As Francesca thinks of an answer, she looks over to theentranceway between the kitchen and the front hall and sees:
FANTASY:
Richard standing there in his underwear, reaching over his shoulder.
RICHARDFranny, could you clean out my boilagain?
END OF FANTASY:
Francesca answers Robert, half of her still in fantasy --FRANCESCAHe's very... clean.
ROBERTClean?
FRANCESCA(catching herself)No. I mean yes, he's clean but he'salso other things. He's a very hardworker. Very honest. Very caring.
Gentle. Good father.
ROBERTAnd clean.
FRANCESCAYes. Very clean.
They drink. Francesca thinks she sounds like an idiot.
ROBERTSo you must like Oiwa, I guess.
Francesca looks at him. She wants to tell the truth, butholds back.
FRANCESCAIt's... uh... uh...
She stops. Robert smiles.
ROBERTGo ahead. I won't tell anyone.
Surprised, Francesca looks at him oddly -- as if he alreadyknows and is giving her permission.
FRANCESCAIt'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 mindcan keep up --FRANCESCA (cont'd)(without a pause)I hate it! I hate it! I HATE IT! Ihate the corn and the dust and thetown and the cows and that SMELL thatyou 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, butthat's just it, it's like they'rewaiting for something awful to happento help out and when nothing awful ishappening, then they just sit aroundand talk about what is happeningwhich is none of their business. Iwant to kill them sometimes for howcruel 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 anaffair with that Redfield woman and"isn't it a shame," and "isn't itawful," and the truth is THEY'RELOVING IT! Poor woman can't even becheated on without the grocery manknowing about it -- no one respectsanyone's privacy. You're not evensafe in your own home! They thinkthey can just walk right into yourhouse because they BAKED yousomething. It's like they have asecret password and YOU CAN'T KEEPTHEM OUT! I live in fear of that dooropening and having a peach cobblershoved at me...
(CONTINUES MOS IFNEEDED)Throughout this rapid fire monologue, camera has moved to awide angle as Robert just sits and listens, letting her getit all off her chest. She continues as we:
DISSOLVE TO:
INT. LIVING ROOMFrancesca is lying on the couch as Robert places a cold clothon her head. Her "confession" took a lot out offer.
ROBERTFeeling better?
FRANCESCAMuch.
ROBERTIs the dizziness gone?
FRANCESCAI think so.
She sits up. She feels exposed. But also, relieved.
ROBERTI better go. You sure you're allright?
(she nods)It's been a pleasure. Sincerely.
FRANCESCAI feel so embarrassed.
ROBERTWhy? You uncorked a bottle. From whatI can tell, I got here just in time.
Any later and you'd have made thefront page, running down Main Streetnaked, smoking Camels out of yourbutt.
FRANCESCA(laughs)But I... We don't even know eachother.
ROBERT(sincerely)You have no reason to feel ashamed.
You haven't said anything you don'thave a right to. And if anybody tellsyou different -- you just send them tome.
She smiles. He turns to exit.
ROBERT (cont'd)Better get my stuff.
Francesca surprises herself. She doesn't want him to go.
FRANCESCAWould 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.
ROBERTThat's very nice of you. I don't getmany dinner invitations on the job.
It would be a welcome change. Thanks.
CUT TO:
INT. BEDROOM - LATERFrancesca rushes in and starts to disrobe, getting ready toshower and change for dinner. She glances out the window andsees:
EXT. JOHNSON HOUSERobert is at the water pump. His shirt is off and he iswashing himself. (WE INTERCUT THE TWO.)Francesca finds herself staring, a bit open mouthed. He hasa muscular, firm body. She watches how the water cascadesover 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 coldwater feels good. Since the pump is the back of the house,hidden from the road, no one can see him. He decides to takeoff his pants and cool himself further.
Francesca begins watching this in shock until she has toliterally pull herself away from the window with such a forcethat she rams herself into a chest of drawers, knocking overan array of perfume bottles and a mirror. She deftly catchesa falling bottle and freezes. Taking a breath, she pullsherself together.
FRANCESCAThis is ridiculous. Stupid!
She replaces the bottle and heads for the bathroom quitecomposed, then, without warning, makes an immediate 180degree 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 frighteningfeelings and runs from the window, into the bathroom, closingthe door behind her.
EXT. JOHNSON HOUSE - EARLY EVENINGFrancesca is gathering some vegetables for dinner, from hergarden. Robert is at his truck, in his pants, changing intoa fresh shirt.
INT. KITCHEN - LATERFrancesca is cutting up vegetables. Robert enters with someof his gear.
ROBERTI'm just going to put some of thisfilm in your fridge. Heat isn't tooforgiving out there.
He does. On the radio, TONY BENNETT sings "WRAP YOUR TROUBLESIN DREAMS." Robert approaches Francesca.
ROBERT (cont'd)Can I help?
FRANCESCA(surprised)Help cook?
ROBERTSure. Men cook. We don't all eatbananas with our feet, ya know.
FRANCESCA(laughs)Okay.
They stand side by side. Francesca hands him a stack ofcarrots and a knife.
MONTAGE:
Tony Bennett's up-tempo tone plays over a series of images ofFrancesca and Robert talk and prepare dinner.
-- Four hands side by side, cutting and chopping.
Occasionally, a hand brushes against another as it reachesfor something.
-- Robert's hand gently touching Francesca's waist as hereaches around her for an onion.
-- Robert lighting Francesca a cigarette.
-- Robert brings in his cooker through the screen door. HEMAKES SURE IT DOESN'T SLAM. FRANCESCA MAKES A NOTE OF THIS.
-- Robert opens the cooler and removes two cold beers, tossingone to Francesca.
-- Francesca opening a new tablecloth and spreading it out onthe table.
-- Francesca handing Robert plates from the shelf, theirfingers only barely touching.
END OF MONTAGE 星期二的桥黎明前一小时罗伯特.金凯驶过理查德.约翰逊的信箱,嚼一口银河牌巧克力,咬一口苹果,把咖啡杯子放在座位上夹在两腿中间以免泼翻.他经过朦胧月色中的那所白房子时抬头望一望,摇头叹息男人多愚蠢,有些男人,多数男人.他们至少可以做到喝杯白兰地,出门时不要摔那百叶门.
弗朗西丝卡听见那辆走调的小卡车经过.她躺在床上,光着身子睡了一夜,这是她记忆中的第一次.她能想象金凯的样子,头发被车窗卷进的风吹起,一只手扶着方向盘,另一只手拿着一支骆驼烟.
她倾听车轮隆隆向罗斯曼桥的方向逐渐杳然.她开始在脑海里翻腾叶芝的诗句:"我到榛树林中去,因为我头脑里有一团火....."她表达这首诗的方式是介乎教学和祈求之间.
他把车停在离桥比较远的地方,以便不妨碍他摄影的构图.他从车座后面小小的空间拿出一双胶皮靴,坐在车的踏板上解开皮靴的带子换上.把一只有两根带子的背包背在双肩,三脚架的皮带挂在左肩,右手拎着一只背包,通过陡峭的河岸向水边走去.
要用技巧把桥放在某一角度以便在构图上突出来,同时要收进一角小溪而避开桥入口处墙上那些乱刻的字.桥后面的电话线也是个问题,但是通过精心确定框架也可以处理好.
他把装好柯达彩卷的尼康相机拿出来装在三脚架上,拧紧螺丝钉.相机装着24毫米镜头,他换上他最喜欢的105毫米镜头.东方已显出灰朦朦的光线,他开始试验他的构图,把三脚架向左移二英尺,调整了陷入溪边烂泥中的那只脚,把相机带子绕在左腕上,这是他在水边照相时经常做的,因为由于三脚架倒在水里而损失的相机太多了.
红光出现,天空渐渐亮起来.把相机向下拉六英寸,调整三脚架的腿.还不对.再往左移一英尺,再调整架腿.把相机在架顶放平,镜头调整到5/8.估计一下原野的深度,通过高焦距的技术把它放到最大限度.把拉线套紧在扳机上.现在太阳百分之四十在地平线上面,桥上的旧漆变成一种暖红色,这正是他所要的.
从左胸口袋中拿出光谱仪,对到1/8.需要曝光一秒钟,不过柯达胶卷能坚持到这一极限.从取景器望过去."那桥入口处挂着什么鬼东西?"他叽咕着."一片纸.昨天并不在那儿呀."扶稳三脚架,跑上岸去,身后的阳光迅速追上来.那张纸整整齐齐的别在桥上.把它撕下来连大头针一起放进背心口袋里.赶紧跑到岸边,下去,走到相机后面,太阳已升起百分之六十.跑得气喘吁吁,再拍一次,重复两次以便留底.没有风,草纹丝不动.为保险起见,照了三两秒的三张一秒半的.
把镜头调到1/16,整个程序再重复一遍.把三脚架和相机拿到小溪当中去,安置好,印上脚印的淤泥向后移去.这段连续镜头再完整地拍一遍.装一卷新的柯达彩卷,换镜头,把24毫米的装上,把105毫米的放进口袋,涉水而上,离桥近些,调整.对好,核对光线,拍三张照,再照几张备用作为保险.
把相机竖起来,重新构图,再拍,同样的场景,依次拍摄.他的动作没有一点不灵便之处,一切都是那么娴熟,每个动作都有道理,意外情况都得到效率的专业化的处理,不落痕迹.
上得岸来,背着器材穿桥,同太阳赛跑.现在进入紧张阶段.抓出已经装好感光速度更快的胶卷的相机,把两架相机都套在脖子上,爬上桥后的树.树皮扎破了手臂-"去他妈的!"继续爬.现在高高在上,从一个角度望见桥,小溪上正闪着阳光.用特写仪把桥顶单独划出,然后是桥的背阴影面.就在水边读仪器的指数,把相机架好,拍九张照片,再拍备份照,把相机放在塞在树桠杈之间的背心上,换相机,换感光速度更快的胶卷,又照了十几张.爬下树,再下河岸,架起三角脚,再装上柯达彩卷,构图从第一批一样,不过是从小溪对面照的.把第三架相机从包里拉出来,那是架旧SP测距离的相机,现在是拍黑白照了.桥上的光线一秒钟一变.紧张的二十分钟-这种紧张只有军人.外科医生和摄影师才能体会-罗伯特金凯把背包甩进卡车,沿来过的路驶回去.离镇西的桥有十五分钟的路程,如果他赶快的话还可能在那里照几张照.
尘土飞扬,点起骆驼烟,卡车颠簸前进,驶过那间朝北的白木屋,驶过了理查德.约翰逊的信箱.没有她的影子.你能期待什么呢?她是结了婚的,过得挺不错.你也过得不错.谁需要这些麻烦事?美好的夜晚,美好的晚餐,美好的女人.就让它这样吧,不过,天哪,她真迷人.她身上有一种什么,使我目光很难从她身上移开.
他绝尘而过弗朗西丝卡住处时,她正在牲口棚里劳动.牲口的喧闹声掩盖了一切路边的声音.而罗伯特金凯正向桥驶去,追光逐年地疾驰而过.第两座桥也很顺利.那桥在山谷中,在他到达时周围雾还末散尽.他通过300毫米的镜头取得的景是左上角一轮大太阳,其余部分是通向桥的蜿蜒的白石路和那座桥本身.
然后他在那老式测距离相机中收进了一个农夫赶着一匹浅棕色的比利时马拉着一辆车在白色的路上走.这是最后的旧式老乡了,金凯想着,笑了.当好镜头来到时,他是知道的,他拍摄时已经能想见最后印出来是什么样.拍竖镜头时他留下了一片光亮的天空,可以在上面写下标题.
八点十五分时他收起三脚架,自我感觉良好.一早晨的工作是有成绩的.这是农村风味的保守的作品,但是很好,很扎实.那张农夫赶马车的照片甚至也许可以作封面照,所以他在图片上方留下了空间,以便印上标题或导语.编缉们喜欢这种设想周到的工艺.这是罗伯特金凯得以委任的原因.
他七卷胶卷差不多都照完了,把三架相机退空,然后手伸进背心左下方的口袋里去拿另外四卷."妈的!"大头针扎了他一下手指.他忘了从罗斯曼桥拿下的那张纸时连大头针一起放进口袋了.事实上他连那张纸也忘了.他掏出来,打开读:"当白蛾子张开翅膀时,如果你还想吃晚饭,今晚你事毕之后可以过来,什么时候都行."他禁不住微微一笑,想象弗朗西丝卡.约翰逊带着这张纸条和大头针在黑暗中驱车到桥头的情景.五分钟之后,他回到镇.德士古加油站的人把油箱加满,核对油量时,他用加油的投币电话打电话.薄薄的电话薄让油污的手指翻得黑不溜秋.有两个约翰逊的名字,不过有一个有镇上的地址.
他拨了乡下的那个号码等着.电话铃时弗朗西丝卡正在后廊喂狗.响第二下时她拿起耳机:"约翰逊家."喂,我是罗伯特.金凯.
她体内又跳动起来,像昨天一样.好像有一根东西从胸部插到腹部.收到你的字条了,W.B.叶芝作信使,以及种种一切.我接受邀请,不过可能要晚点.天气很好,所以我计划拍摄--让我想想叫什么来着?杉树桥....今晚拍.完事可能要九点钟,然后我还要洗一洗,所以到这儿可能要九点半到十点.行吗?"不行,她不愿等这么长.不过她还是说:"当然可以,把工作做完吧,那才是重要的.我来做一点很方便的东西,等你来了一热就行了."然后他又说:"如果你愿意来看我拍照也很好,不会妨碍我的,我可以在大约五点半接你"弗朗西丝卡思忖着这个问题.她愿意跟他一道去,但是有人看见怎么办,假如理查德知道了,她怎么跟他说?
杉树桥与新的公路平行,在河上游的五百码处,是水泥桥.她不会太引人注意,会吗?不到两秒钟,她决定了."好吧,我愿意.为过我自己开我的卡车去那里跟你会面,什么时候?"大约六点钟.那么在那里见你,对吧?回头见.