyn steps out of the doorway and heads for the car, outof which exit her brother Michael and his country girl wifeBETTY, a stout buxom chatterbox. Both boast Florida tans andfashion styles.
　　MICHAEL(to Carolyn)Explain to me again why we didn't dothis in Des Moines in an airconditioned office?
　　CAROLYNMom's orders.
　　MICHAELLawyer here?
　　CAROLYN(nods)I have some sandwich fixings ifyou're hungry.
　　BETTY(proudly)No, we just had lunch at the hotelwith my brother and his new wife. Shetold me all the dirt. I forgot howinteresting things can get aroundhere. It was so good to see them. Thelast time we visited they were inEurope. He is doing so well. Heordered champagne. For lunch! Inearly died.
　　MICHAELI nearly died when we split the bill.
　　BETTYMichael doesn't understand. Peoplewho make the kind of money my brothermakes don't carry money on them. Theykeep it all in various accounts.
　　MICHAELThen we should have had lunch at thebank.
　　Carolyn tries not to laugh. Betty shoots him a dirty look,then stops to take in the house and its surroundings.
　　BETTYBoy. It sure has been a long time.
　　MICHAEL(correcting her)We were here two Christmases ago.
　　BETTYWell, that's a long time.
　　MICHAELIt's not that long.
　　BETTY(suddenly upset)Well, why don't I just say black soyou can say white!
　　(to Carolyn)Don't be surprised to find yourbrother hasn't changed an iota. Hehardly ever talks and when he doesit's in that tone! You should haveheard him at lunch -- not two wordsuntil the bill came and then he says,"Worth every penny."MICHAEL(defensive)SO!
　　BETTY(angry)You said it in that tone! Like youwere angry at me, my brother, atthe world for forcing you to eat anice lunch!
　　MICHAELOh Jesus.
　　BETTY(staring to cry)I simply can not stand that tone!
　　CAROLYN(sympathetically)Come inside. You're just tired fromthe trip.
　　She comforts Betty who indulges in the attention.
　　BETTYI am so sick and tired of apologizingand not knowing what I've done!
　　CAROLYNI'm sure you haven't done anything.
　　Have some iced tea. How are the kids?
　　MICHAELHe dropped them off at Betty's mom.
　　Where's Steve?
　　CAROLYN(uncomfortably)He's not coming.
　　Betty suddenly stops crying and abrasively focuses onCarolyn's problems.
　　BETTYAw, is he still cheating on you,hon?
　　Carolyn suddenly hoses sympathy for her.
　　INT. LIVING ROOM - DAYThe lawyer hands Michael a document.
　　LAWYERJust sign here as having received thecontents from the safe deposit box.
　　(Michael does)And this one, which clears the bankof all further responsibility fo0r thecontents.
　　Betty whispers to Carolyn.
　　BETTYThis is kind of exciting. You thinkwe'll find out your mother hadsecret millions lying around?
　　Carolyn smiles weakly. Michael hands back the papers.
　　LAWYERAll right. Why don't we begin.
　　He takes out Francesca's Last Will and Testament.
　　LAWYER (cont'd)Your mother has been interred atLakeside Funeral Home untilarrangements can be made.
　　MICHAEL(to Carolyn)I thought everything WAS arranged.
　　CAROLYNWell, there's a problem.
　　MICHAELWhat problem?
　　LAWYERYour mother left explicitinstructions that she wished to becremated.
　　MICHAELCremated?!
　　BETTYEeeww!
　　CAROLYNI know. I don't understand it either.
　　MICHAELWhen did she decide this?
　　LAWYER(reading will)Apparently just before her death.
　　MICHAELWell, that's crazy. I don't knowanybody who gets cremated.
　　BETTYMy Jewish friend's grandmother did.
　　MICHAELWell, no one in my family did! Dadbought cemetery plots at Oak Ridge.
　　One for him, one for mom.
　　LAWYERIt clearly states in the will --MICHAELI don't care what it says! Maybe Mamawas delirious, you know. She didn'tknow what she was saying. If shewanted to be cremated, why the helldid she let dad buy two plots, huh?
　　LAWYERWell, she was very specific. Shewanted her ashes to be thrown overRoseman Bridge.
　　MICHAELWHAT!
　　BETTYHow bizarre!
　　CAROLYNMr. Peterson, are you sure mama wroteall this?
　　LAWYERWell, it was notarized, and witnessedby a Mrs. Lucy Delaney. Maybe you canask her.
　　MICHAELWho the hell is Lucy Delaney?
　　CAROLYNI remember a Mrs. Delaney but Mamatold me years ago she died.
　　MICHAELWell, I don't care if it's legal ornot, we're not cremating her andthrowing her all over some bridgewhere we can't even go visit herbecause she's going to be blown allover the place like an ashtray.
　　BETTYNot to mention people driving overher and doggies doing their business --MICHAEL(interrupting)We're not doing it! I'm not even sureit's Christian.
　　BETTYMaybe it's an Italian thing. Theirmother was Italian.
　　MICHAELDoesn't matter. Move on.
　　The women dare not object. The lawyer raises his eyebrowsand continues:
　　LAWYERWell, we'll come back to that. Shallwe open the box?
　　JUMP CUT TO: 　　罗伯特.金凯一九六五年八月八日早晨,罗伯特金凯锁上了他在华盛顿州贝灵汉的一所杂乱无章的房子里三层楼上一套两居室公寓的门,拎着一个装满了照相器材的背包和一个衣箱走下楼梯,穿过通向后门的过道,他那辆旧雪佛莱小卡车就停在住户专用的停车场上.车里已经有另一只背包.一个中型的冷藏箱.两套三脚架.好几条骆驼牌香烟.一个保暖瓶和一袋水果.车厢里有一只吉他琴匣.金凯把旅行袋放在座位上,把冷藏箱和三脚架放在地上.他爬进车厢,把吉他琴匣和衣箱挤到一角,把它们跟旁边一个备用轮胎系在一起,用一条长帆布绳把衣箱琴匣和车胎紧紧捆牢,在旧车胎下塞进了一块黑色防雨布.
　　他坐进驾驶盘后面,点起一只骆驼牌香烟,心里默默清点一遍:二百卷各种胶卷-多数是柯达彩卷.三脚架.冷藏箱.三架照相机.五个镜头.牛仔裤.咔叽布短裤.衬衫.照相背心.行了.其他东西如果忘了带,他都可以在路上买.
　　金凯穿着褪色的莱维牌裤子.磨损了的野地靴.一件咔叽布衬衫.桔黄色背带,在宽宽的皮带上持着一把带刀鞘的瑞士刀.
　　他看看表,八点十七分.第二踹火时卡车开始发动,他倒车.换挡在雾蒙蒙的阳光下缓缓驶出小巷.他穿过贝灵汉的街道,在华盛州第十一号公路上向南驶去,沿着皮吉特海岸线走上几英里,然后刚好在与第二十号美国国家公路相交之前顺着公路缶东转.
　　现在他朝着太阳驶去,开始了穿越喀斯喀特山脉的漫长而曲折的路程.他爱这国土,从容不迫的走着,不时停下来作一点笔记,记下将来有可能值得再来的地点,或者拍下一些他称之为"记忆快相"的照片.这些照片的目的是提醒他有些地方他可能还想重游,作更认真的采访.傍晚时分他在斯波坎的地方向北转走上了美国第二号国家公路,这条公路可以穿过美国北部一半路程到达明尼苏达州的德卢斯.
　　他一生中曾千百次私心期望有一条狗.或许是一条金色的猎狗,可以伴他作这样的旅行并且在家里同他作伴.但是他经常外出,多数是到国外,这对狗来说太不公平.不过他总是想着这件事.再过几年,他就要老了,不能再做这种艰苦的野外作业了."到那时我也许要弄条狗来",他向车窗外排排退去的绿树说道.
　　这样的驱车旅行总是使他隐入沉思状态.想到狗也是其中一部分.罗伯特金凯真是名符其实的孑然一身-他是独生子.父母双亡,有几个远亲久已互相失去联系,没有亲密的朋友他知道贝灵汉街角市场老板和他购买照相器材的那家商店的老板的名字.他还同几家杂志编缉有着正式的业务关系.除此之外,没有什么他熟悉的人,人们也不熟悉他.普通人很难和吉普赛人交朋友,他的点像吉普赛人.
　　他想到玛丽安.她同他结婚五年之后九年前离开了他.他现在已五十二岁.那她就是刚好不到四十岁.玛丽安梦想成为音乐家,做一名歌手.她会唱所有韦弗作的歌曲,在西雅图的咖啡馆里唱得不错.往日里,他在家的时候常驱车把她送到爵士乐演奏会上,坐在听众席上听她唱.
　　他长期外出-有时一去二三个月-使婚姻生活很艰难,这点他知道.当初他们决定结婚时,她是知道他的工作的,他们隐隐约约地觉得可以设法处理.结果不行.一次他从冰岛摄影回来,她不在了.纸条上写着:"罗伯特,没能成功.我把的弦吉他留给你.保持联系."他没和她保持联系,她也没有.一年以后离婚协议书寄到,他签了字,第二天就乘上一班飞机到澳大利亚去了.她除要自由之外,什么要求也没提.
　　深夜他到达蒙大拿州的卡列斯佩尔,在那里过夜."惬意旅舍"看上去不贵,也的确不贵,他把他的装备带进一间房间,有两座台灯,其中一座灯泡烧坏了.他躺在床上读<非洲的青山>喝一杯啤酒,能闻出当地造纸厂的味道.早晨起来跑步四十分钟,做五十个俯卧撑,把相机当作小举重器完成日常锻炼的功课.
　　他驶过蒙大拿的山顶进入北达科他州,那光秃秃的平原对他来说的群山.大海一样引人入胜.这个地方有一种特别朴实无华的美,他几次驻足,架起三脚架,拍摄了一些农家房屋的黑白照片.这里的景物特别迎合他的几何线条艺术的口味.印地安人的保留地使人有压抑感其原因人人皆知而又无人理会.不过这类保留地在华盛顿州西北部或其他任何他见过的地方都不比这里好多少.
　　八月十四日早晨,离开德卢斯两小时之后,他插向东北,上了一条通向希宾的那些铁矿山的后路.空气中红色尘土飞扬,那里有专为把矿砂运上苏必利尔湖双港的货船而设计的巨大机器的火车.他花了一下午时间巡视希宾.觉得不喜欢那个地方,尽管这里出了个鲍勃齐默曼迪伦.
　　他唯一喜欢过的迪伦的歌是<北方来的姑娘>.他会弹唱这支歌,他离开这到处挖着巨大红土坑的地方时哼着这首歌词.玛丽安教给他几种的弦的弹奏一些基本的琶音来为自己伴奏有一次在亚马逊河谷某处一家名叫麦克劳伊的酒吧中他一个醉醺醺的轮船驾驶员说,她留给我的比我留给她的要多."这到是事实.
　　苏必利尔国家森林风光宜人,的确很宜人.是当年皮货行脚商之乡.他年轻的时候曾希望行脚商的时代没有过去,那他就也可以成为一名行脚商.他驶过草原,看见三只麋鹿,一只红狐狸,还有许多鹿.他在一汪池水边停下来,拍摄一些奇形怪状的树枝在水中的倒影,拍完以后,坐在卡车的踏板上喝咖啡,吸一只骆驼牌香烟,聆听白桦树间的风声.有个伴多好,一个女人,思想状态."但是他这样长年在外,留在家里的人太苦了,这点他已有体会.
　　他留在贝灵汉家中的时间里,间或同一家西雅图广告公司的颇有才气的女导演约会.他是在一次合作项目中遇到她的.她四十二岁,聪明,好相处,但是他不爱她,永远不可能爱上她不过有时他们两人都觉得寂寞,就一起度过一个晚上,看个电影,喝几杯啤酒,然后不失体统的做爱.她一直住在当地,结过两次婚,上大学时曾在几家酒吧间当过侍者.毫无倒外的,每次他们做过爱,躺在一起时,她总是对他说,"你是最好的,罗伯特,没人比得上你,连相近的也没有."他想男人一定喜欢听这样的话,俚是他自己没有多少经验,无法知道她是不是在说真话.但是她有一次确实说了一些使他萦绕于怀的话:"罗伯特,你身体里藏着一个生命,我不够好不配把它引出来,我力量太小,够不着它.我有时觉得你在这里已经很久很久了,比一生更久远,你似乎曾经住在一个我们任何人连做梦也做不到的隐秘的地方.你使我害怕,尽管你对我很温柔.如果我和你在一起时不挣扎着控制自己,我会觉得失去重心,再也恢复不过来."他含糊地懂得她指的是什么.但是他自己也抓不住.从他在俄亥俄的地个小镇上成长起来的孩提时代,他就有这种漫无边际的想法,一种难耐的渴望和悲剧意识同超强的体力和智力相结合.当其他的孩子唱着:摇啊摇,摇小船"时,他在学法国歌舞厅歌曲的曲调的英文歌词他喜欢文字和形象,"蓝色"是他最喜欢的词之一.他喜欢在说这个词时嘴唇和舌头的感觉.他记得年轻时曾想过语言可以产生肉体和感觉,不仅是说明一个意思而已.他还喜欢另一些词,例如"距离".柴烟"."公路"."古老"."过道"."行脚商".和"印度",是由于它们的声音,味道和在他脑海中唤起的东西.他把他喜欢的词列出单子贴在房间里.
　　然后他把这些词缀成句子也贴在墙上:
　　离火太近我同一小股旅行者一起从东边来可能救我者和可能卖我者总是嘁嘁喳喳护身符.护身符,请把玄机告诉我掌舵手.掌舵手,请你送我回宾转赤条条躺在蓝色鲸鱼游水处她祝他拥有从冬天车站开出的冒汽的火车在我变成人之前,我是一支箭很久以前还有就是一些他喜欢的地名:索马里河流.大哈契山.马六甲海峡以及一长串其他的地名终于他的房间四壁都贴满了写着字.词句和地名的纸张.
　　连他母亲也已注意到他有些与众不同.他三岁以前一个字也没说过,然后就整句话,整句话地说了,到五岁时已经能看书,而在学校里是个不专心听讲的学生,让教师们感到泄气.
　　他们看了他的智商,跟他谈成就,谈他有能为做到的事,说他想成为什么人都可以做到.有一位中学老师在他的鉴定上这样写道:"他认为.'智商测验不是判断人的能力的好办法,因为这些测验都没有说明魔法的作用,而魔法就其本身和作为逻辑的补充都有自己的重要性.'我建议找他家长谈谈."他母亲同几位老师会过面.当老师们谈到罗伯特不开口的犟脾气和他的能力成对比时,他母亲说,"罗伯特生活在他自己缔造的天地里.我知道他是我的儿子,但我有时有一种感觉好像他不是从我和我丈夫身上来的,而是来自另外一个他经常想回去的地方.感谢你们对他的关心,我要再次努力鼓励他在学校表现好些."但是他还是我行我素,读遍了当地图书馆有关探险和旅游的书籍,感到心满意足,除此之外就关在自己的小天地里,一连几天呆在流过村头的小河边,对舞会.橄榄球赛这些他感到厌倦的事都不悄一顾.他经常钓鱼.游泳.散步,躺在高高的草丛里聆听他想象中只有他能听到的远方的声音."那边有巫师,"他常自言自语说,'如果你保持安静,侧耳倾听,他们是在那儿的."这时他常常希望有一只狗共享这些时光.
　　没钱上大学,也没有这个愿望.他父亲工作很辛苦,对他们母子也很好.但是在活塞厂的工资余不下什么干别的,包括养一条狗.他十八岁时父亲去世了,当时大萧条正无情袭来.他报名参军以糊口和养活母亲.他在军队里呆了四年,而这四年改变了他的一生.
　　军队里的想法常令人摸不透.他被分配去当摄影师助手,尽管他那时连往照像机里上胶卷都毫无概念.但是就在这项工作中他发现了自己的业务专长.技术细节对他说来十分容易不出一个月,他不但为两个摄影师做暗房洗印工作,而且也被允许自己拍摄一些简单的照片其中一位摄影师吉姆彼得森很喜欢他,额外花时间教给他一些深奥的摄影艺术.同时,罗伯特金凯从蒙默斯堡的图书馆借出照相和美术书籍来学习钻研.很早,他就特别喜欢法国印象派的伦伯朗对光的处理法.
　　后来,他开始发现他摄影是拍摄光,而不是物件.物件只是反映光的媒介.如果光线好,你总可以找到可拍摄的物件的.当时三十五毫米的照相机刚刚出现,他在当地一家相机店买了一架旧莱卡.带着这架相机到新泽西州的五月角,把假期中的一个星期花在沿海岸线写生摄影上.
　　另一次他乘公共汽车到缅因州,然后一路截车到海边,赶上清晨从斯通宁顿的高岛开出的邮船,野营露宿,又乘摆渡穿过芬迪湾到新斯科舍.他二十二岁离开军队时已是一名相当不错的摄影师,在纽约找到一份工作,做一位著名摄影师的助手.
　　女模特儿都很漂亮,他同几个有过几次约会,影影绰绰爱上了其中一个,后来她到巴黎去了,他们就此分道扬镳.她对他说,"罗伯特,我不知道你是谁,是什么人,不过请你到巴黎来看我."他说他会去的,说的时候也真是这么想的,但终于没有去.多年之后,他到诺曼底作专题拍摄,在巴黎电话簿上找到了她的名字,打了个电话,两人在一家露天咖啡馆喝了杯咖啡.她当时已同一位电影导演结了婚,有三个孩子.
　　他无法对时装这种观念产生好感.好好的新衣服给扔了,或者急急忙忙按照欧洲时装独裁者们的指令重新改过,这在他看来太傻了,他觉得拍摄了这些贬低了自己."作品如其人"这是他离开这一工作时说的话.
　　他到纽约的第二年母亲去世.他回俄亥俄安葬了母亲,然后坐在一名律师面前听读遗嘱没有多少东西,他也没指望有什么.但是他意外得知,他的父母婚后住了一辈子的那所小屋居然是付清了抵金的一小笔财产.他把那小房子买了,用那笔钱买了一套上好的照相器材.他付款给售货员时心里想着他父亲为积攒这笔钱多少年的辛勤劳动,还有他父母一生过的节衣缩食的生活.
　　他有些作品开始在几家小杂志上发表了.然后,<地理杂志>打来电话,他们看到他拍摄的一幅取景于五月角的日历图片.他同他们谈了话,接受了个不太重要的职务,完成得很出色,他从此上了路.
　　军队在一九四三年又召他入伍.他肩上晃荡着照相机,随海军陆战队艰苦跋涉直到南太平洋海滩,仰卧在地上拍摄正从两栖登陆艇出来的士兵.他在他们脸上看到了恐怖,感同身受他看到他们被机熗射成两半,看到他们祈求上帝和母亲救救他们.他把这些都拍了下来,自己得以幸存,但是从来没有为战地摄影的所谓荣耀和浪漫吸引住.
　　他于一九四五年退伍,同<地理杂志>通了电话,他们随时都欢迎他.他在旧金山买了一辆摩托车,向南骑到大苏尔,在海滩上同一个从卡梅尔来的低音提琴手做爱.然后向北转去探察华盛顿州.他喜欢那个地方.就把它作为基地.
　　现在,到了五十二岁,他还在观察光线.童年时代贴在墙上的地方大部分都已去过了.当他访问这些地方的时候,或是坐在拉弗斯酒吧里,或是在一条嘎嘎响的船里溯亚马逊河而上,或是骑在骆驼背上摇摇晃晃走过拉贾斯坦的沙漠区,他常常感到不可思议,怀疑自己是否真的到了那里.
　　他觉得苏必利尔湖真是名不虚传.他记几处地点以为将来参考,拍了一些照片以便随后追记当时的印象,然后沿密西西比河南下向依阿华驶去.他从未到过依阿华,被它东北部沿这条大河的丘陵地迷住了.他在克雷顿的小镇住下,在一家渔夫开的汽车旅馆下榻,用两个早晨拍摄那些拖轮,应一个他在当地酒吧结识的驾驶员之请在一艘拖船上度过了一个下午.
　　他插入第六十五号美国公路,于一九六五年八月十六日一个星期一的清晨穿过得梅音.向西转到依阿华第九十二号公路,直奔麦迪逊县和那几座廊桥,据<地理杂志>称,那些桥就在麦县.的确是在那里,理士古加油站的人如是说,并且指给他所有七座桥的方向,不过只是大致的方向.
　　他画出了拍摄路线,前几桥比较好找,而第七座叫做罗斯曼桥的一时找不到.天气很热,他很热,哈里--他的卡车也很热,他在砂砾路上转悠,这些路好像除了通向下一条砂砾路之外没有尽头.
　　他在国外旅行的座右铭是"问三次路",因为他发现三次回答即便都是错的也能逐步把你引上你要去的地方.在这里也许两就够了.
　　一个信箱渐渐映入眼帘,是在一条约一百码长的小巷口,邮箱上的名字是"理查德约翰逊他把车放慢,转向小巷,想问问路.
　　当他缓缓驶进场院时,只见一个女人房檐游廊下,那里看起来很清凉,她正在喝着什么看起来更加清凉的东西.她离开游廊向他走来.他望着她,近些,更近些.她丰姿绰约,或者曾经一度如此,或者可能再度如此.他立刻又开始有那种手足无措的感觉,他在女人面前总有这种窘态,即使那女人对他只是隐约有些微吸引力.
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Chapter 3
　　MOMENTS LATERC.U. SAFETY DEPOSIT BOXA key is inserted and the lid is opened. There are manypapers, deeds, et. Michael begins sorting through these.
　　Carolyn notices a manila envelope addressed to her mother,postmarked 1965. She opens it up to find TWO LETTERS and APHOTOGRAPH -- FRANCESCA standing NEAR A COVERED BRIDGE, herhair wind blown, her expression serene, beautiful and sad.
　　She wears a RED DRESS with buttons down the front.
　　CAROLYNMichael, look -- I've never seen thispicture of mama. Have you?
　　Betty and Michael look over her shoulder. He shakes "no."CAROLYN (cont'd)It was in this envelope from 1965.
　　BETTYShe's not wearing a bra.
　　(takes bridge photo)This is Roseman Bridge in caseanyone's interested.
　　Interested yes, but no one thinks anything of it. Michaelreturns to the other papers. Betty takes the photograph forfurther examination. Carolyn opens one of the letters andbegins to read.
　　The following dialogue is heard OS, as CAMERA ANGLES ONCAROLYN reading one of the letters:
　　BETTY (O.S.)It's a beautiful picture of her.
　　MICHAEL (O.S.)(to lawyer)Why are there two deeds here?
　　LAYER (O.S.)One of for the original parcel yourfather bought and this one is for theadditional acres he purchased in '59.
　　MICHAEL (O.S.)And this?
　　LAWYER (O.S.)Those are bills of sale from theequipment your mother sold in ..
　　(CONTINUES O.S.)Throughout their conversation, we focus on Carolyn as shereads and her expression sinks into one of shock andconfusion. She flips to the last page of the letter to readwho it is from. She can't believe her eyes.
　　BETTY (O.S.)What's that?
　　Carolyn jumps a little, so engrossed in her discovery. Shelies.
　　CAROLYNOh, just a old letter from a friend.
　　BETTY(laughs)No treasure maps, huh?
　　CAROLYN(laughs nervously)No.
　　Betty starts inspecting knit knacks around the house shemight be able to take. Carolyn looks to Michael.
　　CAROLYN (cont'd)Michael.
　　MICHAEL(reading documents)Yeah.
　　CAROLYNMichael.
　　MICHAEL(irritated)What?!
　　CAROLYNCome here a minute.
　　Michael crosses impatiently to Carolyn. Carolyn looks aroundto the others, then guides him OS into the kitchen forprivacy. He protests.
　　MICHAELWhat? Where are we going?
　　They exit. Alone with the impatient lawyer, Betty examines avase as she pumps him for info.
　　BETTYDid she say anything in there aboutme? Leaving me anything in particular?
　　LAWYERNo.
　　Betty prattles on as she examines each item, much to thelawyer's dismay, hiding her resentment and hurt.
　　BETTYI didn't expect so. She never likedme. It's okay. I always knew. Thoughtwe married too young. Nobody brokehis arm -- that's what I said but youknow mothers and their sons. Also,she never liked the fact of us movingto Florida although what's where theopportunities were. Couldn't denythat. Suppose we should have visitedmore but you know she hardly evermade an effort to come to Tampa. Noteven to see her grandchildren. Shewas a cold woman. They say Italiansare hot-blooded but not her. She wascool as ice.
　　(picks up acandlestick)She leaves these to anyone?
　　Michael and Carolyn re-enter the living room. Michael'sexpression now matches Carolyn in disbelief.
　　BETTY (cont'd)What's going on?
　　MICHAELUm... we were just wondering how itmight be better if me and Carolynwent over the stuff by ourselves. Notkeep you two waiting around. I'llcontact your office about the legalwork.
　　Grateful, the lawyer packs up to leave.
　　BETTYI don't mind waiting.
　　MICHAELWell, there's a lot of boring stuff todo. Lists of people we have to writeto. Find mama's relatives addressesin Italy -- stuff like that.
　　BETTYWell, I can help.
　　MICHAELI said NO!
　　That came out a bit aggressively. Betty is hurt.
　　MICHAEL (cont'd)Why don't you go to your mothers. Orback to the hotel. Sit in some airconditioning. Take a bath.
　　BETTY(near tears)I do not need instructions from youto bathe!
　　(gets her bag)I knew you'd do this! I knew I'd comeall the way here and be shut out asusual! I came to be here for you! Ididn't have to come!
　　(genuinely hurt)Lord knows I was never much welcomein this house before. Apparently deador alive, nothing's changed.
　　CAROLYNAw, Betty.
　　Carolyn feels badly for her. An impatient Michael refusessympathy. Embarrassed, Betty starts to exit then stops atthe mantle.
　　BETTYCarolyn -- you want thesecandlesticks?
　　CAROLYNNo. You can have them.
　　Betty grabs them both and exits. Carolyn looks at himdisapprovingly. Michael takes the letter from her hand.
　　MICHAELNow what's this about?
　　CUT TO: 　　弗朗西丝卡深秋时分是弗朗西丝卡生日的季节,冷雨扫过她在南依阿华乡间的木屋.她凝视着雨,穿过雨丝望见沿中央河边的山岗,心中想着理查德.他八年前就是在同样的冷雨秋风中去世,那夺去他生命的病名她还是不记得为好.不过弗朗西斯卡此刻正想着他,想着他的敦厚善良,他稳重的作风,和他所给予她的平稳的生活.
　　孩子们都打过电话来了.他们今年还是不能回家来跟她过生日,虽然这已是她六十七岁生日了.她能理解,一如既往,今后也如此.他们两人都是正在事业中途,艰苦奋斗,一个在管理一家医院,一个在教书.迈可正在他第二次婚姻中安顿下来,卡洛琳则在第一次婚姻中挣扎他们两个从来不设法安排她生日的时候来看她,这一点却使她私下里感到高兴.因为她保留着自己过这个日子的仪式.
　　这天早晨温特塞特的朋友们带了一个蛋糕过来坐了坐.弗朗西丝卡煮了咖啡.谈话随便地流淌过去,从孙儿辈到小县秩事,到感恩节,到圣诞节该给谁买什么.客厅里轻声笑语时起时伏,亲切的气氛给人以慰藉.这使弗朗西丝卡想起她为什么在理查德死后还在这里住下来的一个小小的理由.
　　迈可竭力劝她去佛罗里达,卡洛琳要她去新英兰.但是她留在了南依阿华的丘陵之中这片土地上,为了一个特殊的原因保留着老地址.她很高兴自己这么做了.
　　弗朗西丝卡中午把朋友送走了.他们开着比尔克和福特车驶出小巷,转入县柏油公路,向温特塞特方向奔驰而去,刮水器来回拭去车窗上的雨水.他们是好朋友,不过他们决不会理解她内心深处的想法,即使她告诉他们,也不会理解.
　　她的丈夫在战后把她从那不勒斯带到这个地方时说她会在这儿找到好朋友的.他说"依阿华人有各种弱点,但是决不缺乏对人的关心."这句话过去的现在都是对的.
　　他们认识时她二十五岁,大学毕业了三年,在一家私立女子中学教书,生活漫无目的.当时大多数意大利青年不是在战俘集中营中或死或伤,就是在战争中身心俱残.她曾和一位大学艺术系教授尼可洛有过一段恋情.他白天整天作画,夜间带她到那不勒斯的地下娱乐区去兜风,疯玩了一阵.这件事一年后结束,决定性的因素是她传统观念较深的父母越来越不赞成她在黑头发上系着红缎带,恋恋不舍自己的梦.但是没有海员上岸来找她,也没有声音从窗下街头传进来.严酷的现实迫使她认识到自己的选择有限.理查德提供了另一种合理的选择:待她好,还有充满美妙希望的美国.
　　他们坐在地中海阳光下的一家咖啡馆里,她仔细打量了一身戎装的他,他正以美国中西部人特有的恳切的目光看着她,于是她就跟他到依阿华来了.来到这里,为他生儿育女,在寒冷的十月之夜看迈可打橄榄球,带卡洛琳到得梅音去买参加大学舞会的衣裳.每年同在那不勒斯的姐妹通几次信,在她父母相继去世时回过两次那不勒斯.但现在麦迪逊县已是她的家,她不想再回去了.
　　下午雨停了,而近黄昏时分又下了起来.在薄幕中弗朗西丝卡倒了一杯白兰地,然后打开理查德的卷盖型书桌的最后一个抽屉.这胡桃木制的家具已经传了三代了.她拿出一个牛纸信封来,用手慢慢在上面拂拭,年年此日她都这么做的.
　　邮戳上的字是:"65.9.12,华盛顿.西雅图."她总先读邮戳,这是仪式的一部分.然后读手写的收信人地址:"依阿华.温特塞特,弗朗西丝卡.约翰逊."下一步是寄信人地址,在左上角潦草的几笔:"华盛顿州.贝灵汉,642号信箱."她坐在靠窗的椅子里,看着地址,全神贯注.因为信封里面是他的手的动作,她要回味那二十二年前这双手在她身上的感觉.
　　在她能感觉到他的手触摸她时.就打开信封,小心翼翼地拿出三封信.一份短文手稿.两张照片.一期完整的<地理杂志>和从这份杂志别的期上剪下的散页.在逐渐消失的幕霭中她啜着白兰地,从眼镜框上边看着钉在打字手稿上的一封短笺.信写在他本人专用的信纸上,信的开头只有简单的几个印刷体字:"罗伯特金凯,摄影家作家".
　　亲爱的弗朗西丝卡:
　　附上两张照片.一张是在牧场上日出时刻我给你照的,希望你跟我一样喜欢它.另外一张是罗斯曼桥,你钉在上面的小条我还没有取下.我坐在这里,在我的脑海中搜索我们在一起度过的时光的每一个细节.每时每刻.
　　我一遍又一遍问我自己,"我在依阿华的麦迪逊究竟遇到了什么事?"我努力想把它想清楚.所以我才写下了附给你的这篇短文:<从零度空间落下>,这是作为清理我困惑的思路的一种方法.
　　我从镜头望出去,镜头终端是你;我开始写一篇文章,写的又是你.我简直不清楚我从依阿华是怎么回到这里来的.这俩旧卡车好歹把我驮了回来,俚是我几乎完全想不起来中间经过的路程.
　　几星期之前,我感妻自己很有自制能力,也还很满足.也许内心深处并不快活,也许有些寂寞,但是至少是满足的.现在这一切都改变了.现在很清楚,我向你走去,你向我走来已经很久很久了.虽然在我们相会之前谁也不知道对方的存在,但是在我们浑然不觉之中有一种无意识的注定的缘分在轻轻地吟唱,保证我们一定会走到一起.就像两只孤雁在神力的召唤下飞越一片又一片广袤的草原,多少年来,整人一生的时间,我们一直都在互相朝对方走去.
　　那条路直是奇怪的地方.我正开车蹭来蹭去时,抬头一看,就在那八月里的一天,你穿过草地向我走来.回想起来,好像这是必然-不可能是另一样-这种情况我称之为极少可能中的高概率.
　　于是我现在内心里装着另外一个人到处走.不过我觉得我们分手那一天我的说法更好:从我们两个人身上创造出了第三个人.现在那个实体处处尾随着我.
　　不论怎样,我们必须再见面,不管是何时何地.你无论有何需要,或者只是想见见我时,就给我打电话.我将立时三刻到来.如果任何时候你能到这里来,请告诉我,机票钱若有问题,我可以安排.我下星期到印度东南部去,不过十月份就回到这里.
　　我爱你.
　　罗伯特一九六五年九月十日以及:在麦县拍的那组照片效果很好.你可在明年的<地方杂志>上找.如果你要我寄给你刊登这组照片的那一期,请告诉我.
　　弗朗西丝卡.约翰逊把白兰地杯子放在宽阔的橡木窗台上,凝视着一张自己的18*18照片有时她很难回忆起自己二十二年前长得什么样.她倚在一根篱笆桩上,穿着褪色的牛仔裤,凉鞋,白色圆领衫,头发在晨风中飘起.
　　她从坐的地方那窗望出去可以看到那根篱笆桩.牧场周围还是原来的旧篱笆.理查德死后她把地租出去时,曾明文规定牧场必须保留原封不动,尽管现在已是蒿草高长的空地.
　　照片上的她脸上刚刚开始出现第一道皱纹.他的相机没放过它们.不过她还是对照片上所见感到满意.她头发是黑的,身材丰满而有活力,套在牛仔裤里正合适.不过她现在凝视的是自己的脸.那是一个疯狂地爱上了正在照相的男子的女人的脸.
　　沿着记忆的长河,她也能清晰地看见他.每年她都在脑海中把所有的影像过一遍细细地回味一切,刻骨铭心,永志不忘,就像部落民族的口述历史,代代相传直至永久.他身子瘦.高.硬,行动就像草一样自如而有风度,银灰色的头发在耳后长出不少,几乎总是乱蓬蓬的,好像他刚在大风中长途旅行,曾设法用手把它们拢整齐.
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Chapter 4
　　INT. KITCHEN - LATERSitting at the kitchen table, Carolyn is in the middle ofreading the letter to Michael.
　　CAROLYN"-- going over and over in my mindevery detail, every moment of ourtime together and I ask myself, "Whathappened to me in Madison County?" Istruggle to put it together in a waythat allows me to continue knowingwe're on separate roads. But then Ilook through the lens of my camera,and you're there. I start to write anarticle and I find myself writing itto you. It's clear to me now we havebeen moving towards each other,towards those four days, all ourlives --MICHAEL(rises)Goddamn sonofabitch! I don't want tohear anymore! Sonofabitch! Burn thedamn thing! I don't want to hear it!
　　Throw it away!
　　Carolyn continues reading silently. Michael's curiosity getsthe best of him:
　　MICHAELWhat's he saying now?
　　CAROLYNWell, he just gets on about how ifmama ever needed him, she could findhim through the National Geographicmagazine. He as a photographer. Hepromises not to write again. Then allit says is...
　　(beat)I love you... Robert.
　　MICHAELRobert! Jesus! I'll kill him.
　　CAROLYNThat would be some trick. He'salready dead. That's what this otherletter is.
　　(takes letter andskims)From his attorney. He left most ofhis things to mama and requested...
　　(she stops)MICHAELWhat?
　　CAROLYNThat he be cremated and his ashesthrown on Roseman Bridge.
　　MICHAELDAMN HIM! I knew mama wouldn't havethought of that herself. It was somedamn perverted... photographic mindinfluencing her! When did the bastarddie?
　　CAROLYN'82.
　　MICHAELWait a minute! That was thirty yearsafter daddy. Do you think...?
　　CAROLYNI don't know. I'm completely in thedark here. That's what I get formoving away.
　　MICHAELThis happened way before we both gotmarried. I... I can't believe it.
　　(then, innocently)You think she had sex with him?
　　Carolyn cannot believe he is this dense.
　　CAROLYN(sarcastic)My Lord. It must feel real niceliving inside your head with PeterPan and the Easter Bunny.
　　MICHAELDon't talk to me like that. She wasmy mother for Christsakes. And now Ifind out she was... She was a --!
　　CAROLYNDon't say that!
　　MICHAELWell, what am I supposed to think?
　　CAROLYNI can't believe she never told me? Wespoke at least once a week. How couldshe do that?
　　MICHAELHow did she meet him? Did Dad know?
　　Anything else in that envelope?
　　CAROLYNNo, I don't think so. I --She dumps it over and a SMALL KEY FALLS OUT. Pause, asCarolyn and Michael look to each other -- they grab the keyand run out of the kitchen, almost comically falling overeach other in their obsession to put this puzzle together.
　　A SERIES OF JUMP CUT --From one lock to another as they try to find the keyhole thatfits the key -- they try closets, attic doors, jewelry boxes,night tables, vanity drawers... Finally --INT. BEDROOM - DAYAt the foot of their parents bed sits an WALNUT HOPE CHEST,covered with a tapestry. Michael and Carolyn look to eachother first, before one removes the tapestry and the othertries the key. It fits. They open the chest to find:
　　Camera equipment, a chain with a medallion that reads"FRANCESCA," three leather bound notebooks -- and a sealedenvelope with "Carolyn or Michael" written on it.
　　CAROLYN/MICHAELYou read it!
　　Carolyn relents. She takes out the lefter and reads:
　　CAROLYN"January, 1987. Dear Carolyn. I hopeyou're reading this with Michael. I'msure he wouldn't be able to read itby himself and he'll need some helpunderstanding all this, especiallythe parts about me having sex..."Insulted, Michael pulls the lefter out of her hand anddefiantly attempts to read it aloud himself to disprove hismother's claim. But after looking at a few lines, hesurrenders and hands the lefter back to his sister.
　　CAROLYN (cont'd)"First, and most of all, I love youboth very much and although I feelfine, I thought it was time to put myaffairs, excuse that word, in order."MICHAELI can't believe she's making jokes.
　　CAROLYNSshhh. "After going through thesafety deposit box, I'm sure you'llfind you're way to this letter. It'shard to write this to my ownchildren. I could let this die withthe rest of me, I suppose.
　　(cont'd)But as one gets older, one fearssubside. What becomes more and moreimportant is to be known -- known forall that you were during this briefstay. Row said it seems to me to leavethis earth without hose you love themost ever really knowing who youwere. It's easy for a mother to loveher children no matter what -- it'ssomething that just happens. I don'tknow if it's as simple for children.
　　You're all so busy being angry at usfor raising you wrong. But I thoughtit was important to give you thatchance. To give you the opportunityto love me for all that I was..."Carolyn and Michael look to each other like two schoolchildren about to take a difficult exam. They continue.
　　CAROLYN (cont'd)"His name was Robert Kincaid. He wasa photographer and he was here in1965 shooting an article for NationalGeographic on the covered bridges ofMadison County. Remember when we gotthat issue and looked at thosebridges we'd seen for years but nevernoticed? How we felt likecelebrities? Remember when we startedgetting the subscription?
　　They don't remember.
　　CAROLYN (cont'd)I don't want you to be angry withhim. I hope after you know the wholestory, you might even think well ofhim. Even grateful.
　　MICHAELGrateful!?
　　CAROLYN(reads)"... It's all there in the threenotebooks. Read them in order.
　　If you don't want to, I supposethat's okay too. But in that case Iwant you to know something -- I neverstopped loving your father. He was avery good man. It's just that my lovefor Robert was different. He broughtout something in me no one had everbrought out before, or since. He mademe feel like a woman in a way fewwomen, maybe more, ever experience..."MICHAELThat's it!
　　Grabbing the letter, he starts putting everything back in thetrunk.
　　CAROLYNWhat are you doing?
　　MICHAELThis is crazy. She waits till she'sdead to tell us all this. Well, I gotnews for you. She was my mother.
　　That's enough for me. I don't have toknow who she was.
　　CAROLYNWell, I'd like to read them.
　　MICHAELNo. We're going to lock this up and --CAROLYNSTOP IT!
　　(Michael freezes)I want to read them! If you don'twant to, then just leave. But don'tyou push me around like I'm some muleyou paid for -- I already GOT AHUSBAND!
　　Michael is stymied. 　　他狭长脸,高颧骨,头发从前额垂下,衬托出一比蓝眼睛,好像永远不停地在寻找下一幅拍照对象.他当时对她微笑着说她在晨曦中脸色真好,真滋润,要她靠着篱笆桩,他围着她绕了一大弧形,先蹲着照,然后站起来照,然后又躺下用相机对着她.
　　她对他用了这么多胶卷有点于心不安,但是对他给予她这么多关注感到高兴.她希望没有邻居这么早开拖拉机出来.不过在那个特定的早晨她并不在乎邻居以及他们怎么想.
　　他拍照,装胶卷,换镜头,换相机,接着又拍,一边工作一边轻声跟她谈话,总是告诉她他觉得她多么好看,他多么爱她."弗朗西丝卡,你太美了,简直不可思议,"有时他停下来凝视着她,目光穿过她,绕着她,一直看到她身体里面.
　　她的圆领衫绷紧处两个奶头轮廊鲜明.很奇怪,她竟然对自己隔着衣服这样曲线毕露并不发窘.相反,知道他透过镜头能这样清楚看到她的胸部,她感到高兴.她在理查德面前决不会这样穿法,她不会赞许的.说实在的,在遇到罗伯特金凯之前她什么时候也不会这样穿法.
　　罗伯特要她背稍稍往后仰一点然后轻声说,"好的,好的,就这么呆着."这时他照的就是她现在注视着的这张照片.光线最理想不过了,他说是"多么透亮"----这是他给起的名称,于是正在围绕她转时快门坚决地按了一下.
　　他很轻捷,当时她望着他时想到的是这个词.他年已五十三岁,而浑身都是瘦肌肉,行动敏捷有力,只有艰苦劳动而又自爱的人才能这样.他告诉她他曾是太平洋战区的战地摄影记者,弗朗西丝卡完全能想象那情景:他脖子上挂着几架相机跟海军陆战队的士兵们一起在硝烟弥漫的海滩上跑来跑去,其中一架放在眼睛下面,不断按动快门,其速度之快几乎使相机着火.
　　她再看那照片,仔细端详.我当时是挺好看的,她心里想,为自己的自我欣赏不禁莞尔.在此之前和在此之后我都从来没有这么好看过,都是因为他.她又啜一口白兰的,此刻雨随着十一月的风尾下得一阵紧似一阵.
　　罗伯特金凯可以称得上是一个魔术师,他活在自己的内部世界里,那些地方希奇古怪,几乎有点吓人.在一九六五年八月那个干燥的而炎热的星期一,当他走出卡车向她的车道走来的时候,弗朗西丝卡立刻就感觉到了这一点.理查德和两个孩子到伊利诺依州博览会上展出那匹获奖的小牛去了,那小牛比她得到的关注还要多,现在她有一个星期完全属于自己.
　　她正坐在前廊的秋千上,喝着冰茶,漫不经心地看着一辆县公路上行驶的卡车，下面卷扬起来和尘土.卡车行驶很慢,好像驾驶员在寻找什么,然后就在她的小巷口停下,把车头转向她的房子.天哪.她想,他是谁?
　　她赤着脚,穿着牛仔裤和一件褪了色的蓝工作服,袖子高高卷起,衣摆放在裤子外面,长发用一只玳瑁梳子别起,那梳子还是她离开故国时父亲给她的.卡车驶进了巷子在绕屋的铁丝栅栏门前不远处停下.
　　弗朗西丝卡走下廊子,款款地穿过草地向大门走来.卡车里走出罗伯特金凯,看上去好像是一本没有写出来的书中出现的幻象,那本书名<插画沙漫人历史>.
　　他的棕色军服式衬衫已为汗湿透,贴在背上,腋下两大圈汗渍.衬衫上面三个扣子敞开着她可以看见他脖子里银项链下面紧绷绷的胸肌.他肩上是桔黄色的背带,是经常在野外作业的人穿的那种.
　　他微笑着说:"对不起,打搅了.我是在找此地附近一座廊桥,可是找不着,我想我是暂时迷路了。"他用一条蓝色的大手帕擦擦前额,又笑了笑.
　　他两眼望着她,她感到自己体内有什么东西在跳动.那眼睛,那声音,那脸庞,那银发,还有他身体转动自如的方式.那是古老的,令人心荡神移,慑人魂魄的方式;是在障碍冲倒之后进入睡乡之前的最后时刻在你耳边说悄悄话的方式;是把任何物种阴阳分子之间的空间重新调整的方式.
　　必须传宗接代.这方式只是轻轻说出了这一需要,岂有他哉.力量是无穷的,而设计的图案精美绝伦.这方式坚定不移,目标明确.这其实很简单,让我们给弄得好像很复杂.弗朗西丝卡感觉到了这一点而不自知,她是在自己的细胞层面上感觉到的.而使她永远改变之事自这开始.
　　一辆小汽车经过这条路,后面扬起一道尘土,按了按喇叭.弗朗西丝卡向弗洛埃德.克拉克伸出车窗的那只古铜色的手挥手答礼,然后转向陌生人:"你已经很近了,那桥离这里只有两英里地."然后,在二十年的封闭生活中,长期遵循乡村文化所要求的克制.含蓄.不苟言笑的行为准则的弗朗西丝卡.约翰逊忽然说,"如果你愿意的话,我可以领你去."这连她自己都感到吃惊.
　　她为什么这样做,自己始终也说不准.也许是在这么多年以后,少女的心镜像水泡一样浮到水面上,终于爆开了.她不是个很腼腆的人,但也不大胆主动.她唯一能解释的是,只见了几秒之后,罗伯特金凯就有某种吸引她的地方.
　　显然,他对她的自告奋勇有点意外,不过很快就过去了,认真地说,那他很感谢.她从后台阶拿起做农活穿的牛仔靴走到他的卡车边,跟他走到乘客的座位边."请等一分钟,我给您腾地方,这里尽是乱七八糟的东西."他边做边叽咕着,主要是自言自语,她可以看得出来他有点慌乱,对整个这件事有点不好意思.
　　他把帆布包和三脚.暖水瓶和纸袋重新放好.卡车后面放着一只棕色的山姆森式的旧衣箱.一只吉他琴匣,都满灰尘,饱经风雨,用一条布纹带子与一个备用车胎捆在一起.
　　他正在咕哝着把纸咖啡杯.香蕉皮等等塞进一个杂货店的大牛皮纸袋然后扔到卡车后箱中去时,车门砰的一声碰上了,打了他屁股一下.然后他拿出一个蓝白相间的冷藏箱,也把它放到车后面.在绿色的车门上有几个褪了色的红漆字:"金凯摄影,华盛顿,贝灵汉"."行了,我想您现在可以挤进来了."他用一种特殊的.动物般的优美姿态钻进驾驶盘后面.他看了她一眼,仅仅是一瞥,微微一笑,问道："向哪边走.""右边,"车子向前驶去.他的两条长长的腿自动地踹着踏板,旧的莱维牌长裤盖着系皮带的棕色野地靴,这双靴子已见过多少英里从脚下驶过.
　　他俯身伸手探到前面的杂物箱中,前肘无意中擦过她的大腿.他半望着风挡外,半望着那杂物箱,从里面抽出一张名片来递给她:"罗伯特金凯,摄影家作家".上面还印着他的地址电话.
　　他说:"我是<地理杂志>到这里来的,您熟悉这个杂志吗?""熟悉.""他们要发表一篇关于廊桥的文章,显然依阿华的麦迪逊县的几座满有意思的这样的桥.我已经找到了六座,但是我猜至少还有一座,据说是在这个方向.""它叫罗斯曼桥,是属于另外一个人的,属于那个十几岁的那不勒斯姑娘,那个探头窗外,想着还没有出现的远方的恋人的姑娘."她一边说一边注视着他换挡时前臂弯曲的样子.
　　有两只背包在他旁边放着.一只是关好的,但另一只的盖向后翻着,她能看见露出来的照相机银色的顶部和黑色的背面,以及一个胶卷盒的底部,相机背面贴着"柯达彩色,25,26张"的标签.在这些包包后面塞着一件有许多口袋的背心,从一只口袋中挂下一条一端有活塞的绳子.
　　好的脚后面是两个三脚架,已经刮痕累累,不过她还辨认得出其中一架上面剥落的商标"基佑".当她打开汽车杂物箱时,她瞥见里面塞满了笔记本.地图.笔.空胶卷盒.散落的零钱和一条骆驼牌香烟.下一个街角向右转,滑润,由于出汗而发光.他的嘴唇很好看,不知怎么,她一开始就注意到了.他的鼻子很像她所见到的印第安人的鼻子,那是孩子还末长大时有一次他们全家到西部度假看见的.
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Chapter 5
　　INT. KITCHEN - LATERCarolyn opens the first notebook which is dated AUGUST 1965.
　　Michael sits beside her with a cup of coffee.
　　CAROLYN(reads)"I suppose his coming into my lifewas, in many ways, prepared forweeks, maybe even months before.
　　There was a restlessness I feeling.
　　Out of the blue and for no apparentreason. There's nothing morefrightening to a woman whose beensettled down for almost twenty yearsthan to suddenly feel unsettled. Idon't know when it started ... I doremember one night in particular, alittle over a week before Robertarrived..."CAROLYN'S VOICE BECOMES FRANCESCA'S VOICE AS WE:
　　DISSOLVE TO:
　　1965INT. JOHNSON'S BEDROOM - NIGHTRichard is fast asleep while Francesca sits up in bed reading.
　　FRANCESCA (V.O.)"It was late at night after a longday. Your father was tired -- fightingall afternoon with that newequipment Robert Harrison convincedhim to buy. But I wasn't tired.
　　Lately, I could hardly sleep morethan two hours a night. I was readingsome John O'Hara novel, skimming thewords, turning the pages withoutabsorbing what I was reading. My mindwas far away. And no matter how Itried, I couldn't call it back."Francesca closes the book and turns off the light. Shenestles into the bed and tries to sleep. After a beat, sheopens her eyes and turns on the light. As she gets out of bedshe awakens Richard.
　　RICHARDWhat time is it?
　　FRANCESCALater. Go back to sleep.
　　RICHARDWhere you going?
　　FRANCESCAI'm not tired. I thought I mightfinish Carolyn's skirt.
　　RICHARDNow?!
　　(checks clock)It's after eleven.
　　FRANCESCAI can't sleep.
　　RICHARDAgain? Maybe you should see a doctor.
　　FRANCESCAI'm not sick, Richard. I'm just nottired, now go back to sleep beforeyou're up for the whole night too!
　　Francesca exits. Richard nestles under the covers, mumbling:
　　RICHARDIf you're not sick, how can it becontagious?
　　INT. ATTIC - NIGHTFrancesca sits at her sewing machine, working on Carolyn'sskirt. When the thread runs out, she checks her sewing boxfor another spool of that color. Not finding it, she raisesand walks to an opened closet. She pulls on a light cord andchecks her supplies.
　　There are shelves of boxes, crates, old clothes and shoes allcrammed together. She pulls out one shoe box and an entirestack of items tumble off the shelf onto her head.
　　FRANCESCADamn it! Shit!
　　She looks at the mess and decides it's time to re-organize.
　　LATER:
　　The clock reads 2:30 AM. The closet has been emptied.
　　Francesca rummages through box after box.
　　Two huge piles have been created -- one for items to be thrownaway, another for items to be kept. Francesca is wiping thebare shelves down with a rag and some cleanser. Looking up tothe bottom of the next shelf, she notices A SHOULDER STRAPhanging, wedged between the wall and the shelf. Pulling overa stool, she steps up to be eye level with the shelf.
　　It is an OLD HANDBAG -- of a style not seen since the fortieswhen she was a young girl. She pulls it down to examine. Itis very dusty and worn, but the snaps still work. She placesit against her side to see if it would still be fashionable.
　　She opens it and finds an old lipstick -- reading the bottomwhere the name of the shade is located.
　　FRANCESCA (cont'd)Ha, they don't even made this coloranymore.
　　She exits the closet and moves to an old mirror, trying thelipstick on. As she decides whether or not she likes it, athought occurs to her... she remembers something.
　　She crosses back to the handbag and feels the inside for acompartment hidden by a flap of material and a snap. Sheunsnaps it and an old BACK & WHITE PHOTO slips out. Shelooks at its image -- two young people against an Italianbackground. Francesca is twenty years younger with her armsaround a handsome, black-haired charmer named --FRANCESCA (V.O.)"Niccolo. I couldn't remember thelast time I had seen that face. Andthen the memories wouldn't stop.
　　Like an avalanche..."CUT TO:
　　FLASHBACK -EXT. NAPLES COUNTRYSIDE, 20 YEARS EARLIER - DAYA hot, breezy summer day. A young vibrant Francesca isstorming through an open field, angry, while Niccolo callsafter her in pursuit.
　　The following scene is played in Italian with subtitles.
　　NICCOLOFrancesca! Francesca! Where the hellare you going?
　　FRANCESCALeave me alone!
　　NICCOLOYou play these games and I'm supposedto follow -- run after you like aschoolboy. Well, I'm not! I'm fed up!
　　Niccolo stops. Several yards ahead of him, Francesca stopsand turns. Suddenly, she storms back towards him until theyare face to face.
　　FRANCESCASo that's it! You just give up!
　　NICCOLOWhat "give up"? You agreed with them!
　　Mommy and Daddy said stay away fromme and you said all right. What am Isupposed to do?
　　FRANCESCAFight for me!
　　Niccolo grabs her violently.
　　NICCOLOENOUGH! You don't know what you want!
　　Stop looking for me to tell you! STOPIT!
　　Francesca knows he's right. He releases her.
　　NICCOLO (cont'd)We can go back now and end it or wecan go back and you tell them off.
　　This is your choice! Not mine. But Iwon't do this anymore. This is forchildren!
　　Frustrated and sad, Francesca sits upon the ground. Niccoloknows she cannot face her parents yet he looks sympathetic.
　　EXT. JOHNSON HOUSE - DAWN 1965Francesca sits on the back porch in her bathrobe, looking outover the pasture as if she were watching the previous scenehappen right before her eyes.
　　In the pasture stands NICCOLO as he was twenty years ago.
　　Memories have overlapped. A field in Naples is now a pasturein Iowa and Niccolo is as real to her as the grass. He isstaring at her seated on the porch of her Iowa home, a womantwenty yards older than when he knew her. He smiles.
　　FRANCESCA (V.O.)"I had forgotten this. I had somehowremembered it being more his fault,his decision. Then I remembered wemade love in that field before weleft for home. And I remembered itwas my idea. I remembered tearinghis shirt and biting his body, hopinghe would kidnap me. I had forgottenthat too. And I wondered, as I satthere... how many other things I'dforgotten."RICHARD (O.S.)Frannie.
　　Startled, Francesca turns as if she were caught in the act.
　　Richard is fully dressed, prepared to start the day.
　　Francesca turns back to the pasture -- Niccolo is gone.
　　CUT TO: 　　从传统标准说,他不算漂亮,也不难看.这种字眼好像对他根本不适用.但是他有点什么,是一种很老,饱经风霜的神态,不是他的外表,而是他的眼神.
　　他左腕戴着一块外表很复杂的手表,棕色皮表带汗渍斑斑.右腕有一只花纹细致的银手镯.她心想这手镯需要用擦银粉好好上上光了,立刻又责备自己这种注意鸡毛蒜皮的小镇习气,多年来她一直在默默反抗这种习气.
　　罗伯特金凯从衬衣口袋里拿出一包烟,抖落出一支递给她.在五分钟内,她第二次使自己意外,竟然接受了.我在干什么?她心想.多年前她吸过烟,后来在理查德不断严历批评下戒掉了.他又抖落出一支来,含在自己嘴唇里,把一个金色吉波牌的打火机点着,向她伸过去,同时眼睛望着前路.
　　她双手在火苗边上做一个挡风圈,在卡车颠簸中为稳住打火机碰着了他的手.点烟只需一刹那间,但这时间已足够使她感觉到他手的温暖的手背上细小的汉毛.她往后靠下,他把打火机甩向自己的烟,熟练地做成挡风圈,手从方向盘抽下来一到一秒钟.
　　弗朗西丝卡.约翰逊,农夫之妻,悠闲地坐在布满灰尘的卡车座位里,吸着香烟,指着前面说:"到了,就在弯过去的地方."那座红色斑驳,饱经风月而略有些倾斜的古老的桥横跨在一条小溪上.
　　罗伯特金凯这时绽开了笑容.他扫了她一眼说:"太捧了,正好拍日出照."他在离桥一百英尺地方停下,带着那开口的背包爬出车子."我要花一点时间做一点探查工作,您不介意吧"她摇摇头,报以一笑.
　　弗朗西丝卡望着他走上县城公路,从背包里拿出一架相机,然后把背包往背上一甩.他这一动作已做过上千次了,她从那流畅劲可以看出来.他一边走,头一边不停地来回转动,一会儿看看桥,一会儿看看桥后面的树.有一次转过来看她,脸上表情很严肃.
　　罗伯特金凯同那些专吃肉汁.土豆和鲜肉-有时一天三顿都是如此-的当地人成鲜明对比,他好像除了水果.干果和蔬菜之外什么都不吃.坚硬,她想.他肉体很坚硬.她注意到他裹在紧身牛仔裤里的臀部是那样窄小--她可以看到他左边裤袋中钱包的轮廊和右边裤袋中的大手帕.她也注意到他在地上的行动,没有一个行动是浪费的.
　　周围静悄悄,一只红翼鸫鸟栖息在铁丝网上望着她.路边草从中传来牧场百灵的叫声,除此之外,在八月白炽的阳光下没有任何动静.
　　罗伯特金凯刚好在桥边停下.他站了一会儿,然后蹲下来从相机望出去.他走到路那边,同样再来一遍.然后他走到桥顶下,仔细观察那椽子的天花板,从旁边一个小洞里窥望桥下的流水.
　　弗朗西丝卡在烟灰缸里熄灭了烟头,打开门,把穿着靴子的脚放到踏板上.她张望了一下确定没有领居的车向这里开来,就向桥边走去.夏日午后骄阳似火,桥里面看来要凉快些,她可以看见桥那头他的影子,直到那影子消失在通向小溪的斜坡下.
　　在桥里面她能听到鸽子在檐下的窠里咕咕软语.她把手掌放在桥栏杆上享受那暖洋洋的感觉.有些栏杆上歪歪扭扭刻着字:"吉姆波--代尼逊,依阿华,歇莉.杜比,去吧,老鹰"鸽子继续咕咕软语.
　　弗朗西丝卡从两道栏杆的缝隙中沿着小溪向金凯走去的方向望去.他站在小溪当中的一块石头望着桥,她看见他同她挥手,吃了一惊.他跳回岸上,自如地走上陡峭的台阶.她目不转睛地望着水面,直到她感觉到他的靴子踏上了桥板.真好,这里真美,弗朗西丝卡点头说:"是的,是很美.我们这里对这几座旧桥习以为常了,很少去想它."他走到她面前,伸一小束鲜花,是野生黄菊花."谢谢你给我做向导,"他温柔地笑着."我要找一天黎明来拍照."她有感到体内有点什么动静.花.没有人给她献过花,即使是特殊的日子也没有过.我不知道尊姓大名,点头说"我听出一点点口音,是意大利人吧?"是的,那是很久以前了.
　　又回到绿色卡车,沿着柏油路,在落日余晖中行驶.他们两次遇到别的汽车,不过都不是弗朗西丝卡认识的人.在到达农场的四分钟之中,她浮想联翩,有一种异样,释然的感觉.再多了解一些罗伯特.金凯,这位摄影家--作家,这就是她想要的,想多知道一些.同时她把花竖起来紧紧抱在怀里,好像一个刚外出回来的女学生.
　　血涌上她的机颊.她自己能感觉到.她什么也没做,什么也没说,但是自己觉得好像是做了,说了.卡车收音机里放着一支吉他歌曲,声音几乎淹没在隆隆压路声和风声中,接着是五点钟新闻.
　　他把车转进小巷."理查德是你的丈夫吧?"他见过那邮箱."是的,""喝杯茶吗?"他回头看看她说:"如果没有什么不方便,我就要."没什么,她引导他把卡车停到屋后面-她希望自己做得很随便.她不愿在理查德回来时有个邻居对他说:"嘿,理查德,你那里在请人干活吗?上星期看见一辆绿色卡车停在那里.我知道弗兰尼在家,就懒得去问了."沿残缺的水泥台阶而上,到游廊的后门.小长毛狗围着金凯的靴子嗅来嗅去,然后走出去在后廊爬下,此时弗朗西丝卡从金属的盘子里把冰拿出来,并从一个半加仑的大口杯倒出茶来.他坐在餐桌旁,两条长腿伸在前面,用两只手拢头发,她知道他在注视着她.要柠檬吗?好.糖呢?不要,谢谢.
　　柠檬汁沿着一只玻璃杯的边慢慢流下来,这他也看见了,他眼睛很少放过什么.
　　弗朗西丝卡把杯子放在他面前,把自己的杯子放在贴面桌子的另一边,再把那束花浸在放了水的外面印有唐老鸭图案的果酱瓶.她靠着切菜台,用一只脚站着,俯身脱下一只靴子,然后换那只赤脚站着,以同样的程序脱另一只靴子.
　　他喝了一小口茶,望着她.她大约五英尺六英寸高,四十岁上下,或者出头一些,脸很漂亮还有一幅苗条.有活力的身材.不过他浪迹天涯,漂亮的女人到处都是.这样的外形固然宜人,但是真正重要的是从生活中来的理解力和激情,是能感人也能感动的细致的心灵.因此许多女人尽管外表很美,但他觉得她们并无吸引力.她们生活经历不够长,或者还不知生活艰辛,因此没有这种足以吸引他的气质.
　　可是弗朗西丝卡.约翰逊身上确实有足以吸引他东西.她善解人意,这他看得出来,她也有激情,不过他还说不上这激情究竟导向何方,或者是否有任何方向.
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Chapter 6
　　INT. JOHNSON HOUSE - EVENINGIt is a week later. Francesca is making dinner. A COUNTRYSTATION is tuned in on the radio.
　　FRANCESCA (V.O.)"The following week was the IllinosState Fair. The two of you were goingwith dad to exhibit Carolyn's prizesteer. It was the Sunday night youleft. I know it sounds awful but Icouldn't wait for you all to leave.
　　You were going to be gone untilFriday. Four days...
　　(beat)Just four days..."Francesca's expression looks as if she needs a break from herfamily for more like four years.
　　FRANCESCA (cont'd)Michael! Carolyn! Richard! Dinner!
　　She sets down a bowl of potatoes, a plate of sausages, coffeeand corn as one by one her family enters and sits down.
　　Michael enters through a screen door from the back, lettingthe DOOR SLAM SHUT.
　　FRANCESCAMichael, what did I tell you aboutthat door?
　　Richard enters after Michael, letting the door SLAM THE sameway. Francesca is about to say something, but gives up.
　　Everyone begins eating -- in complete silence.
　　When Michel can't open the ketchup bottle, Francesca grabsit, palms the top skillfully and twists it off. She hands itback to Michael who makes no comment.
　　When Richard scans the table for something that obviouslyisn't there, Francesca is up out of her seat before he canask, at the fridge, grabbing the sour cream, closing thefridge and back at the table with incredible swiftness.
　　When Michel moves his big arm to reach for the salt, heknows over his cup and saucer, which Francesca catches withboth hands before they hit the floor. Her reflexes are likea trained athlete.
　　Finally, Francesca is able to sit and sip her coffee. Shewatches her teenage daughter fill her plate with a blankexpression that lets nothing slip through -- no indication ofall the tempests of emotions that go through a teenage girl.
　　FRANCESCAYou excited about going, Carolyn?
　　Without looking up, Carolyn fakes a smile. Looking at her,Francesca remembers Carolyn as a three-year-old girl:
　　FLASHBACK.
　　In the same kitchen, THREE-YEAR-OLD CAROLYN runs around hermother's feet completely naked, squealing with delight asFrancesca flicks her water from the tap.
　　FLASHBACK ENDS.
　　Francesca watches as Carolyn eats in silence, distant, lockedin her own secret teenage thoughts and dreams.
　　Francesca then looks to her son, shoveling food into hismouth at an alarming rate. She attempts a conversation.
　　FRANCESCA (cont'd)How was your date last night?
　　MICHAEL(w/o looking at her)Okay.
　　FRANCESCAWhat's her name?
　　MICHAELBetty.
　　FRANCESCAWhat's she like?
　　MICHAELOkay.
　　Silence. Frustrated, Francesca has a fantasy -FANTASY:
　　Francesca picks up a blunt butter knife, rises out of her seat,grabs her son and shoves the knife at his throat:
　　FRANCESCADo you like her?
　　Michael finally reacts with more than one word -- frightenedfor his life.
　　MICHAELUh... Yeah. Yeah. She's real nice.
　　FRANCESCAWell, what's nice about her? Tell us!
　　MICHAELWell, she's... she's real pretty and... and she's got a cute shape...
　　she's a good sport, ya know, forlaughs and(desperate)... she loves fried chicken wings andbeer.
　　FRANCESCAIsn't that nice? You should bring herhome to meet us!
　　FANTASY ENDS.
　　Francesca looks at Michael in disgust.
　　RICHARDWe better get moving.
　　(to Francesca)You sure you don't want to come?
　　Francesca looks at Richard with complete conviction.
　　FRANCESCAI'm positive.
　　RICHARDI'm going to miss you.
　　FRANCESCAIt's only four days.
　　He gives her a sweet peck on the lips. Francesca smiles,anxious for them all to leave.
　　INT. JOHNSON HOUSE - LATER THAT NIGHTAlone, dressed in her bathrobe, Francesca checks the frontdoor. She crosses to the living. Noticing two throw pillowson the floor, she arranged them neatly on the couch. She sitsherself in an easy chair then flicks on a reading lamp andopens her book. After five seconds, she closes the book. Shecrosses to the TV and turns it on, then turns it off beforethe picture tuned in.
　　She turns and leans on the TV, flicking the ON/OFF switch onand off as her mind wanders. She gets an idea. She crosses tothe hi-fi and looks through several albums she got from herColumbia Record Club. But nothing inspires her and shequickly loses the desire for music. She's antsy. She has thistime alone and she doesn't know how to spend it.
　　She walks through the dining room, passing a china closetfilled with fancy dishes and glasses. She stops. Shoved inthe corner behind is an old, un-opened bottle of BRANDY. Sheremoves up, setting atop the dining table to open it.
　　But when she catches a reflection of herself in the windowopposite her, she stops. She sees a lonely, frustrated womanin a tattered bathrobe anxious to open a bottle of liquor.
　　Deflated, she returns the brandy to the cupboard and exits.
　　EXT. BACK PORCH - NIGHTFrancesca sits on the porch with a book in her lap, gazingout over the pasture. It's a hot night. She opens the top ofher rope a bit. Feeling the air against her skin, she decidesto open it a bit more. She gets an idea.
　　Standing, she looks to see if anyone is around -- thoughrationally she knows there isn't a soul for miles. She turnsoff the porch light. With a brave and daring impulse, shesheds her bathrobe and stand naked under the night sky. Theair feels good against her body. She opens her arms upagainst the night sky and moon like an Indian priestess.
　　Suddenly, she starts hitting her body as mosquitoes beginattacking her bare torso. Thwarted, she quickly coversherself with a robe and runs into the house.
　　CUT TO:
　　INT. KITCHEN - MORNINGFrancesca trudges into the kitchen. As if on automatic, shetakes the coffee pot and fills it with water. She gets thecoffee and begins spooning it out. She stops. She gets theidea of taking herself out for breakfast and dumps the coffeepot out.
　　CUT TO:
　　EXT. MAIN STREET; WINTERSET - MORNINGA one street town. On either side are rows of storefronts, anold coffee shop/diner, a bank, a medical center, a newspaperbuilding, a courthouse and a movie theater showing CAT BALLOU.
　　The steeple of the local church is the highest structure,towering over the town from the end of Main Street. 　　后来,他告诉她他自己也莫名其妙，那天看着她脱靴子的时候是他记忆中最肉感的时刻.为什么,这不重要.这不是他对待生活的态度."分析破坏完整性.有些事物,有魔力的事物,就是得保持完整性.如果你把它一个部件一个部件分开来看,它就消失了."他是这样说的.
　　她坐在桌旁,一只脚蜷在下面,把一缕落在脸上在头发拢回去,用那玳瑁梳子重新别好.然后又想起来,到最靠近的柜子上头拿下一个烟灰缸放在桌上他能够得着的地方.
　　得到这一默许之后,他拿出一包骆驼牌香烟来,向她伸过去.她拿了一支,并注意到微微点潮湿,是他出汗浸的.同样的程序.他拿着金色吉波打火机,为稳住打火机碰到了他的手,指间触到了他的皮肤,然后坐回去.香烟味道美妙无比,她微微笑了.你到底是做什么的-我是说摄影做什么?
　　他看着他的香烟静静地说:"我是一个合同摄影师--给<地理杂志>摄影,是部分时间,有时我有了想法,卖给杂志,然后给他们拍照,或者他们需要什么,就找我让我为他们拍照.那是一个相当保守的刊物,没有很多发挥艺术表现力的余地.但是报酬不错,不算特别优厚,可是相当不错,而且稳定.其余时间我就自己写,自己拍,然后把作品寄给其他杂志.生活发生困难的时候我就做合作项目,不过我觉得那种工作太束缚人.有时我写诗,那纯粹是给自己写的.时不时的也写写小说,不过我好像没有写小说的气质.我住在西雅图北部,相当多的时间在那一带工作.我喜欢拍渔船.印地安人聚居区和风景.<地理杂志>常常把我派到一个地方去一两月,特别是制作一项大的作品,例如亚马逊河的一部分,或是北非沙漠.平常在这种情况下我都乘飞机去,在当地租一辆车.但是我有时想要开车经过一些地方作些侦察,以为将来的参考.我是沿苏必利尔湖开车来的,准备穿过黑山陵回去,你怎么样?"弗朗西丝卡没有准备他问问题.她到吾了一会儿说:"咳,我跟你做的可不一样.我得的学位是比较文学.我一九四六年到这里时温特塞特正找不到教师.我嫁给了个当地人而且还是个退伍军人,这使我能被接受.于是我得了一张教师执照,在中学教了几年英文.但是理查德不喜欢让我出去工作.他说他能养活我们,不需要我去工作,特别是当时两个孩子正在成长.于是我就辞了工作,从此成为专职农家妇.就这样."她注意到他的冰茶差不多喝完了,又给从大口杯里倒了一点.谢谢.你觉得依阿华怎么样?
　　这一瞬间这句问话是真诚的,她心里明白.标准的答话应该是:"很好,很宁静.这里的人的确善良."她没有立即回答.:我能再要一到烟蚂?"又是那包骆驼牌,又是那打火机,又是轻轻碰了一下手.阳光在后廊地板上移过,照在那狗身下,它爬起来,走出视线之外.弗朗西丝卡第一次看着罗伯特金凯的眼睛.我应该说:'很好,很宁静.这里的人的确善良.'这些大部分都是真的.这里是很宁静.当地人在某种意义上是很善良.我们都互相帮助,如果有人病了,受伤了,邻居就会进来帮着拣玉米,收割燕麦,或者是做任何需要做的事.在镇上,你可以不锁车,随便让孩子到处跑,也不必担心.这里人有很多优点,我敬重他们的品质.'但是,终于坦白了.这句话已存了多年,但是从来没有说出来过.现在,她对一个从华盛顿贝灵汉来的有一辆绿色卡车的男人说出来了.
　　他一时间没说什么.然后说:"我那天在笔记本里记下一些话以备将来用.是开车时临时想到的,这是常有的事.是这样说的:'旧梦是好梦,没有实现,但是我很高兴我有过这些梦.'我说不上来这是什么意思,但是我准备用到什么地方.所以我想我能理解你的感觉."弗朗西丝卡向他笑了,她第一次笑得热情而深沉.接着赌徒的冲动占了上风."你愿意留下来吃晚饭吗?我全家都到外地去了,所以家里疫什么东西,不过我总可以弄出一点来."我确实对杂货铺.饭馆已经厌倦了.如果不太麻烦的话,我愿意.你喜欢猪排吗?我可以从园子里拨点新鲜菜来配着做.素菜就好.我不吃肉,已多年了.不是什么大不了的事.就是觉得那样更舒服.
　　弗朗西丝卡又笑了."此地这个观点可不受欢迎.理查德和他的朋友们会说你破坏他们生计.我也不大吃肉,不知为什么,就是不喜欢.但是每当我在家试着做一顿无肉饭菜时,就会引起反抗的吼声.所以我已放弃尝试了.现在想法儿换换口味是挺好玩的."好的.不过别为我太麻烦.听着,我的冷藏箱里有一包胶卷,我得去倒掉化了的冰水,整理一下.这要占时间."他站起来喝完了剩茶.
　　他看着他走出厨房门,穿过游廊走进场院.他不像别人那样让百叶门砰一声弹回来,而是轻轻关上.他走出去前蹲下拍拍那小狗,小狗舐了几下他胳膊表示对这一关注领情.
　　弗朗西丝卡上楼匆匆洗了一个澡,一边擦身一边从短窗帘的上面向场院窥视.他的衣箱打开着,他正在用那旧的手压水泵洗身.她原该告诉他如果需要可以用房子里的蓬蓬头洗澡她原是想说的,又觉得这样似乎超过了熟悉的程度,以后自己心情恍惚,把这事忘了.
　　可是罗伯特金凯在这恶劣得多的条件下都洗漱过.在虎乡用腥臭的水洗.在沙漠中用自已罐头筒盛水洗.他在她的场院脱到腰部,用旧衬衣当毛巾使."一条毛巾,"她自责的说,"至少一条毛巾,我这点总可以为他做的."
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327826鲜花 127鸡蛋

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举报 只看该作者 7楼  发表于: 2013-10-27 0

Chapter 7
　　INT. COFFEE SHOP/DINER - MORNINGDressed in jeans and a light summer blouse, Francesca sitsalone -- treating herself to breakfast and the paper. Some ofthe gossip news includes rumors of Frank Sinatra, 49,marrying Mia Farrow, 19: Cary Grant 61, marrying DYAN CANNON,27. Francesca shakes her head in disbelief at such news.
　　She tries to continue reading, but is distracted by the loudconversation in the booth beside her:
　　TWO MIDDLE-AGED WOMAN and ONE MIDDLE-AGED HUSBAND sit afterbreakfast discussing the local gossip.
　　ELEANOROh, this heat! Times like this I wishwe took that offer from your brotherand moved on up to Michigan.
　　HENRYThey got heat in Michigan.
　　ELEANORNot this kind of heat.
　　HENRYHeat is heat.
　　ELEANORHeat is not heat! There's differentkinds! And this heat is much hotterthan what they got in Michigan. Yougo and call your brother and see ifhe don't say the same thing.
　　HENRYI'll get right on it.
　　Mrs. Delaney, an attractive well-off woman in her forties,enters the shop and heads for the counter.
　　GLADYS(whispers)Mrs. Delaney.
　　(Eleanor looks)Did you hear the latest?
　　ELEANORNo, what?
　　GRADYSApparently, she caught them.
　　(Eleanor gasps)Ran right into them in Des Moines inthe middle of her shopping.
　　ELEANOROh, what a horror. Poor woman. ThatRedfield girl's got no businessshowing her face in daylight.
　　GRADYSI don't know how that tramp standsliving here. No one can bear evenspeaking to her. She has no friends.
　　HENRYWell, nobody put a gun to his head.
　　ELEANOROh, shut up! It's the woman who's incontrol of these situations. Mendon't know which end is up till awoman points.
　　Mrs. Delaney acts as if nothing is wrong. Yet, she knowseveryone knows and everyone knows she knows they know, yet noone says a word. She sits at the counter.
　　MRS. DELANEYJust coffee, please.
　　Francesca hears the gossip continue in hushed tones:
　　GLADYSSee. Money don't buy happiness. Imust say, she's taking it well.
　　ELEANORI'd kill him. Him and that Redfieldwoman. Together. First one then theother. And then I'd laugh.
　　GLADYSI'd laugh first then I'd kill them.
　　Make sure they heard me laughing.
　　Eleanor nods. Not being able to stand it, Francesca rises.
　　She must pass them on the way to the counter, in order topay. Eleanor immediately stops her.
　　ELEANORFrancesca! So, everybody got off okaylast night?
　　FRANCESCAYes, thanks.
　　GLADYSWhat you going to do all alone forfour days -- a woman of leisure?
　　FRANCESCAOh, you know there's always somethingto be done. Have a good day. Henry.
　　Henry nods back. As she exits, they whisper.
　　ELEANORShe's changed.
　　GLADYSOh, yes.
　　ELEANORShe used to be so friendly.
　　HENRYMaybe she's going through "thechanges."Eleanor hits him in the chest.
　　ELEANORWhat do you know about "the changes"?
　　HENRYWell, I didn't know they was a secretclub.
　　ELEANORDon't talk about what you don't know.
　　Besides, she's too young for "thechanges."GLADYSMy niece had "the changes" when shewas thirty-one.
　　ELEANORNo. What a tragedy. What happened?
　　GLADYS(wisely)She changed.
　　At the counter, Francesca pays up. She looks to Mrs. Delaneyand tries to smile, but Mrs. Delaney works hard at not makingeye contact with anyone. Suddenly, she rises telling thewaitress:
　　MRS. DELANEYExcuse me for a moment, I leftsomething in the car.
　　She exits quickly. Francesca pays up as the waitress adds:
　　WAITRESSPoor woman.
　　EXT. COFFEE SHOP/DINER - MORNINGFrancesca exits and heads for her truck. As she crosses fromone corner to another, she notices down the side street --Mrs. Delaney sitting alone in her own car, sobbing. Unable tobear the humiliation, she stole herself away to cry.
　　Francesca wants to help but feels useless. She quickly headsfor her truck.
　　CUT TO:
　　EXT. JOHNSON HOUSE - DAYFrancesca sits on the front porch with some iced tea, tryingto cool herself off. It is a scorcher. She is barefoot, herblouse hanging out of her jeans, her hair fastened up by atortoise shell comb.
　　Camera begins a slow move into close-up, as she sips her teaand lets her mind wander. WE INTERCUT HER FANTASIES WITH HERON THE PORCH:
　　FANTASY: Back in town, Francesca slides into Mrs. Delaney'scar. She embraces the woman who cries into her arms.
　　-- Francesca on the porch.
　　FANTASY: Mrs. Delaney's car is surrounded by townpeoplestaring into it. Francesca hugs Mrs. Delaney closer to her indefiance.
　　-- Francesca on the porch.
　　FANTASY: Mrs. Delaney's car drives up to a train station. Sheand Francesca exit with suitcases. They are surrounded bynews reporters as they make their way to the train.
　　REPORTERMrs. Johnson! Mrs. Johnson! Is ittrue Cary Grant has proposed to you?
　　FRANCESCAYes. And I've accepted.
　　REPORTERWhat about his engagement to DyanCannon?
　　FRANCESCAI said to him Cary you're beingridiculous. You're more than half herage. He said no one had ever beenthat honest with him and he falls inlove with me.
　　REPORTERWhat about your husband?
　　FRANCESCAI'm very sad but Richard said thatsince it's Cary Grant, he completelyunderstands. I'm also taking Mrs.
　　Delaney away from this town. She'llbe living with Cary and I in BeverlyHills.
　　She boards the train with Mrs. Delaney.
　　END OF FANTASIES. 　　他的刮胡刀躺在水泵边的水泥地上让阳光照得发亮.她看着他在脸上涂上肥皂然后刮胡子.他很又是这个词坚硬.他个子并不大,大约六英尺多一点,略偏瘦.但是对他的个头来说,他肩膀的肌肉很宽,他的肚子平坦得像刀片.他不管年龄多大都不像,他也不像那些早晨饼干就肉汁吃得太多的当地人.
　　上次去得梅音采购时她买了新的香水--风歌牌-现在节省地用了一些.穿什么呢?穿太正式了不大合适,因为他还穿着工作服.长袖白衬衫,袖子刚好卷到胳膊肘,一条干净的牛仔裤,一双干净的凉鞋.戴上那对金圈耳环(理查德说她戴了像个轻佻女子)和金手镯.头发梳到后面用发卡夹住,拖在背后.这样比较对头.
　　她走进厨房时,他已坐在那里,旁边放着背包和冷藏箱,穿了一件干净的咔叽布衬衫,桔色背带从上面挂下来,桌上放着三架相机和五个镜头,还有一包新的骆驼牌香烟.相机上都标着"尼康",黑镜头也是如此.有短距离.中距离,还有一个长距离的镜头.这些设备已经有刮痕有点地方还磕碰的缺口.但是他摆弄时仍很仔细,但又比较随便,又擦又刷又吹.
　　他抬头看她,脸上又严肃起来,怯怯生的."我冷藏箱里的啤酒,要一点吗?"那好,谢谢.
　　他拿出两瓶布德威瑟啤酒.他打开箱盖时她可以看见透明盒子里装着一排排胶卷,像木材一样齐齐码着.他拿出两瓶来之后,里面还有四瓶啤酒.
　　弗朗西丝卡拉开一个抽屉找开瓶的扳子.但是他说:"我有."他把那把瑞士刀从刀靴中抽出来.弹开瓶扳,用得很熟练.
　　他递给她一瓶,举起自己那瓶作祝酒状说:"为午后傍晚的廊桥,或者更恰当地说,为在温暧的红色晨光里的廊桥."他咧开嘴笑了.
　　弗朗西丝卡没说话,只是浅浅的一笑,略微举一下那瓶酒,犹犹豫豫地,有点不知所措.一个奇怪的陌生人,鲜花.香水.啤酒,还有在炎炎盛夏一个星期一的祝酒.这一切她已经几乎应付不了了.很久以前有一个人在一个八月的下午感到口渴.不知是谁,研究了这口渴,弄了点什么拼凑在一起,就发明了啤酒.这就是啤酒的来源,它解决了一个问题."他正在弄一架相机,用一个珠宝商用的小改锥拧紧顶盖的一个螺丝,这句话几乎是对着相机部的.我到园子里去一下,马上回来.
　　他抬起头来,"需要帮忙吗?"她摇摇头,从他身边走过,感觉到他的目光在她的胯上,不知他是不是一直看着她穿过游廊,心里猜想是的.
　　她猜对了.他是一直在注视着她.摇摇头,又接着看.他注意着她的身体,想着他已知道她是多么善解人意,心里捉摸着他从她身上感到的其他东西是什么.他被她吸引住了,正为克制自己而斗争.
　　园子现在正阴暗中.弗朗西丝卡拿着一个搪瓷平锅在园子里走来走去.她挖了一些胡萝卜和香茶,一些防风茶根.洋葱和小萝卜.
　　她回到厨房时,罗伯特金凯正在重新打背包,她注意到打得十分整齐.准确.显然一切都已落位,而且一向都是各就其位的.他已喝完他那瓶啤酒,又开了两瓶,尽管她那瓶还没喝完.她一仰脖喝完第一瓶,把空瓶递给他.我能做些什么?你可以从廊子里把西瓜抱进来,还有从外面筐子里拿几个土豆进来.
　　他行动特别轻盈,她简直惊讶他怎么这么快,胳膊底下夹着西瓜.手里拿着四个土豆从廊下回来."够了吗?"她点点头,想着他行动多像游魂.他把那些东西放在洗涤池旁边的台上--她正在洗涤池里洗园子里摘来的菜-然后回到椅子那里点一支骆驼牌香烟坐下来.你要在这里呆多久?我也说不准.现在是我可以从容不迫的时候,照那些廊桥的期限还有三星期呢.我猜想只要照得好需要多久就多久,大概要一星期."你住在那里?在镇上吗?是的,住在一个小地方,有很小的房间.叫什么汽车大院.今天早晨我才登记的,还没把家伙卸下呢."这是唯一可住的地方,除了卡尔逊太太家,她接受房客.不过餐厅一定会让你失望,特别是对你这种吃饭习惯的人."我知道.这是老问题了.不过我已学凑合了.这个季节还一算太坏,我可以在小店里的路边小摊上买到新鲜货,面包加一些别的东西差不多就行了.不过这样被请出来吃饭太好了,我很感激."她伸手到台面上打开收音机,那收音机只有两个频道,音箱上盖着一块棕色布.一个声音唱着:"我袋着时间.天气总站在我一边......"歌声下面是阵阵吉他伴奏.她把音量捻得很小.我很会切菜的.好吧.切菜板在那儿,就在底下的抽屉里有一把刀.我要做炖烩菜,所以你最好切成丁.
　　他离她二英尺远,低头切那些胡萝卜.白萝卜.防风菜根和洋葱.弗朗西丝卡把土豆削到盆里,意识到自己离一个陌生男人这么近.她从来没有想到过与削土豆皮相联系会有这种小小的歪念头.你弹吉他吗?我看见你卡车里有一个琴匣.弹一点儿.只是作个伴儿,也不过如此面已.我妻子是早期的民歌手,那是远在民歌流行起来之前,她开始教我弹的.'
　　弗朗西丝卡听到"妻子"一词时身子稍稍绷紧了一下,为什么,她自己也不知道.他当然有权结婚,但是不知怎么这似乎跟他不相称.她不愿意他结过婚.她受不了我这样长期外出拍照,一走就是几个月.我不怪她.她九年前就撤退了.一年之后跟我离了婚.我们没有过孩子,所以事情不复杂.她带走了一只吉他,把这契波琴留给我了.你还和她通音讯吗?不,从来没有.
　　他说了这么多.弗朗西丝卡没有在进一步问下去.但是她感觉良好了一些,挺自私的.她再次奇怪自己为什么要在乎他结过还是没结过婚.我到过两次意大利,那不勒斯.从来没去过.我有一次到过北方,拍一些勃河的照片.后来再是去西西里去拍照.
　　弗朗西丝卡削着土豆,想了一会意大利,一直意识到罗伯特金凯在她身边.
　　西天升起了云彩,把太阳分成射向四方的几道霞光.他从洗涤池上的窗户望出去说:"这是神光.日历公司特别喜爱这种光,宗教杂志也喜欢."你的工作看来很有意思,是的,我很喜欢.我喜欢大路,我喜欢制作照片.
　　她注意到了他说"制作"照片."你制作照片,而不是拍摄照片?"是的,至少我是这样想.这就是星期日业余摄影者和以此为生的人的区别.等我把今天我们看到的桥的那些照片弄好,结果不会完全像你想象中的那样.我通过选镜头.或是选角度或是一般组合.或者以上几样都结合起来,制成我自己的作品."我照相不是按原样拍摄,我总是设法把它们变成某种反映我个人的意识.我的精神的东西.我设法从形象中找到诗.杂志有它自己的风格的要求,我并不意是同意编缉的口味,事实上我不同意时居多.这是我烦恼之处,尽管是他们决定采用什么,屏弃什么.我猜他们了解他们的读者,但是我希望他们有时可以冒一点风险.我对他们这么说了,这使他们不高兴."这就是通过一种艺术形式谋生所产生的问题.人总是跟市场打交道,而市场--大众市场-是按平均口味设计的.数字摆在那里,我想就是现实.但是正如我所说的,这可能变得非常束缚人.他们允许我保留那些没有被录用的照片,所以我至少可以有我自己喜欢的私人收藏.'间或有另外一家杂志愿意休用一两张,或者我可以写一篇关于我到过的地方的文章,插图的照片可以比<地理杂志>喜欢的更野一些."以后我准备写一篇文章题为'业余爱好的优点',专门写给那些想以艺术谋生的人看.市场比任何东西都更能扼杀艺术的激情.对很多人来说,那是一个以安全为重的世界.他们要安全,杂志和制造商给他们以安全,给他们以同一性,给他们以熟悉.舒适的东西,不要人家对他们提出异议."利润.订数以及其他这类玩意儿统治着艺术.我们都被鞭赶着进入那个千篇一律的大轮了."做买卖的人总是把一种叫做'消费者'的东西挂在嘴上.这东西在我心目中的形象就是一个矮胖子,穿着皱巴巴的百慕大短裤,一件夏威夷衬衫,戴一顶草帽,开酒瓶和罐头的扳子从草帽上摇摇晃晃挂下来,手里攥着大把钞票."弗朗西丝卡轻轻地笑了,心里思忖着安全和舒适.不过我成就并不多.像我刚才说的,旅行本身就很好,我喜欢摆弄照相机,喜欢在户外.现实并不像这支歌开头那样,但是这是一支不坏的歌."
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Chapter 8
　　Tired of her fantasies, Francesca looks up to the sun toclear her mind. It is blinding. When she looks back out ontothe road, her vision is momentarily blurred. Until, slowly,out of the blue, she sees:
　　A TRUCK driving toward her house, kicking up dust, like somephantom appearing through the etheric plane. Francesca isn'teven sure it's real. She sips cool drink & blinks toregain her vision. The truck slows down and turns into herdriveway. Francesca watches with suspicious curiosity as:
　　The truck stops and ROBERT KINCAID steps out. Flashing hisblue eyes in her direction, he smiles and says:
　　ROBERTSorry to bother you, but I've got afeeling I'm lost.
　　Francesca remains guarded.
　　FRANCESCAAre you supposed to be in Iowa?
　　ROBERT(laughs)Yeah.
　　FRANCESCA:
　　Well, you're not that lost.
　　He laughs. She puts down her tea and crosses to him.
　　ROBERTI'm looking for a covered bridge outthis way... uh... wait a minute --He looks through a small notepad for the name. Francescafinds herself scanning his body.
　　FRANCESCARoseman Bridge?
　　ROBERTThat's it.
　　FRANCESCAWell, you're pretty close. It's onlyabout two miles from here.
　　ROBERTOh, terrific. Which way?
　　Pause as Robert awaits directions and Francesca scans a suddenimpulse.
　　FRANCESCAWell, I can take you if you want.
　　Robert is pleased, but a bit surprised as is Francesca whoanxiously recants:
　　FRANCESCA (cont'd)Or I can tell you. I can take you ortell you. It's up to you. I don'tcare. Either way.
　　Robert smiles finding her sudden nervousness charming.
　　ROBERTWell --Suddenly, from the opposite direction of the road, A CHEVYbarrels by. The driver, FLOYD, toots his horn.
　　FLOYDHowdy, Francesca.
　　FRANCESCAHey, Floyd.
　　He drives off. Francesca knows they've been seen. Slightlyannoyed by Iowain neighborliness, she turns to Robert andwith some defiance says:
　　FRANCESCA (cont'd)It'd be better if I show you, I think.
　　ROBERTIf I'm not taking you away fromanything.
　　FRANCESCANo. I was just going to have someiced tea then split the atom, butthat can wait.
　　(he smiles)I just have to get my shoes.
　　Robert watches her as she turns and heads back to the house.
　　He watches her lift her blouse and tuck it into her jeans,revealing her shapely hips and buttocks. He turns back to thetruck and notices the mailbox -- MR & MRS. RICHARD JOHNSON. Henods as if he knew all along and begins to make room on thefront seat for Francesca.
　　INT. JOHNSON HOUSEFrancesca is slipping on her boots when she suddenly stops.
　　"What am I doing?", she asks herself silently.
　　EXT. JOHNSON DRIVEWAYFrancesca approaches the truck. On the door, she reads:
　　KINCAID PHOTOGRAPHY, BELLINGHAM, WASHINGTON.
　　Robert is clearing away paper cups, banana peels, paper bags,photography equipment. In the back, Francesca notices acooler and a guitar case.
　　ROBERTI wasn't expect company. Let meget this out of the way.
　　He hauls a case of film from the front to the back. Francescanotices his tanned, muscular arm move in one graceful sweep.
　　ROBERT (cont'd)Okay. All set.
　　Francesca smiles. They both get into the truck.
　　ROBERT (cont'd)Now, where are we going?
　　FRANCESCAOut, then right.
　　CUT TO:
　　EXT. MADISON COUNTY ROAD - DAYAs the truck drives, we see no one else in sight.
　　INT. KINCAID'S TRUCKThey drive in silence. Francesca is enjoying the breeze againsther face.
　　ROBERTPretty country.
　　FRANCESCAHmm-mmm.
　　She looks out at the vast expanse. It depresses her.
　　ROBERTThere's a wonderful smell aboutIowa -- very particular to this partof the country. Do you know what Imean?
　　FRANCESCANo.
　　ROBERTI can't describe it. I think it'sfrom the loam in the soil. This veryrich, earthy kind of... alive...
　　No. No, that's not right. Can yousmell it?
　　FRANCESCA(shakes her head)Maybe it's because I live here.
　　ROBERTThat must be it. It's a great smell.
　　Francesca wants to know more about him.
　　FRANCESCAAre you from Washington originally?
　　ROBERTUh-huh. Lived there till I was twentyor so and then moved to Chicago whenI got married.
　　FRANCESCAOh. When did you move back?
　　ROBERTAfter the divorce.
　　FRANCESCAOh.
　　ROBERTHow long you been married?
　　FRANCESCAUh... uh...
　　(can't remember)Umm... long time.
　　ROBERTYou don't look like a native, if youdon't mind my saying so.
　　FRANCESCANo, I don't mind. I'm not from here.
　　I was born in Italy.
　　ROBERTWell, from Italy to Iowa -- that's astory!
　　(Francesca smiles)Whereabouts in Italy?
　　FRANCESCASmall town on the Eastern side noone's ever heard of called Bari.
　　ROBERTOh yeah, Bari. I've been there.
　　FRANCESCA(surprised)No, really?
　　ROBERTOh, yeah. Actually, I had anassignment in Greece and I had to gothrough Bari to get the boat atBrindisi. But it looked so pretty Igot off and stayed for a few days.
　　Breathtaking country.
　　Francesca is overcome by the idea of such freedom.
　　FRANCESCAYou just... got off the train becauseit looked pretty?
　　ROBERTYeah. Excuse me a sec.
　　He reaches over with one arm, brushing slightly against herthigh. He opens the glove compartment and pulls out a pack ofCamels and a Zippo lighter.
　　ROBERTLike one?
　　Francesca, who doesn't usually smoke, accepts.
　　FRANCESCASure.
　　She takes a cigarette out of the pack. Robert drops the packand, with the same hand, flicks open the Zippo and ignites it.
　　Francesca leans over. The road is bumpy and a breeze blowsthrough both windows.
　　She cups her hands around his to shelter the flame. She feelshis skin for a brief moment.
　　She sits back and enjoys the ride and her cigarette as Robertlights up. Silence. They drive.
　　ROBERTSo, how long you've been living here?
　　FRANCESCALong.
　　(changes subject)You just got off the train and stayedwithout knowing anyone there?
　　ROBERT(laughs)Yeah. 　　弗朗西丝卡猜想,对罗伯特金凯来说这是很平常的谈话,而对她,这却是文学素材.麦县的人从来不这么谈话,不谈这些事.这里的话题是天气.农产品价格.谁家生孩子.谁家办丧事还有政府计划和体育队.不谈艺术,不谈梦.也不谈那使音乐沉默.把梦关在盒子的现实.
　　他切完菜,"我还能做什么吗?"她摇摇头,"没什么,差不多就绪了."他又坐到桌边,抽着烟,不时呷一两口啤酒.她在煮菜,抽空啜口啤酒.她能感觉到那酒精的作用,尽管量是这么少.她只是在除夕和理查德在"军人大厦"喝点酒.除此之外平时很少喝家里也几乎不放酒,除了有一瓶白兰地,那是她有一次忽然心血不潮,隐隐地希望在乡村生活中有点浪漫情调而买的.那瓶盖至今没有打开过.
　　素油,一半蔬菜,煮到浅棕色,加面粉拌匀,再另一品脱水,然后把剩下的蔬菜和作料加进去,文火炖四十分钟.
　　菜正炖着时,弗朗西丝卡再次坐到他对面.厨房里渐渐洋溢着淡淡的亲切感.这多少是从做饭而来的.为一个陌生人做晚饭,让他切萝卜,同时也切掉了距离,人在你的旁边,缓减了一部分陌生感.既然失去了陌生感,就为亲切感腾出了地方.
　　他把香烟推向她.打火机在烟盒上面.她抖落出一支来,摸索着用打火机,觉得自己笨手笨脚的,就是点不着.他笑了笑,小心地从她手里把打火机拿过来,打了两下才点着.他拿着打火机,她就着火点了香烟.她一般在男人面前总觉得自己比他们风度优雅一点,但是在罗伯特面前却不是这样.
　　太阳由白变红,正好落在玉米地上.她从窗户望也去看见一只鹰正乘着黄昏的风扶摇而上.收音机里播放着七点钟新闻和市场简讯.此刻弗朗西丝卡隔着黄色贴面的桌子望着罗伯特金凯,他走了很长的路到她的厨房来,漫漫长路,何止以英里计!已经闻到香味了,清静?清静能闻的到吗?排烧烤之余,今天的这顿饭确实是清静的做法.整个食物制作过程和链条上没有暴力,除了把菜从地里拨起来可以算.炖烩菜是静静地在进行,散发的味道也是静静的,厨房里也是静悄悄要是你不介意的话,请你给我讲讲你在意大利的生活.叉放在左踝上.
　　默默无言一跟他在一起使她感到不自在,于是她就讲起来,给他讲她青少年时成长的情况,私立学校.修女.她的双亲-一个是家庭妇女,一个是银行经理.讲她十几岁经常到海堤边去看世界各国的船舶;讲后来的那些美国兵;讲她如何和女伴们在一家咖啡馆里喝咖啡时遇到了理查德.战争搅乱了生活,他们起先也不知道他们是否终于会结婚.她对尼可洛只字未提.
　　他听着,不说话,有时点点头表示理解.最后她停下来,他说,"你有孩子,你是这么说的吗是的.迈可十七岁,卡洛琳十六岁.他们都在温特塞特上学.他们是4--H协会成员,所以他们去参加伊利诺伊州博览会了,去展同卡洛琳养的小牛."这是我永远没法习惯的事,没法理解他们怎么能对这牲口倾注发这么多爱心的关怀之后又眼看着它出售给人家去屠宰.不过我什么也没敢说,要不然理查德和他的朋友全要对我大光其火了.可是这里面总有一种冷酷无情的矛盾."她提了理查德的名字,心里有点内疚,她什么也没做,什么也没有.可是她还是感到内疚是从一种遥远的可能性而来的内疚.她也不知道如果她陷入了她无法处理的局面,今晚结束时该怎么办.也许罗伯特金凯就此走了,他看起来挺安静,挺和善,甚至有点腼腆.
　　他们谈着谈着,夜色变蓝了,薄雾擦过牧场的草.在弗朗西丝卡的烩菜炖着的时候,他又给俩打开两瓶啤酒.她站起来在开水里放进几个饺子,搅了搅,靠在洗涤池上,对这位从华盛顿贝灵汉来的罗伯特金凯产生一股温情,希望他不要走的太早.
　　他静静地有教养地吃了两份烩菜,两次告诉她有多好吃.西瓜甜美无比.啤酒很凉.夜色是蓝的,弗朗西丝卡.约翰逊四十五岁,汉克.斯诺在依阿华州谢南多阿的KMA电台唱着一支火车歌曲.
　　古老的夜晚,远方的音乐现在怎么办呢?弗朗西丝卡想,晚饭已毕,相对而坐.
　　这个问题他给解决了."到草场去走走怎么样?外面凉快一点了."她同意之后,他从一只背包里拿出一架相机,把背带套在肩上.
　　金凯推开后廊的门,给她撑着,然后跟在她后面走出去,轻轻关上门,他们沿着裂缝的边道穿过水泥铺的场院走到机器棚东边的草地上.那机器棚散发着热油脂的味道.
　　当他们走到篱笆前时,她一只手把铁丝网拽下来跨了过去,感觉到她细条凉鞋带周围脚上沾了露水.他也照此办理,穿靴子的脚轻松地迈过铁丝网.你管这叫草场还是叫牧场?我想叫牧场.有牲口在,草就长不高.当心脚底下牛粪.升起,太阳刚从地平线消失,天空变成蔚蓝色.月光下公路上一辆小汽车呼啸着疾驰而过,消声器很响.那是克拉克家孩子的车,他是温特塞特橄榄球队的四分卫,跟裘迪.莱弗伦森经常约会.
　　她已经很久没有这样散步了.平时,总是五点钟开饭,晚饭过后就是电视新闻,然后是晚间节目,理查德看,有时孩子们做完功课也看.弗朗西丝卡通常坐在厨房看书-从温特塞特图书馆和她参加的图书俱乐部借来的书,历史.诗歌和小说,或者是在天气好的时候坐在前廊上.她烦电视.
　　有时理查德叫她:"弗兰妮,你瞧瞧这个!"她就进去和他一起看一小会儿.埃尔维期出现时常引起他发出这样的召唤.还有甲壳虫乐队首次在"埃德.苏利文大观"出现时也叫她看,理查德看着他们的头发,不断摇头,大不以为然.
　　有短暂的时间几抹红道划破天空.罗伯特金凯指着上面说:"我把这叫做'反射'.多数人把照相机收起得太早.太阳落山后总是有一段时候天空出现真正美妙的光和色,只有几钟,那是在太阳刚隐入地平线而把光线反射到天空的时候."弗朗西丝卡没说话,心里捉摸这是怎样一个人,草场和牧场的区别似乎对他那么重要,天空的颜色会引得他兴奋不已,他写点儿诗,可是不大写小说.他弹吉他,以影像为生,把工具放在包里.他就像一阵风,行动像风,也许本身就是风中来的.
　　他仰望着天空,双手插在裤袋里,相机挂在左胯上."月亮的银苹果/太阳的金苹果."他用他的男中音中区声部像一个职业演员那样朗诵这两句诗.
　　她望着他说:"W.B.叶芝'流浪者安古斯之歌'."对,叶芝的东西真好.现实主义.简洁精练.刺激感官.充满美感和魔力.合乎我爱尔兰传统的口味."他都说了,用五个词全部概括了.弗朗西丝卡曾想方设法向温特塞特的沉重解释叶芝,但是没能让大多数人理解.她之所以选了叶芝,部分原因正是刚才金凯说的,她想所有这些物质是会对那些十几的孩子有吸引力的,他们身上的腺体正跳得咚咚响,就像橄榄球赛半场休息时绕场而行的中学生乐队一样.然而他们受对诗歌的偏见的影响太深了,把诗看作是英雄气短的产物,这种观点太强烈了,连叶芝也克服不了.
　　她记得当她在班上读到"太阳的金苹果"一句时,马修.克拉克看着他旁边的男孩子,把双手拱起来做出女人乳房的样子.他们偷偷笑着,同他们一起坐在后排的女生都涨红了脸.
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Chapter 9
　　EXT. ROSEMAN BRIDGE - DAYThe truck stops. They exit. Robert takes out some equipment.
　　ROBERTThis won't take long. I'm shootingtomorrow morning. I just need to dosome prep work.
　　FRANCESCAI don't mind waiting.
　　He smiles and takes his equipment to the bridge. Francescaslowly follows. She watches his body move. Catching herself,she stops.
　　Robert sets up a tripod in the small ravine beneath thebridge, pointing a view finder up as he plans his shots.
　　Francesca walks through the bridge, noticing lovers namesscrawled on the inside: CATHY & BUDDY 4 EVER... ROSIE ANDHANK TILL THE END OF TIME. Through a crack in one of thewooden planks, Francesca watches like a voyeur as Robertworks. She sees him take out a handkerchief and wipe the sweatoff his neck, then inside his shirt and around his chest.
　　Without knowing where Francesca is, Robert speaks aloud:
　　ROBERTIs it always this hot?
　　Francesca moves quickly away from the plank, like a PeepingTom who's been caught.
　　FRANCESCAThis time of year.
　　ROBERTWould you do me a favor and go to thetruck? Inside that leather bag withthe pockets is a package of lenscleaners. Would you grab me one?
　　Francesca obliges, grateful for something to occupy her.
　　Inside the truck, she scans for the leather bag. She sees itnext to a duffel bag. The bag' zipper is opened. Sheglimpses inside as Robert's personal things -- clothes, socks,underwear, shaving kit. Life magazines from July and August,one depicting the death of Aldai Stevenson; the other a coverphoto of the Watts riots. She grabs the leather bag andopens it.
　　At the bridge, Francesca looks for Robert in the raving buthe is gone. She looks through the bridge to the other endand sees only the tripod. No Robert. She walks through thebridge and out the other end. She finds Robert bent over,picking flowers.
　　FRANCESCAOh there you are.
　　ROBERTOh! You caught me.
　　He rises with a bouquet of wildflowers for her.
　　ROBERTThanks for your help.
　　Francesca smiles, not knowing how to take this.
　　ROBERTMen sill give women flowers, don'tthey? I mean, as a sign ofappreciation? I'm not that out ofdate, am I?
　　FRANCESCANo, not at all --(suddenly)except those are poisonous.
　　ROBERTWHAT!
　　He flings the flowers down. He wipes his hands furiously.
　　FRANCESCAI'm sorry. I was kidding.
　　Robert looks at her with a shocked smirk, secretly liking herstrange behavior.
　　FRANCESCAI'm sorry. I don't know what -- I'msorry. Really. They're lovely.
　　She begins picking up the flowers.
　　ROBERT(smiling)Are you by nature a sadistic person?
　　FRANCESCANo, I'm not.
　　(trying not to laugh)I don't know why I said that. I'vebeen in a very... strange mood allday. I've never done anything likethat before. It's... I'm just...
　　(looking for excuse)Well, you know, the whole world isjust going nuts.
　　Robert looks at her like she's nuts. Francesca tries to digherself out of her hole. Robert enjoys offering no help.
　　FRANCESCAWhat with those riots in Los Angelesand people burning draft cards and... Adlai Stevenson dying last month.
　　She rises with the flowers. Robert gives her a friendly paton the arm.
　　ROBERTShouldn't let things get to you somuch.
　　He continues with his work. Francesca expresses relief andembarrassment behind his back.
　　INT. TRUCK - LATERDriving back, Francesca sits with her feet up on thedashboard. Robert drives while he fiddles with the radio. Allhe can find are country stations.
　　FRANCESCALooking for something in particular?
　　There's not much of a selection.
　　ROBERTI found this Chicago station before.
　　Wait a minute...
　　(he tunes it in)Here it is.
　　We hear a BLUES SINGER with a sax arrangement.
　　FRANCESCAOh, that's nice.
　　ROBERTWant another cigarette?
　　FRANCESCASure.
　　Francesca's having a great time.
　　EXT. JOHNSON HOUSE - DAYRobert's truck drives down the road and into the driveway.
　　ROBERTWell, thank you for all your help,Mrs. Johnson.
　　FRANCESCAFrancesca.
　　ROBERTFrancesca. Robert.
　　Francesca nods, as if to say hello and goodbye in the samemoment. She gets out of the car, closes the door, then asks:
　　FRANCESCAWould you like some iced tea?
　　INT. KITCHEN - DAYRobert fiddles with the kitchen radio, tuning in to theChicago station. Francesca is making iced tea. Robert sitsback down at the kitchen table.
　　FRANCESCALemon?
　　ROBERTSure.
　　With her back to him, Robert never takes his eyes off her.
　　She turns and crosses to him, with the tea.
　　ROBERT (cont'd)Thanks.
　　Francesca smiles and sips her own. She watches him gulp downthe tea so fast, some of it dribbles down the side of hisface and neck. Francesca finds it sexy. He empties it.
　　FRANCESCAWould you like another one?
　　Robert nods and he pulls out his cigarettes.
　　ROBERTMind if I smoke?
　　FRANCESCA(at the sink)Not at all.
　　Robert lights up as he watches her fix another iced tea. Hewatches her slip off one boot, then the other -- never missinga beat of her preparation. He can't help eyeing her body.
　　When she returns, she also has the flowers he picked for herarranged in a Casper the Friendly Ghost jelly glass. Sheplaces them on the table and sits.
　　ROBERTSure you want to keep those in thehouse?
　　FRANCESCAI'm so sorry about that. It wasrude. I think I just got nervousfor some reason.
　　ROBERTI thought it was funny.
　　She likes that.
　　FRANCESCAWhere are you staying while you'rehere?
　　ROBERTA little place with cabins. Thesomething-Motor Inn. I haven'tchecked in yet.
　　FRANCESCAAnd how long are you here for?
　　ROBERTAs long as it takes, I might stay aweek. No more I don't think. Where'syour family?
　　FRANCESCAMy husband took the kids to theIllinos State Fair. My daughter'sentering a prize steer.
　　ROBERTOh. How old?
　　FRANCESCAAbout a year and a half.
　　ROBERTNo, your kids.
　　FRANCESCAOh. Michael's 17 and Carolyn's 16.
　　ROBERTMust be nice having kids.
　　Francesca looks at him and FANTASIZES SAYING:
　　FANTASY:
　　FRANCESCANot any more. It's awful. They'reawful. I can't stand them.
　　END OF FANTASY:
　　But in reality, Francesca chooses instead to say:
　　FRANCESCA (cont'd)They're not kids anymore. Thingschange.
　　ROBERTEverything does. One of the laws ofnature. People are always so afraidof change. But if you look at it likeit's something you can count onhappening, it's actually a comfort.
　　Not many things you can count on forsure.
　　FRANCESCAI guess. Except I'm one of the peopleit frightens.
　　ROBERTI doubt that.
　　FRANCESCAWhy?
　　ROBERTItaly to Iowa? I'd call that a change.
　　FRANCESCA(explaining)Richard was in the army. I met himwhile I was living in Naples. Ididn't know where Iowa was. I onlycared that it was America. And ofcourse, being with Richard.
　　ROBERTWhat's he like? 　　他们一辈子都会以这种态度生活下去,她知道这一点.这正是她灰心丧气之处.她感以受伤害,感到孤独,尽管表面上这个社会是很友好的.诗人在这里是不受欢迎的.麦迪逊县的人为弥补自己加给自己和文化自卑感,常说,"此地是孩子成长的好地方."每当此时她总想回一句;"可这是大人成长的好地方吗?"他们没有什么计划,信步向牧场深处走了几百码,拐了一个弯又向屋子走去.跨过铁丝网时夜幕已经降临,这回是他为她拉下铁丝网.
　　她想起白兰地来了."我还有点白兰地,或者你宁愿要咖啡?"存在两样都要的可能吗?
　　当他们走进草地和水泥地上场院的灯照出的光圈时她回答说:"那当然,"自己听着声音有点感到不安.为是那不勒斯咖啡馆里那种有点放荡的笑声.
　　很难找到两个一点没有缺口的杯子.虽然她知道他生活中用惯了带缺口的杯子,但是这回她要完美无缺的.两只盛白兰地的玻璃杯倒扣着放在碗柜深处,像那瓶白兰地一样从来没有用过.她得踮起脚跟才够得着,自己意识到凉鞋是温的,蓝色牛仔裤紧绷在臀部.
　　他坐在原来坐过的那张椅子上注视着她.那古老的生活方式又回来了.他寻思她头发在他抚摸之下会有什么感觉,她的后背曲线是否同他的手合拍,她在他下面会有什么感觉.
　　古老的生活方式在挣扎,想要挣脱一切教养,几世纪的文化锤炼出来的礼仪.文明人的严格的规矩.他试图想点别的事:摄影.道路或者廊桥,想什么都行.就是别想现在她是什么样.
　　但是他失败了,但是还是在想触摸她的皮肤会是什么感觉,两个肚皮碰在一起会是什么感觉.这是永恒的问题,永远是同样的问题.该死的古老生活方式正挣扎着冒到表面上来.他把它们打回去,按下去,吸一支骆驼烟,深深地呼吸.
　　她一直感觉到他的目光盯在她身上,虽然他目光一直是含蓄的,从不是公然大胆的.她知道他知道白兰地从来没有倒进过这两只杯子.她也知道,凭他的爱尔兰人对悲剧和敏感性,他已感觉出一些这种空虚.不是怜悯.这不是他的事.也许是悲哀.她几乎可以听到他在脑涨中形成以下的诗句:
　　瓶末开过,杯子是空的,她够着身体找出来,在依阿华,中央河流域某地,我用眼睛望着她,这双眼曾见过,吉瓦洛人的亚马逊河,也曾见过丝绸之路,骆驼行旅扬起的尘土,追随我身后,飞向杳无一物的亚洲的苍穹当弗朗西丝卡剥掉那瓶依阿华瓶盖的封皮时,她看见自己的指甲,希望它长一,保养得好一点.干农洗不能养长指甲,至目前为止,她从来没有在乎.
　　白兰地.两只玻璃杯放在桌上.她准备咖啡时,他打开瓶子在两只杯子里斟上酒,倒得到恰到好处.罗伯特金凯对晚饭后的白兰地是有经验的.
　　她心想他不知道在多少人家的厨房,在多少好饭馆里,多少灯光暗淡的客厅里实践过这一小手艺.他不知见过多少纤纤玉手捏着高脚白兰地杯的柱子,长长的指甲伸向他,有多少双蓝色圆眼睛.棕色长眼睛通过异国的夜空凝视过他--当抛了锚的帆船在岸边摇荡,当海水拍打着古老港口的堤岸?
　　厨房的顶灯太亮了,不适宜喝咖啡和白兰地.弗朗西丝卡.约翰逊,农夫之妻,要让它打开弗朗西丝卡.约翰逊,一个走过晚饭后的草地重温少女时代的旧梦的女人,要把它熄灭.有一支蜡烛就足够了.不过这样太过份了,他会误解的.她打开洗涤池上面的小灯,把顶灯关了,这样不是十全十美,但是比较好.
　　他举杯及肩向她伸去."为了古老的夜晚和远方的音乐."不知怎的,这些话让她倒吸一口气,不过她跟他碰了碰杯,虽然想说"为了古老的夜晚的远方的音乐",却只是微微笑了一下.
　　他们两人都吸着烟,沉默不语,喝着白兰地,喝着咖啡.野有一只山鸡鸣叫,杰克-那小狗-在场院里吠了两声.蚊子试着冲向桌子附近的纱窗,有一只不长于思考,却相信自己的可能自己的本能的飞蛾让洗涤池上和小灯引得团团转.
　　还是挺热的,没有风,现在有点潮湿.罗伯特金凯微微出着汗,衬衫的头两个扣子解开着.他并没有直面看着她,不过她感觉得到他即使好像在注视着窗外,他视野的边缘也会扫到她他转身时她可以从敞开的衬衫领口看到他的胸部,看见皮肤上小小的汗珠.
　　弗朗西丝卡正享受着美好的情怀,旧时情怀,诗和音乐的情怀.不过是他该走的时候了,她想.冰箱上的钟已指到九点五十二分.收音机是法伦.扬在唱着一支几前的老歌<圣.塞西利亚的神殿>,弗朗西丝卡记得那是公元三世纪的殉道者,是庇护音乐和盲人的圣者.
　　他的酒杯空了.正当他视线从窗外回过来时,弗朗西丝卡拿起白兰地瓶颈,向那空杯子做了个手势.他摇摇头."要在黎明中拍摄罗斯曼桥.我得走了."她松了口气,又深深地失望.她心时来回翻腾:是的,请你走吧:再留下来唱杯白兰地;走吧.法伦.扬并不关心她的感觉,洗涤沁上的扑灯蛾也不关心,她不知道罗伯特金凯怎么样.
　　他站着,把一个背包甩到左肩,另一个放在冷藏箱上.她绕到桌子这边来.他伸出手来,她握着."谢谢今晚.晚饭,散步,都好极了.你是一个好人,弗朗西丝卡.把白兰地放在碗柜靠外这的地方,也许过些时候会好起来的."他都明白了,正如她想到的.不过他的话一点也没冒犯她.他是指的浪漫情调.而且从最好意义上讲是认真的.从他柔和的语言和说这些话的神态中她看得出来.不过她有一点不知道,那就是他当时真想对着厨房的四壁大喊,把以下的话刻进白灰中:"看在耶稣的份上,理查德.约翰逊,你真是像我认定的那样,是一个大傻瓜吗?"她送他出去,站着他的卡车旁等他把东西装进去.小狗穿过场院跑过来围着卡车嗅来嗅去."杰克,过来."她轻声而又严厉的命令它,于是那狗过来坐在她旁边,大口喘着气.再见,多保重,手把门关上.他转动那老旧的引擎,使劲踹着油门,车子嘎嘎喇喇地开动了,他从窗口伸出头来笑着说:"我想这车需要调音了."他换挡,倒车,又换挡,然后在亮光中穿过场院.刚好在进入黑暗的小巷之前他的左手伸出窗口向她召手,她也挥手相报,虽然明知他看不见.
　　当卡车沿小巷开出时,她跑过去站在暗中注视着那红灯随着车的颠簸上下跳动.罗伯特金凯向左转上了通往温特塞特的大路,炎热的闪电划破夏空,杰克一跳一蹦回到廊下.
　　他走后,弗朗西丝卡赤身裸体站在镜台前.她骨盆因生过孩子稍微张大一点,乳房还很结实好看,不太大不太小,肚子稍微有点圆.在镜子里看不见双腿,但是她知道还是保持的很好的.她应该更经常地剃剃汗毛,不过好像也没什么意思.
　　理查德对性生活的兴趣不太经常,大约两个月有一次,不过很快就结束了,是最简单的,不动感情.似乎也不注意什么香水剃汗毛之类的事,所以人很容易邋遢起来.
　　她对于他更像一个生意合伙人而不是其它.她本人的一部分觉得这样挺好.但是她身上还有另外一个人的骚动,这个人想要淋浴,洒香水....然后让人抱起来带走,让一种强大的力量层层剥光,这力量她能感觉到,但从末说出过,哪怕是朦朦胧胧在脑子里也没有说过.
　　她又穿好衣服,坐在厨房桌子边在半张纸上写字.杰克跟着她到外面那辆福特小卡车旁,她一开车门它就跳了进去,坐到了旅客座位上.当她把车倒出车棚时,它把头伸到窗外,回头看看她,又伸到窗外.她把车开出小巷,向右转到县公路上.
　　罗斯曼桥一片漆黑.不过杰克先跳下去在前面探路,她从卡车里拿出一个手电,把纸条用大头针钉在桥左边入口处,然后回家.
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Chapter 10
　　As Francesca thinks of an answer, she looks over to theentranceway between the kitchen and the front hall and sees:
　　FANTASY:
　　Richard standing there in his underwear, reaching over his shoulder.
　　RICHARDFranny, could you clean out my boilagain?
　　END OF FANTASY:
　　Francesca answers Robert, half of her still in fantasy --FRANCESCAHe's very... clean.
　　ROBERTClean?
　　FRANCESCA(catching herself)No. I mean yes, he's clean but he'salso other things. He's a very hardworker. Very honest. Very caring.
　　Gentle. Good father.
　　ROBERTAnd clean.
　　FRANCESCAYes. Very clean.
　　They drink. Francesca thinks she sounds like an idiot.
　　ROBERTSo you must like Oiwa, I guess.
　　Francesca looks at him. She wants to tell the truth, butholds back.
　　FRANCESCAIt's... uh... uh...
　　She stops. Robert smiles.
　　ROBERTGo ahead. I won't tell anyone.
　　Surprised, Francesca looks at him oddly -- as if he alreadyknows and is giving her permission.
　　FRANCESCAIt's...
　　(tries again)I...
　　(finally)I hate it!
　　She covers her mouth, like a reflex -- worried someone heard.
　　Robert just smiles and nods.
　　Francesca is so taken by his understanding and acceptance,she lets the flood gates open, speaking faster than her mindcan keep up --FRANCESCA (cont'd)(without a pause)I hate it! I hate it! I HATE IT! Ihate the corn and the dust and thetown and the cows and that SMELL thatyou love! I hate the people.
　　Everybody knows everybody's business,I mean it's nice now and then,they're always there to help out, butthat's just it, it's like they'rewaiting for something awful to happento help out and when nothing awful ishappening, then they just sit aroundand talk about what is happeningwhich is none of their business. Iwant to kill them sometimes for howcruel they can be --Camera begins slowly moving out to a wider angle...
　　FRANCESCA (cont'd)-- everybody's talking about poor Mrs.
　　Delaney whose husband is having anaffair with that Redfield woman and"isn't it a shame," and "isn't itawful," and the truth is THEY'RELOVING IT! Poor woman can't even becheated on without the grocery manknowing about it -- no one respectsanyone's privacy. You're not evensafe in your own home! They thinkthey can just walk right into yourhouse because they BAKED yousomething. It's like they have asecret password and YOU CAN'T KEEPTHEM OUT! I live in fear of that dooropening and having a peach cobblershoved at me...
　　(CONTINUES MOS IFNEEDED)Throughout this rapid fire monologue, camera has moved to awide angle as Robert just sits and listens, letting her getit all off her chest. She continues as we:
　　DISSOLVE TO:
　　INT. LIVING ROOMFrancesca is lying on the couch as Robert places a cold clothon her head. Her "confession" took a lot out offer.
　　ROBERTFeeling better?
　　FRANCESCAMuch.
　　ROBERTIs the dizziness gone?
　　FRANCESCAI think so.
　　She sits up. She feels exposed. But also, relieved.
　　ROBERTI better go. You sure you're allright?
　　(she nods)It's been a pleasure. Sincerely.
　　FRANCESCAI feel so embarrassed.
　　ROBERTWhy? You uncorked a bottle. From whatI can tell, I got here just in time.
　　Any later and you'd have made thefront page, running down Main Streetnaked, smoking Camels out of yourbutt.
　　FRANCESCA(laughs)But I... We don't even know eachother.
　　ROBERT(sincerely)You have no reason to feel ashamed.
　　You haven't said anything you don'thave a right to. And if anybody tellsyou different -- you just send them tome.
　　She smiles. He turns to exit.
　　ROBERT (cont'd)Better get my stuff.
　　Francesca surprises herself. She doesn't want him to go.
　　FRANCESCAWould you like to stay for dinner?
　　(he turns)There aren't many choices in town and... anyway, you'd have to eat alone.
　　So would I.
　　ROBERTThat's very nice of you. I don't getmany dinner invitations on the job.
　　It would be a welcome change. Thanks.
　　CUT TO:
　　INT. BEDROOM - LATERFrancesca rushes in and starts to disrobe, getting ready toshower and change for dinner. She glances out the window andsees:
　　EXT. JOHNSON HOUSERobert is at the water pump. His shirt is off and he iswashing himself. (WE INTERCUT THE TWO.)Francesca finds herself staring, a bit open mouthed. He hasa muscular, firm body. She watches how the water cascadesover his body. How he seems so unashamed, so "in his skin,"moving with such strength and grace.
　　Robert pauses and looks out over the open pasture. The coldwater feels good. Since the pump is the back of the house,hidden from the road, no one can see him. He decides to takeoff his pants and cool himself further.
　　Francesca begins watching this in shock until she has toliterally pull herself away from the window with such a forcethat she rams herself into a chest of drawers, knocking overan array of perfume bottles and a mirror. She deftly catchesa falling bottle and freezes. Taking a breath, she pullsherself together.
　　FRANCESCAThis is ridiculous. Stupid!
　　She replaces the bottle and heads for the bathroom quitecomposed, then, without warning, makes an immediate 180degree turn and heads back to the window to sneak a peek.
　　Seeing him, she gasps.
　　FRANCESCA (cont'd)Oh my God.
　　Watching him, she is possessed by some very frighteningfeelings and runs from the window, into the bathroom, closingthe door behind her.
　　EXT. JOHNSON HOUSE - EARLY EVENINGFrancesca is gathering some vegetables for dinner, from hergarden. Robert is at his truck, in his pants, changing intoa fresh shirt.
　　INT. KITCHEN - LATERFrancesca is cutting up vegetables. Robert enters with someof his gear.
　　ROBERTI'm just going to put some of thisfilm in your fridge. Heat isn't tooforgiving out there.
　　He does. On the radio, TONY BENNETT sings "WRAP YOUR TROUBLESIN DREAMS." Robert approaches Francesca.
　　ROBERT (cont'd)Can I help?
　　FRANCESCA(surprised)Help cook?
　　ROBERTSure. Men cook. We don't all eatbananas with our feet, ya know.
　　FRANCESCA(laughs)Okay.
　　They stand side by side. Francesca hands him a stack ofcarrots and a knife.
　　MONTAGE:
　　Tony Bennett's up-tempo tone plays over a series of images ofFrancesca and Robert talk and prepare dinner.
　　-- Four hands side by side, cutting and chopping.
　　Occasionally, a hand brushes against another as it reachesfor something.
　　-- Robert's hand gently touching Francesca's waist as hereaches around her for an onion.
　　-- Robert lighting Francesca a cigarette.
　　-- Robert brings in his cooker through the screen door. HEMAKES SURE IT DOESN'T SLAM. FRANCESCA MAKES A NOTE OF THIS.
　　-- Robert opens the cooler and removes two cold beers, tossingone to Francesca.
　　-- Francesca opening a new tablecloth and spreading it out onthe table.
　　-- Francesca handing Robert plates from the shelf, theirfingers only barely touching.
　　END OF MONTAGE 　　星期二的桥黎明前一小时罗伯特.金凯驶过理查德.约翰逊的信箱,嚼一口银河牌巧克力,咬一口苹果,把咖啡杯子放在座位上夹在两腿中间以免泼翻.他经过朦胧月色中的那所白房子时抬头望一望,摇头叹息男人多愚蠢,有些男人,多数男人.他们至少可以做到喝杯白兰地,出门时不要摔那百叶门.
　　弗朗西丝卡听见那辆走调的小卡车经过.她躺在床上,光着身子睡了一夜,这是她记忆中的第一次.她能想象金凯的样子,头发被车窗卷进的风吹起,一只手扶着方向盘,另一只手拿着一支骆驼烟.
　　她倾听车轮隆隆向罗斯曼桥的方向逐渐杳然.她开始在脑海里翻腾叶芝的诗句:"我到榛树林中去,因为我头脑里有一团火....."她表达这首诗的方式是介乎教学和祈求之间.
　　他把车停在离桥比较远的地方,以便不妨碍他摄影的构图.他从车座后面小小的空间拿出一双胶皮靴,坐在车的踏板上解开皮靴的带子换上.把一只有两根带子的背包背在双肩,三脚架的皮带挂在左肩,右手拎着一只背包,通过陡峭的河岸向水边走去.
　　要用技巧把桥放在某一角度以便在构图上突出来,同时要收进一角小溪而避开桥入口处墙上那些乱刻的字.桥后面的电话线也是个问题,但是通过精心确定框架也可以处理好.
　　他把装好柯达彩卷的尼康相机拿出来装在三脚架上,拧紧螺丝钉.相机装着24毫米镜头,他换上他最喜欢的105毫米镜头.东方已显出灰朦朦的光线,他开始试验他的构图,把三脚架向左移二英尺,调整了陷入溪边烂泥中的那只脚,把相机带子绕在左腕上,这是他在水边照相时经常做的,因为由于三脚架倒在水里而损失的相机太多了.
　　红光出现,天空渐渐亮起来.把相机向下拉六英寸,调整三脚架的腿.还不对.再往左移一英尺,再调整架腿.把相机在架顶放平,镜头调整到5/8.估计一下原野的深度,通过高焦距的技术把它放到最大限度.把拉线套紧在扳机上.现在太阳百分之四十在地平线上面,桥上的旧漆变成一种暖红色,这正是他所要的.
　　从左胸口袋中拿出光谱仪,对到1/8.需要曝光一秒钟,不过柯达胶卷能坚持到这一极限.从取景器望过去."那桥入口处挂着什么鬼东西?"他叽咕着."一片纸.昨天并不在那儿呀."扶稳三脚架,跑上岸去,身后的阳光迅速追上来.那张纸整整齐齐的别在桥上.把它撕下来连大头针一起放进背心口袋里.赶紧跑到岸边,下去,走到相机后面,太阳已升起百分之六十.跑得气喘吁吁,再拍一次,重复两次以便留底.没有风,草纹丝不动.为保险起见,照了三两秒的三张一秒半的.
　　把镜头调到1/16,整个程序再重复一遍.把三脚架和相机拿到小溪当中去,安置好,印上脚印的淤泥向后移去.这段连续镜头再完整地拍一遍.装一卷新的柯达彩卷,换镜头,把24毫米的装上,把105毫米的放进口袋,涉水而上,离桥近些,调整.对好,核对光线,拍三张照,再照几张备用作为保险.
　　把相机竖起来,重新构图,再拍,同样的场景,依次拍摄.他的动作没有一点不灵便之处,一切都是那么娴熟,每个动作都有道理,意外情况都得到效率的专业化的处理,不落痕迹.
　　上得岸来,背着器材穿桥,同太阳赛跑.现在进入紧张阶段.抓出已经装好感光速度更快的胶卷的相机,把两架相机都套在脖子上,爬上桥后的树.树皮扎破了手臂-"去他妈的!"继续爬.现在高高在上,从一个角度望见桥,小溪上正闪着阳光.用特写仪把桥顶单独划出,然后是桥的背阴影面.就在水边读仪器的指数,把相机架好,拍九张照片,再拍备份照,把相机放在塞在树桠杈之间的背心上,换相机,换感光速度更快的胶卷,又照了十几张.爬下树,再下河岸,架起三角脚,再装上柯达彩卷,构图从第一批一样,不过是从小溪对面照的.把第三架相机从包里拉出来,那是架旧SP测距离的相机,现在是拍黑白照了.桥上的光线一秒钟一变.紧张的二十分钟-这种紧张只有军人.外科医生和摄影师才能体会-罗伯特金凯把背包甩进卡车,沿来过的路驶回去.离镇西的桥有十五分钟的路程,如果他赶快的话还可能在那里照几张照.
　　尘土飞扬,点起骆驼烟,卡车颠簸前进,驶过那间朝北的白木屋,驶过了理查德.约翰逊的信箱.没有她的影子.你能期待什么呢?她是结了婚的,过得挺不错.你也过得不错.谁需要这些麻烦事?美好的夜晚,美好的晚餐,美好的女人.就让它这样吧,不过,天哪,她真迷人.她身上有一种什么,使我目光很难从她身上移开.
　　他绝尘而过弗朗西丝卡住处时,她正在牲口棚里劳动.牲口的喧闹声掩盖了一切路边的声音.而罗伯特金凯正向桥驶去,追光逐年地疾驰而过.第两座桥也很顺利.那桥在山谷中,在他到达时周围雾还末散尽.他通过300毫米的镜头取得的景是左上角一轮大太阳,其余部分是通向桥的蜿蜒的白石路和那座桥本身.
　　然后他在那老式测距离相机中收进了一个农夫赶着一匹浅棕色的比利时马拉着一辆车在白色的路上走.这是最后的旧式老乡了,金凯想着,笑了.当好镜头来到时,他是知道的,他拍摄时已经能想见最后印出来是什么样.拍竖镜头时他留下了一片光亮的天空,可以在上面写下标题.
　　八点十五分时他收起三脚架,自我感觉良好.一早晨的工作是有成绩的.这是农村风味的保守的作品,但是很好,很扎实.那张农夫赶马车的照片甚至也许可以作封面照,所以他在图片上方留下了空间,以便印上标题或导语.编缉们喜欢这种设想周到的工艺.这是罗伯特金凯得以委任的原因.
　　他七卷胶卷差不多都照完了,把三架相机退空,然后手伸进背心左下方的口袋里去拿另外四卷."妈的!"大头针扎了他一下手指.他忘了从罗斯曼桥拿下的那张纸时连大头针一起放进口袋了.事实上他连那张纸也忘了.他掏出来,打开读:"当白蛾子张开翅膀时,如果你还想吃晚饭,今晚你事毕之后可以过来,什么时候都行."他禁不住微微一笑,想象弗朗西丝卡.约翰逊带着这张纸条和大头针在黑暗中驱车到桥头的情景.五分钟之后,他回到镇.德士古加油站的人把油箱加满,核对油量时,他用加油的投币电话打电话.薄薄的电话薄让油污的手指翻得黑不溜秋.有两个约翰逊的名字,不过有一个有镇上的地址.
　　他拨了乡下的那个号码等着.电话铃时弗朗西丝卡正在后廊喂狗.响第二下时她拿起耳机:"约翰逊家."喂,我是罗伯特.金凯.
　　她体内又跳动起来,像昨天一样.好像有一根东西从胸部插到腹部.收到你的字条了,W.B.叶芝作信使,以及种种一切.我接受邀请,不过可能要晚点.天气很好,所以我计划拍摄--让我想想叫什么来着?杉树桥....今晚拍.完事可能要九点钟,然后我还要洗一洗,所以到这儿可能要九点半到十点.行吗?"不行,她不愿等这么长.不过她还是说:"当然可以,把工作做完吧,那才是重要的.我来做一点很方便的东西,等你来了一热就行了."然后他又说:"如果你愿意来看我拍照也很好,不会妨碍我的,我可以在大约五点半接你"弗朗西丝卡思忖着这个问题.她愿意跟他一道去,但是有人看见怎么办,假如理查德知道了,她怎么跟他说?
　　杉树桥与新的公路平行,在河上游的五百码处,是水泥桥.她不会太引人注意,会吗?不到两秒钟,她决定了."好吧,我愿意.为过我自己开我的卡车去那里跟你会面,什么时候?"大约六点钟.那么在那里见你,对吧?回头见.
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327826鲜花 127鸡蛋

等级: 内阁元老
配偶: 暖雯雯
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举报 只看该作者 11楼  发表于: 2013-10-28 0

Chapter 11
　　INT. KITCHEN - EVENINGRobert and Francesca are in the middle of dinner. But insteadof the usual silence that surrounds Johnson family eating,Francesca is mesmerized by Robert as he manages to eat andtell 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 picturehere. I have three cameras around myneck, a tripod in one hand and mypants down around my ankles. Ithought this was a private bush. Ilook up and this gorilla, this femalegorilla, is staring at me with whatcan best be described as the mostlascivious expression I've ever seenon a female with so much body hair.
　　(Francesca laughs)I freeze. 'Cause that's what they tellyou to do. In this position. She comestowards me and... and she...
　　(he stops awkwardly)FRANCESCAWhat?
　　ROBERTShe starts sniffing me.
　　FRANCESCAOh my God...
　　(laughs)You're blushing.
　　ROBERTIt's still a very sensitive memoryfor me.
　　FRANCESCAThen what happened?
　　ROBERTWe got engaged.
　　FRANCESCAOh you!
　　She throws a napkin at him.
　　FRANCESCA (cont'd)None of this is true!
　　ROBERTNo, it is. Except for the engagementpart. She wouldn't have me, althoughI still get a Valentine every year.
　　Francesca is laughing so hard she can't breath. Robert lovesmaking her laugh.
　　FRANCESCAYou ought to write these storiesdown.
　　ROBERTNah. I've tried. My writing's tootechnical, I think. Problem of beinga journalist too long is you stopgiving yourself permission to invent.
　　I better just stick to making pictures.
　　FRANCESCA"Making pictures." I like that. Youreally love what you do, don't you?
　　ROBERT(nods, smiles shyly)I'm kind of obsessed by it, actually.
　　FRANCESCAWhy, do you think?
　　ROBERTI don't know if obsessions havereasons. I think that's why they'reobsessions.
　　FRANCESCAYou sound like an artist.
　　ROBERTNo. I wouldn't say that. NationalGeographic isn't exactly the hub ofartistic inspiration. They like theirwild life in focus and without anypersonal comment. I don't mindreally. I'm not artist. I'd faced thata long time ago. It's the course ofbeing 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.
　　FRANCESCAI didn't mean that the way it sounded.
　　ROBERTWell, let's just call it a complimentand move on.
　　(changes subject)Did you love teaching?
　　FRANCESCA (cont'd)Sometimes. When there was a particularstudent who made a difference. I knowthey're all supposed to, but it's nottrue. You tend to single out one ortwo you think you can contributesomething to.
　　ROBERTAnd did you?
　　FRANCESCAI'd like to think so. I know one ofthem went on to Medical school.
　　ROBERTWhy did you stop?
　　FRANCESCAMy children. And Richard didn't likemy working.
　　ROBERTDo you miss it?
　　FRANCESCAI don't know. I've never thoughtabout it... what was the mostexciting place you've ever been to?
　　Unless you're tired of talking aboutit.
　　ROBERTYou're asking a man if he's too tiredto talk about himself? You don't getout much, do you?
　　Francesca smiles, a little embarrassed.
　　ROBERTI'm sorry. That was...
　　FRANCESCA(overlapping)No. It's all right. I just meant, itmight be a little dull for you,telling all this to some housewifein the middle of nowhere.
　　ROBERTThis is your home. It's not nowhere.
　　And it's not dull.
　　Francesca smiles again, this time relieved.
　　ROBERTLet'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 Ithink I'd have to say Africa. It'sanother world. Not just the peopleand the cultures but the land, thecolors you see at dawns and dusks --and the life there. It charges everymolecule of air.
　　Francesca is fascinated, being drawn into his imagery.
　　ROBERT (cont'd)It's tangible -- the moment to momentof life and death, the co-habitationof man and beast, of beast and beast,who'll survive, who won't -- andthere's no judgement about it. Noright or wrong or imposed morality.
　　It's just life. It's a voyeursparadise really because those animalsdon't want anybody in their business.
　　You can watch but at a distance.
　　(excited)I remember one time I was on a truckheaded 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 wasold so I guess the sound of the motormuffled this kind of rumbling in thedistance -- until finally, it was uponus like, like a hundred thunder clapsall at once...
　　CU on FRANCESCA as WE BLEND THE SOUNDS OF AFRICA and --CUT TO:
　　EXT. AFRICA - DAYRobert and a driver are in a truck driving north. Robertturns to look out the window and sees:
　　A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA arerunning in the grasslands to the right of the truck. Robertexcitedly instructs the driver:
　　ROBERTGet us closer!!
　　The driver veers off towards the stampede as Robert opens hisdoor and makes his way to the flatbed part of the truck withhis camera. The truck takes its position within thisbreathtaking force of wildlife, as giraffes, zebras andgazelles surround it -- all going in the same direction.
　　Robert stands in the truck, shooting as fast as he can. Thetruck races to keep up with the animals. Robert is so pumpedhe can hardly catch his breath. Suddenly, the force andbeauty of these creatures causes him to lower his camera. Heis unable to film it because it overwhelms him. He juststands there in awe and lets out a primal scream. The animalsgradually veer off to where the truck can no longer follow.
　　Robert watches them disappear into the distance.
　　CUT BACK TO:
　　INT. JOHNSON KITCHEN - NIGHTFrancesca has seen all of this in her mind. Robert smiles ather, sensing how in tune with the story she was.
　　FRANCESCAMy God. How I'd love to see that.
　　ROBERTThey 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 youlike to go for a walk?
　　FRANCESCAWell, it's kind of buggy out there.
　　ROBERT(rises)Have no fear. This Shoshone MedicineWoman taught me how to make bugrepellent tea out of tree root.
　　FRANCESCAYou drink bug repellent?
　　ROBERTNo, you rub it on you. I have some inthe truck. Don't go away.
　　She shakes her head. He runs out the screen door, not lettingit slam. Francesca looks like a teenager with first dateexcitement. 　　以后整天时间他就在当地的报馆里翻过期的报刊.小镇挺秀丽,有一个满舒服的县政府广场,他就坐在那里树荫下的长板凳上吃午饭,一小袋水果,一些面包,还有从街对过咖啡馆里买的一瓶可乐.
　　他走进咖啡馆去买可乐时刚过午后.就像在早年荒野的西部酒馆里出现了当地的熗手一样,热闹的谈话中断了,大家都打量他.他讨厌这样,觉得不自在,但这是所有小镇的标准程序有个新来的人!跟我们不一样!他是谁!他来这儿干什么?有人说他是个摄影师.说是看见他今天早晨在桥那儿,带着各式各样的相机.他卡车的牌子说他是从西部华盛顿那边来的.整个早晨都在报馆里.吉姆翻报纸找关于廊桥的资料.是啊.德士古的小费歇尔说他昨天到过那里打听去所有廊桥和路.他要知道这干什么?怎么会真有人要这些桥的照片?都挺破的,快塌了.他头发可真长,有点儿像那些'甲壳虫'的家伙,或者还有那个叫什么玩意儿来着?嬉皮士!是不是?"这句话引起后边雅座里和邻桌一阵哄笑.
　　金凯拿着可乐走出门去,那些目光还在盯着他.也许他请弗朗西丝卡出来是犯了一个错误,为她着想,不是为他自己.如果有人在杉树桥看见她,第二天早餐时话就会传到咖啡馆,然后由德士古加油站的小费歇尔接过过往行人的小钱之后一站一站传下去.也许比这还快.
　　他已经体会到千万不能低估小镇传递小消息的电传效应.对苏丹饿死二百万儿童可以完全无动于衷,可是理查德的妻子和一个长头发的陌生人在一起出现,这可是是大新闻!这新闻可以不胫而走,可以细细咀嚼,可以在听的人的心中引起一种模糊的肉欲,成为那一年中他们感觉到的唯一的波澜.
　　他吃完午饭走到县府广场停车场的公用电话亭,拨了她的号码,铃响三次时她接电话,稍稍有点气喘."喂,还是罗伯特.金凯."她立刻胃里一阵紧缩,她想,他来不了啦,一定是打电话来告诉我这个.我直接了当说吧.由于小镇人的好奇心,如果你今晚跟我一块出来有问题,那就别勉强.坦率地说,我对这里的人怎么想我完全不在乎,爱怎么想就怎么想,我晚些时候会到你这儿来的.我要说的是我可能不该请你出来,所以你无论如何不必勉强来,尽管我很愿意你跟我一起去."自从上次通话之后她也一直在想这个问题.但是她已一定决心."不,我想看你工作,我不担心闲话."她实际是担心的,但是自己身上有某种东西在主宰着,要做冒点风险的事.不管付出什么代价,她就是要到杉树桥去.好极了.我只是想再核实一下,呆会儿见.好吧!
　　他四点钟回到旅馆,在洗涤池里洗了点衣服,穿上一件干净衬衫,另外放了一件在卡车里还有一条咔叽布裤子和一双凉鞋,那凉鞋是他在一九六二年摄制关于通向大吉岭的那条微型铁路的新闻时在印度买的.在一家小酒馆买了两箱六瓶装的布德威瑟啤酒,把其中八瓶最多能放进八瓶放进冷藏箱,排在那些胶卷周围.
　　天很热.又真正地热起来了.依阿华午后的太阳淫威所到之处,水泥.砖.土已吸足了热气近黄昏时更火上添油,从西方火辣辣地照过来.
　　小酒馆很暗,还算凉快,前门开着,天花板上有大电扇,还有一台立式电扇在门口以105分贝的响声转着.不这不知怎的,那风扇的响声,阵啤酒味,电唱机的高音喇叭,还有酒吧前一张张半含敌意盯着他看的脸使他感觉这儿比实际更热.
　　外面公路上阳光炙人,他想的是喀斯喀特山脉和基达卡附近圣胡安.德.福卡海峡沿岸的枞树和清风.
　　不过弗朗西丝卡.约翰逊看起来挺凉快.她把她那辆福特卡车停在桥附近的树从后面.正倚着挡泥板站着.她还穿着那条特别合身的牛仔裤,凉鞋,那件白色针织圆领衬衫托得她身材倍加妩媚.他把车停在她的车旁,一边向她招招手.嗨!真高兴看见你.太热了!
　　在一个他有所动心的女人面前的老感觉又来了.除非谈严肃的事,他总是不知说什么好.虽然他很有幽默感,只是稍有点怪,但是他的思想本质上是严肃的,处事认真.他母亲常说他在四岁时就是大人了.作为一专业人员,这对他很好,但是从他的思想方法来说,这种性格在一个弗朗西丝卡这样的女人面前对他并不利.我想看你制作照片,你不管它叫'拍'.你马上就会看见的,而且你会发现这相当枯燥.至少其他人一般都这样认为.这跟听别人弹钢琴不一样,那你能参地进去共同欣赏,摄影这玩意儿,制作和表演之间要隔很长时间.今天我只是制作,等照片在什么地方登出来,那才是表演.你今天要看到的只是大量的胡摆乱弄.不过太欢迎你来了,事实上你来了我很高兴."她反复品味着最后几个字,他不一定需要说.他可以说到欢迎为止,但是他没有止于此.他是真诚地高兴看到她,这很清楚.他希望她到这儿来的本身也能使她体会到同样的意思.我能帮你什么忙吗?你可以帮着拿那个蓝背包,我拿那个土黄色的三脚架.
　　于是弗朗西丝卡成了摄影师助手.他刚才说的不对.可看的多着呢.这是某种表演,只是他自己没有意识到.她昨天就注意到了这一点.他把她吸引住,部分也是因为这个.他优美的风度,犀利的目光,正在工作的上臂的肌肉,特别是他移动身体的姿势.所有她认识的男人与他相比都显得笨手笨脚.
　　但不是他行动匆忙,相反,他完全从容不迫.他有一种羚羊般的素质,尽管她看得出他柔韧而坚强.也许他更像豹而不像羚羊.是的,豹,就是它.她感觉得出来他不是被捕食物,而是相反.弗朗西丝卡,请递给我那架有蓝背带的相机.
　　她打开背包,拿出相机,对这些他随随便便摆弄的昂贵的器材特别小心翼翼.相机的镀铬的取景器上刻着"尼康",左上角有一个"F"字母.
　　他此刻正跪桥的东北方向,三脚架调的很低,他伸出左手,眼睛没有离开取景器,她把相机递给他,看着他的手摸到相机后一把抓住镜头.他摆弄一下她昨天看见的从背心挂出来绳子的活塞,快门闪了一下,他扳了一下快门,又闪了一下.
　　他摸到了三架顶,拧松了螺丝钉,把相机卸下来换上了她给他的那架.他在拧紧新相机时回过头来向她笑着说:"谢谢,你是一流的助手."她脸微微红了一下.
　　天哪,他是怎么回事!他像从外星骑着彗星尾巴乘风而来落在她巷子口的什么生物.我为什么不能简单地说一句"不谢"?她想.我在他面前有点迟钝,但是这不是由于他的所为,是我自己,不是他.我就是不习惯和他这样思想敏捷的人在一起.
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ZxID：13974051

327826鲜花 127鸡蛋

等级: 内阁元老
配偶: 暖雯雯
210 818 1018 1226
举报 只看该作者 12楼  发表于: 2013-10-28 0

Chapter 12
　　EXT. PASTURE - NIGHTFrancesca and Robert walk through the pasture. She sniffs herarm.
　　FRANCESCASmells like dirt.
　　ROBERTYou get used to it.
　　FRANCESCAWhen?
　　ROBERT(laughs)You want to go back in?
　　FRANCESCANo. I'm all right. It's working.
　　Silence. They walk. It is a beautiful night.
　　ROBERTYou've got it all right here, youknow. It's just as beautiful as anyother place I've seen. God, itknocks me out.
　　FRANCESCAWhat?
　　ROBERT(indicating the night)This "... Of what I call God andfools can Nature." Who wrote that?
　　FRANCESCAUmm, I don't know. I can look it up.
　　ROBERTI'd appreciate it. I like knowing whoI'm stealing from. If you can'tcreate art I think the least you cando is recognize it around you, don'tyou 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 amoment. There is clearly an attraction. They simultaneouslylook away and continue walking.
　　Francesca's heart is beating a mile a minute yet she can'tdeny she is enjoying herself. Walking side by side insilence, Francesca turns back occasionally to look at herhouse as they get further away from it. Suddenly, the moredistant the house becomes, the more frightened she starts tofeel. Something inside her knows she's going too far withthis man -- too far from home. Although a part of her wantsit, she is surprised to find a larger part of her findstoo unknown. She stops.
　　ROBERT (cont'd)What's wrong?
　　Francesca looks confused for a moment, not knowing what shewants. She can't move. She searches for a way out.
　　FRANCESCAWould you like some coffee? Or maybe,some brandy?
　　Somehow Robert can sense her uneasiness. He obliges.
　　ROBERTHow about both?
　　INT. KITCHEN - NIGHTFrancesca moves about the kitchen preparing coffee -- droppingthe coffee pot basket, spilling the grounds. She acts tense.
　　Robert sits at the table opening the brandy bottle Francescaalmost opened the night before, aware of her mood.
　　Francesca gets the coffee going then sets the table with cupsand saucers.
　　ROBERTYou sure you won't let me help youwith those dishes?
　　FRANCESCA(coldly)No. I'll do them later.
　　ROBERTFrancesca?
　　FRANCESCAWhat?
　　ROBERTAre you all right?
　　FRANCESCAYes.
　　ROBERTFrancesca?
　　FRANCESCAWhat?
　　ROBERTWe're not doing anything wrong, doyou.
　　Francesca freezes. He has read her mind again.
　　ROBERT (cont'd)(smiles)Nothing you can't tell your childrenabout.
　　Once again, he relieves her of fear and anxiety. He hands hera glass of brandy...
　　CUT TO:
　　1995INT. KITCHEN - DAYCarolyn and Michael have come to the end of a notebook.
　　MICHAELHe's getting her drunk. That's whathappened. Jesus, maybe he forcedhimself. That's why she couldn't tellus.
　　CAROLYNOh, he did not. He's such a nice guy.
　　MICHAELNice? He's trying to sleep withsomebody's wife.
　　CAROLYNI don't think so. Not yet anyway. Andbesides, something like that doesn'tmake you a bad person. He reminds meof Steve in a way. Steve's weak,immoral and a liar but he's still areal nice guy. He just shouldn't bemarried.
　　(laughs)At least not to me. You gettinghungry? I'm hungry.
　　Michael nods, then speaks with sincere compassion.
　　MICHAELI had no idea it's gotten that bad,sis.
　　CAROLYNOh, don't feel sorry for me. Please.
　　No one's forcing me to stay.
　　MICHAELThen why do you?
　　CAROLYNAnd do what? Live alone? Go back toschool? Find someone else? Start amagazine for confused woman? ... Whatif I can't do any of those things?
　　Michael can't answer her. Carolyn looks through the cabinets.
　　CAROLYN (cont'd)There's not much here to make.
　　MICHAELLet's go into town and get a bite.
　　We'll take the books with us.
　　Carolyn nods. Michael looks for the next notebook, checkingthe dates.
　　INT. CAR - EARLY EVENINGMichael drives as Carolyn opens the next notebook and reads:
　　FRANCESCA (V.O.)"We sat sipping brandy. I thought ifanybody walked through the door nowthere'd be no explaining it. But Ididn't care. And I loved that Ididn't care. I almost wanted it tohappen. Then there'd be no turningback. I wanted to be like him. Ilived this life of his. We talkedabout his wife and I was jealous --not of her -- but of his leaving. Hisfearlessness. He knew what he wanted.
　　How did he do that.
　　CUT BACK TO:
　　1965INT. LIVING ROOM - NIGHTFrancesca sips her brandy. Robert sits in the easy chair.
　　FRANCESCADo you mind if I... ask you why yougot divorced?
　　ROBERTNot at all. I wasn't around much...
　　So why did I get married? Well, Ithought it was a good idea at thetime. Have a home base. Roots. Youcan get lost moving around so much.
　　FRANCESCASo what happened?
　　ROBERTI never got lost. For some reason,I'm more at home everywhere than atone place. So I decided I'll think ofmyself as some kind of world citizen.
　　I belong everywhere and nowhere. I'mkin to everyone, and no one inparticular. See, once you get intothe habit of not needing anyone, it'skind of hard to break.
　　FRANCESCAYou must get lonely at times.
　　ROBERTNever touch the stuff. I've gotfriends all over the world. Goodfriends I can see when I want, if Iwant.
　　FRANCESCAWoman friends, too?
　　ROBERTI'm a loner, I'm not a monk.
　　Francesca averts her eyes, before continuing her investigation.
　　FRANCESCAYou really don't need anyone?
　　ROBERTNo, I think I need everyone! I lovepeople. I want to meet them all!
　　I just think there are too many outthere saying "This is mine." or"She's mine." Too many lines havebeen drawn. World's breaking apartbecause of man's weakness for sometestosterone conquests over territoryand power and people. He wantscontrol over what deep down he knowshe has no control over whatsoever andit scares him silly.
　　FRANCESCAWhy doesn't it scare you?
　　ROBERTI embrace Mystery. I don't knowwhat's coming. And I don't mind.
　　FRANCESCADo you ever regret it? The divorce,I mean.
　　ROBERTNo.
　　FRANCESCADo you ever regret not having afamily?
　　ROBERTNot everybody's supposed to have afamily.
　　FRANCESCABut -- how can you just live for whatyou want? What about other people?
　　ROBERTI told you, I love other people.
　　FRANCESCABut no one in particular.
　　ROBERTNo. But I love them just the same.
　　FRANCESCABut it's not the same.
　　ROBERTThat's not what you're saying. I knowit's not the same. What you're sayingis, it's not as good. Or it's not asnormal or proper.
　　FRANCESCANo, I'm just saying --ROBERT(interrupting)I'm a little sick of this AmericanFamily Ethic everyone seems to behypnotized by in this country. Iguess you think I'm just some poordisplaced soul doomed to roam theearth without a self-cleaning ovenand home movie.
　　FRANCESCA(irritated)Just because someone chooses tosettle down and have a family doesn'tnecessarily mean they're hypnotized.
　　Just because I've never seen agazelle stampede doesn't mean I'masleep in the world.
　　ROBERTDo you want to leave your husband?
　　Francesca is completely stunned and thrown off guard.
　　FRANCESCANo. Of course not.
　　(rising, upset) 　　他涉过小溪走到对岸.她带着蓝背包从桥上穿过去站在他背后,感到很快活,快活得奇怪这里充满活力,他工作方式中有一种力量.他不是等待天然景色,而是轻柔的地把它掌握过来根据自己的想象加以塑造,让大自然来适应他心目中所见到的景象.
　　他把他的意志强加于景观,用不同的镜头,不同的胶卷,有时用一个滤光器来抵消光线的变化.他不是单纯地同自然作斗争,而是用技巧和智慧来主宰它.农夫也用化学物质和压土机来主宰大自然.但是罗伯特改变大自然的方式是有弹性的,每当他工作完毕之后总是让事物恢复本来面目.
　　她看着他跪下去时牛仔裤紧绷在他臀部肌肉周围,看着他褪色的蓝斜布纹衬衫贴在背上银发盖在衣领上,看着他怎样跪坐下来调整一项设备.长久以来第一次,她单是由于注视别人而两腿之间湿漉漉的.当她感觉以这一点时就仰望夜空深深呼吸,听见他轻声骂了一句,因为有一个滤光片卡住了,从镜头上拧不下来.
　　他又涉水回来向卡车走去,穿着胶靴啪嗒啪嗒在水里走着.弗朗西丝卡钻进了廊桥.当她从另一端出来时,他正蹲在那里拿相机对着她.她沿着大路向他走去时他按了一下快门,扳过来,又按第二下,第三下.她觉得自己有点不好意思的笑了笑.别担心,作已经做完.我想我先到旅店去冲个澡再出来."好吧,随便你.不过一条毛巾,一次淋浴,或者那水泵或者随便什么东西我总还可以提供的."她低声.奶切地说.好吧,听你的.你先去吧,我要把这些器材装进哈里-我的卡车然后立刻就来.
　　她把理查德的新福特车退出树丛,开到桥外的路上,左转弯向温特塞特方向,然后插入西南朝家开去.风沙太大,看不见他是否跟在后面,不过有一次在绕过一个弯道时她觉得她看见了他的车灯,在一英里之外,随着那他管它叫"哈里"的卡车上跳动.
　　那一定是他,因为她刚一到家就听见他的车驶进小巷.杰克先吠了几声,随即静了下来,自己咕噜着:"就是昨天那小子,我猜,那没事儿."金凯停下来跟它说了会话.
　　弗朗西丝卡从后廊走出来,"冲澡吗?"那太好了,给我指路吧.
　　她领他上楼到浴室去,那是孩子们长大之后她逼着理查德装的.这是极少数他拗不过她的要求之一.她喜欢在晚上洗长时间的热水澡,而且不想让十几岁的孩子闯入她的私人地盘.理查德用另外一个浴室,他对她浴室内的妇女用品感到不适服,用他的话说,"太风骚".
　　到这间浴室非通过他们的卧室不可.她给他开了门,从脸盆下面的柜子里拿出几条大小不一的毛巾."需要什么就随便用,"她轻轻咬着下嘴唇微笑着说.如果你有剩的话,我想借洗发精用用,我的放地旅馆了.当然可以.你挑吧.
　　:谢谢."他把干净的换洗衣服扔在床上,弗朗西丝卡注意到了咔叽布裤子,白衬衫和凉鞋当地男人没有穿凉鞋的.有少数从镇上来的人开始在高尔夫球场上穿百慕大短裤,但是农夫们都不穿.可凉鞋....从来没有.
　　她走到楼下,听见淋浴开始响了.他现在是光着身子,她想着,感到下腹有异样的感觉.
　　当天早些时候他来过电话之后,她曾驱车四十里到得梅音去,进了一家卖酒的店.她对酒没有经验,向售货员要好葡萄酒.售货员也不比她多懂多少,这没关系.于是她就自己一排排看过去,忽然看见一瓶上面贴着"瓦尔波里切拉"商标.她记得是很久很久以前的意大利干葡萄酒,于是买了两瓶,还有一个细颈玻璃瓶的白兰地,觉得自己放荡不羁而老于世故.
　　下一步,她到市区一家店物色一件夏装.她找到了一件浅粉色细背带的.那衣服后背开得很低,前领陡地凹下去,穿起来半截乳房露在外面,腰间用一根细带子系起来.又买了一双凉鞋,很贵,平底,鞋帮上有精细的手工花纹.
　　下午,她做夹馅辣椒,用蕃茄酱,黄米,奶酷和香菜末拌馅儿,然后是简单的菠菜色拉,玉米面饼,甜点是苹果酱蛋奶酥.除了蛋奶酥之外,都放进了冰箱.
　　她急急忙忙把新买的连衣裙改短到齐膝.得梅音的<注册报>有夏初时登过的一篇文章说这是今年流行的长度.她一向认为新潮服装怪里怪气的,那是人们乘乘地听命于欧洲设计师.不过这个长度对她特别合适,所以她就把裙边裁到那里.
　　葡萄酒是个问题.这里的人都把它放到冰箱里,可意大利他们从来不这么做.但是就放在厨房台子上又太热.她想起了水房,夏天那里温度总是在华氏六十度上下,于是她把葡萄酒靠墙放着.
　　楼上淋浴停止时刚好电话铃响了.是理查德从伊利诺伊打来的.一切都好吗?好.卡洛琳的小牛要在星期三评判.第二天我们还要看点别的.星期五回家,会比较晚.好吧.好好玩,回来开车小心点.弗兰妮,你没事吧?声音有点不太对.没事儿,我挺好.就是天太热.洗个澡就好了.好吧,问杰克好.好,我会的.
　　罗伯特.金凯从楼上下来进入厨房.白色封领衬衫,袖子刚好卷到胳膊肘,浅咔叽布裤子,棕色凉鞋,银手镯.衬衫头两个扣子敞着,露出银项链.他的头发还是湿的,梳得整整齐齐,中分印.她对凉鞋感到新奇.我现在把野我穿的脏衣服拿到车里去,然后把那些家伙拿进来擦擦干净.去吧.我要洗个澡.要不要洗澡时喝杯啤酒?要是你有富余的话.
　　他先把冷藏箱拿进来,给她拿出一瓶,为她打开.她找出两只玻璃杯当啤酒杯.他回到卡车时她拿着啤酒上楼,注意到他已经把澡盆洗干净.于是放了一大盆热水泡了进去,把啤酒杯放在澡盆旁边的地上,开始擦肥皂,剃汁毛.几分钟以前他刚在这儿躺过,她现在躺的地方热水曾流过他的身体,她觉得十分性感.几乎一切与罗伯特.金凯有关的事都开始使她觉得性感像洗澡时喝一杯冷啤酒这样简单的事,她都觉得多么风雅.为什么她的理查德就不能有这样的生活?她知道部分的原因是长期习惯养成的惰性.所有的婚姻,所有的固定的关系都是有可能陷入这种惰性的.习惯使一切都可以预见,而这预见本身又带来安逸,这点好也体会到了.
　　还有那农场,像一个缠人的病人一样需要时时刻刻关心,尽管不断更新的代替人力的设备使劳动比以前减轻了许多.
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举报 只看该作者 13楼  发表于: 2013-10-28 0

Chapter 13
　　Beat. Awkward silence. Suddenly there is tension between them.
　　ROBERTMy mistake. I apologize.
　　FRANCESCAWhat made you ask such a question?
　　ROBERTI thought that's what we weredoing -- asking questions.
　　FRANCESCA(defensive)I thought we were just having aconversation. You seem to be readingall this meaning into it. Meanings Imust be too simple to, uh...
　　interpret or something.
　　ROBERTI already apologized.
　　Silence. Robert remains seated. Francesca remains at the sink.
　　ROBERT (cont'd)It's getting late.
　　(rises)Thank you for dinner.
　　Pause. Francesca feels badly.
　　FRANCESCAListen, I'm sorry I --ROBERTNo, no. Forgive me. I made a mistake.
　　It was an inappropriate thing to ask.
　　FRANCESCA(shrugs it off, then:)... I feel like something's beenspoiled now.
　　Robert smiles and crosses to her. He takes her hand into bothhis hands.
　　ROBERTIt's been a perfect evening. Just theway it is. Thank you.
　　Francesca smiles. The possibility of a kiss hangs in the airbetween them until Robert turns to get his film out of thefridge. As he exits through the screen door, he stops.
　　ROBERT (cont'd)One thing though -- don't kid yourself,Francesca. You're anything but asimple woman.
　　He smiles and exits, catching the screen door before itslams.
　　Francesca doesn't move for a moment, then crosses to the dooras if to run after him when she is stopped by the PHONERINGING. She picks up.
　　FRANCESCAHello?
　　RICHARD (on phone)Franny?
　　FRANCESCARichard, hi.
　　RICHARD (on phone)How are you?
　　FRANCESCAFine. Everyone settled in okay?
　　RICHARD (on phone)Just fine. We're all in one room.
　　Michael's on the couch andCarolyn's...
　　(continues...)She hears Robert's truck door open and close. She hears themotor being turned on. She half-listens to Richard.
　　FRANCESCAUh-uh... good... Hmmm...
　　She hears the truck driving away as Richard continues:
　　RICHARD (on phone)We got our position in the Fair. Notbad although I would have liked to bethird which is not too early and nottoo late. But I told Carolyn not toworry...
　　(continues, if needed)CUT TO:
　　INT. FRANCESCA BEDROOM - NIGHTFrancesca exits her bathroom, in her bathrobe, shutting thelight. She is brushing her hair and thinking of Robert. Shesits on the edge of the bed. She sees her reflection in amirror on the closet door.
　　She stands and takes her robe off. She steps forward to lookat her body -- running her hands gently around her curves, herneck, down the side of her thighs, her face, her breasts.
　　She shuts off the lights and gets into bed under the covers.
　　She closes her eyes and tentatively begins to explore herbody. It is awkward for her but we can see her trying to letherself go. Until she opens her eyes in frustration. It's nogood. She can't do it. She feels ashamed. The shame turnsinto anger.
　　INT. LIVING ROOM - NIGHTFrancesca sits at a writing table with two large books openedbefore her containing literary quotations. She searches forthe line Robert mentioned in the pasture.
　　A note sits before her as well. On it reads: "Robert. Again,I'm sorry for last night. Would you like supper again tonightafter you're finished. I'd like it very much if I were one ofthose good friends you have in the world. Anytime is fine --Francesca... P.S. By the way, "Of what I call God and Foolscall Nature" was..." She writes the name BROWNING.
　　CUT TO:
　　EXT. ROSEMAN BRIDGE - NIGHTFrancesca is tacking a note for Robert to the bridge. Sheconsiders taking it down a moment later, but decides not to.
　　She gets back into her truck and drives away.
　　WIDE ANGLE OF BRIDGES - DAWNDISSOLVE TO:
　　The view of the bridge goes in and out of focus until werealize we are seeing it through Robert's camera lens.
　　Once the focus it sets, Robert notices something is tackedonto the bridge. He crosses to it hurriedly -- time for theperfect shot is running out -- pulls it down, thumbtack andall, and shoves it into his pocket, unread. He returns tohis camera to take his shots.
　　CUT TO:
　　INT. JOHNSON BEDROOM - MORNINGFrancesca is making her bed when she hears a truck drivingdown the road. She looks out the window to see:
　　Robert's truck. However, it passes right by her house.
　　Francesca's spirit sinks. She feels silly, ashamed andrejected. She sits on the bed.
　　FANTASY:
　　Inside the truck, Robert drives by the house and chuckles tohimself at the foolishness of some boring, frustratedhousewife. Francesca's note has been crumbled and stuffedinto a dirty ashtray.
　　END OF FANTASY:
　　Francesca enters her bathroom, slamming the door behind her.
　　INT. KITCHEN - LATER THAT MORNINGFrancesca sits at the kitchen table in her bathrobe with acup of coffee -- a comic portrait of shame and self-pity. Herhair is a mess, she hasn't showered or dressed and she staresinto space while listening to the bluesy Chicago radiostation.
　　The sink is full of dirty dishes she refuses to clean. Besideit is an ashtray of butts from the night before. She carriesit over to the table and begins fingering for a butt tosmoke in desperation. She lights up and stares into space.
　　FANTASY:
　　Robert is in Africa talking to TWO ZULU TRIBE MEMBERS. THEDIALOGUE IS SUBTITLED IN SWAHILI:
　　ROBERT(laughs)... and then she tacks this note onthe bridge asking me to have dinnerwith her again!
　　One Zulu turns to the tower and remarks.
　　ZULUHow pathetic.
　　END OF FANTASY:
　　Francesca put out her cigarette and suddenly gets an idea.
　　She goes to the phone, reads a number off of a slip of paperand dials.
　　FRANCESCA (on phone)Hello? Is Richard Johnson stayingthere?... No, I don't want to leavea message. Maybe you can help me --I'm his wife and I live in WintersetIowa -- I wanted to surprise them bydriving up tonight. What would be thefastest route, the Interstate?... Huh-huh... Hold it, let me get a pen.
　　CUT TO:
　　可是这里的生活还不止于此.可以预见是一回事,怕改娈又是一回事.理查德就是怕改变他们婚后生活的任何改变他都害怕.总的说来连谈也不愿意谈.特别不愿谈性爱.性感这东西对他说来是危险的,在他的思想方法中是不体面的.
　　可是他决不是绝无仅有的,而且也决不能责怪他.在这里树起的拒自由于外的屏障是什么?不仅存在于农场上,而是存在于乡村文化之中,就这一点而言,也可能是城市文化.为什么要树起这些围墙,篱笆来阻挠男女之间自然的关系?为什么缺少亲密的关系,为什么没有性爱妇女杂志正在谈论这些事,女人们开始不仅对自己生活中卧室里发生的事情有所期待,而且对自己在更大范围的设计图中的地位也有所期待.像理查德这样的男人-她猜想大多数男人-受到这捉期待的威胁.从某种意义上讲,女人正在要求男人们既是诗人同时又是勇猛而热情奔放的情人.
　　女人看不出二者之间有什么矛盾,男人们却认为是矛盾的.他们生活中的更衣室,男人的晚会,弹子房和男女分开的聚会都定出一套男性的特点,这里面是容不下诗间或者任何含蓄细致的情调的.所以,如果性爱是一种细致的感情,本身是一种艺术-弗朗西丝卡认为是的-那么,在他们的生活结构中是不存在的.于是男女双方在巧妙的互相应付中继续过着同床异梦的生活.与此同时女人们在麦迪逊县的漫漫长夜只有面壁叹息.
　　而罗伯特.金凯的头脑中有某种东西对这一切心领神会.这点她能肯定.
　　她披着毛巾走进卧室时注意到已经十点过了一点儿.天还很热,不过洗澡使她凉快下来.她从衣橱里拿出新衣服.
　　她把长长的头发拢到后面用一个银发卡卡住,戴上一幅大圈圈的银耳环,还有也是那天早晨在得梅音买的开口的银手镯.
　　还是"风歌"牌香水.在拉丁式的高颧骨的两颊薄施胭脂,那粉红色比她的衣服还要淡.她平时穿着短裤短衫在田间劳动而晒黑了的皮肤衬托得全套服饰更加鲜亮.裙子下面露出两条修长的腿,十分好看.
　　她在镜台前转过来又转过去打量自己.她想,我已是尽力而为了,然后又高兴地说出声,"不过还是挺不错的."她走进厨房时罗伯特.金凯正在喝第二杯啤酒,并且在重新把相机装进包里.他抬头看着她."天哪,"他柔声说.所有的感觉,所有的寻觅和苦思冥想,一生的感觉,寻觅和苦思冥想此时此刻都到眼前来.于是他爱上了弗朗西丝卡.约翰逊-多年前来自那不勒斯的,依阿华州麦迪逊县的农夫之妻.我想说,人,照得人眼花缭乱晕头转向.我是认真的.你是绝代美人,弗朗西丝卡,是从这个词的最纯正的意义上说."她可以感觉得出来他的倾慕是真诚的.她尽情享受这欢乐和得意,沐浴其中,听凭漩涡没顶,像是多年前抛弃了自己今又归来的不知何方仙女双手洒下的甘油浸透每个毛孔.
　　就在这一刹那间,她爱上了罗伯特.金凯-来自华盛顿州贝灵汉的,开着一辆名叫哈里的旧卡车的摄影家-作家.
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举报 只看该作者 14楼  发表于: 2013-10-28 0

Chapter 14
　　EXT. PAY PHONE, GAS STATION - LATE MORNINGFrancesca's note is opened in Robert's hand. Her phone numberis written after the "P.S." He stands in the pay phonegetting a busy signal from Francesca's line. He hangs up.
　　CUT TO:
　　INT. JOHNSON HOUSE - DAYFrancesca, dressed and packed, prepares to leave. She checksher purse to make sure she's got everything. She grabs herbag and exits.
　　A few beats later, the phone rings. But she doesn't return.
　　It rings again. We hear Francesca's truck door open andclose. It rings again. We think Francesca is on her way,until:
　　We suddenly hear her burst into the house and see her leapfor the phone.
　　FRANCESCAHello?
　　INTERCUT --INT. SLOW BEND SALOON/RESTAURANT - DAYRobert is at another pay phone.
　　ROBERTFrancesca?
　　FRANCESCA(out of breath)Yes! Hi.
　　ROBERTAm I interrupting anything?
　　FRANCESCANo. I was just... No.
　　ROBERTI'm sorry I didn't call sooner, but Ijust read your note. I stuffed itinto my pocket. The light was fadingand I had to get my shot.
　　FRANCESCA(relieved)The light was fading. Huh-huh.
　　ROBERTI would love to come for dinner.
　　FRANCESCA(smiles)Wonderful. Uh...
　　ROBERTListen, I have to shoot Cedar Bridgeuntil a little after sunset. I wanta few night shots. Would you like tocome with me? If you're interested...
　　FRANCESCAOh, sure. Great.
　　ROBERTI'll pick you up.
　　FRANCESCANo. I'll drive myself. I have a fewerrands. I'll meet you there.
　　ROBERTOkay. See you later.
　　FRANCESCAYeah. See you later.
　　Francesca is thrilled. Her mind races with a list of thingsshe must do before tonight. She opens a cabinet, removes acoffee can and empties it of her house money. She quicklycounts it, then shoves it into her purse.
　　EXT. ON THE ROAD - DAYFrancesca drives past a sign marking Des Moines as the nexttown.
　　INT. SLOW BEND SALOON/ RESTAURANT - DAYThe second of two eating establishments in Winterset. Alunch time crowd fills the place. Robert is seated at thecounter. He can sense their eyes on him, wondering who thisstranger is and what's he doing here. He knows the whisperedconversation is about him.
　　A MIDDLE-AGED COUPLE talk at table.
　　WIFEThelma told me he checked into theMotor Inn and the bill goes toNational Geographic Magazine.
　　HUSBANDNational Geographic? What the hell'she doing here? We ain't got no nakedpygmies to take pictures of.
　　WIFEHe's taking pictures of the bridges.
　　HUSBANDAin't no pygmies there either.
　　Robert wants to finish his lunch as quickly as possible. Atthat moment, someone enters the restaurant and all theconversation stops. He overhears one waitress turn to theother and whisper --WAITRESSGod. It's Lucy Redfield.
　　Both the Waitress and Robert (though more subtly) turn to see:
　　THE REDFIELD WOMAN. But instead of being the harlot we mightthink, she's actually a rather plain, demure looking woman --not nearly as fancy or pretty as Mrs. Delaney herself.
　　As she crosses the counter, Robert immediately picks up onthe vibes in the room. He notices all the patrons stare thenturns away to whisper. The waitress behind the counter ignoresher. A customer eating at the counter places a bag on anempty stool beside her, so the Redfield woman can't sit downnear her.
　　Robert and the Redfield woman's eyes meet. She is clearlyuncomfortable. She turns, about to leave, when Robert clearshis cameras off of a stool next to him and offers:
　　ROBERTGot room right here if you like.
　　She is surprised at his courtesy. Others are astounded. Somedisgusted. She accepts his offer and sits beside him.
　　REDFIELD WOMANThank you.
　　ROBERTHot out there today.
　　She nods and smiles. The waitress tosses a menu at her andslams down a glass of water, then moves on down the counter.
　　The Redfield woman tries to act casual, glancing through themenu. Robert subtly scans the room as all eyes are on them,then turn away.
　　Robert returns his glace back to the Redfield woman who isnow only pretending to read the menu. She is so embarrassed.
　　She wants to leave but can't move.
　　WAITRESSWell, are you ordering anything!?
　　Her harsh tone startles the Redfield woman as well as Robert.
　　Gathering her dignity, she responds.
　　REDFIELD WOMANNo. Thank you. I've changed my mind.
　　She politely nods to Robert, gathers her things and exits.
　　Robert looks to the waitress, as a SECOND WAITRESS enters.
　　SECOND WAITRESSI'd've thrown that water right in herface.
　　WAITRESSPoor Mrs. Delaney.
　　The waitress walks O.S. leaving the second waitress facingRobert, who looks at her curiously. The second waitress looksback as if to say, "What business is it of yours?" and exits.
　　CUT TO:
　　EXT. DES MOINES - DAYA metropolis compared to Winterset.
　　Francesca exits a liquor store with a bottle of wine in apaper bag. She also carries a bag of groceries as she headsdown the street to her parked truck. She passes a DRESS SHOPand stops.
　　CUT BACK TO:
　　EXT. WINTERSET - DAYRobert enters a general store. He buys a six pack of beerfor his cooler and approaches the counter for the Cashier.
　　CASHIERThat all?
　　Robert nods. He decides to have some fun and test the waters alittle bit.
　　ROBERTIsn't it awful about poor Mrs.
　　Delaney?
　　With this, the damn bursts -CASHIERTragic is more like it. The pain thatwoman has been subjected to by thatno-good husband. I never liked him.
　　Known him for years. People say he'squiet. Well, it's the quiet ones thatcan sneak up behind you and stab youin the back. I heard yesterday, thatshe confronted him. Gave him theultimatum and you know what he did?--(CONTINUES AS NEEDED)Robert stands astounded, listening to this diatribe of gossip.
　　CUT BACK TO:
　　INT. DES MOINES DRESS SHOP - DAYFrancesca sits in her slip, alone in a dressing room, withseveral dresses strewn about. The panic of indecision has setin. She looks at herself in the mirror and begins to doubtthat seeing Robert is a good idea. Or perhaps she's imaginingsomething that isn't there. And what about Richard?
　　MEMORY:
　　A few years back. Francesca is dressed up for some formalaffairs. She heads down the stairs. Richard is waiting in thehall, in a suit and tie. He looks at her admiringly.
　　FRANCESCAReady. You have the keys?
　　But Richard doesn't answer. He's just staring at her.
　　Francesca stops. Richard looks at her like a little boy.
　　FRANCESCA (cont'd)What's the matter?
　　Richard is obviously impressed by how she looks, but he can'tsay anything. He just smiles shyly and shakes his head to saynothing is wrong and opens the door for her.
　　END OF MEMORY:
　　Francesca feels guilty when a SALESWOMAN enters with a prettysummer dress.
　　SALESWOMANHow about this one?
　　Francesca examines it. She likes it. But the guilt...
　　FRANCESCAI don't know. I haven't bought adress for myself in so long.
　　(saleswoman nods)I mean, I'm just buying a dress. It'snot a special occasion or anything.
　　I'm just shopping. Just shopping fora new dress, that's all.
　　SALESWOMAN(completelyunderstands)That might work. And if he's stillmad, just tell him you could havedone better but you married him outof pity. That's always works for me.
　　CUT TO: 　　又有了能跳舞的天地在一九六五年八月那个星期二的晚上,罗伯特.金凯目不转睛的盯着弗朗西丝卡.约翰逊她也牢牢地看着他.他们在相距十英尺外紧紧拴在一起,牢固地,亲密地,难分难解.
　　电话铃响了.她还盯着他看,第一声没有挪动脚步,第二声也没有.在第二声响过第三声尚没响起之前的长时间寂静之中他深深地吸了一口气,低下头去看他的相机袋.于是她才能挪步穿过厨房,拿起正好挂在他椅子背后墙上的电话.约翰逊家....嗨,玛吉,是的,我很好.星期四晚上?是昨天到的,今天刚刚星期二,这回说谎的决心很容易下.
　　她站在通向游廊的门口,手里拿着电话,他坐在她能摸得着的地方,背对着她.她右手伸过去随便地搭在他的肩膀上,这是有些妇人对她们心上的男人常有的姿态.仅仅不到二十四小时,罗伯特.金凯已经成了她的心上人.噢,玛吉,我那天没空,我要到得梅音去采购,我压下了好多事没做,这是好机会,你知道理查德和孩子们正好出门去了."她的手轻轻在他身上.她能感觉得出他领子后面从脖子到肩膀的肌肉.她望他梳着整齐的分头的银发,看它怎样披到领子上.玛吉还在叨叨.是的,理查德刚来过电话....不,明天,星期三才评判呢.理查德说他们要星期五很晚才回家.他们星期四还要看点什么.回来要开很长时间的车.特别是那辆运牲口的车...不,橄榄球赛还要再过一个星期之后才开始,呃呃,一星期,至少迈克是这么说的."她意识到隔着衬衫他的身体有多热.这股热气进入她的手,传到她的胳膊,然后散到全身任意流动,到处通行无阻,她也的确丝毫没有想加以控制.他端坐在那里一动不动,不愿出任何足以引起玛吉怀疑的声响.弗朗西丝卡理解这一点.噢,是的,那是有个人问路.约翰逊家时看见场院里停着一辆绿色小卡车.是个摄影记者吗?咳,我不知道.我没注意.可能是吧.他是在找罗斯曼桥....是吗?给那些古旧的桥拍照,呵?那好,这最不碍事了.嬉皮士?士是什么样儿的.这家挺有礼貌的.他只呆了一两分钟就走了.....我不知道意大利有没有嬉皮士,玛吉,我已经八年没去过那儿了.而且,我刚才说过,我想我就是看见了也不一定知道那就是嬉皮士."玛吉谈到她在什么地方读到的关于性解放,群居,吸毒等等."玛吉,你来电话时我正准备进澡盆呢,所以我想我得赶快去了,要不水就该冷了.好,我会给你打电话的,再见."她不想从他身上把手抽走,但是现在没有借口不挪走了.于是她走到洗涤池旁打开收音机.还是乡村音乐.她转动频道,直到出来一个大乐队的声音,就停在那里.坦吉林.什么?点什么都行,就为拖廷时间抵制那感觉.她听见他思想深处轻轻一声门带上了,把两人关在一间依阿华的厨房中.
　　她温柔地向他微笑:"你饿了吧?我晚饭已经做好了,你什么时候想吃都行."今天一天过得真好,真丰富.吃饭前我想再喝一杯啤酒.你愿意陪我喝一杯吗?其词,寻找自己的重心,而每时每刻都在失去重心.
　　她愿意喝一杯.他打开两瓶,把一瓶放在她那边桌子上.
　　弗朗西丝卡对自己的外表的感觉都很满意.女性化.这就是她的感觉.轻盈.温暖.女性化她坐厨房椅子上,跷着二朗腿,裙边掀到右膝以上.金凯靠在冰箱上,双臂交叉在胸前,右手拿着布德威瑟啤酒.她很高兴他注意到了她的腿.他的确注意到了.
　　她的全身他都注意到了.他本来可以早点退出这一切,现在还可以撤.理性向他叫道:"丢下这一切吧.金凯,回到大路去,拍摄那些桥,到印度去,中途在曼谷停一下,去找那个丝绸商女儿,她知道所有古老的令人迷醉的秘方.同她一起到森林水池中赤身游泳,然后把她从里到外翻个个儿,听她的尖叫声,把这些丢开吧!"-现在那声音已经是牙缝中迸出来的嘶嘶声:"你昏了头了."可是那慢步探戈舞已经开始了.他能听见在某个地方有手风琴正在奏这支舞曲.也许是很久很久以前,也许是很久很久以后,他不能确定.但是它正慢慢逼近他.那声音模糊了他的一切行为准则,使得除了合二为一之外,其他一切选择都逐渐消失.那乐曲毫不留情地向他逼来,直到他已经没有任何其他出路,只剩下走向弗朗西丝卡.约翰逊一条道.如果你愿意,我们可以跳舞,这音乐跳舞挺不错的.说.然后又赶快找台阶下,"我是不大会跳舞的,不过如果你愿意,我也许在厨房里还可以应付杰克在抓游廊的门,要进来.让它在外面呆着吧.
　　弗朗西丝卡只微微红了一下脸."好吧.不过我不大会跳舞....已经不大跳了.我在意大利当姑娘的时候常跳舞,可现在只到新年时候跳得多些,平时只偶然跳跳."他笑笑,把啤酒放在切菜台上.她站起身来,两人向对方移动."这里是芝加哥WGN电台,现在是各位的星期二舞会节目时间."那男中音播音员报告说,"广告之后我们继续."他俩都笑了,电话,广告.总在东西不断把现实插到他们中间.他们对此心照不宣.
　　不过他已经伸出手来,不管怎样已经把她的右手握在他左手之中.他轻松地靠在切菜台上,双腿交叉站着,右踝在上.她在他身旁,靠在洗涤池上,望着桌子边的窗外,感觉到他细长的手指攥着她的手.没有一丝风,玉米在成长.,等一下.那是她当天早晨在梅得音买的,同时还买了两个铜烛台.她把它们放在桌子上.
　　他走过去,把它们斜过来依次点着了,她同时关上顶灯.现在一切都在黑暗中,只有那两根直挺挺的小火苗在一个无风的夜晚亲闪也不闪.这简朴的厨房从来没有这么好看过.
　　音乐又开始了,对他俩来得正好,那是<秋叶>的慢处理.
　　她感到有点尴尬,他也是.不过他拿起她的手,一只手放在她腰间,她进入他的怀抱,尴尬的局面就消失了.不知怎地进行得很顺利.他把手在她腰间再往前挪了挪,搂得她更近些.
　　她能闻见他的气味,干净,擦过肥皂,热乎乎的.这是一个文明人的基本的好闻的气味,可他的某一部分又像是土著人.香水很好闻.谢谢.
　　他们慢慢地舞着,向哪个方向也没移动多少.她能感觉到他的腿顶着她的,他们的肚子偶然碰到一下.
　　歌声停止了.但是他还搂着她.嘴里哼着刚才这支歌的调子,他们保持原样,直到下一支曲子开始.他自然而然地带着她跟着音乐跳起来,他们就这样继续跳着舞,窗外蝉声长鸣哀叹九月的到来.
　　她隔着薄棉布衬衫能感到他肩膀的肌肉.他是实在的,比她所知道的任何事物都实在.他微微前俯使脸颊贴着她的脸.
　　在他们一起度过的时光他有一次提到自己是最的牛仔之一.那时他们正坐在后边压水泵旁边的草地上.她不理解,问他是什么意思.
　　他说:"有一种人是过时的产品,或者差不多如此.世界正在组织起来,对我和有些人说来太组织化了.一切事物都各就各位,每一件事物都有它的位置.是的,我承认我的相机是高度组织化的,但是我指的不止是这类事.规章制度,法律.社会惯例.等级森严的权力机构.控制范围.长期计划.预算.公司的权力,我们信赖'布德啤酒'.到外都是皱巴巴的套装和贴在衣襟上的姓名卡."人的人不一样,有些人在即将到来的世界里可以如鱼得水;而有些人,也许就是像我这样的少数人不行.你看看电脑.机器人以及它们能做的事.在旧世界里这些事我们都能做,是为我们设计的,别人或机器都干不了.那时我们跑得很快,强壮而敏捷,敢作敢为,吃苦耐劳.我们勇敢无畏,我们既能远距离投长矛,又能打肉搏战."最终,电脑和机器人要统治一切.人类操纵这些机器,但这不需要勇气和力量,以及任何我刚才说的那些特质.事实上,人已经过时了,无用了.只需要精子库传宗接代,而这已经开始出现了.女人说大多数的男人都是不中用的情人,所以用科学来代替性爱也没多大损失."我们正在放弃自己驰骋的天地,组织起来,矫饰感情.效率,效益还有其他种种头脑里想出来的花样.既然失去了自由驰骋的天地,牛仔就消失了,与此同时山上的狮子和大灰狼也消失了.为旅游者下的余地不多了."我就是最后剩下的牛仔之一.我的职业给了我某种自由驰骋的天地,是当今能得到的最大的天地了.对这我不感到悲哀,也许有一点怅惘.但这是必然要到来的,也许这是唯一我们可以避免毁灭自己的途径.我的论点是:男性荷尔蒙是这个星球上一切麻烦之源.统治另一个部落或另一个战士是一回事;搞出导弹来却是另一回事.拥有力量来像我们正在做的那样破坏大自然那可又是另一回事了.雷切尔.卡尔逊是对的,约翰.米尔和奥尔多.利奥波德也是对的.现代社会的祸根在于男性荷尔蒙在它能起长期破坏作用的地方占了压倒优势.既使不谈国家之间的战争或是对大自然的袭击,也还存在那种把我们隔离开来的进攻性和我们需要研究解决的问题.我们需要以某种方式使这种荷尔蒙升华或者至少把它们控制起来."大概已经到了该收起童年时代的事物长大成人的时候了.真见鬼,我认识到了这一点,我承认这一点.我正努力拍摄一些好照片.然后在我变得完全过时,或是造成严重损害之前退出生命."多少年来,她常常思考他说的这段话.从表面上看他似乎是对的,但是他的作风与他说的完全矛盾.他有一种一往无前的进攻性,但是他好像能够控制它,能够随自己的意愿加以发动或释放掉.这正是使她迷茫而又倾心之外-惊人的激烈,而又掌握得极有分寸,激烈得像一支箭,伴随着热情,没有丝毫低级趣味.
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Chapter 15
　　INT. JOHNSON HOUSE - LATE AFTERNOONFrancesca enters with her new dress, groceries and wine asthe PHONE RINGS. She puts everything down to answer.
　　FRANCESCAHello?
　　Intercut ROBERT at a pay phone.
　　ROBERTIt's Robert.
　　FRANCESCAOh, hi. Look, I'm running a littlelate, but I'll still...
　　ROBERT(w/difficulty)Listen, don't take this the wrong waybut, I'm wondering if this is such agood idea.
　　Francesca's heart sinks.
　　FRANCESCAOh.
　　ROBERTI uh... I had lunch in town today.
　　Happened to cross paths with "thatRedfield woman." I apologize. Ithought you were half-joking aboutthat.
　　FRANCESCAOh. I guess you got the whole story.
　　ROBERTThe cashier at the general store wasvery dangerous.
　　FRANCESCAI think he's running for town criernext year.
　　ROBERTI now know more about their affairthan I remember about my marriage.
　　(seriously)Francesca, the last thing I want todo is put you in any kind ofsituation that would... even thoughwe know it's just -- I mean, it'snothing like that, but if anybody sawus or...
　　(can't finish)FRANCESCA(disappointed)I understand.
　　(touched)That's very kind of you.
　　Silence. Both want to meet. Both experience the idea of notseeing each other even again in this brief moment. Someonehas to say something to save it -- but who will it be?
　　FRANCESCA (cont'd)Robert?
　　ROBERTYeah?
　　FRANCESCAI want you to come.
　　Robert is relieved.
　　FRANCESCA (cont'd)I'll meet you at the bridge just likewe planned all right. Don't worry aboutthe rest of it... I'm not.
　　ROBERTAll right. See you there.
　　Francesca smiles and hangs up. In that moment, Francescarealizes consciously what she is doing and what she wants.
　　CUT TO:
　　EXT. CEDAR BRIDGE - DUSKRobert is already there, working. He checks his watch,anxious for Francesca to arrive, when he hears a truckdriving up. He looks to see Francesca stop and get out. Bytheir expressions we can tell how glad they are to see eachother.
　　FRANCESCASorry I'm late. Richard called.
　　ROBERTOh, how is he?
　　FRANCESCAFine. They're all having a good time.
　　How many more shots do you have?
　　ROBERTCouple. Want to help?
　　She nods. He extends his hand. She pauses, then takes it. Heleads her to the bridge. Walking away from camera, they say:
　　ROBERT (cont'd)I should stop off at the motel toclean up before dinner.
　　FRANCESCAWell, I have plumbing at my house.
　　CUT TO:
　　INT. JOHNSON BEDROOM - EARLY MORNINGFrancesca enters. Robert is in the bathroom, in the shower,with the bathroom door slightly ajar. His clothes are laid onthe bed with his bag beside them. A fresh shirt is folded.
　　Francesca takes his dirty shirt and decides to clean it. Asshe exits, her eye can't help roaming toward the bathroomdoor. For a moment, she pauses to listen to the sound of thewater as it hits his body.
　　INT. KITCHEN - LATERFrancesca is busy preparing dinner. Robert enters, cleanedand dressed.
　　ROBERTCan I help?
　　FRANCESCAActually, no. I've got everythingunder control. I'd like to clean upmyself a bit. I'm going to take abath. Dinner'll be ready in about ahalf hour.
　　ROBERTHow about if I set the table?
　　FRANCESCASure.
　　ROBERTWould you like a beer for your bath?
　　FRANCESCA(surprised)Yes, that'd be nice.
　　Robert gets her one.
　　INT. BATHROOM - LATERFrancesca lounges in a tub with a beer poured into a wineglass. She finds it very elegant. She takes a deep breath,thinking "What's going to happen tonight?"INT. KITCHEN - LATERRobert is at the radio when Francesca enters in her newdress. She looks beautiful. And it's all over Robert's face.
　　FRANCESCAWhat's wrong?
　　Unlike her husband, Robert has an answer.
　　ROBERTAbsolutely nothing. You're just sortof a knockout in that dress.
　　She smiles and crosses to the stove.
　　FRANCESCATable looks beautiful.
　　He can't take his eyes off of her. On the radio we hear DIHAHWASHINGTON begin to sing "IF IT'S THE LAST THING I DO" -- abeautiful, blusey lovesong. Francesca pulls out a pan of hotrolls as THE PHONE RINGS. Francesca moves toward it with aroll, which she tosses to Robert. He burns his fingers and hesmiles at her joke. The song plays throughout.
　　FRANCESCA (cont'd)Hello? Hi, Madge?
　　Francesca and Robert do not take their eyes off of each otherthroughout the call. Robert takes a bit of the roll.
　　FRANCESCA (cont'd)Huh-huh. Nothing, just makingmyself some dinner... No what?...
　　Oh... I heard about him. Yeah, I hearhe's some kind of photographer.
　　(Robert smiles)No, I didn't... Huh-huh... Hippie?
　　I don't know, is that what hippieslook like?...
　　Robert steps closer to her, purposely reaching across herbody for a napkin.
　　FRANCESCA (cont'd)Oh he is, huh? Well, don't tell Floyd,he'll be out with a shotgun...
　　She notices a crumb on Robert's mouth and wipes it off.
　　Robert takes her hand and holds it, lowering it to his side.
　　FRANCESCA (cont'd)Well, listen, I have a pot boiling.
　　I've got to go... No, they don't gethome until Friday morning... Well,maybe I'll give you a call. Okay. Bye.
　　She hangs up. The two are now almost face to face. Robertraises her hand up and slips his free one around her waist.
　　They begin to dance to the song. The kitchen lights have notbeen turned on since the sun went down. The sky, a darkorange and magenta, illuminates the room through the window.
　　They never take their eyes off of each other. Suddenly,Robert stops.
　　ROBERTYou're shaking. Are you cold?
　　Francesca shakes her head. They dance a bit more, butFrancesca is shaking which makes it difficult. They bothstop. Robert places his huge hands on either side of herface, gently stroking her hair away from her cheek. Hewhispers.
　　ROBERT (cont'd)If you want me to stop, tell me how.
　　He brushes his cheek and face softly against hers. Francescarubs hers against him. She can barely breathe.
　　ROBERT (cont'd)Francesca, I won't be sorry. I won'tapologize for this.
　　FRANCESCANobody's asking you to.
　　They kiss. Hands gently explore. Their bodies touch. Theirlips never spend more than seconds away from each other.
　　Robert gently slide his hands down her breasts and torso,exploring every inch of her. Francesca grips his massiveback, sliding up to his neck and hair. Robert lifts her legand presses it against his hip, kissing her neck andshoulders. Francesca starts to lose herself, clutching hishead at her breast then pulling him up to her mouth onceagain.
　　CUT TO: 　　在那个星期二的夜晚,他们在厨房里跳舞,逐渐地.在不知不觉地越来越紧地靠在一起.弗朗西丝卡紧紧贴在他的胸前,心想不知他隔着她的衣服和自己的衬衣能否感觉到她的乳房又觉得一定能的.
　　她觉得他真好,希望这一刻永远延续下去.继续放老歌曲,继续跳舞,继续贴着他的身体.她又恢复了女儿身,还有能再翩翩起舞的天地.缓慢而又持续地,她回归本原,回到她从末去过的地方.
　　天很热,很潮湿,远处西南方向传来雷声,扑灯蛾奔烛光而来贴在纱窗上.
　　现在他已完全陷进她的怀抱,她也是一样.她挪开了脸颊,抬起头来用黑眼睛望着他,于是他吻她,她回吻他,长长的,无限温柔的吻,如一江春水.
　　他们放弃了假装跳舞,她双臂抱住他的脖子.他左手在她背后腰际,另一只手抚摸着她的头颈面颊的头发.托马斯.沃尔夫曾提到"古老的渴望的的鬼魂".现在这鬼魂在弗朗西丝卡身体里,在他们俩的身体里蠢蠢欲动.
　　弗朗西丝卡在六十七岁生日时坐在窗口望着秋雨细细回味.她拿着白兰地到厨房去,停下来凝视着他们俩人曾经站过的那块地方,内心汹涌澎湃不能自己.每时都是这样的.这感情太强烈,以至于多年来她只敢每年详细回忆一次,不然单是那感情的冲力就会使她精神崩溃.
　　她必须克制自己不去回忆,这已成为她生死攸关的问题,尽管近年来那些细节越来越经常地回到脑海中来.她已停止设法制止他钻进她的身体.形象十分清晰.真实而且就在眼前.然而又是那样久远,二十二年之久.但是慢慢地它再次成为她的现实,是她值得活下去的唯一的现实.
　　她知道她已六十七岁,并且接受这一现实.但是她无法想象罗伯特.金凯已经七十五岁.不能想,不堪设想,甚至连设想一下本身也不能设想.他就在这厨房里同她在一起,白衫衬,灰长发,咔叽布裤子,棕色凉鞋,银手镯,银项链.他就在这里,胳膊搂着她.
　　她终于脱开了他,离开他们在厨房站着的地方,拉起他的手走向楼梯,走上楼梯,经过卡洛琳的房间,经过迈克的房间,走进自己的房间,打开一盏小小的床头灯.
　　现在,这么年之后,弗朗西丝卡拿着她的白兰地慢慢走上楼梯,右手拖在后边以回味当时他跟在后面上楼,经过走廊进入卧室的情景.
　　那有血有肉的形象铭刻在她脑海中,清晰得一如她边缘整齐的摄影.她记得梦一般的脱衣的程序,然后两人赤裸裸躺在床上.她记得他如何趴在她的身上,将胸部贴着她的肚皮缓缓移动,然后移过她的乳房.他一遍又一遍重复这一动作,好像老动物学教科书里写的动物求偶的仪式.他在她身上移动的同时轮番吻她的嘴唇和耳朵,舌头在她脖子上舐来舐去,像是南非草原的草丛深处一只漂亮的豹子可能做的那样.
　　他就是一只动物,是一只优美,坚强.雄性的动物,表面上没有任何主宰她的行为,而事实上完完全全的主宰了她,此时此刻她所要的正是这样.
　　但是这远不止于肉体-尽管他能这样长时间不疲倦地做爱本身也是其中一部分.爱她是精神上的.近二十年来人们谈爱情谈得太多了,这个字眼几乎都用俗了.但是她爱他是精神上的,决不是俗套.
　　在他们做爱的当中,她用一句话概括了她的感受,在他耳边悄声说:"罗伯特,你力气真大简直吓人."他力气的确大,但是他十分小心的使用它.然而还不仅如此.
　　性爱是一回事.她自从见到他以来,一直有预期-至少是一种可能性享受某种快感摆脱日常千篇一律的方式.但是她没有预料到他这种奇妙的力气.
　　简直好像他占有了她的全部,一切的一切,让人害怕的正是这一点.从一开始她从来没有怀疑过不管他们俩做什么,至少她有一部分是可以保持超越于罗伯特.金凯之上的,那一部分属于她的家庭和麦迪逊县.
　　但是他就这么拿走了,全部拿走了.从他一开始从卡车里走出问路时她就早该知道这一点.那时他就像沙漫教的巫师,她最初的判断是对的.
　　他们连续做爱一小时,可能更长些,然后他慢慢脱出来,点了一支烟,也为她点上一支烟.或者有时候他就静静躺在她身旁,一只手总是抚摸着她的身体.然后他又进入她体内,一边爱着她,一边在她耳边悄悄说些温情的话,在话语之间吻她,手放在她腰际把两人相互拉进自己的身体.
　　于是她喘着气,开始浮想联翩,听凭他把她带到他生活的地方去,而他生活在奇怪的.鬼魂出没的地方,远在达尔文的物种起源之前的地方.
　　她埋在他的脖子里,皮肤挨着他的皮肤,能够闻到河流,森林篝火的气息;能够听到很久以前冬夜火车站火车喷着汽出站的声音;能够看到穿着黑色长袍的旅行者沿着结冰的河穿过夏天的草场坚定地披荆斩棘向着天尽头走去.那豹子一遍又一遍掠过她的身体,却又像草原长风一遍又一遍吹过,而她在他身下辗转翻腾,像一个奉献给寺庙的处女乘着这股风驶向那美妙的,驯服的圣火,勾画出忘却尘世的柔和线条.
　　于是她屏息轻声地喃喃细语:"罗伯特,罗伯特,我把握不住自己了."她多年以前已经失去的性欲的亢奋,现在却和一个一半是人,一半是别的什么生命长时间地做爱.她对他这个人和他的耐力感到惑然不解,他告诉她,他能在思想上和肉体上一样达到那些地方,而思想上的亢奋有它自己的特性.
　　她完全不懂他是什么意思.她只知道他拉来一条不知什么绳索,把他们两个紧紧绑在一起,绑得这么紧,如果不是由于她从自己身上挣脱出来的那种冲天的自由感,是会窒息的.
　　夜正浓,那伟长的盘旋上升的舞蹈连续着.罗伯特.金凯拚弃了一切线条感,回到他自己只同轮廊,声音和影子打交道的那部分.他一直走向最古老的方式,依靠夏草的秋叶上阳光照亮的融霜作为烛光指引的方向.
　　他听见自己向她耳语,好像是一个不属于他自己的声音在说话.是里尔克的诗的片断"我围着古老的灯塔....已绕行几千年."还有印地安人那瓦荷族的太阳之歌中的词句,向她诉说她给他带来的种种幻象:空中飞沙,红色旋风,棕色鹈鹕骑在水獭背上沿着非洲的海岸向北游去.
　　在她弓身向他贴近时,一种声音,细微的,含意不清的声音从她口里发出.但这是他完全理解的声音,就在这个女人身上,在他肚皮紧贴着她,探进她体内深处的女人身上,罗伯特.金凯长年的寻觅终于有了结果.
　　终于,他明白了一切:他走过的所有荒野沙滩上所有那些细小的脚印,那些从未起锚的船上装的神秘的货箱,那些躲在帘幕后面看着他在昏暗的城市曲折的街道上行走的一张张脸-所有的这一切的意义他终于都明白了.像一个老猎人远行归来,看到家中的篝火之光,所有的孤寂之感一下了溶解了.终于,终于....他走了这么远.这么远来到这里.于是他以最完美的姿势在她身上,浸沉于终身不渝的,全心全意的对她的爱之中.终于!
　　到天亮时他稍稍抬起身子来正视着她的眼睛说:"我在此时来到这个星球上,就是为了这个,弗朗西丝卡.不是为旅行摄影,而是为爱你.我现在明白了.我一直是从高处一个奇妙的地方的边缘跌落下来,时间很久了,比我已经度过和生命还要多许多年.而这么年来我一直在向你跌落."他们下楼时收音机还开着.开已破晓,但太阳还躲在一层薄薄的云后面.弗朗西丝卡,我要求你为我做一件事.壶.什么事?止境.套上你昨晚穿的牛仔裤和圆领衫还有那双凉鞋,不要别的.我要照一张相留下你今天早晨的样子,一张只给我们俩的照片.
　　她走上楼去,两腿由于整夜绕在他身上而有点发软,穿好衣服,同他一起走到牧场上.就在那里他给她照了这张她每年都翻出来看的照片.
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Chapter 16
　　1995INT. SLOW BEND CAFE - PRESENT DAY - EVENINGThe same saloon/restaurant of twenty-five years ago has beenturned into a modern cafe yet the original charm is stillthere.
　　Carolyn and Michael sit in a booth, with half-eaten dinnersbefore them. Carolyn has been reading the book to Michaelwhen she looks across from her to find -- Michael looking likea little boy who is fighting not to cry.
　　CAROLYNWhat's the matter?
　　Michael shakes his head. He can't or won't explain. He's tooupset. His eyes tear up. Carolyn feels badly for him.
　　MICHAELI'm going to get some air.
　　He exits. Carolyn smiles sympathetically. Somehow this lastpassage of their mothers doesn't affect her in the same way.
　　She returns to the book but first asks a passing waitress,with great urgency.
　　CAROLYNCan I smoke here?
　　The waitress nods. Carolyn needs a cigarette for the rest ofthis. She opens her bag to get her pack. Inside her bag shenotices a BUSINESS CARD. She picks it up to read IRA NEWMAN,attorney. Divorce. Pre-Nuptials. Marital Litigation. Shepauses for a moment. Then, tossing the card back inside, shelights her cigarette and takes a drag. We follow the curls ofsmoke up as we:
　　DISSOLVE TO:
　　1965INT. JOHNSON LIVING ROOMCamera moves down curls of smoke, to reveal:
　　Robert and Francesca in each others arms, under a blanket onthe living room floor on a bed of couch pillows, smoking acigarette after lovemaking. Francesca seems miles away --feelings of regret and guilt creeping in.
　　ROBERTAre you comfortable?
　　(she nods)Do you... want to move to thebedroom?
　　FRANCESCANo. I can't. Not yet.
　　She can't bring herself to go into her husband bed.
　　ROBERTYou want to eat something?
　　FRANCESCAAre you hungry?
　　ROBERTNo.
　　Silence. Robert shifts his body to face her.
　　ROBERT (cont'd)Honey. Are you all right?
　　She looks at him and starts to cry, shaking her head. The roomis filled with memories of her family. She nestles in his arms.
　　He folds her. She closes her eyes.
　　FRANCESCATake me somewhere.
　　ROBERTWhat?
　　FRANCESCARight now. Tell me someplace you'vebeen -- someplace on the other sideof the world. Anywhere but here.
　　ROBERT(thinks, then:)How about Italy?
　　FRANCESCAYes.
　　ROBERTHow about Bari?
　　FRANCESCAYes. Tell me about the day you gotoff the train.
　　ROBERTHave you ever been to that station?
　　FRANCESCAYes.
　　ROBERTYou know that little place nearbywith the striped awning that sellssandwiches and little pizzas...
　　The two transport themselves together to another place, wherethere is no familiar memories surrounding them to interfere.
　　CUT TO:
　　EXT. JOHNSON PORCH - NIGHTThe two sit in bathrobes on the porch looking out over thepasture. They have plates of dinner on their laps. They eatvoraciously.
　　ROBERTDo you have anymore of the stew?
　　Chewing, Francesca nods and leans over, picks a pot off theporch and ladles some more onto his plate. Too much falls outand it spills onto the robe.
　　FRANCESCAOh, I'm sorry.
　　ROBERTIt's okay. It's not that hot anymore.
　　Thanks God.
　　Francesca hands him a dish rag. Robert wipes off the foodrevealing his bare leg. She reaches over and touches it. Helooks at her and smiles. She leans over and kisses himpassionately until, suddenly, she pulls away. She looksupset. She rises and moves away to look out to the pasture.
　　Robert can sense what is wrong.
　　ROBERT (cont'd)You think too much, you know that?
　　FRANCESCAI just feel like I'm getting a little... out of control that's all. It'skind of frightening.
　　ROBERTWhy?
　　FRANCESCAWhy!? Because, I'm having thoughts Ihardly know what to do with. I...
　　can't seem to... stop them.
　　ROBERTNobody's asking you to.
　　FRANCESCA(excited)And arraccinos and zeppolis. Yes! Iknow it!
　　ROBERTI sat outside and had coffee.
　　FRANCESCAWhere? Near the doorway or the near thefront of the church?
　　ROBERTNear the church.
　　FRANCESCA(closes her eyes)I sat there once. It was hot. Liketoday. I'd been shopping. I had allthese bags around my feet I kepthaving to move every time the waitercame by...
　　DISSOLVE TO:
　　EXT. SANDWICH CAFE - BARI - DAYFrancesca sits at the outdoor cafe in Bari with shopping bagsaround her feet. She re-arranges them as the waiter passesby, mumbling something vulgar under his breath. When shelooks up -- Robert is standing there. She smiles. He offersher hand. She takes it and rises. They leave the cafe.
　　MONTAGE:
　　Francesca and Robert together against the breathtakingbackdrop of the Italian countryside.
　　EXT. BARI COUNTRYSIDE - DAYOn a lakefront, Robert and Francesca make love.
　　WE INTERCUT WITH:
　　INT. JOHNSON LIVING ROOM - EVENINGFRANCESCA AND ROBERT MAKING LOVE ONCE AGAIN.
　　Francesca looks at him and understands he is giving her fullpermission to explore whatever she wants. Hesitantly, shecrosses to him and takes his plate away. She stands beforehim, leaning him back into his chair. She slowly,tentatively, opens her robe. She strokes his hair, thencaresses his head and gently guides it between her legs.
　　1994INT. SLOW BEND RESTAURANT - NIGHTC.U. on an ashtray filled with cigarette butts as Carolynanxiously lights another. These last entries have overstimulated her. She calls to the waitress abruptly.
　　CAROLYNCan I get another cup of coffee,please?
　　When she looks up, she sees Michael has returned. He sits.
　　CAROLYN (cont'd)Where did you go?
　　MICHAELBar across the street.
　　CAROLYNHave you called Betty?
　　(she shakes his head)Maybe you should.
　　MICHAELI found out who Lucy Delaney is.
　　(she looks interested)Remember the Delaneys from HillcrestRoad?
　　CAROLYNYeah. But I thought she died.
　　MICHAELHe remarried. Apparently they werehaving an affair for years.
　　Apparently the first Mrs. Delaney wasa bit of a stiff.
　　CAROLYNYou mean -- she didn't like sex?
　　MICHAEL(nods, then simply:)I bet mom could've helped her.
　　CAROLYNBoy. All these years I've resentednot living the wild life in someplace like Paris and all the time Icould've moved back to Iowa... Areyou drunk?
　　MICHAELNot yet. You want to go?
　　CAROLYNI think I better. Between the bookand the coffee, I'm this close toraping the busboy. 　　大路和远游客罗伯特.金凯在以后几天中放弃了摄影,而弗朗西丝卡.约翰逊除了压缩到最起码的必要劳动之处,也放弃了农场生活.两人所有的时间都呆在一起,不是聊天,就是做爱.有两次,他应她要求为她弹唱吉他歌曲,他的声音中上,有点不大自在,说是她是他的第一听众.她听了笑着吻他,然后往后仰,躺在自己的感觉之中,尽情听他歌唱那捕鲸的船和沙漠的风.
　　她坐着他的哈里跟他到得梅音去把照片寄到纽约.只要有可能,他总是把第一批底片先寄出,这样编缉就可以知道他的工作意向,技术员也可以先检查一下,看看他相机的快门是否运行正常.
　　随后他带她到一家谊华饭店吃午饭,在餐桌上握着她的手,以他特有的方式目不转睛地看着她.侍者瞧着他们微笑,暗中希望有一天自己也能感受到这样的感情.
　　她对罗伯特.金凯这样意识到自己的生活方式正在逝去,还能处之泰然,感到不可思议.他眼看着那些牛仔们以及与他们类似的人,包括他自己,步步走向死亡.现在她开始理解为什么他说他是处于物种演变的一个分支的终端,是一个死胡同.有一次他谈到他所谓的"最后的事物"时悄声说道:"'永不再来',高原沙漠之王曾经这样喊道,'永不再来'."他瞻望自己身后空无一物,他属于过时的品种.
　　星期四下午他们做爱之后进行了谈话.两人都知道这场谈话终须以来,而两人都一直在回避.我们怎么办?
　　她默不作声,是内心极度矛盾的沉默,然后柔声说道:"我不知道."这样好吗,如果你愿意,我就呆在这里,或是城里,或是随便什么地方.你家里人回来之后,我就径直跟你丈夫谈,向他说清楚现在的局面,这事不容易,不过我会做到的."她摇摇头."理查德决不会接受,他不是这样想问题的.他根本不理解什么魔力,激情以及其他我们谈过的,经历过的一切,他也永远不会理解.这不一定说明他是次一等的人.只不过这一切离他毕生感受过的或想过的太远了.他没法应付这样的事."那么是不是我们就让这一切付诸东流?这我也不知道.罗伯特,认真地说,你已经拥有了我了.我原来不想让人拥有,也不需要我知道这也不是你的意图,但是事已如此.我现在并不是在草地上坐你身旁,而是在你的身体内,属于你,心甘情愿当一个囚徒."他回答说:"我不能肯定你是在我体内,或者我是在你体内,或者我拥有你.至少我并不想拥有你.我想我们两个都进入了另一个生命的体内,这是我们创造的,叫做'咱们'."其实,我们也不是在那个生命里面,我们就是那个生命.我们都丢掉了自己,创造出了另一样东西,这东西只能作为我俩的交织而存在.天哪,我们就是在相爱,天上人间爱能有多深就爱多深."跟我一起走四方吧,弗朗西丝卡!这不成问题.我们可以在大漠的沙堆里做爱,在蒙巴萨的阳台上喝白兰地,僚望阿拉伯三角帆船在初起在晨风中扬帆启程.我要带你去狮之国,到孟买湾边是一座古老的法国城市,那里的一个奇妙的屋顶饭店,还有火车穿过山间隧道,还有比利牛斯山的高处巴斯克人开的小旅店,在南印度一块老虎保留地有一个特别的岛,位于一大片湖中央.如果你不喜欢大路上的生活,那么我就找个地方,开个店,专摄当地风光,或肖像,或者干一行随便什么能维持我们生活的营生."罗铁特,我们昨夜做爱时你说的话我还记得.我不断地在你耳边说你力量多大,天哪,你可真是强有力.你说,'我是大路,我是远游客,我是所有下海的船.'这是对的,你是这么感觉的,你感觉大路就在你身体里面.不,还不止如此.我不知道我能不能说清楚,从某种意义上说你本人就是大路.幻想与现实相遇的夹缝,就是你所在的地方,在外面大路上.大路就是你."你就是那旧背包,那辆叫作哈里的卡车,那飞向亚洲的喷气式飞机.我也愿意你是这样假定如你所说,你的物种进化的分支是一条死胡同,那我也要你以全速冲向那终点.可是同我在一起你就不一定能这样做.你难道看不到,我是多么爱你,以至我不忍看你有一时一刻受到约束.这样做等于把你这个野性的,无比漂亮的动物杀死,而你的力量也就随之而消亡."他要开口说话,被弗朗西丝卡制止了.罗伯特,我还没说完,假如你把我抱起来放进你的卡车,强迫我跟你走,我不会有半句怨言.你光是用语言也能达到这个目的.但是我想你不会这样做.因为你太敏感,太知道我的感情了.而我在感情上是对这里有责任的."是的,这里的生活方式枯燥乏味.我的生活就是这样.没有浪漫情调,没有性爱,没有在厨房里烛光中的翩翩起舞,也没有对一个懂得情爱的男人的奇妙的感受.最重要的是没有你.但是我有那该死的责任感,对理查德,对孩子们.单单是我的出走,我的身体离开了这里就会使理查德受不了,单是这一件事就会毁了他."除此之外,更坏的是他得从当地人的亲言碎语中度过余生:那人就是理查德.约翰逊,他那意大利小媳妇几年前跟一个长头发的照相的跑了.理查德必须忍受这种痛苦,而孩子们就要听整个温特塞特在背后叽叽喳喳,他们在这里住多久就得听多久.他们也会感到痛苦,他们会为此而恨我."我多么想要你,要跟你在一起,要成为你的一部分;同样的我也不能使自己摆脱我实实在在存在的责任.假如你强迫我跟你走,不论用体力或是用精神力量,我说过的,我都无力抗拒.我对你感情太深,没有力气抗拒.尽管我说了那么多关于不该剥夺你以大路为家的自由的话,我还是会跟你走,只是为了我自私的需要,我要你."不过,求你别让我这么做,别让我放弃我的责任.我不能,不能因此而毕生为这件事所缠绕.如果现在我这样做了,这思想负担会使我变成另外一个人,不再是你所爱的那个女人."罗伯特.金凯沉默不语.他知道她说的关于大路,责任以及那负疚感会转变她是什么意思他多少知道她是对的.他望着窗外,内心进行着激烈斗争,拼命去理解她的感情.他哭了.
　　随后他们两个长时间抱在一起.他在耳边说:"我只有一件事要说,就这一件事,我以后再也不会对任何人说,我要你记住:在一个充满混沌不清的宇宙中,这样明确的事只能出现一次不论你活几生几世,以后永不会出现."他们那天夜里-星期四夜里-又做爱,在一起躺着互相抚摸,悄悄耳语,直到日出很久.然后弗朗西丝卡睡了一会儿.等她醒来时已是红日高照,而且已经很热.她听见哈里的一扇门嘎嘎作响,就披衣起床.
　　她到厨房时他已煮好咖啡,坐在桌子旁抽烟.他对她笑笑.她坐过去把头埋在他脖子里,两手插进他的头发,他的胳膊搂着她的腰.然后他把她转过来,让她坐在怀里,抚摸着她.
　　终于他站了起来,他穿上了旧牛仔裤,干净的咔叽布衬衫上两条桔黄色的背带,那双红翼牌靴子扎得很紧,腰里插着那把瑞士军刀.他的照相背心挂在椅背上,口袋上露出扳机带子.牛仔已经穿扎停当,准备上马了.我该走了.
　　她点点头,开始哭起来.她看见他眼中有泪,但是他一直保持着他特有的微笑.我可以给你写信吗?我想至少给你寄一两张照片.可以.皮士摄影师的信,只要不太多."你有我在华盛顿州的地址的电话号码,对吧?志>办公室打电话,我来给你写下电话号码."他在电话边的小本子上写上了号码,撕下那一面交给她.你还可以在杂志上找到电话号码,向他们要编缉部.大多数情况下他们总是知道我的去处.你如果想见我,或者只是想聊聊天,千万别犹豫.不论我在世界上什么地方,你都可以给我打受话人付款的电话,这样你的电话帐单上就不会显示出来.再考虑一下我说过的话.我可以在这里呆着,干脆利落地解决问题,然后我们可以一起驱车向西北方向去."弗朗西丝卡无言.她知道他能干脆利落地解决问题.理查德比他小五岁,但是无论在智力上或是体力上都不是罗伯特.金凯的对手.
　　他穿上背心.她已失魂落魄,脑子一片空白."别走,罗伯特.金凯."她听见自己身体里某个部位这样叫道.
　　他拉着她的手通过后门走向他的卡车.他打开司机的门,把脚放在踏板上,然后又挪下来再次搂抱她几分钟.两人都不说话,只是站在那里,把相互感觉传递,吸引,铭刻于心,永不磨灭.再次肯定他所说的那特殊的生命的存在.
　　他最后一次放开了她,走进车里,开着门坐在那里.泪水从他的两颊流下来,泪水也从她两颊流下来.他慢慢地关上门,门缝嘎嘎作响.像往常一样,哈里总是不情愿启动,不过她能听见他的靴子踹那油门,那老卡车终于屈服了.
　　他把车转过来,坐在那里踹在离合器上,起先很严肃,然后微微咧嘴一笑,冲着小巷那边指指:"上大路,你知道.下个月我就会在印度东南部,要不要一张从那里寄来的明信片?"好说不出话来,不过摇摇头表示不要.让理查德在邮箱里发现这个会受不了.她知道罗伯特能理解.他点点头.
　　卡车倒驶进庭院,颠簸着经过铺着水泥的场院,小鸡从轮下四散逃走,杰克吠着把其中一只追到机器棚里.
　　罗伯特.金凯通过旅客座位那边的窗户向她招招手.她看见他手上的银镯子在阳光下闪烁.他衬衫的头两个扣子开着.
　　他驶进小巷,一直开下去,弗朗西丝卡不断地擦眼睛,使劲看,阳光映着她的泪水照着各种奇怪的折光.她像他们相会的第一天晚上那样急忙跑到小巷口看那小卡车颠着向前驶去,卡车驶到小巷终端停了下来,司机门弹开了,他出来踹在踏板上.他看见她在一百码之外,人因距离而变小了.
　　他站在那里凝视着,听凭哈里不耐烦地在热浪中转动.两人谁也不移步,他们已经告别过了.他们只是相对而视,一个是农夫之妻,一个是物种演变终端的生命,是最后的牛仔之一.他在那里站了三十秒钟,那双摄影师的眼睛没有漏过任何细节,制作出了他永不丢失的影像.
　　他关上了门,开动引擎,在他向左转到大路上时又哭了.就在农场西北边的一片树林挡住他的视线之前他又向后望去,望见她交叉着双腿坐在小巷口的尘土里,头埋在双手中.
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Chapter 17
　　EXT. IOWA LAKEFRONT - NIGHTMichael and Carolyn have parked in a secluded area near alake. Some place where the moonlight and the scenery createa beautiful backdrop. They sit on the ground, leaving theheadlights and the radio on. They are getting drunk sharinga bottle of whiskey.
　　MICHAELI used to love this place. I used totake Kathy Reynolds down here.
　　CAROLYNYou never dated Kathy Reynolds!
　　MICHAELNot officially. Her and Steve Kendallwere pinned at birth. But I was crazyabout her. And for about three months,I managed to catch her during her"exploring" stage.
　　CAROLYNI never knew that.
　　MICHAEL(sadly)Nobody did.
　　CAROLYNWas this during Betty?
　　MICHAELEverything was during Betty. God wewere so young. Why did we think wehad to do it all so fast? I've nevercheated on Betty. Not once we weremarried, I mean.
　　CAROLYNDid we want to?
　　MICHAELOnly about a thousand times. What doI do now? "What's good enough for momis good enough for me?"CAROLYN(pissed off)What gets me is I'm 46 years old.
　　I've been in this crummy fuckingmarriage -MICHAELCarolyn!
　　CAROLYN(ignores him)-- for over twenty years becausethat's what I was taught -- you stickwith it! Normal people don't getdivorced. I can't remember the lasttime my husband made love to me sointensely that he transported me toEurope, for Christ's sake -- quitefrankly, I don't think he ever did!
　　And now I find out in between bakesales, my mother was Anais Nin!
　　MICHAELWhat about me! I feel really weird.
　　Like she cheated on me, not dad.
　　Isn't that sick? I don't mean Iwanted to sleep with her or anythingbut -- ya know -- being the only son.
　　You're sort of made to feel likeyou're the prince of the kingdom, yaknow? And in the back of your mind,you kind of think your mother doesn'tneed sex anymore because she has you.
　　CAROLYNYou're right -- that is sick.
　　They drink.
　　MICHAELIf she was so unhappy, why didn't sheleave?
　　They look to each other without an answer. Then simultaneouslythey reach for the notebooks.
　　MICHAEL (cont'd)Can I read it now? I think I'm ready.
　　Carolyn offers him the book then lays back in a relaxedposition in order to listen. Michael flips to an ear markedpage.
　　MICHAEL (cont'd)What paragraph were you up to?
　　CAROLYN(casually)She just made him perform oral sex onthe porch.
　　Michael freezes. He loses his nerve. Carolyn helps.
　　CAROLYN (cont'd)Go ahead, Michael. You've got to dothis. Just think, "Today I am a man."Michael nods and takes another swig. He reads:
　　MICHAEL"I'd never had a man make love to methat way before."(stops)Oh Jesus.
　　(continues)"I couldn't believe the feelingsbursting inside of me. As if I hadopened some forbidden Pandora's box."Camera begins to move to wide angle as Francesca takes over.
　　FRANCESCA"It seems, thinking about it now,that in those few days I lived acompletely different life as acompletely different woman. What wasrecognizable as me before Robert wasgone. We decided to spend Wednesdayaway from Winterset. Away fromMadison County. Away from pasturesand bridges and people too familiarand reminders too painful. We let theday take us where it wanted..."1965INT. DES MOINES MOVIE THEATER - DAYVIVIEN LEIGH is walking down a ships stairs in the 1965 film"SHIP OF FOOLS." She is alone on screen. She walks, slightlyintoxicated. Suddenly, Charleston music plays out of nowhereand she begins to dance, by herself, without any self-consciousness.
　　In the movie theatre, Robert sits with his arm aroundFrancesca like teenage lovers. Her head is nestled in hischest as she eats from a bag of popcorn. Robert barely keepshis eyes on the screen, staring at Francesca and stroking herhair.
　　EXT. DOWNTOWN DES MOINES STREET - DAYFrancesca and Robert walk hand-in-hand, window shopping andtaking in the sights. For Francesca, it is as if she isseeing everything for the first time.
　　INT. BOOK STORE - DAYRobert introduces Francesca to the photography section,showing her a book of one of his favorite photographers,Walker Evans. Francesca admires one photograph in particular-- a mother and child during the depression.
　　FRANCESCAOn that one is beautiful. Look attheir expressions. As if the cameraweren't on them at all. As if theyhad no strength left to hide whatthey were feeling.
　　ROBERTHe's a genius. They're notphotographs -- they're stories, entirehistories captured in moments.
　　FRANCESCAI bet you could do a book.
　　ROBERTNo. I couldn't.
　　FRANCESCAWhy do you say that?
　　ROBERTBecause I already tried once.
　　Francesca is surprised. She senses his disappointment.
　　ROBERT (cont'd)It's no big deal. I know how to worka camera, how to make it "makepictures" -- but I don't know how tomake it make art.
　　(laughs)At least that's what six publisherssaid. To take what we see of thisworld and give it back with a bit ofourselves in it. It's a mystery to me.
　　FRANCESCA(smiles, supportive)But you don't mind.
　　ROBERT(smiles)No, I don't mind.
　　She brushes his hair away from his face affectionately. As helooks at another book, she notices their reflection in amirror. She puts her arm through his. They look like a coupleto her -- two people who belong together.
　　INT. FANCY RESTAURANT - DAYFrancesca and Robert have an elegant lunch.
　　FRANCESCAWhat were you like when you wereyounger?
　　ROBERT(smiles)Trouble. Why?
　　FRANCESCA(laughs)I just wondered. Why were you trouble?
　　ROBERTI had a temper.
　　FRANCESCAWhat were your parents like?
　　Pause. Robert doesn't reply. She looks at him curiously.
　　ROBERTI can't do this, honey.
　　FRANCESCAWhat?
　　ROBERTTry and live a lifetime beforeFriday. Cram it all in.
　　(shakes his head)This is the first time either has mentioned their time clock.
　　Francesca nods, understandingly.
　　Across the room, Francesca notices A MOTHER having dessertwith her FIVE-YEAR-OLD DAUGHTER, a pretty little girl in afancy yellow dress. The mother rises and exits to the ladiesroom while the little girl continues eating a large sundae.
　　Francesca smiles. As the girl licks a spoon of fudge, shesees Francesca looking at her and smiles back. Robert watchesthe silent exchange as he eats. Francesca makes a funny faceat her. The little girl giggles as she spoons more ice-cream.
　　Unfortunately, she spoons too much and the ice-cream falls onher pretty dress. She tries to take it off her, but she slipsthrough her fingers and stains her even more. She looks atFrancesca as if she's about to cry. Francesca smiles.
　　FRANCESCAExcuse me a minute.
　　Robert watches her cross to the little girl and kneel besideher. He sees her consoling the little girl while taking anapkin and dabbing it in the water glass.
　　She helps the girl carefully wipe away the mess, all thewhile calming her. The mother re-enters the scene and shakesher head at her daughter. The daughter is afraid of beingreproached but the mother is smiling. She and Francesca begintalking. She thanks Francesca. Robert sees the two mothersexchanging a moment of common experience and brieffriendship. The mother and daughter take their leave asFrancesca says goodbye and returns to the table. Robert looksat her lovingly. Francesca returns to her meal, but suddenlyshe is no longer hungry. Robert senses something is upsettingher.
　　ROBERTYou're somewhere else, where?
　　FRANCESCAJust that it's been a perfect day andthat I'd like to skip my fancydessert and go home after this.
　　ROBERTUh-huh. And?
　　FRANCESCA(beat)You're right, you know. We don't havemuch time.
　　Uncomfortable silence hangs between them. A waiter passes by.
　　ROBERTCheck, please.
　　OS, as the MOTHER YELLS:
　　MOTHERREBECCA! REBECCA!
　　Both Robert and Francesca look to the voice. 　　理查德和孩子们当晚薄暮时分回到家里,带回了博览会上的轶闻和那小牛被送到屠宰场之前获奖得的一条缎带.卡洛琳马上抓住电话不放.那是星期五,迈克立即开着小卡车到城里去做十七岁的男孩子们通常在星期五晚上做的事多半是在广场是游荡,聊天,或者向驶过的汽车里的姑娘们喊叫.理查德打开电视机,告诉弗朗西丝卡玉米饼做的真好吃,他涂上黄油和枫汁吃了一块.
　　她坐在前廊的秋千上.十点钟时理查德看完他的节目之后走了出来,伸个懒腰说:"真的,还是回家好."然后看着她,"你没事吧,弗兰妮?你好像有点累,或者有点精神恍惚,还是怎么的?""我挺好,理查德.你们平平安安回来就好."是啊,我要进去了,在博览会的这一个礼拜过得够长的,我真累坏了.你来吗.弗兰妮?""我再呆一会儿.外面挺舒服,所以我想再坐一会儿."她其实很累了,但是她害怕理查德心里想着性生活,而她今夜应付不了.
　　她听见他在他们的卧室里绕圈子走,就在她坐着前后摇晃的秋千上边.她两只赤脚踩在游廊地上,听得卡洛琳弹钢琴的声音从屋后传出.
　　以后的几天里,她避免进城,一直意识到罗伯特.金凯就在几英里之外.说实在的,如果她见到他就很难管住自己.她很有可能会跑到他身边说,"现在我们一定得走!"她曾经不顾风险的跑到杉树桥去会他,但是现在再见他要冒的风险太大了.
　　星期二,家里的蔬菜快完了,理查德需要买一个他正在修复的玉米收割机的零件.天很阴沉,霪雨,薄雾,还没出八月,天太凉了一点儿.
　　理查德买到了他的零件,和别的男人在咖啡馆喝咖啡,她趁这个时候到副食店采购.他知道她的日程,在她完事时在"精品"店门前等她,见到她就跳了出来,戴着他的阿利斯-查默斯鸭舌帽,帮着她把各种袋子放进福特牌小卡车里,放在座位上.围着的膝盖,而她却想到了三脚架和背包.我还得赶快到工具店去一趟,还有一样零件我忘了买,可能要用的.
　　他们在第一百六十九号国家公路上往北驶,那是温特塞特的主要道路.在德士古加油站一街之遥的地方她看见哈里正从油泵驶开去,刮水器来回刮着,正驶向他们前头的路上.
　　他们的车速把他们带到紧跟那辆旧卡车后面.她坐在福特车里高高的座位上可以看见前面车子里一个黑色防雨布包得紧紧,勾画出一只衣箱和一只吉他琴匣的轮廓,紧挨一条备用轮胎,后窗溅满了雨,但是还可以看见他半个脑袋.他弯下身去好像要在杂物箱里取些什么.八天前他也做过同样的动作,他的胳膊擦过她的腿.而就在一星期前,她曾到得梅因去买了一件粉色连衣裙.那辆卡车离家可够远的,对了,我敢肯定那是他们在咖啡馆里谈论的那个摄影师."他们跟着罗伯特.金凯向北行,过了好几条街,到一百六十九号公路与东西行的九十二号公路交叉处.那是四向道路的中心点,密集的车辆向着各个方向交叉而行,由于雨和雾更增加了困难.雨更大,雾更浓了.
　　他们大概停了二十秒钟.他就在前头,离她只有三十英尺.她还可做这件事.跳出车出跑到哈里的右门边,爬进去,抓过那背包,冷藏箱和三脚架.
　　自从罗伯特.金凯上星期五从她身边离去后,她才意识到,不管她原来自以为对他多么一往情深,她还是大大低估了自己的感情.这看来似乎不可能,但是真的.她开始理解他早已理解的事情.
　　但是,她还是端坐不动,她的责任把她冻结在那里,眼睛死死地盯着那扇后窗,她一生中从来没有这样死盯着任何东西看过.他的在车灯亮了,再一瞬间他就从此一去不复返了,理查德在摆弄这辆福特车里的收音机.
　　她开始看到慢镜头,是脑子里一种奇特的作用....慢慢地....慢慢地他把哈里开到道路交叉处-她可以想见他的两条长腿,踩着油门和离合器,想见他胳傅上肌肉在换挡时屈伸的景象-现在向左转弯到九十二号公路向布勒夫斯会议厅开去,向黑山岗开去,向西北...慢慢地....慢慢地....那辆旧卡车转过弯来,它慢慢地穿过交叉路口向西驶去.
　　他拐弯时为看清楚一点,把车窗放下.他已经完成转弯了,她可以看见他在九十二号公路上开始加速时头发随风飘起.他向西驶去,边开车边摇上窗户哦,基督-哦,耶酥基督,全能的上帝....别!该留下....可是我不能走....让我再告诉你一遍.....为什么我不能走....你再告诉我一遍,为什么我应该走."她听见他的声音从大路上传来."在一个充满混沌不清的宇宙中,这样明确的事只出现一次,不论你活几生几世,以后永不会出现."理查德把车开过交叉路口向北驶去.她望着哈里的尾灯在雨和雾中消失,心中搜寻着他的一瞬间的面孔.那辆旧雪佛莱小卡车在一辆巨大的拖车旁边显得很小,那拖车咆哮着向温特塞特,溅起一阵水珠从那最后的牛仔头上洒过."再见,罗伯特.金凯."她轻轻说道,然后公然地哭了.
　　理查德别过头来看她."怎么啦,弗兰妮?求求你告诉我你到底怎么了,好不好?"理查德,我只需要自己呆一会儿,过几分钟就会好的.
　　理查德把收音机转到畜情报告节目,转过来看看她,摇摇头.
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Chapter 18
　　EXT. RESTAURANT - DAYThe mother stands on the street frantically calling for herdaughter.
　　MOTHERREBECCA!
　　The Maitre'd, Francesca and Robert exit the restaurant.
　　MOTHEROh my God...!
　　FRANCESCAWhat happened?
　　MOTHERI was paying the check. She ranoutside. I told her to wait for meright here! Oh God, where is she?
　　Rebecca!
　　The sidewalk is filled with people. Francesca looks toRobert. He recognizes the concern in her expression. Goinghome will have to wait.
　　ROBERTI'll check down here. Someone callthe police.
　　The Maitre'd goes back inside. Francesca comforts the mother.
　　FRANCESCAThink for a second. Is theresomeplace she said she wanted to go?
　　MOTHERI don't remember!
　　EXT. STREETRobert searches through the street, poking in and out ofstorefronts, looking across the street.
　　EXT. RESTAURANTFrancesca and the mother search in the opposite direction.
　　EXT. STREETThrough the crowd of people, Robert looks across the fourlane Main Street to a LARGE CITY PARK. He crosses to it.
　　INT. RESTAURANT - AN HOUR LATERFrancesca sits with the mother as TWO POLICEMEN take down adescription. The mother is crying. A waiter brings over somewater for her. The Maitre'd stands by.
　　MOTHERShe was right outside. I turned myhead for a second.
　　POLICEMANWhen was this?
　　FRANCESCAAbout an hour ago.
　　MOTHERThey're not going to find her!
　　FRANCESCAYes, they are.
　　At that moment, the mother looks up and cries.
　　MOTHERREBECCA!
　　She jumps out of her seat as all turn to see:
　　Robert holding the little girl in his arms, entering therestaurant. He carefully hands her over to the mother. Thetwo wrap their arms around each other. Francesca looks toRobert, loving him even more now.
　　FRANCESCAWhere was she?
　　ROBERTAcross the street. She went into thepark and got turned around and didn'tknow her way out.
　　MOTHERYou crossed the street by yourself?!
　　REBECCA(crying)It was a green light.
　　The mother is too relieved to be mad. Robert sits down.
　　MOTHERThank you so much!
　　ROBERT(frazzled)I need a drink.
　　Everyone laughs out of relief. Francesca wraps her arm aroundhis shoulder and kisses his forehead. He kisses her back.
　　INT. TRUCK - DUSKRobert drives as Francesca sits inside his arm. Neither speaks.
　　INT. JOHNSON HOUSE - DUSKFrancesca calmly leads Robert up to her bedroom.
　　INT. JOHNSON BEDROOMNaked, Francesca guides Robert into bed beneath the covers.
　　They begin to make love -- softly, lovingly -- like a couplethat are beyond the erotic, discovery stage; a couple thathave been together and in love for years.
　　LATER -Francesca puts her arm around him as he nestles his head toher breast. Francesca strokes his hair as Robert closes hiseyes.
　　ROBERTI don't know why I'm so tired all ofa sudden.
　　FRANCESCALong day. Go to sleep.
　　ROBERTAm I too heavy for you?
　　FRANCESCANo.
　　Robert settles into her. But Francesca is wide awake.
　　Something is on her mind -- "Tomorrow? What happens aftertomorrow?"INT. KITCHEN - MORNINGFrancesca is serving Robert breakfast, then sits down besidehim. Silence. We can sense some tension between them -- thisbeing their last day together.
　　Francesca seems ingeniously friendly. Robert is suspicious.
　　FRANCESCASleep all right?
　　ROBERTYes, thanks.
　　FRANCESCAGood. More coffee?
　　(he nods, she pours)Robert, I hope you don't mind myasking, but I feel like I should.
　　ROBERTWhat?
　　FRANCESCAWell, these... women friends ofyours... all over the world. Howdoes it work? Do you see some of themagain? Do you forget others? Do youwrite them now and then? How do youmanage it?
　　Her facetiousness startles Robert.
　　ROBERTI... What do you want?
　　FRANCESCAWell, I just want to know theprocedure. I don't want to upset yourroutine. Do you want any jam?
　　ROBERT(insulted)Routine! I don't have a routine. Andif you think that's what this is -FRANCESCAWell, what is this?
　　ROBERT(upset)Well, why is that up to me? You'rethe one who's married. You told meyou have no intention of leaving yourhusband.
　　FRANCESCATo do what? Be with someone who needseveryone and no one in particular? Imean, what would be the point. Wouldyou pass the butter?
　　ROBERTI was honest with you. I told you whoI was.
　　FRANCESCAYes. Absolutely. You have this habitof not needing and that it's hard tobreak. I understand.
　　(beat)Of course, in that case, why sleep --you don't need rest or for thatmatter eat, you don't need food.
　　She takes his plate away from him, rises and throws it intothe sink.
　　ROBERTWhat are you doing?
　　FRANCESCA(sarcastic)Gee, I don't know. I guess I'm notcut out to be a World Citizen whoexperiences everything and nothingat the same time.
　　ROBERTHow do you know what I experience?
　　FRANCESCA(angry)I know you! What can this possiblymean to anyone who doesn't "need"meaning -(mocking)"Who goes with the Mystery" -- whopretends he isn't scared to death.
　　ROBERTStop it!
　　FRANCESCAYou have no idea what you've done tome, do you? And after you leave, I'mgoing to have to wonder for the restof my life what happened here. Ifanything happened at all! And I'llhave to wonder if you find yourselfin some... housewife's kitchen inRomania if you'll sit there and tellher about your world of good friendsand secretly include me in that group.
　　ROBERTWhat do you want me to say?
　　FRANCESCA(nonchantly)I don't want you to say anything. Idon't need you to say anything.
　　Robert rises, knocking his chair aside.
　　ROBERTSTOP IT!
　　FRANCESCAFine. More eggs or should we justfuck on the linoleum one last time?
　　ROBERT(grabs her)I told you! I won't apologize for whoI am.
　　FRANCESCANo one's asking you to!
　　ROBERTI won't be made to feel like I'vedone something wrong.
　　FRANCESCA(angry)You won't be made to feel! Period.
　　You've carved out this little partfor yourself in the world where youget to be a voyeur, a hermit and alover whenever you feel like it andthe rest of us are just supposed tofeel so incredibly grateful for thebrief time you've touched our lives!
　　Well, go to hell! It isn't human notto feel lonely -- it isn't human notto afraid! You're a hypocrite andyou're a phony!
　　ROBERT(cries out)I DON'T WANT TO NEED YOU!
　　FRANCESCAWHY?
　　ROBERTBECAUSE I CAN'T HAVE YOU!
　　FRANCESCAWHAT DOES THAT HAVE TO DO WITH IT?
　　He throws a cup at the wall. It breaks apart. Covering hisface, Robert turns away from her as he holds onto the sink.
　　Francesca reaches for him but he pulls away, embarrassed. 　　灰烬夜幕降临麦迪逊县.那是一九八七年，她六十七岁生日,弗朗西丝卡已经躺在床上两个小时了.二十二年前一切的一切她都还看得见,摸得着,闻得到.
　　她记得,又记得.在依阿华九十二号公路上,在雨和雾中向西驶去的红色尾灯把她定住了二十多年.她摸自己乳房,还能感受到他的胸肌滑过那里.天哪,她多么爱他.那时她爱他,超过她原以为可能的程度,现在她更加爱他了.为了她,她什么都故意做,除了毁掉她的家庭,或者连同把他也毁掉.
　　她下楼坐到厨房那张黄色贴面的旧餐桌边.理查德曾买过一张新桌子,坚持非买不可.不过她也要求把那张旧桌子留下来放到机器棚里,在挪走之前她仔细地用塑料薄膜包好.我真不知道你为什么这么舍不得这张旧桌子.迈可又帮她把这张桌子又抬进屋子,从来没有问过她为什么要拿这张旧桌子换那新的.他只是用发问的眼光看着她,她没吭声.
　　现在她坐在桌旁.然后走到柜子边,从里面拿出两只白蜡烛和一对小铜烛台.她点上蜡烛打开收音机,慢慢地调频道,找到播放的轻柔音乐.
　　她在洗涤池旁了良久,头微微朝上,看着他的脸,轻声说:"我记得你,罗伯特.金凯.也许高原沙漠之王的话是对的,也许你是最后一个,也许眼下那些牛仔们都已濒临灭绝."理查德死之前,她从来没有设法给金凯打过电话或者写过信,尽管多少年来她每天都在刀刃边缘上权衡.如果她再跟他谈一次话,自己就会去找他.如果她给他写信,他就会来找她.事情就在这一发之际.这些年来,他给她寄过一包照片和那遍文章之后就再也没有来过信.她知道他理解她的感情,也理解他可能给她带来的生活中的麻烦.
　　从一九六五年起她订了<地理杂志>.关于廊桥的文章是第二年刊出的,有暖色的晨光中罗斯曼桥的照片,就是他发现她的字条的那天早晨照的.封面是他照的那一群马拉车走向猪背桥的照片,配图的文章也是他写的.
　　杂志背面常有介绍作者和摄影师的特写,有时还登他们的照片.他间或也出现其中.还是那银长发,手镯,牛仔裤,照相机从肩上挂下来,胳膊上青筋可见.在非洲卡拉哈里沙漠中,在印度查普尔的大墙上,在危地马拉的独木船上.在加拿大北部.大路和牛仔.
　　她把这些都剪下来,连同刊登廊桥的那期<地理杂志>,他的文章,两张照片,还有他的信,都放进一个牛皮纸信封中.他把信封放在梳妆台抽屉的内衣下面,这里理查德是决不会看的地方.她像一个远方的观察者年复一年跟踪观察罗伯特.金凯,眼看他渐渐老起来.
　　那笑容宛在,就是那修长,肌肉结实的身材也依然如故.但是她看得出他眼角的纹路,那健壮的双肩微微前俯,脸颊逐渐陷进去.她能看得出来,她曾经仔细研究过他的身体,比她一生中对任何事物都仔细,比对自己的身体还仔细.他逐渐变老反而使她更加强烈地渴望要他,假如可能的话,她猜想-不,她确知-他是单身.事实的确如此.
　　在烛光中,她在餐桌上仔细看那些剪报.他从遥远的地方看着她.她从一九六七年的一期中找出一张特殊的照片.他在东非的一条河边正对摄像机,而且是近镜头,蹲在那里好像正准备拍摄什么.
　　她多年前第一次见到这张照片时还看得出他脖子里的银项链上系着一个小小的圆牌.迈可离家上大学去了,当理查德和卡洛琳去睡觉之后,她把迈可少年时集邮用的高度放大镜拿出来放到照片上.天哪,谅了他.以后所有他的照片上都有这个小圆牌挂在银项链上.
　　一九七五年之后她再也没在杂志上看见过他.他的署名也不见了.她每一期都找遍了,可是找不到.他那年该是六十二岁.
　　理查德一九七九年世,葬礼完毕,孩子们都各自回到自己家里以后,她想起给罗伯特金凯打电话.他应该是六十六岁,她五十九岁.尽管已经失去了十四年,还来得及.她集中思考了一星期,最后从他的信头上找到了电话号码,拨了号.
　　电话铃响时她心脏几乎停止跳动.她听到有人拿起话筒,差点儿又把电话挂上.一个女人的声音说:"麦克格雷格尔保险公司."弗朗西丝卡心沉下去了,不过还能恢复得过来问那女秘书她拨的号码对不对,就是这个号码.她谢谢她,挂了电话.
　　下一步,她试着打华盛顿贝灵汉的电话问讯处.登记名单上没有.她试打西雅图,也没有.然后是贝灵汉和西雅图的商会办公室.她请他们查一查本市指南,他们查了,也没这个人.她想他哪儿都可能去的.
　　她想起杂志来,他曾说过可以通过那里打听.接待员很有礼貌,但是新人,得找另外一个人来回答她的要求.弗朗西丝卡的电话转了三次才跟一位在杂志工作过二十年的编辑通上话她问罗伯特.金凯的下落.
　　那编辑当然记得他."要找到他在哪里吗,呃?他真是个该死的摄影师,请原谅我的语言.他的脾气可不好,不是坏的意思,就是非常固执,他追求为艺术而艺术,这不大合我们读者的口味,我们的读者要好看的,显示摄影技巧的照片,但是不要太野的."我们常说金凯有点怪,在他为我们做的工作之外,没有人熟悉他.但是他是好样的.我们可以把他派到任何地方,他一定出活儿,尽管多数情况下他都不同意我们的编辑决策.至于他的下落,我一边讲话一边在翻他的档案.他于一九七五年离开我们杂志,地址电话是....他念的内容和弗朗西丝卡已经知道的一样.在此之后,她停止了搜寻,主要是害怕可能发现的情况她听其自然,允许自己越来越多地想罗伯特.金凯.她还能开车,每年有几次到得梅因去,在他曾带她去的那家饭店吃午餐.有一次,她买回来一个皮面白纸本,于是开始用整齐的手写体在这些白纸上记下她同他恋爱的详情的对他的思念.一共写了三大本她才感到完成任务.
　　温特塞特在前进.有一个艺术协会,成员多数是女性,要重新装修那些桥的议论也进行了几年了.有些有兴趣的年轻人在山上盖房子.风气有所开放,长头发不再惹人注目了,不过男人穿凉鞋的还是少见,诗人也很少.
　　除了几个女友外,她完全退出了社交.人们谈到了这一点.而且还谈到常看见她站在罗斯曼桥边,有时在杉树桥边.他们常说人老了常常变得古怪.也就满足于这一解释.
　　一九八二年二月二日,有一辆联合邮包服务公司的卡车驶进她的车道.她并没有邮购什么东西,感到惑然不解.她签过收条,看邮包上的地址:"依阿华,温特塞特,R.R.2,50273"寄信人地址是西雅图一家律师事务所.
　　邮包包得很整齐,并加了额外保险.她把它放在厨房桌子上,小心地打开.里面有三个盒子,安全地包在泡沫塑料之中.一只盒子顶端用胶条粘着一个厚信封,另一个盒子上有一封公文信,收信人是她,寄信人是一家法律事务所.
　　一九八二年一月二十五日弗朗西丝卡.约翰逊女士依阿华.温特塞特R.R.2,50273亲爱的约翰逊女士:
　　我们是一位最近去世的罗伯特.金凯先生的财产代理人....
　　弗朗西丝卡把信放在桌上.外面风雪扫过冬天的原野,她眼望着它扫过残梗,带走玉米壳堆在栅栏的角落里.她再读一遍那几行字:
　　我们是一位最近去世的罗伯特.金凯先生的财产代理人....
　　哦,罗伯特,罗伯特,....别.....,她轻声说着,低下了头.
　　一小时之后她才能继续读下去.那直接了当的法律语言,那准确的用词使她愤怒.
　　我们是......代理人一个律师执行一个委托人的委托.
　　可是那力量,那骑着彗星尾巴来到这世上的豹子,那个在炎热的八月的一天寻找罗斯曼桥的沙曼人,还有那个站在名叫哈里的卡车踏板上回头望着她在一个依阿华农场的小巷的尘土中逝去的人,他在哪里呢?在这些词句中能找到吗?
　　这封信应该有一千页之长,应该讲物种演变的终点和自由天地的丧失,讲牛仔们在栅栏网的角落里挣扎,像冬天的玉米壳.
　　他留下的唯一遗嘱日期是一九六七年七月八日.他明确指示把这些物件寄给您.如果找不到您,就予销毁.
　　在标明"信件"的盒子里有他于一九七八年留下的给您的信.信是由他封口的,至今末打开过.
　　金凯先生的遗体已火化,根据本人遗愿,不留任何标记.他的骨灰也根据本人遗愿撒在您家附近,据我所知该地称作罗斯曼桥,已由我事务所一职员执行.
　　如有可效劳之处,请随时与我们联系.
　　律师:爱伦.奎本谨启她喘过气来,擦干了眼睛,开始审视盒子里的东西.
　　她知道那软信封里是什么,她确知无疑,就像她确知春天一定会再来一样.她小心打开信封,伸进手去,出来的是那银项链,上面系着的圆牌子上刻着"弗朗西丝卡",背面用蚀刻刻出小得不能再小的字:"如捡到,请寄往美国依阿华州温特塞特R.R.2,弗朗西丝卡.约翰逊收."信封下面还有他的银手镯,包在餐巾纸里.有一张纸条和手镯包在一起,那是她的笔迹:当白蛾子张开翅膀时可以过来,什么时候都行.
　　这是她钉在罗斯曼桥上的纸条.他连这也留下做纪念了.
　　然后她想起来,这是他唯一拥有的她的东西,是证明她存在的唯一见证,此外就只有逐渐老化的胶片上日益模糊的她的影像了.这罗斯曼桥上的小条上面有斑点,有折痕,好像在皮夹里放了很久.
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Chapter 19
　　FRANCESCA (cont'd)(softly)Don't you see, I've got to know thetruth, Robert. I've got to know thetruth or I'll go crazy. Either way.
　　Just tell me. But I can't act likethis is enough because it has to be.
　　I can't pretend I don't feel what Ifeel because it's over tomorrow.
　　Robert, keeping his face from her, tries to tell her:
　　ROBERTIf I've done anything to make youthink that what's happened between usis nothing new for me -- is someroutine -- then I do apologize.
　　FRANCESCAWhat makes it different, Robert?
　　Robert turns to face her. He is so hopelessly in love he canhardly find the words. His eyes fill up with tears.
　　ROBERTBecause... if I even think abouttomorrow -- if I...
　　(voice cracks)even think about leaving here withoutyou -- I'm not sure I can... that I -(he shakes his head)He can't even finish. He kneels down before her wrapping hisarms around her and burying his face into her body. Francescastarts to cry -- out of happiness, out of pain -- holding ontohim as if for dear life.
　　FRANCESCAOh God... what are we going to do?
　　She kisses him -- over and over, not wanting to be even aninch apart. As if any space between them might separate themforever.
　　Suddenly, OS, they hear a CAR DRIVE UP to the house. Theypanic. Francesca runs to the window to see:
　　MADGE, a girlfriend, has come for a visit. Madge is holdinga homemade dessert.
　　FRANCESCA (cont'd)No. No. Where's your truck?
　　ROBERTBehind the barn. I better go.
　　Francesca turns to him -- speechless -- not wanting him to go.
　　ROBERT (cont'd)Don't worry. I meant upstairs.
　　He exits. Francesca gathers herself and heads for the frontentrance, quickly cleaning up the plates.
　　INT. FRONT HALL - DAYFrancesca opens the door to Madge.
　　FRANCESCAMadge?
　　MADGEHi. I made some brown betty. I sentFloyd off to town with the boy. I said -(entering)"Floyd, I'm going to visit mygirlfriend and spend the afternoonand that's all there is to it. Hesaid who's going to make lunch? Isaid I'm taking a sick day. Eat atthe dinner." Isn't that hilarious?
　　(MOVES INTO KITCHEN)He didn't dare raise an eyebrow -- Idon't even want to tell you how latehe was out last night with those goodfor nothings from the Sandford ranch.
　　I am so sorry, honey, I let two dayspass before I came by, but with theboy home the time just escapes me.
　　Have you heard from Richard? How'sthe fair? God, it's hot.
　　Following her into the kitchen, Francesca doesn't know whichquestion to answer first.
　　EXT. PORCH - LATER THAT DAYMadge and Francesca sit facing the pasture beside a tablewith coffee and brown betty. We parachute into the middle ofthe scene.
　　MADGE... I said to her, "what's the pointof summer school if all he's going todo are these art projects. The boyneeds so much work in math and hisspelling is a nightmare...
　　(continues)Francesca isn't listening. Her mind wanders.
　　FANTASY:
　　FRANCESCAMadge. Please. Something's happened.
　　I've met someone. I've fallen in lovein a way I've never thought couldhappen my entire life. It's our lastday together. I feel like I'm going todie when he leaves. Please. Help me.
　　MADGEOh, honey. I'm so sorry. But you'vegot to be grateful for even feelingthe little you've be given. Believeme. Go to him. Don't let him leavewithout these new precious hoursyou've got left. And if you needanyone to cry on, you know where I am.
　　END OF FANTASY:
　　Madge shoves a plate at her.
　　MADGE (cont'd)More brown betty?
　　Francesca takes the plate. She can't think straight.
　　MADGE (cont'd)... Anyway, I'm glad that's overwith. Sara doing so well though.
　　Everyone thought I was crazy havingthem so far apart, but...
　　(CONTINUES...)FANTASY:
　　Francesca stands behind Madge, as the latter chatters on MOS.
　　She calmly picks up the brown betty and, from behind, shovesit into Madge's face and holds it there, trying to suffocateher with it. Madge struggles.
　　END OF FANTASY:
　　Francesca's mind races as Madge continues.
　　MADGE... without one lesson. Theinstructor couldn't believe it. So,who knows -- she may have talent.
　　How's Carolyn doing? What are herplans for next year?
　　Francesca realizes this is her moment. She holds her head andleans over, unsteadily.
　　MADGE (cont'd)Honey, what's wrong?
　　FRANCESCAI don't know. I woke up a littledizzy. I didn't sleep well. I thinkI need to lay down.
　　MADGEYou want me to call the doctor?
　　FRANCESCANo, no. I just didn't sleep well.
　　I'm not used to sleeping alone. Andthis heat. Would you mind?
　　MADGENo, of course not. I'll just clean up.
　　FRANCESCANo, leave it. I'll do it later.
　　Listen, maybe you and Floyd can comefor dinner on Saturday. I'm sureRichard'll have so many stories totell you both about the fair and all.
　　MADGEOh, that'll be nice.
　　CUT TO:
　　INT. BEDROOM - LATER THAT DAYFrancesca enters to find Richard, laying on the bed fullyclothed. She sits beside him. He strokes her arm, then guidesher to lay down. Once she's in his arms, he speaks.
　　ROBERTCome with me.
　　Francesca knew he was going to say this. Either answer shegives frightens her.
　　FRANCESCAHold me.
　　She turns to him and they embrace. Robert, however, fearsonly one response. On the soundtrack, we hear the song "DARNTHAT DREAM."CUT TO:
　　INT. KITCHEN - EVENINGThe song continues over the next few images. Camera slowlypans from the radio, upon which the song is playing, to abeautifully set table and candles. It arrives on Robertpreparing dinner.
　　INT. BEDROOMCamera pans the room from two OPENED SUITCASES, as Francescapacks to leave. She moves about the room as if with blinderson -- focused on her task, refusing to take in any sign ormemories that might hinder her. She is wearing a RED DRESS,with BUTTONS down the front.
　　INT. KITCHENRobert stands at the sink rinsing out some utensils. Waitingfor the water to turn hot, he looks out through the windowabove the sink. He sees a beautiful view of beautiful night.
　　He pauses as it strikes him that this is a view Francesca hasseen a million times -- that soon she would not see ever again.
　　INT. SECOND FLOOR LANDINGCamera follows her as she exits the bedroom with hersuitcases, then walks down the hall to the stairs, then downthe staircase to the front hall.
　　She quietly sets the suitcases down, hearing the radio andRobert in the kitchen. She pauses, then enters the livingroom. One of the throw pillows has fallen off the couch. Shereplaces it then takes a moment to look about the room. Sheslowly sits down on the couch.
　　We hear voices of the past, auditory memories conjured up byeach stick of furniture Francesca sees.
　　FRANCESCA (V.O.)Michael, get off the back of thatchair! What did I tell you!
　　WE HEAR HIM FALL AND BEGIN TO CRY.
　　FRANCESCA (V.O.)All you all right, honey. Let me see...
　　A sound of Christmas music... of toddlers running andlaughing... A birthday party for Carolyn...
　　CAROLYN (V.O.)Mama, look -- look at the dress AuntPatty sent!
　　RICHARD (V.O.)Franny, BONNAZA's on!
　　ROBERTFrancesca?
　　Francesca snaps out for it and turns to find Robert.
　　ROBERT (cont'd)I've got dinner.
　　She smiles.
　　INT. KITCHENThey eat by candlelight. Neither speaks. Neither is veryhungry.
　　ROBERTWould you like a beer?
　　She smiles and shakes her head. Robert opens a bottle andtakes a sip.
　　ROBERT (cont'd)You know what I'd like to do beforewe leave? I'd like to take a pictureof you -- at Roseman bridge. Maybejust as the sun's coming up.
　　FRANCESCAYes. I'd like that.
　　Pause. Robert smiles back and takes another sip. Then,knowing full well what hangs heavy between them, he asks:
　　ROBERTTell me why you're not coming with me?
　　Francesca stops pretending to eat. She looks at him, havingforgotten how well he can read her.
　　FRANCESCANo matter how I keep turning itaround in my mind -- it doesn't seemlike the right thing.
　　ROBERTFor who?
　　FRANCESCAFor anyone. They'll never be able tolive through the talk. Richard willnever be able to. He doesn't deservethat. He hasn't hurt anyone in hislife.
　　ROBERT(getting aggressive)Then he can move! People move!
　　FRANCESCAHis family's lived for almost ahundred years. Richard doesn't knowhow to live anywhere else. And thekids...
　　ROBERTThe kids are grown! They don't needyou anymore. You told me that. Theyhardly talk to you.
　　FRANCESCANo, they don't say much. ButCarolyn's 16. She's just about tofind out about all this for herself-- she's going to fall in love,she's going to try and figure outhow to build a life with someone.
　　If I leave what does that say to her?
　　ROBERTWhat about us? What about me?
　　FRANCESCAYou've got to know deep down that theminute we leave here. It'll allchange.
　　ROBERTYeah. It could get better.
　　FRANCESCANo matter how much distance we putbetween us and this house, I bringwith it with me. And I'll feel itevery minute we're together. And I'llblame loving you for how much ithurts. And then even these four dayswon't be anything more than somethingsordid and... a mistake.
　　ROBERT(desperately)Francesca, listen to me. You thinkwhat's happened to us happens to justanybody? What we feel for each other?
　　How much we feel? We're not even twoseparate people anymore. Some peoplesearch their whole lives for it andwind up alone -- most people don'teven think it exists and you're goingto tell me that giving it up is theright thing to do? That staying herealone in a marriage, alone in a townyou hate, in a house you don't feelapart of anymore -- you're telling methat's the right thing to do!?
　　FRANCESCAWe are the choices we've made, Robert.
　　ROBERT(rises)TO HELL WITH YOU!
　　He turns his back on her.
　　FRANCESCARobert. Please.
　　(desperate to explain)You don't understand -- no one does.
　　When a woman makes the choice tomarry, to have children -- in one wayher life begins but in another way itstops. You build a life of details.
　　You become a mother, a wife and youstop and stay steady so that yourchildren can move. And when theyleave they take your life of detailswith them. And then you're expectedmove again only you don't rememberwhat moves you because no one hasasked in so long. Not even yourself.
　　You never in your life think thatlove like this can happen to you.
　　ROBERTBut now that you have it -FRANCESCAI want to keep it forever. I want tolove you the way I do now the rest ofmy life. Don't you understand -- we'lllose it if we leave. I can't make anentire life disappear to start a newone. All I can do is try to hold ontoto both. Help me. Help me not loseloving you.
　　She embraces him. He wraps his arms around her. He whispers.
　　ROBERTDon't leave me. Don't leave me alone.
　　Please.
　　This breaks her heart, knowing how hard it is for him to saythis. She holds him tighter, until -ROBERT (cont'd)Listen. Maybe you feel this way,maybe you don't. Maybe it's justbecause you're in this house. Maybe... maybe when they come backtomorrow you'll feel differently.
　　Don't you think that's possible?
　　FRANCESCAI don't know. Please...
　　ROBERTI'm going to be here a few more days.
　　I'll be at the Inn. We have sometime. Let's not say any more now.
　　FRANCESCANo. Don't do this.
　　ROBERTI CAN'T SAY GOODBYE YET! We'll leaveit for now. We're not saying goodbye.
　　We're not making any decision. Maybeyou'll change your mind. Maybe we'llaccidentally run into each other and... and you'll change your mind.
　　FRANCESCARobert, if that happens, you'll haveto decide. I won't be able to.
　　She cries in his arms. He kisses her as if for the last time.
　　Then, quickly, separates himself and leaves the house.
　　EXT. JOHNSON HOUSERobert walks briskly towards his truck not wanting to lookback. He gets in, starts it up and drives away.
　　Francesca exits the house and watches the truck recede intothe distance. She stops when she reaches the front gate,leaning against it. She murmurs to herself -FRANCESCAKeep going. Please.
　　The truck drives away. Then, suddenly, stops. Francesca'sheart quickens. She watches as the truck stands on the roadin the distance. As if Robert was deciding to turn around orkeep going. Francesca waits. Suddenly, the door to the truckflies open and Robert exits. Francesca loses all restraint.
　　She opens the gate but her dress is caught on it. Robertstands by the truck. Francesca tears at the dress, rippingoff a button which falls to the ground. She runs down theroad. Seeing her, Robert runs towards her as well.
　　They grab each other furiously. For these few moments, allconsiderations are gone. As he kisses her, he murmurs:
　　ROBERTI forgot to take your picture.
　　She laughs through her tears as they continue to kiss. Camerapans up to the road beyond Robert's truck.
　　WE SEE RICHARD'S TRUCK DRIVING TOWARDS THEM. For a moment itseems as if they will be caught until we realize RICHARD'STRUCK IS BEING SUPERIMPOSED as the LIGHT GRADUALLY BRIGHTENSTO REVEAL:
　　MORNING.
　　EXT. JOHNSON HOUSERichard, Michael and Carolyn drive down the road toward thehouse. Robert's truck, and all traces of him, are gone.
　　Francesca steps into the doorway in a house dress to welcomeher family home -- wondering how this will feel.
　　JOHNSON KITCHEN - EVENINGThe Johnson family has dinner as Francesca narrates:
　　FRANCESCA (V.O.)You all came home. And with you, mylife of details.
　　EXT. JOHNSON HOUSEEveryone is doing various daily chores.
　　FRANCESCA (V.O.)A day or two past and with eachthought of him, a task would presentitself like a life saver, pulling mefurther and further away from thosefour days.
　　INT. LIVING ROOM - EVENINGFrancesca is reading. Richard watches TV.
　　FRANCESCA (V.O.)I was grateful. I felt safe.
　　CUT TO: 　　她寻思,这些年来在远离中央河边的丘陵地带的地方,他不知拿出来读过多少次.她可以想象,他在一架直达喷气式飞机上就着微弱的小灯,面前放着这张纸条;在虎之国的竹篷里用手电照着读这张纸条;在贝灵汉的雨夜读过之后折起来放在一边,然后看照片:一个女人在夏天的早晨倚在一根篱笆桩上,或是在落日中从廊桥走出来.
　　三个盒子每个都装着一架相机带一个镜头.都已饱经风雨侵蚀,带着伤痕.她把其中一架转过来,在取景器上有"尼康"字样,商标的左上角有一个"F",她在杉树桥递给他的那架相机.
　　最后,她打开他的信,是他亲笔写在他的专用信纸上,日期是一九七八年八月十六日.
　　亲爱的弗朗西丝卡:
　　希望你一切都好.我不知道你何时能收到此信,总是在我去世以后.我现已六十五岁,我们相逢在十三年前的今日,当我进入你的小巷问路之时.
　　我把宝押在这个包裹不会拢乱你的生活上.我实在无法忍受让这些相机躺在相机店的二手货橱窗里,或是转入陌生人之手.等它们到你手里时已是相当破旧了,可是我没有别人可以留交,只好寄给你,让你冒风险,很抱歉.
　　从一九六五年到一九七三年我几乎常年是在大路上.我接受所有我谋求得到的海外派遣,只是为了抵挡给你打电话或来找你的诱惑,而事实上只要我醒着,生活中每时每刻都在这种诱惑.多少次,我对自己说:"去它的吧,我这就去依阿华温特塞特,不惜一切代价要把弗朗西丝卡带走."可是我记得你的话,我尊重你的感情.也许你是对的,我不知道.我只知道在那个炎热的星期五从你的小巷开车出来是我一生中做过的最艰难的事以后也决不会再有.事实上我怀疑有多少男人曾做过这样艰难的事.
　　我于一九七五年离开<地理杂志>以后的摄影生涯就致力于拍摄我自己挑选的对象,有机会时就在当地或者本地区找点事做,一次只外出几天经济比较困难,不过还过得去,我总是过得去的.
　　我的许多作品都是围绕着皮吉特海湾.我喜欢这样.似乎人老了就转向水.
　　对了,我现在有一条狗,一条金色的猎狗.我叫它"大路",它大多数时间都伴我旅行,脑袋伸到窗外,寻找捕捉对象.
　　一九七二年我在缅因州阿卡迪亚国家公园的一座峭壁上摔了下来,跌断了踝骨,项链和圆牌一起给跌断了,幸亏是落在近处,我又找到了,请一位珠宝商修复了项链.
　　我心已蒙上了灰尘.我想不出来更恰当的说法.在你之前有过几个女人在你之后一个也没有,我并没有要发誓要保持独身,只是不感兴趣.
　　我有一次观察过一只加拿大鹅,它的伴侣被猎人杀死了.你知道这种鹅的伴侣是从一而终的.那雄鹅成天围着池塘转,日复一日.我最后一次看见它,它还在寻觅.这一比喻太浅露了,不够文学味儿,可这大致就我的感受.
　　在雾蒙蒙的早晨,或是午后太阳在西北方水面上跳动时,我常试图想象你在哪里,在做什么.没什么复杂的事-不外乎到你的园子里去,坐在前廊的秋千上,站在你厨房洗涤池前之类的事.
　　我样样都记得:你的气息,你夏天一般的味道,你紧贴我身上的皮肤的手感还有在我爱着你时你说悄悄话的声音.
　　罗伯特.潘.华伦用过一句话:"一个似乎为上帝所遗弃的世界."说得好,很接近我有时的感觉.但我不能总是这样生活.当这些感觉太强烈时,我就给哈里装车,与大路共处几天.
　　我不喜欢自怜自艾.我不是这种人，而且大多数时候我不是这种感觉.相反,我有感激之情,因为我至少找到了你.我们本来也可能像一闪而过的两粒宇宙尘埃一样失之交臂.
　　上帝,或是宇宙,或是不管叫它什么,总之那平衡与秩序的大系统是不承认地球上的时间的.对宇宙来说,四天与四兆光年没有什么区别.我努力记住这一点.
　　但是我毕竟是一个男人.所有我能记起的一切哲学推理都不能阻止我要你,每天,每时,每刻,在我头脑深处是时间残忍的悲号,那永不能与你相聚的时间.
　　我爱你,深深地,全身心地爱你,直到永远.
　　最后的牛仔:罗伯特又:我去年夏天给哈里装了一个新引擎,它现在挺好.
　　包裹是五年前收到的.翻看里面的东西已成为她每年的生日仪式.她把照相机,手镯和带圆牌的项链放在壁柜里一个特制的匣子中.匣子是当地一个木匠根据她的设计做的,胡桃木加防尘封口,里面用软垫隔开.木匠说"这匣子真考究."她只是笑笑.
　　最后一道仪式是读文稿,她总是在一天结束时在烛光下读.她从起居间拿来这份文稿,小心地把它铺在贴面桌上蜡烛旁,点上她一年一支的香烟骆驼牌,啜一口白兰地,然后开始读.
　　从零度空间落下罗伯特.金凯对有些古老的风我至今不解,虽然我一直是,而且似乎永远是乘着这些风卷曲的脊梁而行.我徜徉在零度空间,世界在别处另一种物体中与我平行运行.我看世界就像两手插在裤袋里弯身向商店橱窗里张望一样.
　　在零度空间中常有奇异的时刻.一条长长的长路从马格达莱纳以西蜿蜓绕过多雨的新墨西哥,变成了人行小路,然后又变成野兽踩出来的羊肠小道.我车窗的乱水器一甩,羊肠小道变成了人迹兽迹都没有的洪荒森林.乱水器再一甩,又退回了一步,这下到了大冰原,我乱缠头发,身披兽衣,手拿长矛在杂草中行进,身体精瘦像冰一般坚硬,浑身肌肉,狡黠莫测.过了冰原,再沿着事物的发展阶段往回走,我在深盐水中游泳,长着鳃,深身是鳞.再往远处我就什么也看不见了.只见浮游生物之外是零这个数字.
　　欧几里德不一定全对.他假定平行线一直到头都是平行的.但是非欧几里德式存在也是可能的.两条平行线在遥远的某处相遇.那相交点正在消失,是对会合的幻觉.
　　但是我知道,我并非仅仅是幻觉而已.有时相会合是可能的-一种现实洋溢到另一种现实中去.那是轻柔的互相缠绕,而不是这个充斥着准确性的世界上所惯见的那种齐整的交织.没有穿梭声,只是.....呵气.对了,就是这声音,也是这感觉.呵气.
　　于是我在这世外的现实之上,之旁,之下以及周围缓缓运行,总是强壮有力,同时也不断献出我自己.而那另一个觉察到了,于是带着它自己力量迎上来,同样把自己献给我.
　　在这呵气之中的某个地方有乐声飘飘,于是那奇异的,盘旋上升的舞蹈开始了,完全踏着自己特有节拍,把那个缠头发手拿长矛的冰纪人炼化.缓缓地,在柔和的乐声中总是柔和--那冰纪人落下来,从零度空间落下来.....落到她的体内.
　　弗朗西丝卡六十七岁生日这一天结束时雨已停止,她把牛皮纸信封放回书桌最下面的抽屉.理查德去世后她决定把这包东西放进她银行的保险柜里,不过每年此时拿回来几天.盖上胡桃木匣子的盖子,把相机关在里面.匣子放进她卧室壁柜的子上.
　　下午早些时候她曾去过罗斯曼桥.现在她走到前廊,用毛巾擦干秋千,坐在上面,这里很凉,但是她要呆几分钟,每次都是这样.她走到庭院门口站着,然后走到小巷口.事隔二十二年之后她仍然看见他在近黄昏的午后走出卡车来问路,她还能看见哈里颠簸着驶向乡间公路然后停下-罗伯特.金凯站在踏板上,回头望着小巷.
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