brought to you by The Val Lewton Screenplay Collection
JANE EYRE
Revised
February 2, 1943
Note: Until otherwise noted the CAMERA represents Jane. All
characters speak directly into the CAMERA as though they were
talking to Jane. We never see her but on several occasions
we see her hands just as her own eyes would see them.
FADE IN:
BATTLEMENTS OF THORNFIELD HALL - LATE AUTUMN OF THE YEAR 1840
- EVENING
For a moment the battlements are still, suddenly a flock of
Jackdaws fly up chattering and screaming.
On this cue the CAMERA QUICKLY PANS off and moves rapidly
towards a large window, actually the window of the great
hall.
DISSOLVE TO:
INT. GREAT HALL
THE CAMERA continues the same movement, hits the top of the
arches, swings over them. For a moment we catch a flash of
two shadows, a man and a woman. But the CAMERA follows the
shadow of the woman, -- a girl wearing a poke bonnet and
cloak, and follows it as it moves on to the door. THE CAMERA
HOLDS for just an instant while the figure is in almost
perfect proportion with a human figure. A hand comes into
the shot, draws the bolt. The door SWINGS open
DISSOLVE:
EXT. OUTSIDE DOOR OF THORNFIELD - AUTUMN NIGHT
We see the shadow of the figure streak across the drive-way.
Over this movement we HEAR the poignant voice of a man
growing fainter as the CAMERA MOVES forward and out of the
door.
ROCHESTER'S VOICE
Jane! Jane!
The shadow is now lost because the figure is no longer in the
light coming from the hall, and THE CAMERA rushes into the
mist. OVER the shot comes the SOUND of running feet.
EXT MOORS - AUTUMN NIGHT - YEAR 1840
The CAMERA is still running down the road. OVER the SOUND of
her feet comes the SOUND of an approaching coach. The CAMERA
stops. The coach with four horses comes out of the night
straight towards the CAMERA - the brisk movement, the rattle
of harness and the noise of the wheels contrasting violently
with the stillness of the preceding shot. Coach stops in
close to the CAMERA. CAMERA PANS UP and from this low angle
at the top of the screen the Guard leans down into the shot
talking to the CAMERA.
GUARD
Look lively, miss.
A FOOT DISSOLVE
EXT, MOORS - TOP OF COACH — MOVING SHOT - (HORSES ON
TREADMILL) AUTUMN NIGHT - YEAR 1840
CAMERA is now on top of the coach shooting on the back of the
driver as he whips the horses, PANNING DOWN slightly but
still holding the driver to get the impression of trees and
large rocks moving in a blurred quickly-changing shot - an
impression of what every traveler sees hour by hour in the
moon—lit, fog laden night. We begin a very slow DISSOLVE as
the night changes to early dawn.
EXT. MOORS AUTUMN NIGHT YEAR 1840
The coach stops and we are shooting directly into the Guard's
face. He is backlighted by the dawn, and he is vague and
impersonal.
GUARD
Six and four pence, that wuz wot
you give me, and by rights, you
should 'ave been out six miles
since.
The CAMERA leaves the top of the coach, comes down to the
ground still holding the Guard in the SHOT.
GUARD
But seein' as 'ow you emptied your
purse, I made so free as to bring
you on 'ere -
The coach starts out of the SHOT as the CAMERA PANS with it -
goes down the road, disappearing. The CAMERA slowly starts
out after the coach as we
DISSOLVE TO:
INSERT OF SIGN ON SIDE OF ENTRY DOOR
This insert is shot with a moving CAMERA from the angle of
someone walking slowly past it. It reads:
MRS. MASQUERIER'S AGENCY
Domestics, Governesses and
Menials Supplied to the
Nobility and Landed Gentry.
DISSOLVE TO:
MRS. MASQUERIER'S AGENCY - EVENING
We are shooting down on Mrs. Masquerier. She is talking
directly into the CAMERA.
MRS. MASQUERIER'S VOICE
In my high—class connection, I
purvey only high-class references..
If you refuse to name your last
employer, what can I do for you?
The shadow of the bonnetted figure is across the desk.
DISSOLVE TO:
BASEMENT SWEAT SHOP DAY
A shot on the stairs leading down to the sweat shop. CAMERA
is confronted by the proprietor, a large man, In the
background we have an impression of a mass of girls stitching
for dear life. The shadow of the bonnetted figure is on the
wall behind the proprietor.
PROPRIETOR
(fingering her clothes)
Oh, no. You've never been a
seamstress. And I don't want no
hands who can't tell me where
they've come from. Not by no means.
He turns and goes back down the stairs.
DISSOLVE TO:
TO A MOORLAND VILLAGE
The CAMERA is MOVING SLOWLY, as though the girl is now very
weary, along a dusty road.
A MAN'S VOICE (BEADLE)
(sharply)
Wait a minute!
The CAMERA STOPS, PANS SLOWLY to a massive, red-faced beadle.
He wears a cape and cocked hat and carries his staff of
office. Behind him is a suggestion of an entrance to a
moorland village. He is very close to the CAMERA and speaks
directly to it.
BEADLE
We don't want no vagabonds here. 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. Whichever the circumstances,
vacate this parish!
During the last part of this speech the face of the Beadle
becomes vague and blurred as the CAMERA SLOWLY PULLS BACK
PANNING off the Beadle onto the actual bonnetted figure in
exactly the same position that we saw her shadow for the
first time on the doors of Thornfield Hall in the first
scene. The figure turns its back to the CAMERA and starts to
move off slowly into the mist as the CAMERA zooms back to an
extreme long shot; while the figure in the poke bonnet grows
grey and smaller in the mist we begin to hear the narration:
JANE'S VOICE
My name is Jane Eyre, I have no
father or mother, brothers or
sisters. As a child I lived with my
aunt, Mrs. Reed, at Gateshead Hall.
I do not remember that she ever
spoke one kind word to me.
Through the grey mist slowly comes the bright flaring light
of a candle as the voice fades out.
DISSOLVE TO:
UPSTAIRS CORRIDOR - GATESFIELD HALL - EARLY SPRING OF 1829
First we see only the flaring candle, then a big hulking
footman who carries it, them walking a pace behind him,
Bessie, a servant. The two characters march towards CAMERA
down a long corridor -- they pass the CAMERA and go towards a
narrow heavily—bolted door, which Bessie proceeds to unbolt,
Just as she finishes —
FOOTMAN
Careful, Bessie, She bites.
He hands the candle to Bessie and opens the door himself — as
carefully as though there were a roaring lion behind him.
FOOTMAN
Come on out, Jane Eyre.
SHOOTING OVER THE FOOTMAN'S SHOULDER
As the door opens the light falls —— not on a roaring lion ——
but on a small frightened, disheveled and tearful little girl
-— Jane Eyre.
She is lying on the floor of a storeroom crammed with boxes,
trunks and old furniture.
FOOTMAN
Mrs. Reed wants you in the drawing
room.
Jane slowly gets up.
DISSOLVE TO:
FOOT OF THE STAIRS
The footman, followed by Bessie, leads Jane by the ear and
leaves her outside the drawing room door. Jane hesitates, too
frightened to knock.
SHOT — FOOTMAN AND BESS
FOOTMAN
Go on, knock.
BESSIE
Don't bully the child.
FOOTMAN
Knock!
She hesitantly knocks. A voice from inside says "Come in.'
She opens the door.
The CAMERA, which is behind her, now reveals what she sees.
Mrs. Reed sits by the tea—table, a large florid woman in the
late thirties, handsome in an animal sort of way, but cold
and insensitive. Beside her, almost concealed by her skirts,
is her son John, an ugly mean looking boy of twelve.
There is also, standing before the fireplace, Mr.
Brocklehurst, "a black pillar of a man, straight, narrow,
sable—clad. The grim face at the top is like a carved mask."
He is dressed in black frock coat and white tie.
They are all seen from the child's point of view as she
enters the room. Grim, forbidding figures looking down at
herd
MRS. REED
This, Mr. Brocklehurst, is the
child in question.
The child stands uncomfortably at the door, not daring to
advance.
MRS. REED
She is the daughter of my late
husband's sister. By an unfortunate
union which we in the family prefer
to forget. For some years she has
lived in this house....
MR. BROCKLEHURST
(fawning)
The recipient, I can clearly see of
every care that a loving
benefactress could lavish upon her.
(his face changes as he
glares down at the child)
Her size is small What is her age?
MRS. REED
Nine years.
MR. BROCKLEHURST
So much?
(pause)
Come here, little girl. What is
your name?
JANE
Jane Eyre, sir.
MR. BROCKLEHURST
Well, Jane Eyre, and are you a good
child?
Jane is silent.
MR. BROCKLEHURST
I asked you a question, Jane Eyre.
Are you a good child?
Jane glances up helplessly from the grim face of Mr.
Brocklehurst to the grim face of Mrs. Reed.
MRS. REED
The less said on that subject, the
better.
MR. BROCKLEHURST
(sadly shakes his head)
Indeed!
MRS REED
Only this morning she struck her
little cousin most brutally and
without provocation.
We CUT TO "her little cousin" a great lubber who now smirks
in injured innocence.
JANE
(violently)
That isn't true!
MRS. REED
Jane!
JANE
He hit me first.
MRS. REED
Silence! John, dear, did you strike
her first?
JOHN
(lying)
No indeed, Mama.
JANE
You did, you know you did. You
knocked me down and cut my head and
made it bleed!
John advances threateningly.
JOHN
I did not!
JANE
You did! You did! You did!
Another physical conflict is imminent, and Mrs. Reed hastily
interferes.
MRS. REED
Silence!
(to Jane)
I won't listen to your odious lies.
Jane stops in mid—sentence and John hurries back to his
mother's skirts. Mrs. Reed strokes his curls comfortingly.
MRS. REED
You see, Mr. Brocklehurst, how
passionate and wicked she is.
MR. BROCKLEHURST
I do indeed... Come here, child.
You and I must have some talk.
Mr. Brocklehurst has sat down in his chair, and now Jane
moves unwillingly over to him until her face is on a level
with and quite close to his. "The great nose, the long, hard
mouth, the prominent teeth."
MR. BROCKLEHURST
No sight so sad as that of a wicked
child. Do you know where the wicked
go after death?
JANE
They go to Hell.
MR. BROCKLEHURST
And what is Hell?
JANE
A pit full of fire.
MR. BROCKLEHURST
And should you like to fall into
that pit and be burning there
forever?
JANE
No, sir.
MR. BROCKLEHURST
Then what must you do to avoid it?
JANE
I must keep in good health and not
die.
Mrs. Reed and Mr. Brocklehurst exchange a glance.
MR. BROCKLEHURST
But children younger than you die
daily. Only last week we buried a
little child of five — a good
little child, whose soul is now in
heaven. But what of your soul, Jane
Eyre? What of soul?
JANE
(forthright)
I don't see why it shouldn't go to
heaven, too.
MR. BROCKLEHURST
(beginning to get somewhat
annoyed)
You don't see. But others see
clearly enough. Do they not, Mrs.
Reed?
Mrs. Reed nods emphatically. Brocklehurst turns back to
MR. BROCKLEHURST
You have heard the name of Lowood?
JANE
No, sir,
MR. BROCKLEHURST
It is a school for unfortunate
Orphans. My estate lies within a
mile and as Chairman of the Board.
I give much time to its
supervision. Would you like to go
there, little girl?
JANE
You mean... not live here any more?
He nods. Jane's face lights up; then she glances uncertainly
at Mrs. Reed, and back again to Mr. Brocklehurst.
JANE
I don't know what Aunt Reed would
say.
MR. BROCKLEHURST
It was your kind benefactress who
suggested the plan. You wish to go?
JANE
(delighted)
Yes, sir.
As Mrs. Reed sips her tea, we see a hint of satisfaction on
her face.
MR. BROCKLEHURST
(patting her head)
You have made a wise choice - wiser
than you know. And now you must
pray God to take away your heart of
stone and make you meek and humble
and penitent --
He turns to Mrs. Reed.
MR. BROCKLEHURST
And you may rest assured, Mrs.
Reed, that we will do our best to
collaborate with the Almighty.
Mrs. Reed smiles; she and Mr. Brocklehurst understand each
other perfectly. Only Jane does not appreciate what is going
to happen to her.
DISSOLVE TO:
HALL AND STAIRS - EARLY MORNING
Bessie and Jane are descending the stairs. Bessie holds a
candle in one hand and, in the other, a basket containing
Jane's possessions. Jane has a radiant expression on her
face, her thoughts excitedly glued on the future.
JANE
Bessie.
BESSIE
Yes, Jane?
JANE
I never dreamt I'd get away from
here till I was quite grown up.
BESSIE
Won't you even be sorry to leave
your poor old Bessie?
JANE
What does Bessie care for me? She's
always scolding and punishing.
Bessie is hurt by this, and also a little regretful.
JANE
All the same, I'm rather sorry to
be leaving you.
BESSIE
Rather sorry — is that all? And if
I asked you to give me a kiss, I
suppose you'll say you'd rather
not.
By this time they have reached the front door which the
footman, whom we saw in the first sequence, is engaged in
unbolting.
JANE
I'll kiss you and welcome, Bessie.
Bend your head down.
As Bessie bends down ——
BESSIE
You're such a strange, solitary
little thing.
Jane kisses her on the cheek. Bessie is touched. She holds
Jane's small arms, hating to let her go.
JANE
Goodbye, Bessie.
Bessie adjusts Jane's knitted shawl around her shoulders, as
she continues:
BESSIE
You'll think of me now and then,
won't you?
Bessie sees that the shawl needs something to hold it, unpins
a brooch from her bosom.
BESSIE
Here's a keepsake, Jane. It'll help
you remember me.
(she pins it on Jane's
shawl, fastens the clasp)
Be a good girl. And I hope you'll
be happy.
Jane for a moment has been fascinated by this show of love
and generosity. She stares up into Bessie's kindly eyes.
JANE
Thank you, Bessie.
She takes the basket from Bessie.
JANE
Goodbye.
Jane follows the footman outs The CAMERA REMAINS for a moment
on Bessie.
BESSIE
(almost to herself)
Goodbye, Jane.
There is a glint of a tear in her eye. She starts to close
the door.
Jane and the footman walk down the drive, towards the gate.
MED. LONG SHOT OF HOUSE
The door is still open, and Bessie is standing in the
illuminated square of the doorway.
Chinks of light show at the two upper windows.
OF PRINCIPAL BEDROOM
Aunt Reed has also been watching Jane go —— but with
considerable satisfaction. Contentedly, she lowers the
curtains and is hid behind them.
NIGHT - NURSERY WINDOW
John stands there —— wearing an unbecoming nightcap. He also
drops his curtains, yawning contentedly, delighted to have
seen the last of Jane. Over these SHOTS is HEARD the crunch
on the gravel drive as Jane and the footman walk towards the
gate.
LONG SHOT OF GATESHEAD
Jane, near the CAMERA, is just going through the heavy
entrance gates. The turns and faces the now darkened house,
her face large on edge of screen.
JANE
(shouting)
Goodbye, Mrs. Reed. I hate you and
everything about you!
Lights come in the windows again, as though Mrs. Reed and
John had opened the curtains at the noise. There is the SOUND
of a window being thrown up.
JANE
I'll never come and see you when
I'm grown up, and I'll never call
you Aunt as long as I live, and if
anyone asks me how you treated me,
I'll say you are bad and hard—
hearted and mean, and the very
sight of you makes me sick!
She swings the heavy gate with a clang, and disappears.
Like prison bars, it encases the grim silhouette of
Gateshead. The lights disappear from the window again as we --
DISSOLVE TO:
AN ENGLISH MAIL COACH - DAY
Crossing the pleasant English countryside (stock)
It is a bright, crisp spring day, with the sun shining.
We are not yet in the moorland country: on the contrary, the
landscape should, for contrast, be gentle and well
cultivated.
ROOF OF COACH
The coach drives TOWARD THE CAMERA, showing the large
coachman on his box with his many capes -- then the
passengers, horsey young men smoking cigars, a farmer or two,
a red-coated soldier... then, on the last seat, Jane,
clutching the basket containing all her worldly possessions.
The guard is sitting on the same bench, but raised on a
higher cushion, so that he has to lean down a good deal to
listen to Jane. He is blowing his horn when he and Jane get
into CAMERA. The CAMERA STAYS WITH Jane and the guard,
PANNING WITH THEM as coach travels on.
Jane is bubbling over in a state of unwanted elation.
JANE
Yes, and at school I shall have
drawing lessons, and French
lessons, and music lessons, and
history lessons and there'll be
hundreds of other girls to play
with. Oh, when I get to Lowood,
I'll have so many friends!
GUARD
Lowood!
The Guard has recognized the name, and knows Lowood's
reputation. He looks at her and purses his lips, as though
giving vent to an inaudible whistle, picking up his horn as
he does so. Jane is blissfully unaware of his reaction.
GUARD
Lowood.
He gives a violent blast on his horn.
DISSOLVE TO:
LOWOOD - NIGHT - CLOSE SHOT OF A STONE PLAQUE
On it is engraved:
LOWOOD INSTITUTION
HENRY BROCKLEHURST ESQ.
Chairman of the Board of Trustees
GUARD'S VOICE
Here you are. Bin asleep for hours.
The CAMERA PANS OFF SIGN to a CLOSE SHOT of Jane, still
asleep, carried in the guard's arms.
A woman's hand comes into scene and Jane is handed from one
to the other without waking her. Then the guard hands in
Jane's basket and goes.
Then Jane is lifted through the front door which is shut into
CAMERA.
The CAMERA NOW PANS after the guard who is mounting the
coach. In this SHOT we see something of the school, a low
rambling grey stone building occupying one side of screen.
The coach moves on and until it disappears at a bend in the
road which leads over the rolling moors.
We hold for a moment on the bleak desolate landscape no tree
is visible nor any other inhabited house.
DISSOLVE:
CLOSEUP - JANE IN BED - IN LOWOOD DORMITORY - NIGHT
Jane's head tosses and turns in her sleep, as we hear a vague
symphony of the beating of hoofs and the rattle of bits and
the creaking of a coach — the very same -sounds which we have
heard throughout the past sequence and which are still
running through Jane's head.
Where we are, we do not know. All we know is that Jane is
asleep in a bed, wearing a coarse calico nightdress and still
dreaming of her great exciting journey.
Now a shadow seems to pass over Jane's face, the lighting
begins to tell us that it is day - when suddenly the violent
clanging of a loud bell banishes the sound of hoofbeats.
The jangling hell continues. Jane sleepily and contentedly
opens her eyes, Still half—asleep, she is about to shut them
again with equal contentment, when she does what is very
nearly a double take, and quickly sits up.
OVER JANE'S SHOULDER - EARLY MORNING
We see a bleak room, with two long lines of narrow beds, not
more than a foot apart, and between the beds a rough wooden
table with a line of- wash basins.
But what has made Jane start up, is that all the beds are
empty except hers, and at the foot of each stands a - girl
wearing the same standardized nightdress that Jane is
wearing. They stand in an exact line, apparently for a
further order.
Jane leaps up and scuttles to her vacant place in the line.
Another bell rings.
EARLY MORNING — LOW CAMERA SHOOTING DOWN A LINE OF WASHBASINS
The girls are again standing in line, but now each wears
chemise and petticoat. As the SHOT opens, the bell rings
again, and the girls dive for the washbasins.
INT. MAIN HALL REFECTORY SECTION - DAY - CLOSE SHOT
TEACHER (MISS SCATCHERD) AT TABLE
Beyond in the background, are girls with a teacher at each of
the other tables. There are 50 or 60 pupils of all ages from
8 to 20.
Miss Scatcherd is a cold, fish-like creature. She closes her
eyes, clasps her hands, and delivers the following grace:
MISS SCATCHERD
0, Merciful Providence, who of Thy
generous plenty doth give us the
abundant fruits of the field for
our sustenance...
During this, the CAMERA PANS to Jane, who sits a few places
away from Miss Scatcherd at the table,. She is staring in
dismay at the plate before her. CAMERA PANS DOWN to her
plate, on which is a tiny portion of unappetizing food. The
hand of another girl next to Jane comes into the scene and
suddenly scoops most of Jane's portion onto her own plate.
DISSOLVE TO:
CLOSE UP — BROCKLEHURST — SCHOOLROOM - DAY
Speaking to the assembled girls. He is no longer the oily
suave Brocklehurst we met at Gateshead, but the stern,
zealous Evangelical.
BROCKLEHURST
Pupils, observe this child. She is
yet young; she possesses the
ordinary form of girlhood; no
single deformity points her out as
a marked character...
During this speech THE CAMERA MOVES from Brocklehurst, over
the faces of the girls who obediently look in the direction
the CAMERRA IS MOVING with the dull hollow stare of
down—trodden children.
BROCKLEHURST
...Who would think that the evil
one had already found a servant
and an agent in her? Yet, such, I
grieve to say, is the case.
And by now the CAMERA has landed on Jane, who, frightened but
dry—eyed, stands on a stool in the middle of the assembled
girls.
He is addressing some of the older girls who are seem in the
shot.
BROCKLEHURST
Therefore, you must be on your
guard against her, shun her
example, avoid her company, exclude
her from your sports and shut her
out from your converse.
He moves to Miss Scatcherd and the other teachers, and the
CAMERA MOVES with him so that they are now in shot.
BROCKLEHURST
Teachers, you must watch her, weigh
well her words, scrutinize her
actions, and punish her body to
save her soul....
Then he advances on Jane, and the CAMERA again MOVES with him
until it holds a two—shot of him and Jane with an impression
of the girls in the background.
BROCKLEHURST
For it is my duty to warn you and
my tongue falters as I tell it that
this girl, this child, the native
of a Christian land worse than many
a little heathen who says its
prayers to Brahma and kneels before
Juggernaut —this girl is a liar.
SHOT - JANE
Other girls in b.g. fill the screen, all staring at her. Jane
wishes the ground would swallow her.
SHUT OF ROOM -
holding for a moment the tableau of Brocklehurst and Jane as
he stands pointing at her. All eyes are on them and there is
no movement in the room, nor the slightest sound. Suddenly
Brocklehurst turns, picks up his hat and coat, and walks to
the door. There he turns.
BROCKLEHURST
(curtly)
Let her remain upon that stool, and
let no one speak to her for the
rest of the day.
He turns and marches out, slamming the door behind him.
DISSOLVE TO:
SCHOOLROOM — DUSK
It is growing dark in the great deserted hall. Jane stands
all alone on her stool, a small lonely figure, her face
tear—stained and swollen. Into the hall, behind Jane's back
and unobserved by Jane, comes a frail girl of 14 or 15 whose
face we have perhaps already discerned among the students in
the previous scene. This is Helen Burns.
HELEN
I brought you this — from supper.
She holds out a piece of bread. Jane turns; her face is
streaked with tears.
CLOSE SHOT - JANE AND HELEN
JANE
Didn't you hear what he said? He
said you mustn't have anything to
do with me.
(she starts to sob)
HELEN
Go on — take it -
She puts the bread into Jane's hand.
JANE
(through her tears)
I'm not bad, I promise I'm not. And
I hate him, I hate him, I hate him.
HELEN
It's wrong to hate people.
JANE
(with rising passion)
I can't help it. I thought school
was a place where people would love
me. I want people to love me and
believe in me and be kind to me.
I'd let my arm be broken if it
would make anyone love me — or let
a horse kick me — or be tossed by a
bull —
HELEN
Don't say such things --
JANE
(sobbing hysterically)
But I would, I would --
Helen puts her arm around Jane soothingly. She turns Jane's
face to her. Jane looks up into her eyes, and the steady
comforting glance of the older girl begins to calm her.
HELEN
Eat your bread, Jane.
Jane, her eyes still on Helen, slowly raises the bread to her
mouth. As she does so, she sighs convulsively. Then, at last,
a little smile of contentment begins to play over her
features as we
DISSOLVE TO:
LOWOOD — LONG SHUT — DAY - (WINTER)
This is the first time we have seen a LONG SHOT of the school
by day, and we see clearly the wild rolling moors by which it
is surrounded. There is a rough path leading out from the
rear of the rambling buildings, and along this come Helen and
Jane, carrying a large washing basket. As they draw nearer to
CAMERA, it PANS WITH THEM and we see that they are
approaching a high piece of ground on which clotheslines are
erected. On these lines a whole regiment of Holland pinafores
and other articles are hanging, fluttering wildly in the
strong winter wind. This piece of ground is separated from
the rolling moors below by a little cliff about twelve feet
high.
SHOT
The girls set the basket down, and we see that there are more
newly-washed things to be hung up. Helen goes to work at
once, lifting several wet pinafores from the basket, putting
them over her arm — but Jane rubs her chilled hands, then
blows on her fingers. As she does this, she looks off.
JANE
Helen, where does that road go?
HELEN
(lightly)
I told you before. To Bradford.
JANE
But after Bradford.
HELEN
(handing her some of the
pinafores from the
basket)
Derby, I suppose, and Nottingham -
then London.
Helen turns to the line, starts pinning up things.
JANE
(her imagination running
away with her )
And from London to Dover, and
across the sea to France. And then
over the mountains and down to
Italy and to Florence and
Rome...and Madrid.
HELEN
(smiling)
Madrid isn't in Italy, Jane.
JANE
Isn't it?
(crosses to the line,
(starts pinning up things)
Well, that road goes there all the
same. And we'll drive along it one
day, when were grown up — in a
coach and four. Helen, I'll have
beautiful curly hair just like
yours, and I'll have read all the
books in the world...
BELOW CLIFF
This is a little winding country road, along which comes a
young good—looking man on horseback - Dr. Rivers. Seeing Jane
above, he stops his horse.
JANE'S VOICE
And I'll play the piano, - and talk
French, — almost as well as you
do...
FROM HIS ANGLE
The sky behind her, the wind in her hair, quite unconscious
of Dr. Rivers' presence.
ON - DR. RIVERS
He smiles to himself, as though he knew and liked Jane.
DR. RIVERS
Dreaming again, Jane?
He starts his horse forward.
SHUT - OF THE LITTLE CLIFF
Jane at the top of screen, Dr. Rivers passing in the
foreground. Jane turns with a start.
JANE
Oh, Dr. Rivers
DR. RIVERS
I know somebody who's going to
be late for inspection.
She starts to run off. We hear her voice as she goes:
JANE'S VOICE
(calling)
Not this time — I'll beat you
there?
PICTORIAL SHUT
Jane, as she scampers back to the school, Helen following
after her, from which we
SCHOOL HALL - DAY
And the CAMERA IS PANNING with a similar movement over a line
of small girls. As the CAMERA PASSES each girl, she opens her
mouth and sticks out her tongue, says "Ah." This is an old
routine and they know what is expected of them.
As it goes, the CAMERA HAS MOVED BACK a little and shows it
is Dr. Rivers who is going down the line.
Then the CAMERA COMES to Jane, her tongue also protruded; she
is trying to conceal the fact that she is panting heavily.
Dr. Rivers (and the CAMERA) stops.
SHOT - DR. RIVERS
In spite of his official attitude, he cannot help smiling.
TO JANE
She gives him a little shy smile in return, and the CAMERA
MOVES ON.
After two or three more girls the CAMERA reaches Helen. She
coughs and has to pull in her tongue.
RIVERS
That cough doesn't seem any better.
He takes out his notebook and makes a note.
RIVERS
We'll have to take care of it.
Rivers then moves on, past several of the other girls, to the
end of the line where Brocklehurst is waiting. The two men
walk together toward the door, Miss Scatcherd following
obsequiously behind them like an aide-de-camp, the CAMERA
TRUCKING WITH THEM. The girls relax and start to move around
as they are left alone. On the way Dr. Rivers stops at an
open window and closes it.
RIVERS
You keep your schoolroom uncommonly
cold, Mr. Brocklehurst.
BROCKLEHURST
A matter of principle, Dr. Rivers.
Our aim is not to pamper the body
but to strengthen the soul.
RIVERS
I should hardly have thought that
rheumatic fever was any aid to
salvation. But then I am not a
theologian.
He goes, leaving Brocklehurst furious. Brocklehurst pauses a
moment, then suddenly turns back to face the girls. Instantly
all sound and movement cease, and they stand hushed, knowing
that they are in for trouble in Mr. Brocklehurst's present
mood.
MISS SCATCHERD
Mr. Brocklehurst, if I may venture
an opinion...
BROCKLEHURST
(glaring at her)
When I want your opinion, madam, I
shall call for it!
He marches back, followed by Miss Scatcherd, deliberately
reopens the window that Dr. Rivers had closed, and moves on
to the girls. Now it is their turn.
As he walks up the line, they cringe inwardly. He stops in
front of a very little girl.
BROCKLEHURST
Johnson, you poke your chin most
unpleasantly. Draw it in.
The little girl promptly bursts into tears, which
Brocklehurst entirely ignores as he moves on to another
victim.
BROCKLEHURST
(glaring at another
little girl)
Edwards, I insist on your holding
your head up. I will not have you
before me in that attitude.
He moves on, having succeeded in frightening the child half
to death. Suddenly he stops, staring at Helen.
BROCKLEHURST
(in a voice of
thunder)
Miss Scatcherd! Fetch me a pair of
scissors — immediately!
He continues to gaze with venom at Helen, just why we do not
know. A moment later Miss Scatcherd comes running into shot
with the scissors.
BROCKLEHURST
What, may I ask, is the meaning of
this?
(he points)
Why, in defiance of every precept
and principle of this
establishment, is this young person
permitted to wear her hair in one
mass of curls?
MISS SCATCHERD
Her hair curls naturally, sir.
BROCKLEHURST
(raising the scissors
to Helen's head)
Miss Scatcherd, how often have I to
tell you that we are not here to
conform to nature? I wish these
girls to be children of grace.
He shears off in the first movement of the scissors a vast
quantity of Helen's curls.
SHOT - JANE
In the foreground of the shot, Mr. Brocklehurst's hands and
Helen's hair.
Jane is horrified by what Mr. Brocklehurst is doing to her
heroine. One more snip, and she can stand it no longer.
JANE
Please, please, sir, don't do that.
You can cut mine, sir, as much as
you wish, but please --
BROCKLEHURST'S VOICE
(thundering)
Silence!
SHOT - BROCKLEHURST
A frightening shot as he glares down at them.
BROCKLEHURST
So this is the spirit that prevails
at Lowood, - first vanity and then
insurrection.
(with an ominous glance)
It shall be rooted out!
PUNISHMENT YARD - DUSK - RAIN
One edge of the schoolhouse is shown in the SHOT, but we
concentrate on the exercise yard beside it. Marching round
and round the yard through the mud, drenched, weary, but
driven on by fear, are two bedraggled figures — Jane and
Helen. Helen wears a placard with the word "Vain" written on
it. The placard which Jane wears bears the word
"Insubordinate." The rain has already made the ink run. Both
girls, as additional punishment are carrying heavy flat
irons, obliged to hold them at a level with their shoulders.
THE CAMERA PANS with them, and continuing the same movement
leaves them and passes to the front porch of the schoolhouse.
There, Dr. Rivers is just riding up from the opposite
direction, so that he cannot see Jane and Helen. He
dismounts, walks toward the door. Miss Scatcherd opens it
from inside as he approaches.
MISS SCATCHERD
(surprised)
Dr. Rivers.
HALL
Dr. Rivers enters and takes from his pocket a small bottle.
Behind him through a window in the background, we can see the
figures of Jane and Helen still trudging through the rain.
RIVERS
I brought this oil for Helen Burns.
See that it's rubbed on her chest
night and morning.
MISS SCATCHERD
(uneasily)
Helen, Dr. Rivers?
RIVERS
Yes, I'm concerned about her lungs.
I have spoken to Mr. Brockle —-
Rivers breaks off suddenly in the middle of a sentence as he
notices that Miss Scatcherd is looking nervously through the
window, He follows her gaze, with alarm recognizes Helen.
RIVERS
Good heavens, madam!
He takes a step toward the window. Outside, the children have
turned back towards the house, and he can now see their
faces.
RIVERS
(aghast)
What are those children doing in
the rain?
MISS SCATCHERD
It was Mr. Brocklehurst's order.
RIVERS
Bring them in immediately!
MISS SCATCHERD
But what shall I say to Mr.
Brocklehurst?
RIVERS
You can refer Mr. Brocklehurst to
me.
Miss Scatcherd hesitates a moment, looks at him nervously,
then takes a step toward the door, as we
DISSOLVE OUT:
SICK ROOM - NIGHT
We DISSOLVE in on an old—fashioned bronchial kettle.
The CAMERA FOLLOWS the waft of steam as it floats to where
Helen Burns is lying in bed. Beside her stand Rivers and
Brocklehurst.
This, is a bare attic room, furnished with nothing but
Helen's narrow bed, a chair and a table, on which stand a
lamp and the steam kettle boiling away over a spirit lamp.
The clouds of steam are back-lighted by a candle by the bed.
Rivers, who has finished examining Helen, packs away his
instruments in a black bag. Helen stirs restlessly.
BROCKLEHURST
With your leave, Doctor, I will
offer up one more prayer.
He kneels down. Rivers throws him a glance and deliberately
leaves the room, the CAMERA PANNING WITH HIM.
BROCKLEHURST'S VOICE
Almighty God, look down upon this
miserable sinner and grant that the
sense of' her weakness may add
strength to her faith and
seriousness to her repentance...
LANDING
The sick room is situated where two corridors join at right
angles. One of these is quite dark; the other is illumined by
a night light on a shelf, not far from the sick room door.
Rivers comes out and stands waiting for Brocklehurst. His
face is grave. A moment later Brocklehurst comes out, a
sanctimonious expression on his face. He carries the candle
in his hand.
BROCKLEHURST
(sighing as they walk
forward)
The ways of Providence are
inscrutable, Dr. Rivers.
RIVERS
Was it Providence that sent that
poor girl to get drenched in the
rain?
BROCKLEHURST
Dr. Rivers...
RIVERS
(with mounting
indignation)
Was it Providence that ordered her
to her death? Yes, to her death,
Mr. Brocklehurst.
The CAMERA HAS PANNED WITH THEM and now as they walk out of'
SHOT, the light of the candle falls on a pale little figure
crouching in the shadows of' the cross corridor.
THE CAMERA REMAINS ON HER - it is Jane, barefooted and in her
nightdress. Her expression of horror tells us that she had
heard what has been said.
The footsteps die away. Then Jane runs hastily to the door
of' the sick room, and goes in.
ROOM NIGHT (MOONLIGHT)
Jane steals over to the bed. Her expression is one of anxiety
and distress.
JANE
Helen...
There is a silence. Jane speaks again, more anxiously.
JANE
Helen!
Helen turns, and as she sees Jane, her face lights up with
pleasure.
JANE
(reassured)
Oh, I'm so glad. I heard Dr. Rivers
say -- I was afraid.
HELEN
(quietly)
There is nothing to be afraid of.
I'm not afraid, Jane.
JANE
(realizing by this that it
is true that Helen is
about to die)
Helen! Helen!
HELEN
(calming her, almost
maternally)
You must be cold, Jane. Lie down
and cover yourself with my quilt.
Jane, crying bitterly, gets into bed beside her.
HELEN
Don't cry, Jane. I don't want you
to cry.
JANE
(childishly)
But we were going to see the world
together - and drive in that lovely
coach and four...
HELEN
You'll have to see the world for
me...all the places I didn't see.
And I'll look down and watch you.
JANE
(momentarily excited by
the idea)
And, I'll think of you all the time
- I really will, Helen.
Helen starts to coughs
HELEN
It's time you went back to bed.
JANE
(miserable again)
Don't send me away, please don't
send me away.
Helen hesitates.
HELEN
(smiling)
All right.
Jane contentedly lays her head on Helen's shoulder and
prepares for sleep. There is a pause, then:
HELEN
Are you warm now?
JANE
Yes.
HELEN
Goodnight, Jane.
(she kisses her)
JANE
Goodnight, Helen.
She momentarily opens her eyes as Helen kisses her, notices
Helen's shorn head.
JANE
(murmuring sleepily)
I do wish they hadn't cut your
hair.
A moment later she is asleep. Helen folds her to her as
though it were Jane who was sick.
DISSOLVE TO:
ROOM — MORNING
Two hands — Jane's and Helen's — are clasped on the coverlet
— lit by the morning sunlight which streams through the
window. Throughout the scene we show nothing but these two
hands.
Jane's hand moves.
JANE
(making an effort to
control her tears)
I'll try.
RIVERS
That's right. And don't forget; the
harder you try, the more God will
help you.
A silence. Jane stares straight before her.
RIVERS
Come now, Jane, let me take you
back.
JANE
(suddenly excited and
passionate as before)
No, no, I can't go back to school.
I'll never go back. I'll run away.
I'll...
RIVERS
(laying a restraining hand
on her shoulder)
Jane.
(she stops)
You know what duty is, don't you?
Duty is what you have to do, even
when you don't want to-do it. I may
not want to go out in a snow storm
to visit a sick child; but I know
that I have to go -— because it is
my duty. And now what is your duty,
Jane?
JANE
I...I don't know.
RIVERS
Yes, you do, Jane. In your heart
you know very well. Your duty is to
prepare yourself to do God's work
in the world. Isn't that true?
(she nods)
And who can do God's work -- an
ignorant woman? Or an educated one?
You know the answer to that. And
where can you get an education?
There?
JANE
(in a whisper)
At school.
RIVERS
Precisely. So you know that you I
have to go back to school even
though you may hate the very
thought of it. Isn't that true?
She hesitates; then at last reluctantly nods her head.
JANE
Yes...I suppose it is true.
River's rather stern face is suddenly transfigured by a smile
of affectionate tenderness, he puts his arm round Jane and
squeezes her close to his side.
RIVERS
Good, Jane, good.
He rises and swings her down from the tomb.
RIVERS
And now here's another thing to
remember. It's always in
everybody's power to make the best
of a bad job, or to make the worst
of it Which do you choose, Jane'?
JANE
To make the best of it, Dr. Rivers.
She smiles up at Rivers and he smiles back. Then he takes her
hand and they walk together out of the churchyard and along
the road into the setting sun, as we
FADE IN
INSERT — SCHOOL REPORT - TEACHER'S ROOM - DAY
The words "Lowood Institution. Pupil's Report" are printed at
the top of the page. Beneath is written in fine copperplate
writing:
Name..........Jane Eyre
Admitted....,.Jan, 18th, 1829
Appearance... .Unprepossessing
Character.... .Sad
We begin to hear Brocklehurst's voice:
BROCKLEHURST'S VOICE
True, gentlemen, we had some
difficulties at the beginning, - a
very stiff—necked and evil child.
His hand has entered the SHOT and begins to turn successive
pages of the report. Each represents and we have only time to
see the bold figures at top of each sheet, 1830, 1831,
1832...
BROCKLEHURST'S VOICE
But Eyre has been with us ten
years...
CLOSE SHOT - BROCKLEHURST
He is older now and his glossy side whiskers are now
noticeably grey. He continues to turn over the remainder of
the sheets as he speaks with a certain grim emphasis.
BROCKLEHURST
...and in those ten years it has
been granted me to plant her feet
in the path of salvation.
He looks round the room.
LONGER SHOT
Showing Brocklehurst at the head of a table, at which sit
four middle—aged and elderly gentlemen, local squires and
parsons who are the Trustees. We have the impression of four
not very bright men who are not very interested in the asylum
and are perfunctorily doing their duty.
A TRUSTEE
(glancing at his watch)
I suppose we ought to see her?
BROCKLEHURST
I intended that you should. Let
Eyre be brought in.
Miss Scatcherd gets up and crosses the scene in the direction
of the door.
BROCKLEHURST
I need not remind you of the
advantages of appointing one of our
own pupils as teacher. An outsider
would have to be paid twice as
much.
During this we hear the sound of Miss Scatcherd's voice's
calling "Eyre! Eyre!"
SHOOTING PAST THE TRUSTEES
Through the door at the further end of the set, Miss
Scatcherd ushers in Jane, now a young woman in her late
teens.
As she is walking to the foot of the long table, Brocklehurst
speaks to the Trustees, who are looking at Jane as at a slave
in a slave market.
BROCKLEHURST
Eyre, this is a solemn moment.
Little did I imagine that the
unregenerate child I received into
this institution would grow in ten
short years to become a teacher.
(Jane looks at him in
surprise)
Yes, a teacher, for that is the
honour which the Trustees, at my
recommendation, have now bestowed
upon you. Your wages will be twenty
guineas per annum, of which only
ten will be withheld for board and
lodging, for spiritual instruction
and for laundry.
(dismissing her as he
turns away)
Your duties will begin on the first
day of the new term.
BROCKLEHURST AND THE TRUSTEES
excluding Jane. Brocklehurst rises, saying to the Trustees:
BROCKLEHURST
I need detain you no longer,
gentlemen.
THE TRUSTEE
(who is anxious to get
off)
Capital! Capital!
Brocklehurst opens the door which is just behind them, and
very much under his thumb, they begin to file out.
CLOSE SHOT - JANE
We see that she has not gone, and on her face is a strange
expression, which presages that everything is not concluded.
BROCKLEHURST'S VOICE
Good—day to you, gentlemen.
Good—day.
BROCKLEHURST
As the Trustees go out, Miss Scatcherd enters, hands
Brocklehurst a pile of letters.
The post, sir..
MISS SCATCHERD
He takes them without a word and
Miss Scatcherd goes, closing the
door.
Brocklehurst glances up from the letters to see in surprise
that Jane is still there.
BROCKLEHURST
That is all, Eyre.
He looks down again at the letters.
JANE
I cannot accept your offer, sir.
BROCKLEHURST
And why not, pray?
JANE
I do not wish to stay at Lowood.
BROCKLEHURST
This is unheard of. The
ingratitude, the black ingratitude.
JANE
What have I to be grateful for? Ten
years of harshness and drudgery...-
BROCKLEHURST
(interrupting)
Silence!
Jane obeys; but continues to look him unflinchingly in the
eye.
BROCKLEHURST
Stiff—necked as ever. I see that I
have been sadly deceived in you.
He sits down, leans back in his chair and deliberately
crosses one leg over the other, assuming the attitude of an
all—powerful police magistrate examining a criminal. Jane
remains standing.
BROCKLEHURST
And where may I ask, do you intend
to go?
JANE
Out into the world, sir.
BROCKLEHURST
(sarcastically smiling)
Out into the world.
(with a sharpening of his
tone)
And do you know how the world
treats young paupers, without
friends or connections?
JANE
I intend to find a position as a
governess.
BROCKLEHURST
How, may I ask?
JANE
I have advertised in a newspaper.
BROCKLEHURST
(drily)
And doubtless you have been
overwhelmed with demands for your
services?
Jane hesitates, then answers, faltering a little.
JANE
No, sir.
BROCKLEHURST
(smiling triumphantly)
And you never will be. You have no
talents, your disposition is dark
and rebellious, your appearance is
insignificant. It is folly to dream
of such a position.
Convinced that the matter is settled, he returns to his
letters. Glancing over them, he is about to open one, reads
the address, hesitates, then turns to another one.
It is a hesitation which he has tried to conceal but Jane has
noticed it.
BROCKLEHURST
Come, Eyre, I am not a vindictive
man. The position I offered is
still open to you.
He looks at Jane expectantly; but she stands staring at the
letter over which Brocklehurst has hesitated, wondering if it
is for her.
BROCKLEHURST
Eyre, if you reject my generosity,
mercy must give place to righteous
indignation, and the gates of
Lowood be closed, against you
forever. For ever, do you
understand?
Jane looks again at the letter. Then decides to take a
chance.
JANE
I am leaving Lowood, sir.
Brocklehurst walks angrily from the room.
The moment he has gone, Jane races across to the letter about
which Brocklehurst has hesitated.
THE CAMERA SWOOPS DOWN to an insert of the address.
Miss Eyre
Lowood School
Yorkshire.
The letter is pulled out of Shot.
CLOSE SHOT — JANE TEARING IT OPEN
As she reads excitedly, there creeps in the voice of an old
lady, distant and slightly distorted.
MRS. FAIRFAX'S VOICE
If Jane Eyre who advertised in the
Yorkshire Herald of last Thursday
possesses the requirements
mentioned, a situation can be
offered her where there is but one
pupil, a little girl...
SOUND and picture
DISSOLVE TO:
ROAD OUTSIDE CHURCHYARD - EARLY MORNING
Jane and Dr. Rivers are sitting at the ancient tomb where
they sat ten years earlier when she was a little girl.
For the first time we see Jane dressed as a woman in bonnet
and cloak. She carries a travelling basket.
RIVERS
If you weren't what you are, I
would never have written that
letter of recommendation, Jane. On
the contrary, I'd have begged you
to accept Brocklehurst's offer and
stay at Lowood.
The coach horn SOUNDS and the noise of hoofs and wheels is
heard approaching. Rivers bends down and picks up Jane's
basket, continuing to speak as he stands up.
RIVERS
It's not every young woman that can
face the world single-handed. But
you've got a head on your
shoulders, Jane, and courage in
your heart.
NEW SHOT
The coach enters shot, the guard jumping down to open the
door.
GUARD
Look lively, miss,
RIVERS
(to her at window)
Best of all, you know what right
is, and you'll stick to it through
thick and thin.
He takes her hand. There is the SOUND of a coach horn and the
coach moves on.
LONGER SHOT
The coach galloping off, with Rivers in the foreground
watching it until at last it finally disappears round a bend
in the road. Only the length of time that he watches the
coach hints to us of his interest in same.
DISSOLVE:
EXT. OF A COUNTRY INN - NIGHT
A bleak, bitter Dickensian night. The SOUND of a coach horn
is heard, and then out of the mist gallops the mail coach.
In the few seconds before it has come to rest in the patches
of light streaming from the inn windows, ostlers, waiters and
intending passengers have rushed out from the inn and all is
suddenly bustle and confusion.
JUST INSIDE THE INN DOOR
The alighting passengers stream in, passing in CLOSE SHOT
PAST CAMERA —- we see the different types —— a couple of
burly cattle merchants doing a deal.
"Forty pounds is the limit." "Make it guineas" —— a
red—coated dragoon officer in full uniform —- an elderly
gentleman wrapped in shawls and delighted to be in out of the
cold, calling for drinks --
Last of all comes Jane Eyre, looking very strange in a neat
new bonnet and cloak. In her hands is a traveling basket
which contains her worldly goods.
For a moment she stands, not knowing what to do, as behind
her, through the glass fronted inn door, we see the mail
coach starting off again. This is the first time she has been
inside an inn, the first time she has been out of Lowood.
A waiter enters to the bar beside her, and Jane with an
effort plucks up enough courage to speak to him.
JANE
Can you tell me if there's anyone
here from Mrs. Fairfax at
Thornfield Hall?
WAITER
Not that I've heard of, ma'am.
He is loading tankards of beer on to his tray and speaks
without looking around.
WAITER
Take a seat in the coffee room and
I'll enquire.
He indicates the direction with a wave and Jane, a little
hesitantly, moves forward.
As she exits from SHOT, the CAMERA REMAINS ON the waiter, but
now shows also the man next to him at the bar, a dashing
looking fellow smoking a cheroot. He watches Jane go,
admiringly.
YOUNG MAN
Who's the young lady, Sam?
WAITER
Couldn't say, sir.. Came in by the
coach.
He is about to leave with his tray.
YOUNG MAN
Give her my compliments, and ask
her if she'd care for a glass of
Madeira.
COFFEE ROOM
This room, only a few yards away, is separated from the bar
by an arch. It has a double row of the old-fashioned "boxes".
In the first of these Jane is sitting, trying to look at her
ease. The others are filled with coach passengers, eating a
late dinner.
The waiter enters to Jane.
WAITER
Gentleman there sends his
compliments. Asks if you'd care to
take a glass of something with him.
JANE
(startled)
Me? Oh no thanks, I don't ever take
wine.
As Jane is giving a nervous glance in the direction of the
dashing young gentleman, an elderly rustic-looking coachman
comes through the coffee room and speaks to the waiter in a
broad, north country accent. This is John, the Thornfield
coachman.
JOHN
Anyone here by the name of Eyre?
Jane jumps up.
JANE
Yes. I'm Miss Eyre. Are you from
Thornfield?
John looks at her doubtfully before answering.
JOHN
You're not the new governess, are
you?
JANE
Yes.
JOHN
(he looks at her again,
shakes his head and
grunts disapprovingly)
Humph.
(he looks down at Jane's
traveling basket on the
table)
This all your luggage?
JANE
Yes.
John picks up her basket and walks towards the door, leaving
Jane to follow, the CAMERA PANNING with her.
As they pass the bar, the dashing young man embarrasses Jane
by a courtly bow.
But in a moment she is safely out of the door and getting
into the open trap from Thornfield which is drawn up outside.
As the inn door swings closed, we —
DISSOLVE TO:
SERSEN LONG SHOT
We see at one side of the screen the suggestion of a village
inn, and the carriage drives across screen away from it.
DISSOLVE TO:
SERSEN LONG SHOT - MOORS
The carriage rattles over the low humped bridge.
SERSEN LONG SHOT
Extreme long shot of moors. The carriage continues its way
along a horizon line low on the screen.
SERSEN LONG SHOT - THORNFIELD HALL
On one side of screen we see the profile of a vast tower and
the suggestion of the mass of the hall.
Low on the screen the silhouette of the carriage is seen to
arrive and the coachman and Jane cross to the hall, tiny
figures. There is the SOUND of the chain being loosened and
bolts withdrawn and a door opens. As it does so a streak of
light illuminates the tiny figure of Jane. We hear the
distant voices of Leah and the coachman.
LEAH
What is it?
COACHMAN
Don't be a fool, Leah. It's the new
governess.
He walks back to the carriage and Jane walks to Thornfield.
Hall and enters. We HEAR the SOUND of the carriage
disappearing.
THE HALL (ALREADY SHOT)
Jane enters.
LEAH
I'll tell Mrs. Fairfax you're here.
Leah leaves the lamp on the table in the hall, and her steps
echo down the stone corridor.
Jane looks around her. The lamp on the table is the only
illumination, and in the half—light the hall is more
frightening than it will ever be again.
It is a huge, square room, so high that the ceiling is only
dimly seen, and the great staircase disappears into utter
darkness.
HALL (ALREADY SHOT)
Jane suddenly hears footsteps echoing back along the stone
corridor and prepares to give a good impression to her
employer.
A light is seen coming down the passage. As it approaches, it
illuminates the round, elderly figure of Mrs. Fairfax.
MRS. FAIRFAX
How do you do, my dear. I'm afraid
you've had a tedious journey. I'm
Mrs. Fairfax.
(she shakes Jane's hand)
Why, your hands are like ice. I'll
take you straight to your room.
(she picks up the lamp and
moves toward the stairs)
We've got a nice, bright fire for
you there, and Leah's taken the
chill off your sheets with the
warming pan.
They move up the stairs, Jane carrying her traveling basket.
MRS. FAIRFAX
You know, dear, I'm so glad you've
come. Living here without any
company but the servants -- it's
none too cheerful, I can tell you.
I declare, not a living creature
but the butcher and the postman has
come to the house since the hard
weather set in. I really get quite
mopish and melancholy, sitting
alone, night after night.
GALLERY AND CORRIDOR
By this time they are at the head of the stairs, and the
candle illuminates a long gallery, with doors opening into it
to left and right.
JANE
Shall I have the pleasure of seeing
Miss Fairfax tonight?
MRS. FAIRFAX
(turning with a puzzled
look)
Miss Fairfax? Oh, you mean Miss
Adele.
JANE
Isn't she your daughter?
MRS. FAIRFAX
Oh, gracious, no! Adele is French.
I have no family. No family at all.
Now they are passing the door to Mr. Rochester's room. A maid
is just coming out with a coal skuttle and Jane can see a
cheery room inside with the fire going and a pair of slippers
put out on the hearth.
MRS. FAIRFAX
That's Mr. Edward's room... He's
abroad, of course, but I always
keep it ready for him. His visits
are always so sudden and
unexpected. A wanderer on the face
of the earth —— that's what Mr.
Edward is, I'm afraid.
JANE
Mr. Edward? Who's Mr. Edward?
MRS. FAIRFAX
Why, the owner of Thornfield, of
course.
JANE
But I thought this was your
house...
MRS FAIRFAX
Mine? Bless your soul, child, I'm
only the housekeeper. Thornfield
belongs to Mr. Edward Rochester,
and little Adele is his ward.
Mrs. Fairfax now indicates a room across the passage.
MRS. FAIRFAX
And now here's your room, my
dear...
She opens the door and leads the way into Jane's room.
JANE'S ROOM
This is a small room, and makes a considerable contrast to
the main guest chambers which we shall see later.
It is of interesting shape, for it is at the corner of the
building and incorporates a section of the circular tower.
Mrs. Fairfax and Jane enter.
MRS. FAIRFAX
It's quite small; but I thought
you'd like it better than one of
the large front chambers.
JANE
(delightedly gazing
around)
It's a beautiful room. But then the
whole house is beautiful.
MRS FAIRFAX
It is indeed. And it has belonged
to the family time out of mind.
Well, good night, my dear.
JANE
(stopping her)
Mrs. Fairfax, I can't imagine how
anyone would ever want to go away
from it...
(she looks around again)
...Not for a minute.
MRS. FAIRFAX
(looks at her quietly a
peculiar expression in
her eyes)
It is strange. But you'll find,
Miss Eyre that in many ways Mr.
Edward is a strange man.
Mrs. Fairfax goes, closing the door.
Jane looks after her, then takes off her bonnet, looking
around with a delighted air.
DISSOLVE:
LONG SHOT - THORNFIELD - NIGHT
A storm has risen and the wind blows clouds across the sky. A
light which is in one of the windows, is extinguished,
leaving the house in darkness.
DISSOLVE:
CLOSE SHOT - JANE IN BED
Suddenly the howling of the wind turns into what seems to be
a woman's laugh. Jane stirs restlessly.
JANE IN BED
We are now shooting through the window which frames the shot.
Once again we hear the eerie sound — then the CAMERA suddenly
rises up the outside of the building to the apparent source
of the commotion; jackdaws cackling and rising in flight from
the battlements.
FADE IN
NEXT MORNING
We are shooting out through Jane's window which frames the
shot and we see out of this window the other wings of the
house and the moor beyond. It is a bright, sunny morning, and
the cheerfulness of the shot is accentuated by the sound of a
musical box.
SHOT OF JANE IN BED
She is asleep. We still continue to hear the musical box. THE
CAMERA DRAWS BACK a little, and we see that Jane is in her
four-poster bed with the curtains more or less completely
drawn, so that she is cut off from the outside world.
She wakes up, looks around her in wonderment, and sees
standing on the bed, a musical box, on which a couple of
quaintly dressed wooden dolls (one in a ballerina's costume,
the other in military uniform) are jigging away under the
action of the same clockwork as is producing the music. As
she does so a peal of childish laughter is heard.
Drawing the curtains aside, Jane looks out and sees a little
girl of seven or eight, Adele, who curtsies to her and
speaks.
ADELE
Bon jour, mademoiselle!
Adele points to the doll dressed as a ballerina, which is
still bobbing and twirling away, while the music tinkles on.
ADELE
Mama had a dress like that,
mademoiselle. Only she could dance
much more beautifully. I can dance,
too. Do you wish to see?
JANE
(amused)
Now? This very moment?
ADELE
(suddenly miserable) )
Now you speak like Monsieur
Rochester. For him it is never the
right moment. Mais jamais!
Jane stretches out her hand to the little girl.
JANE
(smiling)
Come here.
Slowly, still doubting, Adele comes within Jane's grasp. Jane
puts her arms around her.
JANE
Your name's Adele, isn't it?
(the little girl nods)
Well, Adele, do you know what I was
just thinking? I was thinking that
never in my life have I been
awakened so happily!
As she smiles at the child, and now quickly the child smiles
too.
DISSOLVE TO:
INT. DRAWING ROOM - DAY
Adele is dancing. The CAMERA DRAWING BACK shows Jane playing
the piano. She completes a pirouette and makes a formal
curtsey.
ADELE
You like that, mademoiselle?
They walk together towards the library.
JANE
Very much, Adele.
ADELE
A great many gentlemen and ladies
came to see mama, and I used to
dance before them. Or sit on their
knees and sing to them. I liked it.
JANE
Indeed? And where was that?
ADELE
In Paris. We live always in Paris.
But then when mama had gone to the
Holy Virgin...
(she crosses herself)
Monsieur Rochester came and took me
across the sea in a great ship with
a chimney that smoked and I was
sick.
Adele is laboriously working on a simple addition sum which
Jane has written on the blackboard. As an evident distraction
she turns to Jane.
ADELE
Do you like Monsieur Rochester?
JANE
I've not met him yet.
ADELE
(walking to chair)
This is his chair. He sits here and
stares into the fire, and frowns
like this.
She suits the action to the word.
JANE
Is he as bad as that?
ADELE
Twice as bad. I cannot make how bad
he is.
JANE
But I'm sure he's very kind to you.
ADELE
Oh sometimes he brings me beautiful
presents. But, when he is angry -
that's terrible, but terrible.
Jane looks at her in surprise and with a little apprehension
as we
DISSOLVE TO:
INT. ADELE'S BEDROOM - NIGHT
A large ancient room adjoining a nursery, in which the
child's bed and small-scale furniture looks incongruously
minute. The set heightens our sense of grandeur and
strangeness.
Adele in her nightgown is kneeling on her bed, saying her
prayers. Jane stands waiting for her to finish. She has her
cloak on her shoulders and her bonnet in her hands.
ADELE
...and may the Holy Virgin give me
grace. And God bless Monsieur
Rochester.
(she looks at Jane)
and make him polite to mademoiselle
so that she will stay with me for
ever and ever. Amen.
As Jane smiles, we
DISSOLVE TO:
LONG SHOT - EXT. THORNFIELD - MOONLIGHT
Out of the ruins of the old retaining walls a little distance
in front of Thornfield Hall and to the right, grows a wild
garden.
Jane, her figure silhouetted in the moonlight, is leaving the
edge of this garden and walking out toward the moors. She
wears her bonnet and black merino cloak.
DISSOLVE TO:
LONG SHOT - MOORS - MOONLIGHT - LOW MIST IN FOREGROUND
(LOW CAMERA SETUP, shooting from shallow valley in low mist,
toward crest of moors)
Jane's small figure, strolling over the moors, appears at the
crest of the hill. The wind swirls leaves up around her feet.
In the distance the SOUND of church bells tolling.
Then Jane turns, descends from the crest of the moors toward
the CAMERA and into the valley. The SOUND of the wind dies
away; the mist clings to her garments and becomes opaque in
patches.
Suddenly Jane hears the clatter of horse's hoofs. She looks
around, alarmed as they come nearer, trying to determine
where the horse is coming from; but she cannot see through
the mist. The hoof beats come closer and closer. Jane runs to
one side.
Suddenly a huge mastiff springs from the mist, close to Jane.
She is scared to death and jumps aside. An instant later a
large black horse charges out of the mist, so close to Jane
that he rears in fright at the sight of her.
CAMERA PANS UP - leaving Jane out of SHOT - on the rearing
horse and its dark-clad rider, whose face is obscured. Down
they fall, out of SHOT, away from CAMERA, now completely
engulfed by the swirling mist.
CAMERA PANS DOWN AGAIN TO JANE. She stands a moment trying to
discover what has happened, then rushes forward, CAMERA WITH
HER. As she does, we hear the voice of the fallen rider - a
man's voice - cursing angrily:
VOICE
Devil take it! Silence, you
misbegotten hellhound!
The dog bays loudly, to add to the confusion. Jane, now at
the spot where the horse and rider have fallen, stops in a
CLOSE SHOT with her back to the CAMERA.
Now, just a few feet in front of her, the rider rises from
the mist. He wears a riding cloak, fur-collared and steel
clasped. His is a dark face with stern features and a heavy
brow.
CLOSE SHOT - JANE - (OVER ROCHESTER'S SHOULDER)
JANE
Can I do anything? -
ROCHESTER
Just stand out of the way, that's
all.
As Jane steps back, Rochester turns and comes beside her, so
we are now in a TWO SHOT. With much heaving, stamping and
clattering, accompanied by much barking and baying from the
dog, the horse is finally got back on its feet.
ROCHESTER
(shouting at dog)
Down, Pilot! Down!
He stoops, feeling his foot and leg, as though to see whether
they are sound.
JANE
I'm sorry if I frightened your
horse.
The man doesn't answer; he tries his weight on his injured
leg and limps painfully to the side of the road, where he
sits down.
ROCHESTER
Apologies won't mend my ankle.
He tries to stand up, and with an exclamation and a twinge of
pain, sits down again.
ROCHESTER
(aware of Jane's scrutiny -
sharply)
What are you waiting for now?
JANE
I can't think of leaving you till I
see you are fit to ride.
ROCHESTER
(looks at her)
Hmm. You've a will of your own.
Where do you come from?
JANE
From Mr. Rochester's house just
below.
ROCHESTER
You know Mr. Rochester?
JANE
No, I have never seen him.
Rochester stops, examining her - her black merino cloak and
black beaver bonnet.
ROCHESTER
(doubtfully)
You are not a servant at the
Hall... You are -—
JANE
(after a pause)
I am the new governess.
ROCHESTER
Oh -- the new governess...
He continues to look at her curiously. Then suddenly he
attempts to rise, and once more gives a sharp gasp of pain.
ROCHESTER
(lays a heavy hand on her
shoulder)
Well... necessity compels me to
make you useful.
Using her to support himself, he limps forward. The horse
knowing him, does not move away. He catches, the bridle and
then, with a grimace of pain, mounts. Now he is in the
saddle.
ROCHESTER
(he points)
Now, just hand me my whip.
Jane stoops down, and after a moment straightens up with the
whip in her hand. She hands it to him.
ROCHESTER
Thank you. Now kindly get out of my
way.
He spurs his horse, which starts, rears, then bounds away,
the dog following. A moment later, all three vanish in the
mist. Jane looks after them a moment then turns away and
bends down and picks up her which she left on the side of the
road.
By the time she has picked it up and again turned in the
direction in which they vanished, even the barking of the dog
and the SOUND of' the hoof's has died away.
DISSOLVE TO:
EXT. THORNFIELD - NIGHT
Jane crosses from the drive and walks slowly up the steps to
the front door.
CLOSE SHOT FROM INSIDE DOOR
As the heavy door opens, we see Jane's face. It is quiet and
thoughtful. Suddenly it changes to startled amazement as she
sees....
THE NEWFOUNDLAND DOG, PILOT
advancing towards her, wagging its tail.
JANE
baffled by the discovery.
At this moment Mrs. Fairfax comes bustling in from the
drawing room, followed by Adele, who is in her dressing gown.
Through the open door of the drawing room, we see Leah
pulling the dust covers off the furniture, and a housemaid
lighting the fire.
ADELE
Mademoiselle!
She rushes to Jane.
MRS. FAIRFAX
Quick, dear! Off with your things.
He's been asking to see the new
governess.
JANE
Who has?
MRS. FAIRFAX
Why, Mr. Rochester, of course.
(she helps Jane off with
her cloak)
Rode in on us suddenly, without
warning — and in such a vile
humour. It seems he had an
accident. I don't know what to do.
He won't let me send for the
doctor.
Without leaving Jane time to compose herself, Mrs. Fairfax
pushes her towards the library door. Adele follows, with
Pilot. Mrs. Fairfax knocks. Rochester's voice says, "Come
in."
MRS. FAIRFAX
Goodness, your bonnet.
She snatches the bonnet which Jane is still absent-mindedly
holding, and throws it on to a chair; then opens and
announces.
MRS. FAIRFAX
Here is Miss Eyre, sir.
Jane starts into the library. The others follow.
LIBRARY
They enter. Rochester is seated in the high-backed chair
facing the fire. We see only his injured foot, stretched out
on a stool. Then his hand comes out and points to a chair.
ROCHESTER
Let Miss Eyre be seated.
Jane sits nervously on the edge of the chair indicated. She
is so placed that she cannot see him. There is an
uncomfortable silence...then Adele,who has been standing with
her arm around Pilots neck, tiptoes up to the chair and peeps
around into its recesses.
ADELE
When shall I have my presents,
Monsieur Rochester?
ROCHESTER
When you deserve them.
ADELE
And when will I deserve them?
ROCHESTER
When you stop asking for them.
Adele looks at him, seems about to speak, then puts her hand
over her mouth. Mrs. Fairfax now tries to make conversation.
MRS. FAIRFAX
I was just telling Miss Eyre about
your unfortunate accident, sir.
ROCHESTER
(gruffly)
Madame, I have the impression that
it is time for you to take Adele
back to bed.
MRS. FAIRFAX
Yes, sir.
She rises, beckons to Adele, who goes to her. They leave the
room in silence.
The silence is prolonged, evidently to Jane's discomfort.
Finally Rochester turns to Jane, and she sees him clearly for
the first time.
ROCHESTER
(glowering)
Well, Miss Eyre, have you no
tongue?
JANE
I was waiting, sir, until I was
spoken to.
ROCHESTER
Very proper. And next time you see
a man on a horse, don't run out
into the road until he has passed.
JANE
I assure you, sir, it was not
deliberate.
ROCHESTER
(feeling his leg)
It may not have been deliberate but
it is none the less painful.
Rochester takes a cigar from a box and lights it at the
candle.
ROCHESTER
Miss Eyre, where do you come from?
JANE
From Lowood Institution, sir.
ROCHESTER
Lowood - what's that?
JANE
(embarrassed)
It is a charity school. I was there
ten years.
ROCHESTER
Ten years? You must be tenacious of
life. No wonder you have rather the
look of another world. I marveled
where you had got that sort of
face. When you came on me in the
mist, I found myself thinking of
fairy tales. I had half a mind to
demand whether you had bewitched my
horse. Indeed, I am not sure yet.
Who are your parents?
JANE
I have none, sir.
ROCHESTER
And your home?
JANE
I have no home.
ROCHESTER
Who recommended you to come here?
JANE
I advertised, and Mrs. Fairfax
answered the advertisement.
ROCHESTER
And you came post haste to be in
time to throw me off my horse!
Well, what did you learn at Lowood?
Can you play the piano?
JANE
A little.
ROCHESTER
Of course; that is the established
answer. Go into the drawing room —-
(catching the look of
revolt in Jane's face)
I mean 'if you please' - excuse my
tone of command, I'm used to saying
"Do this!" and it is done; I cannot
alter my customary habits for one
new inmate; take a candle with you;
leave the door open; sit down at
the piano, and play a tune.
Jane rises, takes a candlestick from one of the consoles,
goes to the communicating door into the drawing room. We
follow her into the dark room.
DRAWING ROOM
She begins to play moderately well, an early nineteenth
century piece. There is something rather moving in the
simplicity of the piece and the unpretentious way it is
played.
Suddenly Rochester's voice is heard from the next room.
ROCHESTER'S VOICE
Enough!
Jane stops, a little angry at Mr. Rochester's rudeness,
closes the piano, picks up her candle and goes back into the
library.
LIBRARY
Mr. Rochester speaks as Jane appears in the doorway.
ROCHESTER
You play "a little," I see; like
any other English schoolgirl.
Perhaps rather better than some,
but not well. And now -- goodnight,
Miss Eyre.
He turns away and stares into the fire. Jane, unused to Mr.
Rochester's behavior, is still a little angry, and surprised
at this sudden dismissal.
She moves to the door.
JANE
Goodnight.
She leaves. The CAMERA PICKS OUT A CLOSEUP of Mr. Rochester
at the fireplace. As the door closes, he smiles. We realize
that he has been deliberately playing up Jane for his own
quiet amusement.
DISSOLVE TO:
JANE'S ROOM - LATE THAT NIGHT
Jane is seated at the dressing table, combing her hair.
Suddenly the silence is broken by the SOUND of demoniac
laughter, ending in a shout. Jane turns, startled, and
listens. A moment later, the SOUND of footsteps hurrying
along the corridor outside Jane's door is heard. Jane
hesitates another moment, then rises, wraps her dressing gown
closely around her, goes to the door, half opens it, and
looks out.
LANDING FROM JANE'S ANGLE
Mrs. Fairfax is standing at the door leading to the Old Wing.
The door is partly open, and through the opening Mrs. Fairfax
is talking to a middle-aged woman, whose face we see,
illuminated from below by Mrs. Fairfax's candle. Mrs. Fairfax
stands with her back to the CAMERA, consequently does not see
Jane.
MRS. FAIRFAX
Too much noise, Grace. I've spoken
to you before.
The woman nods without speaking; then catches sight of Jane
and abruptly closes the door.
Mrs. Fairfax turns, sees Jane and is obviously startled and
embarrassed. Then, making an effort to pretend that nothing
unusual has happened, she smiles and walks to Jane's door.
MRS. FAIRFAX
Did I disturb you, dear? I'm so
sorry. I had to say something to
Grace Poole.
(she nods in the direction
of the Old Wing door)
She's a person we have to do the
sewing. Not altogether
unobjectionable -— but she does her
work.
(changing her tone)
And how did you get on with Mr.
Rochester, my dear?
JANE
Is he always so changeful and
abrupt?
MRS. FAIRFAX
Well, he has his little
peculiarities of temper, of course.
But then allowances should be made.
JANE
Why for him more than for anyone
else?
MRS. FAIRFAX
(evasively)
Partly because that's his nature,
and partly, too, because he has his
painful thoughts.
JANE
What about?
MRS. FAIRFAX
(again evasive)
Oh, family troubles. I think that's
why he so seldom comes to
Thornfield. It has unpleasant
associations for him. Well,
goodnight, my dear,
She kisses Jane.
JANE
Goodnight, Mrs. Fairfax.
Mrs. Fairfax turns and walks off downs the corridor.
LONG SHOT - (JANE SILHOUETTED IN FOREGROUND)
of Mrs. Fairfax, candle in hand, retreating dorm the dark
hail. Jane stands in the doorway, looking after her, with a
thoughtful expression on her face.
FADE OUT.
FADE IN
THE GARDEN - DAY - SNOW
It is no longer snowing, but the snow lies in heavy falls
across the garden, and from time to time the wind blows a
spray of snow from the ruins.
Rochester appears from the moors in a heavy cloak and begins
to cross the garden. The dog Pilot follows at his heels.
INT. NURSERY
We are shooting at the window, through which we see Rochester
crossing the garden, while at the window stands Jane watching
him. We hear Adele's voice.
ADELE'S VOICE
Monsieur Rochester is very
difficult but he gives the most
beautiful presents. Look,
Mademoiselle.
Jane is still looking out of the window.
ADELE
Mademoiselle!
Jane turns.
LONGER SHOT
Jane advances towards Adele who is in the f.g. of shot
looking into a cheval glass and trying to fix three enormous
ostrich plumes in her hair. The floor of the room is covered
with open boxes which contain the rest of Mr. Rochester's
presents to her.
ADELE
You see, they suit me perfectly.
She parades in front of the mirror with the air of a young
coquette.
GREAT HALL
The door opens and Mr. Rochester strides in, followed by
Pilot, the wind sweeping round the hall.
Pilot begins to bark.
NURSERY - JANE AND ADELE
Jane is adjusting Adele's feathers, while Adele holds against
her little body a child's ballet dress which she has taken
from a nearby box. Jane reacts to the bark, knowing that it
means that Mr. Rochester is now inside the house, but Adele
is too excited with her presents to notice.
ADELE
A ballet dress! Just like mama used
to wear. Isn't it beautiful,
mademoiselle?
During this we hear Rochester coming upstairs and now we can
see him through the open door at the head of the stairs.
Jane is conscious of his presence behind her but deliberately
does not turn.
JANE
Beautiful, Adele.
Mr. Rochester moves on.
ADELE
I shall wear it when I dance,
always
But now Mr. Rochester has reappeared at the door.
ROCHESTER
Miss Eyre!
Jane and Adele turn.
ADELE
Je vous remercie mille fois,
m'sieur.
ROCHESTER
Tiens-toi tranquille. Assez, ma
petite. Enjoy your presents without
embarrassing me with your
enthusiasm.
He stands aside, indicating that Jane is to go through the
door.
CORRIDOR AND TOP OF STAIRS
Jane and Rochester come out, Jane a little curious as to what
is going to happen.
ROCHESTER
(taking off his cloak)
I am not fond of the prattle of
children. As you see, I am a crusty
old bachelor and have no pleasant
associations connected with their
lisp.
He throws his cloak on a chair and they start down the
stairs.
HALL AND STAIRS
as they descend.
ROCHESTER
And, in this house, the only
alternative is the prattle of a
simple-minded old lady which is
nearly as bad. But today I feel
disposed to be gregarious and
communicative, and I believe you
could amuse me, Miss Eyre.
They enter the drawing room.
DRAWING ROOM - (BACKGROUNDS UNDER SNOW)
They enter and cross to the fireplace, where a fire is
blazing.
ROCHESTER
You puzzled me a great deal that
first evening in the library, Miss
Eyre. I had almost forgotten you
since. But tonight I am resolved to
be at ease; to do only what pleases
me. And it would please me now to
draw you out, to learn more of you.
Rochester pulls a chair forward.
ROCHESTER
Sit down, Miss Eyre.
Without waiting for her to be seated, he sits himself. Jane
pushes her chair back a little and sits down.
ROCHESTER
No, don't draw it further off. Sit
down just where I placed it.
(Jane pulls the chair
forward again)
Forward a little. You are still too
far back. I can't see you without
disturbing my position in this
comfortable chair, which I have no
mind to do.
Jane moves forward, coming now full into the light. There is
a pause as their eyes meet.
ROCHESTER
You examine me, Miss Eyre. Do you
find me handsome?
JANE
(after a moment's
contemplation)
No, sir.
ROCHESTER
Indeed!
JANE
I beg your pardon, sir. I was too
plain -—
ROCHESTER
(interrupting)
Not at all. You told me the brutal
truth.
JANE
My answer was a mistake, -
ROCHESTER
Just so - and you shall be
answerable for it! Now then,
explain! Does my forehead not
please you? What do you tell from
my head? Am I a fool?
JANE
No, sir. Far from it,
ROCHESTER
Would you say it is the head of a
kindly man?
JANE
(examining him a moment)
Hardly that, sir.
ROCHESTER
(rising angrily; striding
about)
Very well, Madam, I am not a kindly
man. Though I did once have a sort
of tenderness of heart.
(he pauses, turns to her)
You doubt that?
JANE
No, sir.
ROCHESTER
Since then Fortune has knocked me
about, kneaded me with her
knuckles...
Till now I flatter myself I am as
hard and tough as an India-rubber
ball...with perhaps one small,
sensitive point in the middle of
the lump. Does that leave hope for
me?
JANE
Hope of what, sir?
ROCHESTER
Of my retransformation from India
rubber back to flesh?
(he stares at her) )
You look very puzzled, Miss Eyre,
and though you are not pretty any
more than I am handsome, yet a
puzzled air becomes you. Resides,
it keeps those searching eyes of
yours away from my face.
There is a silence. Jane keeps her face averted.
Rochester crosses to some candles, lights them.
ROCHESTER
Well, why don't you speak?
JANE
What about, sir?
ROCHESTER
Choose your own subject.
Jane looks at him.
ROCHESTER
(coming toward her)
You are silent, Miss Eyre.
She continues silent; he looks at her.
ROCHESTER
Stubborn? No, annoyed. And quite
rightly so.
(more gentle now)
I put my request in an absurd way.
I beg your pardon. The fact is,
once and for all, I don't wish to
treat you like an inferior.
But I have battled through a varied
experience with many men of many
nations and roamed over half the
globe, while you have lived with
one set of people in one house.
Don't you agree that gives me a
right to be a little masterful and
abrupt?
JANE
Do as you please, sir.
He looks at her sharply.
JANE
You pay me thirty pounds a year for
receiving your orders.
ROCHESTER
Thirty pounds...I'd quite forgotten
that. Well, on that mercenary
ground, will you agree to let me
hector you a little?
JANE
No, sir, not on that ground, but on
the ground that you did forget it,
and that you enquired of my
feelings as an equal.
ROCHESTER
Good
Jane rises, hoping to put an end to a difficult conversation.
ROCHESTER
Then you'll let me dispense with
conventional forms without thinking
me insolent.
JANE
I should never mistake informality
for insolence; one I rather like,
the other no freeborn person would
submit to, even for a salary.
ROCHESTER
Humbug - Most freeborn people will
submit to anything for a salary.
Jane makes as though to go.
ROCHESTER
Where are you going?
JANE
It's time for Adele's lessons.
ROCHESTER
No, young lady, it's not for Adele
that you're going.
(his voice has grown
menacing and strange
again, and Jane looks at
him in surprise)
It's because you are afraid of me.
You wish to escape me. Isn't that
true?
She is too confused to answer, stands staring at him.
ROCHESTER
In my presence you are hesitant to
smile gaily or speak too freely.
Admit that you are afraid.
JANE
(after a moment, quietly
but firmly)
Sir...I may be bewildered, but I am
certainly not afraid.
There is the sound of a door opening. The door opens and
Adele appears on the threshold, wearing the dress Mr.
Rochester has given her. A dress of rose-colored satin, very
short, and as full in the skirt as could be gathered. A
wreath of rosebuds, the pearl necklace, white silk stockings
and white satin dancing slippers complete her costume.
ADELE
Don't I look beautiful, Monsieur?
Spreading out her dress, Adele chases across the room till,
having reached Mr. Rochester, she wheels lightly around him
on tiptoe, then drops on one knee at his feet.
ADELE
That is how mama used to do it, is
it not?
ROCHESTER
(his black mood still on
him)
Precisely. And that was how she
charmed my English gold out of my
breeches pocket.
This is spoken with sarcastic bitterness. Adele rises, stands
on the tips of her toes, stretches out her arms and flutters
her hands, like a ballerina at the point of launching into a
dance.
ADELE
And now I will dance for you.
ROCHESTER
You will not. You will go straight
back to the nursery!
ADELE
But, Monsieur...
ROCHESTER
At once!
Pathetically, Adele's mouth quivers, and she runs quickly
from the room. Jane starts to follow but is arrested by
Rochester's voice.
ROCHESTER
Miss Eyre - I have not finished
talking to you.
Rochester goes over to the fireplace and stands there. Jane
stands before him. There is a little silence. He looks up,
sees her looking at him disapprovingly.
ROCHESTER
Why are you looking at me like
that?
JANE
I was thinking that whatever your
past misfortune, you have no right
to revenge yourself on the child.
ROCHESTER
(angrily)
The devil you were!
Finally he speaks in a low tone, a complete change of mood.
ROCHESTER
You are quite right, of course. I
was thinking only of myself, of my
own private memories and feelings.
(he sips his wine
meditatively, then
continues)
How I envy you your peace of mind,
Miss Eyre, your clean, unpolluted
memory. The truth is nature meant
me to be, on the whole, a good man;
one of the better kind, but
circumstances decreed otherwise.
Oh, I was as green as you once,
aye, grass-green. But now my spring
is gone, leaving me - what? This
little artificial French flower.
He turns away from her and is silent for a while, then speaks
without looking at her.
ROCHESTER
That will be all, thank you, Miss
Eyre.
Jane stares at his averted form, surprised and rather hurt;
then, without speaking, gets up and walks toward the door.
Before she has reached it, he turns and calls to her.
ROCHESTER
Miss Eyre?
Jane halts and turns. He goes toward her. With one of his
baffling changes of mood, he speaks to her simply, gently,
sincerely.
ROCHESTER
I hope you will be happy here at
Thornfield.
JANE
(hesitating, then nodding)
I hope so, sir, I think so.
ROCHESTER
I'm glad.
With unaccustomed courtsey he opens the door for her. Outside
the door the CAMERA HOLDS for a moment on Jane's face, before
she goes across the hall. She is increasingly baffled by
Rochester, but increasingly under his spell.
DISSOLVE:
EXT. THORNFIELD - LONG SHOT - NIGHT - SNOW
We are back in the grim menacing mood of Jane's first night
at Thornfield.
EXT. THE OLD WING - NIGHT — SNOW
The strange narrow windows of the Old Wing.
Once again we hear a sound, which may be a woman's laugh, or
may only be the howling of the wind.
INT. JANE'S ROOM - NIGHT — CLOSE SHOT JANE
Jane is in bed, tossing restlessly, not quite asleep. The
clock in the hall strikes two. There is the sound of stealthy
footsteps in the hall and of something scratching at Jane's
door. She sits up, startled, wide-awake, and calls out:
JANE
Who's there?
There is no answer. Everything is quiet; and Jane lies back
again on her pillows, closes her eyes and tries to sleep.
Now comes the sound of a demoniac laugh, low, suppressed, and
deep, right outside Jane's door —— and the soft pad of
retreating footsteps, then, the sound of a door slamming.
Jane, thoroughly alarmed, gets up, throws on her robe, and
goes to the door, CAMERA PANNING WITH HER AND FOLLOWING HER.
She tremblingly opens the door and sees a candlestick (with
an opaque metal shade) upset on the matting of the floor in
the hall, its flame still burning.
The matting on the floor is already smouldering. CAMERA
FOLLOWS JANE and ends on a CLOSE SHOT as she picks up the
candle and stamps out the fire; then RISES with her as she
looks around apprehensively. Blue wisps of smoke still drift
into the scene, seeming to come from down the hall.
As Jane looks in that direction, into CAMERA:
LONG SHOT CORRIDOR (FROM JANE'S ANGLE)
The door to Rochester's room is ajar, smoke pouring from
inside the room.
CLOSE SHOT JANE
She runs out of shot toward Rochester's room.
MED. SHOT DOOR TO ROCHESTER'S ROOM
Jane runs into SHOT, calling:
JANE
Mr. Rochester? Mr. Rochester!
CAMERA FOLLOWS (holding Jane in f.g. of SHOT) as she runs
into the room, and HALTS as she sees the smoke-filled room.
Rochester is lying on the bed, half dressed, propped up with
pillows. The bed clothes and valance are smoldering..
An open book turned face downward on the bed reveals that
Rochester has gone to sleep while reading. A decanter and a
half filled glass of wine on the stand near the bed.
Jane rushes to him.
SHOT ROCHESTER IN BED
Jane's hand comes into scene and shakes him violently.
JANE
Wake up! Wake up!
Mr. Rochester opens his eyes, starts to leap up.
As Rochester jumps out of the bed, the little smouldering
flames flare up from the foot of the bed and the valance.
ROCHESTER
What the devil...
(he realizes what is
happening)
Good Heavens!
LONG SHOT - JANE AND ROCHESTER (DOUBLES)
(INTERCUT WITH TRANSPARENCY CLOSE UPS)
Rochester starts tearing off the sheets and curtains, and
stamping out the flames
ROCHESTER
Bring some water. Over there.
(indicating pitcher of
water on dresser)
Jane sets her candle down on the washstand, brings a pitcher
and throws it on a bad patch of flame. There is a great
hissing. Rochester stamps the last embers out.
ROCHESTER
That's done it.
JANE
Someone tried to kill you. I heard
them coming along the gallery.
Shall I call Mrs. Fairfax?
ROCHESTER
Mrs. Fairfax? That the deuce would
you call her for? Let her sleep.
(he picks up his heavy
cloak and puts it round
Jane's shoulder)
Here, wrap this round you and sit
there in the armchair. I'm going to
leave you for a few minutes. Be
still as a mouse, and don't call
anyone.
Jane is left alone in the room as Rochester goes out with the
candle. He has left the door half open after him. With
excited curiosity, Jane hears Rochester passing up the
gallery, then the sound of the staircase door as he opens it.
The last ray of the candlelight vanishes. Jane looks around
nervously, then rises and goes to the window, CAMERA MOVING
WITH HER. From here she looks across into the narrow odd
windows of the Old Wing. A light appears in a lower window.
It is Rochester's candle. Jane watches the candlelight move
upward as Rochester ascends the stairs, until it finally
disappears.
CLOSEUP JANE'S FACE
Tense and frightened.
DISSOLVE TO:
GALLERY
The door to the Old Wing opens and Rochester comes out. He
closes the door behind him and starts to cross to his own
room, looking very grin.
CLOSEUP JANE - ROCHESTER'S ROOM
Still standing at the window, she hears Rochester returning,
and goes back to sit in the chair where Rochester had left
her.
DOOR TO ROCHESTER'S ROOM — CLOSE SHOT ROCHESTER
He hesitates a moment outside his door, obviously debating
what he is going to say to Jane; then goes in.
ROCHESTER'S ROOM
The same glimmer of light as Rochester returns. He puts the
candle down on the washstand.
ROCHESTER
Yes, it's just what I thought.
(to Jane)
When you came out of your room, did
you see anything?
JANE
Only a candlestick on the ground.
But I heard that door slam.
ROCHESTER
Anything else?
JANE
Yes, a kind of laugh.
ROCHESTER
A kind of laugh...Have you ever
heard it before?
He turns to her and puts down his candle.
JANE
There's a strange woman here called
Grace Poole...
ROCHESTER
Just so, Grace Poole. You've
guessed it. Well, I shall see
what's to be done. Meanwhile, say
nothing about what has happened. I
will account for this state of
affairs.
(he indicates the charred
bedding. Picking up a
corner of the curtain, he
rubs the burnt portion
between his fingers. The
fabric disintegrates in
flakes)
Charred to a cinder...
(Suddenly an idea strikes
him; an expression of
concern appears on his
face)
The nursery! We haven't thought
of Adele!
He picks up the candle with the shade and hurries out into
the gallery. Jane throws off the heavy cloak and follows.
They go to the door of the nursery and enter.
They enter and Rochester closes behind them the door to the
hall. The floor is still littered with Adele's presents and
toys. They cross and enter the heavy double doors of Adele's
bedroom.
ADELE'S ROOM
In her cot, Adele is sleeping peacefully. Rochester holds up
the candle so that the light falls on her, and he and Jane
look at the child for a moment in silence.
ROCHESTER
(relieved)
I had an awful fear...
Meanwhile Jane has been pulling up the covers on Adele's bed.
While doing this she makes a discovery, which is that Adele
has taken her satin dancing slippers to bed with her. She
holds them up.
JANE
Do you see what she has?
ROCHESTER
(taking the slippers from
her)
Poor little Adele. Trying to
console herself for my unkindness.
The child has dancing in her blood
and coquetry in the very marrow of
her bones.
He walks to nursery door and stands to let Jane pass.
Rochester closes the double doors to Adele's room, throws the
slippers down on a table. They strike against the musical box
we have seen in the morning sequence between Jane and Adele.
The shock starts the mechanism and it begins to tinkle away,
while the figures dance. Rochester picks it up and examines
it.
ROCHESTER
I once had the misfortune to love
this —— and then to be jealous of
(he points first at the
doll in the ballerina's
costume, then at the one
in the Officer's uniform)
Love's a strange thing, Miss Eyre.
You can know that a person is
worthless, without heart or mind or
scruple, and still suffer to the
point of torture when she betrays
you.
(he sets the figures down,
as he adds bitterly:)
At least I had the pleasure of
putting a pistol bullet through my
rival's lungs.
He turns away and starts to stride about. There is a silence
NURSERY
JANE
And the little doll in the dancing
skirt?
ROCHESTER
We tell Adele she died. But the
truth isn't quite so touching. I
gave her some money and turned her
out. Whereupon she decamped with an
Italian painter, leaving me with
what she said was my daughter.
(picks up the candle and
turns to Jane)
Let me light you to your room.
He opens the door, lets her pass, and they start walking down
the gallery.
GALLERY
Rochester and Jane walk a moment in silence, then:
ROCHESTER
Tell, Miss Eyre, now that you know
what your pupil is —— the offspring
of a French dancing girl —- I
suppose you'll be coming to tell me
to look out for a new governess.
JANE
(quietly)
Adele has had so little love, I
shall try to make up for it.
By this time they are at the door of Jane's room. Rochester
looks at her. In this moment there's a warmth in his eyes and
tone, which indicates very clearly feeling he has for her.
ROCHESTER
(quietly)
Are you always drawn to the
loveless and unfriended?
JANE
When it is deserved.
She starts to go in, but Rochester stops her.
ROCHESTER
Miss Eyre —— would you say that my
life deserved saving?
JANE
I would be distressed if harm came
to you, sir.
ROCHESTER
But you did save my life tonight,
and I should like to thanks you.
Can't we at least shake hands?
He holds out his hand, and she gives him hers. They stand
looking at each other.
ROCHESTER
(with deep feeling)
I knew you would do me good in some
way, at some time. Good-night...
Jane.
He turns quickly and goes. Jane watches him a moment, then
goes into her room.
DISSOLVE:
YARD - DAWN
Pilot emerges from his kennel as there is the SOUND of heavy
boots descending stone steps.
The boots — Rochester's boots — come into picture, squelching
through the already melting snow, —— Pilot follows behind
them. Then we see the hoofs of a horse —— Rochester's boots
disappear as he swings himself into the saddle.
The horse clatters off over the cobbled court yard, Pilot
following behind..
JANE'S ROOM - DAWN
The violent clatter comes over Jane's face. She wakes,
hurries to the window.
CLOSEUP OF JANE'S FACE AT THE WINDOW AS SHE WATCHES
Over her face comes the noise of retreating hoof—beats.
MOORS — DAWN — (SERSEN SHOT WITH DOUBLE)
The rising sun glistens and flares on the melting snow as
away from CAMERA gallops the distant figure of Rochester on
his black horse, the dog Pilot hurrying after him.
ROCHESTER'S ROOM - THE BLACKENED CHARRED BED-CURTAINS -- DAY
MRS. FAIRFAX'S VOICE
Oh, dear -— they're past mending,
I'm afraid.
Her hand comes into picture and pulls them down, revealing to
the CAMERA the door to the gallery, which Jane (now fully
dressed) is entering.
MRS. FAIRFAX'S VOICE
(surprised)
Oh, Miss Eyre. Isn't it terrible?
We might all have been burnt in our
beds.
As Jane moves forward; the CAMERA PULLS BACK a little,
bringing into the foreground of the SHOT (back to CAMERA)
Mrs. Fairfax and Leah who are straightening the wrecked room.
JANE
Where did Mr. Rochester go?
MRS. FAIRFAX
(working on the curtains)
He said something about a house
party at Millcote. Goodness knows
how long he'll be away. —— You can
never tell with Mr. Rochester -— it
may be a week —— or a month —— or a
year.
Jane starts to go, then stops.
JANE
Mrs. Fairfax.
MRS. FAIRFAX
Yes.
JANE
Did Mr. Rochester tell you how the
fire started?
MRS FAIRFAX
Of course. He was reading in bed,
and fell asleep with the candle
lit, and the curtains took fire.
She sees, but misinterprets, the expression on Jane's face.
MRS FAIRFAX
Why do you ask?
JANE
I wondered if the fire had
something to do with Mr. Rochester
leaving.
MRS. FAIRFAX
What possible connection could
there be? He said this morning that
he was restless -— the house with
only us here was too unbearably
oppressive for him.
She busies herself with her work and Jane goes, very puzzled
and thoughtful.
GALLERY
She walks toward her room, hurt and disturbed. Just as she is
about to enter, she notices that the door of the Old Wing is
standing half open. She looks at it, hesitantly for a moment
then makes up her mind and walks through.
CIRCULAR STAIRCASE TO OLD WING
Jane comes slowly up the staircase, curious as to what she
will see.
CORRIDOR IN THE OLD WING
Jane emerges into a narrow stone corridor —— like that of a
medieval castle. It is entirely different from the rest of
the house —— less spacious and of a more ancient style.
On one side is a single narrow stone—mullioned window,
throwing an insufficient light on the scene. On the other
side is a row of small, unpretentious doors. The second door
is black, for it is covered with buttoned cloth on both
sides, as though to deaden sound.
Jane hesitates, then walks towards the black door. But, just
as she starts to open it, and before she has seen into the
room, comes a snarling and scuffling sound from within, as
though of an animal fighting.
Jane starts back and lets the door, which seems to be on a
spring, swing closed again. Then, thoroughly frightened, she
hurries back towards the stairs, and starts to go down. She
has only just started when there is the SOUND of the door
opening. She turns to see Grace Poole.
GRACE POOLE
What are you doing here?
Grace Poole is breathless and perhaps a little disheveled,
but she speaks with a tone of authority which startles Jane,
GRACE POOLE
No one comes up here, d'you
understand?
She takes a step forward towards Jane.
GRACE POOLE
Go on down, go on down.
Jane faces her threatening look for a moment, then quickly
turns. The CAMERA PANS around with her as she hurries down
the stairs. A moment later Grace Poole comes into SHOT and
locks the door as we:
FADE OUT
FADE IN
ROAD TO THORNFIELD HALL - SUMMER DAY
A little trap drawn by a Shetland pony is approaching up the
road to Thornfield Hall. In it are Jane and Adele. They have
been on a picnic and have been gathering flowers,
THE CAMERA PANS with the trap till it comes to rest at the
foot of the steps to the front door. We see to our surprise
servants passing in and out of the front door, some footmen
carrying heavy packages. A heavy dray and a farm wagon are
parked at a corner of the drive.
SHOT - JANE AND ADELE
Adele looks at Jane in surprise. They get out of the trap and
move toward the front door.
GREAT HALL - SHOOTING CUT OF THE FRONT DOOR
THE CAMERA BRINGS Adele and Jane into the great hall. We see
servants moving about, carrying flowers, furniture; etc.
There is a busy air of excitement and expectancy, about what
we don't yet know. We hear Mrs. Fairfax's voices:
MRS. FAIRFAX'S VOICE
The moment the carriages stop, open
the front door. Then stand each
side of it, and be ready to take
the gentlemen's cloaks.
By now the CAMERA has MOVED with Jane and Adele to Mrs.
Fairfax, talking to two footmen, who are now in the SHOP.
FOOTMAN
Yes, ma'am.
Mrs. Fairfax sees Jane.
MRS. FAIRFAX
Oh, my dear, I'm so glad you're
back at last. Mr. Rochester is so
distracting.
She turns to Leah who is passing.
MRS. FAIRFAX
Leah, you must be with me to take
the ladies to their room.
LEAH
Yes, ma'am.
Mrs. Fairfax takes a moment to turn to Jane.
MRS. FAIRFAX
Not even telling me how many guests
he's bringing. Just said get all
the best bedrooms ready, and more
servants from the inn.
A servant passes.
MRS FAIRFAX
(to servant)
Are you sure you put flowers in
every room?
SERVANT
Quite sure, ma'am.
THE MAIN DOOR OF GREAT HALL
A footman who has been looking through the wicket turns to
Mrs. Fairfax.
FOOTMAN
They're coming, ma'am.
He begins to open the main door. The sound of a coach horn is
heard.
DRIVE OF THORNFIEID
Approaching in the distance are four equestrians, an open
carriage and a four in hand. Fluttering veils and waving
plumes fill the vehicles; two of the cavaliers are young,
dashing—looking gentlemen, the third is Mr. Rochester on his
black horse, Pilot bolting along before him; at his side
rides a lady, and he and she are the first of the party. Her
purple riding habit almost sweeps the ground; her veil
streams along on the breeze; mingling with its transparent
folds, and gleaning through them shine rich raven ringlets.
WINDOW OF GREAT HALL
As Jane and Mrs. Fairfax run to it.
MRS. FAIRFAX
One, two, three...oh, dear —
fifteen at least - far more than I
had prepared for.
SHOT OF CAVALCADE
As it comes closer, we begin to hear the jingle of bit and
bridle, and laughter and excited chatter.
MRS. FAIRFAX'S VOICE
That's Colonel Dent with the grey
whiskers. And his sister, Lady
Ingram, next him, such a
distinguished lady. And Sir George
Lynn. He's the member of Parliament
for Milicote.
JANE AND MRS. FAIRFAX
JANE
Who's that riding with the Master?
MRS. FAIRFAX
Why, that's Blanche Ingram, my
dear. Haven't you heard about Miss
Ingram and Mr. Rochester? She's
quite an old flame of his. It
wouldn't surprise me at all if it
came to an engagement one of these
days. Such a beautiful girl, don't
you think so? And as talented as
she is lovely.
She bustles off. Jane is left at the window.
CAMERA MOVES CLOSER and, keeping Jane in profile in the
foreground SHOOTS past her, through the window, at the scene
outside. Rochester is helping Blanche to dismount. We cannot
hear what they say, but catch the SOUND of their laughter and
see their gay, smiling Laces. Jane looks out, motionless.
DISSOLVE TO:
SAME EVENING
Candles are burning in sconces along the walls and a good
deal of light comes in through the openings connecting the
gallery with the hall. The source of this light is a great
chandelier, never previously lighted in the course of the
picture.
Jane is coming along the gallery from her own room on the way
to the nursery.
Servants come out of a door, one carrying a tin hip bath, the
other two, five—gallon cans of water.
They cross in front of Jane so that Jane has to stop to avoid
them, and they are just going into another door, when a
lady's maid hurries up from the other end of the gallery.
MAID
Miss Ingram's waiting for her bath
water.
Two other maids appear from the direction of the kitchen
stairs, one carrying a tray, on which are various bottles,
with a spirit lamp, curling irons and some false ringlets.
The other has a pair of stays. As she passes she tugs at the
string.
MAID
Well, let's hope this one won't
break.
Nobody pays any attention to Jane, and already, in this
unaccustomed activity, she feels out of it. At the top of the
stairs she finds Adele hanging over the banister and looking
down into the hall, whence we HEAR the cheerful VOICES of the
men guests laughing and talking.
JANE
(reproachfully)
Adele! Why aren't you in the
nursery?
ADELE
Oh, mademoiselle, let me look.
JANE
No, dear, you're in the way.
She takes the child's hand and turns. As she does so, she
almost collides with two girls who have come out, already
dressed in their evening clothes.
JANE
Oh, I beg your pardon.
She stands back. The girls pass without paying the slightest
attention to her. They continue their conversation as they
move forward.
FIRST GIRL
Didn't I tell you that Blanche was
setting her cap at him?
SECOND GIRL
Well, he is very romantic. And
enormously rich.
They laugh as they walk on. The CAMERA PANS with them. But as
they walk out of SHOT, it ends on a CLOSEUP of Jane.
JANE'S ROOM - EVENING - CLOSE SHOT OF JANE
Jane is brushing her hair in front of a mirror, but her
movements are mechanical; she is absorbed in contemplating
her own face.
MRS. FAIRFAX'S VOICE
Oh, Miss Eyre ——
Jane, snapped out of her reverie, turns.
MRS. FAIRFAX AT THE DOOR
SHOOTING PAST Jane at the mirror in the foreground.
MRS FAIRFAX
—— Mr. Rochester wishes you to
bring Adele to the drawing room
after dinner.
JANE
Oh, please send Adele by herself.
He only asks me out of politeness.
She resumes brushing her hair, this tine more earnestly.
MRS. FAIRFAX
That is what I thought and I told
him you weren't used to company.
'Nonsense' he said. 'If she
objects, I'd come and fetch her
myself!'
Jane lowers the brush and ceases to attend to her hair.
MRS. FAIRFAX
Of course, you must wear your very
best, my dear.
She walks over end opens the wardrobe.
THE WARDROBE
In the gaping void of the large wardrobe hang only two
dresses — all that Jane has. Mrs. Fairfax's hand comes into
the picture and hesitates between them.
MRS. FAIRFAX'S VOICE
—— I think the black.
Her hand takes out the black dress as we
DINING ROOM — NIGHT CLOSE SHOT
of a beautiful dessert service at the far end of the dining
room table. CAMERA SLOWLY STARTS TO PAN along the entire
length of the table and we see its rich pattern of silver and
candlelight. Occasionally the hand of a guest comes into the
SHOT, picking a piece of silver or a cup; and we NEAR their
VOICES:
MAN'S VOICE
A quart of red wine - that's the
secret of good digestion.
WOMAN'S VOICE
(rapturously)
Green plush and ostrich feathers -
the most exquisite bonnet you ever
set eyes on
COLONEL DENT'S VOICE
So I let them have both barrels ——
bang, bang. Then got two more birds
with my spare gun.
GIRL'S VOICE
Oh no, Mr. Eshton. Papa won't allow
me to read anything but sermons.
Now CAMERA STOPS on a magnificent silver bowl which contains
fruit or flowers. In one of its flat burnished panels we see
the reflection of Blanche Ingram. CAMERA NOW BRIGHTLY PULLS
BACK AND PANS DOWN and we see Rochester's hand resting on the
table. Instantly a beautiful hand - Blanche's — tastefully
jeweled, comes into scene and for an instant her finger tips
lightly touch Rochester's hand.
BLANCHE'S VOICE
A woman must be beautiful, Edward;
a man need only be strong and
valiant.
Rochester's hand clenches, as though ready to strike. It raps
against the silver bowl.
ROCHESTER'S VOICE
Let his face go hang, so long as he
has a fist. Is that it?
Blanche's laughter breaks out.
CLOSE SHOT - ADELE'S FACE
She is peeping through the heavy curtains separating the
drawing room from the dining room.
LADY INGRAM'S VOICE
Well, perhaps we had better leave
the gentlemen to their port.
There is the SOUND of chairs being pushed back and the
rustling of skirts.
Adele's face shows an expression of panic, and she withdraws
her head.
DRAWING ROOM
Adele from the back, as she turns. CAMERA MOVES WITH HER, as
she runs to where Jane is sitting in a window seat.
ADELE
They're coming, mademoiselle!
Jane hastily rises, looking nervously in the direction of the
entrance to the dining room.
DINING ROOM ENTRANCE - FROM JANE'S ANGLE
The curtains are parted, and the ladies, beautifully gowned,
make an impressive entrance.
Gentlemen hover in the background, and behind them we catch a
glimpse of the room with its richly appointed table.
DRAWING ROOM
The women pass by Jane in her window seat, as they make their
way into the center of the room. Jane curtsies. One or two
nod distantly. Others do not even acknowledge her existence.
Ad libs of the women as they pass.
FIRST GIRL
Goodness, I hope I don't have to
sit next to Colonel Dent again
Adele curtsies to them.
ADELE
Bon soir, mademoiselle.
SECOND GIRL
Bon soir. What's your name, dear?
They move out of SHOT with Adele. Two dowagers follow. Jane
curtsies to them. One of then puts up her lorgnette and looks
at her, as though she were an insect; then drops the glass
and pays no further attention.
DOWAGER
What a delicious souffle - I
couldn't resist a second helping.
The last person to emerge from the dining room is Lady
Ingram, a tall, imposing lady with a very haughty manner.
She turns back, as she emerges and calls into the room.
LADY INGRAM
Now, Blanche, stop teasing poor Mr.
Rochester. Come along, my angel.
She comes into the drawing room.
SHOT OF JANE
She is looking towards the entrance, waiting anxiously for
Blanche to appear.
OVER ENTRANCE TO DINING ROOM
There is laughter from the dining room, as though Blanche had
made a final witty sally, then she appears in between the
slightly parted curtains and, with an affected and theatrical
gesture, pushes one of the curtains aside and stands posed on
the threshold.
She is very conscious that she makes an effective tableau — a
lovely creature in a white dress, framed between the rich
velvet of the curtains and with the glittering dining table
as a background.
SHOT OF JANE
as she listens, dazzled by Blanche's beauty --
AT THE ENTRANCE
She lets the curtain fall and turns back toward the drawing
room. CAMERA MOVES UP TO A CLOSE SHOT as she surveys the room
with her supercilious smile. Then she moves gracefully down
the steps to join the others and the CAMERA once again ends
on a CLOSE SHOT of Jane.
DRAWING ROOM
Blanche is singing; Rochester is turning the pages of her
music. She is near the end of her song. THE CAMERA IS
SHOOTING ACROSS THE PIANO, at which Blanche is sitting,
accompanying as well as singing.
CAMERA MOVES from them and passes through the crowd. Part of
the guests are still holding their coffee cups. The CAMERA
HOLDS for a moment on Lady Ingram, who is looking at the
singers with a complacent smile. The lady next to her, Mrs.
Eshton, leans over and whispers:
MRS. ESHTON
What a striking couple.
LADY INGRAM
It's very fortunate, isn't it?
CAMERA MOVES to a group where Adele is seated between two
women. She is pointing at the lace on the bottom of the
pantalettes which protrude beneath her skirts.
ADELE
Looks from Paris.
A WOMAN
Sh—sh, dear...
CAMERA MOVES to Sir George Lynn and Colonel Dent, who is
offering his snuff box to Sir George, and whispering as he
does so.
DENT
Splendid match, Sir George,
splendid match. Seven or eight
thousand a year, at least.
CAMERA MOVES to two young men.
FIRST YOUNG MAN
Fine shoulders, eh, Ned?
The song comes to an end. They clap and there is the SOUND of
applause from other parts of the room.
CLOSE SHOT - JANE
sitting modestly on her bench, as we hear the SOUND of
clapping and congratulatory remarks.
AND ROCHESTER
Rochester is congratulating her in bad Italian, since she has
sung in Italian.
ROCHESTER
Cantate come un angelo tesore
BLANCHE
Signor Eduardo - -
She is about to make a gay elaborate reply when Adele leaps
upon the piano stool and pops into SHOT, interrupting her.
ADELE
Monsieur Rochester, may I sing now?
ROCHESTER
I think we I've had enough music
for the moment.
ADELE
Please, monsieur.
ROCHESTER
Leave us.
Adele disappears as quietly as she came.
BLANCHE
Edward, I thought you weren't fond
of children.
ROCHESTER
Nor am I.
BLANCHE
Then what induced you to take
charge of such a little puppet?
Where did you pick her up?
ROCHESTER
I didn't pick her up. She was left
on my hands.
BLANCHE
Well, I suppose you have a
governess for her. I saw a person
with her just now —— is she gone?
(she looks around)
Oh, no! There she is still, hiding
in the corner.
She rises and moves away from the piano. Rochester goes with
her.
BLANCHE
You should hear mama on
governesses.
As she speaks she takes the arm of Lady Ingram who is
standing nearby and draws her along with her.
They are now walking towards Jane, whom we see beyond them.
They stop at a small table not far from where Jane is
sitting. Here stands a silver dish of sweetmeats. Blanche
takes one and nibbles at it as she speaks.
LADY INGRAM
Governesses! Don't speak to me of
governesses! The martyrdoms I have
had to suffer from those creatures!
The clever ones are detestable, and
the others grotesque.
BLANCHE
Llama!
She touches Lady Ingram's arm, and looks off in the direction
of Jane. Her eyebrows are raised; her expression is ironical.
Lady Ingram follows her glance, then turns back.
LADY INGRAM
Oh, well, it can't be helped. I
hope it may do her some good.
They move out of SHOT. CAMERA STAYS ON JANE'S FACE. She is
hurt and humiliated by the way she has been treated.
We see that she is on the verge of tears.
OFFSCREEN the piano starts to play a piece by Mendelssohn.
Jane listens for a few bars, then rises and unobtrusively
slips out of the room to the library.
LIBRARY
Jane tiptoes across the room toward the door leading out into
the hall.
Just as she is going out, Rochester appears through the
drawing room door.
ROCHESTER
How do you do?
(he closes the door behind
him)
JANE
I am very well, sir.
ROCHESTER
Why did you not cone and speak to
me in the drawing room?
JANE
(with just a touch of
malice underneath)
I did not wish to disturb you as
you seemed engaged.
ROCHESTER
That have you been doing while I've
been away?
JANE
Nothing particular. Teaching
Adele as usual.
ROCHESTER
And getting a good deal paler than
you were. What is the matter?
JANE
Nothing.
ROCHESTER
Did you take cold that night of the
fire?
JANE
No, sir.
ROCHESTER
Go back to the drawing room. You
are leaving too early.
JANE
I am tired, sir.
He gives her a look.
ROCHESTER
And a little depressed. About what?
JANE
Nothing...I am not depressed.
Rochester has taken a step toward her, and now he is quite
near.
ROCHESTER
But I tell you you are — so much
depressed that a few more words
would bring tears to your eyes.
Indeed, they are there now, shining
and shimmering --
At this moment, the most intimate so far between them, there
suddenly comes through the half open dining room door the
jangle of the front door bell.
ROCHESTER
Who the devil is that? -
There is the SOUND of the footman crossing the hall.
THE FRONT DOOR
The footman opens the front door, to reveal a tall, dark
gentleman with a sallow, neurotic face —— "there was no
thought in that low, even forehead, no command in that black,
brown eye."
STRANGER
I wish to see Mr. Rochester.
FOOTMAN
What name shall I say, sir?
STRANGER
(speaking very
deliberately)
Tell him Mr. Mason —— Mr. Mason
from Spanish Town in Jamaica.
JANE AND ROCHESTER
Jane turns in amazement as she sees the effect of this name
on Rochester.
MR. ROCHESTER
Mason — Spanish Town...Jane, I've
had a blow.
He leans heavily against the door. Jane looks at him
bewildered.
ROCHESTER
My little friends I wish I were on
a quiet island with only you; and
trouble, and danger, and hideous
recollections far away.
JANE
Can I help you, sir?
ROCHESTER
Jane, if help is wanted, I'll
seek it at your hands. I promise
you that.
JANE
Thank you, sir.
ROCHESTER
(rising, and looking
toward the drawing room)
If all the people in that room came
and spat at me —— what would you
do, Jane?
JANE
Turn them out of the room, if I
could.
ROCHESTER
(half-smiling)
But if I were to go to them, and
they only looked at me coldly and
dropped off and left me one by one
—— what then? Would you go with
them?
JANE
No, I would stay with you.
ROCHESTER
And comfort me?
JANE
Yes, sir. To comfort you as well as
I could.
Rochester smiles at her gratefully and, without speaking,
takes her hand and squeezes it. Then he turns, goes out into
the hall and advances across the room to where Mason is
standing in his fur—lined traveling cloak in front of the
fireplace.
LONG SHOT OF MASON AND ROCHESTER (AROUND JANE'S BODY OVER HER
SHOULDER)
Mason turns as he hears Rochester approach.
MASON
Edward...
He holds out his hand; Rochester does not take it.
ROCHESTER
I shall not be hypocritical enough
to say that you are welcome under
this roof... In here, Meson.
Mason enters, Rochester follows and closes the door.
FADE IN
THORNFIELD - NIGHT
We see the battlemented tower above the Old Wing. Suddenly
the stillness of the night is shattered by a succession of
piercing screams. From their nests in the loopholes and
crevices of the old masonry the jackdaws scatter in fright.
The CAMERA PANS DOWN to a window in the Old Wing. In
silhouette against the drawn blinds we see the vague form of
struggling figures, and hear the crash of glass as a
candlestick falls to the floor and the light goes out.
CAMERA CONTINUES to PAN DOWN TO THE FLOOR In the windows of
the guest rooms lights begin to appear.
INT THORNFIEID GALLERY - LONG SHOT
The guests come hurrying out of their rooms. Some carry
candles. All are in their dressing gowns. The hair of some of
the ladies is in curl papers. One or two of the older
gentlemen wear nightcaps. Colonel Dent carries a pistol.
There is general excitement and confusion. We hear wild ad
libs from the ladies, while the gentlemen try to be
protective and reassuring: "What is it?"; "Who's hurt?";
"What's happened?"; "Is it a fire?"; "No, no, there's no
fire; "It must be robbers"; "Robbers! Where shall we run?";
"We shall be killed in our beds."
BLANCHE
(to Dent)
The noise came from over, there
Uncle Percy.
SIR GEORGE LYNN
(who carries a poker)
Yes, that's right.
They advance towards the back landing.
LADY INGRAM
What are you doing, Blanche? Come
back.
BLANCHE
(over her shoulder)
It's all right, mama.
They go on; as they come into back landing. Jane opens her
door and steps out into the corridor. She stands there in the
foreground of the SHOT, unnoticed, looking at what is going
on.
DENT
Where the devil is Edward, I'd like
to know?
ROCHESTER'S VOICE
Here he is.
The door of the Old Wing opens and Rochester appears carrying
a candle. Colonel Dent raises his pistol.
ROCHESTER
Steady on the trigger, Colonel.
Now, ladies, compose yourselves, I
beg you.
Blanche runs up to him and seizes his arm.
BLANCHE
Edward... You haven't been hurt,
have you?
The other women also rush up and surround him.
ROCHESTER
(laughing)
No; but I'm in imminent danger of
being suffocated. Ladies, please...
(he pushes them aside)
Colonel, you can put that thing
away. Artillery's no good against
nightmares.
BLANCHE
Nightmares?
ROCHESTER
That's all it was. One of the maids
had a bad dream and woke up
screaming.
SHOT OF JANE
She knows that the story is untrue and wonders what has
really happened.
ROCHESTER'S VOICE
And the moral of that is: Don't
eat toasted cheese for supper.
SHOT AS BEFORE WITH JANE IN FOREGROUND
ROCHESTER
Now, ladies, what about going back
to your rooms? Will you set the
good example, Lady Ingram?
They all start away.
BLANCHE
I declare, I'm quite disappointed.
I was so looking forward to seeing
Uncle Percy shoot a robber.
DENT
Now, Blanche, enough of your levity
CLOSE SHOT OF BLANCHE AND ROCHESTER
They are standing outside Blanche's door, which half open,
preparatory to entering.
She holds
BLANCHE
Good night, Edward.
She throws him a languishing look. He smiles back at her, but
with a kind of irony. The words and gestures which follow are
slightly exaggerated, so that they seem almost like the
caricature of a lover's words and gestures.
ROCHESTER
Sweet dreams my courageous Blanche.
He bends over her hand to kiss it, and we
CUT TO:
LONG SHOT WITH JANE IN FOREGROUND AS BEFORE
Jane sees Rochester kiss Blanche's hand, then quickly turns
into the CAMERA and (THE CAMERA PRECEDING HER) enters the
room and closes the door behind her. She stands there for a
moment, bewildered and jealous, understanding nothing of what
is going on.
CLOSE SHOT OF JANE SHOOTING FROM INSIDE HER ROOM
Alternate angle to above for same action.
SHOT OF JANE'S ROOM
She takes off her dressing gown, gets into bed and blows out
the light.
A moment later there is a light knock at the door. She sits
up.
ROCHESTER'S VOICE
Jane! Are you up?
JANE
Yes, sir.
She gets out of bed and slips on her robe again.
ROCHESTER
Come out then, quietly.
Jane opens the door and steps out.
LANDING
As she comes out, Rochester is unlocking the door to the Old
Wing.
ROCHESTER
Come this way, and make no noise.
STAIRCASE
Rochester shuts and locks the door behind them —— Jane is now
in the mysterious Old Wing.
ROCHESTER
(as they mount the stairs)
You don't turn sick at the sight of
blood?
JANE
I have never been tried yet.
ROCHESTER
Just give me your hand, It won't do
to risk a fainting fit,
He takes her hand.
ROCHESTER
(satisfied)
Warm and steady.
Outside the black door, Mr. Rochester stops.
ROCHESTER
(urgently)
Jane —- what you see may shock you,
and frighten you end confuse you.
But I beg you, don't seek an
explanation, don't seek to
understand. No matter what the
appearance, you must trust me.
GRACE POOLE'S ROOM IN THE OLD WING
Jane looks curiously around her. This room also is in stone.
One side is concealed by a large bed with drawn curtains. The
other side is hung with a worn and dirty piece of tapestry.
But the tapestry has been looped up, revealing a tiny door
into an inner room.
An unconscious man lies on the bed, dressed with the
exception of his coat. Mr. Rochester holds the light over
him.
The face is the face of the stranger we saw in the hall —
Mason from Spanish Town in Jamaica. His shirt on one side and
one arm is soaked with blood.
ROCHESTER
(to Jane)
Hold the candle.
(he goes to the washstand
and fetches a basin of
water)
Hold that.
Jane does so. He takes a sponge, dips it in and moistens the
corpse-like face, then he tears away the shirt, and sponges
away the blood from the arm.
ROCHESTER
Jane, I shall have to leave you in
this room with this gentleman while
I fetch a surgeon. You will sponge
the blood as I do now. If he comes
to, you will not speak to him on
any account. Do you understand me?
JANE
Yes, sir.
ROCHESTER
Whatever happens, do not move from
here. Whatever happens, do not open
a door either door.
Mr. Rochester puts the bloody sponge into Jane's hand and
watches her as she staunches the blood. Then, satisfied that
she is doing right, he turns and starts for the door, In the
doorway, he turns once more. Then he goes, and we hear the
key grate in the lock and his re—treating steps fade away.
CLOSE SHOT - JANE (ANGLE WITH MASON IN F.G.)
Jane's reaction to being locked in.
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? —— 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 ——
(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—fashioned 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 —— 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.
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—backed 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—eyed -- 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—stricken. 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 ——
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—like 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 —— 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—eyed
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.
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.
The CAMERA BEGINS TO MOVE OFF the auctioneer across the room,
which has been partly cleared and rows of chairs and benches
placed on it. These are occupied by a mixed crowd -- local
gentry seated together in the front rows, then Birmingham
tradesmen, furniture tradesmen, furniture dealers, rag and
bone men, farmers' wives. The other half of the room is
crowded with furniture and miscellaneous objects from
pictures to kitchen utensils. During this movement of the
CAMERA we hear the following dialogue.
AUCTIONEER
Lot sixty—four. "Picturesque
Europe." Three 'andsome volumes in
tarf Morocco. Two 'undred steel
engravings. Who'll give me five bob
for 'em?
A DEALER'S VOICE
Five bob.
LADY'S VOICE
Fifteen shillings.
DEALER'S VOICE
A quid.
AUCTIONEER'S VOICE
One pound. Only one pound for the
beauties of nature. Nature, nature
—— you can't beat nature, ladies
and gentlemen. Just look at it.
The CAMERA now reaches Jane, who is seated, dressed in black,
in one of the back rows. She looks tired and sad, and we know
that she has recognized the book.
AUCTIONEER'S VOICE
Twenty-five shillings. Twenty-seven
and six. Thirty. Thirty-five.
Thirty-five bob for two 'undred
genuine steel engravings. Ah,
that's better, sir. That's better.
Two pounds is bid. Who'll make it
guineas?
A hand touches Jane's shoulder. She starts, looks up and sees
Rivers standing beside her, with an air of great excitement
on his face.
RIVERS
Come away, Jane. I have some news
for you.
She rises, puzzled by his excitement, and CAMERA MOVES WITH
THEM AS THEY GO out into the vestibule. Rivers indicates the
conservatory.
RIVERS
In here.
CONSERVATORY - RAIN
As he closes the door, Rivers speaks with an air of great
excitement
RIVERS
Mr. Brocklehurst has left Lowood.
JANE
Has he retired?
RIVERS
He was dismissed.
(with great enthusiasm)
Jane, they've asked me to take his
place!
JANE
Oh, Dr. Rivers, I'm so glad.
RIVERS
So shall I be, to do something at
last for those children —- for all
the unhappy children in all the
orphanages -- and workhouses
throughout the country --
Jane turns in surprise at his enthusiasm.
RIVERS
Yes, Jane, if I make a good
beginning at Lowood, there's
nothing to prevent me from going
forward to attack all other
citadels of evil. It's a great
work, Jane, a noble work —— but
it's a work which a man cannot
undertake singlehanded. He needs
the help of a woman, a fellow
labourer dedicated to the same high
cause as himself.
(pause)
That woman sits here before me.
(he points at her)
Jane is moved by his eloquence and excited by the prospect,
but still feels diffident of her own capacities.
JANE
Do you think I could do it?
RIVERS
I an convinced of it. I've watched
the unfolding of all your good
qualities -- the gentleness, and
yet the strength, the constancy,
the courage. I tell you, Jane ——
and you must believe me and take
confidence —- you have all the
capacities and virtues that are
needed in a crusader's helpmate and
wife.
JANE
(taken aback)
His wife?
RIVERS
How otherwise would it be possible
for us to do our work together?
There is a pause. Then Jane says quietly.
JANE
Dr. Rivers, you've been my truest
friend. But I could never be your
wife. Let me go with you as your
sister your servant, if you like;
I'd do anything if it would help
the children.
RIVERS
Listen, Jane. You have now but one
end, to keep in view how the work
you have undertaken can best be
done. Simplify all these
complicated thoughts and feelings.
Merge all considerations in one
purpose, that of fulfilling the
mission which God has given you to
perform and, to do this, you must
have a coadjutor: not a brother,
not an employer for those are loose
ties ——— but a husband. One to whom
you are bound indissolubly and
absolutely, until death shall cut
the knot.
JANE
(shaking her head)
I could never marry someone I
didn't love.
RIVERS
(impatiently)
Love, love... Surely there are
things more important than love.
And in any case, love will follow
upon marriage.
JANE
Your idea of love is not the same
as mine. You must seek someone more
fitted to you than I am.
RIVERS
(checking her)
Jane, I beg you. Don't say anything
irrevocable. Not now. Not before
you have had time to think. And
when you think, Jane, remember
this: If you reject my offer, it is
not me you deny, it is your duty,
it is the will of God.
A little pause.
RIVERS
I shall ride over again tomorrow,
Jane, but tonight you must search
your heart.
She nods without speaking.
DISSOLVE:
GATESHEAD - NIGHT - WIND - LIGHTNING
The rain has stopped, but a high wind is blowing, which flaps
the torn auction announcement on the gatepost. A single
window of the house is illumined - the drawing room.
There is a flash of lightning.
DRAWING ROOM - WIND - NIGHT
Most of the furniture has been taken out, and the interior is
bleak and empty.
The CAMERA PANS AROUND - across the small table on which we
see an empty sheet of notepaper, pen and ink beside it. And
then on around the room till we see Jane pacing, restless and
undecided what she will write, to Rivers.
Outside, the wind rises and howls, blowing open the French
windows.
Jane looks down at the notepaper on the table, then crosses
to the French windows to close them. There is a broad
shimmering flash of summer lightning and a peal of thunder.
Jane has her hand on the door. We see through it a large
chestnut tree, writhing and groaning in the wind. Suddenly
there is a crack of lightning. It strikes the tree. A great
branch cracks and falls.
It is exactly the same SHOT as when the tree at Thornfield
was struck, in the great romantic moment of Mr. Rochester's
proposal.
EXT. DRAWING ROOM AND GARDEN - RAIN - WIND NIGHT
Jane, electrified, runs out into the garden. The rain starts
to beat down on her face; the wind howls - but she is
entirely unconscious of it.
Then, as the elements roar to their climax, we hear the voice
of Edward Rochester speaking in pain and woe, wildly, eerily,
urgently.
ROCHESTER'S VOICE
Jane? Jane?
Jane's face becomes radiant, inspired and decided. As she
starts to rush out of the room, CAMERA SWINGS TO THE TABLE
just as the wind catches up the empty notepaper and whirls it
away. And once again we hear Jane's voice in narration --
JANE'S VOICE
It seemed the cry of a soul in
pain, an appeal for help so wild
and urgent, that I knew I must go,
and go immediately. Only when I had
seen for a moment how my poor
master did - only when I had looked
once more upon that tortured face --
would I be free to make my
decision.
BURNED-OUT ROOF (THE RUINED THORNFIEID - LATE AFTERNOON)
THE CAMERA IS SHOOTING at a burned-out roof through which we
see the sky. It PANS SLOWLY DOWN across broken and blackened
walls, a charred staircase. We begin to realize that we are
in what is left of the great hall at Thornfield. OVER THIS we
hear Mrs. Fairfax's voice. She speaks in a strange, flat
tone.
MRS. FAIRFAX'S VOICE
It was she who aid it, Miss Eyre.
She struck down Grace Poole as she
slept. And then she set fire to
Thornfield...
Over Jane's CLOSEUP Mrs. Fairfax's voice continues saying.
MRS. FAIRFAX'S VOICE
It was her laugh in the gallery
that woke me.
FAIRFAX, SHOOTING PAST JANE
Jane gazes in horror at the scene of desolation. In this SHOT
we see Mrs. Fairfax for the first time. She seems older and
paler, as though the experiences have affected her and driven
her even further within herself.
MRS. FAIRFAX
I ran into the nursery and wrapped
Adele in a shawl and carried her
down. Then as we came out into the
courtyard, I heard her laugh again.
I looked up and there she was on
the roof, laughing and waving her
arms above the battlements.
(she pauses)
Mr. Edward saw her when he came
out.
SHOOTING PAST MRS. FAIRFAX
This is the first time that Rochester's name has been
mentioned, and we see Jane's reaction. She has been wanting
to ask about Rochester, but has not trusted herself to speak.
MRS. FAIRFAX
He did not say anything, but he
went straight back into the house
to try to save her. All this side
of the house was blazing, and there
was smoke everywhere. Then it
cleared, and suddenly we saw Mr.
Edward behind her on the
battlements.
ON JANE
She listens in great apprehension to Mrs. Fairfax's account.
MRS. FAIRFAX'S VOICE
She saw him too. He came towards
her to help her down. She stood
very still for a moment. But just
as he seemed to reach her, she gave
a dreadful scream and ran from him
to the edge....
MRS. FAIRFAX
Mrs. Fairfax hesitates for a moment as though the picture of
the scene were in her mind.
MRS. FAIRFAX
The next moment she lay smashed on
the pavement before us... She was
dead, Miss Eyre.
JANE
She steels herself to ask the important question,
JANE
(in almost a whisper)
And Mr. Edward?
MRS. FAIRFAX'S VOICE
(almost despairingly)
The great staircase fell in as he
was coming down --
She is interrupted by the SOUND of footsteps. Jane does not
know whether Rochester is alive or dead. Tears begin to swell
in her eyes.
Then suddenly we hear Pilot barking and then Rochester's
loud, angry voice.
ROCHESTER'S VOICE
Quiet, Pilot.
We see the relief in Jane's eyes as the load is lifted.
THE ARCHES - FROM JANE'S ANGLE
From over the arches comes, first Pilot, who runs towards
her, and then Rochester. In the shadow under the arches he
seems the same as ever, but then, when he emerges into the
light, Jane sees that one arm hangs limp at his side, and he
drags one foot as though one side of his body was partly
paralyzed.
AND MRS. FAIRFAX
Pilot runs up to Jane, pleased to see her again. Jane pays no
attention to him, standing motionless, waiting for Mr.
Rochester to speak to her.
ROCHESTER
He leans against one of the columns of the arch, turning away
from Jane as though he had not seen her..
MED. CLOSE SHOT - JANE, BEWILDERED
OVER THIS we hear the SOUND of PILOT as he makes a fuss of
Jane.
SHOT - MR. ROCHESTER
He reacts to this as though it were the first indication he
had that he was not alone in the great hall.
ROCHESTER
Mrs. Fairfax?
MRS. FAIRFAX'S VOICE
Yes sir?
MR. ROCHESTER
What are you doing in this part of
the house? Adele is waiting for her
supper.
MRS. FAIRFAX'S VOICE
Yes, sir.
JANE
Suddenly she begins to realize what the matter is with
Rochester.
ROCHESTER
He turns his head into the light and we see what we had
already begun to guess -- that he is blind. OVER these SHOTS
we hear Mrs. Fairfax's echoing footsteps as they retreat.
Then a door closes.
SHOT - THE GREAT HALL
Rochester and Jane are alone, two small figures in the burned
out and blackened ruin. Jane is motionless, but it is clear
by Rochester's movements that he now thinks he is alone.
Now Pilot again gives Jane a friendly, cheerful bark.
SHOT OF ROCHESTER
He turns his head sharply.
ROCHESTER
Quiet, Pilot.
But Pilot still goes on.
ROCHESTER
Who's there?
He advances out of SHOT towards Jane.
WITH ROCHESTER ADVANCING TOWARDS HER IN THE F.G.
Mr. Rochester stops. He knows there is someone there, but we
see by the direction he is facing that he does not know
exactly where the person is.
ROCHESTER
(almost shouting)
Who are you?
Jane hesitates for a moment and then speaks in an almost
inaudible whisper.
JANE
I've come back, sir...
She steps forward and takes his hand and kisses it.
JANE
Oh, Edward, Edward...
Rochester starts at her touch, and an expression of
incredulous joy appears on his face. With his free hand he
reaches out and touches the hands which have clasped his own.
ROCHESTER
(in a whisper)
Her very fingers... Her small,
slight fingers.
(he touches her hair, then
very gently passes his
fingertips over her face)
Her hair. Her little flower—soft
face.
JANE
And her heart too, Edward.
ROCHESTER
Jane!
With a passionate gesture he lays his hands on her shoulders
and draws her towards him. Then, as he is bending down to
kiss her, he draws back, he pushes her away from him.
ROCHESTER
(bitterly)
But all you can feel now is mere
pity. I don't want your pity.
JANE
But, Edward...
ROCHESTER
(moving to the library
door)
You can't stay here, wasting your
life on the mere wreckage of a man.
You're young, you're fresh You
ought to get married. Married to
some young fellow in his prime.
Someone handsome and strong.
Someone you don't have to pity.
(he speaks with rising
bitterness, and finally
breaks out in violent
passion)
Go, go! Go and get yourself
married.
LIBRARY
Rochester is standing in the library, now completely wrecked,
so that we can see the garden through the broken walls. Jane
is framed in the doorway.
JANE
Don't send me away. Please don't
send me away.
Rochester hears the appeal in her voice, and stares
sightlessly at her in silence. Then he stretches out his
hands and holds them tensely, tremulously poised. Slowly he
lets them down on to her shoulders. It is as though he were
afraid of giving vent to his real feelings. He speaks in a
low voice, between his teeth.
ROCHESTER
Do you think I want to let you go?
There is a silence, Jane raises her hands and lays them one
on either side of his face; then leans forward and kisses the
closed lids of his blind eyes. At last Rochester allows
himself to be convinced of her love.
ROCHESTER
Jane!
He clasps her and kisses her passionately. Jane frees herself
and draws back, looking at him. A smile of tender mischief
appears on her face. She pushes back the hair on his
forehead.
JANE
Goodness —— this shaggy mane of
yours !
ROCHESTER
Am I hideous, Jane?
JANE
Very, sir; you always were, you
know.
ROCHESTER
(with a laugh)
I see the wickedness hasn't been
taken out of you.
Jane meanwhile has been straightening his cravats
JANE
There, that's better. Now, let me
look at you.
She turns him to the light. As the light falls on his face,
Rochester raises his hand and touches his cheek.
DISSOLVE TO:
GARDEN - LONG SHOT
Two small figures are walking across the garden, bathed by
the light of the setting sun. They are Jane and Rochester.
Over the SHOT, we hear Jane's voice speaking as narrator.
JANE
And gradually, as the months went
past, he came to see the light once
more, as well as to feel its
warmth. To see first the glory of
the sun, and then the mild
splendour off the moon, and at last
the evening star. And then one day
when our first-born was put into
his arms, he could see that the boy
had inherited his own eyes as they
once were-— large, brilliant, and
black.
FADE OUT
THE END