简爱剧本(Jane Eyre剧本)

BROCKLEHURST

As the Trustees go out, Miss Scatcherd enters, hands
Brocklehurst a pile of letters.

The post, sir..

MISS SCATCHERD
He takes them without a word and
Miss Scatcherd goes, closing the
door.

Brocklehurst glances up from the letters to see in surprise
that Jane is still there.

BROCKLEHURST
That is all, Eyre.

He looks down again at the letters.

JANE
I cannot accept your offer, sir.

BROCKLEHURST
And why not, pray?

JANE
I do not wish to stay at Lowood.

BROCKLEHURST
This is unheard of. The
ingratitude, the black ingratitude.

JANE
What have I to be grateful for? Ten
years of harshness and drudgery...-

BROCKLEHURST
(interrupting)
Silence!

Jane obeys; but continues to look him unflinchingly in the
eye.

BROCKLEHURST
Stiff梟ecked as ever. I see that I
have been sadly deceived in you.

He sits down, leans back in his chair and deliberately
crosses one leg over the other, assuming the attitude of an
all梡owerful police magistrate examining a criminal. Jane
remains standing.

BROCKLEHURST
And where may I ask, do you intend
to go?

JANE
Out into the world, sir.

BROCKLEHURST
(sarcastically smiling)
Out into the world.
(with a sharpening of his
tone)
And do you know how the world
treats young paupers, without
friends or connections?

JANE
I intend to find a position as a
governess.

BROCKLEHURST
How, may I ask?

JANE
I have advertised in a newspaper.

BROCKLEHURST
(drily)
And doubtless you have been
overwhelmed with demands for your
services?

Jane hesitates, then answers, faltering a little.

JANE
No, sir.

BROCKLEHURST
(smiling triumphantly)
And you never will be. You have no
talents, your disposition is dark
and rebellious, your appearance is
insignificant. It is folly to dream
of such a position.

Convinced that the matter is settled, he returns to his
letters. Glancing over them, he is about to open one, reads
the address, hesitates, then turns to another one.

It is a hesitation which he has tried to conceal but Jane has
noticed it.

BROCKLEHURST
Come, Eyre, I am not a vindictive
man. The position I offered is
still open to you.

He looks at Jane expectantly; but she stands staring at the
letter over which Brocklehurst has hesitated, wondering if it
is for her.

BROCKLEHURST
Eyre, if you reject my generosity,
mercy must give place to righteous
indignation, and the gates of
Lowood be closed, against you
forever. For ever, do you
understand?

Jane looks again at the letter. Then decides to take a
chance.

JANE
I am leaving Lowood, sir.

Brocklehurst walks angrily from the room.

The moment he has gone, Jane races across to the letter about
which Brocklehurst has hesitated.

THE CAMERA SWOOPS DOWN to an insert of the address.
Miss Eyre
Lowood School
Yorkshire.

The letter is pulled out of Shot.

CLOSE SHOT ?JANE TEARING IT OPEN

As she reads excitedly, there creeps in the voice of an old
lady, distant and slightly distorted.

MRS. FAIRFAX'S VOICE
If Jane Eyre who advertised in the
Yorkshire Herald of last Thursday
possesses the requirements
mentioned, a situation can be
offered her where there is but one
pupil, a little girl...

SOUND and picture

DISSOLVE TO:

ROAD OUTSIDE CHURCHYARD - EARLY MORNING

Jane and Dr. Rivers are sitting at the ancient tomb where
they sat ten years earlier when she was a little girl.

For the first time we see Jane dressed as a woman in bonnet
and cloak. She carries a travelling basket.

RIVERS
If you weren't what you are, I
would never have written that
letter of recommendation, Jane. On
the contrary, I'd have begged you
to accept Brocklehurst's offer and
stay at Lowood.

The coach horn SOUNDS and the noise of hoofs and wheels is
heard approaching. Rivers bends down and picks up Jane's
basket, continuing to speak as he stands up.

RIVERS
It's not every young woman that can
face the world single-handed. But
you've got a head on your
shoulders, Jane, and courage in
your heart.

NEW SHOT

The coach enters shot, the guard jumping down to open the
door.

GUARD
Look lively, miss,

RIVERS
(to her at window)
Best of all, you know what right
is, and you'll stick to it through
thick and thin.

He takes her hand. There is the SOUND of a coach horn and the
coach moves on.

LONGER SHOT

The coach galloping off, with Rivers in the foreground
watching it until at last it finally disappears round a bend
in the road. Only the length of time that he watches the
coach hints to us of his interest in same.

DISSOLVE:

EXT. OF A COUNTRY INN - NIGHT

A bleak, bitter Dickensian night. The SOUND of a coach horn
is heard, and then out of the mist gallops the mail coach.

In the few seconds before it has come to rest in the patches
of light streaming from the inn windows, ostlers, waiters and
intending passengers have rushed out from the inn and all is
suddenly bustle and confusion.

JUST INSIDE THE INN DOOR

The alighting passengers stream in, passing in CLOSE SHOT
PAST CAMERA ? we see the different types 棗 a couple of
burly cattle merchants doing a deal.

"Forty pounds is the limit." "Make it guineas" 棗 a
red梒oated dragoon officer in full uniform ? an elderly
gentleman wrapped in shawls and delighted to be in out of the
cold, calling for drinks --

Last of all comes Jane Eyre, looking very strange in a neat
new bonnet and cloak. In her hands is a traveling basket
which contains her worldly goods.

For a moment she stands, not knowing what to do, as behind
her, through the glass fronted inn door, we see the mail
coach starting off again. This is the first time she has been
inside an inn, the first time she has been out of Lowood.

A waiter enters to the bar beside her, and Jane with an
effort plucks up enough courage to speak to him.

JANE
Can you tell me if there's anyone
here from Mrs. Fairfax at
Thornfield Hall?

WAITER
Not that I've heard of, ma'am.

He is loading tankards of beer on to his tray and speaks
without looking around.

WAITER
Take a seat in the coffee room and
I'll enquire.

He indicates the direction with a wave and Jane, a little
hesitantly, moves forward.

As she exits from SHOT, the CAMERA REMAINS ON the waiter, but
now shows also the man next to him at the bar, a dashing
looking fellow smoking a cheroot. He watches Jane go,
admiringly.

YOUNG MAN
Who's the young lady, Sam?

WAITER
Couldn't say, sir.. Came in by the
coach.

He is about to leave with his tray.

YOUNG MAN
Give her my compliments, and ask
her if she'd care for a glass of
Madeira.

COFFEE ROOM

This room, only a few yards away, is separated from the bar
by an arch. It has a double row of the old-fashioned "boxes".
In the first of these Jane is sitting, trying to look at her
ease. The others are filled with coach passengers, eating a
late dinner.

The waiter enters to Jane.

WAITER
Gentleman there sends his
compliments. Asks if you'd care to
take a glass of something with him.

JANE
(startled)
Me? Oh no thanks, I don't ever take
wine.

As Jane is giving a nervous glance in the direction of the
dashing young gentleman, an elderly rustic-looking coachman
comes through the coffee room and speaks to the waiter in a
broad, north country accent. This is John, the Thornfield
coachman.

JOHN
Anyone here by the name of Eyre?

Jane jumps up.

JANE
Yes. I'm Miss Eyre. Are you from
Thornfield?

John looks at her doubtfully before answering.

JOHN
You're not the new governess, are
you?

JANE
Yes.

JOHN
(he looks at her again,
shakes his head and
grunts disapprovingly)
Humph.
(he looks down at Jane's
traveling basket on the
table)
This all your luggage?

JANE
Yes.

John picks up her basket and walks towards the door, leaving
Jane to follow, the CAMERA PANNING with her.

As they pass the bar, the dashing young man embarrasses Jane
by a courtly bow.

But in a moment she is safely out of the door and getting
into the open trap from Thornfield which is drawn up outside.

As the inn door swings closed, we ?

DISSOLVE TO:

SERSEN LONG SHOT

We see at one side of the screen the suggestion of a village
inn, and the carriage drives across screen away from it.

DISSOLVE TO:

SERSEN LONG SHOT - MOORS

The carriage rattles over the low humped bridge.

SERSEN LONG SHOT

Extreme long shot of moors. The carriage continues its way
along a horizon line low on the screen.

SERSEN LONG SHOT - THORNFIELD HALL

On one side of screen we see the profile of a vast tower and
the suggestion of the mass of the hall.

Low on the screen the silhouette of the carriage is seen to
arrive and the coachman and Jane cross to the hall, tiny
figures. There is the SOUND of the chain being loosened and
bolts withdrawn and a door opens. As it does so a streak of
light illuminates the tiny figure of Jane. We hear the
distant voices of Leah and the coachman.

LEAH
What is it?

COACHMAN
Don't be a fool, Leah. It's the new
governess.

He walks back to the carriage and Jane walks to Thornfield.
Hall and enters. We HEAR the SOUND of the carriage
disappearing.

THE HALL (ALREADY SHOT)

Jane enters.

LEAH
I'll tell Mrs. Fairfax you're here.

Leah leaves the lamp on the table in the hall, and her steps
echo down the stone corridor.

Jane looks around her. The lamp on the table is the only
illumination, and in the half條ight the hall is more
frightening than it will ever be again.

It is a huge, square room, so high that the ceiling is only
dimly seen, and the great staircase disappears into utter
darkness.

HALL (ALREADY SHOT)

Jane suddenly hears footsteps echoing back along the stone
corridor and prepares to give a good impression to her
employer.

A light is seen coming down the passage. As it approaches, it
illuminates the round, elderly figure of Mrs. Fairfax.

MRS. FAIRFAX
How do you do, my dear. I'm afraid
you've had a tedious journey. I'm
Mrs. Fairfax.
(she shakes Jane's hand)
Why, your hands are like ice. I'll
take you straight to your room.
(she picks up the lamp and
moves toward the stairs)
We've got a nice, bright fire for
you there, and Leah's taken the
chill off your sheets with the
warming pan.

They move up the stairs, Jane carrying her traveling basket.

MRS. FAIRFAX
You know, dear, I'm so glad you've
come. Living here without any
company but the servants -- it's
none too cheerful, I can tell you.
I declare, not a living creature
but the butcher and the postman has
come to the house since the hard
weather set in. I really get quite
mopish and melancholy, sitting
alone, night after night.

GALLERY AND CORRIDOR

By this time they are at the head of the stairs, and the
candle illuminates a long gallery, with doors opening into it
to left and right.

JANE
Shall I have the pleasure of seeing
Miss Fairfax tonight?

MRS. FAIRFAX
(turning with a puzzled
look)
Miss Fairfax? Oh, you mean Miss
Adele.

JANE
Isn't she your daughter?

MRS. FAIRFAX
Oh, gracious, no! Adele is French.
I have no family. No family at all.

Now they are passing the door to Mr. Rochester's room. A maid
is just coming out with a coal skuttle and Jane can see a
cheery room inside with the fire going and a pair of slippers
put out on the hearth.

MRS. FAIRFAX
That's Mr. Edward's room... He's
abroad, of course, but I always
keep it ready for him. His visits
are always so sudden and
unexpected. A wanderer on the face
of the earth 棗 that's what Mr.
Edward is, I'm afraid.

JANE
Mr. Edward? Who's Mr. Edward?

MRS. FAIRFAX
Why, the owner of Thornfield, of
course.

JANE
But I thought this was your
house...

MRS FAIRFAX
Mine? Bless your soul, child, I'm
only the housekeeper. Thornfield
belongs to Mr. Edward Rochester,
and little Adele is his ward.

Mrs. Fairfax now indicates a room across the passage.

MRS. FAIRFAX
And now here's your room, my
dear...

She opens the door and leads the way into Jane's room.

JANE'S ROOM

This is a small room, and makes a considerable contrast to
the main guest chambers which we shall see later.

It is of interesting shape, for it is at the corner of the
building and incorporates a section of the circular tower.

Mrs. Fairfax and Jane enter.

MRS. FAIRFAX
It's quite small; but I thought
you'd like it better than one of
the large front chambers.

JANE
(delightedly gazing
around)
It's a beautiful room. But then the
whole house is beautiful.

MRS FAIRFAX
It is indeed. And it has belonged
to the family time out of mind.
Well, good night, my dear.

JANE
(stopping her)
Mrs. Fairfax, I can't imagine how
anyone would ever want to go away
from it...
(she looks around again)
...Not for a minute.

MRS. FAIRFAX
(looks at her quietly a
peculiar expression in
her eyes)
It is strange. But you'll find,
Miss Eyre that in many ways Mr.
Edward is a strange man.

Mrs. Fairfax goes, closing the door.

Jane looks after her, then takes off her bonnet, looking
around with a delighted air.

DISSOLVE:

LONG SHOT - THORNFIELD - NIGHT

A storm has risen and the wind blows clouds across the sky. A
light which is in one of the windows, is extinguished,
leaving the house in darkness.

DISSOLVE:

CLOSE SHOT - JANE IN BED

Suddenly the howling of the wind turns into what seems to be
a woman's laugh. Jane stirs restlessly.

JANE IN BED

We are now shooting through the window which frames the shot.
Once again we hear the eerie sound ?then the CAMERA suddenly
rises up the outside of the building to the apparent source
of the commotion; jackdaws cackling and rising in flight from
the battlements.

FADE IN

NEXT MORNING

We are shooting out through Jane's window which frames the
shot and we see out of this window the other wings of the
house and the moor beyond. It is a bright, sunny morning, and
the cheerfulness of the shot is accentuated by the sound of a
musical box.

SHOT OF JANE IN BED

She is asleep. We still continue to hear the musical box. THE
CAMERA DRAWS BACK a little, and we see that Jane is in her
four-poster bed with the curtains more or less completely
drawn, so that she is cut off from the outside world.

She wakes up, looks around her in wonderment, and sees
standing on the bed, a musical box, on which a couple of
quaintly dressed wooden dolls (one in a ballerina's costume,
the other in military uniform) are jigging away under the
action of the same clockwork as is producing the music. As
she does so a peal of childish laughter is heard.

Drawing the curtains aside, Jane looks out and sees a little
girl of seven or eight, Adele, who curtsies to her and
speaks.

ADELE
Bon jour, mademoiselle!

Adele points to the doll dressed as a ballerina, which is
still bobbing and twirling away, while the music tinkles on.

ADELE
Mama had a dress like that,
mademoiselle. Only she could dance
much more beautifully. I can dance,
too. Do you wish to see?

JANE
(amused)
Now? This very moment?

ADELE
(suddenly miserable) )
Now you speak like Monsieur
Rochester. For him it is never the
right moment. Mais jamais!

Jane stretches out her hand to the little girl.

JANE
(smiling)
Come here.

Slowly, still doubting, Adele comes within Jane's grasp. Jane
puts her arms around her.

JANE
Your name's Adele, isn't it?
(the little girl nods)
Well, Adele, do you know what I was
just thinking? I was thinking that
never in my life have I been
awakened so happily!

As she smiles at the child, and now quickly the child smiles
too.

DISSOLVE TO:

INT. DRAWING ROOM - DAY

Adele is dancing. The CAMERA DRAWING BACK shows Jane playing
the piano. She completes a pirouette and makes a formal
curtsey.

ADELE
You like that, mademoiselle?

They walk together towards the library.

JANE
Very much, Adele.

ADELE
A great many gentlemen and ladies
came to see mama, and I used to
dance before them. Or sit on their
knees and sing to them. I liked it.

JANE
Indeed? And where was that?

ADELE
In Paris. We live always in Paris.
But then when mama had gone to the
Holy Virgin...
(she crosses herself)
Monsieur Rochester came and took me
across the sea in a great ship with
a chimney that smoked and I was
sick.

Adele is laboriously working on a simple addition sum which
Jane has written on the blackboard. As an evident distraction
she turns to Jane.

ADELE
Do you like Monsieur Rochester?

JANE
I've not met him yet.

ADELE
(walking to chair)
This is his chair. He sits here and
stares into the fire, and frowns
like this.

She suits the action to the word.

JANE
Is he as bad as that?

ADELE
Twice as bad. I cannot make how bad
he is.

JANE
But I'm sure he's very kind to you.

ADELE
Oh sometimes he brings me beautiful
presents. But, when he is angry -
that's terrible, but terrible.

Jane looks at her in surprise and with a little apprehension
as we

DISSOLVE TO:

INT. ADELE'S BEDROOM - NIGHT

A large ancient room adjoining a nursery, in which the
child's bed and small-scale furniture looks incongruously
minute. The set heightens our sense of grandeur and
strangeness.

Adele in her nightgown is kneeling on her bed, saying her
prayers. Jane stands waiting for her to finish. She has her
cloak on her shoulders and her bonnet in her hands.

ADELE
...and may the Holy Virgin give me
grace. And God bless Monsieur
Rochester.
(she looks at Jane)
and make him polite to mademoiselle
so that she will stay with me for
ever and ever. Amen.

As Jane smiles, we

DISSOLVE TO:

LONG SHOT - EXT. THORNFIELD - MOONLIGHT

Out of the ruins of the old retaining walls a little distance
in front of Thornfield Hall and to the right, grows a wild
garden.

Jane, her figure silhouetted in the moonlight, is leaving the
edge of this garden and walking out toward the moors. She
wears her bonnet and black merino cloak.

DISSOLVE TO:

LONG SHOT - MOORS - MOONLIGHT - LOW MIST IN FOREGROUND

(LOW CAMERA SETUP, shooting from shallow valley in low mist,
toward crest of moors)

Jane's small figure, strolling over the moors, appears at the
crest of the hill. The wind swirls leaves up around her feet.
In the distance the SOUND of church bells tolling.

Then Jane turns, descends from the crest of the moors toward
the CAMERA and into the valley. The SOUND of the wind dies
away; the mist clings to her garments and becomes opaque in
patches.

Suddenly Jane hears the clatter of horse's hoofs. She looks
around, alarmed as they come nearer, trying to determine
where the horse is coming from; but she cannot see through
the mist. The hoof beats come closer and closer. Jane runs to
one side.

Suddenly a huge mastiff springs from the mist, close to Jane.
She is scared to death and jumps aside. An instant later a
large black horse charges out of the mist, so close to Jane
that he rears in fright at the sight of her.

CAMERA PANS UP - leaving Jane out of SHOT - on the rearing
horse and its dark-clad rider, whose face is obscured. Down
they fall, out of SHOT, away from CAMERA, now completely
engulfed by the swirling mist.

CAMERA PANS DOWN AGAIN TO JANE. She stands a moment trying to
discover what has happened, then rushes forward, CAMERA WITH
HER. As she does, we hear the voice of the fallen rider - a
man's voice - cursing angrily:

VOICE
Devil take it! Silence, you
misbegotten hellhound!

The dog bays loudly, to add to the confusion. Jane, now at
the spot where the horse and rider have fallen, stops in a
CLOSE SHOT with her back to the CAMERA.

Now, just a few feet in front of her, the rider rises from
the mist. He wears a riding cloak, fur-collared and steel
clasped. His is a dark face with stern features and a heavy
brow.

CLOSE SHOT - JANE - (OVER ROCHESTER'S SHOULDER)

JANE
Can I do anything? -

ROCHESTER
Just stand out of the way, that's
all.

As Jane steps back, Rochester turns and comes beside her, so
we are now in a TWO SHOT. With much heaving, stamping and
clattering, accompanied by much barking and baying from the
dog, the horse is finally got back on its feet.

ROCHESTER
(shouting at dog)
Down, Pilot! Down!

He stoops, feeling his foot and leg, as though to see whether
they are sound.

JANE
I'm sorry if I frightened your
horse.

The man doesn't answer; he tries his weight on his injured
leg and limps painfully to the side of the road, where he
sits down.

ROCHESTER
Apologies won't mend my ankle.

He tries to stand up, and with an exclamation and a twinge of
pain, sits down again.

ROCHESTER
(aware of Jane's scrutiny -
sharply)
What are you waiting for now?

JANE
I can't think of leaving you till I
see you are fit to ride.

ROCHESTER
(looks at her)
Hmm. You've a will of your own.
Where do you come from?

JANE
From Mr. Rochester's house just
below.

ROCHESTER
You know Mr. Rochester?

JANE
No, I have never seen him.

Rochester stops, examining her - her black merino cloak and
black beaver bonnet.

ROCHESTER
(doubtfully)
You are not a servant at the
Hall... You are -?

JANE
(after a pause)
I am the new governess.

ROCHESTER
Oh -- the new governess...

He continues to look at her curiously. Then suddenly he
attempts to rise, and once more gives a sharp gasp of pain.

ROCHESTER
(lays a heavy hand on her
shoulder)
Well... necessity compels me to
make you useful.

Using her to support himself, he limps forward. The horse
knowing him, does not move away. He catches, the bridle and
then, with a grimace of pain, mounts. Now he is in the
saddle.

ROCHESTER
(he points)
Now, just hand me my whip.

Jane stoops down, and after a moment straightens up with the
whip in her hand. She hands it to him.

ROCHESTER
Thank you. Now kindly get out of my
way.

He spurs his horse, which starts, rears, then bounds away,
the dog following. A moment later, all three vanish in the
mist. Jane looks after them a moment then turns away and
bends down and picks up her which she left on the side of the
road.
By the time she has picked it up and again turned in the
direction in which they vanished, even the barking of the dog
and the SOUND of' the hoof's has died away.

DISSOLVE TO:

EXT. THORNFIELD - NIGHT

Jane crosses from the drive and walks slowly up the steps to
the front door.

CLOSE SHOT FROM INSIDE DOOR

As the heavy door opens, we see Jane's face. It is quiet and
thoughtful. Suddenly it changes to startled amazement as she
sees....

THE NEWFOUNDLAND DOG, PILOT

advancing towards her, wagging its tail.

JANE

baffled by the discovery.

At this moment Mrs. Fairfax comes bustling in from the
drawing room, followed by Adele, who is in her dressing gown.
Through the open door of the drawing room, we see Leah
pulling the dust covers off the furniture, and a housemaid
lighting the fire.