简爱剧本(Jane Eyre剧本)

For a moment she bathes Mason's wounds in silence. Then
suddenly is heard again "the snarling, canine noise and a
deep human groan" which Jane heard on her first visit to the
room and also on the previous night. But this time it is
louder and more savage.

Jane turns her head nervously toward the little door beneath
the looped-up curtain, whence the noise seems to come.

Then she looks back at Mason, desperately anxious to know the
secret.

She stares in horror, "was I in the third story, fastened
into one of its mystic cells; night around me; a pale and
bloody spectacle under my eyes and hands;" - danger hardly
separated from her by a single door.

Suddenly there is the sound of a violent struggle inside the
inner room, and then the sound as though a rope had been
snapped. And then the little door behind the looped-up
tapestry is violently shaken.

LITTLE DOOR TO THE INNER ROOM

Violently strained on its hinges, as though it might at any
moment fly open.

JANE

Watching in horror, forbidden to move, no matter what
happens.

Then suddenly the commotion stops; there is a heavy thud as
though the creature behind the door had fallen to the ground
exhausted.

Then there is silence, CAMERA MOVES CLOSER TO JANE as she
continues mechanically bathing the blood from Mason's open
wounds. Behind her the shadowy faces in the tapestry stand
out in the moonlight like gargoyles. (See book, pg. 270)

SLOW DISSOLVE TO:

LONG SHOT THORNFIELD HALL - EARLY DAWN

The house is swathed in an early morning mist, which cloaks
it with an air of mystery.

Out of the mist comes a horseman, who gallops across the
turf. He is followed by a carriage.

We see that they deliberately avoid the main drive and hurry
to the side of the house through the arch to the stable yard.

THE ROOM IN THE OLD WING (GRACE POOLE'S ROOM)

The candle has burnt low in its Docket. Mr. Rochester enters
and strides over to Mason, followed by Carter.

Jane is still bathing the wound of the exhausted Mason.

JANE

She blinks her eyes as the light falls on her tired face.

CAMERA PULLS BACK TO FULL SCENE as Carter hastily applies
smelling salts to Mason, and by gently raising his head,
tries to wake him.

ROCHESTER
Now, Carter, be on the alert. I
give you half an hour for dressing
the wound, getting the patient
downstairs, and all.

Slowly Mason opens his eyes. Carter draws out bandages from
his kit.

MASON
Edward...
(faintly)
I'm done for I fear.

ROCHESTER
Nonsense. You've lost a little
blood, that is all.
(to Carter)
Tell him he's in no danger.

CARTER
I can conscientiously do that.
(examining the wound)
But what's this? 棗 The flesh is
torn.

MASON
She sank her teeth into me...like
a tigress.

ROCHESTER
(sharply)
Be silent, Mason, and forget her
gibberish.

MASON
(more excited)
She said shed drain my heart's
blood.

At the mention of a woman, Jane stares at Mason.

ROCHESTER
Jane?

JANE
(her eyes still on Mason)
Yes, sir?

ROCHESTER
Go and put some things on. Then go
down the back stairs and unbolt the
side passage door. You will see a
carriage there. See that the driver
is ready. We shall be down in a
moment.

Jane goes out. The doctor is working on Mason's wound.

Mason is groaning. Rochester turns back to him.

ROCHESTER
I warned you, Mason, not to see her
alone.

MASON
I thought I could have done some
good.

ROCHESTER
(impatiently)
You thought? You thought? Come,
Carter, hurry; the sun will soon
rise - and I must have him out? I
have tried so long to avoid
exposure. I shall make very certain
that it doesn't come now.

He starts to raise Mason to his feet, as we

DISSOLVE TO:

THORNFIEILD - SIDE PASSAGE DOOR ?DAWN

In the walled stable yard the carriage is standing with the
door open. The coachman is on the box. Jane is waiting, fully
dressed.

The side passage door opens and Mason appears, supported by
Rochester and the surgeon.

ROCHESTER
(to Carter)
Take care of him, Carter. Don't let
him leave your house until he is
quite well.

They help Mason into the carriage, Carter going with him.

MASON
(leaning forward)
Edward?

ROCHESTER
(impatiently)
Well, what is it?

MASON
Let her be taken care of. Let her
be treated as tenderly as may be.
Let her 棗
(he breaks down)

ROCHESTER
I do my best, and have done it, and
will do it?

He slams the door shut. The carriage starts. Rochester
watches it go. Jane is watching him curiously.

ROCHESTER
Yet would to God there was an end
of all this?

He turns and walks "with slow step and abstracted air" across
to a door in the yard wall which leads into the gardens.
Through the door we catch a glimpse of tho orchard, where the
white-blossomed fruit trees present a happier mood than that
of the bleak stable yard.

Jane, thinking that he has finished with her, is just opening
the door to go back into the house, when Rochester calls to
her.

ROCHESTER
Jane.

She turns.

ROCHESTER
Come for a few moments where there
is some freshness. That house is a
dungeon ?a sepulchre.

He turns and goes through the door in the wall into the
orchard, and Jane follows him.

ORCHARD

This is not an orchard in the farmer's sense, but an
ornamental garden where fruit trees have been planted for
decoration. There is a walk edged with box and apple trees
and peach trees and cherry trees on one side and a border on
the other full of old梖ashioned flowers.

ROCHESTER
Here all is sweet and real and
pure.

The sun is still low but brightening already, and there is a
light wind in the trees. They walk together a moment.

ROCHESTER
You have passed a strange night,
Jane, and it has left you pale.

Jane asks the question that she is dying to ask.

JANE
Mr. Rochester, will Grace Poole
live here still?

ROCHESTER
(after a brief pause)
Yes, Grace Poole will stay.

JANE
Even after last night?

ROCHESTER
Don't ask me to explain. Just
believe me when I tell you that
there are reasons ? good reasons,
weighty reasons.
(a pause)
You're my little friend, Jane,
aren't you?

JANE
I like to serve you, sir, in
everything that's right.

ROCHESTER
But if I asked you to do something
you thought wrong - what then? My
little friend would turn to me,
very quiet and pale, and say, "No,
sir, that's impossible." Am I
right?
(he looks at Jane, who
averts her eyes without
speaking)
Jane, I want you to use your fancy.
Suppose yourself a boy - a
thoughtless and impetuous boy ?
indulged from childhood upwards.
Imagine yourself in a remote
foreign land. Conceive that you
there commit a capital error - one
that cuts you off from the
possibility of all human joys; and,
in your despair, you wander about
vainly seeking contentment
in empty pleasure. When, suddenly
Fate offers you the chance of
regeneration and true happiness.
Are you justified in overleaping an
obstacle of mere custom? Tell me,
Jane, are you justified?

JANE
How can I answer, sir? Every
conscience must come to its own
decision.

ROCHESTER
(tormented)
And if it can't come to a decision?
If you're afraid that you may bring
shame on what you most cherish,
that you may destroy what you most
desire to protect...?

He breaks away with a gesture of despair, turns and walks
away for a few steps, then comes back and speaks in a
different tone.

ROCHESTER
Jane, don't you curse me for
plaguing you like this?

JANE
Curse you? No, sir.

ROCHESTER
(reaching out his hand)
Give me your assurance on that.
(she puts her hand into
his; he looks down at it)
What cold fingers. They were
warmer last night.
(pauses, still holding her
hand)
Jane, will you watch with me again?

JANE
Whenever I can be useful.

ROCHESTER
For instance, the night before I'm
married. Will you sit with me then?

Jane starts and looks at him.

JANE
Are you going to be married, sir?

ROCHESTER
Sometime, why not? I suppose you
think no one will have me. You're
wrong - you don't know our young
ladies of fashion. They may not
admire my person, but I assure you,
they dote on my purse,

As he speaks, footsteps and voices are heard on the further
side of the high wall, near which they are standing.

BLANCHE'S VOICE
What makes you think he's in the
stables?

ADELE'S VOICE
Monsieur Rochester often rides
before breakfast.

The voices completely change Rochester's mood. With
characteristic abruptness he hurries to the door in the wall.
As he roes through, we catch a flash of Blanche and Adele,
though from their position they cannot see Jane.

ROCHESTER'S VOICE
Good morning, ladies?

BLANCHE'S VOICE
(vivaciously)
Good morning, Edward. By rights, I
should scold you for running off
like this. A correct host
entertains his guests.

ROCHESTER'S VOICE
(as they go off in the
distance)
My dear Blanche, when will you
learn? I never was correct, nor
ever shall be.

Over a CLOSEUP of Jane, their voices, laughing and talking,
die away, and on this CLOSEUP, we

FADE TO:

CLOSEUP OF BILLIARD TABLE - NIGHT

The white ball makes a cannon and as a result the red travels
rapidly towards CAMERA, falling with a thud, large and close
to CAMERA, into a pocket.

ROCHESTER'S VOICE
Very pretty, partner.

AND BLANCHE

BLANCHE
Thank you.

We see that it is Blanche that has made the stroke. Rochester
crosses behind her to the scoreboard. Beside the score board
is seated Lady Ingram.

LADY INGRAM
I'm so happy you've made up your
mind to come to London with us
tomorrow.

ROCHESTER
(lightly, as he adjusts
the scoreboard)
Have I? I didn't know.

SIR GEORGE
Of course you're coming.

COL. DENT
Very appropriate.

BLANCHE'S VOICE
What now, Edward?

Rochester crosses back so that Blanche comes into the shot
and glancing at the table says.

ROCHESTER
Put the red into the top right hand
pocket.

Blanche prepares to make a shot but suddenly stops.

BLANCHE
Edward, does that person want you?

Rochester turns in the direction in which Blanche is looking.

SHOT - BLANCHE AND ROCHESTER IN THE FOREGROUND)

In the background we see Jane standing at the steps to the
the bottom of billiard room.

JANE
I'm sorry, sir. I did not know you
were occupied.

ROCHESTER
Very good, Miss Eyre. I'm sure the
ladies will excuse me.

He puts down his cue and moves forward.

AND LADY INGRAM

She looks after Jane.

BLANCHE
Governesses, Mama...

She makes her stroke.

LADY INGRAM
Governesses!

LIBRARY (ALREADY SHOT)

The door opens.

JANE'S VOICE
I'm sorry, sir, but I understood
you were leaving early and I wished
to ask for a reference.

Jane and Rochester appear.

ROCHESTER
A reference? What the deuce do you
want a reference for?

She turns to go.

ROCHESTER
Is that all, Jane?
(she looks at him puzzled)
It seems stingy to my notion, and
dry and unfriendly. Won't you do
more than just say goodbye?

JANE
(embarrassed)
I'll shake hands, sir.

She holds out her hand, He does not take it for a moment.

ROCHESTER
(slowly)
Oh, you'll shake hands.

He looks at her, and it seems as though he were on the point
of taking her in his arms. Then he smiles lightly and takes
her hand.

ROCHESTER
Goodbye, Jane.

She turns and goes out through the door into the hall.

ROCHESTER (ALREADY SHOT)

He listens as we hear the sound of Jane moving up the
staircase.

LOWER HALL AND STAIRS ?JANE

At the top of the stairs, Jane, a little dark figure,
disappears up the stairs into the gallery.

UPPER GALLERY

Jane, crossing to the nursery, suddenly stops -?sees
something through the window, ? crosses to it...

SHE SEES - (THE EXT. GARDEN THROUGH THE WINDOW) HIGH SHOT
SHOOTING DOWN

Rochester and Blanche are walking together, apparently in
deep and amorous conversation.

UPPER CORRIDOR WINDOW - REVERSE CLOSE SHOT

She reacts to what she sees, then disappears.

GARDEN TERRACE

Blanche and Rochester come out and stand by the balustrade.
Blanche starts to play the part of a Byronic heroine.

BLANCHE
How still it is! That solitude! And
the old house dreaming in the
moonlight!

She turns from looking round at the park and up at the tower,
and fixes a rapturous eye on Rochester,

BLANCHE
Oh, it's a beautiful place, your
Thornfield.

ROCHESTER
As a dungeon, it serves its
purposes

BLANCHE
Dungeon! It's a paradise. Though,
of course, if one lived here one
would really have to have a house
in London, wouldn't one?

ROCHESTER
(with mock seriousness)
Unquestionably. And a little
apartment in Paris. And perhaps a
villa on the Mediterranean.

BLANCHE
Oh, how delightful that would be!
But Thornfield would always be
there as a retreat from the world,
a green haven of peace and...and
love.

This is accompanied by a melting look.

ROCHESTER
Love? What's talking of love? All a
poor fellow needs is a bit of
distraction -? a houseful of
beautiful women every now and then
to keep him from brooding on his
woes and peering too closely into
the mysteries of his heart.

BLANCHE
(somewhat nettled)
That is, if he has a heart. And
sometimes I wonder, Edward, if you
really do have one.

ROCHESTER
Have I ever done or said anything
to make you believe that I have? If
so, I assure you it was quite
unintentional.

BLANCHE
Are you never serious, Edward?

ROCHESTER
Never more than at this moment.
Except perhaps, when I'm eating my
dinner.

BLANCHE
Really, Edward, you can be
revoltingly coarse sometimes.

ROCHESTER
Can I ever be anything else?

BLANCHE
Can you?

She makes a final desperate attempt to bring him to the
proposal point, joking at him with an expression of what is
meant to be scarcely suppressed passion. Impulsively, she
lays her hand over his.

BLANCHE
Would I have come to Thornfield if
you couldn't?

Rochester meets her glance; then smiles ironically, and pats
her hand.

ROCHESTER
Ah, that's a very nice point,
Blanche. Would you, or would you
not? Let's begin by considering the
significant facts of the case.
First, Mr. Rochester is revoltingly
coarse and as ugly as sin.

BLANCHE
(protesting)
Edward, I never...

ROCHESTER
(checking her)
Allow me, my dear Blanche. I
repeat, as ugly as sin. Second, he
flirts a little sometimes, but is
careful never to talk about love or
marriage. However -- and this is
the third point -- Lady Ingram is
somewhat impoverished, whereas the
revolting Rochester has an assured
income of eight thousand a year. In
view of all this, what is tho
attitude that Miss Blanche may be
expected to take? From my
experience of the world, I'd
surmise that she would ignore the
coarseness, etcetera, until such
time as Mr. R. is safely hooked.

BLANCHE
(furious)
How dare you?

She raises her hand as though to give him a back-hand blow in
the face with her fan. Rochester puts up his hand.

ROCHESTER
Now, now, no horseplay.

BLANCHE
I have never been so grossly
insulted in all my life.

ROCHESTER
Insulted? But I was paying you the
enormous compliment of being
completely honest.

BLANCHE
Mr. Rochester, you are a boor and a
cur.

She sweeps majestically towards the door leading into the
house.

SHOT - THORNFIELD - DAY

Down the drive moves the Ingram's carriage. On the steps
stands a group of people waving goodbye, though we cannot
distinguish who is there.

It is a menacing day, with intermittent sunlight coming
between heavy thunder clouds.

As the group on the steps breaks up, the CAMERA PANS to a

CLOSE SHOT of Jane -- sitting alone behind the garden wall.

She is miserable and unhappy, for she believes that Rochester
is in the carriage.

We hold on her for a moment, then suddenly she hears
approaching footsteps and hastily dries her eyes.

ROCHESTER'S VOICE
Well, Jane.

She looks up and sees Rochester standing before her.

JANE
(astonished)
Oh! I thought you were gone.

ROCHESTER
No, I changed my mind. Or rather
the Ingram family changed their's.
Walk with me, Jane.

She rises and walks with him down the path.

ROCHESTER
Why were you crying?

JANE
I was thinking about having to
leave Thornfield.

ROCHESTER
You've become quite attached to
that foolish little Adele, haven't
you?

JANE
Yes.

ROCHESTER
And even to that simple old
Fairfax?

JANE
Yes, sir.

ROCHESTER
You'd be sorry to part with them?

JANE
Yes, sir.

ROCHESTER
Pity.
(he pauses and sighs)
It's always the way in this life.
No sooner have you got settled in a
pleasant resting place than you're
summoned to move on.

They start to walk again.

JANE
I told you, sir, I shall be ready
whenever the order comes.

ROCHESTER
It has come now, Jane.

JANE
Then...then it's all settled?

ROCHESTER
All settled. Even about your future
situation.

JANE
(puzzled)
You have found a place for me?

ROCHESTER
Yes, I have, Jane.

She looks at him.

ROCHESTER
(after a moment)
In the west of Ireland. You'll like
Ireland, I think. They're such warm
hearted people there.

JANE
It's a long way off, sir.

ROCHESTER
From what, Jane?

JANE
From England, and from Thornfield,
and from...

ROCHESTER
Well?

JANE
From you sir.

ROCHESTER
Yes, Jane, it's a long way.., and
when you get there, I shall
probably never see you again. We've
been good friends, Jane, haven't
we?

JANE
Yes, sir.

ROCHESTER
But even good friends may be forced
to part, Jane.
(he sighs)
Well, let's make the most of the
little time that's left us.
(he indicates the bench
under the tree)
Let us sit here in peace though we
should never be destined to sit
here again.

They sit down.

ROCHESTER
Sometimes, Jane, I have a queer
feeling in regard to you --
especially when you are near me.
It is as if there were a cord of
communion between us ? and if we
must be separated, I'm afraid that
cord will be snapped; and then I've
a nervous notion I shall take to
bleeding inwardly, As for you -
you'd forget me.

JANE
That I never will -?you know
that..
(the voice breaks, choked
with tears. She speaks
now with anguish.)
I see the necessity of going, and
it is like looking on the necessity
of death.

Rochester turns sharply, sees the anguish in her face and
realizes that he has gone too far.

ROCHESTER
(quickly)
Where do you see that necessity?

JANE
(surprised)
In your bride.

ROCHESTER
What bride? I have no bride.

JANE
But you will have.

ROCHESTER
(passionately)
Yes, I will, I will!

JANE
Do you think I could stay here to
become nothing to you? Do you think
because I am poor, and obscure, and
plain that I am soulless, and
heartless? I have as much soul as
you and fully as much heart. And if
God had gifted me with beauty, and
wealth, I should have made it as
hard for you to leave me, as it is
now for me to leave you.

There is a pause, She looks at him with a kind of defiance.

JANE
There, I have spoken my heart --
and now let me go.

She gets up from the bench, starts to move away.

ROCHESTER
(very quietly, very
decisively)
Jane, you are not going.

The strangeness of his voice makes her stop. Rochester comes
beside her, takes her in his arms, turns her around to face
him.

ROCHESTER
Jane...you strange, you almost
unearthly thing - you that I love
as my own flesh --

Jane is transported by the embrace of his arms ?seems
melting toward him, but her eyes are frightened,

JANE
How can you torment me with the
thought of your bride?

ROCHESTER
My bride is here.

Jane looks up at him in amazement.

ROCHESTER
Jane - I have no love for Blanche
and she has none for me. It's you I
love 棗 you.

Jane looks at him in amazement, without speaking. Rochester
continues in a kind of anguish.

ROCHESTER
Answer me, Jane. Answer quickly.
Say, "Edward, I'll marry you." Say
it, Jane, say it.

Jane still stares at him, still incapable of believing the
words she hears.

JANE
I want to read your face.

ROCHESTER
(turning)
Read quickly. Say, "Edward, I'll
marry you."

Jane looks at him a second more.

JANE
Edward, I'll marry you.

Rochester holds Jane in his arms, looks at her, then up at
the sky.

ROCHESTER
God pardon me -- and let no man
meddle with me. I have her and will
hold her.

He kisses Jane's cheek.

There is a great burst of wind which SWEEPS THE CAMERA UP
into the air. While the CAMERA IS MOVING, we hear offscene:

ROCHESTER'S VOICE
Jane. Jane.

CAMERA IS NOW SHOOTING DOWN on a branch of the great tree
under which Rochester and Jane stand, out of scene. There is
a peal of thunder and crash of lightning as it strikes the
tree, and we

FADE IN

THORNFIELD HALL - THE GARDEN - THE NEXT MORNING

At a corner of the garden there is a table and chair where
Jane sometimes gives Adele her lessons. In the background we
see the Hall.

We begin on a CLOSE SHOT of a pile of lesson books which are
pushed over with a crash, revealing Jane and Adele seated at
a table, and Mr. Rochester scattering the books and papers
far and wide.

This and the following two scenes are all played with great
rapidity.

ROCHESTER
Jane, what do you think you're
doing?

JANE
(smiling)
Teaching Adele as usual.

ROCHESTER
As usual! There is a new heaven and
a new earth, and you go on teaching
Adele as usual!

ADELE
(completely puzzled)
What is wrong with that?

ROCHESTER
Because I am going to marry
Mademoiselle and take Mademoiselle
to the moon and find a cave in one
of the white valleys and
Mademoiselle will live there with
us forever.

During this speech he has grabbed Jane from the chair and is
leading her quickly toward the house. Rochester glances over
his shoulder at Adele who is trotting after them.

ROCHESTER
Do you approve?

ADELE
(still rather baffled)
Monsieur, there is no one I'd
rather you married -- not even Mrs.
Fairfax.

A SILK WAREHOUSE - SAME DAY

An old-fashioned store, its neat shelves piled high with
stuffs.

Mr. Rochester and Jane are surrounded by a sea of silk, and
the proprietor is draping a piece of light-colored, silk
about Jane's shoulders.

In the background, Adele is posing in front of a mirror, with
silk wound all round her.

This scene, like the preceding two, is played at very high
speed.

ROCHESTER
I'll take that...and the scarlet...

PROPRIETOR
(off)
Yes, sir...

JANE
But I tell you I'll never wear
them --

ROCHESTER
And the scarlet - and the silk. And
a length of the brocade And
another of the white satin...

As he is still talking, we DISSOLVE TO:

CARRIAGE RACE TRACK - DAY

CLOSE SHOT OF GOLD SOVEREIGNS

These are being poured out of a tin mug into Jane's hand.

BOOKIE'S VOICE
Here you are, milady. 'arf a guinea
each way on Lord Hanton's filly.
That is thirty-five and a tanner.
(he counts out the money)
God bless you, milady, and your
custom is appreciated.