简爱剧本(Jane Eyre剧本)

CAMERA PULLS BACK, revealing Jane and Rochester in an open
carriage standing at the edge or a race track, with
background and surrounding crowds modeled on Frith's Derby
Day. Jane wears her best black gown but has livened it up
with a bright shawl and holds a bunch of flowers which no
doubt Rochester has given her.

Now to Mr. Rochester's side of the carriage steps cones a
toothless gypsy crone, rings in her ears and a beribboned
shawl round her head.

CRONE
Tell your fortune, me lord? -- Read
the pretty lady's future?

Rochester hands her a coin.

ROCHESTER
Go away, mother. The "pretty lady"
is going to marry me, and we shall
make our future ourselves.

DISSOLVE TO:

THE OLD WING - NIGHT

This is shot through the little window in the corridor
outside Jane's room. There is a storm outside, and the wind,
is violently blowing the drapes.

The CAMERA MOVES round from the window to the door to Jane's
room, which is being shaken by the wind. As the CAMERA
approaches the door, we -

DISSOLVE TO:

JANE'S ROOM - MOONLIGHT

The CAMERA continues the sane movement across Jane's room,
showing first her wedding dress and veil laid out on a
chair,then Jane in bed, sleeping restlessly. Suddenly the bed
curtains are violently agitated.

OF THE DOOR

It is just finishing swinging open. Perhaps it is only the
wind.

From this the CAMERA MOVES across the floor to the bed,
concentrating a moment on Jane's sleeping face, then to the
wedding dress and veil on the chair - almost as though it
represents the viewpoint of somebody entering the room and
looking around. In this, and all other SHOTS, there are
moving shadows -- which again might be the shadow of somebody
moving around, or might only be the shadow of the drapes as
they billow in the wind.

Jane sleeping.

VEIL ON THE CHAD

It is suddenly pulled out of SHOT - perhaps only by the wind.
At this monent, the storm rises to a sudden climax.

The wind howls, as it did on Jane's first night at
Thornfield, almost like a woman's laugh.

EAVES

Also, as on Jane's first night, the jackdaws fly away,
frightened.

FLASH OF JANE

stirring restlessly as the wind howls.

FAST PAN OVER THE FLOOR

as though following behind somebody running out of the room.
And just as the CAMERA reaches the door, it slams to with a
resounding crash.

DISSOLVE TO:

CLOSE SHOT - JANE - LIBRARY - MORNING

She is nervously telling the story of the previous night.

JANE
There was somebody in my room, I'm
sure of it.

ROCHESTER'S VOICE
Nonsense!

JANE
No, it wasn't nonsense, Edward. And
it seemed to me she put the veil on
her head and looked at herself in
the mirror.

CAMERA pulls back to include Rochester, Who is standing while
Jane is seated.

ROCHESTER
(sharply)
It was a dream, Jane. Just a bad
dream, like those other nightmares
you've been telling me about.

JANE
But this morning the veil was gone.

ROCHESTER
Well, why not? Mrs. Fairfax has
taken it to be pressed, most
likely.

JANE
And the door banging?

ROCHESTER
(sarcastically)
It's a habit doors have when
there's a gale blowing.
Come, Jane, enough of this
foolishness. Go and finish your
packing and leave me in peace.

JANE
(subdued)
Very well.

She gets up and goes out. As soon as she is gone, Rochester's
expression changes, and a look of brooding concern appears on
his face. He goes over to the fireplace, where he stands,
kicking at the logs with the toe of his boot. There is the
SOUND of a knock at the door.

ROCHESTER
Come in!

At the SOUND of the door opening, Rochester turns. He frowns
angrily at what he sees.

OF GRACE POOLE AT THE DOOR - FROM HIS ANGLE.

Her attitude is cringing. She looks guilty. Rochester
advances towards her.

ROCHESTER'S VOICE
Well, what is it this time, Grace?
Speak up!

Grace is about to answer, then turns and locks the door. As
he approaches, she pulls Jane's veil out of her pocket.

GRACE POOLE

Rochester looks at the veil.

ROCHESTER
Put it back -- put it back as
though nothing had happened.

FADE IN:

LABEL PASTED ON A TRUNK -- DAY

It reads: -

Edward Rochester Esquire

By Steam Packet

To Genoa.

DISSOLVE:

REAR OF MR. ROCHESTER'S CARRIAGE - DAY

We now see that the trunk which bears the label is strapped
on the rear of Mr. Rochester's carriage.

DISSOLVE:

OF THORNFIELD CHURCH - DAY

Shooting now with a wheel of the carriage in the foreground,
we see that it is parked in the churchyard of Thornfield
Church. Over this and the preceding two shots we hear,
through the half open church door, the mumbled words of the
marriage service. But now the door is closing as though
someone has just gone in.

In the foreground, a few villagers and tenants begin to
gather.

INT. OF CHURCH - DAY - LONG SHOT

shooting from rear of church toward altar rail,

It is a small, family church, with high梑acked family pews,
hatchments hanging on the walls, and a three?decker pulpit.

A huge, heavily carved tomb almost swamps the little church.
The tomb occupies most of the foreground of the shot.

Ab the rail, with their backs to camera, Jane and Rochester
stand before the rector, Mr. Wood. Otherwise the church is
apparently empty.

MR. WOOD
I request and charge you both, as
ye will answer at the dreadful day
of judgment when the secrets of all
hearts shall be disclosed, that if
either of you know any impediment
why you may not lawfully be joined
in matrimony, ye do now confess it.

Halfway through these lines the shadow of a man, large and
menacing, falls on the tomb in the foreground,

SHOT ?MR. WOOD - THE RECTOR

He is a mild, thin little man.

MR. WOOD
For be ye well assured that if any
persons are joined together...

CLOSEUP - ROCHESTER

Very nervous.

MR. WOOD
(off)
...otherwise than as God's word
doth allow, they are not joined
together by God...

Rochester lowers his eyes and steals a look at Jane.

JANE

She is looking at the rector, starry梕yed -- the completely
happy bride.

MR. WOOD
(off)
...neither is their matrimony
lawful..... .Edward Rochester, wilt
thou have this woman to be thy
wedded wife?

MAN'S VOICE
Stop! This marriage cannot go on!
(Jane turns sharply)
I declare the existence of an
impediment!

ANGLE OVER MAN'S SHOULDER

shooting at the group at the rail.

Jane and Rochester are turned toward the camera, staring at
the intruder. Jane is amazed and bewildered. Rochester's face
is like marble.

ROCHESTER
(thundering)
Proceed with the ceremony!

The man approaches the few remaining steps to the Communion
Rail.

MAN (REVERSE ANGLE)

MAN
You cannot proceed. Mr. Rochester
has a wife now living.

JANE

Her face is horror梥tricken. She turns to Rochester.

SHOT - ROCHESTER (FROM JANE'S ANGLE)

He stands stubborn and rigid, his eyes shining and wild.

ROCHESTER
Who are you?

Man walks into shot, close to Rochester.

MAN
My name is Briggs; I am an
attorney.
(he calls to the back of
the church)
Mr. Mason!

As he does this, he draws a paper from his pocket.

SHOOTING TO THE REAR OF THE CHURCH

Out from behind the tomb emerges Mason who nervously moves up
the aisle toward the altar. During this we hear Briggs
reading in an official nasal voice.

BRIGGS
On the 20th of October, 1824,
Edward Rochester, of Thornfield
Hall, was married to Bertha Mason,
at St. Mary's Church, Spanish Town,
Jamaica... The record of the
marriage will be found in the
register of that church ?

GROUP SHOT AT ALTAR

Rochester's eyes are glued on Mason and as Mason arrives he
interrupts Briggs reading.

ROCHESTER
Well, Mason?

Mason avoids his eyes and speaks to the others. He is
cringing as though he expects Rochester to hit him.

MASON
(feverishly)
It is true, I swear it. She is now
living at Thornfield. I saw her
there myself. I am her brother.

CLOSEUP - JANE

ROCHESTER - OVER MASON'S SHOULDER

For a moment we think there is to be a violent outburst. But
instead Rochester speaks quite quietly.

ROCHESTER
Parson, close your book. There'll
be no wedding today. Instead, I
invite you all to come to the house
and visit Grace Poole's patient 棗
my wife.

He starts to move off and as he does so the CAMERA

ENDS on a CLOSEUP of Jane.

DISSOLVE TO:

EXT. CHURCH

as Rochester comes out leading the party. There is a buzz of
talk and the tenants and farmers press forward as though to
congratulate him.

But Rochester suddenly silences them.

ROCHESTER
To the right about everyone of you.
Away with your congratulations. Who
wants them? They are fifteen years
too late.

As he walks through the crowd, we

DISSOLVE TO:

GRACE POOLE'S ROOM IN OLD WING - LATE AFTERNOON

Night lighting. Start on CLOSEUP of gargoyle條ike heads in
the tapestry which hangs as if from the wall. Hold for a foot
or two, then hear Rochester's voice:

ROCHESTER'S VOICE
The key, Grace --

We hear Rochester's footsteps approaching; then his hand
comes into the SHOT and sweeps back the tapestry, revealing a
heavy door behind it, which is latched with heavy iron bolts.
He drapes the tapestry back on a peg on the wall, and lifts
off the heavy bolts. As he does:

GRACE POOLE'S VOICE
I beg you, sir 棗 please!

Rochester snaps his fingers impatiently (on the sound track)
and holds one hand out of SCENE, repeating:

ROCHESTER'S VOICE
Quickly -- the keys.

His hand comes back into the SCENE holding the key, inserts
it into the lock.

GRACE POOLE'S VOICE
(during action)
For God's sake, sir, take care!

CUT TO:

INT. MANIAC'S ROOM ?LONG SHOT - SHOOTING TOWARD DOORWAY TO
GRACE POOLE'S ROOM

The room is dark. In the f.g. of the SHOT, the back of a head
?the bushy matted hair of the lunatic. Rochester opens the
door from Grace Poole's room and is revealed in the doorway,

With a shriek, the lunatic lunges toward him, CAMERA

RUSHING UP with her big head into a CLOSEUP OF ROCHESTER.

Her skinny hands go around Rochester's throat, trying to
choke him; and Rochester struggles with her.

Their struggle takes them aside, out of CAMERA; and in back
of where Rochester was standing, through the door, we now see
Jane in CLOSE SHOT staring into the room horrified. Also a
hint of Wood, Mason, etc., in b.g.

OFFSCENE the sound of the struggle continues, until it is
followed by the sound of the maniac's body falling.

CUT TO:

THREE QUARTER SHOT OF ROCHESTER

REVERSE ANGLE shooting through doorway from Grace Poole's
room as he rises out of the darkness and stands a few steps
tack from the entrance, framed by the curved doorway. There
is the hint of the mad woman's body lying in the shadows on
the floor where she has fallen.

A streak of light streams across Rochester's face. It is
scratched and clawed and blood streams from it; but Rochester
stands immobile, making no attempt to wipe it away.

Rochester indicates the fallen figure.

CLOSEUP - ROCHESTER

ROCHESTER
Mad -?and the offspring of a mad
family, to whom the Church and the
Law bind me forever without hope of
divorce.
(he turns to Jane)
And this is what I wished to have,
this young girl who stands so grave
and quiet at the mouth of hell.
Look at the difference - and then
judge me.

He points at Wood and Briggs as he speaks these last words.

SHOT OF JANE FROM ROCHESTER'S ANGIE - WITH THE OTHERS IN
BACKGROUND - OVER ROCHESTER'S SHOULDER

She looks at Rochester with unutterable sadness and sympathy;
then turns and walks slowly out of the room,.

As Rochester watches her go, the mad woman's laughter changes
in tone, becoming maliciously sardonic as it rises to a
hideous crescendo..

JANE

FADE IN

JANE 'S ROOM - A STORMY NIGHT

Open on CLOSE SHOT of label on Jane's new trunk -- with the
address: Mrs. Edward Rochester, Villa Lerici, Tuscany. The
wind is roaring and howling.

CAMERA STARTS SLOW PAN - as it travels across the trunk we
see, not yet packed and draped over the trunk, the new gowns
Rochester had bought for Jane.

Over the scene Jane's heartbroken sobs.

CAMERA CONTINUES PAN - to bed; first passing Jane's wedding
gown spread out on the bed, then into a CLOSE SHOT of Jane as
she finishes closing her little traveling basket - and we see
her tear-stained face. She wears her coat and bonnet.
She picks up her basket, walks over and blows out the candle,
leaving the room in darkness for the -

DISSOLVE TO:

ADELE'S ROOM - NIGHT

SHOOTING over Adele's bed and holding Adele always in profile
in the f.g. of the SHOT. There is a night light burning in a
saucer of water near the bed Adele is asleep. The door from
the nursery opens and Jane stands for a moment in the
doorway, then approaches Adele's bed, bends over and kisses
Adele lightly on the cheek, not waking her; then turns and
goes out again, closing the door after her.

DISSOLVE TO:

LONG SHOT - STAIRS AND HALL

It is dimly lit as Jane hastily descends the stairs,
apparently alone. Suddenly --

ROCHESTER'S VOICE
Jane --

SHOT - JANE

She stops abruptly on the bottom stair. From the shadows
under the arches emerges Rochester, Jane is rooted to the
spot - does not turn to him.

ROCHESTER
(urgently)
Jane, I did not even know her - I
was married at nineteen -- in
Spanish Town -- to a bride already
courted for me. I married her -?
gross, groveling, mole梕yed
blockhead that I was.

Jane, who has still not dared to look at Rochester, tries to
move on, but Rochester stops her.

ROCHESTER
Hear me, Jane!

Jane stops and turns.

JANE - OVER ROCHESTER'S SHOULDER

She gazes at him in horror and pity.

ROCHESTER
Her vices sprang up fast and rank;
I suffered all the agonies of a man
bound to a wife at once intemperate
and unchaste. And then I watched
her excesses drive her at last into
madness.

ROCHESTER - OVER JANE'S SHOULDER

ROCHESTER
I brought her back to England - to
Thornfield. Jane, I did all that
God and humanity demanded. Then I
fled from this place. My fixed
desire was to find a woman that I
could love --a contrast to the fury
I had left at Thornfield. And what
did I find? A French dancing girl,
a Viennese milliner, a Neopolitan
countess with a taste for jewelry.
Back to England -- I rode again in
sight of Thornfield. Someone was
walking there in the moonlight --
do you remember, Jane?

JANE - OVER ROCHESTER'S SHOULDER

She averts her face.

ROCHESTER
A strange little elfin creature it
was -- it frightened my horse and
then came up and gravely offered me
help. I was surly; but the thing
would not go; it stood by me with
strange perseverance, and looked
and spoke with a sort of authority,
I must be aided, and by that hand.
And aided I was.
(a pause)
And then, later that evening...you
remember, Jane?
(she is still silent ?he
insists)
Say you remembers

JANE
(in a broken whisper)
I remember.

ROCHESTER - OVER JANE'S SHOULDER

ROCHESTER
You came into that room -?how shy
you were -- and yet how readily and
roundly you answered my questions.
And then you smiled at me -?and in
that moment I -- I had found you.
Jane, can you not forgive me?

JANE AND ROCHESTER FACING EACH OTHER

JANE
(very sincerely)
I do forgive you, with my whole
heart...

ROCHESTER
And you still love me?

JANE
I do love you - I do love you.
(Rochester moves to take
her in his arms)
I can say it now, with all my
heart, since it is for the last
time.

ROCHESTER
(with great poignancy)
Jane. Do you mean to go one way in
the world and let me go another?

Jane stares at him inflexibly. Rochester takes her hands then
speaks urgently, rapidly.

ROCHESTER
Stay with me, Jane. We would be
hurting nobody.

JANE
We should be hurting ourselves.

ROCHESTER
If we broke a mere human law?

JANE
Laws and principles are not for
times when there is no temptation;
they are for such moments as this.

Rochester draws her to him and clasps her in his arms.

ROCHESTER
Would it be so wicked to love me?

Jane, fighting her resolution, does not answer. Her head is
bowed.

ROCHESTER
Would it?

He holds her at arms length and tightens his grip on her
shoulder.

ROCHESTER
I could crush you between my hands;
but your spirit would still be
free.

He drops his hands, beaten. Jane moves out of SHOT, leaving
Rochester alone.

ROCHESTER
Jane -- if you go, what will be
left of me?

JANE AND ROCHESTER

Jane stops near to CAMERA in CLOSEUP. In the background is
Mr. Rochester. She does not dare to turn to face him.

ROCHESTER
Are you going, Jane?

JANE
I am going, sir.