简爱剧本(Jane Eyre剧本)

时间:2007-10-28 03:58:39来源: 作者:

CLOSE SHOT - JANE AND HELEN

JANE
Didn't you hear what he said? He
said you mustn't have anything to
do with me.
(she starts to sob)

HELEN
Go on ?take it -

She puts the bread into Jane's hand.

JANE
(through her tears)
I'm not bad, I promise I'm not. And
I hate him, I hate him, I hate him.

HELEN
It's wrong to hate people.

JANE
(with rising passion)
I can't help it. I thought school
was a place where people would love
me. I want people to love me and
believe in me and be kind to me.
I'd let my arm be broken if it
would make anyone love me ?or let
a horse kick me ?or be tossed by a
bull ?

HELEN
Don't say such things --

JANE
(sobbing hysterically)
But I would, I would --

Helen puts her arm around Jane soothingly. She turns Jane's
face to her. Jane looks up into her eyes, and the steady
comforting glance of the older girl begins to calm her.

HELEN
Eat your bread, Jane.

Jane, her eyes still on Helen, slowly raises the bread to her
mouth. As she does so, she sighs convulsively. Then, at last,
a little smile of contentment begins to play over her
features as we

DISSOLVE TO:

LOWOOD ?LONG SHUT ?DAY - (WINTER)

This is the first time we have seen a LONG SHOT of the school
by day, and we see clearly the wild rolling moors by which it
is surrounded. There is a rough path leading out from the
rear of the rambling buildings, and along this come Helen and
Jane, carrying a large washing basket. As they draw nearer to
CAMERA, it PANS WITH THEM and we see that they are
approaching a high piece of ground on which clotheslines are
erected. On these lines a whole regiment of Holland pinafores
and other articles are hanging, fluttering wildly in the
strong winter wind. This piece of ground is separated from
the rolling moors below by a little cliff about twelve feet
high.

SHOT

The girls set the basket down, and we see that there are more
newly-washed things to be hung up. Helen goes to work at
once, lifting several wet pinafores from the basket, putting
them over her arm ?but Jane rubs her chilled hands, then
blows on her fingers. As she does this, she looks off.

JANE
Helen, where does that road go?

HELEN
(lightly)
I told you before. To Bradford.

JANE
But after Bradford.

HELEN
(handing her some of the
pinafores from the
basket)
Derby, I suppose, and Nottingham -
then London.

Helen turns to the line, starts pinning up things.

JANE
(her imagination running
away with her )
And from London to Dover, and
across the sea to France. And then
over the mountains and down to
Italy and to Florence and
Rome...and Madrid.

HELEN
(smiling)
Madrid isn't in Italy, Jane.

JANE
Isn't it?
(crosses to the line,
(starts pinning up things)
Well, that road goes there all the
same. And we'll drive along it one
day, when were grown up ?in a
coach and four. Helen, I'll have
beautiful curly hair just like
yours, and I'll have read all the
books in the world...

BELOW CLIFF

This is a little winding country road, along which comes a
young good條ooking man on horseback - Dr. Rivers. Seeing Jane
above, he stops his horse.

JANE'S VOICE
And I'll play the piano, - and talk
French, ?almost as well as you
do...

FROM HIS ANGLE

The sky behind her, the wind in her hair, quite unconscious
of Dr. Rivers' presence.

ON - DR. RIVERS

He smiles to himself, as though he knew and liked Jane.

DR. RIVERS
Dreaming again, Jane?

He starts his horse forward.

SHUT - OF THE LITTLE CLIFF

Jane at the top of screen, Dr. Rivers passing in the
foreground. Jane turns with a start.

JANE
Oh, Dr. Rivers

DR. RIVERS
I know somebody who's going to
be late for inspection.

She starts to run off. We hear her voice as she goes:

JANE'S VOICE
(calling)
Not this time ?I'll beat you
there?

PICTORIAL SHUT

Jane, as she scampers back to the school, Helen following
after her, from which we

SCHOOL HALL - DAY

And the CAMERA IS PANNING with a similar movement over a line
of small girls. As the CAMERA PASSES each girl, she opens her
mouth and sticks out her tongue, says "Ah." This is an old
routine and they know what is expected of them.

As it goes, the CAMERA HAS MOVED BACK a little and shows it
is Dr. Rivers who is going down the line.

Then the CAMERA COMES to Jane, her tongue also protruded; she
is trying to conceal the fact that she is panting heavily.
Dr. Rivers (and the CAMERA) stops.

SHOT - DR. RIVERS

In spite of his official attitude, he cannot help smiling.

TO JANE

She gives him a little shy smile in return, and the CAMERA
MOVES ON.

After two or three more girls the CAMERA reaches Helen. She
coughs and has to pull in her tongue.

RIVERS
That cough doesn't seem any better.

He takes out his notebook and makes a note.

RIVERS
We'll have to take care of it.

Rivers then moves on, past several of the other girls, to the
end of the line where Brocklehurst is waiting. The two men
walk together toward the door, Miss Scatcherd following
obsequiously behind them like an aide-de-camp, the CAMERA
TRUCKING WITH THEM. The girls relax and start to move around
as they are left alone. On the way Dr. Rivers stops at an
open window and closes it.

RIVERS
You keep your schoolroom uncommonly
cold, Mr. Brocklehurst.

BROCKLEHURST
A matter of principle, Dr. Rivers.
Our aim is not to pamper the body
but to strengthen the soul.

RIVERS
I should hardly have thought that
rheumatic fever was any aid to
salvation. But then I am not a
theologian.

He goes, leaving Brocklehurst furious. Brocklehurst pauses a
moment, then suddenly turns back to face the girls. Instantly
all sound and movement cease, and they stand hushed, knowing
that they are in for trouble in Mr. Brocklehurst's present
mood.

MISS SCATCHERD
Mr. Brocklehurst, if I may venture
an opinion...

BROCKLEHURST
(glaring at her)
When I want your opinion, madam, I
shall call for it!

He marches back, followed by Miss Scatcherd, deliberately
reopens the window that Dr. Rivers had closed, and moves on
to the girls. Now it is their turn.
As he walks up the line, they cringe inwardly. He stops in
front of a very little girl.

BROCKLEHURST
Johnson, you poke your chin most
unpleasantly. Draw it in.

The little girl promptly bursts into tears, which
Brocklehurst entirely ignores as he moves on to another
victim.

BROCKLEHURST
(glaring at another
little girl)
Edwards, I insist on your holding
your head up. I will not have you
before me in that attitude.

He moves on, having succeeded in frightening the child half
to death. Suddenly he stops, staring at Helen.

BROCKLEHURST
(in a voice of
thunder)
Miss Scatcherd! Fetch me a pair of
scissors ?immediately!

He continues to gaze with venom at Helen, just why we do not
know. A moment later Miss Scatcherd comes running into shot
with the scissors.

BROCKLEHURST
What, may I ask, is the meaning of
this?
(he points)
Why, in defiance of every precept
and principle of this
establishment, is this young person
permitted to wear her hair in one
mass of curls?

MISS SCATCHERD
Her hair curls naturally, sir.

BROCKLEHURST
(raising the scissors
to Helen's head)
Miss Scatcherd, how often have I to
tell you that we are not here to
conform to nature? I wish these
girls to be children of grace.

He shears off in the first movement of the scissors a vast
quantity of Helen's curls.

SHOT - JANE

In the foreground of the shot, Mr. Brocklehurst's hands and
Helen's hair.

Jane is horrified by what Mr. Brocklehurst is doing to her
heroine. One more snip, and she can stand it no longer.

JANE
Please, please, sir, don't do that.
You can cut mine, sir, as much as
you wish, but please --

BROCKLEHURST'S VOICE
(thundering)
Silence!

SHOT - BROCKLEHURST

A frightening shot as he glares down at them.

BROCKLEHURST
So this is the spirit that prevails
at Lowood, - first vanity and then
insurrection.
(with an ominous glance)
It shall be rooted out!

PUNISHMENT YARD - DUSK - RAIN

One edge of the schoolhouse is shown in the SHOT, but we
concentrate on the exercise yard beside it. Marching round
and round the yard through the mud, drenched, weary, but
driven on by fear, are two bedraggled figures ?Jane and
Helen. Helen wears a placard with the word "Vain" written on
it. The placard which Jane wears bears the word
"Insubordinate." The rain has already made the ink run. Both
girls, as additional punishment are carrying heavy flat
irons, obliged to hold them at a level with their shoulders.

THE CAMERA PANS with them, and continuing the same movement
leaves them and passes to the front porch of the schoolhouse.
There, Dr. Rivers is just riding up from the opposite
direction, so that he cannot see Jane and Helen. He
dismounts, walks toward the door. Miss Scatcherd opens it
from inside as he approaches.

MISS SCATCHERD
(surprised)
Dr. Rivers.

HALL

Dr. Rivers enters and takes from his pocket a small bottle.
Behind him through a window in the background, we can see the
figures of Jane and Helen still trudging through the rain.

RIVERS
I brought this oil for Helen Burns.
See that it's rubbed on her chest
night and morning.

MISS SCATCHERD
(uneasily)
Helen, Dr. Rivers?

RIVERS
Yes, I'm concerned about her lungs.
I have spoken to Mr. Brockle ?

Rivers breaks off suddenly in the middle of a sentence as he
notices that Miss Scatcherd is looking nervously through the
window, He follows her gaze, with alarm recognizes Helen.

RIVERS
Good heavens, madam!

He takes a step toward the window. Outside, the children have
turned back towards the house, and he can now see their
faces.

RIVERS
(aghast)
What are those children doing in
the rain?

MISS SCATCHERD
It was Mr. Brocklehurst's order.

RIVERS
Bring them in immediately!

MISS SCATCHERD
But what shall I say to Mr.
Brocklehurst?

RIVERS
You can refer Mr. Brocklehurst to
me.

Miss Scatcherd hesitates a moment, looks at him nervously,
then takes a step toward the door, as we

DISSOLVE OUT:

SICK ROOM - NIGHT

We DISSOLVE in on an old梖ashioned bronchial kettle.

The CAMERA FOLLOWS the waft of steam as it floats to where
Helen Burns is lying in bed. Beside her stand Rivers and
Brocklehurst.

This, is a bare attic room, furnished with nothing but
Helen's narrow bed, a chair and a table, on which stand a
lamp and the steam kettle boiling away over a spirit lamp.
The clouds of steam are back-lighted by a candle by the bed.

Rivers, who has finished examining Helen, packs away his
instruments in a black bag. Helen stirs restlessly.

BROCKLEHURST
With your leave, Doctor, I will
offer up one more prayer.

He kneels down. Rivers throws him a glance and deliberately
leaves the room, the CAMERA PANNING WITH HIM.

BROCKLEHURST'S VOICE
Almighty God, look down upon this
miserable sinner and grant that the
sense of' her weakness may add
strength to her faith and
seriousness to her repentance...

LANDING

The sick room is situated where two corridors join at right
angles. One of these is quite dark; the other is illumined by
a night light on a shelf, not far from the sick room door.

Rivers comes out and stands waiting for Brocklehurst. His
face is grave. A moment later Brocklehurst comes out, a
sanctimonious expression on his face. He carries the candle
in his hand.

BROCKLEHURST
(sighing as they walk
forward)
The ways of Providence are
inscrutable, Dr. Rivers.

RIVERS
Was it Providence that sent that
poor girl to get drenched in the
rain?

BROCKLEHURST
Dr. Rivers...

RIVERS
(with mounting
indignation)
Was it Providence that ordered her
to her death? Yes, to her death,
Mr. Brocklehurst.

The CAMERA HAS PANNED WITH THEM and now as they walk out of'
SHOT, the light of the candle falls on a pale little figure
crouching in the shadows of' the cross corridor.

THE CAMERA REMAINS ON HER - it is Jane, barefooted and in her
nightdress. Her expression of horror tells us that she had
heard what has been said.

The footsteps die away. Then Jane runs hastily to the door
of' the sick room, and goes in.

ROOM NIGHT (MOONLIGHT)

Jane steals over to the bed. Her expression is one of anxiety
and distress.

JANE
Helen...

There is a silence. Jane speaks again, more anxiously.

JANE
Helen!

Helen turns, and as she sees Jane, her face lights up with
pleasure.

JANE
(reassured)
Oh, I'm so glad. I heard Dr. Rivers
say -- I was afraid.

HELEN
(quietly)
There is nothing to be afraid of.
I'm not afraid, Jane.

JANE
(realizing by this that it
is true that Helen is
about to die)
Helen! Helen!

HELEN
(calming her, almost
maternally)
You must be cold, Jane. Lie down
and cover yourself with my quilt.

Jane, crying bitterly, gets into bed beside her.

HELEN
Don't cry, Jane. I don't want you
to cry.

JANE
(childishly)
But we were going to see the world
together - and drive in that lovely
coach and four...

HELEN
You'll have to see the world for
me...all the places I didn't see.
And I'll look down and watch you.

JANE
(momentarily excited by
the idea)
And, I'll think of you all the time
- I really will, Helen.

Helen starts to coughs

HELEN
It's time you went back to bed.

JANE
(miserable again)
Don't send me away, please don't
send me away.

Helen hesitates.

HELEN
(smiling)
All right.

Jane contentedly lays her head on Helen's shoulder and
prepares for sleep. There is a pause, then:

HELEN
Are you warm now?

JANE
Yes.

HELEN
Goodnight, Jane.
(she kisses her)

JANE
Goodnight, Helen.

She momentarily opens her eyes as Helen kisses her, notices
Helen's shorn head.

JANE
(murmuring sleepily)
I do wish they hadn't cut your
hair.

A moment later she is asleep. Helen folds her to her as
though it were Jane who was sick.

DISSOLVE TO:

ROOM ?MORNING

Two hands ?Jane's and Helen's ?are clasped on the coverlet
?lit by the morning sunlight which streams through the
window. Throughout the scene we show nothing but these two
hands.

Jane's hand moves.

JANE
(making an effort to
control her tears)
I'll try.

RIVERS
That's right. And don't forget; the
harder you try, the more God will
help you.

A silence. Jane stares straight before her.

RIVERS
Come now, Jane, let me take you
back.

JANE
(suddenly excited and
passionate as before)
No, no, I can't go back to school.
I'll never go back. I'll run away.
I'll...

RIVERS
(laying a restraining hand
on her shoulder)
Jane.
(she stops)
You know what duty is, don't you?
Duty is what you have to do, even
when you don't want to-do it. I may
not want to go out in a snow storm
to visit a sick child; but I know
that I have to go -?because it is
my duty. And now what is your duty,
Jane?

JANE
I...I don't know.

RIVERS
Yes, you do, Jane. In your heart
you know very well. Your duty is to
prepare yourself to do God's work
in the world. Isn't that true?
(she nods)
And who can do God's work -- an
ignorant woman? Or an educated one?
You know the answer to that. And
where can you get an education?
There?

JANE
(in a whisper)
At school.

RIVERS
Precisely. So you know that you I
have to go back to school even
though you may hate the very
thought of it. Isn't that true?

She hesitates; then at last reluctantly nods her head.

JANE
Yes...I suppose it is true.

River's rather stern face is suddenly transfigured by a smile
of affectionate tenderness, he puts his arm round Jane and
squeezes her close to his side.

RIVERS
Good, Jane, good.

He rises and swings her down from the tomb.

RIVERS
And now here's another thing to
remember. It's always in
everybody's power to make the best
of a bad job, or to make the worst
of it Which do you choose, Jane'?

JANE
To make the best of it, Dr. Rivers.

She smiles up at Rivers and he smiles back. Then he takes her
hand and they walk together out of the churchyard and along
the road into the setting sun, as we

FADE IN

INSERT ?SCHOOL REPORT - TEACHER'S ROOM - DAY

The words "Lowood Institution. Pupil's Report" are printed at
the top of the page. Beneath is written in fine copperplate
writing:
Name..........Jane Eyre
Admitted....,.Jan, 18th, 1829
Appearance... .Unprepossessing
Character.... .Sad

We begin to hear Brocklehurst's voice:

BROCKLEHURST'S VOICE
True, gentlemen, we had some
difficulties at the beginning, - a
very stiff梟ecked and evil child.

His hand has entered the SHOT and begins to turn successive
pages of the report. Each represents and we have only time to
see the bold figures at top of each sheet, 1830, 1831,
1832...

BROCKLEHURST'S VOICE
But Eyre has been with us ten
years...

CLOSE SHOT - BROCKLEHURST

He is older now and his glossy side whiskers are now
noticeably grey. He continues to turn over the remainder of
the sheets as he speaks with a certain grim emphasis.

BROCKLEHURST
...and in those ten years it has
been granted me to plant her feet
in the path of salvation.

He looks round the room.

LONGER SHOT

Showing Brocklehurst at the head of a table, at which sit
four middle梐ged and elderly gentlemen, local squires and
parsons who are the Trustees. We have the impression of four
not very bright men who are not very interested in the asylum
and are perfunctorily doing their duty.

A TRUSTEE
(glancing at his watch)
I suppose we ought to see her?

BROCKLEHURST
I intended that you should. Let
Eyre be brought in.

Miss Scatcherd gets up and crosses the scene in the direction
of the door.

BROCKLEHURST
I need not remind you of the
advantages of appointing one of our
own pupils as teacher. An outsider
would have to be paid twice as
much.

During this we hear the sound of Miss Scatcherd's voice's
calling "Eyre! Eyre!"

SHOOTING PAST THE TRUSTEES

Through the door at the further end of the set, Miss
Scatcherd ushers in Jane, now a young woman in her late
teens.

As she is walking to the foot of the long table, Brocklehurst
speaks to the Trustees, who are looking at Jane as at a slave
in a slave market.

BROCKLEHURST
Eyre, this is a solemn moment.
Little did I imagine that the
unregenerate child I received into
this institution would grow in ten
short years to become a teacher.
(Jane looks at him in
surprise)
Yes, a teacher, for that is the
honour which the Trustees, at my
recommendation, have now bestowed
upon you. Your wages will be twenty
guineas per annum, of which only
ten will be withheld for board and
lodging, for spiritual instruction
and for laundry.
(dismissing her as he
turns away)
Your duties will begin on the first
day of the new term.