She tries to continue reading, but is distracted by the loudconversation in the booth beside her:
TWO MIDDLE-AGED WOMAN and ONE MIDDLE-AGED HUSBAND sit afterbreakfast discussing the local gossip.
ELEANOROh, this heat! Times like this I wishwe took that offer from your brotherand moved on up to Michigan.
HENRYThey got heat in Michigan.
ELEANORNot this kind of heat.
HENRYHeat is heat.
ELEANORHeat is not heat! There's differentkinds! And this heat is much hotterthan what they got in Michigan. Yougo and call your brother and see ifhe don't say the same thing.
HENRYI'll get right on it.
Mrs. Delaney, an attractive well-off woman in her forties,enters the shop and heads for the counter.
GLADYS(whispers)Mrs. Delaney.
(Eleanor looks)Did you hear the latest?
ELEANORNo, what?
GRADYSApparently, she caught them.
(Eleanor gasps)Ran right into them in Des Moines inthe middle of her shopping.
ELEANOROh, what a horror. Poor woman. ThatRedfield girl's got no businessshowing her face in daylight.
GRADYSI don't know how that tramp standsliving here. No one can bear evenspeaking to her. She has no friends.
HENRYWell, nobody put a gun to his head.
ELEANOROh, shut up! It's the woman who's incontrol of these situations. Mendon't know which end is up till awoman points.
Mrs. Delaney acts as if nothing is wrong. Yet, she knowseveryone knows and everyone knows she knows they know, yet noone says a word. She sits at the counter.
MRS. DELANEYJust coffee, please.
Francesca hears the gossip continue in hushed tones:
GLADYSSee. Money don't buy happiness. Imust say, she's taking it well.
ELEANORI'd kill him. Him and that Redfieldwoman. Together. First one then theother. And then I'd laugh.
GLADYSI'd laugh first then I'd kill them.
Make sure they heard me laughing.
Eleanor nods. Not being able to stand it, Francesca rises.
She must pass them on the way to the counter, in order topay. Eleanor immediately stops her.
ELEANORFrancesca! So, everybody got off okaylast night?
FRANCESCAYes, thanks.
GLADYSWhat you going to do all alone forfour days -- a woman of leisure?
FRANCESCAOh, you know there's always somethingto be done. Have a good day. Henry.
Henry nods back. As she exits, they whisper.
ELEANORShe's changed.
GLADYSOh, yes.
ELEANORShe used to be so friendly.
HENRYMaybe she's going through "thechanges."Eleanor hits him in the chest.
ELEANORWhat do you know about "the changes"?
HENRYWell, I didn't know they was a secretclub.
ELEANORDon't talk about what you don't know.
Besides, she's too young for "thechanges."GLADYSMy niece had "the changes" when shewas thirty-one.
ELEANORNo. What a tragedy. What happened?
GLADYS(wisely)She changed.
At the counter, Francesca pays up. She looks to Mrs. Delaneyand tries to smile, but Mrs. Delaney works hard at not makingeye contact with anyone. Suddenly, she rises telling thewaitress:
MRS. DELANEYExcuse me for a moment, I leftsomething in the car.
She exits quickly. Francesca pays up as the waitress adds:
WAITRESSPoor woman.
EXT. COFFEE SHOP/DINER - MORNINGFrancesca exits and heads for her truck. As she crosses fromone corner to another, she notices down the side street --Mrs. Delaney sitting alone in her own car, sobbing. Unable tobear the humiliation, she stole herself away to cry.
Francesca wants to help but feels useless. She quickly headsfor her truck.
CUT TO:
EXT. JOHNSON HOUSE - DAYFrancesca sits on the front porch with some iced tea, tryingto cool herself off. It is a scorcher. She is barefoot, herblouse hanging out of her jeans, her hair fastened up by atortoise shell comb.
Camera begins a slow move into close-up, as she sips her teaand lets her mind wander. WE INTERCUT HER FANTASIES WITH HERON THE PORCH:
FANTASY: Back in town, Francesca slides into Mrs. Delaney'scar. She embraces the woman who cries into her arms.
-- Francesca on the porch.
FANTASY: Mrs. Delaney's car is surrounded by townpeoplestaring into it. Francesca hugs Mrs. Delaney closer to her indefiance.
-- Francesca on the porch.
FANTASY: Mrs. Delaney's car drives up to a train station. Sheand Francesca exit with suitcases. They are surrounded bynews reporters as they make their way to the train.
REPORTERMrs. Johnson! Mrs. Johnson! Is ittrue Cary Grant has proposed to you?
FRANCESCAYes. And I've accepted.
REPORTERWhat about his engagement to DyanCannon?
FRANCESCAI said to him Cary you're beingridiculous. You're more than half herage. He said no one had ever beenthat honest with him and he falls inlove with me.
REPORTERWhat about your husband?
FRANCESCAI'm very sad but Richard said thatsince it's Cary Grant, he completelyunderstands. I'm also taking Mrs.
Delaney away from this town. She'llbe living with Cary and I in BeverlyHills.
She boards the train with Mrs. Delaney.
END OF FANTASIES. 他的刮胡刀躺在水泵边的水泥地上让阳光照得发亮.她看着他在脸上涂上肥皂然后刮胡子.他很又是这个词坚硬.他个子并不大,大约六英尺多一点,略偏瘦.但是对他的个头来说,他肩膀的肌肉很宽,他的肚子平坦得像刀片.他不管年龄多大都不像,他也不像那些早晨饼干就肉汁吃得太多的当地人.
上次去得梅音采购时她买了新的香水--风歌牌-现在节省地用了一些.穿什么呢?穿太正式了不大合适,因为他还穿着工作服.长袖白衬衫,袖子刚好卷到胳膊肘,一条干净的牛仔裤,一双干净的凉鞋.戴上那对金圈耳环(理查德说她戴了像个轻佻女子)和金手镯.头发梳到后面用发卡夹住,拖在背后.这样比较对头.
她走进厨房时,他已坐在那里,旁边放着背包和冷藏箱,穿了一件干净的咔叽布衬衫,桔色背带从上面挂下来,桌上放着三架相机和五个镜头,还有一包新的骆驼牌香烟.相机上都标着"尼康",黑镜头也是如此.有短距离.中距离,还有一个长距离的镜头.这些设备已经有刮痕有点地方还磕碰的缺口.但是他摆弄时仍很仔细,但又比较随便,又擦又刷又吹.
他抬头看她,脸上又严肃起来,怯怯生的."我冷藏箱里的啤酒,要一点吗?"那好,谢谢.
他拿出两瓶布德威瑟啤酒.他打开箱盖时她可以看见透明盒子里装着一排排胶卷,像木材一样齐齐码着.他拿出两瓶来之后,里面还有四瓶啤酒.
弗朗西丝卡拉开一个抽屉找开瓶的扳子.但是他说:"我有."他把那把瑞士刀从刀靴中抽出来.弹开瓶扳,用得很熟练.
他递给她一瓶,举起自己那瓶作祝酒状说:"为午后傍晚的廊桥,或者更恰当地说,为在温暧的红色晨光里的廊桥."他咧开嘴笑了.
弗朗西丝卡没说话,只是浅浅的一笑,略微举一下那瓶酒,犹犹豫豫地,有点不知所措.一个奇怪的陌生人,鲜花.香水.啤酒,还有在炎炎盛夏一个星期一的祝酒.这一切她已经几乎应付不了了.很久以前有一个人在一个八月的下午感到口渴.不知是谁,研究了这口渴,弄了点什么拼凑在一起,就发明了啤酒.这就是啤酒的来源,它解决了一个问题."他正在弄一架相机,用一个珠宝商用的小改锥拧紧顶盖的一个螺丝,这句话几乎是对着相机部的.我到园子里去一下,马上回来.
他抬起头来,"需要帮忙吗?"她摇摇头,从他身边走过,感觉到他的目光在她的胯上,不知他是不是一直看着她穿过游廊,心里猜想是的.
她猜对了.他是一直在注视着她.摇摇头,又接着看.他注意着她的身体,想着他已知道她是多么善解人意,心里捉摸着他从她身上感到的其他东西是什么.他被她吸引住了,正为克制自己而斗争.
园子现在正阴暗中.弗朗西丝卡拿着一个搪瓷平锅在园子里走来走去.她挖了一些胡萝卜和香茶,一些防风茶根.洋葱和小萝卜.
她回到厨房时,罗伯特金凯正在重新打背包,她注意到打得十分整齐.准确.显然一切都已落位,而且一向都是各就其位的.他已喝完他那瓶啤酒,又开了两瓶,尽管她那瓶还没喝完.她一仰脖喝完第一瓶,把空瓶递给他.我能做些什么?你可以从廊子里把西瓜抱进来,还有从外面筐子里拿几个土豆进来.
他行动特别轻盈,她简直惊讶他怎么这么快,胳膊底下夹着西瓜.手里拿着四个土豆从廊下回来."够了吗?"她点点头,想着他行动多像游魂.他把那些东西放在洗涤池旁边的台上--她正在洗涤池里洗园子里摘来的菜-然后回到椅子那里点一支骆驼牌香烟坐下来.你要在这里呆多久?我也说不准.现在是我可以从容不迫的时候,照那些廊桥的期限还有三星期呢.我猜想只要照得好需要多久就多久,大概要一星期."你住在那里?在镇上吗?是的,住在一个小地方,有很小的房间.叫什么汽车大院.今天早晨我才登记的,还没把家伙卸下呢."这是唯一可住的地方,除了卡尔逊太太家,她接受房客.不过餐厅一定会让你失望,特别是对你这种吃饭习惯的人."我知道.这是老问题了.不过我已学凑合了.这个季节还一算太坏,我可以在小店里的路边小摊上买到新鲜货,面包加一些别的东西差不多就行了.不过这样被请出来吃饭太好了,我很感激."她伸手到台面上打开收音机,那收音机只有两个频道,音箱上盖着一块棕色布.一个声音唱着:"我袋着时间.天气总站在我一边......"歌声下面是阵阵吉他伴奏.她把音量捻得很小.我很会切菜的.好吧.切菜板在那儿,就在底下的抽屉里有一把刀.我要做炖烩菜,所以你最好切成丁.
他离她二英尺远,低头切那些胡萝卜.白萝卜.防风菜根和洋葱.弗朗西丝卡把土豆削到盆里,意识到自己离一个陌生男人这么近.她从来没有想到过与削土豆皮相联系会有这种小小的歪念头.你弹吉他吗?我看见你卡车里有一个琴匣.弹一点儿.只是作个伴儿,也不过如此面已.我妻子是早期的民歌手,那是远在民歌流行起来之前,她开始教我弹的.'
弗朗西丝卡听到"妻子"一词时身子稍稍绷紧了一下,为什么,她自己也不知道.他当然有权结婚,但是不知怎么这似乎跟他不相称.她不愿意他结过婚.她受不了我这样长期外出拍照,一走就是几个月.我不怪她.她九年前就撤退了.一年之后跟我离了婚.我们没有过孩子,所以事情不复杂.她带走了一只吉他,把这契波琴留给我了.你还和她通音讯吗?不,从来没有.
他说了这么多.弗朗西丝卡没有在进一步问下去.但是她感觉良好了一些,挺自私的.她再次奇怪自己为什么要在乎他结过还是没结过婚.我到过两次意大利,那不勒斯.从来没去过.我有一次到过北方,拍一些勃河的照片.后来再是去西西里去拍照.
弗朗西丝卡削着土豆,想了一会意大利,一直意识到罗伯特金凯在她身边.
西天升起了云彩,把太阳分成射向四方的几道霞光.他从洗涤池上的窗户望出去说:"这是神光.日历公司特别喜爱这种光,宗教杂志也喜欢."你的工作看来很有意思,是的,我很喜欢.我喜欢大路,我喜欢制作照片.
她注意到了他说"制作"照片."你制作照片,而不是拍摄照片?"是的,至少我是这样想.这就是星期日业余摄影者和以此为生的人的区别.等我把今天我们看到的桥的那些照片弄好,结果不会完全像你想象中的那样.我通过选镜头.或是选角度或是一般组合.或者以上几样都结合起来,制成我自己的作品."我照相不是按原样拍摄,我总是设法把它们变成某种反映我个人的意识.我的精神的东西.我设法从形象中找到诗.杂志有它自己的风格的要求,我并不意是同意编缉的口味,事实上我不同意时居多.这是我烦恼之处,尽管是他们决定采用什么,屏弃什么.我猜他们了解他们的读者,但是我希望他们有时可以冒一点风险.我对他们这么说了,这使他们不高兴."这就是通过一种艺术形式谋生所产生的问题.人总是跟市场打交道,而市场--大众市场-是按平均口味设计的.数字摆在那里,我想就是现实.但是正如我所说的,这可能变得非常束缚人.他们允许我保留那些没有被录用的照片,所以我至少可以有我自己喜欢的私人收藏.'间或有另外一家杂志愿意休用一两张,或者我可以写一篇关于我到过的地方的文章,插图的照片可以比<地理杂志>喜欢的更野一些."以后我准备写一篇文章题为'业余爱好的优点',专门写给那些想以艺术谋生的人看.市场比任何东西都更能扼杀艺术的激情.对很多人来说,那是一个以安全为重的世界.他们要安全,杂志和制造商给他们以安全,给他们以同一性,给他们以熟悉.舒适的东西,不要人家对他们提出异议."利润.订数以及其他这类玩意儿统治着艺术.我们都被鞭赶着进入那个千篇一律的大轮了."做买卖的人总是把一种叫做'消费者'的东西挂在嘴上.这东西在我心目中的形象就是一个矮胖子,穿着皱巴巴的百慕大短裤,一件夏威夷衬衫,戴一顶草帽,开酒瓶和罐头的扳子从草帽上摇摇晃晃挂下来,手里攥着大把钞票."弗朗西丝卡轻轻地笑了,心里思忖着安全和舒适.不过我成就并不多.像我刚才说的,旅行本身就很好,我喜欢摆弄照相机,喜欢在户外.现实并不像这支歌开头那样,但是这是一支不坏的歌."