廊桥遗梦-中英版17

   
 
17
  17
 
EXT. IOWA LAKEFRONT - NIGHT
Michael and Carolyn have parked in a secluded area near a
lake. Some place where the moonlight and the scenery create
a beautiful backdrop. They sit on the ground, leaving the
headlights and the radio on. They are getting drunk sharing
a bottle of whiskey.
MICHAEL
I used to love this place. I used to
take Kathy Reynolds down here.
CAROLYN
You never dated Kathy Reynolds!
MICHAEL
Not officially. Her and Steve Kendall
were pinned at birth. But I was crazy
about her. And for about three months,
I managed to catch her during her
"exploring" stage.
CAROLYN
I never knew that.
MICHAEL
(sadly)
Nobody did.
CAROLYN
Was this during Betty?
MICHAEL
Everything was during Betty. God we
were so young. Why did we think we
had to do it all so fast? I've never
cheated on Betty. Not once we were
married, I mean.
CAROLYN
Did we want to?
MICHAEL
Only about a thousand times. What do
I do now? "What's good enough for mom
is good enough for me?"
CAROLYN
(pissed off)
What gets me is I'm 46 years old.
I've been in this crummy fucking
marriage -
MICHAEL
Carolyn!
CAROLYN
(ignores him)
-- for over twenty years because
that's what I was taught -- you stick
with it! Normal people don't get
divorced. I can't remember the last
time my husband made love to me so
intensely that he transported me to
Europe, for Christ's sake -- quite
frankly, I don't think he ever did!
And now I find out in between bake
sales, my mother was Anais Nin!
MICHAEL
What about me! I feel really weird.
Like she cheated on me, not dad.
Isn't that sick? I don't mean I
wanted to sleep with her or anything
but -- ya know -- being the only son.
You're sort of made to feel like
you're the prince of the kingdom, ya
know? And in the back of your mind,
you kind of think your mother doesn't
need sex anymore because she has you.
CAROLYN
You're right -- that is sick.
They drink.
MICHAEL
If she was so unhappy, why didn't she
leave?
They look to each other without an answer. Then simultaneously
they 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 relaxed
position in order to listen. Michael flips to an ear marked
page.
MICHAEL (cont'd)
What paragraph were you up to?
CAROLYN
(casually)
She just made him perform oral sex on
the porch.
Michael freezes. He loses his nerve. Carolyn helps.
CAROLYN (cont'd)
Go ahead, Michael. You've got to do
this. 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 me
that way before."
(stops)
Oh Jesus.
(continues)
"I couldn't believe the feelings
bursting inside of me. As if I had
opened 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 a
completely different life as a
completely different woman. What was
recognizable as me before Robert was
gone. We decided to spend Wednesday
away from Winterset. Away from
Madison County. Away from pastures
and bridges and people too familiar
and reminders too painful. We let the
day take us where it wanted..."
1965
INT. DES MOINES MOVIE THEATER - DAY
VIVIEN LEIGH is walking down a ships stairs in the 1965 film
"SHIP OF FOOLS." She is alone on screen. She walks, slightly
intoxicated. Suddenly, Charleston music plays out of nowhere
and she begins to dance, by herself, without any self-
consciousness.
In the movie theatre, Robert sits with his arm around
Francesca like teenage lovers. Her head is nestled in his
chest as she eats from a bag of popcorn. Robert barely keeps
his eyes on the screen, staring at Francesca and stroking her
hair.
EXT. DOWNTOWN DES MOINES STREET - DAY
Francesca and Robert walk hand-in-hand, window shopping and
taking in the sights. For Francesca, it is as if she is
seeing everything for the first time.
INT. BOOK STORE - DAY
Robert 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.
FRANCESCA
On that one is beautiful. Look at
their expressions. As if the camera
weren't on them at all. As if they
had no strength left to hide what
they were feeling.
ROBERT
He's a genius. They're not
photographs -- they're stories, entire
histories captured in moments.
FRANCESCA
I bet you could do a book.
ROBERT
No. I couldn't.
FRANCESCA
Why do you say that?
ROBERT
Because I already tried once.
Francesca is surprised. She senses his disappointment.
ROBERT (cont'd)
It's no big deal. I know how to work
a camera, how to make it "make
pictures" -- but I don't know how to
make it make art.
(laughs)
At least that's what six publishers
said. To take what we see of this
world and give it back with a bit of
ourselves 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 he
looks at another book, she notices their reflection in a
mirror. She puts her arm through his. They look like a couple
to her -- two people who belong together.
INT. FANCY RESTAURANT - DAY
Francesca and Robert have an elegant lunch.
FRANCESCA
What were you like when you were
younger?
ROBERT
(smiles)
Trouble. Why?
FRANCESCA
(laughs)
I just wondered. Why were you trouble?
ROBERT
I had a temper.
FRANCESCA
What were your parents like?
Pause. Robert doesn't reply. She looks at him curiously.
ROBERT
I can't do this, honey.
FRANCESCA
What?
ROBERT
Try and live a lifetime before
Friday. Cram 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 dessert
with her FIVE-YEAR-OLD DAUGHTER, a pretty little girl in a
fancy yellow dress. The mother rises and exits to the ladies
room while the little girl continues eating a large sundae.
Francesca smiles. As the girl licks a spoon of fudge, she
sees Francesca looking at her and smiles back. Robert watches
the silent exchange as he eats. Francesca makes a funny face
at her. The little girl giggles as she spoons more ice-cream.
Unfortunately, she spoons too much and the ice-cream falls on
her pretty dress. She tries to take it off her, but she slips
through her fingers and stains her even more. She looks at
Francesca as if she's about to cry. Francesca smiles.
FRANCESCA
Excuse me a minute.
Robert watches her cross to the little girl and kneel beside
her. He sees her consoling the little girl while taking a
napkin and dabbing it in the water glass.
She helps the girl carefully wipe away the mess, all the
while calming her. The mother re-enters the scene and shakes
her head at her daughter. The daughter is afraid of being
reproached but the mother is smiling. She and Francesca begin
talking. She thanks Francesca. Robert sees the two mothers
exchanging a moment of common experience and brief
friendship. The mother and daughter take their leave as
Francesca says goodbye and returns to the table. Robert looks
at her lovingly. Francesca returns to her meal, but suddenly
she is no longer hungry. Robert senses something is upsetting
her.
ROBERT
You're somewhere else, where?
FRANCESCA
Just that it's been a perfect day and
that I'd like to skip my fancy
dessert and go home after this.
ROBERT
Uh-huh. And?
FRANCESCA
(beat)
You're right, you know. We don't have
much time.
Uncomfortable silence hangs between them. A waiter passes by.
ROBERT
Check, please.
OS, as the MOTHER YELLS:
MOTHER
REBECCA! 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. 
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