简爱剧本(Jane Eyre剧本)

ADELE
Mademoiselle!

She rushes to Jane.

MRS. FAIRFAX
Quick, dear! Off with your things.
He's been asking to see the new
governess.

JANE
Who has?

MRS. FAIRFAX
Why, Mr. Rochester, of course.
(she helps Jane off with
her cloak)
Rode in on us suddenly, without
warning ?and in such a vile
humour. It seems he had an
accident. I don't know what to do.
He won't let me send for the
doctor.

Without leaving Jane time to compose herself, Mrs. Fairfax
pushes her towards the library door. Adele follows, with
Pilot. Mrs. Fairfax knocks. Rochester's voice says, "Come
in."

MRS. FAIRFAX
Goodness, your bonnet.

She snatches the bonnet which Jane is still absent-mindedly
holding, and throws it on to a chair; then opens and
announces.

MRS. FAIRFAX
Here is Miss Eyre, sir.

Jane starts into the library. The others follow.

LIBRARY

They enter. Rochester is seated in the high-backed chair
facing the fire. We see only his injured foot, stretched out
on a stool. Then his hand comes out and points to a chair.

ROCHESTER
Let Miss Eyre be seated.

Jane sits nervously on the edge of the chair indicated. She
is so placed that she cannot see him. There is an
uncomfortable silence...then Adele,who has been standing with
her arm around Pilots neck, tiptoes up to the chair and peeps
around into its recesses.

ADELE
When shall I have my presents,
Monsieur Rochester?

ROCHESTER
When you deserve them.

ADELE
And when will I deserve them?

ROCHESTER
When you stop asking for them.

Adele looks at him, seems about to speak, then puts her hand
over her mouth. Mrs. Fairfax now tries to make conversation.

MRS. FAIRFAX
I was just telling Miss Eyre about
your unfortunate accident, sir.

ROCHESTER
(gruffly)
Madame, I have the impression that
it is time for you to take Adele
back to bed.

MRS. FAIRFAX
Yes, sir.

She rises, beckons to Adele, who goes to her. They leave the
room in silence.

The silence is prolonged, evidently to Jane's discomfort.
Finally Rochester turns to Jane, and she sees him clearly for
the first time.

ROCHESTER
(glowering)
Well, Miss Eyre, have you no
tongue?

JANE
I was waiting, sir, until I was
spoken to.

ROCHESTER
Very proper. And next time you see
a man on a horse, don't run out
into the road until he has passed.

JANE
I assure you, sir, it was not
deliberate.

ROCHESTER
(feeling his leg)
It may not have been deliberate but
it is none the less painful.

Rochester takes a cigar from a box and lights it at the
candle.

ROCHESTER
Miss Eyre, where do you come from?

JANE
From Lowood Institution, sir.

ROCHESTER
Lowood - what's that?

JANE
(embarrassed)
It is a charity school. I was there
ten years.

ROCHESTER
Ten years? You must be tenacious of
life. No wonder you have rather the
look of another world. I marveled
where you had got that sort of
face. When you came on me in the
mist, I found myself thinking of
fairy tales. I had half a mind to
demand whether you had bewitched my
horse. Indeed, I am not sure yet.
Who are your parents?

JANE
I have none, sir.

ROCHESTER
And your home?

JANE
I have no home.

ROCHESTER
Who recommended you to come here?

JANE
I advertised, and Mrs. Fairfax
answered the advertisement.

ROCHESTER
And you came post haste to be in
time to throw me off my horse!
Well, what did you learn at Lowood?
Can you play the piano?

JANE
A little.

ROCHESTER
Of course; that is the established
answer. Go into the drawing room ?
(catching the look of
revolt in Jane's face)
I mean 'if you please' - excuse my
tone of command, I'm used to saying
"Do this!" and it is done; I cannot
alter my customary habits for one
new inmate; take a candle with you;
leave the door open; sit down at
the piano, and play a tune.

Jane rises, takes a candlestick from one of the consoles,
goes to the communicating door into the drawing room. We
follow her into the dark room.

DRAWING ROOM

She begins to play moderately well, an early nineteenth
century piece. There is something rather moving in the
simplicity of the piece and the unpretentious way it is
played.

Suddenly Rochester's voice is heard from the next room.

ROCHESTER'S VOICE
Enough!

Jane stops, a little angry at Mr. Rochester's rudeness,
closes the piano, picks up her candle and goes back into the
library.

LIBRARY

Mr. Rochester speaks as Jane appears in the doorway.

ROCHESTER
You play "a little," I see; like
any other English schoolgirl.
Perhaps rather better than some,
but not well. And now -- goodnight,
Miss Eyre.

He turns away and stares into the fire. Jane, unused to Mr.
Rochester's behavior, is still a little angry, and surprised
at this sudden dismissal.

She moves to the door.

JANE
Goodnight.

She leaves. The CAMERA PICKS OUT A CLOSEUP of Mr. Rochester
at the fireplace. As the door closes, he smiles. We realize
that he has been deliberately playing up Jane for his own
quiet amusement.

DISSOLVE TO:

JANE'S ROOM - LATE THAT NIGHT

Jane is seated at the dressing table, combing her hair.

Suddenly the silence is broken by the SOUND of demoniac
laughter, ending in a shout. Jane turns, startled, and
listens. A moment later, the SOUND of footsteps hurrying
along the corridor outside Jane's door is heard. Jane
hesitates another moment, then rises, wraps her dressing gown
closely around her, goes to the door, half opens it, and
looks out.

LANDING FROM JANE'S ANGLE

Mrs. Fairfax is standing at the door leading to the Old Wing.
The door is partly open, and through the opening Mrs. Fairfax
is talking to a middle-aged woman, whose face we see,
illuminated from below by Mrs. Fairfax's candle. Mrs. Fairfax
stands with her back to the CAMERA, consequently does not see
Jane.

MRS. FAIRFAX
Too much noise, Grace. I've spoken
to you before.

The woman nods without speaking; then catches sight of Jane
and abruptly closes the door.

Mrs. Fairfax turns, sees Jane and is obviously startled and
embarrassed. Then, making an effort to pretend that nothing
unusual has happened, she smiles and walks to Jane's door.

MRS. FAIRFAX
Did I disturb you, dear? I'm so
sorry. I had to say something to
Grace Poole.
(she nods in the direction
of the Old Wing door)
She's a person we have to do the
sewing. Not altogether
unobjectionable -?but she does her
work.
(changing her tone)
And how did you get on with Mr.
Rochester, my dear?

JANE
Is he always so changeful and
abrupt?

MRS. FAIRFAX
Well, he has his little
peculiarities of temper, of course.
But then allowances should be made.

JANE
Why for him more than for anyone
else?

MRS. FAIRFAX
(evasively)
Partly because that's his nature,
and partly, too, because he has his
painful thoughts.

JANE
What about?

MRS. FAIRFAX
(again evasive)
Oh, family troubles. I think that's
why he so seldom comes to
Thornfield. It has unpleasant
associations for him. Well,
goodnight, my dear,

She kisses Jane.

JANE
Goodnight, Mrs. Fairfax.

Mrs. Fairfax turns and walks off downs the corridor.

LONG SHOT - (JANE SILHOUETTED IN FOREGROUND)

of Mrs. Fairfax, candle in hand, retreating dorm the dark
hail. Jane stands in the doorway, looking after her, with a
thoughtful expression on her face.

FADE OUT.

FADE IN

THE GARDEN - DAY - SNOW

It is no longer snowing, but the snow lies in heavy falls
across the garden, and from time to time the wind blows a
spray of snow from the ruins.

Rochester appears from the moors in a heavy cloak and begins
to cross the garden. The dog Pilot follows at his heels.

INT. NURSERY

We are shooting at the window, through which we see Rochester
crossing the garden, while at the window stands Jane watching
him. We hear Adele's voice.

ADELE'S VOICE
Monsieur Rochester is very
difficult but he gives the most
beautiful presents. Look,
Mademoiselle.

Jane is still looking out of the window.

ADELE
Mademoiselle!

Jane turns.

LONGER SHOT

Jane advances towards Adele who is in the f.g. of shot
looking into a cheval glass and trying to fix three enormous
ostrich plumes in her hair. The floor of the room is covered
with open boxes which contain the rest of Mr. Rochester's
presents to her.

ADELE
You see, they suit me perfectly.

She parades in front of the mirror with the air of a young
coquette.

GREAT HALL

The door opens and Mr. Rochester strides in, followed by
Pilot, the wind sweeping round the hall.

Pilot begins to bark.

NURSERY - JANE AND ADELE

Jane is adjusting Adele's feathers, while Adele holds against
her little body a child's ballet dress which she has taken
from a nearby box. Jane reacts to the bark, knowing that it
means that Mr. Rochester is now inside the house, but Adele
is too excited with her presents to notice.

ADELE
A ballet dress! Just like mama used
to wear. Isn't it beautiful,
mademoiselle?

During this we hear Rochester coming upstairs and now we can
see him through the open door at the head of the stairs.

Jane is conscious of his presence behind her but deliberately
does not turn.

JANE
Beautiful, Adele.

Mr. Rochester moves on.

ADELE
I shall wear it when I dance,
always

But now Mr. Rochester has reappeared at the door.

ROCHESTER
Miss Eyre!

Jane and Adele turn.

ADELE
Je vous remercie mille fois,
m'sieur.

ROCHESTER
Tiens-toi tranquille. Assez, ma
petite. Enjoy your presents without
embarrassing me with your
enthusiasm.

He stands aside, indicating that Jane is to go through the
door.

CORRIDOR AND TOP OF STAIRS

Jane and Rochester come out, Jane a little curious as to what
is going to happen.

ROCHESTER
(taking off his cloak)
I am not fond of the prattle of
children. As you see, I am a crusty
old bachelor and have no pleasant
associations connected with their
lisp.

He throws his cloak on a chair and they start down the
stairs.

HALL AND STAIRS

as they descend.

ROCHESTER
And, in this house, the only
alternative is the prattle of a
simple-minded old lady which is
nearly as bad. But today I feel
disposed to be gregarious and
communicative, and I believe you
could amuse me, Miss Eyre.

They enter the drawing room.

DRAWING ROOM - (BACKGROUNDS UNDER SNOW)

They enter and cross to the fireplace, where a fire is
blazing.

ROCHESTER
You puzzled me a great deal that
first evening in the library, Miss
Eyre. I had almost forgotten you
since. But tonight I am resolved to
be at ease; to do only what pleases
me. And it would please me now to
draw you out, to learn more of you.

Rochester pulls a chair forward.

ROCHESTER
Sit down, Miss Eyre.

Without waiting for her to be seated, he sits himself. Jane
pushes her chair back a little and sits down.

ROCHESTER
No, don't draw it further off. Sit
down just where I placed it.
(Jane pulls the chair
forward again)
Forward a little. You are still too
far back. I can't see you without
disturbing my position in this
comfortable chair, which I have no
mind to do.

Jane moves forward, coming now full into the light. There is
a pause as their eyes meet.

ROCHESTER
You examine me, Miss Eyre. Do you
find me handsome?

JANE
(after a moment's
contemplation)
No, sir.

ROCHESTER
Indeed!

JANE
I beg your pardon, sir. I was too
plain -?

ROCHESTER
(interrupting)
Not at all. You told me the brutal
truth.

JANE
My answer was a mistake, -

ROCHESTER
Just so - and you shall be
answerable for it! Now then,
explain! Does my forehead not
please you? What do you tell from
my head? Am I a fool?