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11 11 INT. KITCHEN - EVENING Robert and Francesca are in the middle of dinner. But instead of the usual silence that surrounds Johnson family eating, Francesca is mesmerized by Robert as he manages to eat and tell a story. The scene begins with a LAUGH FROM FRANCESCA. ROBERT (laughs) ... No, wait, it gets better. He stands up and acts it out for her. ROBERT (cont'd) You have to get the full picture here. I have three cameras around my neck, a tripod in one hand and my pants down around my ankles. I thought this was a private bush. I look up and this gorilla, this female gorilla, is staring at me with what can best be described as the most lascivious expression I've ever seen on a female with so much body hair. (Francesca laughs) I freeze. 'Cause that's what they tell you to do. In this position. She comes towards me and... and she... (he stops awkwardly) FRANCESCA What? ROBERT She starts sniffing me. FRANCESCA Oh my God... (laughs) You're blushing. ROBERT It's still a very sensitive memory for me. FRANCESCA Then what happened? ROBERT We got engaged. FRANCESCA Oh you! She throws a napkin at him. FRANCESCA (cont'd) None of this is true! ROBERT No, it is. Except for the engagement part. She wouldn't have me, although I still get a Valentine every year. Francesca is laughing so hard she can't breath. Robert loves making her laugh. FRANCESCA You ought to write these stories down. ROBERT Nah. I've tried. My writing's too technical, I think. Problem of being a journalist too long is you stop giving yourself permission to invent. I better just stick to making pictures. FRANCESCA "Making pictures." I like that. You really love what you do, don't you? ROBERT (nods, smiles shyly) I'm kind of obsessed by it, actually. FRANCESCA Why, do you think? ROBERT I don't know if obsessions have reasons. I think that's why they're obsessions. FRANCESCA You sound like an artist. ROBERT No. I wouldn't say that. National Geographic isn't exactly the hub of artistic inspiration. They like their wild life in focus and without any personal comment. I don't mind really. I'm not artist. I'd faced that a long time ago. It's the course of being well-adjusted. I'm too normal. FRANCESCA (supportively) I don't think you're normal. He looks at her in surprise. She catches herself again. FRANCESCA I didn't mean that the way it sounded. ROBERT Well, let's just call it a compliment and move on. (changes subject) Did you love teaching? FRANCESCA (cont'd) Sometimes. When there was a particular student who made a difference. I know they're all supposed to, but it's not true. You tend to single out one or two you think you can contribute something to. ROBERT And did you? FRANCESCA I'd like to think so. I know one of them went on to Medical school. ROBERT Why did you stop? FRANCESCA My children. And Richard didn't like my working. ROBERT Do you miss it? FRANCESCA I don't know. I've never thought about it... what was the most exciting place you've ever been to? Unless you're tired of talking about it. ROBERT You're asking a man if he's too tired to talk about himself? You don't get out much, do you? Francesca smiles, a little embarrassed. ROBERT I'm sorry. That was... FRANCESCA (overlapping) No. It's all right. I just meant, it might be a little dull for you, telling all this to some housewife in the middle of nowhere. ROBERT This is your home. It's not nowhere. And it's not dull. Francesca smiles again, this time relieved. ROBERT Let's see -- my favorite place... Francesca settles in to listen, never taking her eyes off of him. ROBERT (cont'd) Well, it's the obvious choice, but I think I'd have to say Africa. It's another world. Not just the people and the cultures but the land, the colors you see at dawns and dusks -- and the life there. It charges every molecule of air. Francesca is fascinated, being drawn into his imagery. ROBERT (cont'd) It's tangible -- the moment to moment of life and death, the co-habitation of man and beast, of beast and beast, who'll survive, who won't -- and there's no judgement about it. No right or wrong or imposed morality. It's just life. It's a voyeurs paradise really because those animals don't want anybody in their business. You can watch but at a distance. (excited) I remember one time I was on a truck headed for the Niger. Lights begin to dim as Francesca is so taken in by his story, she begins to actually see what he is describing. ROBERT (cont'd) We were driving north. The truck was old so I guess the sound of the motor muffled this kind of rumbling in the distance -- until finally, it was upon us like, like a hundred thunder claps all at once... CU on FRANCESCA as WE BLEND THE SOUNDS OF AFRICA and -- CUT TO: EXT. AFRICA - DAY Robert and a driver are in a truck driving north. Robert turns to look out the window and sees: A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA are running in the grasslands to the right of the truck. Robert excitedly instructs the driver: ROBERT Get us closer!! The driver veers off towards the stampede as Robert opens his door and makes his way to the flatbed part of the truck with his camera. The truck takes its position within this breathtaking force of wildlife, as giraffes, zebras and gazelles surround it -- all going in the same direction. Robert stands in the truck, shooting as fast as he can. The truck races to keep up with the animals. Robert is so pumped he can hardly catch his breath. Suddenly, the force and beauty of these creatures causes him to lower his camera. He is unable to film it because it overwhelms him. He just stands there in awe and lets out a primal scream. The animals gradually veer off to where the truck can no longer follow. Robert watches them disappear into the distance. CUT BACK TO: INT. JOHNSON KITCHEN - NIGHT Francesca has seen all of this in her mind. Robert smiles at her, sensing how in tune with the story she was. FRANCESCA My God. How I'd love to see that. ROBERT They have safaris for tourists now. Maybe you can convince your husband. Francesca smiles. There is an awkward pause between them. ROBERT (cont'd) It's a beautiful night. Would you like to go for a walk? FRANCESCA Well, it's kind of buggy out there. ROBERT (rises) Have no fear. This Shoshone Medicine Woman taught me how to make bug repellent tea out of tree root. FRANCESCA You drink bug repellent? ROBERT No, you rub it on you. I have some in the truck. Don't go away. She shakes her head. He runs out the screen door, not letting it slam. Francesca looks like a teenager with first date excitement. 以后整天时间他就在当地的报馆里翻过期的报刊.小镇挺秀丽,有一个满舒服的县政府广场,他就坐在那里树荫下的长板凳上吃午饭,一小袋水果,一些面包,还有从街对过咖啡馆里买的一瓶可乐. 他走进咖啡馆去买可乐时刚过午后.就像在早年荒野的西部酒馆里出现了当地的枪手一样,热闹的谈话中断了,大家都打量他.他讨厌这样,觉得不自在,但这是所有小镇的标准程序有个新来的人!跟我们不一样!他是谁!他来这儿干什么?有人说他是个摄影师.说是看见他今天早晨在桥那儿,带着各式各样的相机.他卡车的牌子说他是从西部华盛顿那边来的.整个早晨都在报馆里.吉姆翻报纸找关于廊桥的资料.是啊.德士古的小费歇尔说他昨天到过那里打听去所有廊桥和路.他要知道这干什么?怎么会真有人要这些桥的照片?都挺破的,快塌了.他头发可真长,有点儿像那些'甲壳虫'的家伙,或者还有那个叫什么玩意儿来着?嬉皮士!是不是?"这句话引起后边雅座里和邻桌一阵哄笑. 金凯拿着可乐走出门去,那些目光还在盯着他.也许他请弗朗西丝卡出来是犯了一个错误,为她着想,不是为他自己.如果有人在杉树桥看见她,第二天早餐时话就会传到咖啡馆,然后由德士古加油站的小费歇尔接过过往行人的小钱之后一站一站传下去.也许比这还快. 他已经体会到千万不能低估小镇传递小消息的电传效应.对苏丹饿死二百万儿童可以完全无动于衷,可是理查德的妻子和一个长头发的陌生人在一起出现,这可是是大新闻!这新闻可以不胫而走,可以细细咀嚼,可以在听的人的心中引起一种模糊的肉欲,成为那一年中他们感觉到的唯一的波澜. 他吃完午饭走到县府广场停车场的公用电话亭,拨了她的号码,铃响三次时她接电话,稍稍有点气喘."喂,还是罗伯特.金凯." 她立刻胃里一阵紧缩,她想,他来不了啦,一定是打电话来告诉我这个.我直接了当说吧.由于小镇人的好奇心,如果你今晚跟我一块出来有问题,那就别勉强.坦率地说,我对这里的人怎么想我完全不在乎,爱怎么想就怎么想,我晚些时候会到你这儿来的.我要说的是我可能不该请你出来,所以你无论如何不必勉强来,尽管我很愿意你跟我一起去." 自从上次通话之后她也一直在想这个问题.但是她已一定决心."不,我想看你工作,我不担心闲话."她实际是担心的,但是自己身上有某种东西在主宰着,要做冒点风险的事.不管付出什么代价,她就是要到杉树桥去.好极了.我只是想再核实一下,呆会儿见.好吧! 他四点钟回到旅馆,在洗涤池里洗了点衣服,穿上一件干净衬衫,另外放了一件在卡车里还有一条咔叽布裤子和一双凉鞋,那凉鞋是他在一九六二年摄制关于通向大吉岭的那条微型铁路的新闻时在印度买的.在一家小酒馆买了两箱六瓶装的布德威瑟啤酒,把其中八瓶最多能放进八瓶放进冷藏箱,排在那些胶卷周围. 天很热.又真正地热起来了.依阿华午后的太阳淫威所到之处,水泥.砖.土已吸足了热气近黄昏时更火上添油,从西方火辣辣地照过来. 小酒馆很暗,还算凉快,前门开着,天花板上有大电扇,还有一台立式电扇在门口以105分贝的响声转着.不这不知怎的,那风扇的响声,阵啤酒味,电唱机的高音喇叭,还有酒吧前一张张半含敌意盯着他看的脸使他感觉这儿比实际更热. 外面公路上阳光炙人,他想的是喀斯喀特山脉和基达卡附近圣胡安.德.福卡海峡沿岸的枞树和清风. 不过弗朗西丝卡.约翰逊看起来挺凉快.她把她那辆福特卡车停在桥附近的树从后面.正倚着挡泥板站着.她还穿着那条特别合身的牛仔裤,凉鞋,那件白色针织圆领衬衫托得她身材倍加妩媚.他把车停在她的车旁,一边向她招招手.嗨!真高兴看见你.太热了! 在一个他有所动心的女人面前的老感觉又来了.除非谈严肃的事,他总是不知说什么好.虽然他很有幽默感,只是稍有点怪,但是他的思想本质上是严肃的,处事认真.他母亲常说他在四岁时就是大人了.作为一专业人员,这对他很好,但是从他的思想方法来说,这种性格在一个弗朗西丝卡这样的女人面前对他并不利.我想看你制作照片,你不管它叫'拍'.你马上就会看见的,而且你会发现这相当枯燥.至少其他人一般都这样认为.这跟听别人弹钢琴不一样,那你能参地进去共同欣赏,摄影这玩意儿,制作和表演之间要隔很长时间.今天我只是制作,等照片在什么地方登出来,那才是表演.你今天要看到的只是大量的胡摆乱弄.不过太欢迎你来了,事实上你来了我很高兴." 她反复品味着最后几个字,他不一定需要说.他可以说到欢迎为止,但是他没有止于此.他是真诚地高兴看到她,这很清楚.他希望她到这儿来的本身也能使她体会到同样的意思.我能帮你什么忙吗?你可以帮着拿那个蓝背包,我拿那个土黄色的三脚架. 于是弗朗西丝卡成了摄影师助手.他刚才说的不对.可看的多着呢.这是某种表演,只是他自己没有意识到.她昨天就注意到了这一点.他把她吸引住,部分也是因为这个.他优美的风度,犀利的目光,正在工作的上臂的肌肉,特别是他移动身体的姿势.所有她认识的男人与他相比都显得笨手笨脚. 但不是他行动匆忙,相反,他完全从容不迫.他有一种羚羊般的素质,尽管她看得出他柔韧而坚强.也许他更像豹而不像羚羊.是的,豹,就是它.她感觉得出来他不是被捕食物,而是相反.弗朗西丝卡,请递给我那架有蓝背带的相机. 她打开背包,拿出相机,对这些他随随便便摆弄的昂贵的器材特别小心翼翼.相机的镀铬的取景器上刻着"尼康",左上角有一个"F"字母. 他此刻正跪桥的东北方向,三脚架调的很低,他伸出左手,眼睛没有离开取景器,她把相机递给他,看着他的手摸到相机后一把抓住镜头.他摆弄一下她昨天看见的从背心挂出来绳子的活塞,快门闪了一下,他扳了一下快门,又闪了一下. 他摸到了三架顶,拧松了螺丝钉,把相机卸下来换上了她给他的那架.他在拧紧新相机时回过头来向她笑着说:"谢谢,你是一流的助手."她脸微微红了一下. 天哪,他是怎么回事!他像从外星骑着彗星尾巴乘风而来落在她巷子口的什么生物.我为什么不能简单地说一句"不谢"?她想.我在他面前有点迟钝,但是这不是由于他的所为,是我自己,不是他.我就是不习惯和他这样思想敏捷的人在一起. 上一页 目 录下一页 |
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来自： 昵称3359418 > 《廊桥遗梦-中英版》
