电影台词 Movie Lines
——————————————冷山 Cold Mountain——————————
1
Dear Mr.Inman,
Since you've left,time has been measured out in bitter chapters.Last fall,my poor father died.Our farm at Black Cove is abandoned.Every house in these mountains touched by tragedy.Each day the dread of learning who has fallen who will not return from this terrible war.And no word from you.Are you alive? I pray to God you are.This war is lost on the battlefield and is being lost twice over by those who stayed behind.I'm still waiting,as i promised i would.But i find myself alone and at the end of my wits too embarrassed to keep taking from those who can least afford to give.
My last thread of courage now is to put my faith in you and to believe i will see you again.so now i say to you,plain as i can.
if you are fighting,stop fighting.
if you are marching,stop marching.
come back to me,come back to me is my request.
come back to me,come back to me is my request.
2
yesterday,i saw you walking back to me or thought i did.I found myself crouching over Sally Swanger's well like a madwoman staring into its secrets.Was it you i saw walking home to me ,or was it your ghost?After so long ,i know i must learn to survive on my own and accept you will not return.And yet i cannot.I cannot .
3
I'm like the boy who goes for wood in winter and comes back in spring with a whistle,like every fool setn off to tiht with a flag and a lie.
She got me a book,Ada Monroe.He wrote about his travels.sometimes,just reading the name of a place...near home...Sorell corve...Those places belonged to people before us.
What did he call Cold Mountain?How could a mame ... not even a real name ...break your heart?It's her.She is the place i'm heading.And i hardly know her,i hardly know her!And i just can't seem to get back to her.
4
To have traveled so far,from east to west,a thousand terrible miles.I have to close my eyes.My feet treading all god's surface,his ocean, his swamps,his slopes and ridges to find myself,at last,a mark in the aching snow,from whence i beheld through a blue haze a world of mountains piled upon mountains...
5
My love for linton is like the forloliage in the woods.Time will change it ,I'm well aware,as winter changes the trees.My love for Heathcliff resembles the eternal rocks beneath.A source of little visible delight,but necessary.
He is always,always in my mind.
6
My love ,where are you?
With no hope of reaching you, i write to you,as i always do ,as i always done.
7
that's Stobrod Thewes,can't do one good thing without adding the bad.Left tracks in the snow all the way up for the Home Guard to follow.Sign that says 'Shoot me'.They call this war a cloud over the land,but they made the weather,and then they stand in the rain and say 'Shit,it's raining!'
8
-I pray you are well,i pray i am in your thoughts,you are all that keeps me from sliding into some dark place.
-how could i keep you?we barely knew each other ,it was a few moments,
-a thousand fo moments!
They are like a bad of tiny diamonds,don't matter if they are real or things i made up.The shape of your neck,that's real.The way you felt under my hands when i pulled you to me .
-you were plowing a field,
-you were carrying a tray,
-you wouldn't come in-no i wouldn't go in.
-so that's way i had to carry a tray ,so i could come out to see you.
-that kiss,which i kessed every day of my walking,
-everyday i was waiting,longing,longing to see your face,
-if you could see my inside,now whatever you wanna name it .my spirit?that's what i fear.i think i am ruined.they kept trying to put me in the ground,but i wasn't ready.
-Inman..
-but if i had .,, if i had goodness,i lost it.if i had anything tender in me, i shot it dead.how could i write to you after what i done,what seen,,,
-no.1,shut this door,it's freezing,
no.2,shut that door,it's freezing,
laying on my back ,my fingers poked in my ears,trying to shut out who's got a bad of diamonds,who is carring a tray.if you wanna get three feet up a bull's ass,just listeng to what sweethears whisper to one another.in fact,if y'all gonna wimble-winble all night,i am gonna sleep in with him.
-i 'll say good night
-no,please, don't say good night.
-wars make some things ponitless,it is hard to imagine a wedding.I think even my father would recognize that.
-Ada,i want to marry you,if you will have me.
-isn't there some riligion where you just have to say'i marry you'three times and you are man and wife?
-I marry you,I marry you,I marry you.
-why is that funny?
-i think it's 'i divorce you' three times and you are not married anymore,
-i can wait for you.
-Oh,Inman,i marry you ,i marry you,i marry you,i marry you,i marry you,i marry you.....
9
What we have lost will never be returned to us,the land will not heal,too much blood.The hear, will not heal.All we can do is make peace with the past and try to learn from it.
There are days now when i manage not to think of you.When the needs of the farm call with more urgency than my heart.This time of year there's so much life everywhere.I find you in all of it.As you were still walking home to me.If you could see us now this easter day at black cove,you would know every step of your journey was worth it.
I looked once more down Sally's well,and this time there was nothing there to haunt me.Just clouds,and then sun.
——————————非诚勿扰2if u r the one————————————————————
你见，或者不见我
我就在那里 不悲不喜
你念 ，或者不念我
情就在那里，不来不去
你爱，或者不爱我
爱就在那里，不增不减
你跟，或者不跟我
我的手就在你的手里 不舍不弃
来我的怀里，或者，让我住进你的心里
默然，相爱，寂静，欢喜
———————————————invictus成事在人——————————————————
Out of the night that covers me, 透过覆盖我的深夜，
Black as the Pit from pole to pole, 我看见层层无底的黑暗。
I thank whatever gods may be 感谢上帝曾赐我，
For my unconquerable soul. 不可征服的灵魂。
In the fell clutch of circumstance 就算被地狱紧紧攫住，
I have not winced nor cried aloud. 我不会畏缩，也不惊叫。
Under the bludgeoninmgs of chance 经受过一浪又一浪的打击，
My head is bloody, but unbowed. 我满头鲜血都不低头。
Beyond this place of wrath and tear 在这满是愤怒和眼泪的世界之外，
Looms but the Horror of the shade, 恐怖的阴影在游荡。
And yet the menace of the years 还有，未来的威胁，
Finds, and shall find, me unafraid. 可我是毫不畏惧的。
It matters not how strait the gate, 无论我将穿过的那扇门有多窄，
How charged with punishments the scroll, 无论我将肩承怎样的责罚。
I am the master of my fate: 我是命运的主宰，
I am the captain of my soul. 我是灵魂的统帅。
——————————————Revolutionary Road革命之路——————————————
FRANK: So, what do you do?
APRIL: I'm studying to be an actress. You?
FRANK: I'm a longshoreman.
APRIL: No, I mean really.
FRANK: I mean really too. Although, starting next Monday, I'm doing something a little more glamorous.
APRIL: What's that?
FRANK: Night cashier at a cafeteria.
APRIL: I don't mean how you make money. I mean what are you interested in?
FRANK: Honey, if I had the answer to that one, I bet I'd bore us both to death in half an hour.
FRANK: I mean it, baby. You were the only person in that play.
APRIL: Thank you.
FRANK: We just never should've let you get mixed up in the damned thing, though.
APRIL: All right.
FRANK: A bunch of amateurs. I mean, you've studied, for Christ's sake.
APRIL: Could we stop talking about it now?
FRANK: Sure. I just don't want you feeling bad about it, that's all. Because it's not worth it. I mean,
it's bad enough having to live out here among these people... what'd you say?
APRIL: I said yes. All right, Frank. Could you just stop talking about it now, before you drive me crazy, please? What are you doing? Why are we stopping?
FRANK: April, sweetheart, let's talk about this, okay?
APRIL: No, Frank, please don't do that...
FRANK: Come on now...
APRIL: Don't touch me.
FRANK: April...
APRIL: Why can't you... just... LEAVE ME ALONE!
FRANK: Ok. Ok. It strikes me, that there's a considerable amount of bullshit going on here. And there's just a few things I'd like to clear up, Alright? Number one, it's not my fault that the play was lousy. Okay? Number two, it's sure as hell isn't my fault that you didn't turn out to be an actress, and the sooner you get over that little piece of soap opera, the better off we'll both going to be. Number three, I don't happen to fit the role of dumb, insensitive suburban husband, you've been trying to lay that crap on me ever since we moved out here. And I'm damned before wear it. Number four... April!
FRANK: April, what the hell are you doing? Get back in the car.
APRIL: No. I will in a minite. Just let me stand here for a second.
FRANK: God damn it. April, can we please just get back in the car and talk about this, instead of running all over Route Twelve?
APRIL: Haven't I made it clear I don't particularly want to talk about it?
FRANK: Okay. I mean, Jesus, I'm trying to be nice about this thing here, for God's sakes.
APRIL: Oh, how kind of you. How terribly, terribly kind of you!
FRANK: Wait a minute. I don't deserve this.
APRIL: You're always so wonderfully definite on the subject of what you do and don't deserve?
FRANK: Wait a minute! Wait a Goddamn... April, now you listen to me. This is one time you're not gonna get away with twisting everything that I say, April, this just happen to be one Goddamned time, I know I'm not the wrong here.
APRIL: Christ, I wish you'd stayed home tonight.
FRANK: You know what you are when you're like this, April? You're sick. I really mean that. You're sick!
APRIL: And you know what you are?
FRANK: What?
APRIL: You're disgusting!
FRANK: Oh, yeah?
APRIL: You don't bully me, Frank. Just because you've got me safely in this little trap, you think you can bully me into feeling whatever you want me to feel!
FRANK: You in a trap?
APRIL: Yes!
FRANK: You in a trap!
APRIL: Me, Frank. Me!
FRANK: Jesus, don't make me laugh!
APRIL: You pathetic deluded little boy! Look at you! Look at you and tell me how by any stretch of the imagination you can call yourself a man!
FRANK: Don't look at me like that, April.
APRIL: Could we please go home now?
MRS. GIVINGS: Of course, I knew the moment you stepped off the train what you were looking for. A small remodeled barn, or a carriage house... And I just hate to be the one to tell you that sort of thing just isn't available anymore. But I don't want you to despair. There is one place up here I wanna show you... Now, of course it isn't very desirable at this end. As you see, Crawford Road is mostly these little cinder-blocky, pick-up trucky places... plumbers, carpenters, little local people of that sort. But eventually... Eventually it leads up to Revolutionary Road, which is much nicer. Now, the place I want to show you, is a sweet little house and a sweet little setting. Simple, clean lines, good lawns, marvelous for children. It's just around this next curve. Now, you'll see it... there. See the little white one? Sweet, isn't it? The perky way it sits there on its little slope. Charming, isn't it?
APRIL: Oh, yes.
FRANK: You wanted to see me?
Supervisor: Came for you from Toledo this morning. This is the third one this month.
FRANK: Sorry. I thought I'd... I'd taken care...
Supervisor: I'm not prepared to have this conversation again, Frank. You understand?
FRANK: I was literally just gettin...
Supervisor: These folks in the provinces look up to us. We need to be efficient. We can‘t have this kind of back and forth, and so forth. It's just not efficient. Am I Right?
FRANK: ...Yes.
JACK: What was that about?
FRANK: Toledo. Branch manager wants a revised brochure for the conference on the Knox 500. "It's just not efficient. Am I right? Am I right? Am I right?"
JACK: Sounds like a goodie.
FRANK: For God's sake. I don't even know what the Knox 500 does... Do you?
JACK: Don't insult me.
FRANK: You know something, Maureen? You're lucky you met me.
MAUREEN: Oh? How's that?
FRANK: I think I can show you the ropes. You know? There's an certain art to survival at Knox. Really. Let me show you what I mean. Waiter! Bring me the telephone would you? And two more martinis.
MAUREEN: Wow.
FRANK: [on the phone] Clondike 55566, please. Hello Mrs. Jorgensen. Frank Wheeler here. Yes. I just wanted to let you know that I've had to send Maureen Grube down to Visual Aides for me. I'll probably need her the rest of the afternoon. Yes. You too. Take care now.
MAUREEN: I never even heard of Visual Aides.
FRANK: That's because it doesn't exist.
APRIL: Is there something I can do for you, Helen?
MRS. GIVINGS: Oh, I almost forgot. I... There is one small favor I would like to ask... It's about, err... it's about my son, John. He's been in the hospital.
APRIL: Oh, I'm sorry. Is everything alright?
MRS. GIVINGS: Well, actually, just for the time being, he's in Pleasant Brook... Psychiatric.
APRIL: ...Oh. Oh, I see.
MRS. GIVINGS: Well, it's nothing serious. He just got a little run down. Things can just get the better of us sometimes. Don't you agree?
APRIL: Yes. Of course.
MRS. GIVINGS: It's a marvellous facility and the treatments seem to be doing wonders for him... Anyway, they said getting him out for an afternoon might do him a little bit of good. I think he finds my friends a little conventional, quite frankly. I mean, he's travelled. He has a PhD in mathematics. I suppose you could say he's an intellectual. It would do him a world of good to meet a young couple like you.
APRIL: Well, We'd love to meet him.
MRS. GIVINGS: ...Really?
APRIL: Yes. We'd love to.
MRS. GIVINGS: Thank you, dear... Thank you. Well, I must be off.
MRS. GIVINGS: I remember when you first came off the train. You weren't like my other clients. You were different. Well, you just seemed... special. Of course you still are.
MAUREEN: I guess you got me a little drunk.
FRANK: You know what today is?
MAUREEN: ...Monday?
FRANK: It's my birthday. I'm thirty years old today.
MAUREEN: Happy birthday!
FRANK: Thank you.
MAUREEN: What was the name of that department you made up again?
FRANK: Visual... Visual Aides.
MAUREEN: ...What a joke. What a joke. Oh my.
FRANK: You wanna hear a real joke?
MAUREEN: Yes.
FRANK: My old man worked at Knox.
MAUREEN: Yeah?
FRANK: He was a salesman in Yonkers. Once a year he used to take me into the city for lunch. It was supposed to be very special, life-advice sort of occasion.
MAUREEN: Nice.
FRANK: No. Not really... I used to sit there and think, 'I hope to Christ I don't end up like you.'Now here I am, a thirty year old Knox man. Can you beat that?
MAUREEN: I think I kind of lost you... Your father worked for Knox? I'm sorry, but everything's kinda... going out of focus.
FRANK: Why don't we get some air? You and me.
FRANK: You've been to Paris?
APRIL: I've never really been anywhere.
FRANK: Maybe I'll take you with me then. I'm going back the first chance I get, I tell you. People are alive there. Not like here. All I know, April, is I want to feel things. Really feel them. You know? How's that for an ambition?
APRIL: Frank Wheeler?
FRANK: Mm?
APRIL: I think you're the most interesting person I've ever met.
FRANK: Guess this wasn't what you had in mind when you went to work this morning, huh?
MAUREEN: No. It certainly wasn't.
APRIL: Frank.
F RANK: Why are you all dressed up?
APRIL: First of all, I missed you all day and I want to say I'm sorry. I'm sorry for the way I've been since that play. I'm sorry for everything. And I love you. The rest can wait.
APRIL: Frank. I have had the most wonderful idea. I've been thinking about it all day.
FRANK: Baby, what's all this about?
APRIL: You know how much money we have saved? Enough to live on for six months without you earning another dime. And with the money we could get from the house and the car, longer than that.
FRANK: What we get for the house? Sweetheart, what are you talking about? Where are we going to live?
APRIL: Paris.
FRANK: ...What?
APRIL: You always said it was the only place you'd ever been that you wanted to go back to. The only place that was worth living. So why don't we go there?
FRANK: You're serious?
APRIL: Yes. What's stopping us?
FRANK: What's stopping us? Well, I can think of a number of different things. For example, what kind of a job could I possibly get?
APRIL: You won't be getting any kind of job, because I will.
FRANK: Oh, right. Right.
APRIL: Don't laugh at me. Listen a minute! Do you know what they pay for secretarial positions in the government agencies in Europe?
FRANK: No, I don't.
APRIL: Listen, Frank. I'm serious about this. Do you think I'm kidding or something?
FRANK: Okay, okay. I just have a couple of questions, is all. For one thing, what exactly am I supposed to be doing while you're out earning all this money?
APRIL: Don't you see? That's the whole idea! You'll be doing what you should've been allowed to do seven years ago. You'll have time. For the first time in your life you'll have time to find out what it is that you actually want to do, and when you figure it out you'll have the time and the freedom to start doing it.
FRANK: Sweetheart, it's just not very realistic, is all.
APRIL: No, Frank. This is what's unrealistic. It's unrealistic for a man with a fine mind to go on working year after year at a job he can't stand, coming home to a place he can't stand, to a wife who's equally unable to stand the same things. Do you want to know the worst part? Our whole existence here is based on this great premise that we're very special, and superior to the whole thing, but we are not. We're just like everyone else. Look at us! We've bought into the same ridiculous delusion. This idea that you have to resign from life and settle down the moment you have children. And we've been punishing each other for it.
FRANK: Listen. We decided to move out here. No one forced me to take the job at Knox. I mean, who ever said I was meant to be a big deal, anyway?
APRIL: When I first met you, there was nothing in the world you couldn't do or be.
FRANK: When you first met me, I was a little wise guy with a big mouth, that's all.
APRIL: You were not! How can you even say that?
FRANK: ...Okay... Okay, so, I'll have time. And God knows that's appealing. It's very appealing. And everything you're saying make sense, if I had definite talent If I were a writer or an artist...
APRIL: No, listen, listen, listen to me. It's what you are that's being stifled. It's what you are that's being denied and denied and denied in this kind of life.
FRANK: And what's that?
APRIL: Don't you know? You're the most beautiful and wonderful thing in the world... You're a man. This is our chance, Frank. This is our one chance.
FRANK: Okay.
APRIL: Okay?
FRANK: Why not? Why the hell not?
FRANK: Morning, all.
Colleagues: Morning, Frank.
JACK: Ah, Franklin. Good to see your shining face. What's the news?
FRANK: Fellas, I'm moving to Paris.
JACK: Indeed. And I'm moving to Tangiers.
FRANK: September. October at the outside. I just happen to think people are better off doing some kind of work they actually like.
ED: Right, right, yes.
JACK: But... I mean, assuming there is a true vocation waiting for you. Wouldn't you be just as likely to discover it here as there?
FRANK: I don't think it's possible to discover anything on the fifteenth floor of the Knox building, and I don't think any of you do either.
MILLY: April, I can't get over it... You look like the cat who ate the canary! Do you have something to tell us? Just a little bit of news?
FRANK: Well, actually, Milly, we do have some important news. Yes.
MILLY: I knew it.
FRANK: Why don't you tell 'em?
APRIL: We're going to Europe. To Paris! To live.
MILLY: ...What?
SHEP: When?
FRANK: In September.
MILLY: But what for?
FRANK: What for? Well, well, because we've always wanted to. Because the kids are young enough. Because it's beautiful. I mean, really. Shep, you've been there. you tell her.
SHEP: Yeah. It's a great city.
MILLY: Oh. When did you make this decision?
APRIL: About a week ago? It's hard to remember. We just suddenly decided to go, that's all.
MILLY: About a week ago, and you tell us now!
APRIL: We had to get used to the idea.
SHEP: So, what's the deal, Frank? You get a job over there, or what?
FRANK: No. Not exactly.
SHEP: What do you mean, 'not exactly?'
APRIL: Frank won't be getting any kind of a job, because I will.
SHEP: So what are you gonna do, Frank?
FRANK: I'm going to study... and I'm going to read and... I suppose I'm going to finally figure out what I want to do with my life.
SHEP: While she supports you?
FRANK: Yes. While she supports me. In the beginning.
APRIL: You wouldn't believe what they pay for secretarial work in those government agencies over there. NATO and E.C.A. and those places.
FRANK: The cost of living is dirt cheap, right?
APRIL: So cheap. The truth is we just need something different. We're not getting any younger and we don't want life to just pass us by.
FRANK: That's right.
MILLY: Gee, it sounds wonderful, kids. I mean it, it really sounds wonderful.
FRANK: Thank you, Milly. Thank you
MILLY: We'll certainly miss you both. Won't we, sweetie? Golly.
SHEP: Sure.
FRANK: We'll miss you, too.
APRIL: Of course.
MILLY: We should have a toast or something. To Paris.
All: To Paris. Cheers.
SHEP: You know what I think?
MILLY: What?
SHEP: I think this whole plan sounds a little immature.
MILLY: Oh God, I'm so relieved. Me too... I was thinking that the whole time.
SHEP: I mean, what kind of man is going to sit around in his bathrobe all day, picking his nose while his wife goes out and works?
MILLY: I don't know, Shep. I just don't know. [starts crying]
SHEP: Why are you crying? What's the matter?
MILLY: It's nothing. I'm just so relieved. Shep..
SHEP: Don't cry. Please. It's all right. Everything's going to be alright.
FRANK: My God, their faces! Oh God.
APRIL: Oh God.
FRANK: You know what this is like, April? Honestly. Just talking like this? The whole idea of going off to Europe this way? This is the way I felt going up to the line the first time, in the war. I mean, I was probably just as scared as everyone else, but inside I never felt better. I felt alive. I felt full of blood. I felt... everything just seemed more real. The guys in their uniforms. The snow on the fields, the trees. And all of us, all of us just... walking. I mean I was scared, of course. But I just kept thinking: this is it. You know? This is the truth.
APRIL: I felt that way once too.
FRANK: When?
APRIL: The first time you made love to me.
FRANK: Oh, April.
BART: Good to know you, Frank. Speaking of production control? Frank... This is a crackerjack. They're just tickled to death in Toledo.
FRANK: ...Really?
FRANK: So this guy Pollock, He's perfect Presidential material in the worst sense. A million dollar smile and about three pounds of muscle between his ears. April, you should've heard this guy. "Frank, this is a crackerjack." Horse's ass.
APRIL: Wish I've seen his face when you told him you were leaving.
FRANK: ...Yeah.
MRS. GIVINGS: Where are your darling children?
APRIL: They're at a birthday party. Sorry they couldn't be here.
JOHN: Don't worry. If I had a certified lunatic coming around my house, I'd probably get the kids out of the way too.
JOHN: Helen's been talking it up about you people for months. The nice young Wheelers on Revolutionary Road, the nice young Revolutionaries on Wheeler road.
FRANK: Would anyone like some sherry?
MRS. GIVINGS: Oh. Please, don't bother, Frank.
JOHN: I'd like some sherry. And I'll drink Helen's, too. If she doesn't beat me to it. But, hey... You got a high-ball glass? Put a couple-three ice cubes in it, pour it up to the brim. That's the way I like it.
FRANK: I think I can handle that.
JOHN: You a lawyer, Frank?
FRANK: No. No, I'm not.
JOHN: I could use a lawyer.
MR. GIVINGS: John, let's not get started again about the lawyer.
JOHN: Pop, couldn't you just sit there and eat your wonderful egg salad, and quit horning in? See, I've got a good many questions to ask and I'm willing to pay for the answers. Now, I don't need to be told that a man who goes after his mother with a coffee table is putting himself in a weak position legally; that's obvious.
MRS. GIVINGS: John, come and have a look out this fabulous picture window.
JOHN: If he hits her with it and kills her, that's a criminal case.
MRS. GIVINGS: Oh, look, the sun's coming out!
JOHN: If all he does is break the coffee table and give her a certain amount of aggravation and then she decides to go to court over it, that's a civil case.
MRS. GIVINGS: Maybe we'll have a rainbow! John, come have a look.
JOHN: Ma, how about doing everybody a favor? How about shutting up!
MR. GIVINGS: Settle down, now.
FRANK: Maybe I can look into it. Recommend someone. What do you say? Hmm?
JOHN: So, what do you do, Frank?
FRANK: I work at Knox Business Machines.
JOHN: You design the machines?
FRANK: Nope.
JOHN: Make 'em, sell 'em, repair 'em?
MRS. GIVINGS: Oh. All these questions.
FRANK: I help sell them, I guess. I work in the office. Actually, it's sort of a stupid job. Really, there's nothing interesting about it at all.
JOHN: What do you do it for then?
MR. GIVINGS: Maybe Frank doesn't like being questioned...
JOHN: Okay, okay, okay. I know it's none of my business. And besides, I know the answer. You want to play house, you got to have a job. You want to play very nice house, very sweet house, then you got to have a job you don't like. Anyone comes along and asks "What do you do it for?" he's probably on a four-hour pass from the State funny farm. All agreed? Ma?
MR. GIVINGS: Sorry, Frank...
FRANK: Don't be. Don't be. Actually, John, I agree with everything you just said. We both do. That's why I'm quitting the job in the fall and we're taking off.
APRIL: We're moving to Paris.
JOHN: Did you know about this, Ma? Wow. How do you feel about that, Ma? The nice young Wheelers... The nice young Wheelers are taking off!
MRS. GIVINGS: ...John, please.
MR. GIVINGS: Steady down, son.
APRIL: I hear you are a mathematician.
JOHN: You hear wrong. It's all gone now.
APRIL: All gone?
JOHN: You know what 'electrical shock treatments' are?
APRIL: Yes, yes, I do.
JOHN: I had 37. It supposed to jolt out the 'emotional problems', it just jolted out the mathematics.
APRIL: How awful.
JOHN: "How awful"? Why? Because mathematics is so 'interesting'?
APRIL: No, because the shocks must be awful and, well, because it's awful not to be able to do what it is you want to do. I think mathematics must be dull.
JOHN: I like your girl, Frank.
FRANK: Me too.
JOHN: So what do a couple of people like you have to run away from?
FRANK: We're not running.
JOHN: So what's in paris?
APRIL: A different way of life.
FRANK: Maybe we are running. Running from the hopeless emptiness of the whole life here. Right?
JOHN: The hopeless emptiness... Now you've said it. Plenty of people are on to the emptiness but it takes real guts to see the hopelessness. Wow.
APRIL: You know. He's the first person who seemed to know what we are talking about.
FRANK: Yeah. That's true, isn't it? Maybe we are just as crazy as he is, huh?
APRIL: If being crazy means living life as if it matters then I don't care if we are completely insane. Do you?
FRANK: No.
APRIL: I love you so much.
FRANK: Listen, Bart. There's something I should have mentioned earlier... I'm gonna be leaving the firm. In the fall.
BART: Another outfit?
FRANK: No, no, it's not another outfit...
BART: Now look, Frank. Is it a question of money? Because if it is, there's no reason we can't get together on a satisfactory...
FRANK: Well, I sure appreciate that, but no. It's not the money. It's huh... It's more of a personal thing. I hope you understand.
BART: A personal thing? I see. Frank, Let me tell you something my father told me... A man only gets a couple of chances in life. If he doesn't grab 'em by the balls, it won't be long before he sitting around wondering how he got to be second rate.
FRANK: ...I guess so.
BART: So, do me a favor... Sleep on it. Discuss it with your wife. Because let's be honest, where the hell would any of us be without our wives, anyway? And Frank, in all sincerity, if you do decide to join us, I believe it'll be a thing you'll never regret. And I believe something else, too. I believe it'd be a fine memorial to your Dad. Think about it, Frank. Really think about it.
FRANK: Knowing what you've got, comma, knowing what you need, comma, Knowing what you can't do without, dash. That's inventory control.
FRANK: Alright, April. What's the matter?
APRIL: Nothing.
FRANK: I don't believe you. Did something happen this morning?
APRIL: Nothing happened today that I haven't known about for days and days.
FRANK: What?
APRIL: Oh God, Frank, please don't look so dense. Do you mean you haven't guessed or anything?
FRANK: April, what are you talking about?
APRIL: I'm pregnant, that's all.
FRANK: What?
APRIL: Oh, Frank, I meant to wait until dinner to tell you, but I just... well, I've been pretty sure all week and today I went to the Doctor and now I can't even pretend it's not true.
FRANK: Jee... How long?
APRIL: Ten weeks.
FRANK: Ten weeks? Ten weeks and you wait until now to tell me?
APRIL: I thought... Oh, I don't know what I thought. I'm sorry, Frank. I'm so sorry.
FRANK: I know. I know you are. Alright?
APRIL: But there are things we can do. We don't have to let this stop us from going, do we? Remember that girl at school I told you about? As long as we take care of it before 12 weeks, it's fine. We've got to be together in this, Frank.
FRANK: Well. We'll figure it out. Alright? Come here. 12 weeks. We have time to decide, right?
APRIL: Right. I love you.
FRANK: ...I love you too.
SHEP: So, Frank, how's work? They gonna survive without you?
FRANK: Actually... Something kinda funny happened the other day. I did some dumb little piece of work to get myself off the hook with Bandy, and suddenly I'm The Bright Young Man.
SHEP: That's always the way, ain't it?
FRANK: It's incredible. I mean, I knocked this thing off in a couple of minutes and now they want me to join their team of 'specialist' salesmen.
SHEP: Morons.
FRANK: Well, it'd be funny, if they weren't offering so much damn money.
SHEP: So, you tempted?
FRANK: Well, it's just kind of ironic, don't you think?
APRIL: I thought you turned the job down.
FRANK: Not yet. It's just an option, that's all. With the kind of money they're talking, things could be different for us here. We could get a better place. Travel. Look, the point is, we could be happy here. At least for a little while. That it's possible that Parisians aren't the only ones capable of leading interesting lives, April.
APRIL: So, you've made up your mind?
FRANK: No. No. Like I said, it's an option. That's all.
APRIL: And supposing you're right. You make all this money and we have this interesting life here. Won't you still be wasting your life toiling away at a job you find ridiculous?
FRANK: Maybe we let that be my business. Alright?
APRIL: Your business?
FRANK: You know what. It's too hot for this. I'm gonna go get wet.
APRIL: You don't want to go, do you?
FRANK: Oh. Come on, April. Of course I do.
APRIL: No, you don't! Because you've never tried at anything. And if you don't try at anything, you can't fail.
FRANK: What the hell do you mean I don't try? I support you, don't I? I pay for this house. I work ten hours a day at a job I can't stand.
APRIL: You don't have to!
FRANK: Bullshit! Look, I'm not happy about it. But I have the backbone not to run away from my responsibilities!
APRIL: It takes backbone to lead the life you want, Frank. Where are you going?
FRANK: If it's alright with you, April, I'm gonna go use the bathroom. Okay?
FRANK: What the hell are you gonna do with this? Hmm?
APRIL: And what do you think you're gonna do? You're gonna stop me?
FRANK: You're damn right I am!
APRIL: Go ahead and try!
FRANK: Listen to me. You do this... you do this and I swear to God...
APRIL: You'll what? You'll leave me? Is that a threat, or a promise?
FRANK: When did you buy this, April? How long did you but this? I want to know!
APRIL: Jesus Christ. You really are being melodramatic about this whole thing. As long as it's done in the first twelve weeks, it's perfectly safe.
FRANK: That's now April! Don't I get a say?
APRIL: Of course you do! It would be for you, Frank, don't you see? So you can have time. Just like we talked about.
FRANK: How can it be for me when the thought even makes my stomach turn over, for God's sake.
APRIL: Then it's for me! Tell me we can have the baby in Paris, Frank. Tell me we can have a different life. But don't make me stay here. Please.
FRANK: We can't have the baby in Paris.
APRIL: Why not? I don't need everything we have here. I don't care where we live! I mean, who made these rules, anyway? The only reason we moved out here was because I got pregnant. Then we had another child to prove the first one wasn't a mistake. I mean, how long does it go on? Frank. Do you actually want another child? Well, do you? Come on, tell me. Tell me the truth, Frank. Remember that? We used to live by it. And you know what's so good about the truth? Everyone knows what it is, however long they've lived without it. No one forgets the truth, Frank, they just get better at lying. So tell me, do you really want another child?
FRANK: All I know is what I feel. And anyone else in their right mind would feel the same way, April.
APRIL: But I've had two children. Doesn't that count in my favor?
FRANK: Christ, April! The fact that you even put it that way! You make it seem as if having children is some sort of Goddamned punishment!
APRIL: I love my children, Frank.
FRANK: And you're sure about that?
APRIL: What the hell is that supposed to mean?
FRANK: April, you just said our daughter was a mistake. How do I know you didn't try to get rid of her, or Michael for that matter?
APRIL: No...
FRANK: How do I know you didn't try to flush our entire fucking family down the toilet?
APRIL: No, that's not true! Of course I didn't.
FRANK: But how do I know, April?
APRIL: Please stop. Please just stop, Frank.
FRANK: April, a normal woman, a normal sane mother doesn't buy a piece of rubber tubing to give herself an abortion so she can live out some kind of God damn fantasy! ...Look, all I'm saying is you don't seem entirely rational about this thing... And I think it's about time we find somebody to help make some sense of your life.
APRIL: And the new job's gonna pay for that too?
FRANK: April, if you need a shrink, it'll be paid for. Obviously.
APRIL: ...Okay. I guess there isn't much more to say, then, is there? So I guess Paris was a pretty childish idea, huh?
FRANK: I guess maybe it was. April, We can be happy here. I can make you happy here. We've had a great few months. It doesn't need to end. We're gonna be okay. I promise.
APRIL: I hope so, Frank. I really hope so.
JACK: Foiled by faulty contraception.
ED: I can't say that I'm sorry.
JACK: You'd have been sorely missed in the old cubicle, I can tell you that.
VINCE: Wouldn't have been the same without you.
JACK: Besides which... Well.
FRANK: What?
JACK: Well, the plan always seemed a touch unrealistic, don't you think? I suppose, it's none of my business, really.
FRANK:No. No. I suppose it isn't.
JACK: Well... They'll be celebrating in the secretarial pool.
MILLY: Hey! You remember the first time you brought us here?
SHEP: Oh. Absolutely.
MILLY: You said, it takes a special kind of taste to enjoy Vito's Log Cabin!
SHEP: It's so awful it's kinda nice!
MILLY: Look at me... I'm just so happy! Our little gang's back together again!
SHEP: Hey. Europe's not going anywhere.
APRIL: That's right.
FRANK: April, honey, how about a dance?
APRIL: Oh, not right now. Maybe later.
MILLY: I'll dance!
MILLY: Guess she's still pretty blue about Paris, huh?
FRANK: Think she'll be okay?
MILLY: Oh, sure. Give us girls a couple of days and we can get over anything!
SHEP: I'm sorry you're not going away anymore. I know it was important to you. Don't take this wrong. But... I've been there and... they don't have so much we don't have here.
APRIL: It didn't have to be Paris.
SHEP: You just... wanted out, huh?
APRIL: I wanted in. I just... I just wanted us to live again. For years I thought we shared a secret...that we would be wonderful in the world. I didn't exactly know how, but just the possibility... kept me hoping. How pathetic is that? So stupid. To put all your hopes in a promise that was never made? See, Frank knows...he knows what he wants. He's found his place. He's just fine. Married, two kids. It should be enough. It is for him. He's right; we were never special or destined or anything at all.
SHEP: Yes you are. You're The Wheelers. You're a terrific couple, everybody says so.
APRIL: I saw a whole lot of a future. I can't stop seeing it. Can't leave, can't stay. No damn use to anyone. Come on, let's do it.
SHEP: Let me take you somewhere.
APRIL: No. Just... just do it here. Now.
SHEP: April... This is what I've always wanted... I love you.
APRIL: Don't say that.
SHEP: No, I mean it, I love you.
APRIL: Please, just be quiet for a minute, then you can take me home.
FRANK: It's beautiful out.
APRIL: Yes, it's lovely.
FRANK: You know what today is? It's twelve weeks.
APRIL: That's right.
FRANK: Look, this has been kind of a crazy summer. We've both been under a strain. I mean, I understand why you're upset.
APRIL: You know I'm not sleeping with you and you want to know why? Well, I'm sorry Frank, but I just... I really don't feel like talking about it.
FRANK: Okay. Then what should we talk about, April?
APRIL: Would it be all right if we didn't talk about anything? I mean, can't we just take each day as it comes, and do the best we can, and not feel like we have to talk about everything all the time?
FRANK: I don't think I'm suggesting that we talk about everything all the time. Look, my point is, we've both been under a strain and we ought to be helping each other out as much as we can right now. I mean God knows my own behavior has been pretty weird lately. As a matter of fact there is something I'd like to tell you about... I've been with a girl a few times. In the city. A girl I... hardly even know. It was nothing to me, but it's over now. Really over. If I weren't sure of that I guess I could never have told you about it.
APRIL: Why did you?
FRANK: Baby, I don't know. I mean... I think it's a simple case of wanting to be a man again after all that abortion business. Some kind of neurotic, irrational need to prove something.
APRIL: No. I don't mean why did you have the girl. I mean why did you tell me about it?
FRANK: What do you mean?
APRIL: I mean what's the point? Is it supposed to make me jealous, or something? Is it supposed to make me fall in love with you, or back into bed with you, or what? I mean, what would you like me to say, Frank?
FRANK: Why don't you say what you feel?
APRIL: I don't feel anything.
FRANK: In other words you don't care what I do or who I fuck or anything?
APRIL: No. I guess that's right, I don't. Fuck who you like.
FRANK: April. Don't you understand that I want you to care?
APRIL: I know, I know you do. And I suppose I would if I loved you. But I don't think I do anymore. And I only just figured that out. And that's why I'd just as soon not do any talking right now.
FRANK: Oh, now don't give me this shit! April, don't give me that! You know God damn well you love me!
APRIL: You think so?!
FRANK: You know GOD DAMN WELL!
APRIL: I'm sorry dinner's late. Would anyone like another drink?
MRS. GIVINGS: Oh, don't worry. It's nice to just sit a bit and socialize... You shouldn't have gone through all these trouble. I know you are packing and what not. Imagine how long you were on the plate. No pan intended.
FRANK: Actually, there's been a change of plans.
MRS. GIVINGS: Oh?
FRANK: I thought maybe it was obvious... April here is pregnant.
MR. GIVINGS: Congratulations!
MRS. GIVINGS: Oh, April! I can't tell you how pleased I am. Oh, but I expect you'll be needing a bigger house, now, won't you?
JOHN: Hold it a second, Ma. Hold it a second, Ma. I don't get this. I mean, what's so obvious about it? I mean okay, she's pregnant, so what? Don't people have babies in Europe?
MRS. GIVINGS: Oh John, really...
FRANK: Suppose we just say that people anywhere aren't very well advised to have babies unless they can afford them.
JOHN: Okay. Okay. It's a question of money. Money's always a good reason... But it's hardly ever the real reason. What's the real reason? Wife talk you out of it, or what? Little woman decide she isn't quite ready to quit playing house? Nah, nah, that's not it. I can tell. She looks too tough, and adequate as hell. Okay, then, it must've been you. What happened?
MRS. GIVINGS: John, please, you're being very rude...
JOHN: No, no! What happened, Frank? You get cold feet? You decide you're better off here after all? You figure it's more comfy here in the old Hopeless Emptiness after all, huh? Wow, that did it! Look at his face! What's the matter, Wheeler? Am I getting warm?
MR. GIVINGS: All right, son. I think we'd better be...
JOHN: You know something? I wouldn't be surprised if you knocked her up on purpose just so you could spend the rest of your life hiding behind that maternity dress. That way he never have to find out what he's made of.
FRANK: Now look, I think that's just about enough out of you. I mean, who the hell do you think you are? You come in here and say whatever crazy God damn thing comes into your head and I think it's about time somebody told you to keep your God damn mouth shut.
MRS. GIVINGS: He's not well, Frank.
FRANK: Not well, my ass! I don't give a damn if he's sick or well or dead or alive, he should keep his fucking opinions in the fucking insane asylum where they belong!
MR. GIVINGS: Let's go, son.
MRS. GIVINGS: Come on, John.
JOHN: Big man you got there, April. Big family man. I feel sorry for you. Still, maybe you deserve each other. I mean, the way you look right now, I'm beginning to feel sorry for him, too. You must give him a pretty bad time, if making babies is the only way he can prove he's got a pair of balls.
FRANK: You... fucking...!
MRS. GIVINGS: No! He's not well, Frank!
MR. GIVINGS: All right, John. Let's get on out to the car now.
MRS. GIVINGS: April, I'm sorry, I'm so sorry...
JOHN: Oh, right... Sorry, sorry, sorry! Okay Ma? Have I said "I'm Sorry" enough times? Damn! I am sorry, too. I bet, I'm just about the sorriest bastard I know. But, get right down to it, I don't have a whole hell of a lot to be glad about, do I? Oh, but hey, you know what? I'm glad about one thing. Do you know what I'm glad about? I'm glad I'm not gonna be that kid.
FRANK: Okay, okay, don't tell me. Don't tell me, let me guess. I made a disgusting spectacle of myself. Right?
APRIL: Right.
FRANK: And everything that man said is true. Right? Is that what you're going to say?
APRIL: Apparently I don't have to. You're saying it for me.
FRANK: But you're wrong, April.
APRIL: Really? Why am I wrong?
FRANK: Because the man is insane. He's fucking insane! Do you know what the definition of insanity is?
APRIL: No, do you?
FRANK: Yes. It's the inability to relate to another human being. It's the inability to love.
[April starts to laugh]
FRANK: April. April. April!
APRIL: The in... the in... the inabil... the inability to... Oh, Frank, you really are a wonderful talker! If black could be made into white by talking, you'd be the man for the job. So now I'm crazy because I don't love you, right? Is that the point?
FRANK: No! Wrong. You're not crazy and you do love me, that's the point, April.
APRIL: But I don't. I hate you. You're just some boy who made me laugh at a party once and now I loathe the sight of you. In fact if you come any closer, if you touch me or anything I think I'll scream.
FRANK: Come on, stop this, April...
APRIL: AAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!
FRANK: Fuck you, April! And fuck you and all your hateful, snotty little...
APRIL: What're you going to do now? Are you going to hit me? To show me how much you love me?
FRANK: Don't worry, I can't be bothered! You're not worth the trouble it'd take to hit you. You're not worth the powder it'd take to blow you up. You're an empty, empty, hollow shell of a woman. I mean, what the hell are you doing in my house if you hate me so much? Why the hell do you marry to me? What the hell are you carrying my child ? Why the hell didn't you just get rid of it, when you had the chance to? Because listen to me, listen to me, I got news for you. I wish to God that you had.
FRANK: April, April, April, April, April!
APRIL: Stay away from me.
FRANK: April, listen.
APRIL: Stay away from me. Can't I even get away from you in the fucking woods?
FRANK: April, listen, I didn't mean that. Honestly; I didn't mean what I said...
APRIL: Are you still talking? Isn't there any way to stop your talking? I need to think. Can't you see that? I NEED TO THINK!
FRANK: Please come back to the house. What're you doing out here, April...
APRIL: Do you want me to scream again, Frank? Because I will, I mean it!
FRANK: ...Okay...
APRIL: Good morning.
FRANK: Good morning.
APRIL: Would you like scrambled eggs or fried?
FRANK: Oh. I don't know. It doesn't really matter... scrambled, I guess, if it's easy.
APRIL: Fine. I'll have scrambled too.
FRANK: It's kinda nice having breakfast without the kids for a change.
APRIL: Yes. I thought you'd probably want a good breakfast today. I mean it's kind of an important day for you, isn't it? Isn't this the day you have your conference with Pollock?
FRANK: Yes. That's right. Big deal.
APRIL: I imagine it is a pretty big deal; for them, anyway. What exactly do you think you'll be doing in your new job? You haven't really told me much about it.
FRANK: Haven't I? Well... I think this whole thing is about Knox getting ready to buy up one of these really big computers, even bigger than the '500'. Did I tell you about that?
APRIL: No, why don't you tell me now?
FRANK: Well, you know... Basically it's just a... a big, fast adding machine. Only Instead of mechanical parts, you see, it got thousands of individual vacuum tubes.
APRIL: Oh, I see. At least I think I see. yes. It's really kind of... interesting, isn't it?
FRANK: Well, I don't know... yes, I guess it is kind of interesting in a way.
APRIL: You should value what you do, Frank. You're obviously good at it.
FRANK: Guess I'd better be getting started, huh? Listen, though, April... this was really nice. I mean it was a swell breakfast. Really, I... I don't know when I've ever had a nicer... nicer breakfast.
APRIL: Thank you. I enjoyed it too.
FRANK: Then you don't... You don't hate me, or anything?
APRIL: No, no, of course I don't. Have a good day.
FRANK: OK, then. So long.
APRIL: Hello... Milly? Everything all right? Well, no, I'm afraid I'm not feeling any better... that's really why I call. If it's not an inconvenience for you... This evening would be great. What...? Oh, no, not if they're outdoors playing. Don't call them in. Just give them... give them each a kiss for me,and tell them... tell them... Oh, you know... All right, Thank you, Milly. Bye.
SHEP: Frank? They tell you what happened?
FRANK: Jesus Christ, Shep. I didn't even understand half the things he told me. He said the fetus was out before they got her here. And they had to operate to take out the what they call it, the placenta? And now she's still bleeding. He said that she'd lost a lot of blood before the ambulance came, and now they're trying to stop it, and he said a whole lot of things I didn't understand, about capillaries... and he said she's unconscious. Jesus.
SHEP: Ok, Frank, why don't you take a seat.
FRANK: What the hell do I want to sit down for!
SHEP: Okay. Frank, just take it easy. Take it easy. Here, have a cigarette.
FRANK: She did it to herself, Shep. She did it to herself.
SHEP: ...I'm gonna get you some coffee.
MILLY: Such wonderful people. Weren't they, Shep? It's just devastating. Poor April. Frank lives in the city now. Where is it he works?
SHEP: Bart Pollock Associates.
MR. BRACE: Computers. Interesting firm.
MRS. BRACE: Have you seen him since?
MILLY: No. Not back here. Too many memories, I think. Shep's seen him. In the city. Haven't you, sweetie? Frank is... just devoted to those kids. Every spare moment he has, he spends with them...
MILLY: You alright?
SHEP: I don't want to talk about The Wheelers any more.
MILLY: Ok. We don't have to. We don't have to.
MRS. GIVINGS: I can't tell you how pleased I am about the little Revolutionary Road place, Howard. And now whenever I drive past, it gives me such a lift to see it all perked up and spanking clean again, with all the lights all the windows. And do you know, I was just thinking, I've loved that little house for years, and the Braces are the only really suitable people I've ever found for it. Really nice, congenial people, I mean.
MR. GIVINGS: Well, except for the Wheelers, you mean.
MRS. GIVINGS: Oh, I was very fond of the Wheelers but they were a bit whimsical, for my taste. A bit neurotic. I may not have stressed it, but they were often very trying people to deal with, in many ways. Actually, the main reason that the little house was so hard to sell is because they let it depreciate so dreadfully. Warped window frames, wet cellar, crayon marks on the walls, filthy smudges around all the door...
1
Dear Mr.Inman,
Since you've left,time has been measured out in bitter chapters.Last fall,my poor father died.Our farm at Black Cove is abandoned.Every house in these mountains touched by tragedy.Each day the dread of learning who has fallen who will not return from this terrible war.And no word from you.Are you alive? I pray to God you are.This war is lost on the battlefield and is being lost twice over by those who stayed behind.I'm still waiting,as i promised i would.But i find myself alone and at the end of my wits too embarrassed to keep taking from those who can least afford to give.
My last thread of courage now is to put my faith in you and to believe i will see you again.so now i say to you,plain as i can.
if you are fighting,stop fighting.
if you are marching,stop marching.
come back to me,come back to me is my request.
come back to me,come back to me is my request.
2
yesterday,i saw you walking back to me or thought i did.I found myself crouching over Sally Swanger's well like a madwoman staring into its secrets.Was it you i saw walking home to me ,or was it your ghost?After so long ,i know i must learn to survive on my own and accept you will not return.And yet i cannot.I cannot .
3
I'm like the boy who goes for wood in winter and comes back in spring with a whistle,like every fool setn off to tiht with a flag and a lie.
She got me a book,Ada Monroe.He wrote about his travels.sometimes,just reading the name of a place...near home...Sorell corve...Those places belonged to people before us.
What did he call Cold Mountain?How could a mame ... not even a real name ...break your heart?It's her.She is the place i'm heading.And i hardly know her,i hardly know her!And i just can't seem to get back to her.
4
To have traveled so far,from east to west,a thousand terrible miles.I have to close my eyes.My feet treading all god's surface,his ocean, his swamps,his slopes and ridges to find myself,at last,a mark in the aching snow,from whence i beheld through a blue haze a world of mountains piled upon mountains...
5
My love for linton is like the forloliage in the woods.Time will change it ,I'm well aware,as winter changes the trees.My love for Heathcliff resembles the eternal rocks beneath.A source of little visible delight,but necessary.
He is always,always in my mind.
6
My love ,where are you?
With no hope of reaching you, i write to you,as i always do ,as i always done.
7
that's Stobrod Thewes,can't do one good thing without adding the bad.Left tracks in the snow all the way up for the Home Guard to follow.Sign that says 'Shoot me'.They call this war a cloud over the land,but they made the weather,and then they stand in the rain and say 'Shit,it's raining!'
8
-I pray you are well,i pray i am in your thoughts,you are all that keeps me from sliding into some dark place.
-how could i keep you?we barely knew each other ,it was a few moments,
-a thousand fo moments!
They are like a bad of tiny diamonds,don't matter if they are real or things i made up.The shape of your neck,that's real.The way you felt under my hands when i pulled you to me .
-you were plowing a field,
-you were carrying a tray,
-you wouldn't come in-no i wouldn't go in.
-so that's way i had to carry a tray ,so i could come out to see you.
-that kiss,which i kessed every day of my walking,
-everyday i was waiting,longing,longing to see your face,
-if you could see my inside,now whatever you wanna name it .my spirit?that's what i fear.i think i am ruined.they kept trying to put me in the ground,but i wasn't ready.
-Inman..
-but if i had .,, if i had goodness,i lost it.if i had anything tender in me, i shot it dead.how could i write to you after what i done,what seen,,,
-no.1,shut this door,it's freezing,
no.2,shut that door,it's freezing,
laying on my back ,my fingers poked in my ears,trying to shut out who's got a bad of diamonds,who is carring a tray.if you wanna get three feet up a bull's ass,just listeng to what sweethears whisper to one another.in fact,if y'all gonna wimble-winble all night,i am gonna sleep in with him.
-i 'll say good night
-no,please, don't say good night.
-wars make some things ponitless,it is hard to imagine a wedding.I think even my father would recognize that.
-Ada,i want to marry you,if you will have me.
-isn't there some riligion where you just have to say'i marry you'three times and you are man and wife?
-I marry you,I marry you,I marry you.
-why is that funny?
-i think it's 'i divorce you' three times and you are not married anymore,
-i can wait for you.
-Oh,Inman,i marry you ,i marry you,i marry you,i marry you,i marry you,i marry you.....
9
What we have lost will never be returned to us,the land will not heal,too much blood.The hear, will not heal.All we can do is make peace with the past and try to learn from it.
There are days now when i manage not to think of you.When the needs of the farm call with more urgency than my heart.This time of year there's so much life everywhere.I find you in all of it.As you were still walking home to me.If you could see us now this easter day at black cove,you would know every step of your journey was worth it.
I looked once more down Sally's well,and this time there was nothing there to haunt me.Just clouds,and then sun.
——————————非诚勿扰2if u r the one————————————————————
你见，或者不见我
我就在那里 不悲不喜
你念 ，或者不念我
情就在那里，不来不去
你爱，或者不爱我
爱就在那里，不增不减
你跟，或者不跟我
我的手就在你的手里 不舍不弃
来我的怀里，或者，让我住进你的心里
默然，相爱，寂静，欢喜
———————————————invictus成事在人——————————————————
Out of the night that covers me, 透过覆盖我的深夜，
Black as the Pit from pole to pole, 我看见层层无底的黑暗。
I thank whatever gods may be 感谢上帝曾赐我，
For my unconquerable soul. 不可征服的灵魂。
In the fell clutch of circumstance 就算被地狱紧紧攫住，
I have not winced nor cried aloud. 我不会畏缩，也不惊叫。
Under the bludgeoninmgs of chance 经受过一浪又一浪的打击，
My head is bloody, but unbowed. 我满头鲜血都不低头。
Beyond this place of wrath and tear 在这满是愤怒和眼泪的世界之外，
Looms but the Horror of the shade, 恐怖的阴影在游荡。
And yet the menace of the years 还有，未来的威胁，
Finds, and shall find, me unafraid. 可我是毫不畏惧的。
It matters not how strait the gate, 无论我将穿过的那扇门有多窄，
How charged with punishments the scroll, 无论我将肩承怎样的责罚。
I am the master of my fate: 我是命运的主宰，
I am the captain of my soul. 我是灵魂的统帅。
——————————————Revolutionary Road革命之路——————————————
FRANK: So, what do you do?
APRIL: I'm studying to be an actress. You?
FRANK: I'm a longshoreman.
APRIL: No, I mean really.
FRANK: I mean really too. Although, starting next Monday, I'm doing something a little more glamorous.
APRIL: What's that?
FRANK: Night cashier at a cafeteria.
APRIL: I don't mean how you make money. I mean what are you interested in?
FRANK: Honey, if I had the answer to that one, I bet I'd bore us both to death in half an hour.
FRANK: I mean it, baby. You were the only person in that play.
APRIL: Thank you.
FRANK: We just never should've let you get mixed up in the damned thing, though.
APRIL: All right.
FRANK: A bunch of amateurs. I mean, you've studied, for Christ's sake.
APRIL: Could we stop talking about it now?
FRANK: Sure. I just don't want you feeling bad about it, that's all. Because it's not worth it. I mean,
it's bad enough having to live out here among these people... what'd you say?
APRIL: I said yes. All right, Frank. Could you just stop talking about it now, before you drive me crazy, please? What are you doing? Why are we stopping?
FRANK: April, sweetheart, let's talk about this, okay?
APRIL: No, Frank, please don't do that...
FRANK: Come on now...
APRIL: Don't touch me.
FRANK: April...
APRIL: Why can't you... just... LEAVE ME ALONE!
FRANK: Ok. Ok. It strikes me, that there's a considerable amount of bullshit going on here. And there's just a few things I'd like to clear up, Alright? Number one, it's not my fault that the play was lousy. Okay? Number two, it's sure as hell isn't my fault that you didn't turn out to be an actress, and the sooner you get over that little piece of soap opera, the better off we'll both going to be. Number three, I don't happen to fit the role of dumb, insensitive suburban husband, you've been trying to lay that crap on me ever since we moved out here. And I'm damned before wear it. Number four... April!
FRANK: April, what the hell are you doing? Get back in the car.
APRIL: No. I will in a minite. Just let me stand here for a second.
FRANK: God damn it. April, can we please just get back in the car and talk about this, instead of running all over Route Twelve?
APRIL: Haven't I made it clear I don't particularly want to talk about it?
FRANK: Okay. I mean, Jesus, I'm trying to be nice about this thing here, for God's sakes.
APRIL: Oh, how kind of you. How terribly, terribly kind of you!
FRANK: Wait a minute. I don't deserve this.
APRIL: You're always so wonderfully definite on the subject of what you do and don't deserve?
FRANK: Wait a minute! Wait a Goddamn... April, now you listen to me. This is one time you're not gonna get away with twisting everything that I say, April, this just happen to be one Goddamned time, I know I'm not the wrong here.
APRIL: Christ, I wish you'd stayed home tonight.
FRANK: You know what you are when you're like this, April? You're sick. I really mean that. You're sick!
APRIL: And you know what you are?
FRANK: What?
APRIL: You're disgusting!
FRANK: Oh, yeah?
APRIL: You don't bully me, Frank. Just because you've got me safely in this little trap, you think you can bully me into feeling whatever you want me to feel!
FRANK: You in a trap?
APRIL: Yes!
FRANK: You in a trap!
APRIL: Me, Frank. Me!
FRANK: Jesus, don't make me laugh!
APRIL: You pathetic deluded little boy! Look at you! Look at you and tell me how by any stretch of the imagination you can call yourself a man!
FRANK: Don't look at me like that, April.
APRIL: Could we please go home now?
MRS. GIVINGS: Of course, I knew the moment you stepped off the train what you were looking for. A small remodeled barn, or a carriage house... And I just hate to be the one to tell you that sort of thing just isn't available anymore. But I don't want you to despair. There is one place up here I wanna show you... Now, of course it isn't very desirable at this end. As you see, Crawford Road is mostly these little cinder-blocky, pick-up trucky places... plumbers, carpenters, little local people of that sort. But eventually... Eventually it leads up to Revolutionary Road, which is much nicer. Now, the place I want to show you, is a sweet little house and a sweet little setting. Simple, clean lines, good lawns, marvelous for children. It's just around this next curve. Now, you'll see it... there. See the little white one? Sweet, isn't it? The perky way it sits there on its little slope. Charming, isn't it?
APRIL: Oh, yes.
FRANK: You wanted to see me?
Supervisor: Came for you from Toledo this morning. This is the third one this month.
FRANK: Sorry. I thought I'd... I'd taken care...
Supervisor: I'm not prepared to have this conversation again, Frank. You understand?
FRANK: I was literally just gettin...
Supervisor: These folks in the provinces look up to us. We need to be efficient. We can‘t have this kind of back and forth, and so forth. It's just not efficient. Am I Right?
FRANK: ...Yes.
JACK: What was that about?
FRANK: Toledo. Branch manager wants a revised brochure for the conference on the Knox 500. "It's just not efficient. Am I right? Am I right? Am I right?"
JACK: Sounds like a goodie.
FRANK: For God's sake. I don't even know what the Knox 500 does... Do you?
JACK: Don't insult me.
FRANK: You know something, Maureen? You're lucky you met me.
MAUREEN: Oh? How's that?
FRANK: I think I can show you the ropes. You know? There's an certain art to survival at Knox. Really. Let me show you what I mean. Waiter! Bring me the telephone would you? And two more martinis.
MAUREEN: Wow.
FRANK: [on the phone] Clondike 55566, please. Hello Mrs. Jorgensen. Frank Wheeler here. Yes. I just wanted to let you know that I've had to send Maureen Grube down to Visual Aides for me. I'll probably need her the rest of the afternoon. Yes. You too. Take care now.
MAUREEN: I never even heard of Visual Aides.
FRANK: That's because it doesn't exist.
APRIL: Is there something I can do for you, Helen?
MRS. GIVINGS: Oh, I almost forgot. I... There is one small favor I would like to ask... It's about, err... it's about my son, John. He's been in the hospital.
APRIL: Oh, I'm sorry. Is everything alright?
MRS. GIVINGS: Well, actually, just for the time being, he's in Pleasant Brook... Psychiatric.
APRIL: ...Oh. Oh, I see.
MRS. GIVINGS: Well, it's nothing serious. He just got a little run down. Things can just get the better of us sometimes. Don't you agree?
APRIL: Yes. Of course.
MRS. GIVINGS: It's a marvellous facility and the treatments seem to be doing wonders for him... Anyway, they said getting him out for an afternoon might do him a little bit of good. I think he finds my friends a little conventional, quite frankly. I mean, he's travelled. He has a PhD in mathematics. I suppose you could say he's an intellectual. It would do him a world of good to meet a young couple like you.
APRIL: Well, We'd love to meet him.
MRS. GIVINGS: ...Really?
APRIL: Yes. We'd love to.
MRS. GIVINGS: Thank you, dear... Thank you. Well, I must be off.
MRS. GIVINGS: I remember when you first came off the train. You weren't like my other clients. You were different. Well, you just seemed... special. Of course you still are.
MAUREEN: I guess you got me a little drunk.
FRANK: You know what today is?
MAUREEN: ...Monday?
FRANK: It's my birthday. I'm thirty years old today.
MAUREEN: Happy birthday!
FRANK: Thank you.
MAUREEN: What was the name of that department you made up again?
FRANK: Visual... Visual Aides.
MAUREEN: ...What a joke. What a joke. Oh my.
FRANK: You wanna hear a real joke?
MAUREEN: Yes.
FRANK: My old man worked at Knox.
MAUREEN: Yeah?
FRANK: He was a salesman in Yonkers. Once a year he used to take me into the city for lunch. It was supposed to be very special, life-advice sort of occasion.
MAUREEN: Nice.
FRANK: No. Not really... I used to sit there and think, 'I hope to Christ I don't end up like you.'Now here I am, a thirty year old Knox man. Can you beat that?
MAUREEN: I think I kind of lost you... Your father worked for Knox? I'm sorry, but everything's kinda... going out of focus.
FRANK: Why don't we get some air? You and me.
FRANK: You've been to Paris?
APRIL: I've never really been anywhere.
FRANK: Maybe I'll take you with me then. I'm going back the first chance I get, I tell you. People are alive there. Not like here. All I know, April, is I want to feel things. Really feel them. You know? How's that for an ambition?
APRIL: Frank Wheeler?
FRANK: Mm?
APRIL: I think you're the most interesting person I've ever met.
FRANK: Guess this wasn't what you had in mind when you went to work this morning, huh?
MAUREEN: No. It certainly wasn't.
APRIL: Frank.
F RANK: Why are you all dressed up?
APRIL: First of all, I missed you all day and I want to say I'm sorry. I'm sorry for the way I've been since that play. I'm sorry for everything. And I love you. The rest can wait.
APRIL: Frank. I have had the most wonderful idea. I've been thinking about it all day.
FRANK: Baby, what's all this about?
APRIL: You know how much money we have saved? Enough to live on for six months without you earning another dime. And with the money we could get from the house and the car, longer than that.
FRANK: What we get for the house? Sweetheart, what are you talking about? Where are we going to live?
APRIL: Paris.
FRANK: ...What?
APRIL: You always said it was the only place you'd ever been that you wanted to go back to. The only place that was worth living. So why don't we go there?
FRANK: You're serious?
APRIL: Yes. What's stopping us?
FRANK: What's stopping us? Well, I can think of a number of different things. For example, what kind of a job could I possibly get?
APRIL: You won't be getting any kind of job, because I will.
FRANK: Oh, right. Right.
APRIL: Don't laugh at me. Listen a minute! Do you know what they pay for secretarial positions in the government agencies in Europe?
FRANK: No, I don't.
APRIL: Listen, Frank. I'm serious about this. Do you think I'm kidding or something?
FRANK: Okay, okay. I just have a couple of questions, is all. For one thing, what exactly am I supposed to be doing while you're out earning all this money?
APRIL: Don't you see? That's the whole idea! You'll be doing what you should've been allowed to do seven years ago. You'll have time. For the first time in your life you'll have time to find out what it is that you actually want to do, and when you figure it out you'll have the time and the freedom to start doing it.
FRANK: Sweetheart, it's just not very realistic, is all.
APRIL: No, Frank. This is what's unrealistic. It's unrealistic for a man with a fine mind to go on working year after year at a job he can't stand, coming home to a place he can't stand, to a wife who's equally unable to stand the same things. Do you want to know the worst part? Our whole existence here is based on this great premise that we're very special, and superior to the whole thing, but we are not. We're just like everyone else. Look at us! We've bought into the same ridiculous delusion. This idea that you have to resign from life and settle down the moment you have children. And we've been punishing each other for it.
FRANK: Listen. We decided to move out here. No one forced me to take the job at Knox. I mean, who ever said I was meant to be a big deal, anyway?
APRIL: When I first met you, there was nothing in the world you couldn't do or be.
FRANK: When you first met me, I was a little wise guy with a big mouth, that's all.
APRIL: You were not! How can you even say that?
FRANK: ...Okay... Okay, so, I'll have time. And God knows that's appealing. It's very appealing. And everything you're saying make sense, if I had definite talent If I were a writer or an artist...
APRIL: No, listen, listen, listen to me. It's what you are that's being stifled. It's what you are that's being denied and denied and denied in this kind of life.
FRANK: And what's that?
APRIL: Don't you know? You're the most beautiful and wonderful thing in the world... You're a man. This is our chance, Frank. This is our one chance.
FRANK: Okay.
APRIL: Okay?
FRANK: Why not? Why the hell not?
FRANK: Morning, all.
Colleagues: Morning, Frank.
JACK: Ah, Franklin. Good to see your shining face. What's the news?
FRANK: Fellas, I'm moving to Paris.
JACK: Indeed. And I'm moving to Tangiers.
FRANK: September. October at the outside. I just happen to think people are better off doing some kind of work they actually like.
ED: Right, right, yes.
JACK: But... I mean, assuming there is a true vocation waiting for you. Wouldn't you be just as likely to discover it here as there?
FRANK: I don't think it's possible to discover anything on the fifteenth floor of the Knox building, and I don't think any of you do either.
MILLY: April, I can't get over it... You look like the cat who ate the canary! Do you have something to tell us? Just a little bit of news?
FRANK: Well, actually, Milly, we do have some important news. Yes.
MILLY: I knew it.
FRANK: Why don't you tell 'em?
APRIL: We're going to Europe. To Paris! To live.
MILLY: ...What?
SHEP: When?
FRANK: In September.
MILLY: But what for?
FRANK: What for? Well, well, because we've always wanted to. Because the kids are young enough. Because it's beautiful. I mean, really. Shep, you've been there. you tell her.
SHEP: Yeah. It's a great city.
MILLY: Oh. When did you make this decision?
APRIL: About a week ago? It's hard to remember. We just suddenly decided to go, that's all.
MILLY: About a week ago, and you tell us now!
APRIL: We had to get used to the idea.
SHEP: So, what's the deal, Frank? You get a job over there, or what?
FRANK: No. Not exactly.
SHEP: What do you mean, 'not exactly?'
APRIL: Frank won't be getting any kind of a job, because I will.
SHEP: So what are you gonna do, Frank?
FRANK: I'm going to study... and I'm going to read and... I suppose I'm going to finally figure out what I want to do with my life.
SHEP: While she supports you?
FRANK: Yes. While she supports me. In the beginning.
APRIL: You wouldn't believe what they pay for secretarial work in those government agencies over there. NATO and E.C.A. and those places.
FRANK: The cost of living is dirt cheap, right?
APRIL: So cheap. The truth is we just need something different. We're not getting any younger and we don't want life to just pass us by.
FRANK: That's right.
MILLY: Gee, it sounds wonderful, kids. I mean it, it really sounds wonderful.
FRANK: Thank you, Milly. Thank you
MILLY: We'll certainly miss you both. Won't we, sweetie? Golly.
SHEP: Sure.
FRANK: We'll miss you, too.
APRIL: Of course.
MILLY: We should have a toast or something. To Paris.
All: To Paris. Cheers.
SHEP: You know what I think?
MILLY: What?
SHEP: I think this whole plan sounds a little immature.
MILLY: Oh God, I'm so relieved. Me too... I was thinking that the whole time.
SHEP: I mean, what kind of man is going to sit around in his bathrobe all day, picking his nose while his wife goes out and works?
MILLY: I don't know, Shep. I just don't know. [starts crying]
SHEP: Why are you crying? What's the matter?
MILLY: It's nothing. I'm just so relieved. Shep..
SHEP: Don't cry. Please. It's all right. Everything's going to be alright.
FRANK: My God, their faces! Oh God.
APRIL: Oh God.
FRANK: You know what this is like, April? Honestly. Just talking like this? The whole idea of going off to Europe this way? This is the way I felt going up to the line the first time, in the war. I mean, I was probably just as scared as everyone else, but inside I never felt better. I felt alive. I felt full of blood. I felt... everything just seemed more real. The guys in their uniforms. The snow on the fields, the trees. And all of us, all of us just... walking. I mean I was scared, of course. But I just kept thinking: this is it. You know? This is the truth.
APRIL: I felt that way once too.
FRANK: When?
APRIL: The first time you made love to me.
FRANK: Oh, April.
BART: Good to know you, Frank. Speaking of production control? Frank... This is a crackerjack. They're just tickled to death in Toledo.
FRANK: ...Really?
FRANK: So this guy Pollock, He's perfect Presidential material in the worst sense. A million dollar smile and about three pounds of muscle between his ears. April, you should've heard this guy. "Frank, this is a crackerjack." Horse's ass.
APRIL: Wish I've seen his face when you told him you were leaving.
FRANK: ...Yeah.
MRS. GIVINGS: Where are your darling children?
APRIL: They're at a birthday party. Sorry they couldn't be here.
JOHN: Don't worry. If I had a certified lunatic coming around my house, I'd probably get the kids out of the way too.
JOHN: Helen's been talking it up about you people for months. The nice young Wheelers on Revolutionary Road, the nice young Revolutionaries on Wheeler road.
FRANK: Would anyone like some sherry?
MRS. GIVINGS: Oh. Please, don't bother, Frank.
JOHN: I'd like some sherry. And I'll drink Helen's, too. If she doesn't beat me to it. But, hey... You got a high-ball glass? Put a couple-three ice cubes in it, pour it up to the brim. That's the way I like it.
FRANK: I think I can handle that.
JOHN: You a lawyer, Frank?
FRANK: No. No, I'm not.
JOHN: I could use a lawyer.
MR. GIVINGS: John, let's not get started again about the lawyer.
JOHN: Pop, couldn't you just sit there and eat your wonderful egg salad, and quit horning in? See, I've got a good many questions to ask and I'm willing to pay for the answers. Now, I don't need to be told that a man who goes after his mother with a coffee table is putting himself in a weak position legally; that's obvious.
MRS. GIVINGS: John, come and have a look out this fabulous picture window.
JOHN: If he hits her with it and kills her, that's a criminal case.
MRS. GIVINGS: Oh, look, the sun's coming out!
JOHN: If all he does is break the coffee table and give her a certain amount of aggravation and then she decides to go to court over it, that's a civil case.
MRS. GIVINGS: Maybe we'll have a rainbow! John, come have a look.
JOHN: Ma, how about doing everybody a favor? How about shutting up!
MR. GIVINGS: Settle down, now.
FRANK: Maybe I can look into it. Recommend someone. What do you say? Hmm?
JOHN: So, what do you do, Frank?
FRANK: I work at Knox Business Machines.
JOHN: You design the machines?
FRANK: Nope.
JOHN: Make 'em, sell 'em, repair 'em?
MRS. GIVINGS: Oh. All these questions.
FRANK: I help sell them, I guess. I work in the office. Actually, it's sort of a stupid job. Really, there's nothing interesting about it at all.
JOHN: What do you do it for then?
MR. GIVINGS: Maybe Frank doesn't like being questioned...
JOHN: Okay, okay, okay. I know it's none of my business. And besides, I know the answer. You want to play house, you got to have a job. You want to play very nice house, very sweet house, then you got to have a job you don't like. Anyone comes along and asks "What do you do it for?" he's probably on a four-hour pass from the State funny farm. All agreed? Ma?
MR. GIVINGS: Sorry, Frank...
FRANK: Don't be. Don't be. Actually, John, I agree with everything you just said. We both do. That's why I'm quitting the job in the fall and we're taking off.
APRIL: We're moving to Paris.
JOHN: Did you know about this, Ma? Wow. How do you feel about that, Ma? The nice young Wheelers... The nice young Wheelers are taking off!
MRS. GIVINGS: ...John, please.
MR. GIVINGS: Steady down, son.
APRIL: I hear you are a mathematician.
JOHN: You hear wrong. It's all gone now.
APRIL: All gone?
JOHN: You know what 'electrical shock treatments' are?
APRIL: Yes, yes, I do.
JOHN: I had 37. It supposed to jolt out the 'emotional problems', it just jolted out the mathematics.
APRIL: How awful.
JOHN: "How awful"? Why? Because mathematics is so 'interesting'?
APRIL: No, because the shocks must be awful and, well, because it's awful not to be able to do what it is you want to do. I think mathematics must be dull.
JOHN: I like your girl, Frank.
FRANK: Me too.
JOHN: So what do a couple of people like you have to run away from?
FRANK: We're not running.
JOHN: So what's in paris?
APRIL: A different way of life.
FRANK: Maybe we are running. Running from the hopeless emptiness of the whole life here. Right?
JOHN: The hopeless emptiness... Now you've said it. Plenty of people are on to the emptiness but it takes real guts to see the hopelessness. Wow.
APRIL: You know. He's the first person who seemed to know what we are talking about.
FRANK: Yeah. That's true, isn't it? Maybe we are just as crazy as he is, huh?
APRIL: If being crazy means living life as if it matters then I don't care if we are completely insane. Do you?
FRANK: No.
APRIL: I love you so much.
FRANK: Listen, Bart. There's something I should have mentioned earlier... I'm gonna be leaving the firm. In the fall.
BART: Another outfit?
FRANK: No, no, it's not another outfit...
BART: Now look, Frank. Is it a question of money? Because if it is, there's no reason we can't get together on a satisfactory...
FRANK: Well, I sure appreciate that, but no. It's not the money. It's huh... It's more of a personal thing. I hope you understand.
BART: A personal thing? I see. Frank, Let me tell you something my father told me... A man only gets a couple of chances in life. If he doesn't grab 'em by the balls, it won't be long before he sitting around wondering how he got to be second rate.
FRANK: ...I guess so.
BART: So, do me a favor... Sleep on it. Discuss it with your wife. Because let's be honest, where the hell would any of us be without our wives, anyway? And Frank, in all sincerity, if you do decide to join us, I believe it'll be a thing you'll never regret. And I believe something else, too. I believe it'd be a fine memorial to your Dad. Think about it, Frank. Really think about it.
FRANK: Knowing what you've got, comma, knowing what you need, comma, Knowing what you can't do without, dash. That's inventory control.
FRANK: Alright, April. What's the matter?
APRIL: Nothing.
FRANK: I don't believe you. Did something happen this morning?
APRIL: Nothing happened today that I haven't known about for days and days.
FRANK: What?
APRIL: Oh God, Frank, please don't look so dense. Do you mean you haven't guessed or anything?
FRANK: April, what are you talking about?
APRIL: I'm pregnant, that's all.
FRANK: What?
APRIL: Oh, Frank, I meant to wait until dinner to tell you, but I just... well, I've been pretty sure all week and today I went to the Doctor and now I can't even pretend it's not true.
FRANK: Jee... How long?
APRIL: Ten weeks.
FRANK: Ten weeks? Ten weeks and you wait until now to tell me?
APRIL: I thought... Oh, I don't know what I thought. I'm sorry, Frank. I'm so sorry.
FRANK: I know. I know you are. Alright?
APRIL: But there are things we can do. We don't have to let this stop us from going, do we? Remember that girl at school I told you about? As long as we take care of it before 12 weeks, it's fine. We've got to be together in this, Frank.
FRANK: Well. We'll figure it out. Alright? Come here. 12 weeks. We have time to decide, right?
APRIL: Right. I love you.
FRANK: ...I love you too.
SHEP: So, Frank, how's work? They gonna survive without you?
FRANK: Actually... Something kinda funny happened the other day. I did some dumb little piece of work to get myself off the hook with Bandy, and suddenly I'm The Bright Young Man.
SHEP: That's always the way, ain't it?
FRANK: It's incredible. I mean, I knocked this thing off in a couple of minutes and now they want me to join their team of 'specialist' salesmen.
SHEP: Morons.
FRANK: Well, it'd be funny, if they weren't offering so much damn money.
SHEP: So, you tempted?
FRANK: Well, it's just kind of ironic, don't you think?
APRIL: I thought you turned the job down.
FRANK: Not yet. It's just an option, that's all. With the kind of money they're talking, things could be different for us here. We could get a better place. Travel. Look, the point is, we could be happy here. At least for a little while. That it's possible that Parisians aren't the only ones capable of leading interesting lives, April.
APRIL: So, you've made up your mind?
FRANK: No. No. Like I said, it's an option. That's all.
APRIL: And supposing you're right. You make all this money and we have this interesting life here. Won't you still be wasting your life toiling away at a job you find ridiculous?
FRANK: Maybe we let that be my business. Alright?
APRIL: Your business?
FRANK: You know what. It's too hot for this. I'm gonna go get wet.
APRIL: You don't want to go, do you?
FRANK: Oh. Come on, April. Of course I do.
APRIL: No, you don't! Because you've never tried at anything. And if you don't try at anything, you can't fail.
FRANK: What the hell do you mean I don't try? I support you, don't I? I pay for this house. I work ten hours a day at a job I can't stand.
APRIL: You don't have to!
FRANK: Bullshit! Look, I'm not happy about it. But I have the backbone not to run away from my responsibilities!
APRIL: It takes backbone to lead the life you want, Frank. Where are you going?
FRANK: If it's alright with you, April, I'm gonna go use the bathroom. Okay?
FRANK: What the hell are you gonna do with this? Hmm?
APRIL: And what do you think you're gonna do? You're gonna stop me?
FRANK: You're damn right I am!
APRIL: Go ahead and try!
FRANK: Listen to me. You do this... you do this and I swear to God...
APRIL: You'll what? You'll leave me? Is that a threat, or a promise?
FRANK: When did you buy this, April? How long did you but this? I want to know!
APRIL: Jesus Christ. You really are being melodramatic about this whole thing. As long as it's done in the first twelve weeks, it's perfectly safe.
FRANK: That's now April! Don't I get a say?
APRIL: Of course you do! It would be for you, Frank, don't you see? So you can have time. Just like we talked about.
FRANK: How can it be for me when the thought even makes my stomach turn over, for God's sake.
APRIL: Then it's for me! Tell me we can have the baby in Paris, Frank. Tell me we can have a different life. But don't make me stay here. Please.
FRANK: We can't have the baby in Paris.
APRIL: Why not? I don't need everything we have here. I don't care where we live! I mean, who made these rules, anyway? The only reason we moved out here was because I got pregnant. Then we had another child to prove the first one wasn't a mistake. I mean, how long does it go on? Frank. Do you actually want another child? Well, do you? Come on, tell me. Tell me the truth, Frank. Remember that? We used to live by it. And you know what's so good about the truth? Everyone knows what it is, however long they've lived without it. No one forgets the truth, Frank, they just get better at lying. So tell me, do you really want another child?
FRANK: All I know is what I feel. And anyone else in their right mind would feel the same way, April.
APRIL: But I've had two children. Doesn't that count in my favor?
FRANK: Christ, April! The fact that you even put it that way! You make it seem as if having children is some sort of Goddamned punishment!
APRIL: I love my children, Frank.
FRANK: And you're sure about that?
APRIL: What the hell is that supposed to mean?
FRANK: April, you just said our daughter was a mistake. How do I know you didn't try to get rid of her, or Michael for that matter?
APRIL: No...
FRANK: How do I know you didn't try to flush our entire fucking family down the toilet?
APRIL: No, that's not true! Of course I didn't.
FRANK: But how do I know, April?
APRIL: Please stop. Please just stop, Frank.
FRANK: April, a normal woman, a normal sane mother doesn't buy a piece of rubber tubing to give herself an abortion so she can live out some kind of God damn fantasy! ...Look, all I'm saying is you don't seem entirely rational about this thing... And I think it's about time we find somebody to help make some sense of your life.
APRIL: And the new job's gonna pay for that too?
FRANK: April, if you need a shrink, it'll be paid for. Obviously.
APRIL: ...Okay. I guess there isn't much more to say, then, is there? So I guess Paris was a pretty childish idea, huh?
FRANK: I guess maybe it was. April, We can be happy here. I can make you happy here. We've had a great few months. It doesn't need to end. We're gonna be okay. I promise.
APRIL: I hope so, Frank. I really hope so.
JACK: Foiled by faulty contraception.
ED: I can't say that I'm sorry.
JACK: You'd have been sorely missed in the old cubicle, I can tell you that.
VINCE: Wouldn't have been the same without you.
JACK: Besides which... Well.
FRANK: What?
JACK: Well, the plan always seemed a touch unrealistic, don't you think? I suppose, it's none of my business, really.
FRANK:No. No. I suppose it isn't.
JACK: Well... They'll be celebrating in the secretarial pool.
MILLY: Hey! You remember the first time you brought us here?
SHEP: Oh. Absolutely.
MILLY: You said, it takes a special kind of taste to enjoy Vito's Log Cabin!
SHEP: It's so awful it's kinda nice!
MILLY: Look at me... I'm just so happy! Our little gang's back together again!
SHEP: Hey. Europe's not going anywhere.
APRIL: That's right.
FRANK: April, honey, how about a dance?
APRIL: Oh, not right now. Maybe later.
MILLY: I'll dance!
MILLY: Guess she's still pretty blue about Paris, huh?
FRANK: Think she'll be okay?
MILLY: Oh, sure. Give us girls a couple of days and we can get over anything!
SHEP: I'm sorry you're not going away anymore. I know it was important to you. Don't take this wrong. But... I've been there and... they don't have so much we don't have here.
APRIL: It didn't have to be Paris.
SHEP: You just... wanted out, huh?
APRIL: I wanted in. I just... I just wanted us to live again. For years I thought we shared a secret...that we would be wonderful in the world. I didn't exactly know how, but just the possibility... kept me hoping. How pathetic is that? So stupid. To put all your hopes in a promise that was never made? See, Frank knows...he knows what he wants. He's found his place. He's just fine. Married, two kids. It should be enough. It is for him. He's right; we were never special or destined or anything at all.
SHEP: Yes you are. You're The Wheelers. You're a terrific couple, everybody says so.
APRIL: I saw a whole lot of a future. I can't stop seeing it. Can't leave, can't stay. No damn use to anyone. Come on, let's do it.
SHEP: Let me take you somewhere.
APRIL: No. Just... just do it here. Now.
SHEP: April... This is what I've always wanted... I love you.
APRIL: Don't say that.
SHEP: No, I mean it, I love you.
APRIL: Please, just be quiet for a minute, then you can take me home.
FRANK: It's beautiful out.
APRIL: Yes, it's lovely.
FRANK: You know what today is? It's twelve weeks.
APRIL: That's right.
FRANK: Look, this has been kind of a crazy summer. We've both been under a strain. I mean, I understand why you're upset.
APRIL: You know I'm not sleeping with you and you want to know why? Well, I'm sorry Frank, but I just... I really don't feel like talking about it.
FRANK: Okay. Then what should we talk about, April?
APRIL: Would it be all right if we didn't talk about anything? I mean, can't we just take each day as it comes, and do the best we can, and not feel like we have to talk about everything all the time?
FRANK: I don't think I'm suggesting that we talk about everything all the time. Look, my point is, we've both been under a strain and we ought to be helping each other out as much as we can right now. I mean God knows my own behavior has been pretty weird lately. As a matter of fact there is something I'd like to tell you about... I've been with a girl a few times. In the city. A girl I... hardly even know. It was nothing to me, but it's over now. Really over. If I weren't sure of that I guess I could never have told you about it.
APRIL: Why did you?
FRANK: Baby, I don't know. I mean... I think it's a simple case of wanting to be a man again after all that abortion business. Some kind of neurotic, irrational need to prove something.
APRIL: No. I don't mean why did you have the girl. I mean why did you tell me about it?
FRANK: What do you mean?
APRIL: I mean what's the point? Is it supposed to make me jealous, or something? Is it supposed to make me fall in love with you, or back into bed with you, or what? I mean, what would you like me to say, Frank?
FRANK: Why don't you say what you feel?
APRIL: I don't feel anything.
FRANK: In other words you don't care what I do or who I fuck or anything?
APRIL: No. I guess that's right, I don't. Fuck who you like.
FRANK: April. Don't you understand that I want you to care?
APRIL: I know, I know you do. And I suppose I would if I loved you. But I don't think I do anymore. And I only just figured that out. And that's why I'd just as soon not do any talking right now.
FRANK: Oh, now don't give me this shit! April, don't give me that! You know God damn well you love me!
APRIL: You think so?!
FRANK: You know GOD DAMN WELL!
APRIL: I'm sorry dinner's late. Would anyone like another drink?
MRS. GIVINGS: Oh, don't worry. It's nice to just sit a bit and socialize... You shouldn't have gone through all these trouble. I know you are packing and what not. Imagine how long you were on the plate. No pan intended.
FRANK: Actually, there's been a change of plans.
MRS. GIVINGS: Oh?
FRANK: I thought maybe it was obvious... April here is pregnant.
MR. GIVINGS: Congratulations!
MRS. GIVINGS: Oh, April! I can't tell you how pleased I am. Oh, but I expect you'll be needing a bigger house, now, won't you?
JOHN: Hold it a second, Ma. Hold it a second, Ma. I don't get this. I mean, what's so obvious about it? I mean okay, she's pregnant, so what? Don't people have babies in Europe?
MRS. GIVINGS: Oh John, really...
FRANK: Suppose we just say that people anywhere aren't very well advised to have babies unless they can afford them.
JOHN: Okay. Okay. It's a question of money. Money's always a good reason... But it's hardly ever the real reason. What's the real reason? Wife talk you out of it, or what? Little woman decide she isn't quite ready to quit playing house? Nah, nah, that's not it. I can tell. She looks too tough, and adequate as hell. Okay, then, it must've been you. What happened?
MRS. GIVINGS: John, please, you're being very rude...
JOHN: No, no! What happened, Frank? You get cold feet? You decide you're better off here after all? You figure it's more comfy here in the old Hopeless Emptiness after all, huh? Wow, that did it! Look at his face! What's the matter, Wheeler? Am I getting warm?
MR. GIVINGS: All right, son. I think we'd better be...
JOHN: You know something? I wouldn't be surprised if you knocked her up on purpose just so you could spend the rest of your life hiding behind that maternity dress. That way he never have to find out what he's made of.
FRANK: Now look, I think that's just about enough out of you. I mean, who the hell do you think you are? You come in here and say whatever crazy God damn thing comes into your head and I think it's about time somebody told you to keep your God damn mouth shut.
MRS. GIVINGS: He's not well, Frank.
FRANK: Not well, my ass! I don't give a damn if he's sick or well or dead or alive, he should keep his fucking opinions in the fucking insane asylum where they belong!
MR. GIVINGS: Let's go, son.
MRS. GIVINGS: Come on, John.
JOHN: Big man you got there, April. Big family man. I feel sorry for you. Still, maybe you deserve each other. I mean, the way you look right now, I'm beginning to feel sorry for him, too. You must give him a pretty bad time, if making babies is the only way he can prove he's got a pair of balls.
FRANK: You... fucking...!
MRS. GIVINGS: No! He's not well, Frank!
MR. GIVINGS: All right, John. Let's get on out to the car now.
MRS. GIVINGS: April, I'm sorry, I'm so sorry...
JOHN: Oh, right... Sorry, sorry, sorry! Okay Ma? Have I said "I'm Sorry" enough times? Damn! I am sorry, too. I bet, I'm just about the sorriest bastard I know. But, get right down to it, I don't have a whole hell of a lot to be glad about, do I? Oh, but hey, you know what? I'm glad about one thing. Do you know what I'm glad about? I'm glad I'm not gonna be that kid.
FRANK: Okay, okay, don't tell me. Don't tell me, let me guess. I made a disgusting spectacle of myself. Right?
APRIL: Right.
FRANK: And everything that man said is true. Right? Is that what you're going to say?
APRIL: Apparently I don't have to. You're saying it for me.
FRANK: But you're wrong, April.
APRIL: Really? Why am I wrong?
FRANK: Because the man is insane. He's fucking insane! Do you know what the definition of insanity is?
APRIL: No, do you?
FRANK: Yes. It's the inability to relate to another human being. It's the inability to love.
[April starts to laugh]
FRANK: April. April. April!
APRIL: The in... the in... the inabil... the inability to... Oh, Frank, you really are a wonderful talker! If black could be made into white by talking, you'd be the man for the job. So now I'm crazy because I don't love you, right? Is that the point?
FRANK: No! Wrong. You're not crazy and you do love me, that's the point, April.
APRIL: But I don't. I hate you. You're just some boy who made me laugh at a party once and now I loathe the sight of you. In fact if you come any closer, if you touch me or anything I think I'll scream.
FRANK: Come on, stop this, April...
APRIL: AAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!
FRANK: Fuck you, April! And fuck you and all your hateful, snotty little...
APRIL: What're you going to do now? Are you going to hit me? To show me how much you love me?
FRANK: Don't worry, I can't be bothered! You're not worth the trouble it'd take to hit you. You're not worth the powder it'd take to blow you up. You're an empty, empty, hollow shell of a woman. I mean, what the hell are you doing in my house if you hate me so much? Why the hell do you marry to me? What the hell are you carrying my child ? Why the hell didn't you just get rid of it, when you had the chance to? Because listen to me, listen to me, I got news for you. I wish to God that you had.
FRANK: April, April, April, April, April!
APRIL: Stay away from me.
FRANK: April, listen.
APRIL: Stay away from me. Can't I even get away from you in the fucking woods?
FRANK: April, listen, I didn't mean that. Honestly; I didn't mean what I said...
APRIL: Are you still talking? Isn't there any way to stop your talking? I need to think. Can't you see that? I NEED TO THINK!
FRANK: Please come back to the house. What're you doing out here, April...
APRIL: Do you want me to scream again, Frank? Because I will, I mean it!
FRANK: ...Okay...
APRIL: Good morning.
FRANK: Good morning.
APRIL: Would you like scrambled eggs or fried?
FRANK: Oh. I don't know. It doesn't really matter... scrambled, I guess, if it's easy.
APRIL: Fine. I'll have scrambled too.
FRANK: It's kinda nice having breakfast without the kids for a change.
APRIL: Yes. I thought you'd probably want a good breakfast today. I mean it's kind of an important day for you, isn't it? Isn't this the day you have your conference with Pollock?
FRANK: Yes. That's right. Big deal.
APRIL: I imagine it is a pretty big deal; for them, anyway. What exactly do you think you'll be doing in your new job? You haven't really told me much about it.
FRANK: Haven't I? Well... I think this whole thing is about Knox getting ready to buy up one of these really big computers, even bigger than the '500'. Did I tell you about that?
APRIL: No, why don't you tell me now?
FRANK: Well, you know... Basically it's just a... a big, fast adding machine. Only Instead of mechanical parts, you see, it got thousands of individual vacuum tubes.
APRIL: Oh, I see. At least I think I see. yes. It's really kind of... interesting, isn't it?
FRANK: Well, I don't know... yes, I guess it is kind of interesting in a way.
APRIL: You should value what you do, Frank. You're obviously good at it.
FRANK: Guess I'd better be getting started, huh? Listen, though, April... this was really nice. I mean it was a swell breakfast. Really, I... I don't know when I've ever had a nicer... nicer breakfast.
APRIL: Thank you. I enjoyed it too.
FRANK: Then you don't... You don't hate me, or anything?
APRIL: No, no, of course I don't. Have a good day.
FRANK: OK, then. So long.
APRIL: Hello... Milly? Everything all right? Well, no, I'm afraid I'm not feeling any better... that's really why I call. If it's not an inconvenience for you... This evening would be great. What...? Oh, no, not if they're outdoors playing. Don't call them in. Just give them... give them each a kiss for me,and tell them... tell them... Oh, you know... All right, Thank you, Milly. Bye.
SHEP: Frank? They tell you what happened?
FRANK: Jesus Christ, Shep. I didn't even understand half the things he told me. He said the fetus was out before they got her here. And they had to operate to take out the what they call it, the placenta? And now she's still bleeding. He said that she'd lost a lot of blood before the ambulance came, and now they're trying to stop it, and he said a whole lot of things I didn't understand, about capillaries... and he said she's unconscious. Jesus.
SHEP: Ok, Frank, why don't you take a seat.
FRANK: What the hell do I want to sit down for!
SHEP: Okay. Frank, just take it easy. Take it easy. Here, have a cigarette.
FRANK: She did it to herself, Shep. She did it to herself.
SHEP: ...I'm gonna get you some coffee.
MILLY: Such wonderful people. Weren't they, Shep? It's just devastating. Poor April. Frank lives in the city now. Where is it he works?
SHEP: Bart Pollock Associates.
MR. BRACE: Computers. Interesting firm.
MRS. BRACE: Have you seen him since?
MILLY: No. Not back here. Too many memories, I think. Shep's seen him. In the city. Haven't you, sweetie? Frank is... just devoted to those kids. Every spare moment he has, he spends with them...
MILLY: You alright?
SHEP: I don't want to talk about The Wheelers any more.
MILLY: Ok. We don't have to. We don't have to.
MRS. GIVINGS: I can't tell you how pleased I am about the little Revolutionary Road place, Howard. And now whenever I drive past, it gives me such a lift to see it all perked up and spanking clean again, with all the lights all the windows. And do you know, I was just thinking, I've loved that little house for years, and the Braces are the only really suitable people I've ever found for it. Really nice, congenial people, I mean.
MR. GIVINGS: Well, except for the Wheelers, you mean.
MRS. GIVINGS: Oh, I was very fond of the Wheelers but they were a bit whimsical, for my taste. A bit neurotic. I may not have stressed it, but they were often very trying people to deal with, in many ways. Actually, the main reason that the little house was so hard to sell is because they let it depreciate so dreadfully. Warped window frames, wet cellar, crayon marks on the walls, filthy smudges around all the door...
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