EXT. PASTURE - NIGHT
Francesca and Robert walk through the pasture. She sniffs1 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 appreciation2. 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 liar3 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 compassion4.
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 sipping5 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 sips6 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 atone7 place. So I decided8 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 monk9.
Francesca averts10 her eyes, before continuing her investigation11.
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 drawn12. 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 whatsoever13 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 Ethic14 everyone seems to behypnotized by in this country. Iguess you think I'm just some poordisplaced soul doomed15 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 stunned16 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.
1 sniffs | |
v.以鼻吸气,嗅,闻( sniff的第三人称单数 );抽鼻子(尤指哭泣、患感冒等时出声地用鼻子吸气);抱怨,不以为然地说 | |
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2 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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3 liar | |
n.说谎的人 | |
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4 compassion | |
n.同情,怜悯 | |
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5 sipping | |
v.小口喝,呷,抿( sip的现在分词 ) | |
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6 sips | |
n.小口喝,一小口的量( sip的名词复数 )v.小口喝,呷,抿( sip的第三人称单数 ) | |
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7 atone | |
v.赎罪,补偿 | |
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8 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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9 monk | |
n.和尚,僧侣,修道士 | |
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10 averts | |
防止,避免( avert的第三人称单数 ); 转移 | |
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11 investigation | |
n.调查,调查研究 | |
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12 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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13 whatsoever | |
adv.(用于否定句中以加强语气)任何;pron.无论什么 | |
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14 ethic | |
n.道德标准,行为准则 | |
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15 doomed | |
命定的 | |
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16 stunned | |
adj. 震惊的,惊讶的 动词stun的过去式和过去分词 | |
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