


                                        JANE EYRE

                                         Revised

                                     February 2, 1943

                                          
										   

               Note: Until otherwise noted the CAMERA represents Jane.  All
               characters speak directly into the CAMERA as though they were
               talking to Jane.  We never see her but on several occasions
               we see her hands just as her own eyes would see them.
			   

               FADE IN:
			   

               BATTLEMENTS OF THORNFIELD HALL - LATE AUTUMN OF THE YEAR 1840
               - EVENING
			   

               For a moment the battlements are still, suddenly a flock of
               Jackdaws fly up chattering and screaming.

               On this cue the CAMERA QUICKLY PANS off and moves rapidly
               towards a large window, actually the window of the great
               hall.

                                                       DISSOLVE TO:

               INT. GREAT HALL
			   

               THE CAMERA continues the same movement, hits the top of the
               arches, swings over them.  For a moment we catch a flash of
               two shadows, a man and a woman.  But the CAMERA follows the
               shadow of the woman, -- a girl wearing a poke bonnet and
               cloak, and follows it as it moves on to the door.  THE CAMERA
               HOLDS for just an instant while the figure is in almost
               perfect proportion with a human figure.  A hand comes into
               the shot, draws the bolt.  The door SWINGS open

                                                       DISSOLVE:

               EXT. OUTSIDE DOOR OF THORNFIELD - AUTUMN NIGHT
			   

               We see the shadow of the figure streak across the drive-way.

               Over this movement we HEAR the poignant voice of a man
               growing fainter as the CAMERA MOVES forward and out of the
               door.

                                   ROCHESTER'S VOICE
                         Jane! Jane!

               The shadow is now lost because the figure is no longer in the
               light coming from the hall, and THE CAMERA rushes into the
               mist.  OVER the shot comes the SOUND of running feet.

               EXT  MOORS - AUTUMN NIGHT - YEAR 1840

               The CAMERA is still running down the road. OVER the SOUND of
               her feet comes the SOUND of an approaching coach. The CAMERA
               stops. The coach with four horses comes out of the night
               straight towards the CAMERA - the brisk movement, the rattle
               of harness and the noise of the wheels contrasting violently
               with the stillness of the preceding shot. Coach stops in
               close to the CAMERA. CAMERA PANS UP and from this low angle
               at the top of the screen the Guard leans down into the shot
               talking to the CAMERA.

                                   GUARD
                         Look lively, miss.

               A FOOT DISSOLVE

               EXT, MOORS - TOP OF COACH — MOVING SHOT - (HORSES ON
               TREADMILL) AUTUMN NIGHT - YEAR 1840

               CAMERA is now on top of the coach shooting on the back of the
               driver as he whips the horses, PANNING DOWN slightly but
               still holding the driver to get the impression of trees and
               large rocks moving in a blurred quickly-changing shot - an
               impression of what every traveler sees hour by hour in the
               moon—lit, fog laden night. We begin a very slow DISSOLVE as
               the night changes to early dawn.

               EXT. MOORS AUTUMN NIGHT YEAR 1840

               The coach stops and we are shooting directly into the Guard's
               face. He is backlighted by the dawn, and he is vague and
               impersonal.

                                   GUARD
                         Six and four pence, that wuz wot
                         you give me, and by rights, you
                         should 'ave been out six miles
                         since.

               The CAMERA leaves the top of the coach, comes down to the
               ground still holding the Guard in the SHOT.

                                   GUARD
                         But seein' as 'ow you emptied your
                         purse, I made so free as to bring
                         you on 'ere -

               The coach starts out of the SHOT as the CAMERA PANS with it -
               goes down the road, disappearing. The CAMERA slowly starts
               out after the coach as we

                                                       DISSOLVE TO:

               INSERT OF SIGN ON SIDE OF ENTRY DOOR

               This insert is shot with a moving CAMERA from the angle of
               someone walking slowly past it. It reads:

                                 MRS. MASQUERIER'S AGENCY

                                Domestics, Governesses and

                                 Menials Supplied to the

                               Nobility and Landed Gentry.

                                                       DISSOLVE TO:

               MRS. MASQUERIER'S AGENCY - EVENING

               We are shooting down on Mrs. Masquerier. She is talking
               directly into the CAMERA.

                                   MRS. MASQUERIER'S VOICE
                         In my high—class connection, I
                         purvey only high-class references..
                         If you refuse to name your last
                         employer, what can I do for you?

               The shadow of the bonnetted figure is across the desk.

                                                       DISSOLVE TO:

               BASEMENT SWEAT SHOP DAY

               A shot on the stairs leading down to the sweat shop. CAMERA
               is confronted by the proprietor, a large man, In the
               background we have an impression of a mass of girls stitching
               for dear life. The shadow of the bonnetted figure is on the
               wall behind the proprietor.

                                   PROPRIETOR
                             (fingering her clothes)
                         Oh, no. You've never been a
                         seamstress. And I don't want no
                         hands who can't tell me where
                         they've come from. Not by no means.

               He turns and goes back down the stairs.

                                                       DISSOLVE TO:

               TO A MOORLAND VILLAGE

               The CAMERA is MOVING SLOWLY, as though the girl is now very
               weary, along a dusty road.

                                   A MAN'S VOICE (BEADLE)
                             (sharply)
                         Wait a minute!

               The CAMERA STOPS, PANS SLOWLY to a massive, red-faced beadle.
               He wears a cape and cocked hat and carries his staff of
               office. Behind him is a suggestion of an entrance to a
               moorland village. He is very close to the CAMERA and speaks
               directly to it.

                                   BEADLE
                         We don't want no vagabonds here. If
                         you got no work, go back to your
                         family. If you got no family, go
                         back to your friends. If you got no
                         friends, go back to where you came
                         from. Whichever the circumstances,
                         vacate this parish!

               During the last part of this speech the face of the Beadle
               becomes vague and blurred as the CAMERA SLOWLY PULLS BACK
               PANNING off the Beadle onto the actual bonnetted figure in
               exactly the same position that we saw her shadow for the
               first time on the doors of Thornfield Hall in the first
               scene. The figure turns its back to the CAMERA and starts to
               move off slowly into the mist as the CAMERA zooms back to an
               extreme long shot; while the figure in the poke bonnet grows
               grey and smaller in the mist we begin to hear the narration:

                                   JANE'S VOICE
                         My name is Jane Eyre, I have no
                         father or mother, brothers or
                         sisters. As a child I lived with my
                         aunt, Mrs. Reed, at Gateshead Hall.
                         I do not remember that she ever
                         spoke one kind word to me.

               Through the grey mist slowly comes the bright flaring light
               of a candle as the voice fades out.

                                                       DISSOLVE TO:

               UPSTAIRS CORRIDOR - GATESFIELD HALL - EARLY SPRING OF 1829

               First we see only the flaring candle, then a big hulking
               footman who carries it, them walking a pace behind him,
               Bessie, a servant. The two characters march towards CAMERA
               down a long corridor -- they pass the CAMERA and go towards a
               narrow heavily—bolted door, which Bessie proceeds to unbolt,

               Just as she finishes —

                                   FOOTMAN
                         Careful, Bessie, She bites.

               He hands the candle to Bessie and opens the door himself — as
               carefully as though there were a roaring lion behind him.

                                   FOOTMAN
                         Come on out, Jane Eyre.

               SHOOTING OVER THE FOOTMAN'S SHOULDER

               As the door opens the light falls —— not on a roaring lion ——
               but on a small frightened, disheveled and tearful little girl
               -— Jane Eyre.

               She is lying on the floor of a storeroom crammed with boxes,
               trunks and old furniture.

                                   FOOTMAN
                         Mrs. Reed wants you in the drawing
                         room.

               Jane slowly gets up.

                                                       DISSOLVE TO:

               FOOT OF THE STAIRS

               The footman, followed by Bessie, leads Jane by the ear and
               leaves her outside the drawing room door. Jane hesitates, too
               frightened to knock.

               SHOT — FOOTMAN AND BESS

                                   FOOTMAN
                         Go on, knock.

                                   BESSIE
                         Don't bully the child.

                                   FOOTMAN
                         Knock!

               She hesitantly knocks. A voice from inside says "Come in.'
               She opens the door.

               The CAMERA, which is behind her, now reveals what she sees.
               Mrs. Reed sits by the tea—table, a large florid woman in the
               late thirties, handsome in an animal sort of way, but cold
               and insensitive. Beside her, almost concealed by her skirts,
               is her son John, an ugly mean looking boy of twelve.

               There is also, standing before the fireplace, Mr.
               Brocklehurst, "a black pillar of a man, straight, narrow,
               sable—clad. The grim face at the top is like a carved mask."
               He is dressed in black frock coat and white tie.

               They are all seen from the child's point of view as she
               enters the room. Grim, forbidding figures looking down at
               herd

                                   MRS. REED
                         This, Mr. Brocklehurst, is the
                         child in question.

               The child stands uncomfortably at the door, not daring to
               advance.

                                   MRS. REED
                         She is the daughter of my late
                         husband's sister. By an unfortunate
                         union which we in the family prefer
                         to forget. For some years she has
                         lived in this house....

                                   MR. BROCKLEHURST
                             (fawning)
                         The recipient, I can clearly see of
                         every care that a loving
                         benefactress could lavish upon her.
                             (his face changes as he
                              glares down at the child)
                         Her size is small	What is her age?

                                   MRS. REED
                         Nine years.

                                   MR. BROCKLEHURST
                         So much?
                             (pause)
                         Come here, little girl. What is
                         your name?

                                   JANE
                         Jane Eyre, sir.

                                   MR. BROCKLEHURST
                         Well, Jane Eyre, and are you a good
                         child?

               Jane is silent.

                                   MR. BROCKLEHURST
                         I asked you a question, Jane Eyre.
                         Are you a good child?

               Jane glances up helplessly from the grim face of Mr.
               Brocklehurst to the grim face of Mrs. Reed.

                                   MRS. REED
                         The less said on that subject, the
                         better.

                                   MR. BROCKLEHURST
                             (sadly shakes his head)
                         Indeed!

                                   MRS  REED
                         Only this morning she struck her
                         little cousin most brutally and
                         without provocation.

               We CUT TO "her little cousin" a great lubber who now smirks
               in injured innocence.

                                   JANE
                             (violently)
                         That isn't true!

                                   MRS. REED
                         Jane!

                                   JANE
                         He hit me first.

                                   MRS. REED
                         Silence! John, dear, did you strike
                         her first?

                                   JOHN
                             (lying)
                         No indeed, Mama.

                                   JANE
                         You did, you know you did. You
                         knocked me down and cut my head and
                         made it bleed!

               John advances threateningly.

                                   JOHN
                         I did not! 

                                   JANE
                         You did! You did! You did!

               Another physical conflict is imminent, and Mrs. Reed hastily
               interferes.

                                   MRS. REED
                         Silence!
                             (to Jane)
                         I won't listen to your odious lies.

               Jane stops in mid—sentence and John hurries back to his
               mother's skirts. Mrs. Reed strokes his curls comfortingly.

                                   MRS. REED
                         You see, Mr. Brocklehurst, how
                         passionate and wicked she is.

                                   MR. BROCKLEHURST
                         I do indeed... Come here, child.
                         You and I must have some talk.

               Mr. Brocklehurst has sat down in his chair, and now Jane
               moves unwillingly over to him until her face is on a level
               with and quite close to his. "The great nose, the long, hard
               mouth, the prominent teeth."

                                   MR. BROCKLEHURST
                         No sight so sad as that of a wicked
                         child. Do you know where the wicked
                         go after death?

                                   JANE
                         They go to Hell.

                                   MR. BROCKLEHURST
                         And what is Hell?

                                   JANE
                         A pit full of fire.

                                   MR. BROCKLEHURST
                         And should you like to fall into
                         that pit and be burning there
                         forever?

                                   JANE
                         No, sir.

                                   MR. BROCKLEHURST
                         Then what must you do to avoid it?

                                   JANE
                         I must keep in good health and not
                         die.

               Mrs. Reed and Mr. Brocklehurst exchange a glance.

                                   MR. BROCKLEHURST
                         But children younger than you die
                         daily. Only last week we buried a
                         little child of five — a good
                         little child, whose soul is now in
                         heaven. But what of your soul, Jane
                         Eyre? What of soul?

                                   JANE
                             (forthright)
                         I don't see why it shouldn't go to
                         heaven, too.

                                   MR. BROCKLEHURST
                             (beginning to get somewhat
                              annoyed)
                         You don't see. But others see
                         clearly enough. Do they not, Mrs.
                         Reed?

               Mrs. Reed nods emphatically. Brocklehurst turns back to

                                   MR. BROCKLEHURST
                         You have heard the name of Lowood?

                                   JANE
                         No, sir,

                                   MR. BROCKLEHURST
                         It is a school for unfortunate
                         Orphans. My estate lies within a
                         mile and as Chairman of the Board.
                         I give much time to its
                         supervision. Would you like to go
                         there, little girl?

                                   JANE
                         You mean... not live here any more?

               He nods. Jane's face lights up; then she glances uncertainly
               at Mrs. Reed, and back again to Mr. Brocklehurst.

                                   JANE
                         I don't know what Aunt Reed would
                         say.

                                   MR. BROCKLEHURST
                         It was your kind benefactress who
                         suggested the plan. You wish to go?

                                   JANE
                             (delighted)
                         Yes, sir.

               As Mrs. Reed sips her tea, we see a hint of satisfaction on
               her face.

                                   MR. BROCKLEHURST
                             (patting her head)
                         You have made a wise choice - wiser
                         than you know. And now you must
                         pray God to take away your heart of
                         stone and make you meek and humble
                         and penitent --

               He turns to Mrs. Reed.

                                   MR. BROCKLEHURST
                         And you may rest assured, Mrs.
                         Reed, that we will do our best to
                         collaborate with the Almighty.

               Mrs. Reed smiles; she and Mr. Brocklehurst understand each
               other perfectly. Only Jane does not appreciate what is going
               to happen to her.

                                                       DISSOLVE TO:

               HALL AND STAIRS - EARLY MORNING

               Bessie and Jane are descending the stairs. Bessie holds a
               candle in one hand and, in the other, a basket containing
               Jane's possessions. Jane has a radiant expression on her
               face, her thoughts excitedly glued on the future.

                                   JANE
                         Bessie.

                                   BESSIE
                         Yes, Jane?

                                   JANE
                         I never dreamt I'd get away from
                         here till I was quite grown up.

                                   BESSIE
                         Won't you even be sorry to leave
                         your poor old Bessie?

                                   JANE
                         What does Bessie care for me? She's
                         always scolding and punishing.

               Bessie is hurt by this, and also a little regretful.

                                   JANE
                         All the same, I'm rather sorry to
                         be leaving you.

                                   BESSIE
                         Rather sorry — is that all? And if
                         I asked you to give me a kiss, I
                         suppose you'll say you'd rather
                         not.

               By this time they have reached the front door which the
               footman, whom we saw in the first sequence, is engaged in
               unbolting.

                                   JANE
                         I'll kiss you and welcome, Bessie.
                         Bend your head down.

               As Bessie bends down ——

                                   BESSIE
                         You're such a strange, solitary
                         little thing.

               Jane kisses her on the cheek. Bessie is touched. She holds
               Jane's small arms, hating to let her go.

                                   JANE
                         Goodbye, Bessie.

               Bessie adjusts Jane's knitted shawl around her shoulders, as
               she continues:

                                   BESSIE
                         You'll think of me now and then,
                         won't you?

               Bessie sees that the shawl needs something to hold it, unpins
               a brooch from her bosom.

                                   BESSIE
                         Here's a keepsake, Jane. It'll help
                         you remember me. 
                             (she pins it on Jane's
                              shawl, fastens the clasp)
                         Be a good girl. And I hope you'll
                         be happy.

               Jane for a moment has been fascinated by this show of love
               and generosity. She stares up into Bessie's kindly eyes.

                                   JANE
                         Thank you, Bessie.

               She takes the basket from Bessie.

                                   JANE
                         Goodbye.

               Jane follows the footman outs The CAMERA REMAINS for a moment
               on Bessie.

                                   BESSIE
                             (almost to herself)
                         Goodbye, Jane.

               There is a glint of a tear in her eye. She starts to close
               the door.

               Jane and the footman walk down the drive, towards the gate.

               MED. LONG SHOT OF HOUSE

               The door is still open, and Bessie is standing in the
               illuminated square of the doorway.

               Chinks of light show at the two upper windows.

               OF PRINCIPAL BEDROOM

               Aunt Reed has also been watching Jane go —— but with
               considerable satisfaction. Contentedly, she lowers the
               curtains and is hid behind them.

               NIGHT - NURSERY WINDOW

               John stands there —— wearing an unbecoming nightcap. He also
               drops his curtains, yawning contentedly, delighted to have
               seen the last of Jane. Over these SHOTS is HEARD the crunch
               on the gravel drive as Jane and the footman walk towards the
               gate.

               LONG SHOT OF GATESHEAD

               Jane, near the CAMERA, is just going through the heavy
               entrance gates. The turns and faces the now darkened house,
               her face large on edge of screen.

                                   JANE
                             (shouting)
                         Goodbye, Mrs. Reed. I hate you and
                         everything about you!

               Lights come in the windows again, as though Mrs. Reed and
               John had opened the curtains at the noise. There is the SOUND
               of a window being thrown up.

                                   JANE
                         I'll never come and see you when
                         I'm grown up, and I'll never call
                         you Aunt as long as I live, and if
                         anyone asks me how you treated me,
                         I'll say you are bad and hard—
                         hearted and mean, and the very
                         sight of you makes me sick!

               She swings the heavy gate with a clang, and disappears.

               Like prison bars, it encases the grim silhouette of
               Gateshead. The lights disappear from the window again as we --

                                                       DISSOLVE TO:

               AN ENGLISH MAIL COACH - DAY

               Crossing the pleasant English countryside (stock) 

               It is a bright, crisp spring day, with the sun shining.

               We are not yet in the moorland country: on the contrary, the
               landscape should, for contrast, be gentle and well
               cultivated.

               ROOF OF COACH

               The coach drives TOWARD THE CAMERA, showing the large
               coachman on his box with his many capes -- then the
               passengers, horsey young men smoking cigars, a farmer or two,
               a red-coated soldier... then, on the last seat, Jane,
               clutching the basket containing all her worldly possessions.

               The guard is sitting on the same bench, but raised on a
               higher cushion, so that he has to lean down a good deal to
               listen to Jane. He is blowing his horn when he and Jane get
               into CAMERA. The CAMERA STAYS WITH Jane and the guard,
               PANNING WITH THEM as coach travels on.

               Jane is bubbling over in a state of unwanted elation.

                                   JANE
                         Yes, and at school I shall have
                         drawing lessons, and French
                         lessons, and	music lessons, and
                         history lessons and there'll be
                         hundreds of other girls to play
                         with. Oh, when I get to Lowood,
                         I'll have so many friends!

                                   GUARD
                         Lowood!

               The Guard has recognized the name, and knows Lowood's
               reputation. He looks at her and purses his lips, as though
               giving vent to an inaudible whistle, picking up his horn as
               he does so. Jane is blissfully unaware of his reaction.

                                   GUARD
                         Lowood.

               He gives a violent blast on his horn.

                                                       DISSOLVE TO:

               LOWOOD - NIGHT - CLOSE SHOT OF A STONE PLAQUE

               On it is engraved:

               LOWOOD INSTITUTION

               HENRY BROCKLEHURST ESQ.

               Chairman of the Board of Trustees

                                   GUARD'S VOICE
                         Here you are. Bin asleep for hours.

               The CAMERA PANS OFF SIGN to a CLOSE SHOT of Jane, still
               asleep, carried in the guard's arms.

               A woman's hand comes into scene and Jane is handed from one
               to the other without waking her. Then the guard hands in
               Jane's basket and goes.

               Then Jane is lifted through the front door which is shut into
               CAMERA.

               The CAMERA NOW PANS after the guard who is mounting the
               coach. In this SHOT we see something of the school, a low
               rambling grey stone building occupying one side of screen.

               The coach moves on and until it disappears at a bend in the
               road which leads over the rolling moors.

               We hold for a moment on the bleak desolate landscape no tree
               is visible nor any other inhabited house.

                                                       DISSOLVE:

               CLOSEUP - JANE IN BED - IN LOWOOD DORMITORY - NIGHT

               Jane's head tosses and turns in her sleep, as we hear a vague
               symphony of the beating of hoofs and the rattle of bits and
               the creaking of a coach — the very same -sounds which we have
               heard throughout the past sequence and which are still
               running through Jane's head.

               Where we are, we do not know. All we know is that Jane is
               asleep in a bed, wearing a coarse calico nightdress and still
               dreaming of her great exciting journey.

               Now a shadow seems to pass over Jane's face, the lighting
               begins to tell us that it is day - when suddenly the violent
               clanging of a loud bell banishes the sound of hoofbeats.

               The jangling hell continues. Jane sleepily and contentedly
               opens her eyes, Still half—asleep, she is about to shut them
               again with equal contentment, when she does what is very
               nearly a double take, and quickly sits up.

               OVER JANE'S SHOULDER - EARLY MORNING

               We see a bleak room, with two long lines of narrow beds, not
               more than a foot apart, and between the beds a rough wooden
               table with a line of- wash basins.

               But what has made Jane start up, is that all the beds are
               empty except hers, and at the foot of each stands a - girl
               wearing the same standardized nightdress that Jane is
               wearing. They stand in an exact line, apparently for a
               further order.

               Jane leaps up and scuttles to her vacant place in the line.
               Another bell rings.

               EARLY MORNING — LOW CAMERA SHOOTING DOWN A LINE OF WASHBASINS

               The girls are again standing in line, but now each wears
               chemise and petticoat. As the SHOT opens, the bell rings
               again, and the girls dive for the washbasins.

               INT. MAIN HALL	REFECTORY SECTION - DAY - CLOSE SHOT

               TEACHER (MISS SCATCHERD) AT TABLE

               Beyond in the background, are girls with a teacher at each of
               the other tables. There are 50 or 60 pupils of all ages from
               8 to 20.

               Miss Scatcherd is a cold, fish-like creature. She closes her
               eyes, clasps her hands, and delivers the following grace:

                                   MISS SCATCHERD
                         0, Merciful Providence, who of Thy
                         generous plenty doth give us the
                         abundant fruits of the field for
                         our sustenance...

               During this, the CAMERA PANS to Jane, who sits a few places
               away from Miss Scatcherd at the table,. She is staring in
               dismay at the plate before her. CAMERA PANS DOWN to her
               plate, on which is a tiny portion of unappetizing food. The
               hand of another girl next to Jane comes into the scene and
               suddenly scoops most of Jane's portion onto her own plate.

                                                       DISSOLVE TO:

               CLOSE UP — BROCKLEHURST — SCHOOLROOM - DAY

               Speaking to the assembled girls. He is no longer the oily
               suave Brocklehurst we met at Gateshead, but the stern,
               zealous Evangelical.

                                   BROCKLEHURST
                         Pupils, observe this child. She is
                         yet young; she possesses the
                         ordinary form of girlhood; no
                         single deformity points her out as
                         a marked character...

               During this speech THE CAMERA MOVES from Brocklehurst, over
               the faces of the girls who obediently look in the direction
               the CAMERRA IS MOVING with the dull hollow stare of
               down—trodden children.

                                   BROCKLEHURST
                         ...Who would think that the evil
                         one had already found a servant 
                         and an agent in her? Yet, such, I
                         grieve to say, is the case.

               And by now the CAMERA has landed on Jane, who, frightened but
               dry—eyed, stands on a stool in the middle of the assembled
               girls.

               He is addressing some of the older girls who are seem in the
               shot.

                                   BROCKLEHURST
                         Therefore, you must be on your
                         guard against her, shun her
                         example, avoid her company, exclude
                         her from your sports and shut her
                         out from your converse.

               He moves to Miss Scatcherd and the other teachers, and the
               CAMERA MOVES with him so that they are now in shot.

                                   BROCKLEHURST
                         Teachers, you must watch her, weigh
                         well her words, scrutinize her
                         actions, and punish her body to
                         save her soul....

               Then he advances on Jane, and the CAMERA again MOVES with him
               until it holds a two—shot of him and Jane with an impression
               of the girls in the background.

                                   BROCKLEHURST
                         For it is my duty to warn you and
                         my tongue falters as I tell it that
                         this girl, this child, the native
                         of a Christian land worse than many
                         a little heathen who says its
                         prayers to Brahma and kneels before
                         Juggernaut —this girl is a liar.

               SHOT - JANE

               Other girls in b.g. fill the screen, all staring at her. Jane
               wishes the ground would swallow her.

               SHUT OF ROOM -

               holding for a moment the tableau of Brocklehurst and Jane as
               he stands pointing at her. All eyes are on them and there is
               no movement in the room, nor the slightest sound. Suddenly
               Brocklehurst turns, picks up his hat and coat, and walks to
               the door. There he turns.

                                   BROCKLEHURST
                             (curtly)
                         Let her remain upon that stool, and
                         let no one speak to her for the
                         rest of the day.

               He turns and marches out, slamming the door behind him.

                                                       DISSOLVE TO:

               SCHOOLROOM — DUSK

               It is growing dark in the great deserted hall. Jane stands
               all alone on her stool, a small lonely figure, her face
               tear—stained and swollen. Into the hall, behind Jane's back
               and unobserved by Jane, comes a frail girl of 14 or 15 whose
               face we have perhaps already discerned among the students in
               the previous scene. This is Helen Burns.

                                   HELEN
                         I brought you this — from supper.

               She holds out a piece of bread. Jane turns; her face is
               streaked with tears.

               CLOSE SHOT - JANE AND HELEN

                                   JANE
                         Didn't you hear what he said? He
                         said you mustn't have anything to
                         do with me.
                             (she starts to sob)

                                   HELEN
                         Go on — take it -

               She puts the bread into Jane's hand.

                                   JANE
                             (through her tears)
                         I'm not bad, I promise I'm not. And
                         I hate him, I hate him, I hate him.

                                   HELEN
                         It's wrong to hate people.

                                   JANE
                             (with rising passion)
                         I can't help it. I thought school
                         was a place where people would love
                         me. I want people to love me and
                         believe in me and be kind to me.
                         I'd let my arm be broken if it
                         would make anyone love me — or let
                         a horse kick me — or be tossed by a
                         bull —

                                   HELEN
                         Don't say such things --

                                   JANE
                             (sobbing hysterically)
                         But I would, I would --

               Helen puts her arm around Jane soothingly. She turns Jane's
               face to her. Jane looks up into her eyes, and the steady
               comforting glance of the older girl begins to calm her.

                                   HELEN
                         Eat your bread, Jane.

               Jane, her eyes still on Helen, slowly raises the bread to her
               mouth. As she does so, she sighs convulsively. Then, at last,
               a little smile of contentment begins to play over her
               features as we

                                                       DISSOLVE TO:

               LOWOOD — LONG SHUT — DAY - (WINTER)

               This is the first time we have seen a LONG SHOT of the school
               by day, and we see clearly the wild rolling moors by which it
               is surrounded. There is a rough path leading out from the
               rear of the rambling buildings, and along this come Helen and
               Jane, carrying a large washing basket. As they draw nearer to
               CAMERA, it PANS WITH THEM and we see that they are
               approaching a high piece of ground on which clotheslines are
               erected. On these lines a whole regiment of Holland pinafores
               and other articles are hanging, fluttering wildly in the
               strong winter wind. This piece of ground is separated from
               the rolling moors below by a little cliff about twelve feet
               high.

               SHOT

               The girls set the basket down, and we see that there are more
               newly-washed things to be hung up. Helen goes to work at
               once, lifting several wet pinafores from the basket, putting
               them over her arm — but Jane rubs her chilled hands, then
               blows on her fingers. As she does this, she looks off.

                                   JANE
                         Helen, where does that road go?

                                   HELEN
                             (lightly)
                         I told you before. To Bradford.

                                   JANE
                         But after Bradford.

                                   HELEN
                             (handing her some of the
                              pinafores from the
                              basket)
                         Derby, I suppose, and Nottingham -
                         then London.

               Helen turns to the line, starts pinning up things.

                                   JANE
                             (her imagination running
                             away with her )
                         And from London to Dover, and
                         across the sea to France. And then
                         over the mountains and down to
                         Italy and to Florence and
                         Rome...and Madrid.

                                   HELEN
                             (smiling)
                         Madrid isn't in Italy, Jane.

                                   JANE
                         Isn't it?
                             (crosses to the line,
                             (starts pinning up things)
                         Well, that road goes there all the
                         same. And we'll drive along it one
                         day, when were grown up — in a
                         coach and four. Helen, I'll have
                         beautiful curly hair just like
                         yours, and I'll have read all the
                         books in the world...

               BELOW CLIFF

               This is a little winding country road, along which comes a
               young good—looking man on horseback - Dr. Rivers. Seeing Jane
               above, he stops his horse.

                                   JANE'S VOICE
                         And I'll play the piano, - and talk
                         French, — almost as well as you
                         do...

               FROM HIS ANGLE

               The sky behind her, the wind in her hair, quite unconscious
               of Dr. Rivers' presence.

               ON - DR. RIVERS

               He smiles to himself, as though he knew and liked Jane.

                                   DR. RIVERS
                         Dreaming again, Jane?

               He starts his horse forward.

               SHUT - OF THE LITTLE CLIFF

               Jane at the top of screen, Dr. Rivers passing in the
               foreground. Jane turns with a start.

                                   JANE
                         Oh, Dr. Rivers

                                   DR. RIVERS
                         I know somebody who's going to
                         be late for inspection.

               She starts to run off. We hear her voice as she goes:

                                   JANE'S VOICE
                             (calling)
                         Not this time — I'll beat you
                         there?

               PICTORIAL SHUT

               Jane, as she scampers back to the school, Helen following
               after her, from which we

               SCHOOL HALL - DAY

               And the CAMERA IS PANNING with a similar movement over a line
               of small girls. As the CAMERA PASSES each girl, she opens her
               mouth and sticks out her tongue, says "Ah." This is an old
               routine and they know what is expected of them.

               As it goes, the CAMERA HAS MOVED BACK a little and shows it
               is Dr. Rivers who is going down the line.

               Then the CAMERA COMES to Jane, her tongue also protruded; she
               is trying to conceal the fact that she is panting heavily.
               Dr. Rivers (and the CAMERA) stops.

               SHOT - DR. RIVERS

               In spite of his official attitude, he cannot help smiling.

               TO JANE

               She gives him a little shy smile in return, and the CAMERA
               MOVES ON.

               After two or three more girls the CAMERA reaches Helen. She
               coughs and has to pull in her tongue.

                                   RIVERS
                         That cough doesn't seem any better.

               He takes out his notebook and makes a note.

                                   RIVERS
                         We'll have to take care of it.

               Rivers then moves on, past several of the other girls, to the
               end of the line where Brocklehurst is waiting. The two men
               walk together toward the door, Miss Scatcherd following
               obsequiously behind them like an aide-de-camp, the CAMERA
               TRUCKING WITH THEM. The girls relax and start to move around
               as they are left alone. On the way Dr. Rivers stops at an
               open window and closes it.

                                   RIVERS
                         You keep your schoolroom uncommonly
                         cold, Mr. Brocklehurst.

                                   BROCKLEHURST
                         A matter of principle, Dr. Rivers.
                         Our aim is not to pamper the body
                         but to strengthen the soul.

                                   RIVERS
                         I should hardly have thought that
                         rheumatic fever was any aid to
                         salvation. But then I am not a
                         theologian.

               He goes, leaving Brocklehurst furious. Brocklehurst pauses a
               moment, then suddenly turns back to face the girls. Instantly
               all sound and movement cease, and they stand hushed, knowing
               that they are in for trouble in Mr. Brocklehurst's present
               mood.

                                   MISS SCATCHERD
                         Mr. Brocklehurst, if I may venture
                         an opinion...

                                   BROCKLEHURST
                             (glaring at her)
                         When I want your opinion, madam, I
                         shall call for it!

               He marches back, followed by Miss Scatcherd, deliberately
               reopens the window that Dr. Rivers had closed, and moves on
               to the girls. Now it is their turn.
               As he walks up the line, they cringe inwardly. He stops in
               front of a very little girl.

                                   BROCKLEHURST
                         Johnson, you poke your chin most
                         unpleasantly. Draw it in.

               The little girl promptly bursts into tears, which
               Brocklehurst entirely ignores as he moves on to another
               victim.

                                   BROCKLEHURST
                             (glaring at another
                             little girl)
                         Edwards, I insist on your holding
                         your head up. I will not have you
                         before me in that attitude.

               He moves on, having succeeded in frightening the child half
               to death. Suddenly he stops, staring at Helen.

                                   BROCKLEHURST
                             (in a voice of
                             thunder)
                         Miss Scatcherd! Fetch me a pair of
                         scissors — immediately!

               He continues to gaze with venom at Helen, just why we do not
               know. A moment later Miss Scatcherd comes running into shot
               with the scissors.

                                   BROCKLEHURST
                         What, may I ask, is the meaning of
                         this?
                             (he points)
                         Why, in defiance of every precept
                         and principle of this
                         establishment, is this young person
                         permitted to wear her hair in one
                         mass of curls?

                                   MISS SCATCHERD
                         Her hair curls naturally, sir.

                                   BROCKLEHURST
                             (raising the scissors
                             to Helen's head)
                         Miss Scatcherd, how often have I to
                         tell you that we are not here to
                         conform to nature? I wish these
                         girls to be children of grace.

               He shears off in the first movement of the scissors a vast
               quantity of Helen's curls.

               SHOT - JANE

               In the foreground of the shot, Mr. Brocklehurst's hands and
               Helen's hair.

               Jane is horrified by what Mr. Brocklehurst is doing to her
               heroine. One more snip, and she can stand it no longer.

                                   JANE
                         Please, please, sir, don't do that.
                         You can cut mine, sir, as much as
                         you wish, but please --

                                   BROCKLEHURST'S VOICE
                             (thundering)
                         Silence!

               SHOT - BROCKLEHURST

               A frightening shot as he glares down at them.

                                   BROCKLEHURST
                         So this is the spirit that prevails
                         at Lowood, - first vanity and then
                         insurrection.
                             (with an ominous glance)
                         It shall be rooted out!

               PUNISHMENT YARD - DUSK - RAIN

               One edge of the schoolhouse is shown in the SHOT, but we
               concentrate on the exercise yard beside it. Marching round
               and round the yard through the mud, drenched, weary, but
               driven on by fear, are two bedraggled figures — Jane and
               Helen. Helen wears a placard with the word "Vain" written on
               it. The placard which Jane wears bears the word
               "Insubordinate." The rain has already made the ink run. Both
               girls, as additional punishment are carrying heavy flat
               irons, obliged to hold them at a level with their shoulders.

               THE CAMERA PANS with them, and continuing the same movement
               leaves them and passes to the front porch of the schoolhouse.
               There, Dr. Rivers is just riding up from the opposite
               direction, so that he cannot see Jane and Helen. He
               dismounts, walks toward the door. Miss Scatcherd opens it
               from inside as he approaches.

                                   MISS SCATCHERD
                             (surprised)
                         Dr. Rivers.

               HALL

               Dr. Rivers enters and takes from his pocket a small bottle.
               Behind him through a window in the background, we can see the
               figures of Jane and Helen still trudging through the rain.

                                   RIVERS
                         I brought this oil for Helen Burns.
                         See that it's rubbed on her chest
                         night and morning.

                                   MISS SCATCHERD
                             (uneasily)
                         Helen, Dr. Rivers?

                                   RIVERS
                         Yes, I'm concerned about her lungs.
                         I have spoken to Mr. Brockle —-

               Rivers breaks off suddenly in the middle of a sentence as he
               notices that Miss Scatcherd is looking nervously through the
               window, He follows her gaze, with alarm recognizes Helen.

                                   RIVERS
                         Good heavens, madam!

               He takes a step toward the window. Outside, the children have
               turned back towards the house, and he can now see their
               faces.

                                   RIVERS
                             (aghast)
                         What are those children doing in
                         the rain?

                                   MISS SCATCHERD
                         It was Mr. Brocklehurst's order.

                                   RIVERS
                         Bring them in immediately!

                                   MISS SCATCHERD
                         But what shall I say to Mr.
                         Brocklehurst?

                                   RIVERS
                         You can refer Mr. Brocklehurst to
                         me.

               Miss Scatcherd hesitates a moment, looks at him nervously,
               then takes a step toward the door, as we

                                                       DISSOLVE OUT:

               SICK ROOM - NIGHT

               We DISSOLVE in on an old—fashioned bronchial kettle.

               The CAMERA FOLLOWS the waft of steam as it floats to where
               Helen Burns is lying in bed. Beside her stand Rivers and
               Brocklehurst.

               This, is a bare attic room, furnished with nothing but
               Helen's narrow bed, a chair and a table, on which stand a
               lamp and the steam kettle boiling away over a spirit lamp.
               The clouds of steam are back-lighted by a candle by the bed.

               Rivers, who has finished examining Helen, packs away his
               instruments in a black bag. Helen stirs restlessly.

                                   BROCKLEHURST
                         With your leave, Doctor, I will
                         offer up one more prayer.

               He kneels down. Rivers throws him a glance and deliberately
               leaves the room, the CAMERA PANNING WITH HIM.

                                   BROCKLEHURST'S VOICE
                         Almighty God, look down upon this
                         miserable sinner and grant that the
                         sense of' her weakness may add
                         strength to her faith and
                         seriousness to her repentance...

               LANDING

               The sick room is situated where two corridors join at right
               angles. One of these is quite dark; the other is illumined by
               a night light on a shelf, not far from the sick room door.

               Rivers comes out and stands waiting for Brocklehurst. His
               face is grave. A moment later Brocklehurst comes out, a
               sanctimonious expression on his face. He carries the candle
               in his hand.

                                   BROCKLEHURST
                             (sighing as they walk
                              forward)
                         The ways of Providence are
                         inscrutable, Dr. Rivers.

                                   RIVERS
                         Was it Providence that sent that
                         poor girl to get drenched in the
                         rain?

                                   BROCKLEHURST
                         Dr. Rivers...

                                   RIVERS
                             (with mounting
                              indignation)
                         Was it Providence that ordered her
                         to her death? Yes, to her death,
                         Mr. Brocklehurst.

               The CAMERA HAS PANNED WITH THEM and now as they walk out of'
               SHOT, the light of the candle falls on a pale little figure
               crouching in the shadows of' the cross corridor.

               THE CAMERA REMAINS ON HER - it is Jane, barefooted and in her
               nightdress. Her expression of horror tells us that she had
               heard what has been said.

               The footsteps die away. Then Jane runs hastily to the door
               of' the sick room, and goes in.

               ROOM NIGHT (MOONLIGHT)

               Jane steals over to the bed. Her expression is one of anxiety
               and distress.

                                   JANE
                         Helen...

               There is a silence. Jane speaks again, more anxiously.

                                   JANE
                         Helen!

               Helen turns, and as she sees Jane, her face lights up with
               pleasure.

                                   JANE
                             (reassured)
                         Oh, I'm so glad. I heard Dr. Rivers
                         say -- I was afraid.

                                   HELEN
                             (quietly)
                         There is nothing to be afraid of.
                         I'm not afraid, Jane.

                                   JANE
                             (realizing by this that it
                              is true that Helen is
                              about to die)
                         Helen! Helen!

                                   HELEN
                             (calming her, almost
                              maternally)
                         You must be cold, Jane. Lie down
                         and cover yourself with my quilt.

               Jane, crying bitterly, gets into bed beside her.

                                   HELEN
                         Don't cry, Jane. I don't want you
                         to cry.

                                   JANE
                             (childishly)
                         But we were going to see the world
                         together - and drive in that lovely
                         coach and four...

                                   HELEN
                         You'll have to see the world for
                         me...all the places I didn't see.
                         And I'll look down and watch you.

                                   JANE
                             (momentarily excited by
                              the idea)
                         And, I'll think of you all the time
                         - I really will, Helen.

               Helen starts to coughs

                                   HELEN
                         It's time you went back to bed.

                                   JANE
                             (miserable again)
                         Don't send me away, please don't
                         send me away.

               Helen hesitates.

                                   HELEN
                             (smiling)
                         All right.

               Jane contentedly lays her head on Helen's shoulder and
               prepares for sleep. There is a pause, then:

                                   HELEN
                         Are you warm now?

                                   JANE
                         Yes.

                                   HELEN
                         Goodnight, Jane.
                             (she kisses her)

                                   JANE
                         Goodnight, Helen.

               She momentarily opens her eyes as Helen kisses her, notices
               Helen's shorn head.

                                   JANE
                             (murmuring sleepily)
                         I do wish they hadn't cut your
                         hair.

               A moment later she is asleep. Helen folds her to her as
               though it were Jane who was sick.

                                                       DISSOLVE TO:

               ROOM — MORNING

               Two hands — Jane's and Helen's — are clasped on the coverlet
               — lit by the morning sunlight which streams through the
               window. Throughout the scene we show nothing but these two
               hands.

               Jane's hand moves.

                                   JANE
                             (making an effort to
                              control her tears)
                         I'll try.

                                   RIVERS
                         That's right. And don't forget; the
                         harder you try, the more God will
                         help you.

               A silence. Jane stares straight before her.

                                   RIVERS
                         Come now, Jane, let me take you
                         back.

                                   JANE
                             (suddenly excited and
                              passionate as before)
                         No, no, I can't go back to school.
                         I'll never go back. I'll run away.
                         I'll...

                                   RIVERS
                             (laying a restraining hand
                              on her shoulder)
                         Jane.
                             (she stops)
                         You know what duty is, don't you?
                         Duty is what you have to do, even
                         when you don't want to-do it. I may
                         not want to go out in a snow storm
                         to visit a sick child; but I know
                         that I have to go -— because it is
                         my duty. And now what is your duty,
                         Jane?

                                   JANE
                         I...I don't know.

                                   RIVERS
                         Yes, you do, Jane. In your heart
                         you know very well. Your duty is to
                         prepare yourself to do God's work
                         in the world. Isn't that true?
                             (she nods)
                         And who can do God's work -- an
                         ignorant woman? Or an educated one?
                         You know the answer to that. And
                         where can you get an education?
                         There?

                                   JANE
                             (in a whisper)
                         At school.

                                   RIVERS
                         Precisely. So you know that you I
                         have to go back to school even
                         though you may hate the very
                         thought of it. Isn't that true?

               She hesitates; then at last reluctantly nods her head.

                                   JANE
                         Yes...I suppose it is true.

               River's rather stern face is suddenly transfigured by a smile
               of affectionate tenderness, he puts his arm round Jane and
               squeezes her close to his side.

                                   RIVERS
                         Good, Jane, good.

               He rises and swings her down from the tomb.

                                   RIVERS
                         And now here's another thing to
                         remember. It's always in
                         everybody's power to make the best
                         of a bad job, or to make the worst
                         of it  Which do you choose, Jane'?

                                   JANE
                         To make the best of it, Dr. Rivers.

               She smiles up at Rivers and he smiles back. Then he takes her
               hand and they walk together out of the churchyard and along
               the road into the setting sun, as we

                                                       FADE IN

               INSERT — SCHOOL REPORT - TEACHER'S ROOM - DAY

               The words "Lowood Institution. Pupil's Report" are printed at
               the top of the page. Beneath is written in fine copperplate
               writing:
                                 Name..........Jane Eyre
                              Admitted....,.Jan, 18th, 1829
                              Appearance... .Unprepossessing
                                    Character.... .Sad

               We begin to hear Brocklehurst's voice:

                                   BROCKLEHURST'S VOICE
                         True, gentlemen, we had some
                         difficulties at the beginning, - a
                         very stiff—necked and evil child.

               His hand has entered the SHOT and begins to turn successive
               pages of the report. Each represents and we have only time to
               see the bold figures at top of each sheet, 1830, 1831,
               1832...

                                   BROCKLEHURST'S VOICE
                         But Eyre has been with us ten
                         years...

               CLOSE SHOT - BROCKLEHURST

               He is older now and his glossy side whiskers are now
               noticeably grey. He continues to turn over the remainder of
               the sheets as he speaks with a certain grim emphasis.

                                   BROCKLEHURST
                         ...and in those ten years it has
                         been granted me to plant her feet
                         in the path of salvation.

               He looks round the room.

               LONGER SHOT

               Showing Brocklehurst at the head of a table, at which sit
               four middle—aged and elderly gentlemen, local squires and
               parsons who are the Trustees. We have the impression of four
               not very bright men who are not very interested in the asylum
               and are perfunctorily doing their duty.

                                   A TRUSTEE
                             (glancing at his watch)
                         I suppose we ought to see her?

                                   BROCKLEHURST
                         I intended that you should. Let
                         Eyre be brought in.

               Miss Scatcherd gets up and crosses the scene in the direction
               of the door.

                                   BROCKLEHURST
                         I need not remind you of the
                         advantages of appointing one of our
                         own pupils as teacher. An outsider
                         would have to be paid twice as
                         much.

               During this we hear the sound of Miss Scatcherd's voice's
               calling "Eyre! Eyre!"

               SHOOTING PAST THE TRUSTEES

               Through the door at the further end of the set, Miss
               Scatcherd ushers in Jane, now a young woman in her late
               teens.

               As she is walking to the foot of the long table, Brocklehurst
               speaks to the Trustees, who are looking at Jane as at a slave
               in a slave market.

                                   BROCKLEHURST
                         Eyre, this is a solemn moment.
                         Little did I imagine that the
                         unregenerate child I received into
                         this institution would grow in ten
                         short years to become a teacher.
                             (Jane looks at him in
                              surprise)
                         Yes, a teacher, for that is the
                         honour which the Trustees, at my
                         recommendation, have now bestowed
                         upon you. Your wages will be twenty
                         guineas per annum, of which only
                         ten will be withheld for board and
                         lodging, for spiritual instruction
                         and for laundry.
                             (dismissing her as he
                              turns away)
                         Your duties will begin on the first
                         day of the new term.

               BROCKLEHURST AND THE TRUSTEES

               excluding Jane. Brocklehurst rises, saying to the Trustees:

                                   BROCKLEHURST
                         I need detain you no longer,
                         gentlemen.

                                   THE TRUSTEE
                             (who is anxious to get
                              off)
                         Capital! Capital!

               Brocklehurst opens the door which is just behind them, and
               very much under his thumb, they begin to file out.

               CLOSE SHOT - JANE

               We see that she has not gone, and on her face is a strange
               expression, which presages that everything is not concluded.

                                   BROCKLEHURST'S VOICE
                         Good—day to you, gentlemen.
                         Good—day.

               BROCKLEHURST

               As the Trustees go out, Miss Scatcherd enters, hands
               Brocklehurst a pile of letters.

               The post, sir..

                                   MISS SCATCHERD
                         He takes them without a word and
                         Miss Scatcherd goes, closing the
                         door.

               Brocklehurst glances up from the letters to see in surprise
               that Jane is still there.

                                   BROCKLEHURST
                         That is all, Eyre.

               He looks down again at the letters.

                                   JANE
                         I cannot accept your offer, sir.

                                   BROCKLEHURST
                         And why not, pray?

                                   JANE
                         I do not wish to stay at Lowood.

                                   BROCKLEHURST
                         This is unheard of. The
                         ingratitude, the black ingratitude.

                                   JANE
                         What have I to be grateful for? Ten
                         years of harshness and drudgery...-

                                   BROCKLEHURST
                             (interrupting)
                         Silence!

               Jane obeys; but continues to look him unflinchingly in the
               eye.

                                   BROCKLEHURST
                         Stiff—necked as ever. I see that I
                         have been sadly deceived in you.

               He sits down, leans back in his chair and deliberately
               crosses one leg over the other, assuming the attitude of an
               all—powerful police magistrate examining a criminal. Jane
               remains standing.

                                   BROCKLEHURST
                         And where may I ask, do you intend
                         to go?

                                   JANE
                         Out into the world, sir.

                                   BROCKLEHURST
                             (sarcastically smiling)
                         Out into the world.
                             (with a sharpening of his
                              tone)
                         And do you know how the world
                         treats young paupers, without
                         friends or connections?

                                   JANE
                         I intend to find a position as a
                         governess.

                                   BROCKLEHURST
                         How, may I ask?

                                   JANE
                         I have advertised in a newspaper.

                                   BROCKLEHURST
                             (drily)
                         And doubtless you have been
                         overwhelmed with demands for your
                         services?

               Jane hesitates, then answers, faltering a little.

                                   JANE
                         No, sir.

                                   BROCKLEHURST
                             (smiling triumphantly)
                         And you never will be. You have no
                         talents, your disposition is dark
                         and rebellious, your appearance is
                         insignificant. It is folly to dream
                         of such a position.

               Convinced that the matter is settled, he returns to his
               letters. Glancing over them, he is about to open one, reads
               the address, hesitates, then turns to another one.

               It is a hesitation which he has tried to conceal but Jane has
               noticed it.

                                   BROCKLEHURST
                         Come, Eyre, I am not a vindictive
                         man. The position I offered is
                         still open to you.

               He looks at Jane expectantly; but she stands staring at the
               letter over which Brocklehurst has hesitated, wondering if it
               is for her.

                                   BROCKLEHURST
                         Eyre, if you reject my generosity,
                         mercy must give place to righteous
                         indignation, and the gates of
                         Lowood be closed, against you
                         forever. For ever, do you
                         understand?

               Jane looks again at the letter. Then decides to take a
               chance.

                                   JANE
                         I am leaving Lowood, sir.

               Brocklehurst walks angrily from the room.

               The moment he has gone, Jane races across to the letter about
               which Brocklehurst has hesitated.

               THE CAMERA SWOOPS DOWN to an insert of the address.
               Miss Eyre
               Lowood School
               Yorkshire.

               The letter is pulled out of Shot.

               CLOSE SHOT — JANE TEARING IT OPEN

               As she reads excitedly, there creeps in the voice of an old
               lady, distant and slightly distorted.

                                   MRS. FAIRFAX'S VOICE
                         If Jane Eyre who advertised in the
                         Yorkshire Herald of last Thursday
                         possesses the requirements
                         mentioned, a situation can be
                         offered her where there is but one
                         pupil, a little girl...

               SOUND and picture

                                                       DISSOLVE TO:

               ROAD OUTSIDE CHURCHYARD - EARLY MORNING

               Jane and Dr. Rivers are sitting at the ancient tomb where
               they sat ten years earlier when she was a little girl.

               For the first time we see Jane dressed as a woman in bonnet
               and cloak. She carries a travelling basket.

                                   RIVERS
                         If you weren't what you are, I
                         would never have written that
                         letter of recommendation, Jane. On
                         the contrary, I'd have begged you
                         to accept Brocklehurst's offer and
                         stay at Lowood.

               The coach horn SOUNDS and the noise of hoofs and wheels is
               heard approaching. Rivers bends down and picks up Jane's
               basket, continuing to speak as he stands up.

                                   RIVERS
                         It's not every young woman that can
                         face the world single-handed. But
                         you've got a head on your
                         shoulders, Jane, and courage in
                         your heart.

               NEW SHOT

               The coach enters shot, the guard jumping down to open the
               door.

                                   GUARD
                         Look lively, miss,

                                   RIVERS
                             (to her at window)
                         Best of all, you know what right
                         is, and you'll stick to it through
                         thick and thin.

               He takes her hand. There is the SOUND of a coach horn and the
               coach moves on.

               LONGER SHOT

               The coach galloping off, with Rivers in the foreground
               watching it until at last it finally disappears round a bend
               in the road. Only the length of time that he watches the
               coach hints to us of his interest in same.

                                                       DISSOLVE:

               EXT. OF A COUNTRY INN - NIGHT

               A bleak, bitter Dickensian night. The SOUND of a coach horn
               is heard, and then out of the mist gallops the mail coach.

               In the few seconds before it has come to rest in the patches
               of light streaming from the inn windows, ostlers, waiters and
               intending passengers have rushed out from the inn and all is
               suddenly bustle and confusion.

               JUST INSIDE THE INN DOOR

               The alighting passengers stream in, passing in CLOSE SHOT
               PAST CAMERA —- we see the different types —— a couple of
               burly cattle merchants doing a deal.

               "Forty pounds is the limit." "Make it guineas" —— a
               red—coated dragoon officer in full uniform —- an elderly
               gentleman wrapped in shawls and delighted to be in out of the
               cold, calling for drinks --

               Last of all comes Jane Eyre, looking very strange in a neat
               new bonnet and cloak. In her hands is a traveling basket
               which contains her worldly goods.

               For a moment she stands, not knowing what to do, as behind
               her, through the glass fronted inn door, we see the mail
               coach starting off again. This is the first time she has been
               inside an inn, the first time she has been out of Lowood.

               A waiter enters to the bar beside her, and Jane with an
               effort plucks up enough courage to speak to him.

                                   JANE
                         Can you tell me if there's anyone
                         here from Mrs. Fairfax at
                         Thornfield Hall?

                                   WAITER
                         Not that I've heard of, ma'am.

               He is loading tankards of beer on to his tray and speaks
               without looking around.

                                   WAITER
                         Take a seat in the coffee room and
                         I'll enquire.

               He indicates the direction with a wave and Jane, a little
               hesitantly, moves forward.

               As she exits from SHOT, the CAMERA REMAINS ON the waiter, but
               now shows also the man next to him at the bar, a dashing
               looking fellow smoking a cheroot. He watches Jane go,
               admiringly.

                                   YOUNG MAN
                         Who's the young lady, Sam?

                                   WAITER
                         Couldn't say, sir.. Came in by the
                         coach.

               He is about to leave with his tray.

                                   YOUNG MAN
                         Give her my compliments, and ask
                         her if she'd care for a glass of
                         Madeira.

               COFFEE ROOM

               This room, only a few yards away, is separated from the bar
               by an arch. It has a double row of the old-fashioned "boxes".
               In the first of these Jane is sitting, trying to look at her
               ease. The others are filled with coach passengers, eating a
               late dinner.

               The waiter enters to Jane.

                                   WAITER
                         Gentleman there sends his
                         compliments. Asks if you'd care to
                         take a glass of something with him.

                                   JANE
                             (startled)
                         Me? Oh no thanks, I don't ever take
                         wine.

               As Jane is giving a nervous glance in the direction of the
               dashing young gentleman, an elderly rustic-looking coachman
               comes through the coffee room and speaks to the waiter in a
               broad, north country accent. This is John, the Thornfield
               coachman.

                                   JOHN
                         Anyone here by the name of Eyre?

               Jane jumps up.

                                   JANE
                         Yes. I'm Miss Eyre. Are you from
                         Thornfield?

               John looks at her doubtfully before answering.

                                   JOHN
                         You're not the new governess, are
                         you?

                                   JANE
                         Yes.

                                   JOHN
                             (he looks at her again,
                              shakes his head and
                              grunts disapprovingly)
                         Humph.
                             (he looks down at Jane's
                              traveling basket on the
                              table)
                         This all your luggage?

                                   JANE
                         Yes.

               John picks up her basket and walks towards the door, leaving
               Jane to follow, the CAMERA PANNING with her.

               As they pass the bar, the dashing young man embarrasses Jane
               by a courtly bow.

               But in a moment she is safely out of the door and getting
               into the open trap from Thornfield which is drawn up outside.

               As the inn door swings closed, we —

                                                       DISSOLVE TO:

               SERSEN LONG SHOT

               We see at one side of the screen the suggestion of a village
               inn, and the carriage drives across screen away from it.

                                                       DISSOLVE TO:

               SERSEN LONG SHOT - MOORS

               The carriage rattles over the low humped bridge.

               SERSEN LONG SHOT

               Extreme long shot of moors. The carriage continues its way
               along a horizon line low on the screen.

               SERSEN LONG SHOT - THORNFIELD HALL

               On one side of screen we see the profile of a vast tower and
               the suggestion of the mass of the hall.

               Low on the screen the silhouette of the carriage is seen to
               arrive and the coachman and Jane cross to the hall, tiny
               figures. There is the SOUND of the chain being loosened and
               bolts withdrawn and a door opens.  As it does so a streak of
               light illuminates the tiny figure of Jane. We hear the
               distant voices of Leah and the coachman.

                                   LEAH
                         What is it?

                                   COACHMAN
                         Don't be a fool, Leah. It's the new
                         governess.

               He walks back to the carriage and Jane walks to Thornfield.
               Hall and enters. We HEAR the SOUND of the carriage
               disappearing.

               THE HALL (ALREADY SHOT)

               Jane enters.

                                   LEAH
                         I'll tell Mrs. Fairfax you're here.

               Leah leaves the lamp on the table in the hall, and her steps
               echo down the stone corridor.

               Jane looks around her. The lamp on the table is the only
               illumination, and in the half—light the hall is more
               frightening than it will ever be again.

               It is a huge, square room, so high that the ceiling is only
               dimly seen, and the great staircase disappears into utter
               darkness.

               HALL (ALREADY SHOT)

               Jane suddenly hears footsteps echoing back along the stone
               corridor and prepares to give a good impression to her
               employer.

               A light is seen coming down the passage. As it approaches, it
               illuminates the round, elderly figure of Mrs. Fairfax.

                                   MRS. FAIRFAX
                         How do you do, my dear. I'm afraid
                         you've had a tedious journey. I'm
                         Mrs. Fairfax.
                             (she shakes Jane's hand)
                         Why, your hands are like ice. I'll
                         take you straight to your room. 
                             (she picks up the lamp and
                              moves toward the stairs)
                         We've got a nice, bright fire for
                         you there, and Leah's taken the
                         chill off your sheets with the
                         warming pan.

               They move up the stairs, Jane carrying her traveling basket.

                                   MRS. FAIRFAX
                         You know, dear, I'm so glad you've
                         come. Living here without any
                         company but the servants -- it's
                         none too cheerful, I can tell you.
                         I declare, not a living creature
                         but the butcher and the postman has
                         come to the house since the hard
                         weather set in. I really get quite
                         mopish and melancholy, sitting
                         alone, night after night.

               GALLERY AND CORRIDOR

               By this time they are at the head of the stairs, and the
               candle illuminates a long gallery, with doors opening into it
               to left and right.

                                   JANE
                         Shall I have the pleasure of seeing
                         Miss Fairfax tonight?

                                   MRS. FAIRFAX
                             (turning with a puzzled
                              look)
                         Miss Fairfax? Oh, you mean Miss
                         Adele.

                                   JANE
                         Isn't she your daughter?

                                   MRS. FAIRFAX
                         Oh, gracious, no! Adele is French.
                         I have no family. No family at all.

               Now they are passing the door to Mr. Rochester's room. A maid
               is just coming out with a coal skuttle and Jane can see a
               cheery room inside with the fire going and a pair of slippers
               put out on the hearth.

                                   MRS. FAIRFAX 
                         That's Mr. Edward's room... He's
                         abroad, of course, but I always
                         keep it ready for him. His visits
                         are always so sudden and
                         unexpected. A wanderer on the face
                         of the earth ——	that's what Mr.
                         Edward is, I'm afraid.

                                   JANE
                         Mr. Edward? Who's Mr. Edward?

                                   MRS. FAIRFAX
                         Why, the owner of Thornfield, of
                         course.

                                   JANE
                         But I thought this was your
                         house...

                                   MRS  FAIRFAX 
                         Mine? Bless your soul, child, I'm
                         only the housekeeper. Thornfield
                         belongs to Mr. Edward Rochester,
                         and little Adele is his ward.

               Mrs. Fairfax now indicates a room across the passage.

                                   MRS. FAIRFAX
                         And now here's your room, my
                         dear...

               She opens the door and leads the way into Jane's room.

               JANE'S ROOM

               This is a small room, and makes a considerable contrast to
               the main guest chambers which we shall see later.

               It is of interesting shape, for it is at the corner of the
               building and incorporates a section of the circular tower.

               Mrs. Fairfax and Jane enter.

                                   MRS. FAIRFAX
                         It's quite small; but I thought
                         you'd like it better than one of
                         the large front chambers.

                                   JANE
                             (delightedly gazing
                              around)
                         It's a beautiful room. But then the
                         whole house is beautiful.

                                   MRS  FAIRFAX
                         It is indeed. And it has belonged
                         to the family time out of mind.
                         Well, good night, my dear.

                                   JANE
                             (stopping her)
                         Mrs. Fairfax, I can't imagine how
                         anyone would ever want to go away
                         from it...
                             (she looks around again)
                         ...Not for a minute.

                                   MRS. FAIRFAX
                             (looks at her quietly a
                              peculiar expression in
                              her eyes)
                         It is strange. But you'll find,
                         Miss Eyre that in many ways Mr.
                         Edward is a strange man.

               Mrs. Fairfax goes, closing the door.

               Jane looks after her, then takes off her bonnet, looking
               around with a delighted air.

                                                       DISSOLVE:

               LONG SHOT - THORNFIELD - NIGHT

               A storm has risen and the wind blows clouds across the sky. A
               light which is in one of the windows, is extinguished,
               leaving the house in darkness.

                                                       DISSOLVE:

               CLOSE SHOT - JANE IN BED

               Suddenly the howling of the wind turns into what seems to be
               a woman's laugh. Jane stirs restlessly.

               JANE IN BED

               We are now shooting through the window which frames the shot.
               Once again we hear the eerie sound — then the CAMERA suddenly
               rises up the outside of the building to the apparent source
               of the commotion; jackdaws cackling and rising in flight from
               the battlements.

                                                       FADE IN

               NEXT MORNING

               We are shooting out through Jane's window which frames the
               shot and we see out of this window the other wings of the
               house and the moor beyond. It is a bright, sunny morning, and
               the cheerfulness of the shot is accentuated by the sound of a
               musical box.

               SHOT OF JANE IN BED

               She is asleep. We still continue to hear the musical box. THE
               CAMERA DRAWS BACK a little, and we see that Jane is in her
               four-poster bed with the curtains more or less completely
               drawn, so that she is cut off from the outside world.

               She wakes up, looks around her in wonderment, and sees
               standing on the bed, a musical box, on which a couple of
               quaintly dressed wooden dolls (one in a ballerina's costume,
               the other in military uniform) are jigging away under the
               action of the same clockwork as is producing the music. As
               she does so a peal of childish laughter is heard.

               Drawing the curtains aside, Jane looks out and sees a little
               girl of seven or eight, Adele, who curtsies to her and
               speaks.

                                   ADELE
                         Bon jour, mademoiselle!

               Adele points to the doll dressed as a ballerina, which is
               still bobbing and twirling away, while the music tinkles on.

                                   ADELE
                         Mama had a dress like that,
                         mademoiselle. Only she could dance
                         much more beautifully. I can dance,
                         too. Do you wish to see?

                                   JANE
                             (amused)
                         Now? This very moment?

                                   ADELE
                             (suddenly miserable) )
                         Now you speak like Monsieur
                         Rochester. For him it is never the
                         right moment. Mais jamais!

               Jane stretches out her hand to the little girl.

                                   JANE
                             (smiling)
                         Come here.

               Slowly, still doubting, Adele comes within Jane's grasp. Jane
               puts her arms around her.

                                   JANE
                         Your name's Adele, isn't it?
                             (the little girl nods)
                         Well, Adele, do you know what I was
                         just thinking? I was thinking that
                         never in my life have I been
                         awakened so happily!

               As she smiles at the child, and now quickly the child smiles
               too.

                                                       DISSOLVE TO:

               INT. DRAWING ROOM - DAY

               Adele is dancing. The CAMERA DRAWING BACK shows Jane playing
               the piano. She completes a pirouette and makes a formal
               curtsey.

                                   ADELE
                         You like that, mademoiselle?

               They walk together towards the library.

                                   JANE
                         Very much, Adele.

                                   ADELE
                         A great many gentlemen and ladies
                         came to see mama, and I used to
                         dance before them. Or sit on their
                         knees and sing to them. I liked it.

                                   JANE
                         Indeed? And where was that?

                                   ADELE
                         In Paris. We live always in Paris.
                         But then when mama had gone to the
                         Holy Virgin...
                             (she crosses herself)
                         Monsieur Rochester came and took me
                         across the sea in a great ship with
                         a chimney that smoked and I was
                         sick.

               Adele is laboriously working on a simple addition sum which
               Jane has written on the blackboard. As an evident distraction
               she turns to Jane.

                                   ADELE
                         Do you like Monsieur Rochester?

                                   JANE
                         I've not met him yet.

                                   ADELE
                             (walking to chair)
                         This is his chair. He sits here and
                         stares into the fire, and frowns
                         like this.

               She suits the action to the word.

                                   JANE
                         Is he as bad as that?

                                   ADELE
                         Twice as bad. I cannot make how bad
                         he is.

                                   JANE
                         But I'm sure he's very kind to you.

                                   ADELE
                         Oh sometimes he brings me beautiful
                         presents. But, when he is angry -
                         that's terrible, but terrible.

               Jane looks at her in surprise and with a little apprehension
               as we

                                                       DISSOLVE TO:

               INT. ADELE'S BEDROOM - NIGHT

               A large ancient room adjoining a nursery, in which the
               child's bed and small-scale furniture looks incongruously
               minute. The set heightens our sense of grandeur and
               strangeness.

               Adele in her nightgown is kneeling on her bed, saying her
               prayers. Jane stands waiting for her to finish. She has her
               cloak on her shoulders and her bonnet in her hands.

                                   ADELE
                         ...and may the Holy Virgin give me
                         grace. And God bless Monsieur
                         Rochester.
                             (she looks at Jane)
                         and make him polite to mademoiselle
                         so that she will stay with me for
                         ever and ever. Amen.

               As Jane smiles, we

                                                       DISSOLVE TO:

               LONG SHOT - EXT. THORNFIELD - MOONLIGHT

               Out of the ruins of the old retaining walls a little distance
               in front of Thornfield Hall and to the right, grows a wild
               garden.

               Jane, her figure silhouetted in the moonlight, is leaving the
               edge of this garden and walking out toward the moors. She
               wears her bonnet and black merino cloak.

                                                       DISSOLVE TO:

               LONG SHOT - MOORS - MOONLIGHT - LOW MIST IN FOREGROUND

               (LOW CAMERA SETUP, shooting from shallow valley in low mist,
               toward crest of moors)

               Jane's small figure, strolling over the moors, appears at the
               crest of the hill. The wind swirls leaves up around her feet.
               In the distance the SOUND of church bells tolling.

               Then Jane turns, descends from the crest of the moors toward
               the CAMERA and into the valley. The SOUND of the wind dies
               away; the mist clings to her garments and becomes opaque in
               patches.

               Suddenly Jane hears the clatter of horse's hoofs. She looks
               around, alarmed as they come nearer, trying to determine
               where the horse is coming from; but she cannot see through
               the mist. The hoof beats come closer and closer. Jane runs to
               one side.

               Suddenly a huge mastiff springs from the mist, close to Jane.
               She is scared to death and jumps aside. An instant later a
               large black horse charges out of the mist, so close to Jane
               that he rears in fright at the sight of her.

               CAMERA PANS UP - leaving Jane out of SHOT - on the rearing
               horse and its dark-clad rider, whose face is obscured. Down
               they fall, out of SHOT, away from CAMERA, now completely
               engulfed by the swirling mist.

               CAMERA PANS DOWN AGAIN TO JANE. She stands a moment trying to
               discover what has happened, then rushes forward, CAMERA WITH
               HER. As she does, we hear the voice of the fallen rider - a
               man's voice - cursing angrily:

                                   VOICE
                         Devil take it! Silence, you
                         misbegotten hellhound!

               The dog bays loudly, to add to the confusion. Jane, now at
               the spot where the horse and rider have fallen, stops in a
               CLOSE SHOT with her back to the CAMERA.

               Now, just a few feet in front of her, the rider rises from
               the mist. He wears a riding cloak, fur-collared and steel
               clasped. His is a dark face with stern features and a heavy
               brow.

               CLOSE SHOT - JANE - (OVER ROCHESTER'S SHOULDER)

                                   JANE
                         Can I do anything?	-

                                   ROCHESTER
                         Just stand out of the way, that's
                         all.

               As Jane steps back, Rochester turns and comes beside her, so
               we are now in a TWO SHOT. With much heaving, stamping and
               clattering, accompanied by much barking and baying from the
               dog, the horse is finally got back on its feet.

                                   ROCHESTER
                             (shouting at dog)
                         Down, Pilot! Down!

               He stoops, feeling his foot and leg, as though to see whether
               they are sound.

                                   JANE
                         I'm sorry if I frightened your
                         horse.

               The man doesn't answer; he tries his weight on his injured
               leg and limps painfully to the side of the road, where he
               sits down.

                                   ROCHESTER
                         Apologies won't mend my ankle.

               He tries to stand up, and with an exclamation and a twinge of 
               pain, sits down again.

                                   ROCHESTER
                             (aware of Jane's scrutiny -
                              sharply)
                         What are you waiting for now?

                                   JANE
                         I can't think of leaving you till I
                         see you are fit to ride.

                                   ROCHESTER
                             (looks at her)
                         Hmm. You've a will of your own.
                         Where do you come from?

                                   JANE
                         From Mr. Rochester's house just
                         below.

                                   ROCHESTER
                         You know Mr. Rochester?

                                   JANE
                         No, I have never seen him.

               Rochester stops, examining her - her black merino cloak and
               black beaver bonnet.

                                   ROCHESTER
                             (doubtfully)
                         You are not a servant at the
                         Hall... You are -—

                                   JANE
                             (after a pause)
                         I am the new governess.

                                   ROCHESTER
                         Oh -- the new governess...

               He continues to look at her curiously. Then suddenly he
               attempts to rise, and once more gives a sharp gasp of pain.

                                   ROCHESTER
                             (lays a heavy hand on her
                              shoulder)
                         Well... necessity compels me to
                         make you useful.

               Using her to support himself, he limps forward. The horse
               knowing him, does not move away. He catches, the bridle and
               then, with a grimace of pain, mounts. Now he is in the
               saddle.

                                   ROCHESTER
                             (he points)
                         Now, just hand me my whip.

               Jane stoops down, and after a moment straightens up with the
               whip in her hand. She hands it to him.

                                   ROCHESTER
                         Thank you. Now kindly get out of my
                         way.

               He spurs his horse, which starts, rears, then bounds away,
               the dog following. A moment later, all three vanish in the
               mist. Jane looks after them a moment then turns away and
               bends down and picks up her which she left on the side of the
               road.
               By the time she has picked it up and again turned in the
               direction in which they vanished, even the barking of the dog
               and the SOUND of' the hoof's has died away.

                                                       DISSOLVE TO:

               EXT. THORNFIELD - NIGHT

               Jane crosses from the drive and walks slowly up the steps to
               the front door.

               CLOSE SHOT FROM INSIDE DOOR

               As the heavy door opens, we see Jane's face. It is quiet and
               thoughtful. Suddenly it changes to startled amazement as she
               sees....

               THE NEWFOUNDLAND DOG, PILOT

               advancing towards her, wagging its tail.

               JANE

               baffled by the discovery.

               At this moment Mrs. Fairfax comes bustling in from the
               drawing room, followed by Adele, who is in her dressing gown.
               Through the open door of the drawing room, we see Leah
               pulling the dust covers off the furniture, and a housemaid
               lighting the fire.

                                   ADELE
                         Mademoiselle!

               She rushes to Jane.

                                   MRS. FAIRFAX
                         Quick, dear! Off with your things.
                         He's been asking to see the new
                         governess.

                                   JANE
                         Who has?

                                   MRS. FAIRFAX
                         Why, Mr. Rochester, of course.
                             (she helps Jane off with
                              her cloak)
                         Rode in on us suddenly, without
                         warning — and in such a vile
                         humour. It seems he had an
                         accident. I don't know what to do.
                         He won't let me send for the
                         doctor.

               Without leaving Jane time to compose herself, Mrs. Fairfax
               pushes her towards the library door. Adele follows, with
               Pilot. Mrs. Fairfax knocks. Rochester's voice says, "Come
               in."

                                   MRS. FAIRFAX
                         Goodness, your bonnet.

               She snatches the bonnet which Jane is still absent-mindedly
               holding, and throws it on to a chair; then opens and
               announces.

                                   MRS. FAIRFAX
                         Here is Miss Eyre, sir.

               Jane starts into the library. The others follow.

               LIBRARY

               They enter. Rochester is seated in the high-backed chair
               facing the fire. We see only his injured foot, stretched out
               on a stool. Then his hand comes out and points to a chair.

                                   ROCHESTER
                         Let Miss Eyre be seated.

               Jane sits nervously on the edge of the chair indicated. She
               is so placed that she cannot see him. There is an
               uncomfortable silence...then Adele,who has been standing with
               her arm around Pilots neck, tiptoes up to the chair and peeps
               around into its recesses.

                                   ADELE
                         When shall I have my presents,
                         Monsieur Rochester?

                                   ROCHESTER
                         When you deserve them.

                                   ADELE
                         And when will I deserve them?

                                   ROCHESTER
                         When you stop asking for them.

               Adele looks at him, seems about to speak, then puts her hand
               over her mouth. Mrs. Fairfax now tries to make conversation.

                                   MRS. FAIRFAX
                         I was just telling Miss Eyre about
                         your unfortunate accident, sir.

                                   ROCHESTER
                             (gruffly)
                         Madame, I have the impression that
                         it is time for you to take Adele
                         back to bed.

                                   MRS. FAIRFAX
                         Yes, sir.

               She rises, beckons to Adele, who goes to her. They leave the
               room in silence.

               The silence is prolonged, evidently to Jane's discomfort.
               Finally Rochester turns to Jane, and she sees him clearly for
               the first time.

                                   ROCHESTER
                             (glowering)
                         Well, Miss Eyre, have you no
                         tongue?

                                   JANE
                         I was waiting, sir, until I was
                         spoken to.

                                   ROCHESTER
                         Very proper. And next time you see
                         a man on a horse, don't run out
                         into the road until he has passed.

                                   JANE
                         I assure you, sir, it was not
                         deliberate.

                                   ROCHESTER
                             (feeling his leg)
                         It may not have been deliberate but
                         it is none the less painful.

               Rochester takes a cigar from a box and lights it at the
               candle.

                                   ROCHESTER
                         Miss Eyre, where do you come from?

                                   JANE
                         From Lowood Institution, sir.

                                   ROCHESTER
                         Lowood - what's that?

                                   JANE
                             (embarrassed)
                         It is a charity school. I was there
                         ten years.

                                   ROCHESTER
                         Ten years? You must be tenacious of
                         life. No wonder you have rather the
                         look of another world. I marveled
                         where you had got that sort of
                         face. When you came on me in the
                         mist, I found myself thinking of
                         fairy tales. I had half a mind to
                         demand whether you had bewitched my
                         horse. Indeed, I am not sure yet.
                         Who are your parents?

                                   JANE
                         I have none, sir.

                                   ROCHESTER
                         And your home?

                                   JANE
                         I have no home.

                                   ROCHESTER
                         Who recommended you to come here?

                                   JANE
                         I advertised, and Mrs. Fairfax
                         answered the advertisement.

                                   ROCHESTER
                         And you came post haste to be in
                         time to throw me off my horse!
                         Well, what did you learn at Lowood?
                         Can you play the piano?

                                   JANE
                         A little.

                                   ROCHESTER
                         Of course; that is the established
                         answer. Go into the drawing room —-
                             (catching the look of
                              revolt in Jane's face)
                         I mean 'if you please' - excuse my
                         tone of command, I'm used to saying
                         "Do this!" and it is done; I cannot
                         alter my customary habits for one
                         new inmate; take a candle with you;
                         leave the door open; sit down at
                         the piano, and play a tune.

               Jane rises, takes a candlestick from one of the consoles,
               goes to the communicating door into the drawing room. We
               follow her into the dark room.

               DRAWING ROOM

               She begins to play moderately well, an early nineteenth
               century piece. There is something rather moving in the
               simplicity of the piece and the unpretentious way it is
               played.

               Suddenly Rochester's voice is heard from the next room.

                                   ROCHESTER'S VOICE
                         Enough!

               Jane stops, a little angry at Mr. Rochester's rudeness,
               closes the piano, picks up her candle and goes back into the
               library.

               LIBRARY

               Mr. Rochester speaks as Jane appears in the doorway.

                                   ROCHESTER
                         You play "a little," I see; like
                         any other English schoolgirl.
                         Perhaps rather better than some,
                         but not well. And now -- goodnight,
                         Miss Eyre.

               He turns away and stares into the fire. Jane, unused to Mr.
               Rochester's behavior, is still a little angry, and surprised
               at this sudden dismissal.

               She moves to the door.

                                   JANE
                         Goodnight.

               She leaves. The CAMERA PICKS OUT A CLOSEUP of Mr. Rochester
               at the fireplace. As the door closes, he smiles. We realize
               that he has been deliberately playing up Jane for his own
               quiet amusement.

                                                       DISSOLVE TO:

               JANE'S ROOM - LATE THAT NIGHT

               Jane is seated at the dressing table, combing her hair.

               Suddenly the silence is broken by the SOUND of demoniac
               laughter, ending in a shout. Jane turns, startled, and
               listens. A moment later, the SOUND of footsteps hurrying
               along the corridor outside Jane's door is heard. Jane
               hesitates another moment, then rises, wraps her dressing gown
               closely around her, goes to the door, half opens it, and
               looks out.

               LANDING FROM JANE'S ANGLE

               Mrs. Fairfax is standing at the door leading to the Old Wing.
               The door is partly open, and through the opening Mrs. Fairfax
               is talking to a middle-aged woman, whose face we see,
               illuminated from below by Mrs. Fairfax's candle. Mrs. Fairfax
               stands with her back to the CAMERA, consequently does not see
               Jane.

                                   MRS. FAIRFAX
                         Too much noise, Grace. I've spoken
                         to you before.

               The woman nods without speaking; then catches sight of Jane
               and abruptly closes the door.

               Mrs. Fairfax turns, sees Jane and is obviously startled and
               embarrassed. Then, making an effort to pretend that nothing
               unusual has happened, she smiles and walks to Jane's door.

                                   MRS. FAIRFAX
                         Did I disturb you, dear? I'm so
                         sorry. I had to say something to
                         Grace Poole. 
                             (she nods in the direction
                              of the Old Wing door)
                         She's a person we have to do the
                         sewing. Not altogether
                         unobjectionable -— but she does her
                         work.
                             (changing her tone)
                         And how did you get on with Mr.
                         Rochester, my dear?

                                   JANE
                         Is he always so changeful and
                         abrupt?

                                   MRS. FAIRFAX
                         Well, he has his little
                         peculiarities of temper, of course.
                         But then allowances should be made.

                                   JANE
                         Why for him more than for anyone
                         else?

                                   MRS. FAIRFAX
                             (evasively)
                         Partly because that's his nature,
                         and partly, too, because he has his
                         painful thoughts.

                                   JANE
                         What about?

                                   MRS. FAIRFAX
                             (again evasive)
                         Oh, family troubles. I think that's
                         why he so seldom comes to
                         Thornfield. It has unpleasant
                         associations for him. Well,
                         goodnight, my dear,

               She kisses Jane.

                                   JANE
                         Goodnight, Mrs. Fairfax.

               Mrs. Fairfax turns and walks off downs the corridor.

               LONG SHOT - (JANE SILHOUETTED IN FOREGROUND)

               of Mrs. Fairfax, candle in hand, retreating dorm the dark
               hail. Jane stands in the doorway, looking after her, with a
               thoughtful expression on her face.

                                                       FADE OUT.

                                                       FADE IN

               THE GARDEN - DAY - SNOW

               It is no longer snowing, but the snow lies in heavy falls
               across the garden, and from time to time the wind blows a
               spray of snow from the ruins. 

               Rochester appears from the moors in a heavy cloak and begins
               to cross the garden. The dog Pilot follows at his heels.

               INT. NURSERY

               We are shooting at the window, through which we see Rochester
               crossing the garden, while at the window stands Jane watching
               him. We hear Adele's voice.

                                   ADELE'S VOICE
                         Monsieur Rochester is very
                         difficult but he gives the most
                         beautiful presents. Look,
                         Mademoiselle.

               Jane is still looking out of the window.

                                   ADELE
                         Mademoiselle!

               Jane turns.

               LONGER SHOT

               Jane advances towards Adele who is in the f.g. of shot
               looking into a cheval glass and trying to fix three enormous
               ostrich plumes in her hair. The floor of the room is covered
               with open boxes which contain the rest of Mr. Rochester's
               presents to her.

                                   ADELE
                         You see, they suit me perfectly.

               She parades in front of the mirror with the air of a young
               coquette.

               GREAT HALL

               The door opens and Mr. Rochester strides in, followed by
               Pilot, the wind sweeping round the hall.

               Pilot begins to bark.

               NURSERY - JANE AND ADELE

               Jane is adjusting Adele's feathers, while Adele holds against
               her little body a child's ballet dress which she has taken
               from a nearby box. Jane reacts to the bark, knowing that it
               means that Mr. Rochester is now inside the house, but Adele
               is too excited with her presents to notice.

                                   ADELE
                         A ballet dress! Just like mama used
                         to wear. Isn't it beautiful,
                         mademoiselle?

               During this we hear Rochester coming upstairs and now we can
               see him through the open door at the head of the stairs.

               Jane is conscious of his presence behind her but deliberately
               does not turn.

                                   JANE
                         Beautiful, Adele.

               Mr. Rochester moves on.

                                   ADELE
                         I shall wear it when I dance,
                         always

               But now Mr. Rochester has reappeared at the door.

                                   ROCHESTER
                         Miss Eyre!

               Jane and Adele turn.

                                   ADELE
                         Je vous remercie mille fois,
                         m'sieur.

                                   ROCHESTER
                         Tiens-toi tranquille. Assez, ma
                         petite. Enjoy your presents without
                         embarrassing me with your
                         enthusiasm.

               He stands aside, indicating that Jane is to go through the
               door.

               CORRIDOR AND TOP OF STAIRS

               Jane and Rochester come out, Jane a little curious as to what
               is going to happen.

                                   ROCHESTER
                             (taking off his cloak)
                         I am not fond of the prattle of
                         children. As you see, I am a crusty
                         old bachelor and have no pleasant
                         associations connected with their
                         lisp. 

               He throws his cloak on a chair and they start down the
               stairs.

               HALL AND STAIRS

               as they descend.

                                   ROCHESTER
                         And, in this house, the only
                         alternative is the prattle of a
                         simple-minded old lady which is
                         nearly as bad. But today I feel
                         disposed to be gregarious and
                         communicative, and I believe you
                         could amuse me, Miss Eyre.

               They enter the drawing room.

               DRAWING ROOM - (BACKGROUNDS UNDER SNOW)

               They enter and cross to the fireplace, where a fire is
               blazing.

                                   ROCHESTER
                         You puzzled me a great deal that
                         first evening in the library, Miss
                         Eyre. I had almost forgotten you
                         since. But tonight I am resolved to
                         be at ease; to do only what pleases
                         me. And it would please me now to
                         draw you out, to learn more of you.

               Rochester pulls a chair forward.

                                   ROCHESTER
                         Sit down, Miss Eyre.

               Without waiting for her to be seated, he sits himself. Jane
               pushes her chair back a little and sits down.

                                   ROCHESTER
                         No, don't draw it further off.  Sit
                         down just where I placed it.
                             (Jane pulls the chair
                              forward again)
                         Forward a little. You are still too
                         far back. I can't see you without
                         disturbing my position in this
                         comfortable chair, which I have no
                         mind to do.

               Jane moves forward, coming now full into the light. There is
               a pause as their eyes meet.

                                   ROCHESTER
                         You examine me, Miss Eyre. Do you
                         find me handsome?

                                   JANE
                             (after a moment's
                              contemplation)
                         No, sir.

                                   ROCHESTER
                         Indeed!

                                   JANE
                         I beg your pardon, sir. I was too
                         plain -—

                                   ROCHESTER
                             (interrupting)
                         Not at all. You told me the brutal
                         truth.

                                   JANE
                         My answer was a mistake, -

                                   ROCHESTER
                         Just so - and you shall be
                         answerable for it! Now then,
                         explain! Does my forehead not
                         please you? What do you tell from
                         my head? Am I a fool?

                                   JANE
                         No, sir. Far from it,

                                   ROCHESTER
                         Would you say it is the head of a
                         kindly man?

                                   JANE
                             (examining him a moment)
                         Hardly that, sir.

                                   ROCHESTER
                             (rising angrily; striding
                              about)
                         Very well, Madam, I am not a kindly
                         man. Though I did once have a sort
                         of tenderness of heart.
                             (he pauses, turns to her)
                         You doubt that?

                                   JANE
                         No, sir.

                                   ROCHESTER
                         Since then Fortune has knocked me
                         about, kneaded me with her
                         knuckles...
                         Till now I flatter myself I am as
                         hard and tough as an India-rubber
                         ball...with perhaps one small,
                         sensitive point in the middle of
                         the lump. Does that leave hope for
                         me?

                                   JANE
                         Hope of what, sir?

                                   ROCHESTER
                         Of my retransformation from India
                         rubber back to flesh?
                             (he stares at her) )
                         You look very puzzled, Miss Eyre,
                         and though you are not pretty any
                         more than I am handsome, yet a
                         puzzled air becomes you. Resides,
                         it keeps those searching eyes of
                         yours away from my face.

               There is a silence. Jane keeps her face averted.

               Rochester crosses to some candles, lights them.

                                   ROCHESTER
                         Well, why don't you speak?

                                   JANE
                         What about, sir?

                                   ROCHESTER
                         Choose your own subject.

               Jane looks at him.

                                   ROCHESTER
                             (coming toward her)
                         You are silent, Miss Eyre.

               She continues silent; he looks at her.

                                   ROCHESTER
                         Stubborn? No, annoyed. And quite
                         rightly so.
                             (more gentle now)
                         I put my request in an absurd way.
                         I beg your pardon. The fact is,
                         once and for all, I don't wish to
                         treat you like an inferior.
                         But I have battled through a varied
                         experience with many men of many
                         nations and roamed over half the
                         globe, while you have lived with
                         one set of people in one house.
                         Don't you agree that gives me a
                         right to be a little masterful and
                         abrupt?

                                   JANE
                         Do as you please, sir.

               He looks at her sharply.

                                   JANE
                         You pay me thirty pounds a year for
                         receiving your orders.

                                   ROCHESTER
                         Thirty pounds...I'd quite forgotten
                         that. Well, on that mercenary
                         ground, will you agree to let me
                         hector you a little?

                                   JANE
                         No, sir, not on that ground, but on
                         the ground that you did forget it,
                         and that you enquired of my
                         feelings as an equal.

                                   ROCHESTER
                         Good

               Jane rises, hoping to put an end to a difficult conversation.

                                   ROCHESTER
                         Then you'll let me dispense with
                         conventional forms without thinking
                         me insolent.

                                   JANE
                         I should never mistake informality
                         for insolence; one I rather like,
                         the other no freeborn person would
                         submit to, even for a salary.

                                   ROCHESTER
                         Humbug - Most freeborn people will
                         submit to anything for a salary.

               Jane makes as though to go.

                                   ROCHESTER
                         Where are you going?

                                   JANE
                         It's time for Adele's lessons.

                                   ROCHESTER
                         No, young lady, it's not for Adele
                         that you're going.
                             (his voice has grown
                              menacing and strange
                              again, and Jane looks at
                              him in surprise)
                         It's because you are afraid of me.
                         You wish to escape me. Isn't that
                         true?

               She is too confused to answer, stands staring at him.

                                   ROCHESTER
                         In my presence you are hesitant to
                         smile gaily or speak too freely.
                         Admit that you are afraid.

                                   JANE
                             (after a moment, quietly
                              but firmly)
                         Sir...I may be bewildered, but I am
                         certainly not afraid.

               There is the sound of a door opening. The door opens and
               Adele appears on the threshold, wearing the dress Mr.
               Rochester has given her. A dress of rose-colored satin, very
               short, and as full in the skirt as could be gathered. A
               wreath of rosebuds, the pearl necklace, white silk stockings
               and white satin dancing slippers complete her costume.

                                   ADELE
                         Don't I look beautiful, Monsieur?

               Spreading out her dress, Adele chases across the room till,
               having reached Mr. Rochester, she wheels lightly around him
               on tiptoe, then drops on one knee at his feet.

                                   ADELE
                         That is how mama used to do it, is
                         it not?

                                   ROCHESTER
                             (his black mood still on
                              him)
                         Precisely. And that was how she
                         charmed my English gold out of my
                         breeches pocket.

               This is spoken with sarcastic bitterness. Adele rises, stands
               on the tips of her toes, stretches out her arms and flutters
               her hands, like a ballerina at the point of launching into a
               dance.

                                   ADELE
                         And now I will dance for you.

                                   ROCHESTER
                         You will not. You will go straight
                         back to the nursery!

                                   ADELE
                         But, Monsieur...

                                   ROCHESTER
                         At once!

               Pathetically, Adele's mouth quivers, and she runs quickly
               from the room. Jane starts to follow but is arrested by
               Rochester's voice.

                                   ROCHESTER
                         Miss Eyre - I have not finished
                         talking to you.

               Rochester goes over to the fireplace and stands there. Jane
               stands before him. There is a little silence. He looks up,
               sees her looking at him disapprovingly.

                                   ROCHESTER
                         Why are you looking at me like
                         that?

                                   JANE
                         I was thinking that whatever your
                         past misfortune, you have no right
                         to revenge yourself on the child.

                                   ROCHESTER
                             (angrily)
                         The devil you were!

               Finally he speaks in a low tone, a complete change of mood.

                                   ROCHESTER
                         You are quite right, of course. I
                         was thinking only of myself, of my
                         own private memories and feelings.
                             (he sips his wine
                              meditatively, then
                              continues)
                         How I envy you your peace of mind,
                         Miss Eyre, your clean, unpolluted
                         memory. The truth is nature meant
                         me to be, on the whole, a good man;
                         one of the better kind, but
                         circumstances decreed otherwise.
                         Oh, I was as green as you once,
                         aye, grass-green. But now my spring
                         is gone, leaving me - what? This
                         little artificial French flower.

               He turns away from her and is silent for a while, then speaks
               without looking at her.

                                   ROCHESTER
                         That will be all, thank you, Miss
                         Eyre.

               Jane stares at his averted form, surprised and rather hurt;
               then, without speaking, gets up and walks toward the door.
               Before she has reached it, he turns and calls to her.

                                   ROCHESTER
                         Miss Eyre?

               Jane halts and turns. He goes toward her. With one of his
               baffling changes of mood, he speaks to her simply, gently,
               sincerely.

                                   ROCHESTER
                         I hope you will be happy here at
                         Thornfield.

                                   JANE
                             (hesitating, then nodding)
                         I hope so, sir, I think so.

                                   ROCHESTER
                         I'm glad.

               With unaccustomed courtsey he opens the door for her. Outside
               the door the CAMERA HOLDS for a moment on Jane's face, before
               she goes across the hall. She is increasingly baffled by
               Rochester, but increasingly under his spell.

                                                       DISSOLVE:

               EXT. THORNFIELD - LONG SHOT - NIGHT - SNOW

               We are back in the grim menacing mood of Jane's first night
               at Thornfield.

               EXT. THE OLD WING - NIGHT — SNOW

               The strange narrow windows of the Old Wing.

               Once again we hear a sound, which may be a woman's laugh, or
               may only be the howling of the wind.

               INT. JANE'S ROOM - NIGHT — CLOSE SHOT JANE

               Jane is in bed, tossing restlessly, not quite asleep. The
               clock in the hall strikes two. There is the sound of stealthy
               footsteps in the hall and of something scratching at Jane's
               door. She sits up, startled, wide-awake, and calls out:

                                   JANE
                         Who's there?

               There is no answer. Everything is quiet; and Jane lies back
               again on her pillows, closes her eyes and tries to sleep.

               Now comes the sound of a demoniac laugh, low, suppressed, and
               deep, right outside Jane's door —— and the soft pad of
               retreating footsteps, then, the sound of a door slamming.

               Jane, thoroughly alarmed, gets up, throws on her robe, and
               goes to the door, CAMERA PANNING WITH HER AND FOLLOWING HER.

               She tremblingly opens the door and sees a candlestick (with
               an opaque metal shade) upset on the matting of the floor in
               the hall, its flame still burning.

               The matting on the floor is already smouldering. CAMERA
               FOLLOWS JANE and ends on a CLOSE SHOT as she picks up the
               candle and stamps out the fire; then RISES with her as she
               looks around apprehensively. Blue wisps of smoke still drift
               into the scene, seeming to come from down the hall.

               As Jane looks in that direction, into CAMERA:

               LONG SHOT CORRIDOR (FROM JANE'S ANGLE)

               The door to Rochester's room is ajar, smoke pouring from
               inside the room.

               CLOSE SHOT JANE

               She runs out of shot toward Rochester's room.

               MED. SHOT DOOR TO ROCHESTER'S ROOM

               Jane runs into SHOT, calling:

                                   JANE
                         Mr. Rochester? Mr. Rochester!

               CAMERA FOLLOWS (holding Jane in f.g. of SHOT) as she runs
               into the room, and HALTS as she sees the smoke-filled room.
               Rochester is lying on the bed, half dressed, propped up with
               pillows. The bed clothes and valance are smoldering..

               An open book turned face downward on the bed reveals that
               Rochester has gone to sleep while reading. A decanter and a
               half filled glass of wine on the stand near the bed.

               Jane rushes to him.

               SHOT ROCHESTER IN BED

               Jane's hand comes into scene and shakes him violently.

                                   JANE
                         Wake up!  Wake up!

               Mr. Rochester opens his eyes, starts to leap up.

               As Rochester jumps out of the bed, the little smouldering
               flames flare up from the foot of the bed and the valance.

                                   ROCHESTER
                         What the devil...
                             (he realizes what is
                              happening)
                         Good Heavens!

               LONG SHOT - JANE AND ROCHESTER (DOUBLES)

               (INTERCUT WITH TRANSPARENCY CLOSE UPS)

               Rochester starts tearing off the sheets and curtains, and
               stamping out the flames

                                   ROCHESTER
                         Bring some water. Over there.
                             (indicating pitcher of
                              water on dresser)

               Jane sets her candle down on the washstand, brings a pitcher
               and throws it on a bad patch of flame. There is a great
               hissing. Rochester stamps the last embers out.

                                   ROCHESTER
                         That's done it.

                                   JANE
                         Someone tried to kill you. I heard
                         them coming along the gallery.
                         Shall I call Mrs. Fairfax?

                                   ROCHESTER
                         Mrs. Fairfax? That the deuce would
                         you call her for? Let her sleep.
                             (he picks up his heavy
                              cloak and puts it round
                              Jane's shoulder)
                         Here, wrap this round you and sit
                         there in the armchair. I'm going to
                         leave you for a few minutes. Be
                         still as a mouse, and don't call
                         anyone.

               Jane is left alone in the room as Rochester goes out with the
               candle. He has left the door half open after him.  With
               excited curiosity, Jane hears Rochester passing up the
               gallery, then the sound of the staircase door as he opens it.

               The last ray of the candlelight vanishes. Jane looks around
               nervously, then rises and goes to the window, CAMERA MOVING
               WITH HER. From here she looks across into the narrow odd
               windows of the Old Wing. A light appears in a lower window.
               It is Rochester's candle. Jane watches the candlelight move
               upward as Rochester ascends the stairs, until it finally
               disappears.

               CLOSEUP JANE'S FACE

               Tense and frightened.

                                                       DISSOLVE TO:

               GALLERY

               The door to the Old Wing opens and Rochester comes out. He
               closes the door behind him and starts to cross to his own
               room, looking very grin.

               CLOSEUP JANE - ROCHESTER'S ROOM

               Still standing at the window, she hears Rochester returning,
               and goes back to sit in the chair where Rochester had left
               her.

               DOOR TO ROCHESTER'S ROOM — CLOSE SHOT ROCHESTER

               He hesitates a moment outside his door, obviously debating
               what he is going to say to Jane; then goes in.

               ROCHESTER'S ROOM

               The same glimmer of light as Rochester returns. He puts the
               candle down on the washstand.

                                   ROCHESTER
                         Yes, it's just what I thought.
                             (to Jane)
                         When you came out of your room, did
                         you see anything?

                                   JANE
                         Only a candlestick on the ground.
                         But I heard that door slam.

                                   ROCHESTER
                         Anything else?

                                   JANE
                         Yes, a kind of laugh.

                                   ROCHESTER
                         A kind of laugh...Have you ever
                         heard it before?

               He turns to her and puts down his candle.

                                   JANE
                         There's a strange woman here called
                         Grace Poole...

                                   ROCHESTER
                         Just so, Grace Poole. You've
                         guessed it. Well, I shall see
                         what's to be done. Meanwhile, say
                         nothing about what has happened. I
                         will account for this state of
                         affairs.
                             (he indicates the charred
                              bedding. Picking up a
                              corner of the curtain, he
                              rubs the burnt portion
                              between his fingers. The
                              fabric disintegrates in
                              flakes)
                         Charred	to a cinder... 
                             (Suddenly an idea strikes
                              him; an expression of
                              concern appears on his
                              face)
                         The nursery! We haven't thought
                         of Adele!

               He picks up the candle with the shade and hurries out into
               the gallery. Jane throws off the heavy cloak and follows.

               They go to the door of the nursery and enter.

               They enter and Rochester closes behind them the door to the
               hall. The floor is still littered with Adele's presents and
               toys. They cross and enter the heavy double doors of Adele's
               bedroom.

               ADELE'S ROOM

               In her cot, Adele is sleeping peacefully. Rochester holds up
               the candle so that the light falls on her, and he and Jane
               look at the child for a moment in silence.

                                   ROCHESTER
                             (relieved)
                         I had an awful fear...

               Meanwhile Jane has been pulling up the covers on Adele's bed.
               While doing this she makes a discovery, which is that Adele
               has taken her satin dancing slippers to bed with her. She
               holds them up.

                                   JANE
                         Do you see what she has?

                                   ROCHESTER
                             (taking the slippers from
                              her)
                         Poor little Adele. Trying to
                         console herself for my unkindness.
                         The child has dancing in her blood
                         and coquetry in the very marrow of
                         her bones.

               He walks to nursery door and stands to let Jane pass.

               Rochester closes the double doors to Adele's room, throws the
               slippers down on a table. They strike against the musical box
               we have seen in the morning sequence between Jane and Adele.
               The shock starts the mechanism and it begins to tinkle away,
               while the figures dance. Rochester picks it up and examines
               it.

                                   ROCHESTER
                         I once had the misfortune to love
                         this —— and then to be jealous of
                             (he points first at the
                              doll in the ballerina's
                              costume, then at the one
                              in the Officer's uniform)
                         Love's a strange thing, Miss Eyre.
                         You can know that a person is
                         worthless, without heart or mind or
                         scruple, and still suffer to the
                         point of torture when she betrays
                         you.
                             (he sets the figures down,
                              as he adds bitterly:)
                         At least I had the pleasure of
                         putting a pistol bullet through my
                         rival's lungs. 

               He turns away and starts to stride about. There is a silence

               NURSERY

                                   JANE
                         And the little doll in the dancing
                         skirt?

                                   ROCHESTER 
                         We tell Adele she died. But the
                         truth isn't quite so touching. I
                         gave her some money and turned her
                         out. Whereupon she decamped with an
                         Italian painter, leaving me with
                         what she said was my daughter.
                             (picks up the candle and
                              turns to Jane)
                         Let me light you to your room.

               He opens the door, lets her pass, and they start walking down
               the gallery.

               GALLERY

               Rochester and Jane walk a moment in silence, then:

                                   ROCHESTER
                         Tell, Miss Eyre, now that you know
                         what your pupil is —— the offspring
                         of a French dancing girl —- I
                         suppose you'll be coming to tell me
                         to look out for a new governess.

                                   JANE
                             (quietly)
                         Adele has had so little love, I
                         shall try to make up for it.

               By this time they are at the door of Jane's room. Rochester
               looks at her. In this moment there's a warmth in his eyes and
               tone, which indicates very clearly feeling he has for her.

                                   ROCHESTER
                             (quietly)
                         Are you always drawn to the
                         loveless and unfriended?

                                   JANE
                         When it is deserved.

               She starts to go in, but Rochester stops her.

                                   ROCHESTER
                         Miss Eyre —— would you say that my
                         life deserved saving?

                                   JANE
                         I would be distressed if harm came
                         to you, sir.

                                   ROCHESTER
                         But you did save my life tonight,
                         and I should like to thanks you.
                         Can't we at least shake hands?

               He holds out his hand, and she gives him hers. They stand
               looking at each other.

                                   ROCHESTER
                             (with deep feeling)
                         I knew you would do me good in some
                         way, at some time. Good-night...
                         Jane.

               He turns quickly and goes. Jane watches him a moment, then
               goes into her room.

                                                       DISSOLVE:

               YARD - DAWN

               Pilot emerges from his kennel as there is the SOUND of heavy
               boots descending stone steps.

               The boots — Rochester's boots — come into picture, squelching
               through the already melting snow, —— Pilot follows behind
               them. Then we see the hoofs of a horse —— Rochester's boots
               disappear as he swings himself into the saddle.

               The horse clatters off over the cobbled court yard, Pilot
               following behind..

               JANE'S ROOM - DAWN

               The violent clatter comes over Jane's face. She wakes,
               hurries to the window.

               CLOSEUP OF JANE'S FACE AT THE WINDOW AS SHE WATCHES

               Over her face comes the noise of retreating hoof—beats.

               MOORS — DAWN — (SERSEN SHOT WITH DOUBLE)

               The rising sun glistens and flares on the melting snow as
               away from CAMERA gallops the distant figure of Rochester on
               his black horse, the dog Pilot hurrying after him.

               ROCHESTER'S ROOM - THE BLACKENED CHARRED BED-CURTAINS -- DAY

                                   MRS. FAIRFAX'S VOICE
                         Oh, dear -— they're past mending,
                         I'm afraid.

               Her hand comes into picture and pulls them down, revealing to
               the CAMERA the door to the gallery, which Jane (now fully
               dressed) is entering.

                                   MRS. FAIRFAX'S VOICE
                             (surprised)
                         Oh, Miss Eyre. Isn't it terrible?
                         We might all have been burnt in our
                         beds.

               As Jane moves forward; the CAMERA PULLS BACK a little,
               bringing into the foreground of the SHOT (back to CAMERA)
               Mrs. Fairfax and Leah who are straightening the wrecked room.

                                   JANE
                         Where did Mr. Rochester go?

                                   MRS. FAIRFAX
                             (working on the curtains)
                         He said something about a house
                         party at Millcote. Goodness knows
                         how long he'll be away. —— You can
                         never tell with Mr. Rochester -— it
                         may be a week —— or a month —— or a
                         year.

               Jane starts to go, then stops.

                                   JANE
                         Mrs. Fairfax. 

                                   MRS. FAIRFAX
                         Yes.

                                   JANE
                         Did Mr. Rochester tell you how the
                         fire started?

                                   MRS  FAIRFAX
                         Of course. He was reading in bed,
                         and fell asleep with the candle
                         lit, and the curtains took fire.

               She sees, but misinterprets, the expression on Jane's face.

                                   MRS  FAIRFAX
                         Why do you ask?

                                   JANE
                         I wondered if the fire had
                         something to do with Mr. Rochester
                         leaving.

                                   MRS. FAIRFAX
                         What possible connection could
                         there be? He said this morning that
                         he was restless -— the house with
                         only us here was too unbearably
                         oppressive for him.

               She busies herself with her work and Jane goes, very puzzled
               and thoughtful.

               GALLERY

               She walks toward her room, hurt and disturbed. Just as she is
               about to enter, she notices that the door of the Old Wing is
               standing half open. She looks at it, hesitantly for a moment
               then makes up her mind and walks through.

               CIRCULAR STAIRCASE TO OLD WING

               Jane comes slowly up the staircase, curious as to what she
               will see.

               CORRIDOR IN THE OLD WING

               Jane emerges into a narrow stone corridor —— like that of a
               medieval castle. It is entirely different from the rest of
               the house —— less spacious and of a more ancient style.
               On one side is a single narrow stone—mullioned window,
               throwing an insufficient light on the scene. On the other
               side is a row of small, unpretentious doors. The second door
               is black, for it is covered with buttoned cloth on both
               sides, as though to deaden sound.

               Jane hesitates, then walks towards the black door. But, just
               as she starts to open it, and before she has seen into the
               room, comes a snarling and scuffling sound from within, as
               though of an animal fighting.

               Jane starts back and lets the door, which seems to be on a
               spring, swing closed again. Then, thoroughly frightened, she
               hurries back towards the stairs, and starts to go down. She
               has only just started when there is the SOUND of the door
               opening. She turns to see Grace Poole.

                                   GRACE POOLE
                         What are you doing here?

               Grace Poole is breathless and perhaps a little disheveled,
               but she speaks with a tone of authority which startles Jane,

                                   GRACE POOLE
                         No one comes up here, d'you
                         understand?

               She takes a step forward towards Jane.

                                   GRACE POOLE
                         Go on down, go on down.

               Jane faces her threatening look for a moment, then quickly
               turns. The CAMERA PANS around with her as she hurries down
               the stairs. A moment later Grace Poole comes into	SHOT and
               locks the door as we:

                                                       FADE OUT

                                                       FADE IN

               ROAD TO THORNFIELD HALL - SUMMER DAY

               A little trap drawn by a Shetland pony is approaching up the
               road to Thornfield Hall. In it are Jane and Adele. They have
               been on a picnic and have been gathering flowers,

               THE CAMERA PANS with the trap till it comes to rest at the
               foot of the steps to the front door. We see to our surprise
               servants passing in and out of the front door, some footmen
               carrying heavy packages. A heavy dray and a farm wagon are
               parked at a corner of the drive.

               SHOT - JANE AND ADELE

               Adele looks at Jane in surprise. They get out of the trap and
               move toward the front door.

               GREAT HALL - SHOOTING CUT OF THE FRONT DOOR

               THE CAMERA BRINGS Adele and Jane into the great hall. We see
               servants moving about, carrying flowers, furniture; etc.
               There is a busy air of excitement and expectancy, about what
               we don't yet know. We hear Mrs. Fairfax's voices:

                                   MRS. FAIRFAX'S VOICE
                         The moment the carriages stop, open
                         the front door. Then stand each
                         side of it, and be ready to take
                         the gentlemen's cloaks.

               By now the CAMERA has MOVED with Jane and Adele to Mrs.
               Fairfax, talking to two footmen, who are now in the SHOP.

                                   FOOTMAN
                         Yes, ma'am.

               Mrs. Fairfax sees Jane.

                                   MRS. FAIRFAX 
                         Oh, my dear, I'm so glad you're
                         back at last. Mr. Rochester is so
                         distracting.

               She turns to Leah who is passing.

                                   MRS. FAIRFAX
                         Leah, you must be with me to take
                         the ladies to their room.

                                   LEAH
                         Yes, ma'am.

               Mrs. Fairfax takes a moment to turn to Jane.

                                   MRS. FAIRFAX
                         Not even telling me how many guests
                         he's bringing. Just said get all
                         the best bedrooms ready, and more
                         servants from the inn.

               A servant passes.

                                   MRS  FAIRFAX
                             (to servant)
                         Are you sure you put flowers in
                         every room?

                                   SERVANT
                         Quite sure, ma'am.

               THE MAIN DOOR OF GREAT HALL

               A footman who has been looking through the wicket turns to
               Mrs. Fairfax.

                                   FOOTMAN
                         They're coming, ma'am.

               He begins to open the main door. The sound of a coach horn is
               heard.

               DRIVE OF THORNFIEID

               Approaching in the distance are four equestrians, an open
               carriage and a four in hand.	Fluttering veils and waving
               plumes fill the vehicles; two of the cavaliers are young,
               dashing—looking gentlemen, the third is Mr. Rochester on his
               black horse, Pilot bolting along before him; at his side
               rides a lady, and he and she are the first of the party. Her
               purple riding habit almost sweeps the ground; her veil
               streams along on the breeze; mingling with its transparent
               folds, and gleaning through them shine rich raven ringlets.

               WINDOW OF GREAT HALL

               As Jane and Mrs. Fairfax run to it.

                                   MRS. FAIRFAX
                         One, two, three...oh, dear —
                         fifteen at least - far more than I
                         had prepared for.

               SHOT OF CAVALCADE

               As it comes closer, we begin to hear the jingle of bit and
               bridle, and laughter and excited chatter.

                                   MRS. FAIRFAX'S VOICE
                         That's Colonel Dent with the grey
                         whiskers. And his sister, Lady
                         Ingram, next him, such a
                         distinguished lady. And Sir George
                         Lynn. He's the member of Parliament
                         for Milicote.

               JANE AND MRS. FAIRFAX

                                   JANE
                         Who's that riding with the Master?

                                   MRS. FAIRFAX
                         Why, that's Blanche Ingram, my
                         dear. Haven't you heard about Miss
                         Ingram and Mr. Rochester? She's
                         quite an old flame of his. It
                         wouldn't surprise me at all if it
                         came to an engagement one of these
                         days. Such a beautiful girl, don't
                         you think so? And as talented as
                         she is lovely.

               She bustles off. Jane is left at the window.

               CAMERA MOVES CLOSER and, keeping Jane in profile in the
               foreground SHOOTS past her, through the window, at the scene
               outside. Rochester is helping Blanche to dismount. We cannot
               hear what they say, but catch the SOUND of their laughter and
               see their gay, smiling Laces. Jane looks out, motionless.

                                                       DISSOLVE TO:

               SAME EVENING

               Candles are burning in sconces along the walls and a good
               deal of light comes in through the openings connecting the
               gallery with the hall. The source of this light is a great
               chandelier, never previously lighted in the course of the
               picture.

               Jane is coming along the gallery from her own room on the way
               to the nursery.

               Servants come out of a door, one carrying a tin hip bath, the
               other two, five—gallon cans of water.

               They cross in front of Jane so that Jane has to stop to avoid
               them, and they are just going into another door, when a
               lady's maid hurries up from the other end of the gallery.

                                   MAID
                         Miss Ingram's waiting for her bath
                         water.

               Two other maids appear from the direction of the kitchen
               stairs, one carrying a tray, on which are various bottles,
               with a spirit lamp, curling irons and some false ringlets.
               The other has a pair of stays. As she passes she tugs at the
               string.

                                   MAID
                         Well, let's hope this one won't
                         break.

               Nobody pays any attention to Jane, and already, in this
               unaccustomed activity, she feels out of it. At the top of the
               stairs she finds Adele hanging over the banister and looking
               down into the hall, whence we HEAR the cheerful VOICES of the
               men guests laughing and talking.

                                   JANE
                             (reproachfully)
                         Adele! Why aren't you in the
                         nursery?

                                   ADELE
                         Oh, mademoiselle, let me look.

                                   JANE
                         No, dear, you're in the way.

               She takes the child's hand and turns. As she does so, she
               almost collides with two girls who have come out, already
               dressed in their evening clothes.

                                   JANE
                         Oh, I beg your pardon.

               She stands back. The girls pass without paying the slightest
               attention to her. They continue their conversation as they
               move forward.

                                   FIRST GIRL
                         Didn't I tell you that Blanche was
                         setting her cap at him?

                                   SECOND GIRL
                         Well, he is very romantic. And
                         enormously rich.

               They laugh as they walk on. The CAMERA PANS with them. But as
               they walk out of SHOT, it ends on a CLOSEUP of Jane.

               JANE'S ROOM - EVENING - CLOSE SHOT OF JANE

               Jane is brushing her hair in front of a mirror, but her
               movements are mechanical; she is absorbed in contemplating
               her own face.

                                   MRS. FAIRFAX'S VOICE
                         Oh, Miss Eyre ——

               Jane, snapped out of her reverie, turns.

               MRS. FAIRFAX AT THE DOOR

               SHOOTING PAST Jane at the mirror in the foreground.

                                   MRS  FAIRFAX
                         —— Mr. Rochester wishes you to
                         bring Adele to the drawing room
                         after dinner.

                                   JANE
                         Oh, please send Adele by herself.
                         He only asks me out of politeness.

               She resumes brushing her hair, this tine more earnestly.

                                   MRS. FAIRFAX
                         That is what I thought and I told
                         him you weren't used to company.
                         'Nonsense' he said. 'If she
                         objects, I'd come and fetch her
                         myself!'

               Jane lowers the brush and ceases to attend to her hair.

                                   MRS. FAIRFAX
                         Of course, you must wear your very
                         best, my dear.

               She walks over end opens the wardrobe.

               THE WARDROBE

               In the gaping void of the large wardrobe hang only two
               dresses — all that Jane has. Mrs. Fairfax's hand comes into
               the picture and hesitates between them.

                                   MRS. FAIRFAX'S VOICE
                         —— I think the black.

               Her hand takes out the black dress as we

               DINING ROOM — NIGHT	CLOSE SHOT

               of a beautiful dessert service at the far end of the dining
               room table. CAMERA SLOWLY STARTS TO PAN along the entire
               length of the table and we see its rich pattern of silver and
               candlelight. Occasionally the hand of a guest comes into the
               SHOT, picking a piece of silver or a cup; and we NEAR their
               VOICES:

                                   MAN'S VOICE
                         A quart of red wine - that's the
                         secret of good digestion.

                                   WOMAN'S VOICE
                             (rapturously)
                         Green plush and ostrich feathers -
                         the most exquisite bonnet you ever
                         set eyes on

                                   COLONEL DENT'S VOICE
                         So I let them have both barrels ——
                         bang, bang. Then got two more birds
                         with my spare gun.

                                   GIRL'S VOICE
                         Oh no, Mr. Eshton. Papa won't allow
                         me to read anything but sermons.

               Now CAMERA STOPS on a magnificent silver bowl which contains
               fruit or flowers. In one of its flat burnished panels we see
               the reflection of Blanche Ingram. CAMERA NOW BRIGHTLY PULLS
               BACK AND PANS DOWN and we see Rochester's hand resting on the
               table. Instantly a beautiful hand - Blanche's — tastefully
               jeweled, comes into scene and for an instant her finger tips
               lightly touch Rochester's hand.

                                   BLANCHE'S VOICE
                         A woman must be beautiful, Edward;
                         a man need only be strong and
                         valiant.

               Rochester's hand clenches, as though ready to strike. It raps
               against the silver bowl.

                                   ROCHESTER'S VOICE
                         Let his face go hang, so long as he
                         has a fist. Is that it?

               Blanche's laughter breaks out.

               CLOSE SHOT - ADELE'S FACE

               She is peeping through the heavy curtains separating the
               drawing room from the dining room.

                                   LADY INGRAM'S VOICE
                         Well, perhaps we had better leave
                         the gentlemen to their port.

               There is the SOUND of chairs being pushed back and the
               rustling of skirts.

               Adele's face shows an expression of panic, and she withdraws
               her head.

               DRAWING ROOM

               Adele from the back, as she turns. CAMERA MOVES WITH HER, as
               she runs to where Jane is sitting in a window seat.

                                   ADELE
                         They're coming, mademoiselle!

               Jane hastily rises, looking nervously in the direction of the
               entrance to the dining room.

               DINING ROOM ENTRANCE - FROM JANE'S ANGLE

               The curtains are parted, and the ladies, beautifully gowned,
               make an impressive entrance.

               Gentlemen hover in the background, and behind them we catch a
               glimpse of the room with its richly appointed table.

               DRAWING ROOM

               The women pass by Jane in her window seat, as they make their
               way into the center of the room. Jane curtsies. One or two
               nod distantly. Others do not even acknowledge her existence.
               Ad libs of the women as they pass.

                                   FIRST GIRL
                         Goodness, I hope I don't have to
                         sit next to Colonel Dent again

               Adele curtsies to them.

                                   ADELE
                         Bon soir, mademoiselle.

                                   SECOND GIRL
                         Bon soir. What's your name, dear?

               They move out of SHOT with Adele. Two dowagers follow. Jane
               curtsies to them. One of then puts up her lorgnette and looks
               at her, as though she were an insect; then drops the glass
               and pays no further attention.

                                   DOWAGER
                         What a delicious souffle - I
                         couldn't resist a second helping.

               The last person to emerge from the dining room is Lady
               Ingram, a tall, imposing lady with a very haughty manner.

               She turns back, as she emerges and calls into the room.

                                   LADY INGRAM
                         Now, Blanche, stop teasing poor Mr.
                         Rochester. Come along, my angel.

               She comes into the drawing room.

               SHOT OF JANE

               She is looking towards the entrance, waiting anxiously for
               Blanche to appear.

               OVER ENTRANCE TO DINING ROOM

               There is laughter from the dining room, as though Blanche had
               made a final witty sally, then she appears in between the
               slightly parted curtains and, with an affected and theatrical
               gesture, pushes one of the curtains aside and stands posed on
               the threshold.

               She is very conscious that she makes an effective tableau — a
               lovely creature in a white dress, framed between the rich
               velvet of the curtains and with the glittering dining table
               as a background.

               SHOT OF JANE

               as she listens, dazzled by Blanche's beauty --

               AT THE ENTRANCE

               She lets the curtain fall and turns back toward the drawing
               room. CAMERA MOVES UP TO A CLOSE SHOT as she surveys the room
               with her supercilious smile. Then she moves gracefully down
               the steps to join the others and the CAMERA once again ends
               on a CLOSE SHOT of Jane.

               DRAWING ROOM

               Blanche is singing; Rochester is turning the pages of her
               music. She is near the end of her song. THE CAMERA IS
               SHOOTING ACROSS THE PIANO, at which Blanche is sitting,
               accompanying as well as singing.

               CAMERA MOVES from them and passes through the crowd. Part of
               the guests are still holding their coffee cups. The CAMERA
               HOLDS for a moment on Lady Ingram, who is looking at the
               singers with a complacent smile. The lady next to her, Mrs.
               Eshton, leans over and whispers:

                                   MRS. ESHTON
                         What a striking couple.

                                   LADY INGRAM
                         It's very fortunate, isn't it?

               CAMERA MOVES to a group where Adele is seated between two
               women. She is pointing at the lace on the bottom of the
               pantalettes which protrude beneath her skirts.

                                   ADELE
                         Looks from Paris.

                                   A WOMAN
                         Sh—sh, dear...

               CAMERA MOVES to Sir George Lynn and Colonel Dent, who is
               offering his snuff box to Sir George, and whispering as he
               does so.

                                   DENT
                         Splendid match, Sir George,
                         splendid match. Seven or eight
                         thousand a year, at least.

               CAMERA MOVES to two young men.

                                   FIRST YOUNG MAN
                         Fine shoulders, eh, Ned?

               The song comes to an end. They clap and there is the SOUND of
               applause from other parts of the room.

               CLOSE SHOT - JANE

               sitting modestly on her bench, as we hear the SOUND of
               clapping and congratulatory remarks.

               AND ROCHESTER

               Rochester is congratulating her in bad Italian, since she has
               sung in Italian.

                                   ROCHESTER
                         Cantate come un angelo tesore

                                   BLANCHE
                         Signor Eduardo - -

               She is about to make a gay elaborate reply when Adele leaps
               upon the piano stool and pops into SHOT, interrupting her.

                                   ADELE
                         Monsieur Rochester, may I sing now?

                                   ROCHESTER
                         I think we I've had enough music
                         for the moment.

                                   ADELE
                         Please, monsieur.

                                   ROCHESTER
                         Leave us.

               Adele disappears as quietly as she came.

                                   BLANCHE
                         Edward, I thought you weren't fond
                         of children.

                                   ROCHESTER
                         Nor am I.

                                   BLANCHE
                         Then what induced you to take
                         charge of such a little puppet?
                         Where did you pick her up?

                                   ROCHESTER
                         I didn't pick her up. She was left
                         on my hands.

                                   BLANCHE
                         Well, I suppose you have a
                         governess for her. I saw a person
                         with her just now —— is she gone?
                             (she looks around)
                         Oh, no! There she is still, hiding
                         in the corner.

               She rises and moves away from the piano. Rochester goes with
               her.

                                   BLANCHE
                         You should hear mama on
                         governesses.

               As she speaks she takes the arm of Lady Ingram who is
               standing nearby and draws her along with her.

               They are now walking towards Jane, whom we see beyond them.
               They stop at a small table not far from where Jane is
               sitting. Here stands a silver dish of sweetmeats. Blanche
               takes one and nibbles at it as she speaks.

                                   LADY INGRAM
                         Governesses! Don't speak to me of
                         governesses! The martyrdoms I have
                         had to suffer from those creatures!
                         The clever ones are detestable, and
                         the others grotesque.

                                   BLANCHE
                         Llama!

               She touches Lady Ingram's arm, and looks off in the direction
               of Jane. Her eyebrows are raised; her expression is ironical.
               Lady Ingram follows her glance, then turns back.

                                   LADY INGRAM
                         Oh, well, it can't be helped. I
                         hope it may do her some good.

               They move out of SHOT. CAMERA STAYS ON JANE'S FACE. She is
               hurt and humiliated by the way she has been treated.

               We see that she is on the verge of tears.

               OFFSCREEN the piano starts to play a piece by Mendelssohn.
               Jane listens for a few bars, then rises and unobtrusively
               slips out of the room to the library.

               LIBRARY

               Jane tiptoes across the room toward the door leading out into
               the hall.

               Just as she is going out, Rochester appears through the
               drawing room door.

                                   ROCHESTER
                         How do you do?
                             (he closes the door behind
                              him)

                                   JANE
                         I am very well, sir.

                                   ROCHESTER
                         Why did you not cone and speak to
                         me in the drawing room?

                                   JANE
                             (with just a touch of
                              malice underneath)
                         I did not wish to disturb you as
                         you seemed engaged.

                                   ROCHESTER
                         That have you been doing while I've
                         been away?	

                                   JANE
                         Nothing particular. Teaching
                         Adele as usual.

                                   ROCHESTER
                         And getting a good deal paler than
                         you were. What is the matter?

                                   JANE
                         Nothing.

                                   ROCHESTER
                         Did you take cold that night of the
                         fire?

                                   JANE
                         No, sir.

                                   ROCHESTER
                         Go back to the drawing room. You
                         are leaving too early.

                                   JANE
                         I am tired, sir.

               He gives her a look.

                                   ROCHESTER
                         And a little depressed. About what?

                                   JANE
                         Nothing...I am not depressed.

               Rochester has taken a step toward her, and now he is quite
               near.

                                   ROCHESTER
                         But I tell you you are — so much
                         depressed that a few more words
                         would bring tears to your eyes.
                         Indeed, they are there now, shining
                         and shimmering --

               At this moment, the most intimate so far between them, there
               suddenly comes through the half open dining room door the
               jangle of the front door bell.

                                   ROCHESTER
                         Who the devil is that? -

               There is the SOUND of the footman crossing the hall.

               THE FRONT DOOR

               The footman opens the front door, to reveal a tall, dark
               gentleman with a sallow, neurotic face —— "there was no
               thought in that low, even forehead, no command in that black,
               brown eye."

                                   STRANGER
                         I wish to see Mr. Rochester.

                                   FOOTMAN
                         What name shall I say, sir?

                                   STRANGER
                             (speaking very
                              deliberately)
                         Tell him Mr. Mason —— Mr. Mason
                         from Spanish Town in Jamaica.

               JANE AND ROCHESTER

               Jane turns in amazement as she sees the effect of this name
               on Rochester.

                                   MR. ROCHESTER
                         Mason — Spanish Town...Jane, I've
                         had a blow.

               He leans heavily against the door. Jane looks at him
               bewildered.

                                   ROCHESTER
                         My little friends I wish I were on
                         a quiet island with only you; and
                         trouble, and danger, and hideous
                         recollections far away.

                                   JANE
                         Can I help you, sir?

                                   ROCHESTER
                         Jane, if help is wanted, I'll
                         seek it at your hands. I promise
                         you that.

                                   JANE
                         Thank you, sir.

                                   ROCHESTER
                             (rising, and looking
                              toward the drawing room)
                         If all the people in that room came
                         and spat at me —— what would you
                         do, Jane?

                                   JANE
                         Turn them out of the room, if I
                         could.

                                   ROCHESTER
                             (half-smiling)
                         But if I were to go to them, and
                         they only looked at me coldly and
                         dropped off and left me one by one
                         —— what then? Would you go with
                         them?

                                   JANE
                         No, I would stay with you.

                                   ROCHESTER
                         And comfort me?	

                                   JANE
                         Yes, sir. To comfort you as well as
                         I could.

               Rochester smiles at her gratefully and, without speaking,
               takes her hand and squeezes it. Then he turns, goes out into
               the hall and advances across the room to where Mason is
               standing in his fur—lined traveling cloak in front of the
               fireplace.

               LONG SHOT OF MASON AND ROCHESTER (AROUND JANE'S BODY OVER HER
               SHOULDER)

               Mason turns as he hears Rochester approach.

                                   MASON
                         Edward...

               He holds out his hand; Rochester does not take it.

                                   ROCHESTER
                         I shall not be hypocritical enough
                         to say that you are welcome under
                         this roof... In here, Meson.

               Mason enters, Rochester follows and closes the door.

                                                       FADE IN

               THORNFIELD - NIGHT

               We see the battlemented tower above the Old Wing. Suddenly
               the stillness of the night is shattered by a succession of
               piercing screams. From their nests in the loopholes and
               crevices of the old masonry the jackdaws scatter in fright.

               The CAMERA PANS DOWN to a window in the Old Wing. In
               silhouette against the drawn blinds we see the vague form of
               struggling figures, and hear the crash of glass as a
               candlestick falls to the floor and the light goes out.

               CAMERA CONTINUES to PAN DOWN TO THE FLOOR In the windows of
               the guest rooms lights begin to appear.

               INT  THORNFIEID GALLERY - LONG SHOT

               The guests come hurrying out of their rooms. Some carry
               candles. All are in their dressing gowns. The hair of some of
               the ladies is in curl papers. One or two of the older
               gentlemen wear nightcaps. Colonel Dent carries a pistol.
               There is general excitement and confusion. We hear wild ad
               libs from the ladies, while the gentlemen try to be
               protective and reassuring: "What is it?"; "Who's hurt?";
               "What's happened?"; "Is it a fire?"; "No, no, there's no
               fire; "It must be robbers"; "Robbers! Where shall we run?";
               "We shall be killed in our beds."

                                   BLANCHE
                             (to Dent)
                         The noise came from over, there
                         Uncle Percy.

                                   SIR GEORGE LYNN
                             (who carries a poker)
                         Yes, that's right.

               They advance towards the back landing.

                                   LADY INGRAM
                         What are you doing, Blanche? Come
                         back.

                                   BLANCHE
                             (over her shoulder)
                         It's all right, mama.

               They go on; as they come into back landing. Jane opens her
               door and steps out into the corridor. She stands there in the
               foreground of the SHOT, unnoticed, looking at what is going
               on.

                                   DENT
                         Where the devil is Edward, I'd like
                         to know?

                                   ROCHESTER'S VOICE
                         Here he is.

               The door of the Old Wing opens and Rochester appears carrying
               a candle. Colonel Dent raises his pistol.

                                   ROCHESTER
                         Steady on the trigger, Colonel.
                         Now, ladies, compose yourselves, I
                         beg you.

               Blanche runs up to him and seizes his arm.

                                   BLANCHE
                         Edward... You haven't been hurt,
                         have you?

               The other women also rush up and surround him.

                                   ROCHESTER
                             (laughing)
                         No; but I'm in imminent danger of
                         being suffocated. Ladies, please...
                             (he pushes them aside)
                         Colonel, you can put that thing
                         away. Artillery's no good against
                         nightmares.

                                   BLANCHE
                         Nightmares?

                                   ROCHESTER
                         That's all it was. One of the maids
                         had a bad dream and woke up
                         screaming.

               SHOT OF JANE

               She knows that the story is untrue and wonders what has
               really happened.

                                   ROCHESTER'S VOICE
                         And the moral of that is:	Don't
                         eat toasted cheese for supper.

               SHOT AS BEFORE WITH JANE IN FOREGROUND

                                   ROCHESTER
                         Now, ladies, what about going back
                         to your rooms? Will you set the
                         good example, Lady Ingram?

               They all start away.

                                   BLANCHE
                         I declare, I'm quite disappointed.
                         I was so looking forward to seeing
                         Uncle Percy shoot a robber.

                                   DENT
                         Now, Blanche, enough of your levity

               CLOSE SHOT OF BLANCHE AND ROCHESTER

               They are standing outside Blanche's door, which half open,
               preparatory to entering.

               She holds

                                   BLANCHE
                         Good night, Edward.

               She throws him a languishing look. He smiles back at her, but
               with a kind of irony. The words and gestures which follow are
               slightly exaggerated, so that they seem almost like the
               caricature of a lover's words and gestures.

                                   ROCHESTER
                         Sweet dreams my courageous Blanche.

               He bends over her hand to kiss it, and we

                                                       CUT TO:

               LONG SHOT WITH JANE IN FOREGROUND AS BEFORE

               Jane sees Rochester kiss Blanche's hand, then quickly turns
               into the CAMERA and (THE CAMERA PRECEDING HER) enters the
               room and closes the door behind her. She stands there for a
               moment, bewildered and jealous, understanding nothing of what
               is going on.

               CLOSE SHOT OF JANE SHOOTING FROM INSIDE HER ROOM

               Alternate angle to above for same action.

               SHOT OF JANE'S ROOM

               She takes off her dressing gown, gets into bed and blows out
               the light.

               A moment later there is a light knock at the door. She sits
               up.

                                   ROCHESTER'S VOICE
                         Jane! Are you up?

                                   JANE
                         Yes, sir.

               She gets out of bed and slips on her robe again.

                                   ROCHESTER
                         Come out then, quietly.

               Jane opens the door and steps out.

               LANDING

               As she comes out, Rochester is unlocking the door to the Old
               Wing.

                                   ROCHESTER
                         Come this way, and make no noise.

               STAIRCASE

               Rochester shuts and locks the door behind them —— Jane is now
               in the mysterious Old Wing.

                                   ROCHESTER
                             (as they mount the stairs)
                         You don't turn sick at the sight of
                         blood?

                                   JANE
                         I have never been tried yet.

                                   ROCHESTER
                         Just give me your hand, It won't do
                         to risk a fainting fit,

               He takes her hand.

                                   ROCHESTER
                             (satisfied)
                         Warm and steady.

               Outside the black door, Mr. Rochester stops.

                                   ROCHESTER
                             (urgently)
                         Jane —- what you see may shock you,
                         and frighten you end confuse you.
                         But I beg you, don't seek an
                         explanation, don't seek to
                         understand. No matter what the
                         appearance, you must trust me.

               GRACE POOLE'S ROOM IN THE OLD WING

               Jane looks curiously around her. This room also is in stone.
               One side is concealed by a large bed with drawn curtains. The
               other side is hung with a worn and dirty piece of tapestry.
               But the tapestry has been looped up, revealing a tiny door
               into an inner room.

               An unconscious man lies on the bed, dressed with the
               exception of his coat. Mr. Rochester holds the light over
               him.

               The face is the face of the stranger we saw in the hall —
               Mason from Spanish Town in Jamaica. His shirt on one side and
               one arm is soaked with blood.

                                   ROCHESTER
                             (to Jane)
                         Hold the candle.
                             (he goes to the washstand
                              and fetches a basin of
                              water)
                         Hold that.

               Jane does so. He takes a sponge, dips it in and moistens the
               corpse-like face, then he tears away the shirt, and sponges
               away the blood from the arm.

                                   ROCHESTER
                         Jane, I shall have to leave you in
                         this room with this gentleman while
                         I fetch a surgeon. You will sponge
                         the blood as I do now. If he comes
                         to, you will not speak to him on
                         any account. Do you understand me?

                                   JANE
                         Yes, sir.

                                   ROCHESTER
                         Whatever happens, do not move from
                         here. Whatever happens, do not open
                         a door either door.

               Mr. Rochester puts the bloody sponge into Jane's hand and
               watches her as she staunches the blood. Then, satisfied that
               she is doing right, he turns and starts for the door, In the
               doorway, he turns once more. Then he goes, and we hear the
               key grate in the lock and his re—treating steps fade away.

               CLOSE SHOT - JANE (ANGLE WITH MASON IN F.G.)

               Jane's reaction to being locked in.

               For a moment she bathes Mason's wounds in silence. Then
               suddenly is heard again "the snarling, canine noise and a
               deep human groan" which Jane heard on her first visit to the
               room and also on the previous night. But this time it is
               louder and more savage.

               Jane turns her head nervously toward the little door beneath
               the looped-up curtain, whence the noise seems to come.

               Then she looks back at Mason, desperately anxious to know the
               secret.

               She stares in horror, "was I in the third story, fastened
               into one of its mystic cells; night around me; a pale and
               bloody spectacle under my eyes and hands;" - danger hardly
               separated from her by a single door.

               Suddenly there is the sound of a violent struggle inside the
               inner room, and then the sound as though a rope had been
               snapped. And then the little door behind the looped-up
               tapestry is violently shaken.

               LITTLE DOOR TO THE INNER ROOM

               Violently strained on its hinges, as though it might at any
               moment fly open.

               JANE

               Watching in horror, forbidden to move, no matter what
               happens.

               Then suddenly the commotion stops; there is a heavy thud as
               though the creature behind the door had fallen to the ground
               exhausted.

               Then there is silence, CAMERA MOVES CLOSER TO JANE as she
               continues mechanically bathing the blood from Mason's open
               wounds. Behind her the shadowy faces in the tapestry stand
               out in the moonlight like gargoyles. (See book, pg. 270)

               SLOW DISSOLVE TO:

               LONG SHOT THORNFIELD HALL - EARLY DAWN

               The house is swathed in an early morning mist, which cloaks
               it with an air of mystery.

               Out of the mist comes a horseman, who gallops across the
               turf. He is followed by a carriage.

               We see that they deliberately avoid the main drive and hurry
               to the side of the house through the arch to the stable yard.

               THE ROOM IN THE OLD WING (GRACE POOLE'S ROOM)

               The candle has burnt low in its Docket. Mr. Rochester enters
               and strides over to Mason, followed by Carter.

               Jane is still bathing the wound of the exhausted Mason.

               JANE

               She blinks her eyes as the light falls on her tired face.

               CAMERA PULLS BACK TO FULL SCENE as Carter hastily applies
               smelling salts to Mason, and by gently raising his head,
               tries to wake him.

                                   ROCHESTER
                         Now, Carter, be on the alert. I
                         give you half an hour for dressing
                         the wound, getting the patient
                         downstairs, and all.

               Slowly Mason opens his eyes. Carter draws out bandages from
               his kit.

                                   MASON
                         Edward...
                             (faintly)
                         I'm done for I fear.

                                   ROCHESTER
                         Nonsense. You've lost a little
                         blood, that is all.
                             (to Carter)
                         Tell him he's in no danger.

                                   CARTER
                         I can conscientiously do that.
                             (examining the wound)
                         But what's this? —— The flesh is
                         torn.

                                   MASON
                         She sank her teeth into me...like
                         a tigress.

                                   ROCHESTER
                             (sharply)
                         Be silent, Mason, and forget her
                         gibberish.

                                   MASON
                             (more excited)
                         She said shed drain my heart's
                         blood.

               At the mention of a woman, Jane stares at Mason.

                                   ROCHESTER
                         Jane?

                                   JANE
                             (her eyes still on Mason)
                         Yes, sir?

                                   ROCHESTER
                         Go and put some things on. Then go
                         down the back stairs and unbolt the
                         side passage door. You will see a
                         carriage there. See that the driver
                         is ready. We shall be down in a
                         moment.

               Jane goes out. The doctor is working on Mason's wound.

               Mason is groaning. Rochester turns back to him.

                                   ROCHESTER
                         I warned you, Mason, not to see her
                         alone.

                                   MASON
                         I thought I could have done some
                         good.

                                   ROCHESTER
                             (impatiently)
                         You thought? You thought? Come,
                         Carter, hurry; the sun will soon
                         rise - and I must have him out? I
                         have tried so long to avoid
                         exposure. I shall make very certain
                         that it doesn't come now.

               He starts to raise Mason to his feet, as we

                                                       DISSOLVE TO:

               THORNFIEILD - SIDE PASSAGE DOOR — DAWN

               In the walled stable yard the carriage is standing with the
               door open. The coachman is on the box. Jane is waiting, fully
               dressed.

               The side passage door opens and Mason appears, supported by
               Rochester and the surgeon.

                                   ROCHESTER
                             (to Carter)
                         Take care of him, Carter. Don't let
                         him leave your house until he is
                         quite well.

               They help Mason into the carriage, Carter going with him.

                                   MASON
                             (leaning forward)
                         Edward?

                                   ROCHESTER
                             (impatiently)
                         Well, what is it?

                                   MASON
                         Let her be taken care of. Let her
                         be treated as tenderly as may be.
                         Let her ——
                             (he breaks down)

                                   ROCHESTER
                         I do my best, and have done it, and
                         will do it?

               He slams the door shut. The carriage starts. Rochester
               watches it go. Jane is watching him curiously.

                                   ROCHESTER
                         Yet would to God there was an end
                         of all this?

               He turns and walks "with slow step and abstracted air" across
               to a door in the yard wall which leads into the gardens.
               Through the door we catch a glimpse of tho orchard, where the
               white-blossomed fruit trees present a happier mood than that
               of the bleak stable yard.

               Jane, thinking that he has finished with her, is just opening
               the door to go back into the house, when Rochester calls to
               her.

                                   ROCHESTER
                         Jane.

               She turns.

                                   ROCHESTER
                         Come for a few moments where there
                         is some freshness. That house is a
                         dungeon — a sepulchre.

               He turns and goes through the door in the wall into the
               orchard, and Jane follows him.

               ORCHARD

               This is not an orchard in the farmer's sense, but an
               ornamental garden where fruit trees have been planted for
               decoration. There is a walk edged with box and apple trees
               and peach trees and cherry trees on one side and a border on
               the other full of old—fashioned flowers.

                                   ROCHESTER
                         Here all is sweet and real and
                         pure.

               The sun is still low but brightening already, and there is a
               light wind in the trees. They walk together a moment.

                                   ROCHESTER
                         You have passed a strange night,
                         Jane, and it has left you pale.

               Jane asks the question that she is dying to ask.

                                   JANE
                         Mr. Rochester, will Grace Poole
                         live here still?

                                   ROCHESTER
                             (after a brief pause)
                         Yes, Grace Poole will stay.

                                   JANE
                         Even after last night?

                                   ROCHESTER
                         Don't ask me to explain. Just
                         believe me when I tell you that
                         there are reasons —- good reasons,
                         weighty reasons.
                             (a pause)
                         You're my little friend, Jane,
                         aren't you?

                                   JANE
                         I like to serve you, sir, in
                         everything that's right.

                                   ROCHESTER
                         But if I asked you to do something
                         you thought wrong - what then? My
                         little friend would turn to me,
                         very quiet and pale, and say, "No,
                         sir, that's impossible." Am I
                         right?
                             (he looks at Jane, who
                              averts her eyes without
                              speaking)
                         Jane, I want you to use your fancy.
                         Suppose yourself a boy - a
                         thoughtless and impetuous boy —
                         indulged from childhood upwards.
                         Imagine yourself in a remote
                         foreign land. Conceive that you
                         there commit a capital error - one
                         that cuts you off from the
                         possibility of all human joys; and,
                         in your despair, you wander about
                         vainly seeking contentment
                         in empty pleasure. When, suddenly
                         Fate offers you the chance of
                         regeneration and true happiness.
                         Are you justified in overleaping an
                         obstacle of mere custom? Tell me,
                         Jane, are you justified?

                                   JANE
                         How can I answer, sir? Every
                         conscience must come to its own
                         decision.

                                   ROCHESTER
                             (tormented)
                         And if it can't come to a decision?
                         If you're afraid that you may bring
                         shame on what you most cherish,
                         that you may destroy what you most
                         desire to protect...?

               He breaks away with a gesture of despair, turns and walks
               away for a few steps, then comes back and speaks in a
               different tone.

                                   ROCHESTER
                         Jane, don't you curse me for
                         plaguing you like this?

                                   JANE
                         Curse you? No, sir.

                                   ROCHESTER
                             (reaching out his hand)
                         Give me your assurance on that.
                             (she puts her hand into
                              his; he looks down at it)
                         What cold fingers. They were
                         warmer last night.
                             (pauses, still holding her
                              hand)
                         Jane, will you watch with me again?

                                   JANE
                         Whenever I can be useful.

                                   ROCHESTER
                         For instance, the night before I'm
                         married. Will you sit with me then?

               Jane starts and looks at him.

                                   JANE
                         Are you going to be married, sir?

                                   ROCHESTER
                         Sometime, why not? I suppose you
                         think no one will have me. You're
                         wrong - you don't know our young
                         ladies of fashion. They may not
                         admire my person, but I assure you,
                         they dote on my purse,

               As he speaks, footsteps and voices are heard on the further
               side of the high wall, near which they are standing.

                                   BLANCHE'S VOICE
                         What makes you think he's in the
                         stables?

                                   ADELE'S VOICE
                         Monsieur Rochester often rides
                         before breakfast.

               The voices completely change Rochester's mood. With
               characteristic abruptness he hurries to the door in the wall.
               As he roes through, we catch a flash of Blanche and Adele,
               though from their position they cannot see Jane.

                                   ROCHESTER'S VOICE
                         Good morning, ladies?

                                   BLANCHE'S VOICE
                             (vivaciously)
                         Good morning, Edward. By rights, I
                         should scold you for running off
                         like this. A correct host
                         entertains his guests.

                                   ROCHESTER'S VOICE
                             (as they go off in the
                              distance)
                         My dear Blanche, when will you
                         learn? I never was correct, nor
                         ever shall be.

               Over a CLOSEUP of Jane, their voices, laughing and talking,
               die away, and on this CLOSEUP, we

                                                       FADE TO:

               CLOSEUP OF BILLIARD TABLE - NIGHT

               The white ball makes a cannon and as a result the red travels
               rapidly towards CAMERA, falling with a thud, large and close
               to CAMERA, into a pocket.

                                   ROCHESTER'S VOICE
                         Very pretty, partner.

               AND BLANCHE

                                   BLANCHE
                         Thank you.

               We see that it is Blanche that has made the stroke. Rochester
               crosses behind her to the scoreboard. Beside the score board
               is seated Lady Ingram.

                                   LADY INGRAM
                         I'm so happy you've made up your
                         mind to come to London with us
                         tomorrow.

                                   ROCHESTER
                             (lightly, as he adjusts
                              the scoreboard)
                         Have I? I didn't know.

                                   SIR GEORGE
                         Of course you're coming.

                                   COL. DENT
                         Very appropriate.

                                   BLANCHE'S VOICE
                         What now, Edward?

               Rochester crosses back so that Blanche comes into the shot
               and glancing at the table says.

                                   ROCHESTER
                         Put the red into the top right hand
                         pocket.

               Blanche prepares to make a shot but suddenly stops.

                                   BLANCHE
                         Edward, does that person want you?

               Rochester turns in the direction in which Blanche is looking.

               SHOT - BLANCHE AND ROCHESTER IN THE FOREGROUND)

               In the background we see Jane standing at the steps to the
               the bottom of billiard room.

                                   JANE
                         I'm sorry, sir. I did not know you
                         were occupied.

                                   ROCHESTER
                         Very good, Miss Eyre. I'm sure the
                         ladies will excuse me.

               He puts down his cue and moves forward.

               AND LADY INGRAM

               She looks after Jane.

                                   BLANCHE
                         Governesses, Mama...

               She makes her stroke.

                                   LADY INGRAM
                         Governesses!

               LIBRARY (ALREADY SHOT)

               The door opens.

                                   JANE'S VOICE
                         I'm sorry, sir, but I understood
                         you were leaving early and I wished
                         to ask for a reference.

               Jane and Rochester appear.

                                   ROCHESTER
                         A reference? What the deuce do you
                         want a reference for?

               She turns to go.

                                   ROCHESTER
                         Is that all, Jane?
                             (she looks at him puzzled)
                         It seems stingy to my notion, and
                         dry and unfriendly. Won't you do
                         more than just say goodbye?

                                   JANE
                             (embarrassed)
                         I'll shake hands, sir.

               She holds out her hand, He does not take it for a moment.

                                   ROCHESTER
                             (slowly)
                         Oh, you'll shake hands.

               He looks at her, and it seems as though he were on the point
               of taking her in his arms. Then he smiles lightly and takes
               her hand.

                                   ROCHESTER
                         Goodbye, Jane.

               She turns and goes out through the door into the hall.

               ROCHESTER (ALREADY SHOT)

               He listens as we hear the sound of Jane moving up the
               staircase.

               LOWER HALL AND STAIRS — JANE

               At the top of the stairs, Jane, a little dark figure,
               disappears up the stairs into the gallery.

               UPPER GALLERY

               Jane, crossing to the nursery, suddenly stops -— sees
               something through the window, —- crosses to it...

               SHE SEES - (THE EXT. GARDEN THROUGH THE WINDOW) HIGH SHOT
               SHOOTING DOWN

               Rochester and Blanche are walking together, apparently in
               deep and amorous conversation.

               UPPER CORRIDOR WINDOW - REVERSE CLOSE SHOT

               She reacts to what she sees, then disappears.

               GARDEN TERRACE

               Blanche and Rochester come out and stand by the balustrade.
               Blanche starts to play the part of a Byronic heroine.

                                   BLANCHE
                         How still it is! That solitude! And
                         the old house dreaming in the
                         moonlight!

               She turns from looking round at the park and up at the tower,
               and fixes a rapturous eye on Rochester,

                                   BLANCHE
                         Oh, it's a beautiful place, your
                         Thornfield.

                                   ROCHESTER
                         As a dungeon, it serves its
                         purposes

                                   BLANCHE
                         Dungeon! It's a paradise. Though,
                         of course, if one lived here one
                         would really have to have a house
                         in London, wouldn't one?

                                   ROCHESTER
                             (with mock seriousness)
                         Unquestionably. And a little
                         apartment in Paris. And perhaps a
                         villa on the Mediterranean.

                                   BLANCHE
                         Oh, how delightful that would be!
                         But Thornfield would always be
                         there as a retreat from the world,
                         a green haven of peace and...and
                         love.

               This is accompanied by a melting look.

                                   ROCHESTER
                         Love? What's talking of love? All a
                         poor fellow needs is a bit of
                         distraction -—- a houseful of
                         beautiful women every now and then
                         to keep him from brooding on his
                         woes and peering too closely into
                         the mysteries of his heart.

                                   BLANCHE
                         (somewhat nettled)
                         That is, if he has a heart. And
                         sometimes I wonder, Edward, if you
                         really do have one.

                                   ROCHESTER
                         Have I ever done or said anything
                         to make you believe that I have? If
                         so, I assure you it was quite
                         unintentional.

                                   BLANCHE
                         Are you never serious, Edward?

                                   ROCHESTER
                         Never more than at this moment.
                         Except perhaps, when I'm eating my
                         dinner.

                                   BLANCHE
                         Really, Edward, you can be
                         revoltingly coarse sometimes.

                                   ROCHESTER
                         Can I ever be anything else?

                                   BLANCHE
                         Can you?

               She makes a final desperate attempt to bring him to the
               proposal point, joking at him with an expression of what is
               meant to be scarcely suppressed passion. Impulsively, she
               lays her hand over his.

                                   BLANCHE
                         Would I have come to Thornfield if
                         you couldn't?

               Rochester meets her glance; then smiles ironically, and pats
               her hand.

                                   ROCHESTER
                         Ah, that's a very nice point,
                         Blanche. Would you, or would you
                         not? Let's begin by considering the
                         significant facts of the case.
                         First, Mr. Rochester is revoltingly
                         coarse and as ugly as sin.

                                   BLANCHE
                             (protesting)
                         Edward, I never...

                                   ROCHESTER
                             (checking her)
                         Allow me, my dear Blanche. I
                         repeat, as ugly as sin. Second, he
                         flirts a little sometimes, but is
                         careful never to talk about love or
                         marriage. However -- and this is
                         the third point -- Lady Ingram is
                         somewhat impoverished, whereas the
                         revolting Rochester has an assured
                         income of eight thousand a year. In
                         view of all this, what is tho
                         attitude that Miss Blanche may be
                         expected to take? From my
                         experience of the world, I'd
                         surmise that she would ignore the
                         coarseness, etcetera, until such
                         time as Mr. R. is safely hooked.

                                   BLANCHE
                             (furious)
                         How dare you?

               She raises her hand as though to give him a back-hand blow in
               the face with her fan. Rochester puts up his hand.

                                   ROCHESTER
                         Now, now, no horseplay.

                                   BLANCHE
                         I have never been so grossly
                         insulted in all my life.

                                   ROCHESTER
                         Insulted? But I was paying you the
                         enormous compliment of being
                         completely honest.

                                   BLANCHE
                         Mr. Rochester, you are a boor and a
                         cur.

               She sweeps majestically towards the door leading into the
               house.

               SHOT - THORNFIELD - DAY

               Down the drive moves the Ingram's carriage. On the steps
               stands a group of people waving goodbye, though we cannot
               distinguish who is there.

               It is a menacing day, with intermittent sunlight coming
               between heavy thunder clouds.

               As the group on the steps breaks up, the CAMERA PANS to a

               CLOSE SHOT of Jane -- sitting alone behind the garden wall.

               She is miserable and unhappy, for she believes that Rochester
               is in the carriage.

               We hold on her for a moment, then suddenly she hears
               approaching footsteps and hastily dries her eyes.

                                   ROCHESTER'S VOICE
                         Well, Jane.

               She looks up and sees Rochester standing before her.

                                   JANE
                             (astonished)
                         Oh! I thought you were gone.

                                   ROCHESTER
                         No, I changed my mind. Or rather
                         the Ingram family changed their's.
                         Walk with me, Jane.

               She rises and walks with him down the path.

                                   ROCHESTER
                         Why were you crying?

                                   JANE
                         I was thinking about having to
                         leave Thornfield.

                                   ROCHESTER
                         You've become quite attached to
                         that foolish little Adele, haven't
                         you?

                                   JANE
                         Yes.

                                   ROCHESTER
                         And even to that simple old
                         Fairfax?

                                   JANE
                         Yes, sir.

                                   ROCHESTER
                         You'd be sorry to part with them?

                                   JANE
                         Yes, sir.

                                   ROCHESTER
                         Pity.
                             (he pauses and sighs)
                         It's always the way in this life.
                         No sooner have you got settled in a
                         pleasant resting place than you're
                         summoned to move on.

               They start to walk again.

                                   JANE
                         I told you, sir, I shall be ready
                         whenever the order comes.

                                   ROCHESTER
                         It has come now, Jane.

                                   JANE
                         Then...then it's all settled?

                                   ROCHESTER
                         All settled. Even about your future
                         situation.

                                   JANE
                             (puzzled)
                         You have found a place for me?

                                   ROCHESTER
                         Yes, I have, Jane.

               She looks at him.

                                   ROCHESTER
                             (after a moment)
                         In the west of Ireland. You'll like
                         Ireland, I think. They're such warm
                         hearted people there.

                                   JANE
                         It's a long way off, sir.

                                   ROCHESTER
                         From what, Jane?

                                   JANE
                         From England, and from Thornfield,
                         and from...

                                   ROCHESTER
                         Well?

                                   JANE
                         From you sir.

                                   ROCHESTER
                         Yes, Jane, it's a long way.., and
                         when you get there, I shall
                         probably never see you again. We've
                         been good friends, Jane, haven't
                         we?

                                   JANE
                         Yes, sir.

                                   ROCHESTER
                         But even good friends may be forced
                         to part, Jane.
                             (he sighs)
                         Well, let's make the most of the
                         little	time that's left us.
                             (he indicates the bench
                              under the tree)
                         Let us sit here in peace though we
                         should never be destined to sit
                         here again.

               They sit down.

                                   ROCHESTER
                         Sometimes,	Jane, I have a queer
                         feeling in regard to you --
                         especially when you are near me.
                         It is as if there were a cord of
                         communion between us —- and if we
                         must be separated, I'm afraid that
                         cord will be snapped; and then I've
                         a nervous notion I shall take to
                         bleeding inwardly, As for you -
                         you'd forget me.

                                   JANE
                         That I	never will -— you know
                         that.. 
                             (the voice breaks, choked
                              with tears. She speaks
                              now with anguish.)
                         I see the necessity of going, and
                         it is like looking on the necessity
                         of death.

               Rochester turns sharply, sees the anguish in her face and
               realizes that he has gone too far.

                                   ROCHESTER
                             (quickly)
                         Where do you see that necessity?

                                   JANE
                             (surprised)
                         In your bride.

                                   ROCHESTER
                         What bride? I have no bride.

                                   JANE
                         But you will have.

                                   ROCHESTER
                             (passionately)
                         Yes, I will, I will!

                                   JANE
                         Do you think I could stay here to
                         become nothing to you? Do you think
                         because I am poor, and obscure, and
                         plain that I am soulless, and
                         heartless? I have as much soul as
                         you and fully as much heart. And if
                         God had gifted me with beauty, and
                         wealth, I should have made it as
                         hard for you to leave me, as it is
                         now for me to leave you.

               There is a pause, She looks at him with a kind of defiance.

                                   JANE
                         There, I have spoken my heart --
                         and now let me go.

               She gets up from the bench, starts to move away.

                                   ROCHESTER
                             (very quietly, very
                              decisively)
                         Jane, you are not going.

               The strangeness of his voice makes her stop. Rochester comes
               beside her, takes her in his arms, turns her around to face
               him.

                                   ROCHESTER
                         Jane...you strange, you almost
                         unearthly thing - you that I love
                         as my own flesh --

               Jane is transported by the embrace of his arms — seems
               melting toward him, but her eyes are frightened,

                                   JANE
                         How can you torment me with the
                         thought of your bride?

                                   ROCHESTER
                         My bride is here.

               Jane looks up at him in amazement.

                                   ROCHESTER
                         Jane - I have no love for Blanche
                         and she has none for me. It's you I
                         love —— you.

               Jane looks at him in amazement, without speaking. Rochester
               continues in a kind of anguish.

                                   ROCHESTER
                         Answer me, Jane. Answer quickly.
                         Say, "Edward, I'll marry you." Say
                         it, Jane, say it.

               Jane still stares at him, still incapable of believing the
               words she hears.

                                   JANE
                         I want to read your face.

                                   ROCHESTER
                             (turning)
                         Read quickly. Say, "Edward, I'll
                         marry you."

               Jane looks at him a second more.

                                   JANE
                         Edward, I'll marry you.

               Rochester holds Jane in his arms, looks at her, then up at
               the sky.

                                   ROCHESTER
                         God pardon me -- and let no man
                         meddle with me. I have her and will
                         hold her.

               He kisses Jane's cheek.

               There is a great burst of wind which SWEEPS THE CAMERA UP
               into the air. While the CAMERA IS MOVING, we hear offscene:

                                   ROCHESTER'S VOICE
                         Jane. Jane.

               CAMERA IS NOW SHOOTING DOWN on a branch of the great tree
               under which Rochester and Jane stand, out of scene. There is
               a peal of thunder and crash of lightning as it strikes the
               tree, and we

                                                       FADE IN

               THORNFIELD HALL - THE GARDEN - THE NEXT MORNING

               At a corner of the garden there is a table and chair where
               Jane sometimes gives Adele her lessons. In the background we
               see the Hall.

               We begin on a CLOSE SHOT of a pile of lesson books which are
               pushed over with a crash, revealing Jane and Adele seated at
               a table, and Mr. Rochester scattering the books and papers
               far and wide.

               This and the following two scenes are all played with great
               rapidity.

                                   ROCHESTER
                         Jane, what do you think you're
                         doing?

                                   JANE
                             (smiling)
                         Teaching Adele as usual.

                                   ROCHESTER
                         As usual! There is a new heaven and
                         a new earth, and you go on teaching
                         Adele as usual!

                                   ADELE
                             (completely puzzled)
                         What is wrong with that?

                                   ROCHESTER
                         Because I am going to marry
                         Mademoiselle and take Mademoiselle
                         to the moon and find a cave in one
                         of the white valleys and
                         Mademoiselle will live there with
                         us forever.

               During this speech he has grabbed Jane from the chair and is
               leading her quickly toward the house. Rochester glances over
               his shoulder at Adele who is trotting after them.

                                   ROCHESTER
                         Do you approve?

                                   ADELE
                             (still rather baffled)
                         Monsieur, there is no one I'd
                         rather you married -- not even Mrs.
                         Fairfax.

               A SILK WAREHOUSE - SAME DAY

               An old-fashioned store, its neat shelves piled high with
               stuffs.

               Mr. Rochester and Jane are surrounded by a sea of silk, and
               the proprietor is draping a piece of light-colored, silk
               about Jane's shoulders.

               In the background, Adele is posing in front of a mirror, with
               silk wound all round her.

               This scene, like the preceding two, is played at very high
               speed.

                                   ROCHESTER
                         I'll take that...and the scarlet...

                                   PROPRIETOR
                             (off)
                         Yes, sir...

                                   JANE
                         But I tell you I'll never wear
                         them --

                                   ROCHESTER
                         And the scarlet - and the	silk. And
                         a length of the brocade  And
                         another of the white satin...

               As he is still talking, we DISSOLVE TO:

               CARRIAGE RACE TRACK - DAY 

               CLOSE SHOT OF GOLD SOVEREIGNS

               These are being poured out of a tin mug into Jane's hand.

                                   BOOKIE'S VOICE
                         Here you are, milady. 'arf a guinea
                         each way on Lord Hanton's filly.
                         That is thirty-five and a tanner.
                             (he counts out the money)
                         God bless you, milady, and your
                         custom is appreciated.

               CAMERA PULLS BACK, revealing Jane and Rochester in an open
               carriage standing at the edge or a race track, with
               background and surrounding crowds modeled on Frith's Derby
               Day. Jane wears her best black gown but has livened it up
               with a bright shawl and holds a bunch of flowers which no
               doubt Rochester has given her.

               Now to Mr. Rochester's side of the carriage steps cones a
               toothless gypsy crone, rings in her ears and a beribboned
               shawl round her head.

                                   CRONE
                         Tell your fortune, me lord? -- Read
                         the pretty lady's future?

               Rochester hands her a coin.

                                   ROCHESTER
                         Go away, mother. The "pretty lady"
                         is going to marry me, and we shall
                         make our future ourselves.

                                                       DISSOLVE TO:

               THE OLD WING - NIGHT

               This is shot through the little window in the corridor
               outside Jane's room. There is a storm outside, and the wind,
               is violently blowing the drapes.

               The CAMERA MOVES round from the window to the door to Jane's
               room, which is being shaken by the wind. As the CAMERA
               approaches the door, we -

                                                       DISSOLVE TO:

               JANE'S ROOM - MOONLIGHT

               The CAMERA continues the sane movement across Jane's room,
               showing first her wedding dress and veil laid out on a
               chair,then Jane in bed, sleeping restlessly. Suddenly the bed
               curtains are violently agitated.

               OF THE DOOR

               It is just finishing swinging open. Perhaps it is only the
               wind.

               From this the CAMERA MOVES across the floor to the bed,
               concentrating a moment on Jane's sleeping face, then to the
               wedding dress and veil on the chair - almost as though it
               represents the viewpoint of somebody entering the room and
               looking around. In this, and all other SHOTS, there are
               moving shadows -- which again might be the shadow of somebody
               moving around, or might only be the shadow of the drapes as
               they billow in the wind.

               Jane sleeping.

               VEIL ON THE CHAD

               It is suddenly pulled out of SHOT - perhaps only by the wind.
               At this monent, the storm rises to a sudden climax.

               The wind howls, as it did on Jane's first night at
               Thornfield, almost like a woman's laugh.

               EAVES

               Also, as on Jane's first night, the jackdaws fly away,
               frightened.

               FLASH OF JANE

               stirring restlessly as the wind howls.

               FAST PAN OVER THE FLOOR

               as though following behind somebody running out of the room.
               And just as the CAMERA reaches the door, it slams to with a
               resounding crash.

                                                       DISSOLVE TO:

               CLOSE SHOT - JANE - LIBRARY - MORNING

               She is nervously telling the story of the previous night.

                                   JANE
                         There was somebody in my room, I'm
                         sure of it.

                                   ROCHESTER'S VOICE
                         Nonsense!

                                   JANE
                         No, it wasn't nonsense, Edward. And
                         it seemed to me she put the veil on
                         her head and looked at herself in
                         the mirror.

               CAMERA pulls back to include Rochester, Who is standing while
               Jane is seated.

                                   ROCHESTER
                             (sharply)
                         It was a dream, Jane. Just a bad
                         dream, like those other nightmares
                         you've been telling me about.

                                   JANE
                         But this morning the veil was gone.

                                   ROCHESTER
                         Well, why not? Mrs. Fairfax has
                         taken it to be pressed, most
                         likely.

                                   JANE
                         And the door banging?

                                   ROCHESTER
                             (sarcastically)
                         It's a habit doors have when
                         there's a gale blowing.
                         Come, Jane, enough of this
                         foolishness. Go and finish your
                         packing and leave me in peace.

                                   JANE
                             (subdued)
                         Very well.

               She gets up and goes out. As soon as she is gone, Rochester's
               expression changes, and a look of brooding concern appears on
               his face. He goes over to the fireplace, where he stands,
               kicking at the logs with the toe of his boot. There is the
               SOUND of a knock at the door.

                                   ROCHESTER
                         Come in!

               At the SOUND of the door opening, Rochester turns. He frowns
               angrily at what he sees.

               OF GRACE POOLE AT THE DOOR - FROM HIS ANGLE.

               Her attitude is cringing. She looks guilty. Rochester
               advances towards her.

                                   ROCHESTER'S VOICE
                         Well, what is it this time, Grace?
                         Speak up!

               Grace is about to answer, then turns and locks the door. As
               he approaches, she pulls Jane's veil out of her pocket.

               GRACE POOLE

               Rochester looks at the veil.

                                   ROCHESTER
                         Put it back -- put it back as
                         though nothing had happened.

                                                       FADE IN:

               LABEL PASTED ON A TRUNK -- DAY

               It reads:	    -

               Edward Rochester Esquire

               By Steam Packet

               To Genoa.

                                                       DISSOLVE:

               REAR OF MR. ROCHESTER'S CARRIAGE - DAY

               We now see that the trunk which bears the label is strapped
               on the rear of Mr. Rochester's carriage.

                                                       DISSOLVE:

               OF THORNFIELD CHURCH - DAY

               Shooting now with a wheel of the carriage in the foreground,
               we see that it is parked in the churchyard of Thornfield
               Church. Over this and the preceding two shots we hear,
               through the half open church door, the mumbled words of the
               marriage service. But now the door is closing as though
               someone has just gone in.

               In the foreground, a few villagers and tenants begin to
               gather.

               INT. OF CHURCH - DAY - LONG SHOT

               shooting from rear of church toward altar rail,

               It is a small, family church, with high—backed family pews,
               hatchments hanging on the walls, and a three— decker pulpit.

               A huge, heavily carved tomb almost swamps the little church.
               The tomb occupies most of the foreground of the shot.

               Ab the rail, with their backs to camera, Jane and Rochester
               stand before the rector, Mr. Wood. Otherwise the church is
               apparently empty.

                                   MR. WOOD
                         I request and charge you both, as
                         ye will answer at the dreadful day
                         of judgment when the secrets of all
                         hearts shall be disclosed, that if
                         either of you know any impediment
                         why you may not lawfully be joined
                         in matrimony, ye do now confess it.

               Halfway through these lines the shadow of a man, large and
               menacing, falls on the tomb in the foreground,

               SHOT — MR. WOOD - THE RECTOR

               He is a mild, thin little man.

                                   MR. WOOD
                         For be ye well assured that if any
                         persons are joined together...

               CLOSEUP - ROCHESTER

               Very nervous.

                                   MR. WOOD
                             (off)
                         ...otherwise than as God's word
                         doth allow, they are not joined
                         together by God...

               Rochester lowers his eyes and steals a look at Jane.

               JANE

               She is looking at the rector, starry—eyed -- the completely
               happy bride.

                                   MR. WOOD
                             (off)
                         ...neither is their matrimony
                         lawful..... .Edward Rochester, wilt
                         thou have this woman to be thy
                         wedded wife?

                                   MAN'S VOICE
                         Stop! This marriage cannot go on!
                             (Jane turns sharply)
                         I declare the existence of an
                         impediment!

               ANGLE OVER MAN'S SHOULDER

               shooting at the group at the rail.

               Jane and Rochester are turned toward the camera, staring at
               the intruder. Jane is amazed and bewildered. Rochester's face
               is like marble.

                                   ROCHESTER
                             (thundering)
                         Proceed with the ceremony!

               The man approaches the few remaining steps to the Communion
               Rail.

               MAN (REVERSE ANGLE)

                                   MAN
                         You cannot proceed. Mr. Rochester
                         has a wife now living.

               JANE

               Her face is horror—stricken. She turns to Rochester.

               SHOT - ROCHESTER (FROM JANE'S ANGLE)

               He stands stubborn and rigid, his eyes shining and wild.

                                   ROCHESTER
                         Who are you?

               Man walks into shot, close to Rochester.

                                   MAN
                         My name is Briggs; I am an
                         attorney.
                             (he calls to the back of
                              the church)
                         Mr. Mason!

               As he does this, he draws a paper from his pocket.

               SHOOTING TO THE REAR OF THE CHURCH

               Out from behind the tomb emerges Mason who nervously moves up
               the aisle toward the altar. During this we hear Briggs
               reading in an official nasal voice.

                                   BRIGGS
                         On the 20th of October, 1824,
                         Edward Rochester, of Thornfield
                         Hall, was married to Bertha Mason,
                         at St. Mary's Church, Spanish Town,
                         Jamaica... The record of the
                         marriage will be found in the
                         register of that church —-

               GROUP SHOT AT ALTAR

               Rochester's eyes are glued on Mason and as Mason arrives he
               interrupts Briggs reading.

                                   ROCHESTER
                         Well, Mason?

               Mason avoids his eyes and speaks to the others. He is
               cringing as though he expects Rochester to hit him.

                                   MASON
                             (feverishly)
                         It is true, I swear it. She is now
                         living at Thornfield. I saw her
                         there myself. I am her brother.

               CLOSEUP - JANE

               ROCHESTER - OVER MASON'S SHOULDER

               For a moment we think there is to be a violent outburst. But
               instead Rochester speaks quite quietly.

                                   ROCHESTER
                         Parson, close your book. There'll
                         be no wedding today. Instead, I
                         invite you all to come to the house
                         and visit Grace Poole's patient ——
                         my wife.

               He starts to move off and as he does so the CAMERA

               ENDS on a CLOSEUP of Jane.

                                                       DISSOLVE TO:

               EXT. CHURCH

               as Rochester comes out leading the party. There is a buzz of
               talk and the tenants and farmers press forward as though to
               congratulate him.

               But Rochester suddenly silences them.

                                   ROCHESTER
                         To the right about everyone of you.
                         Away with your congratulations. Who
                         wants them? They are fifteen years
                         too late.

               As he walks through the crowd, we

                                                       DISSOLVE TO:

               GRACE POOLE'S ROOM IN OLD WING - LATE AFTERNOON

               Night lighting. Start on CLOSEUP of gargoyle—like heads in
               the tapestry which hangs as if from the wall. Hold for a foot
               or two, then hear Rochester's voice:

                                   ROCHESTER'S VOICE
                         The key, Grace --

               We hear Rochester's footsteps approaching; then his hand
               comes into the SHOT and sweeps back the tapestry, revealing a
               heavy door behind it, which is latched with heavy iron bolts.
               He drapes the tapestry back on a peg on the wall, and lifts
               off the heavy bolts. As he does:

                                   GRACE POOLE'S VOICE
                         I beg you, sir —— please!

               Rochester snaps his fingers impatiently (on the sound track)
               and holds one hand out of SCENE, repeating:

                                   ROCHESTER'S VOICE
                         Quickly -- the keys.

               His hand comes back into the SCENE holding the key, inserts
               it into the lock.

                                   GRACE POOLE'S VOICE
                             (during action)
                         For God's sake, sir, take care!

                                                       CUT TO:

               INT. MANIAC'S ROOM — LONG SHOT - SHOOTING TOWARD DOORWAY TO
               GRACE POOLE'S ROOM

               The room is dark. In the f.g. of the SHOT, the back of a head
               — the bushy matted hair of the lunatic. Rochester opens the
               door from Grace Poole's room and is revealed in the doorway,

               With a shriek, the lunatic lunges toward him, CAMERA

               RUSHING UP with her big head into a CLOSEUP OF ROCHESTER.

               Her skinny hands go around Rochester's throat, trying to
               choke him; and Rochester struggles with her.

               Their struggle takes them aside, out of CAMERA; and in back
               of where Rochester was standing, through the door, we now see
               Jane in CLOSE SHOT staring into the room horrified. Also a
               hint of Wood, Mason, etc., in b.g.

               OFFSCENE the sound of the struggle continues, until it is
               followed by the sound of the maniac's body falling.

                                                       CUT TO:

               THREE QUARTER SHOT OF ROCHESTER

               REVERSE ANGLE shooting through doorway from Grace Poole's
               room as he rises out of the darkness and stands a few steps
               tack from the entrance, framed by the curved doorway. There
               is the hint of the mad woman's body lying in the shadows on
               the floor where she has fallen.

               A streak of light streams across Rochester's face. It is
               scratched and clawed and blood streams from it; but Rochester
               stands immobile, making no attempt to wipe it away.

               Rochester indicates the fallen figure.

               CLOSEUP - ROCHESTER

                                   ROCHESTER
                         Mad -— and the offspring of a mad
                         family, to whom the Church and the
                         Law bind me forever without hope of
                         divorce.
                             (he turns to Jane)
                         And this is what I wished to have,
                         this young girl who stands so grave
                         and quiet at the mouth of hell.
                         Look at the difference - and then
                         judge me.

               He points at Wood and Briggs as he speaks these last words.

               SHOT OF JANE FROM ROCHESTER'S ANGIE - WITH THE OTHERS IN
               BACKGROUND - OVER ROCHESTER'S SHOULDER

               She looks at Rochester with unutterable sadness and sympathy;
               then turns and walks slowly out of the room,.

               As Rochester watches her go, the mad woman's laughter changes
               in tone, becoming maliciously sardonic as it rises to a
               hideous crescendo..

               JANE

                                                       FADE IN

               JANE 'S ROOM - A STORMY NIGHT

               Open on CLOSE SHOT of label on Jane's new trunk -- with the
               address: Mrs. Edward Rochester, Villa Lerici, Tuscany. The
               wind is roaring and howling.

               CAMERA STARTS SLOW PAN - as it travels across the trunk we
               see, not yet packed and draped over the trunk, the new gowns
               Rochester had bought for Jane.

               Over the scene Jane's heartbroken sobs.

               CAMERA CONTINUES PAN - to bed; first passing Jane's wedding
               gown spread out on the bed, then into a CLOSE SHOT of Jane as
               she finishes closing her little traveling basket - and we see
               her tear-stained face. She wears her coat and bonnet.
               She picks up her basket, walks over and blows out the candle,
               leaving the room in darkness for the -

                                                       DISSOLVE TO:

               ADELE'S ROOM - NIGHT

               SHOOTING over Adele's bed and holding Adele always in profile
               in the f.g. of the SHOT. There is a night light burning in a
               saucer of water near the bed  Adele is asleep. The door from
               the nursery opens and Jane stands for a moment in the
               doorway, then approaches Adele's bed, bends over and kisses
               Adele lightly on the cheek, not waking her; then turns and
               goes out again, closing the door after her.

                                                       DISSOLVE TO:

               LONG SHOT - STAIRS AND HALL

               It is dimly lit as Jane hastily descends the stairs,
               apparently alone. Suddenly --

                                   ROCHESTER'S VOICE
                         Jane --

               SHOT - JANE

               She stops abruptly on the bottom stair. From the shadows
               under the arches emerges Rochester, Jane is rooted to the
               spot - does not turn to him.

                                   ROCHESTER
                             (urgently)
                         Jane, I did not even know her - I
                         was married at nineteen -- in
                         Spanish Town -- to a bride already
                         courted for me.	I married her -—
                         gross, groveling, mole—eyed
                         blockhead that I was.

               Jane, who has still not dared to look at Rochester, tries to
               move on, but Rochester stops her.

                                   ROCHESTER
                         Hear me, Jane!

               Jane stops and turns.

               JANE - OVER ROCHESTER'S SHOULDER

               She gazes at him in horror and pity.

                                   ROCHESTER
                         Her vices sprang up fast and rank;
                         I suffered all the agonies of a man
                         bound to a wife at once intemperate
                         and unchaste. And then I watched
                         her excesses drive her at last into
                         madness.

               ROCHESTER - OVER JANE'S SHOULDER

                                   ROCHESTER
                         I brought her back to England - to
                         Thornfield. Jane, I did all that
                         God and humanity demanded. Then I
                         fled from this place. My fixed
                         desire was to find a woman that I
                         could love --a contrast to the fury
                         I had left at Thornfield. And what
                         did I find? A French dancing girl,
                         a Viennese milliner, a Neopolitan
                         countess with a taste for jewelry.
                         Back to England -- I rode again in
                         sight of Thornfield. Someone was
                         walking there in the moonlight --
                         do you remember, Jane?

               JANE - OVER ROCHESTER'S SHOULDER

               She averts her face.

                                   ROCHESTER
                         A strange little elfin creature it
                         was -- it frightened my horse and
                         then came up and gravely offered me
                         help. I was surly; but the thing
                         would not go; it stood by me with
                         strange perseverance, and looked
                         and spoke with a sort of authority,
                         I must be aided, and by that hand.
                         And aided I was.
                             (a pause)
                         And then, later that evening...you
                         remember, Jane?
                             (she is still silent — he
                              insists)
                         Say you remembers

                                   JANE
                             (in a broken whisper)
                         I remember.

               ROCHESTER - OVER JANE'S SHOULDER

                                   ROCHESTER
                         You came into that room -— how shy
                         you were -- and yet how readily and
                         roundly you answered my questions.
                         And then you smiled at me -— and in
                         that moment I -- I had found you.
                         Jane, can you not forgive me?

               JANE AND ROCHESTER FACING EACH OTHER

                                   JANE
                             (very sincerely)
                         I do forgive you, with my whole
                         heart...

                                   ROCHESTER
                         And you still love me?

                                   JANE
                         I do love you - I do love you.
                             (Rochester moves to take
                              her in his arms)
                         I can say it now, with all my
                         heart, since it is for the last
                         time.

                                   ROCHESTER
                             (with great poignancy)
                         Jane. Do you mean to go one way in
                         the world and let me go another?

               Jane stares at him inflexibly. Rochester takes her hands then
               speaks urgently, rapidly.

                                   ROCHESTER
                         Stay with me, Jane. We would be
                         hurting nobody.

                                   JANE
                         We should be hurting ourselves.

                                   ROCHESTER
                         If we broke a mere human law?

                                   JANE
                         Laws and principles are not for
                         times when there is no temptation;
                         they are for such moments as this.

               Rochester draws her to him and clasps her in his arms.

                                   ROCHESTER
                         Would it be so wicked to love me?

               Jane, fighting her resolution, does not answer. Her head is
               bowed.

                                   ROCHESTER
                         Would it?

               He holds her at arms length and tightens his grip on her
               shoulder.

                                   ROCHESTER
                         I could crush you between my hands;
                         but your spirit would still be
                         free.

               He drops his hands, beaten. Jane moves out of SHOT, leaving
               Rochester alone.

                                   ROCHESTER
                         Jane -- if you go, what will be
                         left of me?

               JANE AND ROCHESTER

               Jane stops near to CAMERA in CLOSEUP. In the background is
               Mr. Rochester. She does not dare to turn to face him.

                                   ROCHESTER
                         Are you going, Jane?

                                   JANE
                         I am going, sir.

                                   ROCHESTER
                         You are leaving me?

                                   JANE
                         I must leave you.

               She begins to move forward, the CAMERA with her, so that
               Rochester is left further and further behind.

                                   ROCHESTER
                         Jane!

               She stops and the CAMERA STOPS with her.

                                   ROCHESTER
                             (from background)
                         Jane, will you not be my comforter,
                         my rescuer? My dear love, my
                         frantic prayer, are they nothing to
                         you?

               SHOT - JANE

               She has her back to us, her hand on the handle of the door.

                                   JANE
                             (very quietly — as though
                              to herself)
                         God bless you, my dear master. God
                         keep you from harm and wrong.

               She starts to open the door.

               SHOT - ROCHESTER

               alone in the Great Hall.

                                   ROCHESTER
                             (with great poignancy)
                         Jane!

               There is a burst of wind as the door is opened. Leaves sweep
               in across him.

               GREAT DOOR FROM HIS ANGLE

               It is open — the wind roars in but Jane has disappeared.

                                   ROCHESTER'S VOICE
                             (mingled with the wind)
                         Jane! Jane! Jane!

               LONG SHOT - THORNFIElD

               Tbe little figure of Jane escaping from Thornfield as the
               leaves blow over her — the identical SHOT we saw as the first
               SHOT of the picture.

                                                       SLOW DISSOLVE:

               TO A MOORLAND VILLAGE -	DAWN

               Jane's way is barred by the beadle. This is the same scene we
               saw at the beginning of the picture (Scene 14); but it is now
               SHOT from a different ANGLE, so we do see Jane's face.

                                   BEADLE
                         ... If you got no work, go back to
                         your family. If you got no family,
                         go back to your friends. If you got
                         no friends, go back to where you
                         came from...

               Jane starts to turn.

               SHOT OF GATES HEAD - DAY

               Jane, a lonely figure, approaches Gateshead through the front
               gate.

               Winter is beginning to set in; the trees on the front drive
               are bare and the sky barren and overcast. In this mood
               Gateshead is more gaunt and forbidding than ever.

               As Jane reaches the heavy oak gate which divides the front
               drive from the stables and the rear part of the house, she
               stops.

               SHOT

               Jane hesitates, looking toward the front of the house, then
               chooses to go in the rear way and starts to open the heavy
               gates.

               KITCHEN COURTYARD OF GATESHEAD

               We are SHOOTING towards the gate through which Jane is
               entering, only a few yards away. In the foreground of the
               SHOT, one of Mrs. Reed's unpleasant dogs, considerably older
               and fatter and nastier now, looks up from the bone on which
               he is gnawing, growls and yaps at Jane.

               The dog's shrill unpleasantness brings her to an apprehensive
               stop. As the dog continues barking, the kitchen door opens
               and Bessie emerges, carrying a basket of trash. Jane looks
               toward her eagerly. Bessie doesn't see Jane at first.

                                   BESSIE
                         Quiet, there.

               She hits at the dog, which turns away.

                                   JANE
                             (timidly)
                         Bessie?

               Bessie turns from emptying the trash. She shows no sign of
               recognition.

                                   BESSIE
                         Yes? I'm Bessie.

               Jane stares at her, realizing that Bessie hasn't recognized
               her.

                                   BESSIE
                         If it's work you're looking for, we
                         haven't got work for no one
                         nowadays.

               Crossing back to the door with the empty trash basket, Bessie
               gives another glance at Jane.

                                   BESSIE
                         You look poorly, lass, If you're
                         cold, you're welcome to sit by the
                         fire.

               Jane follows her in.

               INT. KITCHEN

               Jane sits wearily on a wooden chair by the kitchen table.
               Bessie goes to poke up a blaze in the old-fashioned open
               grate. But as she turns back she stops in amazement.

               SHOT - JANE

               Jane has loosened her cloak, and the flickering firelight
               falls on the brooch she is wearing.

                                   BESSIE'S VOICE
                         Where did you get that brooch?

                                   JANE
                             (quietly)
                         You gave it to me, Bessie.

               BESSIE - SHOOTING PAST JANE

               Bessie hesitates a moment, then cries out in amazement,
               delighted.

                                   BESSIE
                         Jane,Jane Eyre!

               She lays her hands on Jane's shoulders and stands looking
               down at her, her eyes filling with tears.

                                   BESSIE
                         A grown young lady. And you were
                         such a tiny thing...no higher than
                         a broomstick. Oh, Miss Jane!

               She takes Jane's hand and kisses it. There is the sudden loud
               jangling of a bell.

                                   JANE
                             (frightened)
                         Don't tell Aunt Reed I'm here. Or
                         Cousin John.

                                   BESSIE
                         Master John isn't here any more.

               There is something in Bessie's tone which makes Jane look up.

                                   BESSIE
                         As soon as he was of age, he was
                         off to London. Gambling, that's
                         what it was — thousands and
                         thousands of pounds the Missis paid
                         for him. She had to shut up most of
                         the house and turn off the other
                         servants. But still he kept
                         plaguing her for money.
                             (she pauses)
                         Then last summer — the tenth of
                         July it was - they brought the
                         news.

               Jane looks up enquiringly.

                                   BESSIE
                         He killed himself, Miss Jane. They
                         found him hanging in his room, and
                         the cards still on the table where
                         they'd played the night before.

               The bell jangles again, louder and more insistently. Bessie
               releases Jane's hand and rises.

                                   BESSIE
                         When they told the Missis, she had
                         a kind of stroke...wandering-like
                         in her mind. I brought her bed down
                         to the drawing room — and there she
                         lies.

               Bessie goes.

               AND DRAWING ROOM OF GATESHEAD

               Bessie crosses away from CAMERA, opens the drawing room door,
               and goes in, leaving it open. Through the door we see the
               foot of Mrs. Reed's bed.

               Suddenly Jane appears in the foreground of the SHOT, staring
               at the bed. We realize that in some way Bessie's recital has
               changed her view of Mrs. Reed.

               Bessie comes out, sees her standing there, then steps aside
               as Jane slowly advances to the drawing room.

               The CAMERA MOVES IN WITH Jane, and past her we at last see
               Mrs. Reed,lying on the pillows. She has aged a great deal,
               and her face is slightly distorted by the stroke.

               Her eyes are closed, but from time to time the bed curtains
               are blowing across her face and she makes ineffectual motion
               with a feeble hand to push them away.

               OUT

               SHOT JANE

               She steps forward to adjust the bed curtains -- THE CAMERA
               PANNING HER to the bed. The movement disturbs Mrs. Reed's
               semiconsciousness. She opens her eyes.

                                   MRS. REED
                         Who are you? Go away.

                                   JANE
                         I'm Jane, Aunt Reed -- Jane Eyre.

                                   MRS. REED
                         Jane Eyre?

               She stares at Jane. A hint of recognition seems to dawn on
               her face. Then she closes her eyes, shakes her head on the
               pillows, and begins to speak wanderingly, more to herself
               than to Jane.

                                   MRS. REED
                         Nobody knows the trouble I had with
                         that child. Those dark moods of
                         hers; and the way she used to look
                         at you, look at you -— like a
                         guilty conscience. Oh, I hated her.
                         I used to wish she was dead.

               Jane stands rooted to the spot, unwilling to disturb her by
               moving. Bessie at the door watches her reaction.

                                   MRS. REED
                         It was all Reed's fault. He liked
                         her better than his own child.
                         Better even than my little darling
                         John. Oh, I wish John would stop
                         tormenting me for money. I haven't
                         got any money. And when I tell him
                         so he says he'll kill me. Or else
                         kill himself.
                             (her voice rises almost to
                              a scream)
                         Oh God, I can see him. I can see
                         him with his face all blackened and
                         swollen, and the rope, the rope,
                         the rope...

               She raises herself convulsively from the pillows, then falls
               back exhausted. Jane looks at her with a mixture of terror
               and pity, repulsion and compassion. Bessie takes the
               opportunity to close the door, but at the noise, Mrs. Reed
               suddenly opens her eyes.

                                   MRS. REED
                         Is that you, Bessie?

                                   BESSIE
                         Yes, ma'am

                                   MRS. REED
                         Did someone say Jane Eyre was here?

                                   BESSIE
                         Yes, ma'am, she's come home. Miss
                         Jane's come home.

                                   MRS. REED
                         (talking to herself)
                         When he was dying, Reed made me
                         promise to keep her like one of my
                         own. A little pauper brat that
                         should have been in the workhouses
                         -	But I oughtn't to have broken my
                         promise.

               Suddenly her eyes open and, wandering round the room catch
               sight of Jane. For a moment she is calmer and more
               reasonable, and recognizes Jane.

                                   MRS. REED
                         Jane, Jane Eyre.
                             (suddenly she seizes
                              Jane's hand in both of
                              hers)
                         Oh, don't leave me, Jane. Please
                         don't leave me.

               Jane sits there, torn between her pity and her old
               repugnance. She looks at Bessie, who gives her back a glance
               of mute appeal.

                                   MRS. REED
                         Say you won't leave me all alone!

               Her tone is one of almost frantic insistence. Jane turns and
               smiles at her. Compassion has won the day.

                                   JANE
                         No, Aunt Reed. I won't leave you.

                                                       FADE IN

               INT. HALL - GATESHEAD - DAY - AN OLD-FASHIONED BELL

               ringing violently on its spring.

               INT. GATESHEAD DRAWING ROOM - DAY - CLOSE SHOT MRS. REED

               Semiconscious, she stirs a little. She is evidently in a
               deathlike coma, white as a marble statue.

               SHOOTING OVER MRS. REED - DAY

               Jane is sitting still and silent by the bed, almost as
               motionless and trancelike as the dying woman. In this SHOT we
               see Bessie cross and exit to open the front door.

               We HOLD THE SHOT, emphasizing Jane's stillness and silence.

               Then we HEAR the front door opening and voices speaking:

                                   DR. RIVERS' VOICE
                         Would you take my card to Mrs. Reed
                         and ask if I might have a few
                         minutes' talk with her.

               CLOSEUP - JANE

               as she reads with a sudden violence, terrified of seeing any
               of her former associates.

                                   BESSIE'S VOICE
                         Oh no, sir, Missus can't see
                         nobody. She's been ill for months.

                                   RIVERS' VOICE
                         Oh, I'm sorry. I wanted to make
                         some inquiries about a niece of
                         hers — Miss Eyre.

               Janes horror increases. She gets up.

               INT. HALL - GATESHEAD - RIVERS, BESSIE - DAY

               Bessie hesitates a moment, uncertain whether to tell the
               visitor that Jane is with them.

                                   BESSIE
                         Will you wait inside a moment, sir.

               The CAMERA MOVES behind Bessie as she leads Rivers into the
               conservatory. As she shows him in, she apologizes for the
               desolate condition of the house,

                                   BESSIE
                         Excuse us - we haven't had no
                         company this long long time.

               Leaving Rivers as he enters the conservatory, the CAMERA PANS
               Bessie to the door of the drawing room.

               INT. DRAWING ROOM - DAY

               as Bessie enters - Jane is pressed to the wall behind the
               door.

                                   JANE
                             (agitated)
                         I can't see him. I can't see
                         anybody.

                                   BESSIE
                         Now, don't be so foolish, Miss
                         Jane. You can't live all alone like
                         the man in the moon.

               She takes sits down the embroidery frame out of Jane's hand
               and in the window seat.

                                   BESSIE
                         I'll sit with the Missus. And now
                         run along with you. He's waiting.

               Jane hesitates for a few seconds, then gets up reluctantly
               and goes out of the drawing room.

               TNT. CONSERVATORY - DAY

               Rivers, hearing footsteps across the hall rises and turns.
               His expression suddenly changes to one of amazement.

                                   RIVERS
                             (surprised at)
                             (seeing her)
                         Jane!

               They shake hands - he beaming - Jane obviously embarrassed.

                                   JANE
                         How did you know I was here?

                                   RIVERS
                         I didn't. I was trying to find you.

                                   JANE
                             (apprehensive)
                         To find me?

                                   RIVERS
                         I received an enquiry about you the
                         other day.

               He pulls a lot of letters out of his pocket and to look
               through them, continuing to speak as he

                                   RIVERS
                         You weren't very long at that place
                         you went to. Didn't you like it?

               Jane hesitates before answering.

                                   JANE
                             (in a very low voice)
                         I had to leave.

               Her tone is so strange that Rivers raises his head and starts
               to look at her enquiringly.

                                   RIVERS
                         What happened?
                             (Jane drops her eyes and
                              does not answer)
                         Oh, forgive no. It's no business of
                         mine. All the sane, I feel obliged
                         to ask you about this letter.
                             (he goes back to the
                              papers in his hand)
                         It comes from a lawyer in...
                             (he glances at the
                              address)
                         ...in Millcote.

                                   JANE
                             (apprehensively)
                         Millcote.

                                   RIVERS
                         He writes to me as the person whose
                         name you gave as a reference when
                         you went to Thornfield. That's near
                         Millcote, isn't it? Wants to know
                         if I can tell him your whereabouts.

               Jane looks at him, does not say anything.

                                   RIVERS
                         You know who is enquiring for you?

               Jane nods, but Rivers notes that she is hesitant about
               replying.

                                   RIVERS
                         Jane, if you don't want me to talk
                         about this any more, I won't.

                                   JANE
                             (quietly)
                         Thank you, Dr. Rivers.

                                   RIVERS
                         But there's one thing I must ask --
                         how shall I answer this letter?

               Jane does not reply, but turns and looks fixedly out of the
               window.

                                   RIVERS
                         It's for you to say...

               Then suddenly Jane turns away from the window and comes
               toward him. Although he cannot know what is in her mind,
               there is no mistaking her distress.

                                   RIVERS
                         Or would you rather I didn't answer
                         him at all?

               The look in Jane's eyes answers his question. He takes a few
               steps over to the stove, then slowly but firmly starts to
               tear the letter in two, then in four. Jane is watching him,
               and in her eyes there is a mixed look of gratitude and also-
               of unbearable anguish, as her last link with Mr. Rochester is
               broken. Once she takes a sharp step forward, as though she
               were about to beg him not to throw the letter in the stove.
               He catches her eye, hesitates, and then a moment later she
               looks away. He tears it once more, throws the pieces in; and
               we see then burn,

                                                       DISSOLVE TO:

               FRONT DOOR GATESHEAD - DAY - RAIN

               (NOTE: Have doorbell on exterior of Gateshead.)

               To our surprise we see the front drive filled with people
               passing in and out of the house, and several carts and
               carriages parked in the drive. And the reason for this is
               explained when the CAMERA PANS OVER to a notice nailed to a
               tree which advertises an auction sale of the

               "FURNITURE AUD PERSONAL EFFECTS OF THE LATE MRS. REED"

               It is pouring with rain.

               DRAWING ROOM - RAIN

               We begin on the auctioneer, a florid man, very loudly
               dressed, who is seated at a desk perched precariously on some
               packing cases. At the moment, the bidding is for an early
               Victorian statue, about two feet high of a very coy nymph.

                                   AUCTIONEER
                         ... Who'll give me three pounds for
                         this volupshus obj d'art. Only
                         three pounds. What, no bids? Going
                         for two pounds fifteen. Going.
                         Going.
                             (he raps desk with his
                              hammer)
                         Take her away, Bill.

               The CAMERA BEGINS TO MOVE OFF the auctioneer across the room,
               which has been partly cleared and rows of chairs and benches
               placed on it. These are occupied by a mixed crowd -- local
               gentry seated together in the front rows, then Birmingham
               tradesmen, furniture tradesmen, furniture dealers, rag and
               bone men, farmers' wives. The other half of the room is
               crowded with furniture and miscellaneous objects from
               pictures to kitchen utensils. During this movement of the
               CAMERA we hear the following dialogue.

                                   AUCTIONEER
                         Lot sixty—four. "Picturesque
                         Europe." Three 'andsome volumes in
                         tarf Morocco. Two 'undred steel
                         engravings. Who'll give me five bob
                         for 'em?

                                   A DEALER'S VOICE
                         Five bob.

                                   LADY'S VOICE
                         Fifteen shillings.

                                   DEALER'S VOICE
                         A quid.

                                   AUCTIONEER'S VOICE
                         One pound. Only one pound for the
                         beauties of nature. Nature, nature
                         —— you can't beat nature, ladies
                         and gentlemen. Just look at it.

               The CAMERA now reaches Jane, who is seated, dressed in black,
               in one of the back rows. She looks tired and sad, and we know
               that she has recognized the book.

                                   AUCTIONEER'S VOICE
                         Twenty-five shillings. Twenty-seven
                         and six. Thirty. Thirty-five.
                         Thirty-five bob for two 'undred
                         genuine steel engravings. Ah,
                         that's better, sir. That's better.
                         Two pounds is bid. Who'll make it
                         guineas?

               A hand touches Jane's shoulder. She starts, looks up and sees
               Rivers standing beside her, with an air of great excitement
               on his face.

                                   RIVERS
                         Come away, Jane. I have some news
                         for you.

               She rises, puzzled by his excitement, and CAMERA MOVES WITH
               THEM AS THEY GO out into the vestibule. Rivers indicates the
               conservatory.

                                   RIVERS
                         In here.

               CONSERVATORY - RAIN

               As he closes the door, Rivers speaks with an air of great
               excitement

                                   RIVERS
                         Mr. Brocklehurst has left Lowood.

                                   JANE
                         Has he retired?

                                   RIVERS
                         He was dismissed.
                             (with great enthusiasm)
                         Jane, they've asked me to take his
                         place!

                                   JANE
                         Oh, Dr. Rivers, I'm so glad.

                                   RIVERS
                         So shall I be, to do something at
                         last for those children —- for all
                         the unhappy children in all the
                         orphanages -- and workhouses
                         throughout the country --

               Jane turns in surprise at his enthusiasm.

                                   RIVERS
                         Yes, Jane, if I make a good
                         beginning at Lowood, there's
                         nothing to prevent me from going
                         forward to attack all other
                         citadels of evil. It's a great
                         work, Jane, a noble work —— but
                         it's a work which a man cannot
                         undertake singlehanded. He needs
                         the help of a woman, a fellow
                         labourer dedicated to the same high
                         cause as himself.
                             (pause)
                         That woman sits here before me.
                             (he points at her)

               Jane is moved by his eloquence and excited by the prospect,
               but still feels diffident of her own capacities.

                                   JANE
                         Do you think I could do it?

                                   RIVERS
                         I an convinced of it. I've watched
                         the unfolding of all your good
                         qualities -- the gentleness, and
                         yet the strength, the constancy,
                         the courage. I tell you, Jane ——
                         and you must believe me and take
                         confidence —- you have all the
                         capacities and virtues that are
                         needed in a crusader's helpmate and
                         wife.

                                   JANE
                             (taken aback)
                         His wife?

                                   RIVERS
                         How otherwise would it be possible
                         for us to do our work together?

               There is a pause. Then Jane says quietly.

                                   JANE
                         Dr. Rivers, you've been my truest
                         friend. But I could never be your
                         wife. Let me go with you as your
                         sister your servant, if you like;
                         I'd do anything if it would help
                         the children.	

                                   RIVERS
                         Listen, Jane. You have now but one
                         end, to keep in view how the work
                         you have undertaken can best be
                         done. Simplify all these
                         complicated thoughts and feelings.
                         Merge all considerations in one
                         purpose, that of fulfilling the
                         mission which God has given you to
                         perform and, to do this, you must
                         have a coadjutor: not a brother,
                         not an employer for those are loose
                         ties ——— but a husband. One to whom
                         you are bound indissolubly and
                         absolutely, until death shall cut
                         the knot.

                                   JANE
                             (shaking her head)
                         I could never marry someone I
                         didn't love.

                                   RIVERS
                             (impatiently)
                         Love, love... Surely there are
                         things more important than love.
                         And in any case, love will follow
                         upon marriage.

                                   JANE
                         Your idea of love is not the same
                         as mine. You must seek someone more
                         fitted to you than I am.

                                   RIVERS
                             (checking her)
                         Jane, I beg you. Don't say anything
                         irrevocable. Not now. Not before
                         you have had time to think. And
                         when you think, Jane, remember
                         this: If you reject my offer, it is
                         not me you deny, it is your duty,
                         it is the will of God.

               A little pause.

                                   RIVERS
                         I shall ride over again tomorrow,
                         Jane, but tonight you must search
                         your heart.

               She nods without speaking.

                                                       DISSOLVE:

               GATESHEAD - NIGHT - WIND - LIGHTNING

               The rain has stopped, but a high wind is blowing, which flaps
               the torn auction announcement on the gatepost. A single
               window of the house is illumined - the drawing room.

               There is a flash of lightning.

               DRAWING ROOM - WIND - NIGHT

               Most of the furniture has been taken out, and the interior is
               bleak and empty.

               The CAMERA PANS AROUND - across the small table on which we
               see an empty sheet of notepaper, pen and ink beside it. And
               then on around the room till we see Jane pacing, restless and
               undecided what she will write, to Rivers.

               Outside, the wind rises and howls, blowing open the French
               windows.

               Jane looks down at the notepaper on the table, then crosses
               to the French windows to close them. There is a broad
               shimmering flash of summer lightning and a peal of thunder.

               Jane has her hand on the door. We see through it a large
               chestnut tree, writhing and groaning in the wind. Suddenly
               there is a crack of lightning. It strikes the tree. A great
               branch cracks and falls.

               It is exactly the same SHOT as when the tree at Thornfield
               was struck, in the great romantic moment of Mr. Rochester's
               proposal.

               EXT. DRAWING ROOM AND GARDEN - RAIN - WIND NIGHT

               Jane, electrified, runs out into the garden. The rain starts
               to beat down on her face; the wind howls - but she is
               entirely unconscious of it.

               Then, as the elements roar to their climax, we hear the voice
               of Edward Rochester speaking in pain and woe, wildly, eerily,
               urgently.

                                   ROCHESTER'S VOICE
                         Jane? Jane?

               Jane's face becomes radiant, inspired and decided. As she
               starts to rush out of the room, CAMERA SWINGS TO THE TABLE
               just as the wind catches up the empty notepaper and whirls it
               away. And once again we hear Jane's voice in narration --

                                   JANE'S VOICE
                         It seemed the cry of a soul in
                         pain, an appeal for help so wild
                         and urgent, that I knew I must go,
                         and go immediately. Only when I had
                         seen for a moment how my poor
                         master did - only when I had looked
                         once more upon that tortured face --
                         would I be free to make my
                         decision.

               BURNED-OUT ROOF (THE RUINED THORNFIEID - LATE AFTERNOON)

               THE CAMERA IS SHOOTING at a burned-out roof through which we
               see the sky. It PANS SLOWLY DOWN across broken and blackened
               walls, a charred staircase. We begin to realize that we are
               in what is left of the great hall at Thornfield. OVER THIS we
               hear Mrs. Fairfax's voice. She speaks in a strange, flat
               tone.

                                   MRS. FAIRFAX'S VOICE 
                         It was she who aid it, Miss Eyre.
                         She struck down Grace Poole as she
                         slept. And then she set fire to
                         Thornfield...

               Over Jane's CLOSEUP Mrs.	Fairfax's voice continues saying. 

                                   MRS. FAIRFAX'S VOICE
                         It was her laugh in the gallery
                         that woke me.

               FAIRFAX, SHOOTING PAST JANE

               Jane gazes in horror at the scene of desolation. In this SHOT
               we see Mrs. Fairfax for the first time. She seems older and
               paler, as though the experiences have affected her and driven
               her even further within herself.

                                   MRS. FAIRFAX
                         I ran into the nursery and wrapped
                         Adele in a shawl and carried her
                         down. Then as we came out into the
                         courtyard, I heard her laugh again.
                         I looked up and there she was on
                         the roof, laughing and waving her
                         arms above the battlements.
                             (she pauses)
                         Mr. Edward saw her when he came
                         out.

               SHOOTING PAST MRS. FAIRFAX

               This is the first time that Rochester's name has been
               mentioned, and we see Jane's reaction. She has been wanting
               to ask about Rochester, but has not trusted herself to speak.

                                   MRS. FAIRFAX
                         He did not say anything, but he
                         went straight back into the house
                         to try to save her. All this side
                         of the house was blazing, and there
                         was smoke everywhere. Then it
                         cleared, and suddenly we saw Mr.
                         Edward behind her on the
                         battlements.

               ON JANE

               She listens in great apprehension to Mrs. Fairfax's account.

                                   MRS. FAIRFAX'S VOICE
                         She saw him too. He came towards
                         her to help her down. She stood
                         very still for a moment. But just
                         as he seemed to reach her, she gave
                         a dreadful scream and ran from him
                         to the edge....

               MRS. FAIRFAX

               Mrs. Fairfax hesitates for a moment as though the picture of
               the scene were in her mind.

                                   MRS. FAIRFAX
                         The next moment she lay smashed on
                         the pavement before us... She was
                         dead, Miss Eyre.

               JANE

               She steels herself to ask the important question,

                                   JANE
                             (in almost a whisper)
                         And Mr. Edward?

                                   MRS. FAIRFAX'S VOICE
                             (almost despairingly)
                         The great staircase fell in as he
                         was coming down --

               She is interrupted by the SOUND of footsteps. Jane does not
               know whether Rochester is alive or dead. Tears begin to swell
               in her eyes.

               Then suddenly we hear Pilot barking and then Rochester's
               loud, angry voice.

                                   ROCHESTER'S VOICE
                         Quiet, Pilot.

               We see the relief in Jane's eyes as the load is lifted.

               THE ARCHES - FROM JANE'S ANGLE

               From over the arches comes, first Pilot, who runs towards
               her, and then Rochester. In the shadow under the arches he
               seems the same as ever, but then, when he emerges into the
               light, Jane sees that one arm hangs limp at his side, and he
               drags one foot as though one side of his body was partly
               paralyzed.

               AND MRS. FAIRFAX

               Pilot runs up to Jane, pleased to see her again. Jane pays no
               attention to him, standing motionless, waiting for Mr.
               Rochester to speak to her.

               ROCHESTER

               He leans against one of the columns of the arch, turning away
               from Jane as though he had not seen her..

               MED. CLOSE SHOT - JANE, BEWILDERED

               OVER THIS we hear the SOUND of PILOT as he makes a fuss of
               Jane.

               SHOT - MR. ROCHESTER

               He reacts to this as though it were the first indication he
               had that he was not alone in the great hall.

                                   ROCHESTER
                         Mrs. Fairfax?

                                   MRS. FAIRFAX'S VOICE
                         Yes sir?

                                   MR. ROCHESTER
                         What are you doing in this part of
                         the house? Adele is waiting for her
                         supper.

                                   MRS. FAIRFAX'S VOICE
                         Yes, sir.

               JANE

               Suddenly she begins to realize what the matter is with
               Rochester.

               ROCHESTER

               He turns his head into the light and we see what we had
               already begun to guess -- that he is blind. OVER these SHOTS
               we hear Mrs. Fairfax's echoing footsteps as they retreat.
               Then a door closes.

               SHOT - THE GREAT HALL

               Rochester and Jane are alone, two small figures in the burned
               out and blackened ruin. Jane is motionless, but it is clear
               by Rochester's movements that he now thinks he is alone.

               Now Pilot again gives Jane a friendly, cheerful bark.

               SHOT OF ROCHESTER

               He turns his head sharply.

                                   ROCHESTER
                         Quiet, Pilot.

               But Pilot still goes on.

                                   ROCHESTER
                         Who's there?

               He advances out of SHOT towards Jane.

               WITH ROCHESTER ADVANCING TOWARDS HER IN THE F.G.

               Mr. Rochester stops. He knows there is someone there, but we
               see by the direction he is facing that he does not know
               exactly where the person is.

                                   ROCHESTER
                             (almost shouting)
                         Who are you?

               Jane hesitates for a moment and then speaks in an almost
               inaudible whisper.

                                   JANE
                         I've come back, sir...

               She steps forward and takes his hand and kisses it.

                                   JANE
                         Oh, Edward, Edward...

               Rochester starts at her touch, and an expression of
               incredulous joy appears on his face. With his free hand he
               reaches out and touches the hands which have clasped his own.

                                   ROCHESTER
                             (in a whisper)
                         Her very fingers... Her small,
                         slight fingers.
                             (he touches her hair, then
                              very gently passes his
                              fingertips over her face)
                         Her hair. Her little flower—soft
                         face.

                                   JANE
                         And her heart too, Edward.

                                   ROCHESTER
                         Jane!

               With a passionate gesture he lays his hands on her shoulders
               and draws her towards him. Then, as he is bending down to
               kiss her, he draws back, he pushes her away from him.

                                   ROCHESTER
                             (bitterly)
                         But all you can feel now is mere
                         pity. I don't want your pity.

                                   JANE
                         But, Edward...

                                   ROCHESTER
                             (moving to the library
                              door)
                         You can't stay here, wasting your
                         life on the mere wreckage of a man.
                         You're young, you're fresh You
                         ought to get married. Married to
                         some young fellow in his prime.
                         Someone handsome and strong.
                         Someone you don't have to pity.
                             (he speaks with rising
                              bitterness, and finally
                              breaks out in violent
                              passion)
                         Go, go! Go and get yourself
                         married.

               LIBRARY

               Rochester is standing in the library, now completely wrecked,
               so that we can see the garden through the broken walls. Jane
               is framed in the doorway.

                                   JANE
                         Don't send me away. Please don't
                         send me away.

               Rochester hears the appeal in her voice, and stares
               sightlessly at her in silence. Then he stretches out his
               hands and holds them tensely, tremulously poised. Slowly he
               lets them down on to her shoulders. It is as though he were
               afraid of giving vent to his real feelings. He speaks in a
               low voice, between his teeth.

                                   ROCHESTER
                         Do you think I want to let you go?

               There is a silence, Jane raises her hands and lays them one
               on either side of his face; then leans forward and kisses the
               closed lids of his blind eyes. At last Rochester allows
               himself to be convinced of her love.

                                   ROCHESTER
                         Jane!

               He clasps her and kisses her passionately. Jane frees herself
               and draws back, looking at him. A smile of tender mischief
               appears on her face. She pushes back the hair on his
               forehead.

                                   JANE
                         Goodness —— this shaggy mane of
                         yours !

                                   ROCHESTER
                         Am I hideous, Jane?

                                   JANE
                         Very, sir; you always were, you
                         know.

                                   ROCHESTER
                             (with a laugh)
                         I see the wickedness hasn't been
                         taken out of you.

               Jane meanwhile has been straightening his cravats

                                   JANE
                         There, that's better. Now, let me
                         look at you.

               She turns him to the light. As the light falls on his face,
               Rochester raises his hand and touches his cheek.

                                                       DISSOLVE TO:

               GARDEN - LONG SHOT

               Two small figures are walking across the garden, bathed by
               the light of the setting sun. They are Jane and Rochester.
               Over the SHOT, we hear Jane's voice speaking as narrator.

                                   JANE
                         And gradually, as the months went
                         past, he came to see the light once
                         more, as well as to feel its
                         warmth. To see first the glory of
                         the sun, and then the mild
                         splendour off the moon, and at last
                         the evening star. And then one day
                         when our first-born was put into
                         his arms, he could see that the boy
                         had inherited his own eyes as they
                         once were-— large, brilliant, and
                         black.

                                                       FADE OUT

                                   THE END