John Fords Tis Pity Shes a Whore-2
American Ghosts and Old World Wonders 作者：安吉拉·卡特 投票推荐 加入书签 留言反馈
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And, perhaps, had it been possible, she would have learo love the Ministers gentle son before she married him, but, not only was it impossible, she also carried withihe child that meant she must be married quickly.INTERIOR. CHURCH. DAY
Harmonium. Father and Johnny by the altar.
Johnny white, strained; father stoical.
Ministers wife thin-lipped, furious.
Ministers son and Annie-Belle, in simple white cotton wedding-dress, join hands.
MINISTER: Do you take this woman. . .
(Close up) Ministers sons hand slipping wedding ring on to Annie-Belles finger.
INTERIOR. BARN. NIGHT
Fiddle and banjo old-time music.
Vigorous square dance going on; bride and groom lead.
Father at table, glass in hand.
Johnny, beside him, reag for bottle.
Bride and groom e together at end of dance; groom kisses brides cheek. She laughs.
(Close up) Annie-Belle looking shyly up at the Ministers son.
The dance parts them again; as Annie-Belle is handed down the row of men, she staggers and faints.
sternation.
Ministers son and Johnny both run towards her.
Johnny lifts her up in his arms, her head on his shoulder. Eyes opening.
Ministers son reaches out for her. Johns him take hold of her.
She gazes after Johnny beseegly as he disappears among the crowd.
Silence swallowed up the music of the fiddle and the banjo; Death with his hair in braids spread out the sheets on the marriage bed.
INTERIOR. MINISTERS HOUSE. BEDROOM. NIGHT
Annie-Belle in bed, in a white nightgown, clutg the pillow, weeping.
Ministers son, bare back, sitting on side of bed with his baera, head in hands.
In the m, her new mother-in-law heard her vomiting into the chamber-pot and, in spite of her sons protests, stripped Annie-Belle and subjected her to a midwifes iion. She judged her three months gone, or more. She dragged the girl round the room by the hair, slapped her, punched her, kicked her, but Annie-Belle would not tell the fathers name, only promised, swore on the grave of her dead mother, that she would be a good girl in future. The young bridegroom was too bewildered by this turn of events to have an opinion about it; only, to his vague surprise, he knew he still loved the girl although she carried another mans child.
"Bitch! Whore!" said the Ministers wife and strunie-Belle a blow across the mouth that started her nose bleeding.
"Now, stop that, Mother," said the gentle son. "t you see she aint well?"
The terrible day drew to its end. The mother-in-law would have thrown Annie-Bell out oreet, but the boy pleaded for her, and the Minister, praying fuidance, found himself opening the Bible at the parable of the woman taken in adultery aated well upon it.
"Only tell me the name of the father," her young husband said to Annie-Belle.
"Better you dont know it," she said. Then she lied: "Hes gone, now; go west."
"Was it --?" naming one or two.
"You never knew him. He came by the ran his way out west."
Then she burst out g again, aook her in his arms.
"It will be all over town," said the mother-in-law. "That girl made a fool of you!"
She slammed the dishes oable and would have made the girl eat out the back door, but the young husband laid her a place at table with his own hand and led her in and sat her down in spite of his mothers black looks. They bowed their heads frace. Surely, the Mihought, seeing his boy cut bread for Annie-Belle and lay it on her plate, my son is a saint. He began to fear for him.
"I wont do anything unless you want," her husband said in the dark after the dle went out.
The straw with which the mattress was stuffed rustled beh her as she turned away from him.
INTERIOR. FARMHOUSE KIT. NIGHT
Johnny es in from outside, looks at father asleep in rog-chair.
Picks up some discarded garment of Annie-Belles from the back of a chair, buries fa it.
Shoulders shake.
Opens cupboard, takes out bottle.
Uncorks with teeth. Drinks.
Bottle in hand, goes out on porch.
EXTERIOR. PRAIRIE. NIGHT
(Johnnys point of view) Moon rising over prairie: the vast, the elegiac plain. "Landscape Theme" rises.
INTERIOR. MINISTERS SONS ROOM. NIGHT
Annie-Belle and Ministers son in bed.
Moonlight through the curtains.
Both lie there, open-eyed. Rustle of mattress.
ANNIE-BELLE: You awake?
Ministers son moves away from her.
ANNIE-BELLE: Re I never properly knowed no young man before. . .
MINISTERS SON: What about --
ANNIE-BELLE (shrugging the question off): Oh. . .
Ministers son moves towards her.
For she did not sider her brother in this new category of "young men"; he was herself. So she and her husband slept in one anothers arms, that night, although they did nothing else for she was scared it might harm the baby and he was so full of pain and glory it was scarcely to be bor was already enough, or too much, holdiight, in his terrible innoce.
It was not so much that she liant. Only, fearing the worst, it turned out that the worst had already happened; her sin found her out, or, rather, she found out she had sinned only when he offered his fivenes<var>99ｌｉb?</var>s, and, from her repentance, a new Annie-Belle sprang up, for whom the past did .
She would have said to him: "It did not signify, my darling; I only did it with my brother, we were aloogether uhe vast sky that made us scared and so we g together and what happened, happened." But she knew she must not say that, that the most natural love of all was just precisely the one she must not aowledge. To lie down on the prairie with a passing stranger was ohing. To lie down with her fathers son was another. So she kept silent. And when she looked at her husband, she saw, not herself, but someone who might, in time, grow even more precious.
The night, in spite of the baby, they did it, and his mother wao murder her and refused to get the breakfast for this prostitute, but Annie-Belle served them, put on an apron, cut the ham and cooked it, then scrubbed the floor with such humility, such evidence of gratitude that the older woma her mouth shut, her narrow lips tight as a trap, but she kept them shut for if there was ohing she feared, it was the atrocious gentleness of her menfolk. And. So.
Johnny came to the town, hungering after her; the gates of Paradise slammed shut in his face. He hauhe backyard of the Ministers house, hid in the sweetbrier, watched the dle in their room go out and still he could not imagi, that she might do it with another man. But. She did.
At the store, all gossip ceased when she came in; all eyes turowards Her. The old men chewing tobacco spat brown streams when she walked past. The womens faces veiled with disapproval. She was so young, so unaced to people. They talked, her husband and she; they would go, just go, out west, still further, west as far as the place where the o Starts again, perhaps. With his schooling, he could get some clerking job or other. She would bear her child and he would love it. Then she would bear their children.
"Yes," she said. "We shall do that," she said.
EXTERIOR. FARMHOUSE. DAY
Annie-Belle drives up in trap.
Johnny es out on porch, in shirt-sleeves, bottle in hand.
Takes her reins. But she does down from the trap.
ANNIE-BELLE: Wheres Daddy?
Johnures towards the prairie.
ANNIE-BELLE (not looking at Johnny): Got something to tell him.
(Close up) Johnny.
JOHNNY: Aint you got nothing to tell me?
(Close up) Annie-Belle.
ANNIE-BELLE: Re I aint.
(Close up) Johnny.
JOHNNY: Get down and visit a while, at least.
(Close up) Annie-Belle.
ANNIE-BELLE: t hardly spare the time.
(Close up) Johnny and Annie-Belle.
JOHNNY: Got to scurry back, get your husbands dinner, is that it?
ANNIE-BELLE: Johnny. . . why havent you e to church since I got married, Johnny?
Johnny shrugs, turns away.
EXTERIOR. FARMHOUSE. DAY
Annie-Belle gets down from trap, follows Johnny towards farmhouse.
ANNIE-BELLE: Oh, Johnny, you knowed we did wrong.
Johnny walks towards farmhouse.
ANNIE-BELLE: I t myself fortuo have found fiveness.
JOHNNY: What are you going to tell Daddy?
ANNIE-BELLE: Im going out west.
Giovanni: ?., gd so soon! hath your new sprightly lord
Found out a tri night-games more than we
Could know in our simplicity? -- Ha! ist so?
Or does the fit e on you, to prove treacherous
To your past vows and oaths?
Annabella: Why should you jest
At my calamity.
EXTERIOR. FARMHOUSE. DAY
JOHNNY: Out west?
Annie-Belle nods,
JOHNNY: By yourself?
Annie-Belle shakes her head.
JOHNNY: With him?
Annie-Belle nods.
Johnny puts hand on porch rail, bends forward, hiding his face.
ANNIE-BELLE: It is for the best.
She puts her hand on his shoulder. He reaches out for her. She extricates herself.
His hand, holding bottle; tents of bottle run out on grass.
ANNIE-BELLE: It was wrong, what we did.
JOHNNY: What about . . .
ANNIE-BELLE: It shouldnt ever have been made, poor little thing. You wont never see it. Fet everything. Youll find yourself a woman, youll marry.
Johnny reaches out and clasps her roughly to him.
"No," she said; "never. No." And fought and bit and scratched: "Never! Its wrong. Its a sin." But, worse than that, she said: "I dont want to," and she meant it, she knew she must not or else her new life, that lay before her, now, with the radiant simplicity of a childs drawing of a house, would be utterly destroyed. So she got free of him and ran to the buggy and drove back lickety-split to towing the pony round the head with the whip.
Apanied by a black trunk like a coffin, the Minister and his wife drove with them to a railhead such as you have often seen on the movies -- the same telegraph office, the same water-tower, the same old man with the green eyeshade selling tickets. Autumn was ing on. Annie-Belle could no longer ceal her pregnancy, out it stuck; her mother-in-law could not speak to her directly but addressed remarks through the Minister, who pensated for his wifes pt by showing Annie-Belle all the honour due to a repentant sinner.
She wore a yellow ribbon. Her hair was long and yellow. The repentant harlot has the surprised look of a pregnant virgin.
She is pale. The pregnancy does not go well. She vomits all m. She bleeds a little. Her husband holds her hand tight. Her father came last night to say goodbye to her; he looks older. He does not take care of himself. That Johnny did not e set the tongues wagging; the gossip is, he refuses to set eyes on his sister in her disgrace. That seems the only thing to explain his attitude. All know he takes no i in girls himself.
"Bless you, children," says the Minister. With that troubling air of incipient sainthood, the young husbales his wife down orunk and tucks a rug round her legs for a snappy wind drives dust down the railroad trad the hills are October mauve and brown. In the distahe train whistle blows, that haunting sound, blowing across endless distahe sound that underlihe distance.
EXTERIOR. FARMHOUSE. DAY
Johnny mounts horse. Slings rifle over shoulder.
Kicks horses sides.
EXTERIOR. RAILROAD. DAY
Train whistle. Burst of smoke.
Engine pulling train across prairie.
EXTERIOR. PRAIRIE. DAY
Johnny galloping down track.
EXTERIOR. RAILROAD. DAY
Train wheels turning.
EXTERIOR. PRAIRIE. DAY
Hooves ing dust.
EXTERIOR. STATION. DAY
MINISTERS WIFE: Now, you take care of yourself, you hear? And -- (but she t bring herself to say it).
MINISTER: Be sure to tell us about the baby as soon as it es.
(Close up) Annie-Belle smiling gratefully.
Train whistle.
Ahem, now, as if posing for the photographer, the young man and the pregnant woman, sitting on a trunk, waiting to be transported onwards, away, elsewhere, she with the future in her belly.
EXTERIOR. STATION. DAY
Station master es out of ticket-office.
STATION MASTER: Here she es!
(Long shot) Engine appearing round bend.
EXTERIOR. STATION. DAY
Johnhers his horse.
ANNIE-BELLE: Why, Johnny, youve e to say goodbye after all!
(Close up) Johnny, racked with emotion.
JOHNNY: He shant have you. Hell never have you. Heres where you belong, with me. Out here.
Giovanni: Thus die, and die by me, and by my hand!
Revenge is mine; honour doth love and!
Annabella: Oh, brother, by your hand!
EXTERIOR. STATION. DAY
ANNIE-BELLE: Dont shoot -- think of the baby! Dont --
MINISTERS SON: Oh, my God --
Bang, bang, bang.
Thinking to protect his wife, the young husband threw his arms around her and so he died, by a split sed, before the sed bullet pierced her and both fell to the ground as the engine wheezed to a halt and passengers came tumbling off to see what Wild W<tt></tt>est antics were being played out while the parents stood and stared and did not believe, did not believe.
Seeing some life left in his sister, Johnny 藏书网sank to his knees beside her and her eyes opened up and, perhaps, she saw him, for she said:
Annabella: Brother, unkind, unkind. . .
So that Death would be well satisfied, Johnny <q></q>then put the barrel of the rifle into his mouth and pulled the trigger.
EXTERIOR. STATION. DAY
(e shot) The three bodies, the Minister f his wife, the passengers crowding off the train in order to look at the catastrophe.
The "Love Theme" rises over a pan of the prairie uhe vast sky, the gree of the ti, the earth, beloved, cruel, unkind.
NOTE:
The Old World John Ford made Giovanni cut out Annabellas heart and carry it on stage; the stage dire reads: Enter Giovanni, with a heart upon his dagger. The New World John Ford would have no means of representing this se on celluloid, although it is irresistibly remi of the ritual tortures practised by the Indians who lived here before.
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