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 hilarious1?
(MOVES INTO KITCHEN)He didn't dare raise an eyebrow2 -- Idon't even want to tell you how latehe was out last night with those goodfor nothings from the Sandford ranch3.
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. PORCH4 - LATER THAT DAYMadge and Francesca sit facing the pasture5 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 nightmare6...
(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 (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 chatters8 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 hinder9 her. She is wearing a RED DRESS,with BUTTONS down the front.
INT. KITCHENRobert stands at the sink rinsing10 out some utensils11. 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 staircase12 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 couch13. 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 conjured14 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 snaps15 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 sip16.
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 briskly17 towards his truck not wanting to lookback. He gets in, starts it up and drives away.
Francesca exits the house and watches the truck recede18 intothe distance. She stops when she reaches the front gate,leaning against it. She murmurs19 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 grab20 each other furiously21. 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 doorway22 in a house dress to welcomeher family home -- wondering how this will feel.
JOHNSON KITCHEN - EVENINGThe Johnson family has dinner as Francesca narrates23:
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.
收听单词发音 |
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hilarious
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| adj.充满笑声的，欢闹的；[反]depressed | |
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eyebrow
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| n.眉毛，眉 | |
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ranch
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| n.大牧场，大农场 | |
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porch
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| n.门廊，入口处，走廊，游廊 | |
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pasture
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| n.牧场，牲畜饲养 | |
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nightmare
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| n.恶梦，可怕的事物，无法摆脱的恐惧 | |
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shoves
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| 推，猛推，乱推( shove的第三人称单数 )； 乱放； 随便放； 胡乱丢 | |
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chatters
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| （人）喋喋不休( chatter的第三人称单数 )； 唠叨； （牙齿）打战； （机器）震颤 | |
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hinder
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| adj.后面的；v.阻碍，打扰 | |
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10
rinsing
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| n.清水，残渣v.漂洗( rinse的现在分词 )；冲洗；用清水漂洗掉（肥皂泡等）；（用清水）冲掉 | |
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11
utensils
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| 器具，用具，器皿( utensil的名词复数 )； 器物 | |
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12
staircase
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| n.楼梯，楼梯间 | |
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13
couch
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| n.睡椅，长沙发椅；vt.表达，隐含 | |
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14
conjured
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| 用魔术变出( conjure的过去式和过去分词 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现 | |
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15
snaps
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| v.猛地咬住( snap的第三人称单数 )；（使某物）发出尖厉声音地突然断裂[打开，关闭]；厉声地说；拍照 | |
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16
sip
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| v.小口地喝，抿，呷；n.一小口的量 | |
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17
briskly
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| 轻快的；敏捷的 | |
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18
recede
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| vi.退(去)，渐渐远去；向后倾斜，缩进 | |
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19
murmurs
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| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
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20
grab
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| vt./n.攫取，抓取；vi.攫取，抓住(at) | |
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21
furiously
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| adv. 狂怒地, 有力地 | |
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22
doorway
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| n.门口，(喻)入门；门路，途径 | |
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23
narrates
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| v.故事( narrate的第三人称单数 ) | |
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