February 2, 1943

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.

Дата добавления: 2015-10-16