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10 10 As Francesca thinks of an answer, she looks over to the entranceway between the kitchen and the front hall and sees: FANTASY: Richard standing there in his underwear, reaching over his shoulder. RICHARD Franny, could you clean out my boil again? END OF FANTASY: Francesca answers Robert, half of her still in fantasy -- FRANCESCA He's very... clean. ROBERT Clean? FRANCESCA (catching herself) No. I mean yes, he's clean but he's also other things. He's a very hard worker. Very honest. Very caring. Gentle. Good father. ROBERT And clean. FRANCESCA Yes. Very clean. They drink. Francesca thinks she sounds like an idiot. ROBERT So you must like Oiwa, I guess. Francesca looks at him. She wants to tell the truth, but holds back. FRANCESCA It's... uh... uh... She stops. Robert smiles. ROBERT Go ahead. I won't tell anyone. Surprised, Francesca looks at him oddly -- as if he already knows and is giving her permission. FRANCESCA It's... (tries again) I... (finally) I hate it! She covers her mouth, like a reflex -- worried someone heard. Robert just smiles and nods. Francesca is so taken by his understanding and acceptance, she lets the flood gates open, speaking faster than her mind can keep up -- FRANCESCA (cont'd) (without a pause) I hate it! I hate it! I HATE IT! I hate the corn and the dust and the town and the cows and that SMELL that you love! I hate the people. Everybody knows everybody's business, I mean it's nice now and then, they're always there to help out, but that's just it, it's like they're waiting for something awful to happen to help out and when nothing awful is happening, then they just sit around and talk about what is happening which is none of their business. I want to kill them sometimes for how cruel they can be -- Camera begins slowly moving out to a wider angle... FRANCESCA (cont'd) -- everybody's talking about poor Mrs. Delaney whose husband is having an affair with that Redfield woman and "isn't it a shame," and "isn't it awful," and the truth is THEY'RE LOVING IT! Poor woman can't even be cheated on without the grocery man knowing about it -- no one respects anyone's privacy. You're not even safe in your own home! They think they can just walk right into your house because they BAKED you something. It's like they have a secret password and YOU CAN'T KEEP THEM OUT! I live in fear of that door opening and having a peach cobbler shoved at me... (CONTINUES MOS IF NEEDED) Throughout this rapid fire monologue, camera has moved to a wide angle as Robert just sits and listens, letting her get it all off her chest. She continues as we: DISSOLVE TO: INT. LIVING ROOM Francesca is lying on the couch as Robert places a cold cloth on her head. Her "confession" took a lot out offer. ROBERT Feeling better? FRANCESCA Much. ROBERT Is the dizziness gone? FRANCESCA I think so. She sits up. She feels exposed. But also, relieved. ROBERT I better go. You sure you're all right? (she nods) It's been a pleasure. Sincerely. FRANCESCA I feel so embarrassed. ROBERT Why? You uncorked a bottle. From what I can tell, I got here just in time. Any later and you'd have made the front page, running down Main Street naked, smoking Camels out of your butt. FRANCESCA (laughs) But I... We don't even know each other. ROBERT (sincerely) You have no reason to feel ashamed. You haven't said anything you don't have a right to. And if anybody tells you different -- you just send them to me. She smiles. He turns to exit. ROBERT (cont'd) Better get my stuff. Francesca surprises herself. She doesn't want him to go. FRANCESCA Would you like to stay for dinner? (he turns) There aren't many choices in town and ... anyway, you'd have to eat alone. So would I. ROBERT That's very nice of you. I don't get many dinner invitations on the job. It would be a welcome change. Thanks. CUT TO: INT. BEDROOM - LATER Francesca rushes in and starts to disrobe, getting ready to shower and change for dinner. She glances out the window and sees: EXT. JOHNSON HOUSE Robert is at the water pump. His shirt is off and he is washing himself. (WE INTERCUT THE TWO.) Francesca finds herself staring, a bit open mouthed. He has a muscular, firm body. She watches how the water cascades over his body. How he seems so unashamed, so "in his skin," moving with such strength and grace. Robert pauses and looks out over the open pasture. The cold water feels good. Since the pump is the back of the house, hidden from the road, no one can see him. He decides to take off his pants and cool himself further. Francesca begins watching this in shock until she has to literally pull herself away from the window with such a force that she rams herself into a chest of drawers, knocking over an array of perfume bottles and a mirror. She deftly catches a falling bottle and freezes. Taking a breath, she pulls herself together. FRANCESCA This is ridiculous. Stupid! She replaces the bottle and heads for the bathroom quite composed, then, without warning, makes an immediate 180 degree turn and heads back to the window to sneak a peek. Seeing him, she gasps. FRANCESCA (cont'd) Oh my God. Watching him, she is possessed by some very frightening feelings and runs from the window, into the bathroom, closing the door behind her. EXT. JOHNSON HOUSE - EARLY EVENING Francesca is gathering some vegetables for dinner, from her garden. Robert is at his truck, in his pants, changing into a fresh shirt. INT. KITCHEN - LATER Francesca is cutting up vegetables. Robert enters with some of his gear. ROBERT I'm just going to put some of this film in your fridge. Heat isn't too forgiving out there. He does. On the radio, TONY BENNETT sings "WRAP YOUR TROUBLES IN DREAMS." Robert approaches Francesca. ROBERT (cont'd) Can I help? FRANCESCA (surprised) Help cook? ROBERT Sure. Men cook. We don't all eat bananas with our feet, ya know. FRANCESCA (laughs) Okay. They stand side by side. Francesca hands him a stack of carrots and a knife. MONTAGE: Tony Bennett's up-tempo tone plays over a series of images of Francesca and Robert talk and prepare dinner. -- Four hands side by side, cutting and chopping. Occasionally, a hand brushes against another as it reaches for something. -- Robert's hand gently touching Francesca's waist as he reaches around her for an onion. -- Robert lighting Francesca a cigarette. -- Robert brings in his cooker through the screen door. HE MAKES SURE IT DOESN'T SLAM. FRANCESCA MAKES A NOTE OF THIS. -- Robert opens the cooler and removes two cold beers, tossing one to Francesca. -- Francesca opening a new tablecloth and spreading it out on the table. -- Francesca handing Robert plates from the shelf, their fingers only barely touching. END OF MONTAGE 星期二的橋 黎明前一小時(shí)羅伯特.金凱駛過理查德.約翰遜的信箱,嚼一口銀河牌巧克力,咬一口蘋果,把咖啡杯子放在座位上夾在兩腿中間以免潑翻.他經(jīng)過朦朧月色中的那所白房子時(shí)抬頭望一望,搖頭嘆息男人多愚蠢,有些男人,多數(shù)男人.他們至少可以做到喝杯白蘭地,出門時(shí)不要摔那百葉門. 弗朗西絲卡聽見那輛走調(diào)的小卡車經(jīng)過.她躺在床上,光著身子睡了一夜,這是她記憶中的第一次.她能想象金凱的樣子,頭發(fā)被車窗卷進(jìn)的風(fēng)吹起,一只手扶著方向盤,另一只手拿著一支駱駝煙. 她傾聽車輪隆隆向羅斯曼橋的方向逐漸杳然.她開始在腦海里翻騰葉芝的詩句:"我到榛樹林中去,因?yàn)槲翌^腦里有一團(tuán)火....."她表達(dá)這首詩的方式是介乎教學(xué)和祈求之間. 他把車停在離橋比較遠(yuǎn)的地方,以便不妨礙他攝影的構(gòu)圖.他從車座后面小小的空間拿出一雙膠皮靴,坐在車的踏板上解開皮靴的帶子換上.把一只有兩根帶子的背包背在雙肩,三腳架的皮帶掛在左肩,右手拎著一只背包,通過陡峭的河岸向水邊走去. 要用技巧把橋放在某一角度以便在構(gòu)圖上突出來,同時(shí)要收進(jìn)一角小溪而避開橋入口處墻上那些亂刻的字.橋后面的電話線也是個(gè)問題,但是通過精心確定框架也可以處理好. 他把裝好柯達(dá)彩卷的尼康相機(jī)拿出來裝在三腳架上,擰緊螺絲釘.相機(jī)裝著24毫米鏡頭,他換上他最喜歡的105毫米鏡頭.東方已顯出灰朦朦的光線,他開始試驗(yàn)他的構(gòu)圖,把三腳架向左移二英尺,調(diào)整了陷入溪邊爛泥中的那只腳,把相機(jī)帶子繞在左腕上,這是他在水邊照相時(shí)經(jīng)常做的,因?yàn)橛捎谌_架倒在水里而損失的相機(jī)太多了. 紅光出現(xiàn),天空漸漸亮起來.把相機(jī)向下拉六英寸,調(diào)整三腳架的腿.還不對(duì).再往左移一英尺,再調(diào)整架腿.把相機(jī)在架頂放平,鏡頭調(diào)整到5/8.估計(jì)一下原野的深度,通過高焦距的技術(shù)把它放到最大限度.把拉線套緊在扳機(jī)上.現(xiàn)在太陽百分之四十在地平線上面,橋上的舊漆變成一種暖紅色,這正是他所要的. 從左胸口袋中拿出光譜儀,對(duì)到1/8.需要曝光一秒鐘,不過柯達(dá)膠卷能堅(jiān)持到這一極限.從取景器望過去."那橋入口處掛著什么鬼東西?"他嘰咕著."一片紙.昨天并不在那兒呀." 扶穩(wěn)三腳架,跑上岸去,身后的陽光迅速追上來.那張紙整整齊齊的別在橋上.把它撕下來連大頭針一起放進(jìn)背心口袋里.趕緊跑到岸邊,下去,走到相機(jī)后面,太陽已升起百分之六十.跑得氣喘吁吁,再拍一次,重復(fù)兩次以便留底.沒有風(fēng),草紋絲不動(dòng).為保險(xiǎn)起見,照了三兩秒的三張一秒半的. 把鏡頭調(diào)到1/16,整個(gè)程序再重復(fù)一遍.把三腳架和相機(jī)拿到小溪當(dāng)中去,安置好,印上腳印的淤泥向后移去.這段連續(xù)鏡頭再完整地拍一遍.裝一卷新的柯達(dá)彩卷,換鏡頭,把24毫米的裝上,把105毫米的放進(jìn)口袋,涉水而上,離橋近些,調(diào)整.對(duì)好,核對(duì)光線,拍三張照,再照幾張備用作為保險(xiǎn). 把相機(jī)豎起來,重新構(gòu)圖,再拍,同樣的場(chǎng)景,依次拍攝.他的動(dòng)作沒有一點(diǎn)不靈便之處,一切都是那么嫻熟,每個(gè)動(dòng)作都有道理,意外情況都得到效率的專業(yè)化的處理,不落痕跡. 上得岸來,背著器材穿橋,同太陽賽跑.現(xiàn)在進(jìn)入緊張階段.抓出已經(jīng)裝好感光速度更快的膠卷的相機(jī),把兩架相機(jī)都套在脖子上,爬上橋后的樹.樹皮扎破了手臂-"去他媽的!"繼續(xù)爬.現(xiàn)在高高在上,從一個(gè)角度望見橋,小溪上正閃著陽光.用特寫儀把橋頂單獨(dú)劃出,然后是橋的背陰影面.就在水邊讀儀器的指數(shù),把相機(jī)架好,拍九張照片,再拍備份照,把相機(jī)放在塞在樹椏杈之間的背心上,換相機(jī),換感光速度更快的膠卷,又照了十幾張.爬下樹,再下河岸,架起三角腳,再裝上柯達(dá)彩卷,構(gòu)圖從第一批一樣,不過是從小溪對(duì)面照的.把第三架相機(jī)從包里拉出來,那是架舊SP測(cè)距離的相機(jī),現(xiàn)在是拍黑白照了.橋上的光線一秒鐘一變.緊張的二十分鐘-這種緊張只有軍人.外科醫(yī)生和攝影師才能體會(huì)-羅伯特金凱把背包甩進(jìn)卡車,沿來過的路駛回去.離鎮(zhèn)西的橋有十五分鐘的路程,如果他趕快的話還可能在那里照幾張照. 塵土飛揚(yáng),點(diǎn)起駱駝煙,卡車顛簸前進(jìn),駛過那間朝北的白木屋,駛過了理查德.約翰遜的信箱.沒有她的影子.你能期待什么呢?她是結(jié)了婚的,過得挺不錯(cuò).你也過得不錯(cuò).誰需要這些麻煩事?美好的夜晚,美好的晚餐,美好的女人.就讓它這樣吧,不過,天哪,她真迷人.她身上有一種什么,使我目光很難從她身上移開. 他絕塵而過弗朗西絲卡住處時(shí),她正在牲口棚里勞動(dòng).牲口的喧鬧聲掩蓋了一切路邊的聲音.而羅伯特金凱正向橋駛?cè)?追光逐年地疾馳而過.第兩座橋也很順利.那橋在山谷中,在他到達(dá)時(shí)周圍霧還末散盡.他通過300毫米的鏡頭取得的景是左上角一輪大太陽,其余部分是通向橋的蜿蜒的白石路和那座橋本身. 然后他在那老式測(cè)距離相機(jī)中收進(jìn)了一個(gè)農(nóng)夫趕著一匹淺棕色的比利時(shí)馬拉著一輛車在白色的路上走.這是最后的舊式老鄉(xiāng)了,金凱想著,笑了.當(dāng)好鏡頭來到時(shí),他是知道的,他拍攝時(shí)已經(jīng)能想見最后印出來是什么樣.拍豎鏡頭時(shí)他留下了一片光亮的天空,可以在上面寫下標(biāo)題. 八點(diǎn)十五分時(shí)他收起三腳架,自我感覺良好.一早晨的工作是有成績(jī)的.這是農(nóng)村風(fēng)味的保守的作品,但是很好,很扎實(shí).那張農(nóng)夫趕馬車的照片甚至也許可以作封面照,所以他在圖片上方留下了空間,以便印上標(biāo)題或?qū)дZ.編緝們喜歡這種設(shè)想周到的工藝.這是羅伯特金凱得以委任的原因. 他七卷膠卷差不多都照完了,把三架相機(jī)退空,然后手伸進(jìn)背心左下方的口袋里去拿另外四卷."媽的!"大頭針扎了他一下手指.他忘了從羅斯曼橋拿下的那張紙時(shí)連大頭針一起放進(jìn)口袋了.事實(shí)上他連那張紙也忘了.他掏出來,打開讀:"當(dāng)白蛾子張開翅膀時(shí),如果你還想吃晚飯,今晚你事畢之后可以過來,什么時(shí)候都行." 他禁不住微微一笑,想象弗朗西絲卡.約翰遜帶著這張紙條和大頭針在黑暗中驅(qū)車到橋頭的情景.五分鐘之后,他回到鎮(zhèn).德士古加油站的人把油箱加滿,核對(duì)油量時(shí),他用加油的投幣電話打電話.薄薄的電話薄讓油污的手指翻得黑不溜秋.有兩個(gè)約翰遜的名字,不過有一個(gè)有鎮(zhèn)上的地址. 他撥了鄉(xiāng)下的那個(gè)號(hào)碼等著.電話鈴時(shí)弗朗西絲卡正在后廊喂狗.響第二下時(shí)她拿起耳機(jī):"約翰遜家."喂,我是羅伯特.金凱. 她體內(nèi)又跳動(dòng)起來,像昨天一樣.好像有一根東西從胸部插到腹部.收到你的字條了,W.B.葉芝作信使,以及種種一切.我接受邀請(qǐng),不過可能要晚點(diǎn).天氣很好,所以我計(jì)劃拍攝--讓我想想叫什么來著?杉樹橋....今晚拍.完事可能要九點(diǎn)鐘,然后我還要洗一洗,所以到這兒可能要九點(diǎn)半到十點(diǎn).行嗎?" 不行,她不愿等這么長(zhǎng).不過她還是說:"當(dāng)然可以,把工作做完吧,那才是重要的.我來做一點(diǎn)很方便的東西,等你來了一熱就行了." 然后他又說:"如果你愿意來看我拍照也很好,不會(huì)妨礙我的,我可以在大約五點(diǎn)半接你" 弗朗西絲卡思忖著這個(gè)問題.她愿意跟他一道去,但是有人看見怎么辦,假如理查德知道了,她怎么跟他說? 杉樹橋與新的公路平行,在河上游的五百碼處,是水泥橋.她不會(huì)太引人注意,會(huì)嗎?不到兩秒鐘,她決定了."好吧,我愿意.為過我自己開我的卡車去那里跟你會(huì)面,什么時(shí)候?"大約六點(diǎn)鐘.那么在那里見你,對(duì)吧?回頭見. 上一頁 目 錄下一頁 |
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