英文片名: The Piano

中文片名: 钢琴课 钢琴别恋

上映: 1994

                         THE PIANO LESSON



                    Screenplay for a film by
                         JANE CAMPION

                         Producer
                         JAN CHAPMAN



                         Script editor
                         BILLY MACKINNON



                         Maori dialogue and translator
                         SELWYN MURU









(c) copyright:
Jan Chapman Productions Pty Ltd
2 Fairlight Street Leichhart 2040
NSW Australia

4th draft 1991
Developed with the assistance of
The Australian Film Commission


      ----------------------------------------------------------------

Sc 1                                                  Sc 1
                         ADA (VO - Scs 2 to 7)
               The voice you hear is not my 
               speaking voice, but my mind's 
               voice.

               I have not spoken since I was 
               six years old. No one knows 
               why, not even me. My father 
               says it is a dark talent and 
               the day I take it into my head 
               to stop breathing will be my 
               last.

               Today he married me to a man 
               I've not yet met. Soon my 
               daughter and I shall join him 
               in his own country. My husband 
               said my muteness does not 
               bother him. He writes and hark 
               this: God loves dumb creatures, 
               so why not he!

               Were good he had God's patience 
               for silence affects everyone in 
               the end. The strange thing is I 
               don't think myself silent, that 
               is, because of my piano. I 
               shall miss it on the journey.

Sc 2     EXT     SCOTTISH FIELD NEAR HOUSEDAY     Sc 2

A woman in a dark crepe Victorian dress sits leaning against a tree, 
her hands cover her face, around her neck she wears a writing pad. She 
crosses a field with large bare trees, in the far background stands a 
3 storey stone house.

Sc 3     INT     SCOTTISH HOUSE CORRIDOR     DAY     Sc 3

A small girl roller skates down a dimly lit corridor. A parlour maid 
looks down the hall where the girl has disappeared.

Sc 4     INT     SCOTTISH HOUSE DRAWING ROOMDAY     Sc 4

Three men wearing long grey aprons are fitting the packing for a 
piano. On one of the men's arms is a tattoo of a whale in a wild sea.

Sc 5     EXT     SCOTTISH HOUSE GROUNDS     DAY     Sc 5

The girl wearing her skates sits on a small black pony. An old man is 
pulling it, but it won't move. (In the background, another aspect of 
the grey stone house.)

Sc 6     INT     SCOTTISH HOUSE FLORA'S BEDROOM NIGHTSc 6

The woman lifts back the sheets from the bottom of the sleeping girl's 
bed. She is still wearing her skates. The woman cuts through the laces 
and removes the boots. One disembodied skate rolls across the room.

Sc 7     INT     SCOTTISH HOUSE DRAWING ROOMNIGHT     Sc 7

The woman stands at a window lit by moonlight. Her skin appears 
luminescently white. She touches the wooden window frame, the curtain, 
the objects on the window sill, her mind abstracted, her hands 
unconsciously performing a farewell. Turning from the window she moves 
to a square piano crowded by packing boxes. In the dim light she 
begins to play strongly. Her face strains, she is utterly involved, 
unaware other own strange guttural sounds that form an eerie 
accompaniment to the music.

An old maid in night-dress looks in. Abruptly the woman stops playing. 
The emotion leaves her face, it whitens and seems solid like a wall.

                    CUT TO BLACK

Sc 8     EXT     UNDERWATER BEACH          DAY     Sc 8

Under water a long boat passes overhead, its oars breaking the 
surface.

Sc 9     EXT     BEACH                    DAY     Sc 9

Amidst a riotous sea a woman, ADA, is carried to shore on the 
shoulders of five seamen. Her large Victorian skirt spreads across the 
men's arms and backs, on her head a black bonnet, around her neck her 
pad and pen. We should be forgiven if this woman seems a sacrificial 
offering as the bay they carry her to is completely uninhabited. A 
black sand backs on to an endless rise of dense native bush.

The breakers are chaotic, the men strain to keep their footing, 
calling to each other.

                         SEAMEN
               Hold still you smutt! Blast the 
               boat!
               Look up! Look up!
               Lay to! Lay to.
               Up with it you buggerers, hold 
               hard!
               Damn me won't you hold?!
               Etc.

Two of the men are black, all are battered, tattooed and tough, some 
are drunk.
Behind the woman is her daughter, a girl of ten in Scottish dress. She 
too is carried on the shoulders of seamen.

ADA is placed on the sand. She looks down at her feet sinking into the 
wet sand, then up at the huge confusion of fern and bush in front of 
her. The sound of sea behind is thunderous.

Several of the seamen have formed a group and are pissing on the sand.


Her daughter is on all fours evidently being sick. But ADA's attention 
is diverted to the seamen who are staggering through the waves with a 
huge piano shaped box. They put it down as soon as they get to 5hore 
but ADA makes gestures that they must immediately bring it to higher 
safer ground. The piano placed to her satisfaction she hovers near it, 
one hand in constant touch of it while her daughter grips her free 
hand.

Sc 10     EXT     BEACH                         DAY     Sc 10

TWO SEAMEN finish carrying the last crate to shore. Trunks and boxes 
including an open crate with hens are scattered carelessly along the 
shore.

The SEAMEN gather together. After a discussion in which they look 
between ADA and her child and their Coaster out on the sea, one of the 
men approaches. Behind him the other men keep their eyes out to sea or 
down on the sand. They don't want to be involved. The sight of the 
women alone on this beach is too hopeless.

                         SEAMEN
               It's a little rough out there. 
               Could be they can't get through 
               to you in this weather. Maybe 
               they'll come over land.

ADA nods.

                         SEAMEN
               Have you things for shelter?

ADA nods.

                         SEAMEN
               What things have you?

ADA signs to her daughter. The little girl speaks clearly and loudly 
without emotion.

                         FLORA
               She says, 'thank you'.

Puzzled, the man walks off, then turns and comes back.

                         SEAMEN
               Does your mother prefer to come 
               on with us to Nelson?

ADA signs vigorously to FLORA.

                         FLORA
               She says, No. She says she'd 
               rather be boiled alive by 
               natives than get back in your 
               tub.

                         SEAMEN
               (stunned) You be damn fortuned 
               I don't smack your puppy gob, 
               missy. Damn lucky.

SCENE 11 DELETED

Sc 12     EXT     BEACH                         DAY     Sc 12

ADA is sheltering behind the crated piano, anxiety etched on her face.

FLORA  is asleep at her feet a half eaten biscuit in her hand ADA has 
found a gap through the crate so that she might lift the lid and play 
a few notes. The sweetness and comfort of the piano seem only to 
exaggerate their isolation and hopelessness.

2- See notes

Suddenly a rush of sea water shoots straight under the raised crate of 
the piano wetting her shoes. ADA stands, pushing FLORA onto her feet. 
She is aghast to see the tide has crept in completely unnoticed.

They watch three of their boxes float out to sea. One of the hens has 
escaped the crate and is bobbing up and down in the waves.

SCENE 13 DELETED

Sc 14     EXT     BEACH                         DUSK     Sc 14

There is just a pink streak left in the sky. ADA and FLORA shelter 
inside their make-shift tent, a hooped petticoat secured at the edges 
with stones.  Inside the tent a candle lights up their conversation.

ADA is hand signaling a story to FLORA who lies back watching, nervous 
and afraid. ADA's whole self is involved in the 'telling', her face is 
alight with expression, now tender, now sad, now humorous, now soft, 
while her hands and fingers are deft and precise. From outside it is 
an odd shadow play.

                         FLORA
               (hand signaling) Mother... I'm 
               thinking

ADA pauses.

               (speaking) I'm not going to 
               call him Papa.  I'm not going 
               to call HIM anything. I'm not 
               even going to look at HIM.

Sc 15     EXT     BUSH ON WAY TO BEACH          DAY     Sc 15

Through a dense bush walk a party of fourteen MAORI people and two 
EUROPEAN MEN. The wetness, closeness and darkness of the bush is such 
that the air seems green, like at the bottom of a deep sea. Two of the 
MAORIS share one pair of shoes and all of them are clothed in a 
mixture of native and European costume. Of the Europeans one is small 
and has a shy manner. He has a half completed Maori tattoo across his 
cheeks. The other is a similar age about 45 and wears a suit, muddy 
and out of place here in the bush. He staggers, spurts forward then 
slows to a stop. His hair and face are wet and his skin reflects the 
green foliage. BAINES the younger man turns and slows.

                         BAINES
               Are we stopping?... Do you want 
               to stop?

The MAORI voices and laughter are becoming fainter. BAINES watches 
torn between his concern for STEWART and the split in their party.

3-See Notes

                         BAINES
               Shall we stop?

Unable to get an answer BAINES runs after the MAORIS.

                         BAINES
               Tai hoa! Me tatari tatou .., me 
               tutatou I konei.
               (Wait! We are stopping.. we're 
               stopping.)
                         SUBTITLED

STEWART takes out a comb and drags it dazed and zombie like through 
his wet hair. Inside the darkness of his pocket, he turns over and 
over a small, worn edged photograph, a smudge of green light allows us 
to see ADA's tumbling face. Taking it in the heel of his hand he 
secretly looks at it. Just as the party return and settle he stares on 
ahead possessed and determined.

                         STEWART
               We must get on.

The MAORIS look at BAINES bewildered.

                         TAME
               Aue tepatupsiarehe!
               (The fairy people, what can you 
               expect?) 
                         SUBTITLED

Sc 16     EXT     BEACH                     MORNINGSc 16

It is early morning. The sea is calmer and the tide is again low. The 
party or two EUROPEANS and fourteen MAORI MEN and WOMEN come out on to 
the beach. About half the MAORI party head straight for the shoreline 
where an older woman loudly organises a pipi collection. All sorts of 
containers are used from flax baskets to shirts with knots in their 
arms. The rest follow STEWART and BAINES over to the boxes. STEWART 
automatically re-combs his hair, patting it against his forehead, 
本文发布在演艺圈门户网，演艺吧，请勿转载．域名www.yanyi8.com .。　　小明的妈妈：女，家庭主妇，没有经济来源，很爱小明。小明的爸爸：男，where it sticks in a raked pattern. On his head he carefully places a 
formal top hat, oddly dean compared to his mud splattered suit. The 
party stops short of the petticoats where a tell-tale foot reveals its 
occupants.

                         STEWART
               Miss McGrath, Alisdair Stewart. 
               You'll have to wake yourself. 
               I've got men here to carry your 
               things.

ADA and FLORA struggle up to find themselves confronted by a group of 
men and women. The MAORIS stare curiously and comment on the women.

               Aut he anahera enci?
               (Are they angels, they look 
               like angels.)
                         SUBTITLED

A man points at FLORA's feet and gestures as if holding one of the 
little shoes in his hand.

               Te monohi hoki! 
               (So small!) 
                    SUBTITLED

FLORA is struck by shyness and hides under her mother's skirt. ADA 
cannot look straight at STEWART and STEWART also cannot look at her.

                         STEWART
               I see you have a good many 
               boxes, I'd like to know what is 
               in each.

As ADA does not move STEWART is puzzled.

                         STEWART
               CAN - YOU - HEAR - ME?

ADA nods and looks up coldly, insulted by his slow loud speaking.

                         STEWART
               Well that is good, yes that is 
               good, good.

STEWART smiling searches ADA's face for some sign of comprehension but 
is unnerved by her lack of response. He stops smiling, and, patting 
his hair walks to the closest box. Several of the MAORI party follow 
behind STEWART while one of them closely and particularly mimics him.


                         STEWART
               What's in here?

ADA points to the writing already on the box saying 'Crockery and 
Pots'.

                         STEWART
               Ohh, yes so it is, written 
               there, crockery.

                         STEWART
               And this one?

ADA writes 'bedclothes and linen' on the pad around her neck- While 
she writes he takes the opportunity to scrutinise her.

                         STEWART
               You're small. I never thought 
               you'd be small.

He walks to another chest

                         STEWART
               What's here?

She writes 'clothes'. The MAORI mimic also pretends to write.

Finally he comes to the piano box. He lifts a corner experimentally.

                         STEWART
               What's in here then, lead?

                         FLORA
               (gravely) It's my mother's 
               piano.

                         STEWART
               A piano?

The MAORIS touch the exposed legs of the piano.  STEWART speaks to the 
other European man BAINES.

                         STEWART
               Tell them to carry in pairs. 

               Those three and those two the 
               black and the red, then the 
               suitcases.

STEWART holds BAINES back a moment.

                         STEWART
               What do you think?

STEWART nods towards ADA. BAINES thinks a moment then turns towards 
ADA too.

                         BAINES
               She looks tired.

                         STEWART
               She's stunted, that's one 
               thing.

BAINES walks over to HONE a big man and the MAORJ leader, he stands 
tall with a great sense of his own importance. (Mana)

                         BAINES
               Anei nga pouaka - ko era e 
               toro.
               Me era e raa.
               (Here are the boxes, those 
               three and those two.) 
                    UNSUBTITLED

                         HONE
               E Hoal

HONE takes an aggressive fighting posture towards BAINES, insulted 
that BAINES should suggest he might carry anything. HONE does not 
carrying, he is the boss. With great dignity HONE retreats, too 
injured to help. Other MAORIS come up and BAINES assigns them boxes. 
ADA gets worried, the piano is being left alone. She writes on her 
pad, 'THE PIANO?' She shows STEWART.

                         STEWART
               Oh no, it can't come now.

                         FLORA
               It must come.

STEWART looks at FLORA

                         FLORA
               She wants it to come.

                         STEWART
               Yes and so do I, but there are 
               too few of us here to carry it. 
               TOO - HEAVY

ADA writes 'I NEED THE PIANO.' Her MAORI mimic copies her.

                         STEWART
               Do you mean you don't want your 
               kitchenware or your clothes? Is 
               that what you mean?

ADA signs to FLORA.

                         FLORA
               We can't leave the piano

                         STEWART
               Let us not discuss this 
               further. I am very pleased....

STEWART slows down as he watches ADA again sign to FLORA, he has the 
uncomfortable impression he is being interrupted.

                         FLORA
               Mother wants to know if they 
               could come back directly for 
               it?

STEWART is shocked, his mouth hangs slightly open, paused in mid 
speech. TAHU mimics this mouth drop perfectly.

                         FLORA
               After they have taken the other 
               things?

STEWART is growing confused and anxious. His two mimics and their 
growing audience unnerve him further.

                         PITO
               Kei Riri a te raho Maroke. 
               (shouted loudly at TAHU)
               (Watch it dry balls is getting 
               touchy.)

                    SUBTITLED

STEWART nods suspiciously towards the MAORI speaker not understanding 
him, the speaker smiles and nods back.

                         STEWART
               I suggest you prepare for a 
               difficult journey. The bush 
               will tear clothes and the mud 
               is deep in places.


STEWART walks away. ADA stands beside the piano turned away from the 
activities. FLORA pats her hand trying to cheer her. Down on the beach 
a fire is lit and pipis are prepared for cooking. Some of the young 
men are racing naked into the sea.

                         STEWART
               (to BAINES about the MAORIS) 
               What are they doing? We don't 
               have time for that.

Sc 17     EXI     BEACH                         DAY     Sc 17

It is some hours later and the carrying party are beginning to make 
their way up into the bush. ADA still stands beside her piano. FLORA 
wants to follow the party. BAINES comes back along the beach, trailed 
by a young Maori boy, KAHA.

                         BAINES
               Mr. Stewart asked if I might 
               show you to the path. (ADA does 
               not move) ... May I carry 
               something?

ADA turns to BAINES, her face angry and defiant, her eyes full of 
tears. BAINES falls back, struck by her show of emotion. ADA and FLORA 
walk past him toward the bush.

Sc 18     EXT     CLIFF ABOVE BEACH               DAY     Sc 18

The party threads its way through the bush along the cliff. ADA pauses 
at the cliff top to see her piano below on the sand, tiny and 
desolate. Its distance and her love of it suddenly strike her. Its 
music is faint and becomes loud over the next scene.

Sc 19     EXT     BUSH FROM BEACH               DAY     Sc 19

Brown feet squelch through the mud, finally followed by dainty boots 
caked in dirt. The MAORI leaders of the party have stopped.

4 - See Note

BAINES works his way to the front.

                         BAINES
               aha tenei?
               (What is it?) 
                    SUBTITLED

                         HONE
               E hinga te Koroua ra B Pitama i 
               konci. Kare noa Kia hikina te 
               tapu.
               (Old man Pitama died here. 
               (points to the spot) 
               The Tapu hasn't been lifted)
                    UNSUBTITLED

STEWART struggles up to the front to join BAINES, he speaks over the 
top of HONE.

                         STEWART
               What's he say?

                         BAINES
               Someone died here. It's tapu.

                         STEWART
               But we came down this way 
               didn't we? I'm sure we did.

The MAORI leaders continue discussing.

               0h Pitama eh.

                         HONE
               E Tarna heke atu ki ram - tiro 
               his atu.
               Rapuhia mai he huarahi re!
               (Go and look, find another 
               track eh!)
                    UNSUBTITLED

                         TIPI
               'cia tupato he ana taniwba ke 
岸观影时2018年10月04日22:11刚刚结束的《中国相声小品》大赛,来自天津的杨仪、杨少华父子为我们奉献了一段相声,作为今晚大赛的压轴戏。正如在相声中杨仪所说,他已经十几年不说相声了。那这些年《相               raro na. 
               (Go easy there's a ghost down 
               there.)
                    SUBTITLED

                         HOTU
               'Ca, rongo koe i te haunga a 
               tans tutae i te tuatahi. (You 
               smell his shit first.) 
                    UNSUBTITLED

STEWART continues over the top of the MAORI discussion.

                         STEWART
               They want more money. They are 
               trying to make two days out of 
               it?

                         BAINES
               No, no they know another track 
               - to the side of this.

ADA and FLORA sit watching, out of breath. The bush is dense, 
claustrophobic and exotic. One of the MAORI women sits close to ADA 
apparently not looking at her- Slowly she draws the scarf that is in 
ADA's lap into her own. Defiantly she puts it on.

Meanwhile another woman makes a very dignified attempt to wipe the 
freckles from FLORA's face.

Sc 20     EXT     STEWART'S                    DAY     Sc 20

It is another day and STEWART'S hut, bleakly set amidst smoking stumps 
is full of squeals, chasing and antics.

Sc 21     INT     STEWART'S HUT               DAY     Sc 21

The reverend in frock coat has a wedding dress stuck part way up his 
arms. It is not a normal wedding dress but a backless one used again 
and again as a photographic prop. Stewart's AUNT MORAG and her 
companion NESSIE are trying to pull it off.

                         AUNT MORAG
               Watch your feet!

                         NESSIE
               Watch your feet!

ADA and FLORA find the family fun frightening and have taken refuge in 
the bedroom.

                         AUNT MORAG
               Careful! Watch his hand.

                         NESSIE
               Watch his hand

The REVEREND tickles his sister as she tries to get the sleeve off his 
hand. NESSIE squeals with excitement.

                         AUNT MORAG
               Stop it!

NESSIE looks towards ADA panting with excitement at the fun.

                         AUNT MORAG
               (shooing the Reverend out) 
               We'll bring out the bride.

The two women now fit the wedding dress on ADA.

                         AUNT MORAG
               LIFT - YOUR - ARM - UP - DEAR.

FLORA sits on the bed sulkily. She leans back and crosses her leg.

                         FLORA
               My REAL father was a famous 
               German composer

                         AUNT MORAG
               Ohh the tag is broken.

                         FLORA
               (continues) .... They met when 
               my mother was an opera 
               singer... in Luxemburg...

The two women pause to look at FLORA. ADA signs to FLORA 'THAT'S 
ENOUGH!'

                         FLORA
               Why?

ADA looks away, the two women finish primping the dress. FLORA crosses 
her arms.

                         FLORA
               I want to be in the photograph.

Sc 22     EXT     STEWART'S Hut                DAY     Sc 22

NESSIE half holds an umbrella over ADA as they make their way to where 
the camera is setup in front of a chair and a sparse display of three 
toi-toi. All about the house is muddy, so much so that they must weave 
their way through on planks and logs. A fine veil of rain is falling 
across the distant bush, the whole valley is shrouded in mist. STEWART 
looks through the camera at the REVEREND and the photographer who are 
posing as the couple, complete with tatty bouquet. STEWART notices 
ADA's arrival and seeing her as a real bride, his bride, he is 
struckdumb with pride, even the rough tapes at the back or the dress 
cannot destroy the illusion.

                         STEWART
               Beautiful.

The umbrellas are held away, the rain pours down.

Sc 23     INT/EXT     STEWARTS HUT BEDROOM     DAY     Sc 23

AUNT MORAG has brought a chair into the bedroom and sits knee to knee 
with FLORA.

                         AUNT MORAG
               I thought she met your father 
               in Luxemburg.

                         FLORA
               Well, yes, in Austria where be 
               conducted the Royal Orchestra. 

                         AUNT MORAG
               (frowning) And where did they 
               get married?

AUNT MORAG checks to see if someone is coming.

                         FLORA
               (her Scottish accent becomes 
               thick and expressive) In an 
               enormous forest, with real 
               fairies as bridesmaids each 
               holding a little elf's hand.

AUNT MORAG sits back, regarding FLORA with obvious disapproval and 
disappointment. She smooths back her hair.

                         FLORA
               No, I tell a lie, it was in a 
               small country church, near the 
               mountains

AUNT MORAG is becoming involved again. She leans forward.

                         AUNT MORAG
               Which mountains are those dear?

                         FLORA
               The Alps.

                         AUNT MORAG
               Ohhh I've never been there. 
               (she leans forward)

                         FLORA
               Mother used to sing the songs 
               in German and her voice would 
               echo across the valleys

               That was before the 
               accident....

                         AUNT MORAG
               Oh what happened?

MORAG looks over her shoulder as FLORA continues to talk, so 
persuasive is FLORA's storytelling that the scene comes vividly to 
life, albeit in FLORA's dark pupil.

                         FLORA
               One day when my mother and 
               father were singing together in 
               the forest, a great storm blew 
               up out of nowhere. But so 
               passionate was their singing 
               that they did not notice, nor 
               did they stop as the rain began 
               to fall and when their voices 
               rose for the final bars of the 
               duet a great bolt of lightening 
               came out of the sky and struck 
               my father so that he lit up 
               like a torch... And at the same 
               moment my father was struck 
               dead my mother was struck dumb! 
               She- never-spoke-another-word.

                         AUNT MORAG
               Ohhh ... dear. Not another word    
               From the shock, yes it would 
               be.

The story is interrupted by the return of the wedding party who are 
dripping wet, exactly as the couple in the story. AUNT MORAG bustles 
over to take off the wet wedding gown, her face puckered with tragedy.

                         AUNT MORAG
               Terrible.  Terrible

Before she can undo the ties ADA pulls it from herself so aggressively 
that the ties and part of the gown comes apart. None of this is a 
concern to ADA who is distracted with fear for her piano. She crosses 
to the little window and stares anxiously at the falling rain.

Sc 24     EXT     BEACH                         DUSK     Sc 24

Soft piano music has been playing over the previous scene. Now it 
builds to strength as sea water swirls high around the piano, small 
and embattled on the dark rainy beach.

Sc 23     INT     STEWART'S HUT BEDROOM          DAY     Sc 25

It's morning of the next day. ADA and FLORA sit amongst tea chests in 
the bedroom. ADA is signing intently to FLORA. FLORA signs back, 
sometimes using words. STEWART watches uneasy with their secret 
communication. As STEWART enters the animation is suspended. ADA 
stands and takes a step back as if to attention.

                         STEWART
               I shall be gone for some days. 
               There is some Maori land I want 
               and may buy very reasonably. 
               (STEWART shuffles) I am hoping 
               you will use the time to settle 
               in, and, in some ways we may 
               start again

FLORA and ADA look at each other.

                         STEWART
               All right?

ADA looks at him blankly, then nods.

Sc 26     EXT     STEWART'S                    DAY     Sc 26

ADA and FLORA dressed in cloaks and bonnets skirt the dense bush 
trying to find a path in. It is not easy, because the bush is so 
tight. ADA's leg slides in up to her calf in mud.

Sc 27     EXT     BAINES'                    DAY     Sc 27

ADA and FLORA arrive at BAINES' rough hut. It is mid-morning but 
BAINES is not yet dressed. ADA hands him a note. BAINES looks at it 
blankly.

                         BAINES
               I'm not able to read.

ADA signs to FLORA.

                         FLORA
               Please take us to the beach 
               where we landed.

                         BAINES
               I'm sorry, I can't do that. 
               (FLORA and ADA stare evenly at 
               him) 
               I don't have the time.
               (They continue to stare.)
               Goodbye

Sc 28     EXT     BAINES'  &nbs
                                

                                
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