INT. JOHNSON HOUSE - LATE AFTERNOON
Francesca 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. CEDAR1 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 plumbing2 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 crumb4 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 magenta5, illuminates6 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 hip3, 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.
1 cedar | |
n.雪松,香柏(木) | |
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2 plumbing | |
n.水管装置;水暖工的工作;管道工程v.用铅锤测量(plumb的现在分词);探究 | |
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3 hip | |
n.臀部,髋;屋脊 | |
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4 crumb | |
n.饼屑,面包屑,小量 | |
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5 magenta | |
n..紫红色(的染料);adj.紫红色的 | |
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6 illuminates | |
v.使明亮( illuminate的第三人称单数 );照亮;装饰;说明 | |
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