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