EXT. PAY PHONE, GAS STATION - LATE MORNING
Francesca'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 Cedar1 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-AGED2 COUPLE talk at table.
WIFEThelma told me he checked into theMotor Inn and the bill goes toNational Geographic3 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, demure4 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 astounded5. 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 curiously6. The second waitress looksback as if to say, "What business is it of yours?" and exits.
CUT TO:
EXT. DES MOINES - DAYA metropolis7 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 sneak8 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 diatribe9 of gossip.
CUT BACK TO:
INT. DES MOINES DRESS SHOP - DAYFrancesca sits in her slip, alone in a dressing10 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 guilt11...
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.
收听单词发音 |
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cedar
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| n.雪松，香柏(木) | |
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middle-aged
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| adj.中年的 | |
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geographic
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| adj.地理学的，地理的 | |
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demure
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| adj.严肃的；端庄的 | |
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astounded
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| v.使震惊(astound的过去式和过去分词)；愕然；愕；惊讶 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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metropolis
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| n.首府；大城市 | |
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8
sneak
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| vt.潜行(隐藏,填石缝)；偷偷摸摸做；n.潜行；adj.暗中进行 | |
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diatribe
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| n.抨击，抨击性演说 | |
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dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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guilt
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| n.犯罪；内疚；过失，罪责 | |
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