简爱剧本(Jane Eyre剧本)

The CAMERA BEGINS TO MOVE OFF the auctioneer across the room,
which has been partly cleared and rows of chairs and benches
placed on it. These are occupied by a mixed crowd -- local
gentry seated together in the front rows, then Birmingham
tradesmen, furniture tradesmen, furniture dealers, rag and
bone men, farmers' wives. The other half of the room is
crowded with furniture and miscellaneous objects from
pictures to kitchen utensils. During this movement of the
CAMERA we hear the following dialogue.

AUCTIONEER
Lot sixty梖our. "Picturesque
Europe." Three 'andsome volumes in
tarf Morocco. Two 'undred steel
engravings. Who'll give me five bob
for 'em?

A DEALER'S VOICE
Five bob.

LADY'S VOICE
Fifteen shillings.

DEALER'S VOICE
A quid.

AUCTIONEER'S VOICE
One pound. Only one pound for the
beauties of nature. Nature, nature
棗 you can't beat nature, ladies
and gentlemen. Just look at it.

The CAMERA now reaches Jane, who is seated, dressed in black,
in one of the back rows. She looks tired and sad, and we know
that she has recognized the book.

AUCTIONEER'S VOICE
Twenty-five shillings. Twenty-seven
and six. Thirty. Thirty-five.
Thirty-five bob for two 'undred
genuine steel engravings. Ah,
that's better, sir. That's better.
Two pounds is bid. Who'll make it
guineas?

A hand touches Jane's shoulder. She starts, looks up and sees
Rivers standing beside her, with an air of great excitement
on his face.

RIVERS
Come away, Jane. I have some news
for you.

She rises, puzzled by his excitement, and CAMERA MOVES WITH
THEM AS THEY GO out into the vestibule. Rivers indicates the
conservatory.

RIVERS
In here.

CONSERVATORY - RAIN

As he closes the door, Rivers speaks with an air of great
excitement

RIVERS
Mr. Brocklehurst has left Lowood.

JANE
Has he retired?

RIVERS
He was dismissed.
(with great enthusiasm)
Jane, they've asked me to take his
place!

JANE
Oh, Dr. Rivers, I'm so glad.

RIVERS
So shall I be, to do something at
last for those children ? for all
the unhappy children in all the
orphanages -- and workhouses
throughout the country --

Jane turns in surprise at his enthusiasm.

RIVERS
Yes, Jane, if I make a good
beginning at Lowood, there's
nothing to prevent me from going
forward to attack all other
citadels of evil. It's a great
work, Jane, a noble work 棗 but
it's a work which a man cannot
undertake singlehanded. He needs
the help of a woman, a fellow
labourer dedicated to the same high
cause as himself.
(pause)
That woman sits here before me.
(he points at her)

Jane is moved by his eloquence and excited by the prospect,
but still feels diffident of her own capacities.

JANE
Do you think I could do it?

RIVERS
I an convinced of it. I've watched
the unfolding of all your good
qualities -- the gentleness, and
yet the strength, the constancy,
the courage. I tell you, Jane 棗
and you must believe me and take
confidence ? you have all the
capacities and virtues that are
needed in a crusader's helpmate and
wife.

JANE
(taken aback)
His wife?

RIVERS
How otherwise would it be possible
for us to do our work together?

There is a pause. Then Jane says quietly.

JANE
Dr. Rivers, you've been my truest
friend. But I could never be your
wife. Let me go with you as your
sister your servant, if you like;
I'd do anything if it would help
the children.

RIVERS
Listen, Jane. You have now but one
end, to keep in view how the work
you have undertaken can best be
done. Simplify all these
complicated thoughts and feelings.
Merge all considerations in one
purpose, that of fulfilling the
mission which God has given you to
perform and, to do this, you must
have a coadjutor: not a brother,
not an employer for those are loose
ties 棗?but a husband. One to whom
you are bound indissolubly and
absolutely, until death shall cut
the knot.

JANE
(shaking her head)
I could never marry someone I
didn't love.

RIVERS
(impatiently)
Love, love... Surely there are
things more important than love.
And in any case, love will follow
upon marriage.

JANE
Your idea of love is not the same
as mine. You must seek someone more
fitted to you than I am.

RIVERS
(checking her)
Jane, I beg you. Don't say anything
irrevocable. Not now. Not before
you have had time to think. And
when you think, Jane, remember
this: If you reject my offer, it is
not me you deny, it is your duty,
it is the will of God.

A little pause.

RIVERS
I shall ride over again tomorrow,
Jane, but tonight you must search
your heart.

She nods without speaking.

DISSOLVE:

GATESHEAD - NIGHT - WIND - LIGHTNING

The rain has stopped, but a high wind is blowing, which flaps
the torn auction announcement on the gatepost. A single
window of the house is illumined - the drawing room.

There is a flash of lightning.

DRAWING ROOM - WIND - NIGHT

Most of the furniture has been taken out, and the interior is
bleak and empty.

The CAMERA PANS AROUND - across the small table on which we
see an empty sheet of notepaper, pen and ink beside it. And
then on around the room till we see Jane pacing, restless and
undecided what she will write, to Rivers.

Outside, the wind rises and howls, blowing open the French
windows.

Jane looks down at the notepaper on the table, then crosses
to the French windows to close them. There is a broad
shimmering flash of summer lightning and a peal of thunder.

Jane has her hand on the door. We see through it a large
chestnut tree, writhing and groaning in the wind. Suddenly
there is a crack of lightning. It strikes the tree. A great
branch cracks and falls.

It is exactly the same SHOT as when the tree at Thornfield
was struck, in the great romantic moment of Mr. Rochester's
proposal.

EXT. DRAWING ROOM AND GARDEN - RAIN - WIND NIGHT

Jane, electrified, runs out into the garden. The rain starts
to beat down on her face; the wind howls - but she is
entirely unconscious of it.

Then, as the elements roar to their climax, we hear the voice
of Edward Rochester speaking in pain and woe, wildly, eerily,
urgently.

ROCHESTER'S VOICE
Jane? Jane?

Jane's face becomes radiant, inspired and decided. As she
starts to rush out of the room, CAMERA SWINGS TO THE TABLE
just as the wind catches up the empty notepaper and whirls it
away. And once again we hear Jane's voice in narration --

JANE'S VOICE
It seemed the cry of a soul in
pain, an appeal for help so wild
and urgent, that I knew I must go,
and go immediately. Only when I had
seen for a moment how my poor
master did - only when I had looked
once more upon that tortured face --
would I be free to make my
decision.

BURNED-OUT ROOF (THE RUINED THORNFIEID - LATE AFTERNOON)

THE CAMERA IS SHOOTING at a burned-out roof through which we
see the sky. It PANS SLOWLY DOWN across broken and blackened
walls, a charred staircase. We begin to realize that we are
in what is left of the great hall at Thornfield. OVER THIS we
hear Mrs. Fairfax's voice. She speaks in a strange, flat
tone.

MRS. FAIRFAX'S VOICE
It was she who aid it, Miss Eyre.
She struck down Grace Poole as she
slept. And then she set fire to
Thornfield...

Over Jane's CLOSEUP Mrs. Fairfax's voice continues saying.

MRS. FAIRFAX'S VOICE
It was her laugh in the gallery
that woke me.

FAIRFAX, SHOOTING PAST JANE

Jane gazes in horror at the scene of desolation. In this SHOT
we see Mrs. Fairfax for the first time. She seems older and
paler, as though the experiences have affected her and driven
her even further within herself.

MRS. FAIRFAX
I ran into the nursery and wrapped
Adele in a shawl and carried her
down. Then as we came out into the
courtyard, I heard her laugh again.
I looked up and there she was on
the roof, laughing and waving her
arms above the battlements.
(she pauses)
Mr. Edward saw her when he came
out.

SHOOTING PAST MRS. FAIRFAX

This is the first time that Rochester's name has been
mentioned, and we see Jane's reaction. She has been wanting
to ask about Rochester, but has not trusted herself to speak.

MRS. FAIRFAX
He did not say anything, but he
went straight back into the house
to try to save her. All this side
of the house was blazing, and there
was smoke everywhere. Then it
cleared, and suddenly we saw Mr.
Edward behind her on the
battlements.

ON JANE

She listens in great apprehension to Mrs. Fairfax's account.

MRS. FAIRFAX'S VOICE
She saw him too. He came towards
her to help her down. She stood
very still for a moment. But just
as he seemed to reach her, she gave
a dreadful scream and ran from him
to the edge....

MRS. FAIRFAX

Mrs. Fairfax hesitates for a moment as though the picture of
the scene were in her mind.

MRS. FAIRFAX
The next moment she lay smashed on
the pavement before us... She was
dead, Miss Eyre.

JANE

She steels herself to ask the important question,

JANE
(in almost a whisper)
And Mr. Edward?

MRS. FAIRFAX'S VOICE
(almost despairingly)
The great staircase fell in as he
was coming down --

She is interrupted by the SOUND of footsteps. Jane does not
know whether Rochester is alive or dead. Tears begin to swell
in her eyes.

Then suddenly we hear Pilot barking and then Rochester's
loud, angry voice.

ROCHESTER'S VOICE
Quiet, Pilot.

We see the relief in Jane's eyes as the load is lifted.

THE ARCHES - FROM JANE'S ANGLE

From over the arches comes, first Pilot, who runs towards
her, and then Rochester. In the shadow under the arches he
seems the same as ever, but then, when he emerges into the
light, Jane sees that one arm hangs limp at his side, and he
drags one foot as though one side of his body was partly
paralyzed.

AND MRS. FAIRFAX

Pilot runs up to Jane, pleased to see her again. Jane pays no
attention to him, standing motionless, waiting for Mr.
Rochester to speak to her.

ROCHESTER

He leans against one of the columns of the arch, turning away
from Jane as though he had not seen her..

MED. CLOSE SHOT - JANE, BEWILDERED

OVER THIS we hear the SOUND of PILOT as he makes a fuss of
Jane.

SHOT - MR. ROCHESTER

He reacts to this as though it were the first indication he
had that he was not alone in the great hall.