〈玉卿嫂〉是白先勇1960 年在文壇初試啼聲的小說，1971 年白 先勇首度跨足電影界與陳耀圻合編〈玉卿嫂〉劇本，「陳白本」成為 白先勇編劇的處女作，然而白先勇認為當時缺乏電影劇本寫作經驗， 加上過份拘泥原著，所以僅是粗糙的藍本，後來並未拍成電影，1983 年因緣際會促使白先勇與孫正國共同參與〈金大班的最後一夜〉的編 劇小組，之後白先勇繼續邀請孫正國合編〈玉卿嫂〉的電影劇本，即 是後來的「孫白本」，雖然〈玉卿嫂〉「孫白本」結果未拍成電影，然 而卻是白先勇嘔心瀝血的創作。電影〈玉卿嫂〉最後是張毅所編的劇 本拍成的，然而白先勇卻深深期待若將來〈玉卿嫂〉「孫白本」有機 會被拍成電影，應能產生出風貌迥異的電影〈玉卿嫂〉。如今審視〈玉 卿嫂〉「孫白本」，從文學改編而言，屬於對應式改編，相較原著小說仍因電影的媒介特質不同而必須有應變的敘事改編考量，因此本文分析小說與電影劇本兩者敘事的差異，透過參差對照的討論可以看出編劇如何轉換文字為影像，討論的重點是深入文學改編的美學策略，包括敘事觀點的移轉、主題詮釋、人物形象化的創造，以及場面調度中富視覺隱喻的影像設計，並討論「孫白本」在人生如戲的主題詮釋下，如何運用互文性將京劇平行交錯在劇本中，暗示人物關係與推升故事衝突的發展，以進一步呈顯〈玉卿嫂〉「孫白本」文學改編的多重思考。

“Jade Love” (玉卿嫂), written in 1960, is the first novel of Hsien-yung Pai, and the novel’s adaptive screenplay on which Pai collaborated with Chen Yaoqi (陳耀圻), known as “Chen-Pai Version”, is also the maiden work of Pai in film scriptwriting. However, because of its rigid adherence to the original novel and the writers’ short of experience in film writing, the “Chen-Pai Version” ended up as just a coarse blueprint and had never been made into a movie. After collaborating with Sun Zhengkuo (孫正國) on writing the screenplay of “The last night of Taipan Chin” in 1983, Pai invited Sun to co-work on writing the screenplay of Jade Love, a screenplay that Pai worked painstakingly and was known as “Sun-Pai Version”, which again eventually failed to be made into a movie. Jade Love, though, was filmed under another screenplay wrote by Zhang Yi (張毅) afterwards, Pai still had hope the Sun-Pai Version could be filmed to be a movie with different style. On reexamining the Sun-Pai Version, we found the writers of Sun-Pai Version adapted the story with a corresponding adaptation method but inevitably adjusted the narratives of the original novel to meet the heterogeneous video media traits of film. This study therefore analyzed the difference of narratives between the original novel and the screenplay from a comparative narratology angle, by comparing and discussing how the writers transformed the characters into images. Besides, the study penetratingly explored the aesthetics strategies of the literary adaptation, including the transfer of narrative point of view, theme interpretation, creation and visualization of personage, and the visual metaphorical image design adopted in the mise-en-scene. Moreover, the study probed into how the Sun-Pai Version, under the interpretation of its theme as life is like a drama, parallelly intervened Beijing opera into the screenplay and implied relationship of the characters and antagonism of conflicts by taking advantage of intertextuality, and thus further highlighted the multi-thinking of the literary adaptation of Sun-Pai Version.