简爱剧本(Jane Eyre剧本)

Nobody pays any attention to Jane, and already, in this
unaccustomed activity, she feels out of it. At the top of the
stairs she finds Adele hanging over the banister and looking
down into the hall, whence we HEAR the cheerful VOICES of the
men guests laughing and talking.

JANE
(reproachfully)
Adele! Why aren't you in the
nursery?

ADELE
Oh, mademoiselle, let me look.

JANE
No, dear, you're in the way.

She takes the child's hand and turns. As she does so, she
almost collides with two girls who have come out, already
dressed in their evening clothes.

JANE
Oh, I beg your pardon.

She stands back. The girls pass without paying the slightest
attention to her. They continue their conversation as they
move forward.

FIRST GIRL
Didn't I tell you that Blanche was
setting her cap at him?

SECOND GIRL
Well, he is very romantic. And
enormously rich.

They laugh as they walk on. The CAMERA PANS with them. But as
they walk out of SHOT, it ends on a CLOSEUP of Jane.

JANE'S ROOM - EVENING - CLOSE SHOT OF JANE

Jane is brushing her hair in front of a mirror, but her
movements are mechanical; she is absorbed in contemplating
her own face.

MRS. FAIRFAX'S VOICE
Oh, Miss Eyre 棗

Jane, snapped out of her reverie, turns.

MRS. FAIRFAX AT THE DOOR

SHOOTING PAST Jane at the mirror in the foreground.

MRS FAIRFAX
棗 Mr. Rochester wishes you to
bring Adele to the drawing room
after dinner.

JANE
Oh, please send Adele by herself.
He only asks me out of politeness.

She resumes brushing her hair, this tine more earnestly.

MRS. FAIRFAX
That is what I thought and I told
him you weren't used to company.
'Nonsense' he said. 'If she
objects, I'd come and fetch her
myself!'

Jane lowers the brush and ceases to attend to her hair.

MRS. FAIRFAX
Of course, you must wear your very
best, my dear.

She walks over end opens the wardrobe.

THE WARDROBE

In the gaping void of the large wardrobe hang only two
dresses ?all that Jane has. Mrs. Fairfax's hand comes into
the picture and hesitates between them.

MRS. FAIRFAX'S VOICE
棗 I think the black.

Her hand takes out the black dress as we

DINING ROOM ?NIGHT CLOSE SHOT

of a beautiful dessert service at the far end of the dining
room table. CAMERA SLOWLY STARTS TO PAN along the entire
length of the table and we see its rich pattern of silver and
candlelight. Occasionally the hand of a guest comes into the
SHOT, picking a piece of silver or a cup; and we NEAR their
VOICES:

MAN'S VOICE
A quart of red wine - that's the
secret of good digestion.

WOMAN'S VOICE
(rapturously)
Green plush and ostrich feathers -
the most exquisite bonnet you ever
set eyes on

COLONEL DENT'S VOICE
So I let them have both barrels 棗
bang, bang. Then got two more birds
with my spare gun.

GIRL'S VOICE
Oh no, Mr. Eshton. Papa won't allow
me to read anything but sermons.

Now CAMERA STOPS on a magnificent silver bowl which contains
fruit or flowers. In one of its flat burnished panels we see
the reflection of Blanche Ingram. CAMERA NOW BRIGHTLY PULLS
BACK AND PANS DOWN and we see Rochester's hand resting on the
table. Instantly a beautiful hand - Blanche's ?tastefully
jeweled, comes into scene and for an instant her finger tips
lightly touch Rochester's hand.

BLANCHE'S VOICE
A woman must be beautiful, Edward;
a man need only be strong and
valiant.

Rochester's hand clenches, as though ready to strike. It raps
against the silver bowl.

ROCHESTER'S VOICE
Let his face go hang, so long as he
has a fist. Is that it?

Blanche's laughter breaks out.

CLOSE SHOT - ADELE'S FACE

She is peeping through the heavy curtains separating the
drawing room from the dining room.

LADY INGRAM'S VOICE
Well, perhaps we had better leave
the gentlemen to their port.

There is the SOUND of chairs being pushed back and the
rustling of skirts.

Adele's face shows an expression of panic, and she withdraws
her head.

DRAWING ROOM

Adele from the back, as she turns. CAMERA MOVES WITH HER, as
she runs to where Jane is sitting in a window seat.

ADELE
They're coming, mademoiselle!

Jane hastily rises, looking nervously in the direction of the
entrance to the dining room.

DINING ROOM ENTRANCE - FROM JANE'S ANGLE

The curtains are parted, and the ladies, beautifully gowned,
make an impressive entrance.

Gentlemen hover in the background, and behind them we catch a
glimpse of the room with its richly appointed table.

DRAWING ROOM

The women pass by Jane in her window seat, as they make their
way into the center of the room. Jane curtsies. One or two
nod distantly. Others do not even acknowledge her existence.
Ad libs of the women as they pass.

FIRST GIRL
Goodness, I hope I don't have to
sit next to Colonel Dent again

Adele curtsies to them.

ADELE
Bon soir, mademoiselle.

SECOND GIRL
Bon soir. What's your name, dear?

They move out of SHOT with Adele. Two dowagers follow. Jane
curtsies to them. One of then puts up her lorgnette and looks
at her, as though she were an insect; then drops the glass
and pays no further attention.

DOWAGER
What a delicious souffle - I
couldn't resist a second helping.

The last person to emerge from the dining room is Lady
Ingram, a tall, imposing lady with a very haughty manner.

She turns back, as she emerges and calls into the room.

LADY INGRAM
Now, Blanche, stop teasing poor Mr.
Rochester. Come along, my angel.

She comes into the drawing room.

SHOT OF JANE

She is looking towards the entrance, waiting anxiously for
Blanche to appear.

OVER ENTRANCE TO DINING ROOM

There is laughter from the dining room, as though Blanche had
made a final witty sally, then she appears in between the
slightly parted curtains and, with an affected and theatrical
gesture, pushes one of the curtains aside and stands posed on
the threshold.

She is very conscious that she makes an effective tableau ?a
lovely creature in a white dress, framed between the rich
velvet of the curtains and with the glittering dining table
as a background.

SHOT OF JANE

as she listens, dazzled by Blanche's beauty --

AT THE ENTRANCE

She lets the curtain fall and turns back toward the drawing
room. CAMERA MOVES UP TO A CLOSE SHOT as she surveys the room
with her supercilious smile. Then she moves gracefully down
the steps to join the others and the CAMERA once again ends
on a CLOSE SHOT of Jane.

DRAWING ROOM

Blanche is singing; Rochester is turning the pages of her
music. She is near the end of her song. THE CAMERA IS
SHOOTING ACROSS THE PIANO, at which Blanche is sitting,
accompanying as well as singing.

CAMERA MOVES from them and passes through the crowd. Part of
the guests are still holding their coffee cups. The CAMERA
HOLDS for a moment on Lady Ingram, who is looking at the
singers with a complacent smile. The lady next to her, Mrs.
Eshton, leans over and whispers:

MRS. ESHTON
What a striking couple.

LADY INGRAM
It's very fortunate, isn't it?

CAMERA MOVES to a group where Adele is seated between two
women. She is pointing at the lace on the bottom of the
pantalettes which protrude beneath her skirts.

ADELE
Looks from Paris.

A WOMAN
Sh梥h, dear...

CAMERA MOVES to Sir George Lynn and Colonel Dent, who is
offering his snuff box to Sir George, and whispering as he
does so.

DENT
Splendid match, Sir George,
splendid match. Seven or eight
thousand a year, at least.

CAMERA MOVES to two young men.

FIRST YOUNG MAN
Fine shoulders, eh, Ned?

The song comes to an end. They clap and there is the SOUND of
applause from other parts of the room.

CLOSE SHOT - JANE

sitting modestly on her bench, as we hear the SOUND of
clapping and congratulatory remarks.

AND ROCHESTER

Rochester is congratulating her in bad Italian, since she has
sung in Italian.

ROCHESTER
Cantate come un angelo tesore

BLANCHE
Signor Eduardo - -

She is about to make a gay elaborate reply when Adele leaps
upon the piano stool and pops into SHOT, interrupting her.

ADELE
Monsieur Rochester, may I sing now?

ROCHESTER
I think we I've had enough music
for the moment.

ADELE
Please, monsieur.

ROCHESTER
Leave us.

Adele disappears as quietly as she came.

BLANCHE
Edward, I thought you weren't fond
of children.

ROCHESTER
Nor am I.

BLANCHE
Then what induced you to take
charge of such a little puppet?
Where did you pick her up?

ROCHESTER
I didn't pick her up. She was left
on my hands.

BLANCHE
Well, I suppose you have a
governess for her. I saw a person
with her just now 棗 is she gone?
(she looks around)
Oh, no! There she is still, hiding
in the corner.

She rises and moves away from the piano. Rochester goes with
her.

BLANCHE
You should hear mama on
governesses.

As she speaks she takes the arm of Lady Ingram who is
standing nearby and draws her along with her.

They are now walking towards Jane, whom we see beyond them.
They stop at a small table not far from where Jane is
sitting. Here stands a silver dish of sweetmeats. Blanche
takes one and nibbles at it as she speaks.

LADY INGRAM
Governesses! Don't speak to me of
governesses! The martyrdoms I have
had to suffer from those creatures!
The clever ones are detestable, and
the others grotesque.

BLANCHE
Llama!

She touches Lady Ingram's arm, and looks off in the direction
of Jane. Her eyebrows are raised; her expression is ironical.
Lady Ingram follows her glance, then turns back.

LADY INGRAM
Oh, well, it can't be helped. I
hope it may do her some good.

They move out of SHOT. CAMERA STAYS ON JANE'S FACE. She is
hurt and humiliated by the way she has been treated.

We see that she is on the verge of tears.

OFFSCREEN the piano starts to play a piece by Mendelssohn.
Jane listens for a few bars, then rises and unobtrusively
slips out of the room to the library.

LIBRARY

Jane tiptoes across the room toward the door leading out into
the hall.

Just as she is going out, Rochester appears through the
drawing room door.

ROCHESTER
How do you do?
(he closes the door behind
him)

JANE
I am very well, sir.

ROCHESTER
Why did you not cone and speak to
me in the drawing room?

JANE
(with just a touch of
malice underneath)
I did not wish to disturb you as
you seemed engaged.

ROCHESTER
That have you been doing while I've
been away?

JANE
Nothing particular. Teaching
Adele as usual.

ROCHESTER
And getting a good deal paler than
you were. What is the matter?

JANE
Nothing.

ROCHESTER
Did you take cold that night of the
fire?

JANE
No, sir.

ROCHESTER
Go back to the drawing room. You
are leaving too early.

JANE
I am tired, sir.

He gives her a look.

ROCHESTER
And a little depressed. About what?

JANE
Nothing...I am not depressed.

Rochester has taken a step toward her, and now he is quite
near.

ROCHESTER
But I tell you you are ?so much
depressed that a few more words
would bring tears to your eyes.
Indeed, they are there now, shining
and shimmering --

At this moment, the most intimate so far between them, there
suddenly comes through the half open dining room door the
jangle of the front door bell.

ROCHESTER
Who the devil is that? -

There is the SOUND of the footman crossing the hall.

THE FRONT DOOR

The footman opens the front door, to reveal a tall, dark
gentleman with a sallow, neurotic face 棗 "there was no
thought in that low, even forehead, no command in that black,
brown eye."

STRANGER
I wish to see Mr. Rochester.

FOOTMAN
What name shall I say, sir?

STRANGER
(speaking very
deliberately)
Tell him Mr. Mason 棗 Mr. Mason
from Spanish Town in Jamaica.

JANE AND ROCHESTER

Jane turns in amazement as she sees the effect of this name
on Rochester.

MR. ROCHESTER
Mason ?Spanish Town...Jane, I've
had a blow.

He leans heavily against the door. Jane looks at him
bewildered.

ROCHESTER
My little friends I wish I were on
a quiet island with only you; and
trouble, and danger, and hideous
recollections far away.

JANE
Can I help you, sir?

ROCHESTER
Jane, if help is wanted, I'll
seek it at your hands. I promise
you that.

JANE
Thank you, sir.

ROCHESTER
(rising, and looking
toward the drawing room)
If all the people in that room came
and spat at me 棗 what would you
do, Jane?

JANE
Turn them out of the room, if I
could.

ROCHESTER
(half-smiling)
But if I were to go to them, and
they only looked at me coldly and
dropped off and left me one by one
棗 what then? Would you go with
them?

JANE
No, I would stay with you.

ROCHESTER
And comfort me?

JANE
Yes, sir. To comfort you as well as
I could.

Rochester smiles at her gratefully and, without speaking,
takes her hand and squeezes it. Then he turns, goes out into
the hall and advances across the room to where Mason is
standing in his fur條ined traveling cloak in front of the
fireplace.

LONG SHOT OF MASON AND ROCHESTER (AROUND JANE'S BODY OVER HER
SHOULDER)

Mason turns as he hears Rochester approach.

MASON
Edward...

He holds out his hand; Rochester does not take it.

ROCHESTER
I shall not be hypocritical enough
to say that you are welcome under
this roof... In here, Meson.

Mason enters, Rochester follows and closes the door.

FADE IN

THORNFIELD - NIGHT

We see the battlemented tower above the Old Wing. Suddenly
the stillness of the night is shattered by a succession of
piercing screams. From their nests in the loopholes and
crevices of the old masonry the jackdaws scatter in fright.

The CAMERA PANS DOWN to a window in the Old Wing. In
silhouette against the drawn blinds we see the vague form of
struggling figures, and hear the crash of glass as a
candlestick falls to the floor and the light goes out.

CAMERA CONTINUES to PAN DOWN TO THE FLOOR In the windows of
the guest rooms lights begin to appear.

INT THORNFIEID GALLERY - LONG SHOT

The guests come hurrying out of their rooms. Some carry
candles. All are in their dressing gowns. The hair of some of
the ladies is in curl papers. One or two of the older
gentlemen wear nightcaps. Colonel Dent carries a pistol.
There is general excitement and confusion. We hear wild ad
libs from the ladies, while the gentlemen try to be
protective and reassuring: "What is it?"; "Who's hurt?";
"What's happened?"; "Is it a fire?"; "No, no, there's no
fire; "It must be robbers"; "Robbers! Where shall we run?";
"We shall be killed in our beds."

BLANCHE
(to Dent)
The noise came from over, there
Uncle Percy.

SIR GEORGE LYNN
(who carries a poker)
Yes, that's right.

They advance towards the back landing.

LADY INGRAM
What are you doing, Blanche? Come
back.

BLANCHE
(over her shoulder)
It's all right, mama.

They go on; as they come into back landing. Jane opens her
door and steps out into the corridor. She stands there in the
foreground of the SHOT, unnoticed, looking at what is going
on.

DENT
Where the devil is Edward, I'd like
to know?

ROCHESTER'S VOICE
Here he is.

The door of the Old Wing opens and Rochester appears carrying
a candle. Colonel Dent raises his pistol.

ROCHESTER
Steady on the trigger, Colonel.
Now, ladies, compose yourselves, I
beg you.

Blanche runs up to him and seizes his arm.

BLANCHE
Edward... You haven't been hurt,
have you?

The other women also rush up and surround him.

ROCHESTER
(laughing)
No; but I'm in imminent danger of
being suffocated. Ladies, please...
(he pushes them aside)
Colonel, you can put that thing
away. Artillery's no good against
nightmares.

BLANCHE
Nightmares?

ROCHESTER
That's all it was. One of the maids
had a bad dream and woke up
screaming.

SHOT OF JANE

She knows that the story is untrue and wonders what has
really happened.

ROCHESTER'S VOICE
And the moral of that is: Don't
eat toasted cheese for supper.

SHOT AS BEFORE WITH JANE IN FOREGROUND

ROCHESTER
Now, ladies, what about going back
to your rooms? Will you set the
good example, Lady Ingram?

They all start away.

BLANCHE
I declare, I'm quite disappointed.
I was so looking forward to seeing
Uncle Percy shoot a robber.

DENT
Now, Blanche, enough of your levity

CLOSE SHOT OF BLANCHE AND ROCHESTER

They are standing outside Blanche's door, which half open,
preparatory to entering.

She holds

BLANCHE
Good night, Edward.

She throws him a languishing look. He smiles back at her, but
with a kind of irony. The words and gestures which follow are
slightly exaggerated, so that they seem almost like the
caricature of a lover's words and gestures.

ROCHESTER
Sweet dreams my courageous Blanche.

He bends over her hand to kiss it, and we

CUT TO:

LONG SHOT WITH JANE IN FOREGROUND AS BEFORE

Jane sees Rochester kiss Blanche's hand, then quickly turns
into the CAMERA and (THE CAMERA PRECEDING HER) enters the
room and closes the door behind her. She stands there for a
moment, bewildered and jealous, understanding nothing of what
is going on.

CLOSE SHOT OF JANE SHOOTING FROM INSIDE HER ROOM

Alternate angle to above for same action.

SHOT OF JANE'S ROOM

She takes off her dressing gown, gets into bed and blows out
the light.

A moment later there is a light knock at the door. She sits
up.

ROCHESTER'S VOICE
Jane! Are you up?

JANE
Yes, sir.

She gets out of bed and slips on her robe again.

ROCHESTER
Come out then, quietly.

Jane opens the door and steps out.

LANDING

As she comes out, Rochester is unlocking the door to the Old
Wing.

ROCHESTER
Come this way, and make no noise.

STAIRCASE

Rochester shuts and locks the door behind them 棗 Jane is now
in the mysterious Old Wing.

ROCHESTER
(as they mount the stairs)
You don't turn sick at the sight of
blood?

JANE
I have never been tried yet.

ROCHESTER
Just give me your hand, It won't do
to risk a fainting fit,

He takes her hand.

ROCHESTER
(satisfied)
Warm and steady.

Outside the black door, Mr. Rochester stops.

ROCHESTER
(urgently)
Jane ? what you see may shock you,
and frighten you end confuse you.
But I beg you, don't seek an
explanation, don't seek to
understand. No matter what the
appearance, you must trust me.

GRACE POOLE'S ROOM IN THE OLD WING

Jane looks curiously around her. This room also is in stone.
One side is concealed by a large bed with drawn curtains. The
other side is hung with a worn and dirty piece of tapestry.
But the tapestry has been looped up, revealing a tiny door
into an inner room.

An unconscious man lies on the bed, dressed with the
exception of his coat. Mr. Rochester holds the light over
him.

The face is the face of the stranger we saw in the hall ?
Mason from Spanish Town in Jamaica. His shirt on one side and
one arm is soaked with blood.

ROCHESTER
(to Jane)
Hold the candle.
(he goes to the washstand
and fetches a basin of
water)
Hold that.

Jane does so. He takes a sponge, dips it in and moistens the
corpse-like face, then he tears away the shirt, and sponges
away the blood from the arm.

ROCHESTER
Jane, I shall have to leave you in
this room with this gentleman while
I fetch a surgeon. You will sponge
the blood as I do now. If he comes
to, you will not speak to him on
any account. Do you understand me?

JANE
Yes, sir.

ROCHESTER
Whatever happens, do not move from
here. Whatever happens, do not open
a door either door.

Mr. Rochester puts the bloody sponge into Jane's hand and
watches her as she staunches the blood. Then, satisfied that
she is doing right, he turns and starts for the door, In the
doorway, he turns once more. Then he goes, and we hear the
key grate in the lock and his re梩reating steps fade away.

CLOSE SHOT - JANE (ANGLE WITH MASON IN F.G.)

Jane's reaction to being locked in.