简爱剧本(Jane Eyre剧本)

JANE EYRE   

Revised

February 2, 1943

Note: Until otherwise noted the CAMERA represents Jane. All
characters speak directly into the CAMERA as though they were
talking to Jane. We never see her but on several occasions
we see her hands just as her own eyes would see them.

FADE IN:

BATTLEMENTS OF THORNFIELD HALL - LATE AUTUMN OF THE YEAR 1840
- EVENING

For a moment the battlements are still, suddenly a flock of
Jackdaws fly up chattering and screaming.

On this cue the CAMERA QUICKLY PANS off and moves rapidly
towards a large window, actually the window of the great
hall.

DISSOLVE TO:

INT. GREAT HALL

THE CAMERA continues the same movement, hits the top of the
arches, swings over them. For a moment we catch a flash of
two shadows, a man and a woman. But the CAMERA follows the
shadow of the woman, -- a girl wearing a poke bonnet and
cloak, and follows it as it moves on to the door. THE CAMERA
HOLDS for just an instant while the figure is in almost
perfect proportion with a human figure. A hand comes into
the shot, draws the bolt. The door SWINGS open

DISSOLVE:

EXT. OUTSIDE DOOR OF THORNFIELD - AUTUMN NIGHT

We see the shadow of the figure streak across the drive-way.

Over this movement we HEAR the poignant voice of a man
growing fainter as the CAMERA MOVES forward and out of the
door.

ROCHESTER'S VOICE
Jane! Jane!

The shadow is now lost because the figure is no longer in the
light coming from the hall, and THE CAMERA rushes into the
mist. OVER the shot comes the SOUND of running feet.

EXT MOORS - AUTUMN NIGHT - YEAR 1840

The CAMERA is still running down the road. OVER the SOUND of
her feet comes the SOUND of an approaching coach. The CAMERA
stops. The coach with four horses comes out of the night
straight towards the CAMERA - the brisk movement, the rattle
of harness and the noise of the wheels contrasting violently
with the stillness of the preceding shot. Coach stops in
close to the CAMERA. CAMERA PANS UP and from this low angle
at the top of the screen the Guard leans down into the shot
talking to the CAMERA.

GUARD
Look lively, miss.

A FOOT DISSOLVE

EXT, MOORS - TOP OF COACH ?MOVING SHOT - (HORSES ON
TREADMILL) AUTUMN NIGHT - YEAR 1840

CAMERA is now on top of the coach shooting on the back of the
driver as he whips the horses, PANNING DOWN slightly but
still holding the driver to get the impression of trees and
large rocks moving in a blurred quickly-changing shot - an
impression of what every traveler sees hour by hour in the
moon條it, fog laden night. We begin a very slow DISSOLVE as
the night changes to early dawn.

EXT. MOORS AUTUMN NIGHT YEAR 1840

The coach stops and we are shooting directly into the Guard's
face. He is backlighted by the dawn, and he is vague and
impersonal.

GUARD
Six and four pence, that wuz wot
you give me, and by rights, you
should 'ave been out six miles
since.

The CAMERA leaves the top of the coach, comes down to the
ground still holding the Guard in the SHOT.

GUARD
But seein' as 'ow you emptied your
purse, I made so free as to bring
you on 'ere -

The coach starts out of the SHOT as the CAMERA PANS with it -
goes down the road, disappearing. The CAMERA slowly starts
out after the coach as we

DISSOLVE TO:

INSERT OF SIGN ON SIDE OF ENTRY DOOR

This insert is shot with a moving CAMERA from the angle of
someone walking slowly past it. It reads:

MRS. MASQUERIER'S AGENCY

Domestics, Governesses and

Menials Supplied to the

Nobility and Landed Gentry.

DISSOLVE TO:

MRS. MASQUERIER'S AGENCY - EVENING

We are shooting down on Mrs. Masquerier. She is talking
directly into the CAMERA.

MRS. MASQUERIER'S VOICE
In my high梒lass connection, I
purvey only high-class references..
If you refuse to name your last
employer, what can I do for you?

The shadow of the bonnetted figure is across the desk.

DISSOLVE TO:

BASEMENT SWEAT SHOP DAY

A shot on the stairs leading down to the sweat shop. CAMERA
is confronted by the proprietor, a large man, In the
background we have an impression of a mass of girls stitching
for dear life. The shadow of the bonnetted figure is on the
wall behind the proprietor.

PROPRIETOR
(fingering her clothes)
Oh, no. You've never been a
seamstress. And I don't want no
hands who can't tell me where
they've come from. Not by no means.

He turns and goes back down the stairs.

DISSOLVE TO:

TO A MOORLAND VILLAGE

The CAMERA is MOVING SLOWLY, as though the girl is now very
weary, along a dusty road.

A MAN'S VOICE (BEADLE)
(sharply)
Wait a minute!

The CAMERA STOPS, PANS SLOWLY to a massive, red-faced beadle.
He wears a cape and cocked hat and carries his staff of
office. Behind him is a suggestion of an entrance to a
moorland village. He is very close to the CAMERA and speaks
directly to it.

BEADLE
We don't want no vagabonds here. If
you got no work, go back to your
family. If you got no family, go
back to your friends. If you got no
friends, go back to where you came
from. Whichever the circumstances,
vacate this parish!

During the last part of this speech the face of the Beadle
becomes vague and blurred as the CAMERA SLOWLY PULLS BACK
PANNING off the Beadle onto the actual bonnetted figure in
exactly the same position that we saw her shadow for the
first time on the doors of Thornfield Hall in the first
scene. The figure turns its back to the CAMERA and starts to
move off slowly into the mist as the CAMERA zooms back to an
extreme long shot; while the figure in the poke bonnet grows
grey and smaller in the mist we begin to hear the narration:

JANE'S VOICE
My name is Jane Eyre, I have no
father or mother, brothers or
sisters. As a child I lived with my
aunt, Mrs. Reed, at Gateshead Hall.
I do not remember that she ever
spoke one kind word to me.

Through the grey mist slowly comes the bright flaring light
of a candle as the voice fades out.

DISSOLVE TO:

UPSTAIRS CORRIDOR - GATESFIELD HALL - EARLY SPRING OF 1829

First we see only the flaring candle, then a big hulking
footman who carries it, them walking a pace behind him,
Bessie, a servant. The two characters march towards CAMERA
down a long corridor -- they pass the CAMERA and go towards a
narrow heavily梑olted door, which Bessie proceeds to unbolt,

Just as she finishes ?

FOOTMAN
Careful, Bessie, She bites.

He hands the candle to Bessie and opens the door himself ?as
carefully as though there were a roaring lion behind him.

FOOTMAN
Come on out, Jane Eyre.

SHOOTING OVER THE FOOTMAN'S SHOULDER

As the door opens the light falls 棗 not on a roaring lion 棗
but on a small frightened, disheveled and tearful little girl
-?Jane Eyre.

She is lying on the floor of a storeroom crammed with boxes,
trunks and old furniture.

FOOTMAN
Mrs. Reed wants you in the drawing
room.

Jane slowly gets up.

DISSOLVE TO:

FOOT OF THE STAIRS

The footman, followed by Bessie, leads Jane by the ear and
leaves her outside the drawing room door. Jane hesitates, too
frightened to knock.

SHOT ?FOOTMAN AND BESS

FOOTMAN
Go on, knock.

BESSIE
Don't bully the child.

FOOTMAN
Knock!

She hesitantly knocks. A voice from inside says "Come in.'
She opens the door.

The CAMERA, which is behind her, now reveals what she sees.
Mrs. Reed sits by the tea梩able, a large florid woman in the
late thirties, handsome in an animal sort of way, but cold
and insensitive. Beside her, almost concealed by her skirts,
is her son John, an ugly mean looking boy of twelve.

There is also, standing before the fireplace, Mr.
Brocklehurst, "a black pillar of a man, straight, narrow,
sable梒lad. The grim face at the top is like a carved mask."
He is dressed in black frock coat and white tie.

They are all seen from the child's point of view as she
enters the room. Grim, forbidding figures looking down at
herd

MRS. REED
This, Mr. Brocklehurst, is the
child in question.

The child stands uncomfortably at the door, not daring to
advance.

MRS. REED
She is the daughter of my late
husband's sister. By an unfortunate
union which we in the family prefer
to forget. For some years she has
lived in this house....

MR. BROCKLEHURST
(fawning)
The recipient, I can clearly see of
every care that a loving
benefactress could lavish upon her.
(his face changes as he
glares down at the child)
Her size is small What is her age?

MRS. REED
Nine years.

MR. BROCKLEHURST
So much?
(pause)
Come here, little girl. What is
your name?

JANE
Jane Eyre, sir.

MR. BROCKLEHURST
Well, Jane Eyre, and are you a good
child?

Jane is silent.

MR. BROCKLEHURST
I asked you a question, Jane Eyre.
Are you a good child?

Jane glances up helplessly from the grim face of Mr.
Brocklehurst to the grim face of Mrs. Reed.

MRS. REED
The less said on that subject, the
better.

MR. BROCKLEHURST
(sadly shakes his head)
Indeed!

MRS REED
Only this morning she struck her
little cousin most brutally and
without provocation.

We CUT TO "her little cousin" a great lubber who now smirks
in injured innocence.

JANE
(violently)
That isn't true!

MRS. REED
Jane!

JANE
He hit me first.

MRS. REED
Silence! John, dear, did you strike
her first?

JOHN
(lying)
No indeed, Mama.

JANE
You did, you know you did. You
knocked me down and cut my head and
made it bleed!

John advances threateningly.

JOHN
I did not!

JANE
You did! You did! You did!

Another physical conflict is imminent, and Mrs. Reed hastily
interferes.

MRS. REED
Silence!
(to Jane)
I won't listen to your odious lies.

Jane stops in mid梥entence and John hurries back to his
mother's skirts. Mrs. Reed strokes his curls comfortingly.

MRS. REED
You see, Mr. Brocklehurst, how
passionate and wicked she is.

MR. BROCKLEHURST
I do indeed... Come here, child.
You and I must have some talk.

Mr. Brocklehurst has sat down in his chair, and now Jane
moves unwillingly over to him until her face is on a level
with and quite close to his. "The great nose, the long, hard
mouth, the prominent teeth."

MR. BROCKLEHURST
No sight so sad as that of a wicked
child. Do you know where the wicked
go after death?

JANE
They go to Hell.

MR. BROCKLEHURST
And what is Hell?

JANE
A pit full of fire.

MR. BROCKLEHURST
And should you like to fall into
that pit and be burning there
forever?

JANE
No, sir.

MR. BROCKLEHURST
Then what must you do to avoid it?

JANE
I must keep in good health and not
die.

Mrs. Reed and Mr. Brocklehurst exchange a glance.

MR. BROCKLEHURST
But children younger than you die
daily. Only last week we buried a
little child of five ?a good
little child, whose soul is now in
heaven. But what of your soul, Jane
Eyre? What of soul?

JANE
(forthright)
I don't see why it shouldn't go to
heaven, too.

MR. BROCKLEHURST
(beginning to get somewhat
annoyed)
You don't see. But others see
clearly enough. Do they not, Mrs.
Reed?

Mrs. Reed nods emphatically. Brocklehurst turns back to

MR. BROCKLEHURST
You have heard the name of Lowood?

JANE
No, sir,

MR. BROCKLEHURST
It is a school for unfortunate
Orphans. My estate lies within a
mile and as Chairman of the Board.
I give much time to its
supervision. Would you like to go
there, little girl?

JANE
You mean... not live here any more?

He nods. Jane's face lights up; then she glances uncertainly
at Mrs. Reed, and back again to Mr. Brocklehurst.

JANE
I don't know what Aunt Reed would
say.

MR. BROCKLEHURST
It was your kind benefactress who
suggested the plan. You wish to go?

JANE
(delighted)
Yes, sir.

As Mrs. Reed sips her tea, we see a hint of satisfaction on
her face.

MR. BROCKLEHURST
(patting her head)
You have made a wise choice - wiser
than you know. And now you must
pray God to take away your heart of
stone and make you meek and humble
and penitent --

He turns to Mrs. Reed.

MR. BROCKLEHURST
And you may rest assured, Mrs.
Reed, that we will do our best to
collaborate with the Almighty.

Mrs. Reed smiles; she and Mr. Brocklehurst understand each
other perfectly. Only Jane does not appreciate what is going
to happen to her.

DISSOLVE TO:

HALL AND STAIRS - EARLY MORNING

Bessie and Jane are descending the stairs. Bessie holds a
candle in one hand and, in the other, a basket containing
Jane's possessions. Jane has a radiant expression on her
face, her thoughts excitedly glued on the future.

JANE
Bessie.

BESSIE
Yes, Jane?

JANE
I never dreamt I'd get away from
here till I was quite grown up.

BESSIE
Won't you even be sorry to leave
your poor old Bessie?

JANE
What does Bessie care for me? She's
always scolding and punishing.

Bessie is hurt by this, and also a little regretful.

JANE
All the same, I'm rather sorry to
be leaving you.

BESSIE
Rather sorry ?is that all? And if
I asked you to give me a kiss, I
suppose you'll say you'd rather
not.

By this time they have reached the front door which the
footman, whom we saw in the first sequence, is engaged in
unbolting.

JANE
I'll kiss you and welcome, Bessie.
Bend your head down.

As Bessie bends down 棗

BESSIE
You're such a strange, solitary
little thing.

Jane kisses her on the cheek. Bessie is touched. She holds
Jane's small arms, hating to let her go.

JANE
Goodbye, Bessie.

Bessie adjusts Jane's knitted shawl around her shoulders, as
she continues:

BESSIE
You'll think of me now and then,
won't you?

Bessie sees that the shawl needs something to hold it, unpins
a brooch from her bosom.

BESSIE
Here's a keepsake, Jane. It'll help
you remember me.
(she pins it on Jane's
shawl, fastens the clasp)
Be a good girl. And I hope you'll
be happy.

Jane for a moment has been fascinated by this show of love
and generosity. She stares up into Bessie's kindly eyes.

JANE
Thank you, Bessie.

She takes the basket from Bessie.

JANE
Goodbye.

Jane follows the footman outs The CAMERA REMAINS for a moment
on Bessie.

BESSIE
(almost to herself)
Goodbye, Jane.

There is a glint of a tear in her eye. She starts to close
the door.

Jane and the footman walk down the drive, towards the gate.

MED. LONG SHOT OF HOUSE

The door is still open, and Bessie is standing in the
illuminated square of the doorway.

Chinks of light show at the two upper windows.

OF PRINCIPAL BEDROOM

Aunt Reed has also been watching Jane go 棗 but with
considerable satisfaction. Contentedly, she lowers the
curtains and is hid behind them.

NIGHT - NURSERY WINDOW

John stands there 棗 wearing an unbecoming nightcap. He also
drops his curtains, yawning contentedly, delighted to have
seen the last of Jane. Over these SHOTS is HEARD the crunch
on the gravel drive as Jane and the footman walk towards the
gate.

LONG SHOT OF GATESHEAD

Jane, near the CAMERA, is just going through the heavy
entrance gates. The turns and faces the now darkened house,
her face large on edge of screen.

JANE
(shouting)
Goodbye, Mrs. Reed. I hate you and
everything about you!

Lights come in the windows again, as though Mrs. Reed and
John had opened the curtains at the noise. There is the SOUND
of a window being thrown up.

JANE
I'll never come and see you when
I'm grown up, and I'll never call
you Aunt as long as I live, and if
anyone asks me how you treated me,
I'll say you are bad and hard?
hearted and mean, and the very
sight of you makes me sick!

She swings the heavy gate with a clang, and disappears.

Like prison bars, it encases the grim silhouette of
Gateshead. The lights disappear from the window again as we --

DISSOLVE TO:

AN ENGLISH MAIL COACH - DAY

Crossing the pleasant English countryside (stock)

It is a bright, crisp spring day, with the sun shining.

We are not yet in the moorland country: on the contrary, the
landscape should, for contrast, be gentle and well
cultivated.

ROOF OF COACH

The coach drives TOWARD THE CAMERA, showing the large
coachman on his box with his many capes -- then the
passengers, horsey young men smoking cigars, a farmer or two,
a red-coated soldier... then, on the last seat, Jane,
clutching the basket containing all her worldly possessions.

The guard is sitting on the same bench, but raised on a
higher cushion, so that he has to lean down a good deal to
listen to Jane. He is blowing his horn when he and Jane get
into CAMERA. The CAMERA STAYS WITH Jane and the guard,
PANNING WITH THEM as coach travels on.

Jane is bubbling over in a state of unwanted elation.

JANE
Yes, and at school I shall have
drawing lessons, and French
lessons, and music lessons, and
history lessons and there'll be
hundreds of other girls to play
with. Oh, when I get to Lowood,
I'll have so many friends!

GUARD
Lowood!

The Guard has recognized the name, and knows Lowood's
reputation. He looks at her and purses his lips, as though
giving vent to an inaudible whistle, picking up his horn as
he does so. Jane is blissfully unaware of his reaction.

GUARD
Lowood.

He gives a violent blast on his horn.

DISSOLVE TO:

LOWOOD - NIGHT - CLOSE SHOT OF A STONE PLAQUE

On it is engraved:

LOWOOD INSTITUTION

HENRY BROCKLEHURST ESQ.

Chairman of the Board of Trustees

GUARD'S VOICE
Here you are. Bin asleep for hours.

The CAMERA PANS OFF SIGN to a CLOSE SHOT of Jane, still
asleep, carried in the guard's arms.

A woman's hand comes into scene and Jane is handed from one
to the other without waking her. Then the guard hands in
Jane's basket and goes.

Then Jane is lifted through the front door which is shut into
CAMERA.

The CAMERA NOW PANS after the guard who is mounting the
coach. In this SHOT we see something of the school, a low
rambling grey stone building occupying one side of screen.

The coach moves on and until it disappears at a bend in the
road which leads over the rolling moors.

We hold for a moment on the bleak desolate landscape no tree
is visible nor any other inhabited house.

DISSOLVE:

CLOSEUP - JANE IN BED - IN LOWOOD DORMITORY - NIGHT

Jane's head tosses and turns in her sleep, as we hear a vague
symphony of the beating of hoofs and the rattle of bits and
the creaking of a coach ?the very same -sounds which we have
heard throughout the past sequence and which are still
running through Jane's head.

Where we are, we do not know. All we know is that Jane is
asleep in a bed, wearing a coarse calico nightdress and still
dreaming of her great exciting journey.

Now a shadow seems to pass over Jane's face, the lighting
begins to tell us that it is day - when suddenly the violent
clanging of a loud bell banishes the sound of hoofbeats.

The jangling hell continues. Jane sleepily and contentedly
opens her eyes, Still half梐sleep, she is about to shut them
again with equal contentment, when she does what is very
nearly a double take, and quickly sits up.

OVER JANE'S SHOULDER - EARLY MORNING

We see a bleak room, with two long lines of narrow beds, not
more than a foot apart, and between the beds a rough wooden
table with a line of- wash basins.

But what has made Jane start up, is that all the beds are
empty except hers, and at the foot of each stands a - girl
wearing the same standardized nightdress that Jane is
wearing. They stand in an exact line, apparently for a
further order.

Jane leaps up and scuttles to her vacant place in the line.
Another bell rings.

EARLY MORNING ?LOW CAMERA SHOOTING DOWN A LINE OF WASHBASINS

The girls are again standing in line, but now each wears
chemise and petticoat. As the SHOT opens, the bell rings
again, and the girls dive for the washbasins.

INT. MAIN HALL REFECTORY SECTION - DAY - CLOSE SHOT

TEACHER (MISS SCATCHERD) AT TABLE

Beyond in the background, are girls with a teacher at each of
the other tables. There are 50 or 60 pupils of all ages from
8 to 20.

Miss Scatcherd is a cold, fish-like creature. She closes her
eyes, clasps her hands, and delivers the following grace:

MISS SCATCHERD
0, Merciful Providence, who of Thy
generous plenty doth give us the
abundant fruits of the field for
our sustenance...

During this, the CAMERA PANS to Jane, who sits a few places
away from Miss Scatcherd at the table,. She is staring in
dismay at the plate before her. CAMERA PANS DOWN to her
plate, on which is a tiny portion of unappetizing food. The
hand of another girl next to Jane comes into the scene and
suddenly scoops most of Jane's portion onto her own plate.

DISSOLVE TO:

CLOSE UP ?BROCKLEHURST ?SCHOOLROOM - DAY

Speaking to the assembled girls. He is no longer the oily
suave Brocklehurst we met at Gateshead, but the stern,
zealous Evangelical.

BROCKLEHURST
Pupils, observe this child. She is
yet young; she possesses the
ordinary form of girlhood; no
single deformity points her out as
a marked character...

During this speech THE CAMERA MOVES from Brocklehurst, over
the faces of the girls who obediently look in the direction
the CAMERRA IS MOVING with the dull hollow stare of
down梩rodden children.

BROCKLEHURST
...Who would think that the evil
one had already found a servant
and an agent in her? Yet, such, I
grieve to say, is the case.

And by now the CAMERA has landed on Jane, who, frightened but
dry梕yed, stands on a stool in the middle of the assembled
girls.

He is addressing some of the older girls who are seem in the
shot.

BROCKLEHURST
Therefore, you must be on your
guard against her, shun her
example, avoid her company, exclude
her from your sports and shut her
out from your converse.

He moves to Miss Scatcherd and the other teachers, and the
CAMERA MOVES with him so that they are now in shot.

BROCKLEHURST
Teachers, you must watch her, weigh
well her words, scrutinize her
actions, and punish her body to
save her soul....

Then he advances on Jane, and the CAMERA again MOVES with him
until it holds a two梥hot of him and Jane with an impression
of the girls in the background.

BROCKLEHURST
For it is my duty to warn you and
my tongue falters as I tell it that
this girl, this child, the native
of a Christian land worse than many
a little heathen who says its
prayers to Brahma and kneels before
Juggernaut 梩his girl is a liar.

SHOT - JANE

Other girls in b.g. fill the screen, all staring at her. Jane
wishes the ground would swallow her.

SHUT OF ROOM -

holding for a moment the tableau of Brocklehurst and Jane as
he stands pointing at her. All eyes are on them and there is
no movement in the room, nor the slightest sound. Suddenly
Brocklehurst turns, picks up his hat and coat, and walks to
the door. There he turns.

BROCKLEHURST
(curtly)
Let her remain upon that stool, and
let no one speak to her for the
rest of the day.

He turns and marches out, slamming the door behind him.

DISSOLVE TO:

SCHOOLROOM ?DUSK

It is growing dark in the great deserted hall. Jane stands
all alone on her stool, a small lonely figure, her face
tear梥tained and swollen. Into the hall, behind Jane's back
and unobserved by Jane, comes a frail girl of 14 or 15 whose
face we have perhaps already discerned among the students in
the previous scene. This is Helen Burns.

HELEN
I brought you this ?from supper.

She holds out a piece of bread. Jane turns; her face is
streaked with tears.