Come promesso, ecco l'estratto dalla screenplay. Come si può notare c'è qualche piccola differenza nelle battute rispetto a quanto poi effettivamente girato. Buona lettura!
EXT: WYOMING MOUNTAINS: TRAILHEAD: MORNING: 1981 (sic!)
abstract from :Annie Proulx - Larry McMurtry - Diana Ossana, Brokeback Mountain: story to screenplay, SCRIBNER, New York-London-Toronto-Sydney, 2005
JACK and ENNIS have loaded the horses into a trailer hitched to ENNIS's pickup truck.
Mood between them is tense, as always, when their time together is about to end.
When the gate is shut on the horses, JACK pops his glove against his leg a time or two...looks at ENNIS, who is lighting a cigarette.
JACK
Guess I’ll head on up to Lightnin' Flat.
See the folks for a day or two.
ENNIS
(uncomfortable)
Somethin’ I been meanin’ to tell you, bud.
It’s likely November before I can get away again,
after we ship stock and before the winter
feedin’ starts again.
JACK
(stunned)
November? What in the hell happened to August?
Christ, Ennis. You had a f***in’ week to say
some little word about this.
ENNIS is silent.
JACK (CONT'D)
And why is it we’re always in the friggin’ cold weather?
We oughta go south, where it’s warm.
You know, we oughta go to Mexico.
ENNIS
Mexico?
(tries to lighten the mood)
Hell...you know me. 'Bout all the
travelin’ I ever done is goin' around the
coffeepot, lookin’ for the handle.
An uncomfortable silence.
ENNIS (CONT'D)
Lighten up on me, Jack.
We can hunt in November, kill us a nice elk.
Try if I can get Don Wroe’s cabin again.
We had a good time that year, didn’t we?
A beat.
JACK starts popping his glove on his leg again.
JACK
(bitter disappointment)
Never enough time, never enough.
(Looking at ENNIS)
You know, friend, this is a goddamn bitch of
an unsatisfactory situation. You used
to come away easy. Now it’s like seein’
the Pope.
ENNIS
Jack, I gotta work. Them earlier days
I used to quit the job.
You forget how it is, bein’ broke all the time.
You ever hear of child support?
Let me tell you, I can’t quit this one.
And I can’t get the time off.
(pause)
Was tough enough gettin’ this time.
The trade-off was August.
(pause)
You got a better idea?
JACK
(bitter, accusatory)
I did once.
ENNIS says nothing. Straightens up slowly, rubs at his forehead. Walks to the horse trailer, says something that only the horse can hear. Turns and walk back to JACK at a deliberate pace.
Mexico was THE place--ENNIS has heard.
ENNIS
You been to Mexico, Jack?
I heard about what they got in Mexico
for boys like you.
JACK, braced for it all these years, and here it comes, late and unexpected.
JACK
Hell yes, I been to Mexico.
Is that a f***in’ problem?
ENNIS
I got a say this to you one time, Jack f***in’ Twist.
And I ain’t foolin’.
What I don’t know, all them things
I don’t know...could get you killed
if I should come to know them.
JACK
Try this one...
(pause)
...and I’ll say it just one time.
ENNIS
Go ahead!
JACK
Tell you what, we could had a good life
together, a f***in’ real good life,
had us a place of our own.
You wouldn't do it, Ennis,
so what we got now is Brokeback Mountain.
Everything built on that.
It’s all we got, boy, f***in’ all,
so I hope you know that
if you don’t never know the rest.
Count the damn few times that we have
been together in nearly twenty years.
Measure the f***in’ short leash you keep
me on, then ask me about Mexico
and then tell me you'll kill me for
needin’ somethin' I don’t hardly never get.
You have no idea how bad it gets.
I’m not you. I can’t make it on a couple
of high-altitude f***s once or twice a year.
(pause)
You're too much for me, Ennis, you
son of a whoreson bitch.
(pause)
I wish I knew how to quit you.
WE PULL BACK NOW.
Like vast clouds of steam from thermal springs in winter, the years of things unsaid and now unsayable—admissions, declarations, shames, guilts, fears—rise around them.
ENNIS stands as if heartshot, face grey and deep-lined. Fights a silent battle, grimaces.
ENNIS
Then why don’t you?! Why don’t you let me be?
It’s because of you, Jack, that I’m like this.
I’m nothin. I’m nowhere.
JACK starts toward him, but ENNIS jerks away.
ENNIS (CONT'D)
Get the f*** off me!
JACK moves towards him again, and this time, ENNIS doesn't resist.
JACK
Come here...it’s all right. It’s all right...
damn you, Ennis.
And then...they hug one another, a fierce, desperate embrace—managing to torque things almost to where they had been, for what they've just said is no news: as always, nothing ended, nothing begun, nothing resolved.
(cfr. Annie Proulx - Larry McMurtry - Diana Ossana, BROKEBACK MOUNTAIN: STORY TO SCREENPLAY, Scribner, New York-London-Toronto-Sydney, 2005)
