廊桥遗梦-中英版3

   
 
3
  ３
 MOMENTS LATER
C.U. SAFETY DEPOSIT BOX
A key is inserted and the lid is opened. There are many
papers, deeds, et. Michael begins sorting through these.
Carolyn notices a manila envelope addressed to her mother,
postmarked 1965. She opens it up to find TWO LETTERS and A
PHOTOGRAPH -- FRANCESCA standing NEAR A COVERED BRIDGE, her
hair wind blown, her expression serene, beautiful and sad.
She wears a RED DRESS with buttons down the front.
CAROLYN
Michael, look -- I've never seen this
picture of mama. Have you?
Betty and Michael look over her shoulder. He shakes "no."
CAROLYN (cont'd)
It was in this envelope from 1965.
BETTY
She's not wearing a bra.
(takes bridge photo)
This is Roseman Bridge in case
anyone's interested.
Interested yes, but no one thinks anything of it. Michael
returns to the other papers. Betty takes the photograph for
further examination. Carolyn opens one of the letters and
begins to read.
The following dialogue is heard OS, as CAMERA ANGLES ON
CAROLYN reading one of the letters:
BETTY (O.S.)
It's a beautiful picture of her.
MICHAEL (O.S.)
(to lawyer)
Why are there two deeds here?
LAYER (O.S.)
One of for the original parcel your
father bought and this one is for the
additional acres he purchased in '59.
MICHAEL (O.S.)
And this?
LAWYER (O.S.)
Those are bills of sale from the
equipment your mother sold in ..
(CONTINUES O.S.)
Throughout their conversation, we focus on Carolyn as she
reads and her expression sinks into one of shock and
confusion. She flips to the last page of the letter to read
who it is from. She can't believe her eyes.
BETTY (O.S.)
What's that?
Carolyn jumps a little, so engrossed in her discovery. She
lies.
CAROLYN
Oh, just a old letter from a friend.
BETTY
(laughs)
No treasure maps, huh?
CAROLYN
(laughs nervously)
No.
Betty starts inspecting knit knacks around the house she
might be able to take. Carolyn looks to Michael.
CAROLYN (cont'd)
Michael.
MICHAEL
(reading documents)
Yeah.
CAROLYN
Michael.
MICHAEL
(irritated)
What?!
CAROLYN
Come here a minute.
Michael crosses impatiently to Carolyn. Carolyn looks around
to the others, then guides him OS into the kitchen for
privacy. He protests.
MICHAEL
What? Where are we going?
They exit. Alone with the impatient lawyer, Betty examines a
vase as she pumps him for info.
BETTY
Did she say anything in there about
me? Leaving me anything in particular?
LAWYER
No.
Betty prattles on as she examines each item, much to the
lawyer's dismay, hiding her resentment and hurt.BETTY
I didn't expect so. She never liked
me. It's okay. I always knew. Thought
we married too young. Nobody broke
his arm -- that's what I said but you
know mothers and their sons. Also,
she never liked the fact of us moving
to Florida although what's where the
opportunities were. Couldn't deny
that. Suppose we should have visited
more but you know she hardly ever
made an effort to come to Tampa. Not
even to see her grandchildren. She
was a cold woman. They say Italians
are hot-blooded but not her. She was
cool as ice.
(picks up a
candlestick)
She leaves these to anyone?
Michael and Carolyn re-enter the living room. Michael's
expression now matches Carolyn in disbelief.
BETTY (cont'd)
What's going on?
MICHAEL
Um... we were just wondering how it
might be better if me and Carolyn
went over the stuff by ourselves. Not
keep you two waiting around. I'll
contact your office about the legal
work.
Grateful, the lawyer packs up to leave.BETTY
I don't mind waiting.MICHAEL
Well, there's a lot of boring stuff to
do. Lists of people we have to write
to. Find mama's relatives addresses
in Italy -- stuff like that.BETTY
Well, I can help.MICHAEL
I said NO!That came out a bit aggressively. Betty is hurt.MICHAEL (cont'd)
Why don't you go to your mothers. Or
back to the hotel. Sit in some air
conditioning. Take a bath.BETTY
(near tears)
I do not need instructions from you
to bathe!
(gets her bag)
I knew you'd do this! I knew I'd come
all the way here and be shut out as
usual! I came to be here for you! I
didn't have to come!
(genuinely hurt)
Lord knows I was never much welcome
in this house before. Apparently dead
or alive, nothing's changed.CAROLYN
Aw, Betty.Carolyn feels badly for her. An impatient Michael refuses
sympathy. Embarrassed, Betty starts to exit then stops at
the mantle.BETTY
Carolyn -- you want these
candlesticks?CAROLYN
No. You can have them.Betty grabs them both and exits. Carolyn looks at him
disapprovingly. Michael takes the letter from her hand.MICHAEL
Now what's this about?CUT TO: 　　弗朗西丝卡
　　深秋时分是弗朗西丝卡生日的季节,冷雨扫过她在南依阿华乡间的木屋.她凝视着雨,穿过雨丝望见沿中央河边的山岗,心中想着理查德.他八年前就是在同样的冷雨秋风中去世,那夺去他生命的病名她还是不记得为好.不过弗朗西斯卡此刻正想着他,想着他的敦厚善良,他稳重的作风,和他所给予她的平稳的生活.
　　孩子们都打过电话来了.他们今年还是不能回家来跟她过生日,虽然这已是她六十七岁生日了.她能理解,一如既往,今后也如此.他们两人都是正在事业中途,艰苦奋斗,一个在管理一家医院,一个在教书.迈可正在他第二次婚姻中安顿下来,卡洛琳则在第一次婚姻中挣扎他们两个从来不设法安排她生日的时候来看她,这一点却使她私下里感到高兴.因为她保留着自己过这个日子的仪式.
　　这天早晨温特塞特的朋友们带了一个蛋糕过来坐了坐.弗朗西丝卡煮了咖啡.谈话随便地流淌过去,从孙儿辈到小县秩事,到感恩节,到圣诞节该给谁买什么.客厅里轻声笑语时起时伏,亲切的气氛给人以慰藉.这使弗朗西丝卡想起她为什么在理查德死后还在这里住下来的一个小小的理由.
　　迈可竭力劝她去佛罗里达,卡洛琳要她去新英兰.但是她留在了南依阿华的丘陵之中这片土地上,为了一个特殊的原因保留着老地址.她很高兴自己这么做了.
　　弗朗西丝卡中午把朋友送走了.他们开着比尔克和福特车驶出小巷,转入县柏油公路,向温特塞特方向奔驰而去,刮水器来回拭去车窗上的雨水.他们是好朋友,不过他们决不会理解她内心深处的想法,即使她告诉他们,也不会理解.
　　她的丈夫在战后把她从那不勒斯带到这个地方时说她会在这儿找到好朋友的.他说"依阿华人有各种弱点,但是决不缺乏对人的关心."这句话过去的现在都是对的.
　　他们认识时她二十五岁,大学毕业了三年,在一家私立女子中学教书,生活漫无目的.当时大多数意大利青年不是在战俘集中营中或死或伤,就是在战争中身心俱残.她曾和一位大学艺术系教授尼可洛有过一段恋情.他白天整天作画,夜间带她到那不勒斯的地下娱乐区去兜风,疯玩了一阵.这件事一年后结束,决定性的因素是她传统观念较深的父母越来越不赞成
　　她在黑头发上系着红缎带,恋恋不舍自己的梦.但是没有海员上岸来找她,也没有声音从窗下街头传进来.严酷的现实迫使她认识到自己的选择有限.理查德提供了另一种合理的选择:待她好,还有充满美妙希望的美国.
　　他们坐在地中海阳光下的一家咖啡馆里,她仔细打量了一身戎装的他,他正以美国中西部人特有的恳切的目光看着她,于是她就跟他到依阿华来了.来到这里,为他生儿育女,在寒冷的十月之夜看迈可打橄榄球,带卡洛琳到得梅音去买参加大学舞会的衣裳.每年同在那不勒斯的姐妹通几次信,在她父母相继去世时回过两次那不勒斯.但现在麦迪逊县已是她的家,她不想再回去了.
　　下午雨停了,而近黄昏时分又下了起来.在薄幕中弗朗西丝卡倒了一杯白兰地,然后打开理查德的卷盖型书桌的最后一个抽屉.这胡桃木制的家具已经传了三代了.她拿出一个牛纸信封来,用手慢慢在上面拂拭,年年此日她都这么做的.
　　邮戳上的字是:"65.9.12,华盛顿.西雅图."她总先读邮戳,这是仪式的一部分.然后读手写的收信人地址:"依阿华.温特塞特,弗朗西丝卡.约翰逊."下一步是寄信人地址,在左上角潦草的几笔:"华盛顿州.贝灵汉,642号信箱."她坐在靠窗的椅子里,看着地址,全神贯注.因为信封里面是他的手的动作,她要回味那二十二年前这双手在她身上的感觉.
　　在她能感觉到他的手触摸她时.就打开信封,小心翼翼地拿出三封信.一份短文手稿.两张照片.一期完整的<地理杂志>和从这份杂志别的期上剪下的散页.在逐渐消失的幕霭中她啜着白兰地,从眼镜框上边看着钉在打字手稿上的一封短笺.信写在他本人专用的信纸上,信的开头只有简单的几个印刷体字:"罗伯特金凯,摄影家作家".
　　亲爱的弗朗西丝卡:
　　附上两张照片.一张是在牧场上日出时刻我给你照的,希望你跟我一样喜欢它.另外一张是罗斯曼桥,你钉在上面的小条我还没有取下.我坐在这里,在我的脑海中搜索我们在一起度过的时光的每一个细节.每时每刻.
　　我一遍又一遍问我自己,"我在依阿华的麦迪逊究竟遇到了什么事?"我努力想把它想清楚.所以我才写下了附给你的这篇短文:<从零度空间落下>,这是作为清理我困惑的思路的一种方法.
　　我从镜头望出去,镜头终端是你;我开始写一篇文章,写的又是你.我简直不清楚我从依阿华是怎么回到这里来的.这俩旧卡车好歹把我驮了回来,俚是我几乎完全想不起来中间经过的路程.
　　几星期之前,我感妻自己很有自制能力,也还很满足.也许内心深处并不快活,也许有些寂寞,但是至少是满足的.现在这一切都改变了.现在很清楚,我向你走去,你向我走来已经很久很久了.虽然在我们相会之前谁也不知道对方的存在,但是在我们浑然不觉之中有一种无意识的注定
　　的缘分在轻轻地吟唱,保证我们一定会走到一起.就像两只孤雁在神力的召唤下飞越一片又一片广袤的草原,多少年来,整人一生的时间,我们一直都在互相朝对方走去.
　　那条路直是奇怪的地方.我正开车蹭来蹭去时,抬头一看,就在那八月里的一天,你穿过草地向我走来.回想起来,好像这是必然-不可能是另一样-这种情况我称之为极少可能中的高概率.
　　于是我现在内心里装着另外一个人到处走.不过我觉得我们分手那一天我的说法更好:从我们两个人身上创造出了第三个人.现在那个实体处处尾随着我.
　　不论怎样,我们必须再见面,不管是何时何地.你无论有何需要,或者只是想见见我时,就给我打电话.我将立时三刻到来.如果任何时候你能到这里来,请告诉我,机票钱若有问题,我可以安排.我下星期到印度东南部去,不过十月份就回到这里.
　　我爱你.
　　罗伯特
　　一九六五年九月十日
　　以及:在麦县拍的那组照片效果很好.你可在明年的<地方杂志>上找.如果你
　　要我寄给你刊登这组照片的那一期,请告诉我.
　　弗朗西丝卡.约翰逊把白兰地杯子放在宽阔的橡木窗台上,凝视着一张自己的18*18照片有时她很难回忆起自己二十二年前长得什么样.她倚在一根篱笆桩上,穿着褪色的牛仔裤,凉鞋,白色圆领衫,头发在晨风中飘起.
　　她从坐的地方那窗望出去可以看到那根篱笆桩.牧场周围还是原来的旧篱笆.理查德死后她把地租出去时,曾明文规定牧场必须保留原封不动,尽管现在已是蒿草高长的空地.
　　照片上的她脸上刚刚开始出现第一道皱纹.他的相机没放过它们.不过她还是对照片上所见感到满意.她头发是黑的,身材丰满而有活力,套在牛仔裤里正合适.不过她现在凝视的是自己的脸.那是一个疯狂地爱上了正在照相的男子的女人的脸.
　　沿着记忆的长河,她也能清晰地看见他.每年她都在脑海中把所有的影像过一遍细细地回味一切,刻骨铭心,永志不忘,就像部落民族的口述历史,代代相传直至永久.他身子瘦.高.硬,行动就像草一样自如而有风度,银灰色的头发在耳后长出不少,几乎总是乱蓬蓬的,好像他刚在大风中长途旅行,曾设法用手把它们拢整齐. 
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