简爱剧本(Jane Eyre剧本)

ROCHESTER
You are leaving me?

JANE
I must leave you.

She begins to move forward, the CAMERA with her, so that
Rochester is left further and further behind.

ROCHESTER
Jane!

She stops and the CAMERA STOPS with her.

ROCHESTER
(from background)
Jane, will you not be my comforter,
my rescuer? My dear love, my
frantic prayer, are they nothing to
you?

SHOT - JANE

She has her back to us, her hand on the handle of the door.

JANE
(very quietly ?as though
to herself)
God bless you, my dear master. God
keep you from harm and wrong.

She starts to open the door.

SHOT - ROCHESTER

alone in the Great Hall.

ROCHESTER
(with great poignancy)
Jane!

There is a burst of wind as the door is opened. Leaves sweep
in across him.

GREAT DOOR FROM HIS ANGLE

It is open ?the wind roars in but Jane has disappeared.

ROCHESTER'S VOICE
(mingled with the wind)
Jane! Jane! Jane!

LONG SHOT - THORNFIElD

Tbe little figure of Jane escaping from Thornfield as the
leaves blow over her ?the identical SHOT we saw as the first
SHOT of the picture.

SLOW DISSOLVE:

TO A MOORLAND VILLAGE - DAWN

Jane's way is barred by the beadle. This is the same scene we
saw at the beginning of the picture (Scene 14); but it is now
SHOT from a different ANGLE, so we do see Jane's face.

BEADLE
... If you got no work, go back to
your family. If you got no family,
go back to your friends. If you got
no friends, go back to where you
came from...

Jane starts to turn.

SHOT OF GATES HEAD - DAY

Jane, a lonely figure, approaches Gateshead through the front
gate.

Winter is beginning to set in; the trees on the front drive
are bare and the sky barren and overcast. In this mood
Gateshead is more gaunt and forbidding than ever.

As Jane reaches the heavy oak gate which divides the front
drive from the stables and the rear part of the house, she
stops.

SHOT

Jane hesitates, looking toward the front of the house, then
chooses to go in the rear way and starts to open the heavy
gates.

KITCHEN COURTYARD OF GATESHEAD

We are SHOOTING towards the gate through which Jane is
entering, only a few yards away. In the foreground of the
SHOT, one of Mrs. Reed's unpleasant dogs, considerably older
and fatter and nastier now, looks up from the bone on which
he is gnawing, growls and yaps at Jane.

The dog's shrill unpleasantness brings her to an apprehensive
stop. As the dog continues barking, the kitchen door opens
and Bessie emerges, carrying a basket of trash. Jane looks
toward her eagerly. Bessie doesn't see Jane at first.

BESSIE
Quiet, there.

She hits at the dog, which turns away.

JANE
(timidly)
Bessie?

Bessie turns from emptying the trash. She shows no sign of
recognition.

BESSIE
Yes? I'm Bessie.

Jane stares at her, realizing that Bessie hasn't recognized
her.

BESSIE
If it's work you're looking for, we
haven't got work for no one
nowadays.

Crossing back to the door with the empty trash basket, Bessie
gives another glance at Jane.

BESSIE
You look poorly, lass, If you're
cold, you're welcome to sit by the
fire.

Jane follows her in.

INT. KITCHEN

Jane sits wearily on a wooden chair by the kitchen table.
Bessie goes to poke up a blaze in the old-fashioned open
grate. But as she turns back she stops in amazement.

SHOT - JANE

Jane has loosened her cloak, and the flickering firelight
falls on the brooch she is wearing.

BESSIE'S VOICE
Where did you get that brooch?

JANE
(quietly)
You gave it to me, Bessie.

BESSIE - SHOOTING PAST JANE

Bessie hesitates a moment, then cries out in amazement,
delighted.

BESSIE
Jane,Jane Eyre!

She lays her hands on Jane's shoulders and stands looking
down at her, her eyes filling with tears.

BESSIE
A grown young lady. And you were
such a tiny thing...no higher than
a broomstick. Oh, Miss Jane!

She takes Jane's hand and kisses it. There is the sudden loud
jangling of a bell.

JANE
(frightened)
Don't tell Aunt Reed I'm here. Or
Cousin John.

BESSIE
Master John isn't here any more.

There is something in Bessie's tone which makes Jane look up.

BESSIE
As soon as he was of age, he was
off to London. Gambling, that's
what it was ?thousands and
thousands of pounds the Missis paid
for him. She had to shut up most of
the house and turn off the other
servants. But still he kept
plaguing her for money.
(she pauses)
Then last summer ?the tenth of
July it was - they brought the
news.

Jane looks up enquiringly.

BESSIE
He killed himself, Miss Jane. They
found him hanging in his room, and
the cards still on the table where
they'd played the night before.

The bell jangles again, louder and more insistently. Bessie
releases Jane's hand and rises.

BESSIE
When they told the Missis, she had
a kind of stroke...wandering-like
in her mind. I brought her bed down
to the drawing room ?and there she
lies.

Bessie goes.

AND DRAWING ROOM OF GATESHEAD

Bessie crosses away from CAMERA, opens the drawing room door,
and goes in, leaving it open. Through the door we see the
foot of Mrs. Reed's bed.

Suddenly Jane appears in the foreground of the SHOT, staring
at the bed. We realize that in some way Bessie's recital has
changed her view of Mrs. Reed.

Bessie comes out, sees her standing there, then steps aside
as Jane slowly advances to the drawing room.

The CAMERA MOVES IN WITH Jane, and past her we at last see
Mrs. Reed,lying on the pillows. She has aged a great deal,
and her face is slightly distorted by the stroke.

Her eyes are closed, but from time to time the bed curtains
are blowing across her face and she makes ineffectual motion
with a feeble hand to push them away.

OUT

SHOT JANE

She steps forward to adjust the bed curtains -- THE CAMERA
PANNING HER to the bed. The movement disturbs Mrs. Reed's
semiconsciousness. She opens her eyes.

MRS. REED
Who are you? Go away.

JANE
I'm Jane, Aunt Reed -- Jane Eyre.

MRS. REED
Jane Eyre?

She stares at Jane. A hint of recognition seems to dawn on
her face. Then she closes her eyes, shakes her head on the
pillows, and begins to speak wanderingly, more to herself
than to Jane.

MRS. REED
Nobody knows the trouble I had with
that child. Those dark moods of
hers; and the way she used to look
at you, look at you -?like a
guilty conscience. Oh, I hated her.
I used to wish she was dead.

Jane stands rooted to the spot, unwilling to disturb her by
moving. Bessie at the door watches her reaction.

MRS. REED
It was all Reed's fault. He liked
her better than his own child.
Better even than my little darling
John. Oh, I wish John would stop
tormenting me for money. I haven't
got any money. And when I tell him
so he says he'll kill me. Or else
kill himself.
(her voice rises almost to
a scream)
Oh God, I can see him. I can see
him with his face all blackened and
swollen, and the rope, the rope,
the rope...

She raises herself convulsively from the pillows, then falls
back exhausted. Jane looks at her with a mixture of terror
and pity, repulsion and compassion. Bessie takes the
opportunity to close the door, but at the noise, Mrs. Reed
suddenly opens her eyes.

MRS. REED
Is that you, Bessie?

BESSIE
Yes, ma'am

MRS. REED
Did someone say Jane Eyre was here?

BESSIE
Yes, ma'am, she's come home. Miss
Jane's come home.

MRS. REED
(talking to herself)
When he was dying, Reed made me
promise to keep her like one of my
own. A little pauper brat that
should have been in the workhouses
- But I oughtn't to have broken my
promise.

Suddenly her eyes open and, wandering round the room catch
sight of Jane. For a moment she is calmer and more
reasonable, and recognizes Jane.

MRS. REED
Jane, Jane Eyre.
(suddenly she seizes
Jane's hand in both of
hers)
Oh, don't leave me, Jane. Please
don't leave me.

Jane sits there, torn between her pity and her old
repugnance. She looks at Bessie, who gives her back a glance
of mute appeal.

MRS. REED
Say you won't leave me all alone!

Her tone is one of almost frantic insistence. Jane turns and
smiles at her. Compassion has won the day.

JANE
No, Aunt Reed. I won't leave you.

FADE IN

INT. HALL - GATESHEAD - DAY - AN OLD-FASHIONED BELL

ringing violently on its spring.

INT. GATESHEAD DRAWING ROOM - DAY - CLOSE SHOT MRS. REED

Semiconscious, she stirs a little. She is evidently in a
deathlike coma, white as a marble statue.

SHOOTING OVER MRS. REED - DAY

Jane is sitting still and silent by the bed, almost as
motionless and trancelike as the dying woman. In this SHOT we
see Bessie cross and exit to open the front door.

We HOLD THE SHOT, emphasizing Jane's stillness and silence.

Then we HEAR the front door opening and voices speaking:

DR. RIVERS' VOICE
Would you take my card to Mrs. Reed
and ask if I might have a few
minutes' talk with her.

CLOSEUP - JANE

as she reads with a sudden violence, terrified of seeing any
of her former associates.

BESSIE'S VOICE
Oh no, sir, Missus can't see
nobody. She's been ill for months.

RIVERS' VOICE
Oh, I'm sorry. I wanted to make
some inquiries about a niece of
hers ?Miss Eyre.

Janes horror increases. She gets up.

INT. HALL - GATESHEAD - RIVERS, BESSIE - DAY

Bessie hesitates a moment, uncertain whether to tell the
visitor that Jane is with them.

BESSIE
Will you wait inside a moment, sir.

The CAMERA MOVES behind Bessie as she leads Rivers into the
conservatory. As she shows him in, she apologizes for the
desolate condition of the house,

BESSIE
Excuse us - we haven't had no
company this long long time.

Leaving Rivers as he enters the conservatory, the CAMERA PANS
Bessie to the door of the drawing room.

INT. DRAWING ROOM - DAY

as Bessie enters - Jane is pressed to the wall behind the
door.

JANE
(agitated)
I can't see him. I can't see
anybody.

BESSIE
Now, don't be so foolish, Miss
Jane. You can't live all alone like
the man in the moon.

She takes sits down the embroidery frame out of Jane's hand
and in the window seat.

BESSIE
I'll sit with the Missus. And now
run along with you. He's waiting.

Jane hesitates for a few seconds, then gets up reluctantly
and goes out of the drawing room.

TNT. CONSERVATORY - DAY

Rivers, hearing footsteps across the hall rises and turns.
His expression suddenly changes to one of amazement.

RIVERS
(surprised at)
(seeing her)
Jane!

They shake hands - he beaming - Jane obviously embarrassed.

JANE
How did you know I was here?

RIVERS
I didn't. I was trying to find you.

JANE
(apprehensive)
To find me?

RIVERS
I received an enquiry about you the
other day.

He pulls a lot of letters out of his pocket and to look
through them, continuing to speak as he

RIVERS
You weren't very long at that place
you went to. Didn't you like it?

Jane hesitates before answering.

JANE
(in a very low voice)
I had to leave.

Her tone is so strange that Rivers raises his head and starts
to look at her enquiringly.

RIVERS
What happened?
(Jane drops her eyes and
does not answer)
Oh, forgive no. It's no business of
mine. All the sane, I feel obliged
to ask you about this letter.
(he goes back to the
papers in his hand)
It comes from a lawyer in...
(he glances at the
address)
...in Millcote.

JANE
(apprehensively)
Millcote.

RIVERS
He writes to me as the person whose
name you gave as a reference when
you went to Thornfield. That's near
Millcote, isn't it? Wants to know
if I can tell him your whereabouts.

Jane looks at him, does not say anything.

RIVERS
You know who is enquiring for you?

Jane nods, but Rivers notes that she is hesitant about
replying.

RIVERS
Jane, if you don't want me to talk
about this any more, I won't.

JANE
(quietly)
Thank you, Dr. Rivers.

RIVERS
But there's one thing I must ask --
how shall I answer this letter?

Jane does not reply, but turns and looks fixedly out of the
window.

RIVERS
It's for you to say...

Then suddenly Jane turns away from the window and comes
toward him. Although he cannot know what is in her mind,
there is no mistaking her distress.

RIVERS
Or would you rather I didn't answer
him at all?

The look in Jane's eyes answers his question. He takes a few
steps over to the stove, then slowly but firmly starts to
tear the letter in two, then in four. Jane is watching him,
and in her eyes there is a mixed look of gratitude and also-
of unbearable anguish, as her last link with Mr. Rochester is
broken. Once she takes a sharp step forward, as though she
were about to beg him not to throw the letter in the stove.
He catches her eye, hesitates, and then a moment later she
looks away. He tears it once more, throws the pieces in; and
we see then burn,

DISSOLVE TO:

FRONT DOOR GATESHEAD - DAY - RAIN

(NOTE: Have doorbell on exterior of Gateshead.)

To our surprise we see the front drive filled with people
passing in and out of the house, and several carts and
carriages parked in the drive. And the reason for this is
explained when the CAMERA PANS OVER to a notice nailed to a
tree which advertises an auction sale of the

"FURNITURE AUD PERSONAL EFFECTS OF THE LATE MRS. REED"

It is pouring with rain.

DRAWING ROOM - RAIN

We begin on the auctioneer, a florid man, very loudly
dressed, who is seated at a desk perched precariously on some
packing cases. At the moment, the bidding is for an early
Victorian statue, about two feet high of a very coy nymph.

AUCTIONEER
... Who'll give me three pounds for
this volupshus obj d'art. Only
three pounds. What, no bids? Going
for two pounds fifteen. Going.
Going.
(he raps desk with his
hammer)
Take her away, Bill.