简爱剧本(Jane Eyre剧本)

JANE
No, sir. Far from it,

ROCHESTER
Would you say it is the head of a
kindly man?

JANE
(examining him a moment)
Hardly that, sir.

ROCHESTER
(rising angrily; striding
about)
Very well, Madam, I am not a kindly
man. Though I did once have a sort
of tenderness of heart.
(he pauses, turns to her)
You doubt that?

JANE
No, sir.

ROCHESTER
Since then Fortune has knocked me
about, kneaded me with her
knuckles...
Till now I flatter myself I am as
hard and tough as an India-rubber
ball...with perhaps one small,
sensitive point in the middle of
the lump. Does that leave hope for
me?

JANE
Hope of what, sir?

ROCHESTER
Of my retransformation from India
rubber back to flesh?
(he stares at her) )
You look very puzzled, Miss Eyre,
and though you are not pretty any
more than I am handsome, yet a
puzzled air becomes you. Resides,
it keeps those searching eyes of
yours away from my face.

There is a silence. Jane keeps her face averted.

Rochester crosses to some candles, lights them.

ROCHESTER
Well, why don't you speak?

JANE
What about, sir?

ROCHESTER
Choose your own subject.

Jane looks at him.

ROCHESTER
(coming toward her)
You are silent, Miss Eyre.

She continues silent; he looks at her.

ROCHESTER
Stubborn? No, annoyed. And quite
rightly so.
(more gentle now)
I put my request in an absurd way.
I beg your pardon. The fact is,
once and for all, I don't wish to
treat you like an inferior.
But I have battled through a varied
experience with many men of many
nations and roamed over half the
globe, while you have lived with
one set of people in one house.
Don't you agree that gives me a
right to be a little masterful and
abrupt?

JANE
Do as you please, sir.

He looks at her sharply.

JANE
You pay me thirty pounds a year for
receiving your orders.

ROCHESTER
Thirty pounds...I'd quite forgotten
that. Well, on that mercenary
ground, will you agree to let me
hector you a little?

JANE
No, sir, not on that ground, but on
the ground that you did forget it,
and that you enquired of my
feelings as an equal.

ROCHESTER
Good

Jane rises, hoping to put an end to a difficult conversation.

ROCHESTER
Then you'll let me dispense with
conventional forms without thinking
me insolent.

JANE
I should never mistake informality
for insolence; one I rather like,
the other no freeborn person would
submit to, even for a salary.

ROCHESTER
Humbug - Most freeborn people will
submit to anything for a salary.

Jane makes as though to go.

ROCHESTER
Where are you going?

JANE
It's time for Adele's lessons.

ROCHESTER
No, young lady, it's not for Adele
that you're going.
(his voice has grown
menacing and strange
again, and Jane looks at
him in surprise)
It's because you are afraid of me.
You wish to escape me. Isn't that
true?

She is too confused to answer, stands staring at him.

ROCHESTER
In my presence you are hesitant to
smile gaily or speak too freely.
Admit that you are afraid.

JANE
(after a moment, quietly
but firmly)
Sir...I may be bewildered, but I am
certainly not afraid.

There is the sound of a door opening. The door opens and
Adele appears on the threshold, wearing the dress Mr.
Rochester has given her. A dress of rose-colored satin, very
short, and as full in the skirt as could be gathered. A
wreath of rosebuds, the pearl necklace, white silk stockings
and white satin dancing slippers complete her costume.

ADELE
Don't I look beautiful, Monsieur?

Spreading out her dress, Adele chases across the room till,
having reached Mr. Rochester, she wheels lightly around him
on tiptoe, then drops on one knee at his feet.

ADELE
That is how mama used to do it, is
it not?

ROCHESTER
(his black mood still on
him)
Precisely. And that was how she
charmed my English gold out of my
breeches pocket.

This is spoken with sarcastic bitterness. Adele rises, stands
on the tips of her toes, stretches out her arms and flutters
her hands, like a ballerina at the point of launching into a
dance.

ADELE
And now I will dance for you.

ROCHESTER
You will not. You will go straight
back to the nursery!

ADELE
But, Monsieur...

ROCHESTER
At once!

Pathetically, Adele's mouth quivers, and she runs quickly
from the room. Jane starts to follow but is arrested by
Rochester's voice.

ROCHESTER
Miss Eyre - I have not finished
talking to you.

Rochester goes over to the fireplace and stands there. Jane
stands before him. There is a little silence. He looks up,
sees her looking at him disapprovingly.

ROCHESTER
Why are you looking at me like
that?

JANE
I was thinking that whatever your
past misfortune, you have no right
to revenge yourself on the child.

ROCHESTER
(angrily)
The devil you were!

Finally he speaks in a low tone, a complete change of mood.

ROCHESTER
You are quite right, of course. I
was thinking only of myself, of my
own private memories and feelings.
(he sips his wine
meditatively, then
continues)
How I envy you your peace of mind,
Miss Eyre, your clean, unpolluted
memory. The truth is nature meant
me to be, on the whole, a good man;
one of the better kind, but
circumstances decreed otherwise.
Oh, I was as green as you once,
aye, grass-green. But now my spring
is gone, leaving me - what? This
little artificial French flower.

He turns away from her and is silent for a while, then speaks
without looking at her.

ROCHESTER
That will be all, thank you, Miss
Eyre.

Jane stares at his averted form, surprised and rather hurt;
then, without speaking, gets up and walks toward the door.
Before she has reached it, he turns and calls to her.

ROCHESTER
Miss Eyre?

Jane halts and turns. He goes toward her. With one of his
baffling changes of mood, he speaks to her simply, gently,
sincerely.

ROCHESTER
I hope you will be happy here at
Thornfield.

JANE
(hesitating, then nodding)
I hope so, sir, I think so.

ROCHESTER
I'm glad.

With unaccustomed courtsey he opens the door for her. Outside
the door the CAMERA HOLDS for a moment on Jane's face, before
she goes across the hall. She is increasingly baffled by
Rochester, but increasingly under his spell.

DISSOLVE:

EXT. THORNFIELD - LONG SHOT - NIGHT - SNOW

We are back in the grim menacing mood of Jane's first night
at Thornfield.

EXT. THE OLD WING - NIGHT ?SNOW

The strange narrow windows of the Old Wing.

Once again we hear a sound, which may be a woman's laugh, or
may only be the howling of the wind.

INT. JANE'S ROOM - NIGHT ?CLOSE SHOT JANE

Jane is in bed, tossing restlessly, not quite asleep. The
clock in the hall strikes two. There is the sound of stealthy
footsteps in the hall and of something scratching at Jane's
door. She sits up, startled, wide-awake, and calls out:

JANE
Who's there?

There is no answer. Everything is quiet; and Jane lies back
again on her pillows, closes her eyes and tries to sleep.

Now comes the sound of a demoniac laugh, low, suppressed, and
deep, right outside Jane's door 棗 and the soft pad of
retreating footsteps, then, the sound of a door slamming.

Jane, thoroughly alarmed, gets up, throws on her robe, and
goes to the door, CAMERA PANNING WITH HER AND FOLLOWING HER.

She tremblingly opens the door and sees a candlestick (with
an opaque metal shade) upset on the matting of the floor in
the hall, its flame still burning.

The matting on the floor is already smouldering. CAMERA
FOLLOWS JANE and ends on a CLOSE SHOT as she picks up the
candle and stamps out the fire; then RISES with her as she
looks around apprehensively. Blue wisps of smoke still drift
into the scene, seeming to come from down the hall.

As Jane looks in that direction, into CAMERA:

LONG SHOT CORRIDOR (FROM JANE'S ANGLE)

The door to Rochester's room is ajar, smoke pouring from
inside the room.

CLOSE SHOT JANE

She runs out of shot toward Rochester's room.

MED. SHOT DOOR TO ROCHESTER'S ROOM

Jane runs into SHOT, calling:

JANE
Mr. Rochester? Mr. Rochester!

CAMERA FOLLOWS (holding Jane in f.g. of SHOT) as she runs
into the room, and HALTS as she sees the smoke-filled room.
Rochester is lying on the bed, half dressed, propped up with
pillows. The bed clothes and valance are smoldering..

An open book turned face downward on the bed reveals that
Rochester has gone to sleep while reading. A decanter and a
half filled glass of wine on the stand near the bed.

Jane rushes to him.

SHOT ROCHESTER IN BED

Jane's hand comes into scene and shakes him violently.

JANE
Wake up! Wake up!

Mr. Rochester opens his eyes, starts to leap up.

As Rochester jumps out of the bed, the little smouldering
flames flare up from the foot of the bed and the valance.

ROCHESTER
What the devil...
(he realizes what is
happening)
Good Heavens!

LONG SHOT - JANE AND ROCHESTER (DOUBLES)

(INTERCUT WITH TRANSPARENCY CLOSE UPS)

Rochester starts tearing off the sheets and curtains, and
stamping out the flames

ROCHESTER
Bring some water. Over there.
(indicating pitcher of
water on dresser)

Jane sets her candle down on the washstand, brings a pitcher
and throws it on a bad patch of flame. There is a great
hissing. Rochester stamps the last embers out.

ROCHESTER
That's done it.

JANE
Someone tried to kill you. I heard
them coming along the gallery.
Shall I call Mrs. Fairfax?

ROCHESTER
Mrs. Fairfax? That the deuce would
you call her for? Let her sleep.
(he picks up his heavy
cloak and puts it round
Jane's shoulder)
Here, wrap this round you and sit
there in the armchair. I'm going to
leave you for a few minutes. Be
still as a mouse, and don't call
anyone.

Jane is left alone in the room as Rochester goes out with the
candle. He has left the door half open after him. With
excited curiosity, Jane hears Rochester passing up the
gallery, then the sound of the staircase door as he opens it.

The last ray of the candlelight vanishes. Jane looks around
nervously, then rises and goes to the window, CAMERA MOVING
WITH HER. From here she looks across into the narrow odd
windows of the Old Wing. A light appears in a lower window.
It is Rochester's candle. Jane watches the candlelight move
upward as Rochester ascends the stairs, until it finally
disappears.

CLOSEUP JANE'S FACE

Tense and frightened.

DISSOLVE TO:

GALLERY

The door to the Old Wing opens and Rochester comes out. He
closes the door behind him and starts to cross to his own
room, looking very grin.

CLOSEUP JANE - ROCHESTER'S ROOM

Still standing at the window, she hears Rochester returning,
and goes back to sit in the chair where Rochester had left
her.

DOOR TO ROCHESTER'S ROOM ?CLOSE SHOT ROCHESTER

He hesitates a moment outside his door, obviously debating
what he is going to say to Jane; then goes in.

ROCHESTER'S ROOM

The same glimmer of light as Rochester returns. He puts the
candle down on the washstand.

ROCHESTER
Yes, it's just what I thought.
(to Jane)
When you came out of your room, did
you see anything?

JANE
Only a candlestick on the ground.
But I heard that door slam.

ROCHESTER
Anything else?

JANE
Yes, a kind of laugh.

ROCHESTER
A kind of laugh...Have you ever
heard it before?

He turns to her and puts down his candle.

JANE
There's a strange woman here called
Grace Poole...

ROCHESTER
Just so, Grace Poole. You've
guessed it. Well, I shall see
what's to be done. Meanwhile, say
nothing about what has happened. I
will account for this state of
affairs.
(he indicates the charred
bedding. Picking up a
corner of the curtain, he
rubs the burnt portion
between his fingers. The
fabric disintegrates in
flakes)
Charred to a cinder...
(Suddenly an idea strikes
him; an expression of
concern appears on his
face)
The nursery! We haven't thought
of Adele!

He picks up the candle with the shade and hurries out into
the gallery. Jane throws off the heavy cloak and follows.

They go to the door of the nursery and enter.

They enter and Rochester closes behind them the door to the
hall. The floor is still littered with Adele's presents and
toys. They cross and enter the heavy double doors of Adele's
bedroom.

ADELE'S ROOM

In her cot, Adele is sleeping peacefully. Rochester holds up
the candle so that the light falls on her, and he and Jane
look at the child for a moment in silence.

ROCHESTER
(relieved)
I had an awful fear...

Meanwhile Jane has been pulling up the covers on Adele's bed.
While doing this she makes a discovery, which is that Adele
has taken her satin dancing slippers to bed with her. She
holds them up.

JANE
Do you see what she has?

ROCHESTER
(taking the slippers from
her)
Poor little Adele. Trying to
console herself for my unkindness.
The child has dancing in her blood
and coquetry in the very marrow of
her bones.

He walks to nursery door and stands to let Jane pass.

Rochester closes the double doors to Adele's room, throws the
slippers down on a table. They strike against the musical box
we have seen in the morning sequence between Jane and Adele.
The shock starts the mechanism and it begins to tinkle away,
while the figures dance. Rochester picks it up and examines
it.

ROCHESTER
I once had the misfortune to love
this 棗 and then to be jealous of
(he points first at the
doll in the ballerina's
costume, then at the one
in the Officer's uniform)
Love's a strange thing, Miss Eyre.
You can know that a person is
worthless, without heart or mind or
scruple, and still suffer to the
point of torture when she betrays
you.
(he sets the figures down,
as he adds bitterly:)
At least I had the pleasure of
putting a pistol bullet through my
rival's lungs.

He turns away and starts to stride about. There is a silence

NURSERY

JANE
And the little doll in the dancing
skirt?

ROCHESTER
We tell Adele she died. But the
truth isn't quite so touching. I
gave her some money and turned her
out. Whereupon she decamped with an
Italian painter, leaving me with
what she said was my daughter.
(picks up the candle and
turns to Jane)
Let me light you to your room.

He opens the door, lets her pass, and they start walking down
the gallery.

GALLERY

Rochester and Jane walk a moment in silence, then:

ROCHESTER
Tell, Miss Eyre, now that you know
what your pupil is 棗 the offspring
of a French dancing girl ? I
suppose you'll be coming to tell me
to look out for a new governess.

JANE
(quietly)
Adele has had so little love, I
shall try to make up for it.

By this time they are at the door of Jane's room. Rochester
looks at her. In this moment there's a warmth in his eyes and
tone, which indicates very clearly feeling he has for her.

ROCHESTER
(quietly)
Are you always drawn to the
loveless and unfriended?

JANE
When it is deserved.

She starts to go in, but Rochester stops her.

ROCHESTER
Miss Eyre 棗 would you say that my
life deserved saving?

JANE
I would be distressed if harm came
to you, sir.

ROCHESTER
But you did save my life tonight,
and I should like to thanks you.
Can't we at least shake hands?

He holds out his hand, and she gives him hers. They stand
looking at each other.

ROCHESTER
(with deep feeling)
I knew you would do me good in some
way, at some time. Good-night...
Jane.

He turns quickly and goes. Jane watches him a moment, then
goes into her room.

DISSOLVE:

YARD - DAWN

Pilot emerges from his kennel as there is the SOUND of heavy
boots descending stone steps.

The boots ?Rochester's boots ?come into picture, squelching
through the already melting snow, 棗 Pilot follows behind
them. Then we see the hoofs of a horse 棗 Rochester's boots
disappear as he swings himself into the saddle.

The horse clatters off over the cobbled court yard, Pilot
following behind..

JANE'S ROOM - DAWN

The violent clatter comes over Jane's face. She wakes,
hurries to the window.

CLOSEUP OF JANE'S FACE AT THE WINDOW AS SHE WATCHES

Over her face comes the noise of retreating hoof梑eats.

MOORS ?DAWN ?(SERSEN SHOT WITH DOUBLE)

The rising sun glistens and flares on the melting snow as
away from CAMERA gallops the distant figure of Rochester on
his black horse, the dog Pilot hurrying after him.

ROCHESTER'S ROOM - THE BLACKENED CHARRED BED-CURTAINS -- DAY

MRS. FAIRFAX'S VOICE
Oh, dear -?they're past mending,
I'm afraid.

Her hand comes into picture and pulls them down, revealing to
the CAMERA the door to the gallery, which Jane (now fully
dressed) is entering.

MRS. FAIRFAX'S VOICE
(surprised)
Oh, Miss Eyre. Isn't it terrible?
We might all have been burnt in our
beds.

As Jane moves forward; the CAMERA PULLS BACK a little,
bringing into the foreground of the SHOT (back to CAMERA)
Mrs. Fairfax and Leah who are straightening the wrecked room.

JANE
Where did Mr. Rochester go?

MRS. FAIRFAX
(working on the curtains)
He said something about a house
party at Millcote. Goodness knows
how long he'll be away. 棗 You can
never tell with Mr. Rochester -?it
may be a week 棗 or a month 棗 or a
year.

Jane starts to go, then stops.

JANE
Mrs. Fairfax.

MRS. FAIRFAX
Yes.

JANE
Did Mr. Rochester tell you how the
fire started?

MRS FAIRFAX
Of course. He was reading in bed,
and fell asleep with the candle
lit, and the curtains took fire.

She sees, but misinterprets, the expression on Jane's face.

MRS FAIRFAX
Why do you ask?

JANE
I wondered if the fire had
something to do with Mr. Rochester
leaving.

MRS. FAIRFAX
What possible connection could
there be? He said this morning that
he was restless -?the house with
only us here was too unbearably
oppressive for him.

She busies herself with her work and Jane goes, very puzzled
and thoughtful.

GALLERY

She walks toward her room, hurt and disturbed. Just as she is
about to enter, she notices that the door of the Old Wing is
standing half open. She looks at it, hesitantly for a moment
then makes up her mind and walks through.

CIRCULAR STAIRCASE TO OLD WING

Jane comes slowly up the staircase, curious as to what she
will see.

CORRIDOR IN THE OLD WING

Jane emerges into a narrow stone corridor 棗 like that of a
medieval castle. It is entirely different from the rest of
the house 棗 less spacious and of a more ancient style.
On one side is a single narrow stone梞ullioned window,
throwing an insufficient light on the scene. On the other
side is a row of small, unpretentious doors. The second door
is black, for it is covered with buttoned cloth on both
sides, as though to deaden sound.

Jane hesitates, then walks towards the black door. But, just
as she starts to open it, and before she has seen into the
room, comes a snarling and scuffling sound from within, as
though of an animal fighting.

Jane starts back and lets the door, which seems to be on a
spring, swing closed again. Then, thoroughly frightened, she
hurries back towards the stairs, and starts to go down. She
has only just started when there is the SOUND of the door
opening. She turns to see Grace Poole.

GRACE POOLE
What are you doing here?

Grace Poole is breathless and perhaps a little disheveled,
but she speaks with a tone of authority which startles Jane,

GRACE POOLE
No one comes up here, d'you
understand?

She takes a step forward towards Jane.

GRACE POOLE
Go on down, go on down.

Jane faces her threatening look for a moment, then quickly
turns. The CAMERA PANS around with her as she hurries down
the stairs. A moment later Grace Poole comes into SHOT and
locks the door as we:

FADE OUT

FADE IN

ROAD TO THORNFIELD HALL - SUMMER DAY

A little trap drawn by a Shetland pony is approaching up the
road to Thornfield Hall. In it are Jane and Adele. They have
been on a picnic and have been gathering flowers,

THE CAMERA PANS with the trap till it comes to rest at the
foot of the steps to the front door. We see to our surprise
servants passing in and out of the front door, some footmen
carrying heavy packages. A heavy dray and a farm wagon are
parked at a corner of the drive.

SHOT - JANE AND ADELE

Adele looks at Jane in surprise. They get out of the trap and
move toward the front door.

GREAT HALL - SHOOTING CUT OF THE FRONT DOOR

THE CAMERA BRINGS Adele and Jane into the great hall. We see
servants moving about, carrying flowers, furniture; etc.
There is a busy air of excitement and expectancy, about what
we don't yet know. We hear Mrs. Fairfax's voices:

MRS. FAIRFAX'S VOICE
The moment the carriages stop, open
the front door. Then stand each
side of it, and be ready to take
the gentlemen's cloaks.

By now the CAMERA has MOVED with Jane and Adele to Mrs.
Fairfax, talking to two footmen, who are now in the SHOP.

FOOTMAN
Yes, ma'am.

Mrs. Fairfax sees Jane.

MRS. FAIRFAX
Oh, my dear, I'm so glad you're
back at last. Mr. Rochester is so
distracting.

She turns to Leah who is passing.

MRS. FAIRFAX
Leah, you must be with me to take
the ladies to their room.

LEAH
Yes, ma'am.

Mrs. Fairfax takes a moment to turn to Jane.

MRS. FAIRFAX
Not even telling me how many guests
he's bringing. Just said get all
the best bedrooms ready, and more
servants from the inn.

A servant passes.

MRS FAIRFAX
(to servant)
Are you sure you put flowers in
every room?

SERVANT
Quite sure, ma'am.

THE MAIN DOOR OF GREAT HALL

A footman who has been looking through the wicket turns to
Mrs. Fairfax.

FOOTMAN
They're coming, ma'am.

He begins to open the main door. The sound of a coach horn is
heard.

DRIVE OF THORNFIEID

Approaching in the distance are four equestrians, an open
carriage and a four in hand. Fluttering veils and waving
plumes fill the vehicles; two of the cavaliers are young,
dashing條ooking gentlemen, the third is Mr. Rochester on his
black horse, Pilot bolting along before him; at his side
rides a lady, and he and she are the first of the party. Her
purple riding habit almost sweeps the ground; her veil
streams along on the breeze; mingling with its transparent
folds, and gleaning through them shine rich raven ringlets.

WINDOW OF GREAT HALL

As Jane and Mrs. Fairfax run to it.

MRS. FAIRFAX
One, two, three...oh, dear ?
fifteen at least - far more than I
had prepared for.

SHOT OF CAVALCADE

As it comes closer, we begin to hear the jingle of bit and
bridle, and laughter and excited chatter.

MRS. FAIRFAX'S VOICE
That's Colonel Dent with the grey
whiskers. And his sister, Lady
Ingram, next him, such a
distinguished lady. And Sir George
Lynn. He's the member of Parliament
for Milicote.

JANE AND MRS. FAIRFAX

JANE
Who's that riding with the Master?

MRS. FAIRFAX
Why, that's Blanche Ingram, my
dear. Haven't you heard about Miss
Ingram and Mr. Rochester? She's
quite an old flame of his. It
wouldn't surprise me at all if it
came to an engagement one of these
days. Such a beautiful girl, don't
you think so? And as talented as
she is lovely.

She bustles off. Jane is left at the window.

CAMERA MOVES CLOSER and, keeping Jane in profile in the
foreground SHOOTS past her, through the window, at the scene
outside. Rochester is helping Blanche to dismount. We cannot
hear what they say, but catch the SOUND of their laughter and
see their gay, smiling Laces. Jane looks out, motionless.

DISSOLVE TO:

SAME EVENING

Candles are burning in sconces along the walls and a good
deal of light comes in through the openings connecting the
gallery with the hall. The source of this light is a great
chandelier, never previously lighted in the course of the
picture.

Jane is coming along the gallery from her own room on the way
to the nursery.

Servants come out of a door, one carrying a tin hip bath, the
other two, five梘allon cans of water.

They cross in front of Jane so that Jane has to stop to avoid
them, and they are just going into another door, when a
lady's maid hurries up from the other end of the gallery.

MAID
Miss Ingram's waiting for her bath
water.

Two other maids appear from the direction of the kitchen
stairs, one carrying a tray, on which are various bottles,
with a spirit lamp, curling irons and some false ringlets.
The other has a pair of stays. As she passes she tugs at the
string.

MAID
Well, let's hope this one won't
break.