EXT. IOWA LAKEFRONT - NIGHT
Michael and Carolyn have parked in a secluded1 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 weird2.
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 flips3 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 decided4 to spend Wednesdayaway from Winterset. Away fromMadison County. Away from pasturesand bridges and people too familiarand reminders5 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 popcorn6. 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 curiously7.
ROBERTI can't do this, honey.
FRANCESCAWhat?
ROBERTTry and live a lifetime beforeFriday. Cram8 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 giggles9 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 dabbing10 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.
收听单词发音 |
1
secluded
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| adj.与世隔绝的；隐退的；偏僻的v.使隔开，使隐退( seclude的过去式和过去分词) | |
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2
weird
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| adj.古怪的，离奇的；怪诞的，神秘而可怕的 | |
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3
flips
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| 轻弹( flip的第三人称单数 )； 按（开关）； 快速翻转； 急挥 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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reminders
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| n.令人回忆起…的东西( reminder的名词复数 )；提醒…的东西；（告知该做某事的）通知单；提示信 | |
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popcorn
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| n.爆米花 | |
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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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cram
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| v.填塞，塞满，临时抱佛脚，为考试而学习 | |
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9
giggles
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| n.咯咯的笑( giggle的名词复数 )；傻笑；玩笑；the giggles 止不住的格格笑v.咯咯地笑( giggle的第三人称单数 ) | |
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10
dabbing
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| 石面凿毛，灰泥抛毛 | |
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