JANE EYRE
Written by
Moira Buffini
Adapted from the novel by
Charlotte Bronte
2ND DRAFT
6TH MARCH 2008
EXT. A MIDSUMMER DAWN. THORNFIELD - THE GROUNDS.
First light. Jane Eyre is running across a meadow, flushed
and breathless; the hem of her plain, black dress soaked
with dew. She carries a shawl and has a small bag of
belongings over her shoulder.
She trips, falls to her knees; looks back. Expressive eyes,
open features. She is desperate. We see the house she is
running from; a Jacobean battlemented mansion.
Her need to escape is so great that she crawls forward
until she is able to raise herself to her feet. She runs.
She reaches an antique stile by a brook. She lifts herself
on to it. She lands on the road. And runs.
I/E. DAY. A ROADSIDE/COACH.
The sun is higher in the sky. Jane exhausted, now running
down a main road. Her spirts lift at the sight of an
approaching coach. She flags it down.
Jane empties her purse into the driver's hand. He looks at
her money then suspiciously back at her. A terse nod
indicates she can get in.
CUT TO:
Jane sinks into a dark corner. Her fellow passengers look
shocked by her dishevelled appearance at such an early
hour. She undertakes a tremendous effort not to betray her
emotional state. She doesn't sob, she doesn't howl -
although her breathing threatens to. Slowly, unable to bear
the day, she closes her eyes.
EXT. EVENING. WHITCROSS.
Sunset. A whitewashed, stone pillar set up where four roads
meet on a barren moor. The coach driver opens the door.
With a curt nod he indicates that Jane must get out.
She looks around, dismayed. In each direction there is open
moorland for as far as the eye can see. The driver sets off
at a good pace - glad to be rid of such a passenger. Jane
puts her hand to her side for her bag of belongings. It is
not there.
She runs as fast as she can after the coach. It is receding
towards the horizon. She comes to a halt, objectless, lost,
alone. She pulls her knitted shawl around her.
She leaves the road and sets off across the moor, into the
gathering dark.
Jane Eyre adapted by Moira Buffini March 2008 2.
EXT. NIGHT. THE MOOR.
Jane is on her knees by a strange overhanging rock. The
night sky is awesome; the universe is all around her. She
is trying to calm herself with a prayer.
EXT. DAY. THE MOOR.
Jane lies on a great rock, soaking up the heat of the sun.
She is like someone numb with pain. She watches a lizard
crawl over the rock. She is mesmerised.
EXT. TWILIGHT. THE MOOR.
Jane squats in the heather and eats bilberries as the light
fades. She hungrily licks the juice from her hand.
EXT. DAWN. THE MOOR.
Jane is asleep in the heather, her shawl wrapped around
her. A red-haired child in a white nightgown lies by her
side, watching her. It is Helen Burns.
Helen reaches out. She touches Jane's hand. Jane wakes. She
sits up. She is alone.
EXT. DAY. BY A RIVER.
Jane is crouched on a rock watching the waters go by. The
sky is overcast. The first big drops of rain land on the
stones. Jane makes no movement.
A raven lands on a rock nearby. Jane is suddenly filled
with a wild rage. She picks up a stone and hurls it at the
bird with a raw cry. The gesture exhausts her. She watches
the bird wheel away, as the rain starts to pour.
EXT. TWILIGHT. A FARM BY A WOOD.
It is raining hard. Jane sees a small girl come out of the
farm with some leftovers. She drops them into a pigpen.
CUT TO:
Jane leaning into the pigpen. She picks a stiffened mould
of porridge out of the mud. She lets the rain wash it. She
eats it ravenously.
EXT. NEXT DAY. A WOOD.
It has stopped raining. Jane is huddled under a tree. She
is shaking, shuddering. The life has gone out of her eyes.
Jane Eyre adapted by Moira Buffini March 2008 3.
EXT. DAY. THE EDGE OF THE WOOD.
The moors rise away above her to the horizon. Jane looks up
at the sun starting to set. The clouds are red and gold.
She sees a small red-haired girl in a white nightgown
walking barefoot on the moors ahead of her. The girl turns,
looks back at Jane. With her last strength, Jane follows.
EXT. EVENING. THE MOOR.
Dark clouds are banking up; the rain starts again. Jane is
struggling through a marsh. Her boots are stuck.
She falls. Her hand disappears into mud; her face pressed
against the earth. She doesn't move. She has reached the
point of despair.
The girl's bare feet walk close by, as if waiting for her.
Jane looks up. Where the child should be, she sees a light
shining across the moor. Jane starts crawling.
EXT. NIGHT. THE MOOR/MOOR HOUSE.
Jane is toiling on through the lashing rain towards the
light. It has become a window. A brief flash of lightning
shows her a low stone cottage. Helen Burns is sitting on
the gate.
CUT TO:
Jane is crawling through the narrow garden. On her knees,
she peers through a window.
On either side of a bright little fire sit two young women.
They look exactly like Jane; slight, neat, dressed in
black. One, Diana, has her hair slightly curled and hides
her gentle eyes behind spectacles. The other, Mary, is very
young; no more than seventeen. Each has a book on her knee.
They are talking intimately.
They look so close, so loving and the room looks so cosy
that it pains Jane considerably.
CUT TO:
Jane knocking at the door. Hannah, an old servant answers.
She is suspicious; Jane looks like a wretch.
HANNAH
What do you want?
Jane manages to find her voice.
JANE
Shelter.
Jane Eyre adapted by Moira Buffini March 2008 4.
HANNAH
I can't take in vagrants. Here's
a penny. Now take it and go.
JANE
I have no strength to go.
HANNAH
You can move off. And if there
are others with you tell them we
are not alone. We have a
gentleman here, and dogs.
JANE
(DESPERATE)
But I must die if I am turned
away.
The door slams shut. Jane lets out a hopeless wail.
JANE (CONT'D)
God help me. I will die.
She turns away, her hope gone. As she collapses, she finds
herself supported by a strong pair of black-clad arms.
ST JOHN
All of God's creatures must die.
But not prematurely - and not on
my doorstep I hope.
Jane is lifted up. She finds herself looking into the face
of the handsomest man she has ever seen; St John Rivers. He
lifts her over the threshold into the warmth of Moor House.
INT. NIGHT. MOOR HOUSE - THE KITCHEN.
A fire is roaring in the stove. Hannah is bent over it.
HANNAH
We've had a beggar woman come, Mr
Rivers. I sent her - For shame!
Hannah falls silent as she sees Jane.
ST JOHN
You did your duty in excluding
her. Let me do mine in admitting
her.
He sets Jane down before the hearth. She can barely stand.
She is soaked to the bone, filthy with mud. Her skin has a
ghastly pallor. Diana and Mary enter.
DIANA
St John, who is it?
Jane Eyre adapted by Moira Buffini March 2008 5.
ST JOHN
I don't know; I found her at the
door.
HANNAH
(GUILTILY)
I thought her one of the gypsies
from the cross.
MARY
She's as white as death.
Jane can hold herself up no longer. Diana moves forward.
She and St John catch Jane and help her into a chair. The
rain hammers on the windows.
DIANA
Hannah, some water.
MARY
She's worn to nothing. She looks
like a spectre. St John, if you
hadn't taken her in, we would
have fallen upon her dead body in
the morning.
DIANA
Mary.
ST JOHN
She's no vagrant; I'm sure of it.
HANNAH
There's milk and bread for you.
Jane tries to mouth her thanks. She sips the milk. Eats a
mouthful of bread. Diana kneels at her side.
ST JOHN
Ask her her name.
JANE
I - I am J -
Jane cannot speak. She's incapable of uttering her own
name. She hears John Reed's voice calling from far away.
JOHN REED
Jane Eyre!
DIANA
Please, tell us how we may help
you.
ST JOHN
Can we send for anyone? Who are
your people?
Jane Eyre adapted by Moira Buffini March 2008 6.
The questions are deeply troubling to Jane. She is losing
consciousness.
She sees an image of a small girl of ten, running away
through a great darkening room. Jane tries to follow her.
The action draws her up out of the kitchen chair.
She hears John Reed's voice again.
JOHN REED (V.O.)
Jane Eyre! Where are you?
Jane, panicked, looking for somewhere to hide, passes out.
INT. DAY. GATESHEAD - A GRAND RECEPTION ROOM.
Rain hammers against the windows. Jane aged ten, looking
hunted, runs in looking for somewhere to hide.
She springs behind a curtain. John Reed enters; a fourteen
year old, his stomach bursting out of his fancy clothes. He
is holding a riding crop as if it is a sword.
JOHN REED
Come out, rat. I know you are in
here. Come out now and I won't
punish you.
Jane watches him pass by her. He practises a perfect lunge.
JOHN REED (CONT'D)
Rat.
He exits. Jane breathes a sigh of relief. She slowly pulls
the curtain across, making the window a private sanctuary.
There is a book lying on the seat. She opens it.
CUT TO:
Jane is sitting cross-legged, completely absorbed in her
book - a beautifully drawn picture of a cormorant. She runs
her finger over it. We hear the sound of great waves
plunging on to a shore.
EXT. DAY. AN ARCTIC COAST.
Jane, aged ten, is sitting cross-legged on an isolated
rock, her eyes locked with those of a stooping black
cormorant. St John's voice comes from a long way away.
ST JOHN (V.O.)
Diana, Mary help me get her
upstairs...
The cormorant raises its wings like a great black cloak.
Jane watches as it takes off and flies away.
Jane Eyre adapted by Moira Buffini March 2008 7.
INT. DAY. GATESHEAD - THE WINDOW SEAT.
Jane has her eyes closed. A great Atlantic wave hits the
sash window behind her, drenching it with foam and brine.
Suddenly the curtain is pulled back. John Reed stands in
front of her. Jane shrinks back.
JOHN REED
I have been looking for you these
last ten minutes.
JANE
What do you want?
JOHN REED
Say forgive me, Master Reed.
JANE
I have done nothing wrong. Master
Reed.
John grabs the book.
JOHN REED
Who gave you permission to read
my book?
JANE
I wasn't aware it was yours.
JOHN REED
Everything in this house is mine.
You're lucky to live here with
gentleman's children like us.
Your father had nothing. You
should go and beg.
Jane stares him out. John can sense her contempt. He belts
her with the book. Jane hits her head on the window clasp,
drawing blood. She is shocked.
JOHN REED (CONT'D)
That's for the look you had on
your face. You bad animal.
Jane snaps. She throws herself upon him, the rage in her
released; pummelling, scratching, hurting him in any way
she can. She is barely coherent.
JANE
Wicked and cruel - you are a
slaver - a murderer -
JOHN
I shall tell mother -
JANE
I hate you John Reed. I hate you -
Jane Eyre adapted by Moira Buffini March 2008 8.
John is flabbergasted. Like all bullies, he is terrified.
JOHN
Mamma! Mamma! There's a rat! Rat!
Jane bites him. Hard. At that moment, Mrs Reed appears on
the scene. John screams. We see Mrs Reed's shocked face.
She is an overweight woman pushing forty in a bright,
elaborate dress.
INT. NIGHT. MOOR HOUSE - A BEDROOM
Dinah and Mary are gently taking Jane's soaking clothes
off; one at each side of her. Jane is distressed,
approaching a delirium. She resists them.
INT. DUSK. GATESHEAD - THE RED ROOM.
Jane is carried in and set down on a footstool by two
servants, Miss Abbot and Bessie - one at each side of her.
She is still resisting.
BESSIE
For shame, hitting your master.
MISS ABBOT
If you don't sit still you must
be tied down!
The fight goes out of Jane. She sits, defeated. Bessie,
young and plump, quickly wipes her bleeding forehead. She
has some compassion. Miss Abbot has none.
BESSIE
What we do is for your own good.
If you are passionate and rude
like this, your Aunt Reed will
send you away.
MISS ABBOT
You're worse than us servants. We
work for our keep; you do
nothing. Pray for forgiveness
Miss Eyre or something bad will
come down that chimney and fetch
you away.
The door slams. They are gone. Jane slowly grips the edge
of the stool. The room is chill, silent. Red walls and
curtains, murky in the fading light.
In front of Jane, a stone fireplace gapes like a mouth.
Beside it, a full length looking-glass in which her pale
reflection stares out. Behind her, a bed supported on
pillars of mahogany, hung with red.
Jane Eyre adapted by Moira Buffini March 2008 9.
The piled up pillows and mattresses glare in cold white.
Jane's breathing is the only sound in the room.
A sudden gust sends rain pelting against the windows like
fingernails. A distant moan of wind seems to breathe out of
the black hearth. Jane reverts her nervous gaze to the
pitted mirror. Her eyes lock on the small figure trapped in
the mirror's visionary hollow; her white, bleeding face,
her eyes glittering with fear.
It is a phantom. The eyes are black, the skin a deathly
grey. Blood. Jane's breathing becomes choked with terror.
She can't get her breath. We hear blood rushing through her
ears. It sounds like the beating of great wings.
Slowly, a light appears over her. It may be something
shining in from outside. But to Jane it seems as if it is
surrounding her, enveloping her. The figure in the looking
glass opens its mouth. The scream, held in so long, finally
rips from Jane's throat.
INT. DUSK. GATESHEAD - THE FIRESIDE.
At the sound of the scream, Mrs Reed, slumbering, almost
jumps out of her skin.
INT. DUSK. GATESHEAD - THE KITCHEN.
Miss Abbott almost drops the tea tray she is carrying.
INT. DUSK. GATESHEAD - A CORRIDOR.
Jane is banging on the door, screaming, hysterical with
terror. Bessie rushes to the door and unlocks it. Jane
flies into her arms.
BESSIE
Miss Eyre what is it?
JANE
Bessie!
BESSIE
Have you seen something?
JANE
There was a light.
We see Bessie's own fear as she glances into the dark room.
Mrs Reed is storming towards them, furious.
MRS REED
Bessie, I gave orders that she
was to be left in the red room
until I came.
Jane Eyre adapted by Moira Buffini March 2008 10.
BESSIE
But she screamed so loud ma'am.
MRS REED
It is play-acting. Let her go. I
know your tricks Jane Eyre and I
abhor such artifice. Loose
Bessie's hands, child.
Mrs Reed prises Jane away from Bessie as she speaks.
MRS REED (CONT'D)
You will now stay here an hour
longer.
JANE
No - Aunt, have pity -
MRS REED
And only when you are perfectly
submissive will I let you out.
JANE
Please - I cannot bear it -
MRS REED
Silence. This violence is
repulsive.
JANE
I shall be killed -
MRS REED
Get back!
JANE
Have mercy, have mercy I beg you -
Mrs Reed throws her back into the room, slams the door and
turns the key. We hear Jane's unspeakable howls of terror,
her anguished bangs upon the door.
Bessie is looking at Mrs Reed aghast. Mrs Reed withers her
with a frozen glare.
INT. DUSK. GATESHEAD - THE RED ROOM.
We see Jane in her distress, hitting her head on the door.
She falls back. On the floor, her arms and legs move beyond
her control. She is having a fit. When it is over, we see
Jane unconscious. She is lying in a pool of ghostly light.
INT. DAY. MOOR HOUSE - A BEDROOM.
Through the light, Jane sees Mary and Diana Rivers at her
side.
Jane Eyre adapted by Moira Buffini March 2008 11.
MARY
She's awake.
St John approaches in his parson's collar, blocking out the
light as he looks down. Jane gazes at him remotely.
ST JOHN
I'm sure we'll find she's simply
had a misunderstanding with her
people. I hope she's not done
anything deplorable; there's
nothing so sad as a fallen young
woman.
MARY
Look at the suffering in her
eyes. They're like dark pools -
Diana smiles at Mary's tendency to over-dramatise.
DIANA
She has a peculiar face; I rather
like it.
ST JOHN
She's not at all handsome.
DIANA
She's so ill, St John.
ST JOHN
Ill or well, she'll always be
plain.
Jane's eyes slide away from him and close.
INT. DAY. GATESHEAD - THE MORNING ROOM.
A bright morning. A huge clergyman dressed in black is
staring down at Jane, blocking out the sun. We see him from
her POV; his expansive chest, dramatic facial hair, huge
flared nostrils, frowning brows. He is Brockelhurst, the
epitome of grim.
BROCKLEHURST
There is no sight so sad and so
deplorable as that of a wicked
little girl. Do you know, Jane
Eyre, where the wicked go after
death?
JANE
They go to hell.
BROCKLEHURST
And what is hell, can you tell me
that?
Jane Eyre adapted by Moira Buffini March 2008 12.
JANE
A pit full of fire.
BROCKLEHURST
And should you like to fall into
that pit and be burning there
forever?
JANE
No sir.
BROCKLEHURST
What must you do to avoid it?
JANE
I must keep in good health and
not die.
Mrs Reed is by the fireside in an ultra-feminine dress. She
puts down her tea cup in irritation.
MRS REED
I've been her sole benefactress
and her kindest friend. But she
shows no gratitude and brings
nothing but discord into my
house.
BROCKLEHURST
What is her parentage?
MRS REED
She's an orphan. Her mother was my
late husband's sister. On his
deathbed he exhorted me to care for
her. I have always treated her as
one of my own.
Jane silently revolts against this lie.
MRS REED (CONT'D)
If you accept her at Lowood school
Mr Brocklehurst, keep a strict eye
on her. Her worst fault is a
tendency to deceit. I'm sorry to
tell you that Jane Eyre is a liar.
Jane's eyes flash with outrage.
BROCKLEHURST
All liars will have their portion
in the lake burning with fire and
brimstone. She shall be watched,
Mrs Reed.
MRS REED
I wish her to be made useful, to
be kept humble.
Jane Eyre adapted by Moira Buffini March 2008 13.
BROCKLEHURST
You can rest assured dear lady
that we mortify our girls in the
sentiments of vanity and pride.
They are taught to be quiet,
plain and modest.
A passion of resentment is forming in Jane.
BROCKLEHURST (CONT'D)
We shall root out the wickedness
in this small, ungrateful plant.
Mrs Reed smiles sweetly.
MRS REED
And as for its vacations, it must
spend them all at Lowood.
INT. DAY. GATESHEAD - THE ENTRANCE HALL.
Jane is climbing the staircase. John Reed blocks her way.
JOHN
So, Rat, you're being sent away.
It's as I thought; you're not fit
to associate with me.
Jane snaps. She cries out:
JANE
You are not fit to associate with
me!
INT. DAY. GATESHEAD - THE MORNING ROOM.
Mrs Reed is at her desk. Jane appears in front of her.
JANE
You said I was a liar. Well I am
not. If I was, I should say that I
loved you and I don't. I dislike
you the worst of anybody in the
world except John Reed. He is a
liar, not I.
MRS REED
How dare you speak in this manner.
JANE
I'll never call you Aunt again as
long as I live and if anyone asks
how I liked you I'll say that the
very thought of you makes me sick.
Jane Eyre adapted by Moira Buffini March 2008 14.
MRS REED
You wouldn't dare.
JANE
I'll remember how you thrust me
back into the Red Room and locked
me there to my dying day. Even
when you knew it was haunted and I
begged to be let out. People think
you are good but you are bad and
hard-hearted and I'll let everyone
at Lowood know what you have done!
MRS REED
Children must be corrected for
their faults.
JANE
Deceit is not my fault!
MRS REED
But you are passionate.
JANE
My Uncle Reed is in heaven and can
see all that you do and think; so
can my mother and father. They know
how you hate me and wish me dead.
They can see. They see everything
you do and they will judge you, Mrs
Reed.
Mrs Reed has turned quite pale. Jane blazes with victory.
EXT. DAY. GATESHEAD - THE GATE HOUSE.
Bessie is waiting with Jane while her belongings are loaded
onto a public coach, its top laden with passengers.
BESSIE
You're such a queer, solitary
little thing. If only you could
make yourself more appealing.
Perhaps if you tried smiling from
time to time, people would find
you more pleasant -
JANE
Don't scold me Bessie. I know you
dislike me -
BESSIE
I don't dislike you Miss; I'm
fonder of you than of anyone.
JANE
You don't show it.
Jane Eyre adapted by Moira Buffini March 2008 15.
BESSIE
Miss Jane -
Jane throws her arms around Bessie and embraces her with
great force. Bessie returns the embrace, surprised, moved.
Jane gets into the coach. Bessie looks up at the driver.
BESSIE (CONT'D)
You take good care of her.
Jane's small, pale face peers out of the coach window,
watching Gateshead recede. She doesn't cry. But Bessie
can't stave off her tears.
INT. NIGHT. LOWOOD - THE HALL.
Jane, half asleep is carried out of a coach and into a
howling gale. She is taken under a stone inscription:
`Lowood Institution'. She is set down in front of a woman
with striking features and intelligent eyes; Miss Temple.
She bends down and looks into Jane's face.
MISS TEMPLE
What's your name, child?
JANE
Jane Eyre.
MISS TEMPLE
You are very young to be sent
alone, Jane Eyre.
She gently touches Jane's cheek with her finger. Jane
manages the ghost of a smile.
INT. DAY. MOOR HOUSE - A BEDROOM.
Jane is lying back against clean white pillows. Her hair
brushed and neatly plaited. Diana and Mary are full of
kindness but St John's face is cold, dispassionate.
JANE
My name is Jane Elliott...
MARY
Jane Elliot.
DIANA
Where do you come from, Miss
Elliott?
Jane gives no answer.
ST JOHN
Who can we send for to help you?
Jane Eyre adapted by Moira Buffini March 2008 16.
JANE
No one.
There is an intake of breath from Mary.
ST JOHN
Do you mean to say that you are
absolutely without home and
without friends?
JANE
Yes sir.
ST JOHN
How did you come to be roaming
the moors, Miss Elliott?
DIANA
Don't upset her, St John. She
must not be interrogated so.
JANE
Mr Rivers, you and you sisters
have done me a great service, the
greatest man can do - you have
rescued me from death.
ST JOHN
How are we to help you if we know
nothing about you?
JANE
I'll tell you as much as I can. I
am an orphan; brought up a
dependent; educated in a charity
school where I passed six years
as a pupil and two as a teacher.
I left a year since to become a
private governess -
MARY
YES -
JANE
A good situation, where I
remained until...
MARY
Diana, didn't I say so? Didn't I
say she was a governess?
DIANA
We did wonder. We mean no offence
but you have a certain look. Mary
and I work as governesses too.
Jane Eyre adapted by Moira Buffini March 2008 17.
JANE
(with great interest)
Do you?
MARY
We are currently trying to teach
ourselves German, so we may find
better positions.
JANE
You're not working at present?
DIANA
We came home only for our
father's funeral.
MARY
He died three weeks ago.
JANE
I am very sorry to hear it.
St John has no patience with the change of subject.
ST JOHN
Why did you leave your place of
employment?
Jane sinks back in the pillows.
JANE
I... It was a catastrophe.
ST JOHN
What did you do?
JANE
I am free from any blame, sir. I
was happy.
Jane is deeply distressed.
DIANA
That's enough for now, St John.
MARY
You must rest, Miss Elliott.
The name sounds strange to Jane.
ST JOHN
Why did you start?
JANE
Because that is not my name.
Jane Eyre adapted by Moira Buffini March 2008 18.
DIANA
You haven't given us your real
name?
Jane shakes her head.
ST JOHN
Why not?
JANE
Because I must not ever be found.
Diana and Mary glance at each other, fascinated.
INT. EVENING. MOOR HOUSE - THE BEDROOM
Jane is dressing herself. She stops, weakly holding the
back of a chair for support, looking out of the window at
the sun setting over the hills.
ST JOHN (V.O.)
Merciful Jesus, enlighten thou me
with the brightness of thine
inward light...
INT. EVENING. MOOR HOUSE - THE STAIRS
Diana is helping Jane down the stairs.
ST JOHN (V.O.)
And take away all darkness from
the habitation of my heart...
INT. EVENING. MOOR HOUSE - THE PARLOUR
St John is praying over Jane, Diana and Mary as they sit at
the table. Mary catches Jane's eye, gives her shy smile.
ST JOHN
Join me to thyself with an
inseparable band of love... For
thou, even thou alone, dost
satisfy him that loveth thee...
Jane finds herself staring at St John, who prays ardently.
ST JOHN (CONT'D)
And without thee all things are
vain and empty. Amen.
St John opens his eyes and looks searchingly at Jane. She
immediately looks down.
JANE, MARY, DIANA
Amen.
Jane Eyre adapted by Moira Buffini March 2008 19.
DIANA
Welcome to our table, Miss
Elliott.
JANE
I'd appreciate it if you called
me Jane. It is my own name.
MARY
It's wonderful to see you on your
feet, Miss Jane.
Jane turns her attention to St John.
JANE
I trust I will not be eating long
at your expense, Mr Rivers.
ST JOHN
You wish to be independent of my
charity?
JANE
I wish to work, sir. Show me how
to work or how to seek work;
that's all I ask.
DIANA
You're not fit enough to work.
ST JOHN
My sisters have always taken
pleasure in keeping injured birds
but I'm more inclined to put you
in a way of keeping yourself -
and shall endeavour to do so, if
that's what you wish.
JANE
With all my heart, sir.
DIANA
It's a shame she has no choice of
helpers, St John, and must put up
with such crusty people as you.
ST JOHN
This school you were at, Miss
Elliot, this charitable
institution; what did it prepare
you for?
CUT TO:
We see a bundle of sharp twigs come down on a girl's bare
neck, like a whip.
CUT TO:
Jane Eyre adapted by Moira Buffini March 2008 20.
Jane flinches at the memory.
ST JOHN (CONT'D)
Was it a thorough education?
JANE
Most thorough.
INT. DAY. LOWOOD - THE HALL.
Miss Scatcherd's bitter life is in her face and voice.
MISS SCATCHERD
Burns, Helen Burns!
Jane, aged ten, looks up. She is wearing a brown stuff
frock with a puritanical cap like all the other girls.
Silence reigns in the school hall.
A red haired girl of about thirteen stands up; Helen Burns.
Miss Scatcherd holds up an apron in which a hole has been
mistakenly cut.
MISS SCATCHERD (CONT'D)
You're a slattern and a disgrace!
Helen Burns undoes the back of her dress. The punishment is
given; a dozen sharp, stinging whacks with the birch twigs.
Jane is appalled. But to her astonishment and awe, Helen
Burns doesn't cry; she barely changes her expression. As
the strokes go on - seven, eight, nine - Helen seems like
one in a trance. Jane is deeply affected.
On the eleventh stroke, the door bursts open and a visiting
party walks in: the Brocklehurst family. Miss Temple
escorts two young girls dressed in peacock finery and two
smart, bombastic ladies. Mr Brocklehurst follows. Helen's
punishment is forgotten as the students rush to their feet.
Jane, in a panic, drops her slate and breaks it.
Brocklehurst's eyes sweep the room. They land on her.
BROCKLEHURST
I might have known. The new girl.
Step forward, Jane Eyre.
Filled with dread, Jane steps forward.
BROCKLEHURST (CONT'D)
It is my duty dear children, to
warn you that this girl is not
one of God's own lambs.
We see the look of frustration on Miss Temple's face.
Jane Eyre adapted by Moira Buffini March 2008 21.
BROCKLEHURST (CONT'D)
She is a castaway and an alien in
his flock and you must be on your
guard against her. For this
child... is a liar!
He points to a tall stool. Jane stands on it.
BROCKLEHURST (CONT'D)
This is the pedestal of infamy -
and you'll remain upon it all
day. You'll receive no sustenance
and no comfort, for you must
learn how barren is the life of
the sinner. Children, I exhort
you to shun her, exclude her,
shut her out from this day forth.
Withhold the hand of friendship
and deny your love to Jane Eyre,
the liar.
INT. DAY. LOWOOD - THE HALL - LATER.
The hall is empty but for the small figure of Jane, high on
her stool, feeling her isolation like pain. Across the room
is the slightly bigger figure of Helen, hunched, the back
of her dress still open, the skin on her neck raw. The sun
is setting. At last Jane starts to sob.
HELEN
Come now, don't cry.
JANE
You're not allowed to speak to
me. I must be shunned.
HELEN
Mr Brocklehurst is not a God.
He's not liked or admired here -
JANE
He said I was a liar.
HELEN
JANE -
JANE
I am not a liar!
HELEN
If your own conscience approves
you, then so will I.
Jane is deeply gratified.
JANE
How do you bear it?
Jane Eyre adapted by Moira Buffini March 2008 22.
HELEN
Bear what?
JANE
Being struck.
HELEN
I'm a trial to Miss Scatcherd.
She hits me to improve me.
JANE
If she hit me I would get that
birch from her hand and break it
under her nose.
HELEN
You'd just be punished even more.
It's part of life here.
JANE
I have always been excluded and
alone and hated. Miss Abbott used
to call me an ugly little toad.
Helen approaches Jane.
HELEN
You're not ugly. Do you know what
is inside you?
JANE
What?
HELEN
The spark of your spirit, the
principle of light and thought,
pure and bright, as perfect as
anything created.
JANE
What do you mean?
HELEN
Your soul. Your soul is beautiful,
your soul has value - more value
than anything on earth.
JANE
Is that true?
HELEN
Yes. God sees your beauty. Even
as you stand on that stool, there
is an invisible world around you,
a kingdom of spirits. It is
everywhere. Angels see your pain.
Angels know your innocence.
Jane Eyre adapted by Moira Buffini March 2008 23.
JANE
Angels?
Helen smiles a wide smile.
HELEN
Do you not believe in angels?
They hear the door. Helen runs back to her place; cowers.
Miss Temple appears in a shaft of light at the door.
MISS TEMPLE
Come here, Girls.
The girls approach, dreading more punishment.
MISS TEMPLE (CONT'D)
I shall investigate Mr
Brocklehurst's claims against
you, Jane. And unless they are
proved, you will be exonerated.
Miss Temple looks over her shoulder.
MISS TEMPLE (CONT'D)
Also, I understand you girls
have had no food today.
She quickly presses a slice of hard cake into each girl's
hand and walks away. Jane and Helen look at one another,
deeply moved by her kindness.
EXT. DAY. MOOR HOUSE - THE GARDEN / MOORS.
Jane stands between Diana and Mary high above Moor House.
They are dressed similarly in bonnets and cloaks. They
watch a hawk dive, their heads moving in unison. Their eyes
land upon Moor House.
MARY
We've lived here all our lives but
the house must be shut up now.
JANE
Why?
MARY
We can't afford to keep it on.
Diana and I will return to our
charges in a few days and St John
will go to his parsonage.
Down below them, St John leaves Moor House and walks
towards the village. Jane watches him.
Jane Eyre adapted by Moira Buffini March 2008 24.
DIANA
It'll be a hard parting for us. We
may not see him again for years.
JANE
Why ever not?
MARY
He means to be a missionary. He's
going to India to do Gods's work.
JANE
Can he not do God's work here?
MARY
This quiet parish will never do for
him; he almost raves in his
restlessness. It breaks our hearts.
DIANA
St John burns with talents and
ambition. But he lacks the means
for advancement here. Our poverty
thwarts him at every turn and so he
has chosen to lay all his gifts on
God's altar.
MARY
We've tried to persuade him to
stay but in some things our
brother is - he is -
DIANA
Inexorable as death.
MARY
We are now without father. We'll
soon be without home and brother.
Jane feels a powerful compassion for them.
JANE
In one thing you are fortunate.
She looks over at the horizon.
JANE (CONT'D)
You have each other.
EXT. DAY. LOWOOD - THE GROUNDS. SPRING.
Jane is looking at the high wall which is the horizon of
her world at Lowood. Her eyes come to rest on the main
door. Two men are carrying a small coffin out of the
school. Brocklehurst follows it with a menthol-soaked cloth
over his mouth and nose. He becomes aware of Jane's eyes on
him. He looks away.
Jane Eyre adapted by Moira Buffini March 2008 25.
INT. NIGHT. LOWOOD - THE DORMITORY.
Jane is creeping down a corridor in her night dress. She
peers in through the dormitory door. It has been turned
into a sanitarium. Camphor and vinegar are being burnt.
Jane can hardly look at the sick girls.
Miss Temple, pale with exhaustion, is speaking intimately
to Madame Pierrot, the French mistress. Jane overhears.
MISS TEMPLE
This is the result of semi-
starvation and neglected colds;
Brockelhurst's idea of mortifying
their bodies to save their souls.
TYPHUS -
Miss Temple can't say more.
MADAME PIERROT
Write to the governors. You must.
Jane creeps on.
INT. NIGHT. LOWOOD - MISS TEMPLE'S ROOM.
Jane opens the door. A small bed has been set up at the
foot of Miss Temple's. In it lies Helen Burns. A candle is
set on a table at her side. Jane takes her hand.
JANE
Helen.
HELEN
Is it you, Jane? Have you come to
say goodbye?
JANE
You're cold.
HELEN
I'm very happy. I am going home.
JANE
Back to your father?
HELEN
My father has a new wife. He'll
not miss me much.
JANE
Then where?
HELEN
To my future home, where all is
light. I am going to God.
Jane Eyre adapted by Moira Buffini March 2008 26.
JANE
No...
Jane is devastated. She climbs into bed next to Helen. For
a moment, they hold each other. Jane's tears silently fall.
HELEN
Don't be sad. I will escape great
suffering by dying young.
JANE
No...
HELEN
I don't have any talent to make
my way in life. I should be
always at fault. But God is my
friend. He loves me.
JANE
Then he must save you.
HELEN
He is saving me.
Jane cannot articulate her distress at Helen's words.
HELEN (CONT'D)
I feel like I could sleep now. I
like to have you near -
JANE
I won't leave you.
HELEN
You're so warm and alive. Jane,
you have a passion for living.
INT. DAY. LOWOOD - MISS TEMPLE'S ROOM.
We see Miss Temple looking down at the bed in the dazzling,
morning light. Jane, waking, has her small arms around
Helen, as if fiercely protecting her. Helen is ashen, her
eyes open, staring at some unseen thing. She is dead. Miss
Temple lifts Jane away.
MISS TEMPLE
Jane...
Jane realises what has happened. We hear the sound of her
distress begin. She is inconsolable.
JANE
No, no, no -
MARY (V.O.)
Jane?
Jane Eyre adapted by Moira Buffini March 2008 27.
INT. DAY. MOOR HOUSE - THE PARLOUR.
Jane is staring out at the Autumn rain. She surreptitiously
wipes her tears away and smiles up at Mary.
JANE
Have you something for me to do?
MARY
You are doing something already.
May I see?
Jane hands her a book. She has drawn a bride.
JANE
That's Miss Temple on her wedding
day. She was my teacher; a great
influence on me. Under her
guidance I became a teacher too.
Mary turns the page. It shows a sketch of St John Rivers.
Mary gasps in delight. She takes the book straight to St
John, who is diligently working at his desk.
MARY
St John -
JANE
No, Mary, please -
MARY
See how skilled Jane is.
St John looks at the sketch of himself. He is quite taken
aback. He looks over at Jane, who is quite embarrassed.
MARY (CONT'D)
She is better than any drawing
master we have ever had.
For a moment, St John seems to be weighing up whether to be
insulted or not.
ST JOHN
How fierce I am, Miss Elliott.
JANE
Mr Rivers, I wondered if you had
yet heard of any work that I
could do.
ST JOHN
I found you a situation some days
ago but I've delayed telling you
because the work is lowly and I
fear you'll scorn it.
Jane Eyre adapted by Moira Buffini March 2008 28.
JANE
I shan't mind what I do.
ST JOHN
As I am poor and obscure, the
help I can offer is of the
meanest sort.
DIANA
St John, what are you going to
offer her? Not washerwoman, I hope?
ST JOHN
When I took over the parish two
years ago it had no school. I
opened one for boys; I now intend
to open one for girls. The school
mistress will have a two-roomed
cottage paid for by local
benefactors and she will receive
fifteen pounds a year. You can see
how humble, how ignoble it is.
On the contrary, Jane is deeply gratified.
JANE
Mr Rivers, I thank you heartily
and I accept with all my heart.
ST JOHN
But you comprehend me? It's a
village school - cottagers
daughters. What will you do with
all your fine accomplishments?
JANE
I will save them until they are
wanted. They will keep.
Jane smiles at him. St John is impressed.
INT. DAY. MORTON - THE SCHOOL ROOM.
Jane is at the blackboard in a freshly painted school room.
In front of her are about twenty village girls, aged from
six to sixteen. They are hanging on her every word.
Jane is writing a neat line of 'a's.
INT. NIGHT. MORTON - JANE'S COTTAGE.
Jane's first home is like a doll's house. She walks through
it from the whitewashed bedroom with its little single bed,
through the parlour with its tiny fireplace into the
scullery kitchen. She retraces her steps back into the
parlour. She turns round and surveys it.
Jane Eyre adapted by Moira Buffini March 2008 29.
Silence but for the crackling of the fire and the blowing
of the wind. She feels glad, grateful, but very, very
alone. She hears Brocklehurst's voice.
BROCKLEHURST
I hear you are to leave us, Miss
Eyre.
She spins around as if he is there.
EXT. DAY. A CHURCHYARD.
Brocklehurst is at the church door; Jane looking at him
coldly. She holds a bunch of wild flowers.
JANE
Yes. Excuse me.
She walks into the graveyard. There are over forty small
graves marked with wooden crosses, each bearing a child's
name. One of them says Helen Burns. Jane lays down her
flowers.
She looks up at Brocklehurst. He cannot meet her eye.
We hear the voice of Mrs Fairfax.
MRS FAIRFAX (V.O.)
If Jane Eyre of Lowood School...
INT. NIGHT. MORTON - JANE'S COTTAGE.
Jane tries to quell her great unhappiness. She springs into
action, straightening her furniture, stoking her fire.
MRS FAIRFAX (V.O.)
...Who advertised in the Yorkshire
Herald, possesses the acquirements
mentioned...
EXT. DAY. A ROADSIDE.
Jane, younger and more hopeful, with her belongings in a
small trunk, awaits an approaching public coach.
MRS FAIRFAX (V.O.)
...And if she is in a position to
give satisfactory references, a
situation can be offered where there
is but one pupil, a little girl
under ten years of age and where the
salary is thirty pounds a year.
Jane Eyre adapted by Moira Buffini March 2008 30.
EXT. DAY. MORTON - JANE'S COTTAGE.
Jane is in her scullery putting all her energy into
scrubbing dishes.
MRS FAIRFAX (V.O.)
Jane Eyre is requested to send
references and all particulars to
Mrs Fairfax at Thornfield Hall.
Jane closes her eyes, trying to banish her thoughts. It is
no good. The memories crowd in.
INT. NIGHT. THORNFIELD - THE GROUND FLOOR.
A smiling lady dressed in black approaches her through the
darkness - Mrs Alice Fairfax.
MRS FAIRFAX
How do you do, my dear? What a
long and tedious journey you must
have had of it. John is quite the
slowest driver in the county. You
must be cold to the bone.
JANE
Are you Mrs Fairfax?
MRS FAIRFAX
Indeed I am; come and warm
yourself in here.
Mrs Fairfax leads Jane up the dark corridor and into a cosy
parlour. Leah, a young maidservant, follows.
MRS FAIRFAX (CONT'D)
Your poor hands must be quite
numb; here, let me help you.
Mrs Fairfax undoes the ribbon on Jane's bonnet. Jane is
taken aback, unused to motherliness of any kind.
MRS FAIRFAX (CONT'D)
Leah, make a little hot port and
cut a sandwich or two.
Leah eyes Jane with great curiosity. She hurries away.
MRS FAIRFAX
Draw nearer the fire. John is
taking your trunk up to your room.
Knitting apparatus lies abandoned on a fireside chair. Mrs
Fairfax moves it and gestures for Jane to sit.
Jane Eyre adapted by Moira Buffini March 2008 31.
MRS FAIRFAX (CONT'D)
I've put you at the back of the
house; I hope you don't mind. The
rooms at the front have much
finer furniture but they are so
gloomy and solitary I think.
Jane can't help noticing that every surface is covered in
lace, embroidery, or fine crochet. The whole room is an
advertisement for Mrs Fairfax's skill at handicrafts - and
testament to the hours she has spent alone.
MRS FAIRFAX (CONT'D)
I'm so glad you are come. To be
sure this is a fine old house but
I must confess that in winter one
can feel a little dreary and
alone. Leah is a very nice girl
and John and Martha good people
too, but they are servants - and
one cannot talk to them on terms
of equality.
JANE
Am I to have the pleasure of
meeting Miss Fairfax tonight?
MRS FAIRFAX
Who?
JANE
Miss Fairfax - my pupil?
MRS FAIRFAX
Oh you mean Miss Varens; Mr
Rochester's ward. She is to be
your pupil.
JANE
Who is Mr Rochester?
MRS FAIRFAX
Why, the owner of Thornfield.
JANE
I thought Thornfield Hall
belonged to you.
MRS FAIRFAX
(bursting into laughter)
Oh bless you child, what an idea.
To me? I am only the housekeeper.
JANE
Forgive me -
Jane Eyre adapted by Moira Buffini March 2008 32.
MRS FAIRFAX
There is a distant connection
between Mr Rochester and I - his
mother was a Fairfax - but I'd
never presume on it. Heavens, me,
owner of Thornfield?
She continues to laugh. A bashful smile is playing on
Jane's lips. Mrs Fairfax is beginning to thaw her.
INT. NIGHT. THORNFIELD - THE HALL / STAIRCASE.
Mrs Fairfax is carrying a lamp across the great hall; the
only light. Jane can perceive grandeur looming out of the
darkness; Jacobean fireplace, coat of arms, head of a stag.
Very gloomy, eerie. Her breath is vaporising in the cold.
MRS FAIRFAX
We shall have a cheerful house
this winter...
As Jane follows Mrs Fairfax up the stairs, light is thrown
on portraits of dour, craggy, long dead ancestors.
MRS FAIRFAX (CONT'D)
With Miss Varens here - and with
you - we'll have quite a merry
time of it.
INT. NIGHT. THORNFIELD - A LONG GALLERY.
Dark heavy drapes, another striking portrait. A dark,
voluptuous woman in an 18th Century gown, ruby lipped, one
full breast exposed. Jane glances away, taken aback by the
woman's bold expression and her nakedness.
MRS FAIRFAX
I'm sure that last winter - and
what a severe one - if it didn't
rain it snowed and if it didn't
snow it blew a gale - last winter
I declare that not a soul came to
the house from November to
February.
Mrs Fairfax leads Jane through the wood-panelled darkness.
MRS FAIRFAX (CONT'D)
I got quite melancholy night
after night alone. When spring
finally came I thought it a great
relief that I hadn't gone
distracted.
She opens the door to a small but delightful room.
Jane Eyre adapted by Moira Buffini March 2008 33.
MRS FAIRFAX (CONT'D)
Here.
Jane looks in: a fire burning, a lamp lit by her bed, a
soft quilt, pale chintz curtains.
JANE
OH -
She is utterly speechless. Her eight years of physical
discomfort and hardship are over.
MRS FAIRFAX
Good night, my dear. I hope
you'll be comfy.
JANE
Thank you.
Mrs Fairfax can see how affected she is - and how hard she
is trying to button it down.
INT. NEXT MORNING. THORNFIELD - JANE'S BEDROOM.
Jane opens the curtains. She draws her breath in at the
sight of the grounds. They are beautiful.
INT. DAY. THORNFIELD - THE DRAWING ROOM.
Jane enters a magnificent room. Mrs Fairfax is dusting.
JANE
What a beautiful house.
MRS FAIRFAX
Mr Rochester's visits here are
always unexpected. He doesn't
like to arrive and find
everything all swathed up, so I
keep it in constant readiness.
Now, come and meet Miss Varens.
Did I mention she was French?
INT. DAY. THORNFIELD - THE LIBRARY.
Adele Varens, an exquisitely dressed child of eight, is
chatting animatedly to Jane and Mrs Fairfax. At her side is
Sophie, her nurse - a desperately shy and lonely girl.
ADELE
(IN FRENCH)
Sophie has been crying because no
one understands. Nobody can speak
to us except for Mr Rochester and
he has gone away.
Jane Eyre adapted by Moira Buffini March 2008 34.
MRS FAIRFAX
Would you ask her about her
parents? Mr Rochester's neglected
to tell me anything about her.
JANE
(IN FRENCH)
Where did you live Adele, before
you came to Thornfield?
ADELE
(IN FRENCH)
With Maman - but she is gone to
the Holy Virgin now.
JANE
Her mother has passed away.
ADELE
(IN FRENCH)
Maman used to teach me to dance
and say verses. When gentlemen
came to see her I used to dance
for them or sit on their knees
and sing. May I sing for you now?
JANE
(IN FRENCH)
Well - that would be lovely.
(To Mrs Fairfax)
Adele is going to show us her
accomplishments.
Adele adopts a lovelorn pose. She sings an operetta song; a
forsaken lady plotting vengeance on her lover. Her high
voice warbles with pretended emotion. The effect is rather
weird. Jane and Mrs Fairfax watch, open-mouthed.
MRS FAIRFAX
How very French...
INT. NIGHT. THORNFIELD - MRS FAIRFAX'S PARLOUR.
Adele's song continues as a voiceover. Mrs Fairfax is
finishing a shawl. Jane is showing Adele pictures of little
objects that she has sketched. Adele names them in English.
The song ends. Jane gives Adele a sketch of herself.
ADELE
Me! It is me!
Mrs Fairfax shakes out the finished shawl and puts it round
Jane's shoulders, departing before Jane can protest.
MRS FAIRFAX
Here. For you.
Jane Eyre adapted by Moira Buffini March 2008 35.
Jane is delighted at the kindness of the gift.
INT. NIGHT. THORNFIELD - THE LONG GALLERY
Jane holds a candle, the shawl around her; the moaning
sound of a gale outside. She holds her candle up to the
portrait of the voluptuous woman.
She stares at it curious, both as a girl and as an artist.
She brings the candle close, to see how the brushwork has
achieved the effect of flesh. She hears a low, knowing
laugh in the darkness behind her. She is startled.
JANE
Who's there?
Her own huge shadow is the only thing that moves. She hears
the laugh again. She follows it through the darkness, alert
with fear. A door clicks shut at the end of the corridor.
To her relief Jane sees Mrs Fairfax approach with a lamp.
JANE (CONT'D)
Who sleeps up here?
MRS FAIRFAX
No one. This part of the house is
quite empty, except for you and me.
JANE
I heard someone.
MRS FAIRFAX
You can't have done.
JANE
A laugh. Someone laughed.
Mrs Fairfax flounders for a second.
MRS FAIRFAX
Oh - that must be Grace Poole.
She likes to sit up here with her
sewing. Rather an eccentric soul.
(She shouts sharply)
Grace? Grace!
A door opens. Jane sees a broad-faced woman with slow,
intelligent eyes. She looks as if she has just woken up.
MRS FAIRFAX (CONT'D)
Miss Eyre has heard a laugh.
Grace looks at Jane with sly curiosity. She leaves the
sewing room and opens a door through which a flight of
steep steps are revealed. Grace climbs them and disappears.
Jane Eyre adapted by Moira Buffini March 2008 36.
EXT. DAY. THORNFIELD - THE LEADS.
Jane is on the turreted roof, looking up at the cawing
rooks - and down at the view; a white, frosted wilderness.
Jane senses a presence behind her. She quickly turns. Mrs
Fairfax is coming through the rooftop door.
MRS FAIRFAX
I thought I might find you up here.
I've been waiting to pour our tea.
JANE
I'm not in need of tea, thank you.
Mrs Fairfax approaches, concerned.
MRS FAIRFAX
What is it, child? You've been
here three months now and I'm
worried that the position is not
enough / to occupy your -
JANE
Oh, Mrs Fairfax, no. I'm so
thankful to be at Thornfield.
Please don't think I'm so
ungrateful as to be discontented.
MRS FAIRFAX
But it's a quiet life, isn't it?
This isolated house; a still doom
for a young woman...
Jane looks out at the view once more.
JANE
I wish a woman could have action
in her life, like a man. It
agitates me to pain that the sky-
line over there is ever our
limit. I long sometimes for a
power of vision that would
overpass it. If I could behold
all I imagine... I've never seen
a city, never spoken with men.
I've never even seen a town of
any size. And I fear my whole
life will pass, without ever
having...
Mrs Fairfax's troubled look makes Jane fall silent. Mrs
Fairfax looks as if she is about to say something - then
puts on her practical face, the moment of intimacy gone.
MRS FAIRFAX
Well now - exercise is a great
cure for anything, they say.
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 37.
MRS FAIRFAX (CONT'D)
I have some letters to post; will
you take them?
EXT. DAY. A FROZEN MEADOW.
Jane is walking with purpose, carrying a bundle of letters.
The exercise is lifting her spirits. The sun is sinking,
turning the frost gold.
EXT. DAY. A FROZEN WOOD.
A brook runs close to the path; half frozen. Its slow
trickle is the only sound to be heard. Jane moves slowly,
acutely aware of everything around her.
Further into the wood, the brook has frozen right across
the path. Jane slips on it as she passes. The noise of her
feet echoes. She steadies herself.
She gazes at a huddle of snowdrops, their heads bowed. A
crystal drop of water runs to the end of a snowdrop and
begins to freeze as she watches. It is held suspended as if
the whole winter is contained in it.
The moon is mounting the sky. Jane hears a sound like the
beating of wings. The blood is rushing through her ears.
Her trance is broken by the figure of a great dog - which
glides past her so close it almost knocks her off her feet.
The beating is loud; not wings she realises, but the rush
of an approaching horse. It is almost on top of her before
she can move. Her shocked, pale face, her black garments
startle both horse and rider.
ROCHESTER
What the deuce -
The rider gets the horse under control and continues, only
to have his horse slip on the ice. Both man and horse fall
with a crash. The dog begins to bark, until the hills echo
with the sound. The horse is on one side; the man is lying,
trapped beneath it on the ice; Edward Fairfax Rochester.
ROCHESTER (CONT'D)
Hellfire.
Jane is confounded.
ROCHESTER (CONT'D)
Pilot, get down! GET DOWN I SAY!
JANE
Can I do anything, sir?
Rochester stares at her; a tiny black figure, surrounded by
darkening frost, the low moon behind her.
Jane Eyre adapted by Moira Buffini March 2008 38.
ROCHESTER
Get back.
Jane doesn't move. Rochester turns to his horse.
ROCHESTER (CONT'D)
Mesrour. Mesrour.
With much stamping and clattering, the horse clambers to
its feet. Rochester seems relieved.
He tries to stand himself. His ankle will bear no weight.
He lets out an involuntary cry. It echoes:
ROCHESTER (CONT'D)
Damnation.
JANE
Are you injured, sir?
Rochester looks at her once more. He manages to get himself
off the ice. He sits on a nearby stile. Jane approaches
him. She now has the moon on her face. She begins to look
less like a phantom and more like a girl.
JANE (CONT'D)
If you are hurt and want help I
can fetch someone from the
village. I'm on my way there to
post a letter.
Rochester looks as if he doesn't believe her.
ROCHESTER
Where do you come from?
JANE
Thornfield Hall.
ROCHESTER
Whose house is that?
JANE
Mr Rochester's.
ROCHESTER
Do you know Mr Rochester?
JANE
No, I've never seen him.
Rochester is trying to place her. She is a puzzle to him.
ROCHESTER
You're not a servant there...
JANE
I am the governess, sir.
Jane Eyre adapted by Moira Buffini March 2008 39.
ROCHESTER
The governess.
(A slow smile)
Deuce take me, I had forgotten.
Examining Jane once more, he laughs a low laugh.
ROCHESTER (CONT'D)
The governess.
Jane does not like to be laughed at.
ROCHESTER (CONT'D)
Have you got an umbrella I can
use as a stick?
JANE
No.
ROCHESTER
Then try to get hold of his
bridle and lead him to me.
Jane doesn't like his imperious tone. She looks at the
horse; huge, trampling, nervous. Rochester is amused.
ROCHESTER (CONT'D)
If you would be so kind...
Jane obeys. She endeavours to catch the bridle but the
horse rears away. Jane falls on the ice. Rochester bursts
out laughing. Jane picks herself up.
ROCHESTER (CONT'D)
Perhaps it would be easier to
bring me to the horse. Come here.
Jane resists.
ROCHESTER (CONT'D)
Forgive me. I must beg of you to
come here.
Jane approaches. Rochester instantly leans all his weight
on her. She almost crumples under it; the first time she
has ever touched and been touched by a man. She holds him
up. And walks him closer to his horse.
ROCHESTER (CONT'D)
Mesrour.
The horse approaches him. Rochester calms it. He springs
into the saddle, grimacing as he wrenches his sprain.
ROCHESTER (CONT'D)
Thank you.
(He bows.)
Now, make haste with your letter.
Jane Eyre adapted by Moira Buffini March 2008 40.
Rochester's spurred heel makes the horse start and rear.
Jane steps back. The horse bounds away, the dog rushing in
its traces. All three disappear.
Jane doesn't move until the sound of hooves has faded away.
Her face is flushed, her eyes glitter in the dark.
I/E. NIGHT. THORNFIELD - THE FRONT ENTRANCE/HALL.
Jane runs up to the front door. She pushes it open. To her
amazement, there is a fire burning in the stone fireplace.
The whole hall is lit. The double doors are open into the
library. Mrs Fairfax is hurriedly approaching.
MRS FAIRFAX
Mr Rochester is here.
JANE
Oh?
MRS FAIRFAX
Go and change your frock; he wishes
to meet you.
JANE
I have to change?
MRS FAIRFAX
Oh yes - I always dress for the
evening when Mr Rochester is here.
JANE
But all my dresses are the same.
MRS FAIRFAX
(DESPERATELY)
You must have one that is better?
He's in a terrible humour; the
doctor has been. His horse fell
in Hay lane and his ankle is
sprained.
Mrs Fairfax anxiously hurries back into the library. A
large dog wanders out. Jane finds herself looking at Pilot.
She smiles.
INT. NIGHT. THORNFIELD - THE LIBRARY.
Jane enters. Rochester is in front of a superb fire - one
foot bandaged and supported on a stool. Pilot is at his
feet - and so is Adele, gazing adoringly at him.
Rochester is looking through Jane's portfolio of sketches
and watercolours. Jane feels utterly exposed - as if her
diary is being read. Mrs Fairfax timidly interrupts.
Jane Eyre adapted by Moira Buffini March 2008 41.
MRS FAIRFAX
Here is Miss Eyre, Sir.
ROCHESTER
(Without looking up)
Let her sit.
Jane sits. Rochester continues to study her work.
ROCHESTER (CONT'D)
I have examined Adele and I find
you've taken great pains with
her. She's not bright, she has no
talents - yet in a short time
she's made much improvement.
Adele is gazing at him uncomprehending, her face radiant.
JANE
Thank you.
ROCHESTER
You've been resident here three
months?
JANE
Yes, sir.
ROCHESTER
And from whence do you hail;
what's your tale of woe?
JANE
Pardon?
ROCHESTER
All governesses have a tale of
woe; what's yours?
JANE
(SLIGHTLY INSULTED)
I was brought up by my Aunt, Mrs
Reed of Gateshead, in a house far
finer than this. At ten years old
I went to Lowood school where I
received as good an education as
I could hope for. I have no tale
of woe, sir.
ROCHESTER
Where are your parents?
JANE
Dead.
ROCHESTER
Do you remember them?
Jane Eyre adapted by Moira Buffini March 2008 42.
JANE
No.
ROCHESTER
And why are you not with Mrs Reed
of Gateshead now?
JANE
She cast me off, sir.
ROCHESTER
Why?
JANE
Because I was burdensome and she
disliked me.
ROCHESTER
Lowood; that's a charity school,
isn't it?
JANE
Yes.
ROCHESTER
How long did you survive there?
JANE
Eight years.
ROCHESTER
No tale of woe...
MRS FAIRFAX
I daily thank providence for
sending us Miss Eyre. She's a
kind and patient teacher and an
invaluable / companion -
ROCHESTER
Don't trouble yourself to give
her a character. I'll judge for
myself. She began by felling my
horse.
MRS FAIRFAX
Sir?
ROCHESTER
I have her to thank for this
sprain.
Mrs Fairfax looks at Jane, bewildered. Rochester lifts one
of her watercolours.
ROCHESTER (CONT'D)
Adele has brought me these; are
they yours?
Jane Eyre adapted by Moira Buffini March 2008 43.
JANE
Yes sir.
A swollen sea. A cormorant, a golden bracelet held in its
beak. A girl's arm coming out of the water, white and
deathly, her drowned figure underneath.
ROCHESTER
Where did you get your copies?
JANE
Out of my head.
ROCHESTER
That head I now see on your
shoulders?
JANE
Yes sir.
He turns the next. The top of a hill. An expanse of
twilight sky. Rising up, a girl's shape, her forehead
crowned with a star, red hair flowing; Helen Burns.
ROCHESTER
Who's this?
JANE
The evening star.
Rochester gives her a direct gaze.
ROCHESTER
Why did you bewitch my horse?
Jane cannot reply.
INT. DAY. THORNFIELD - THE NURSERY.
Jane is by the blackboard, where she is writing sums.
ADELE
Tonight I will have my cadeaux.
He always bring me a cadeaux.
Mrs Fairfax breathlessly enters.
MRS FAIRFAX
Sorry to disturb. He's asked for
your art.
Jane looks at her in disbelief.
JANE
What for?
Jane Eyre adapted by Moira Buffini March 2008 44.
MRS FAIRFAX
He wishes to have it.
JANE
Why?
MRS FAIRFAX
To show to his company, I should
think. Is this it here? Thank you.
Jane watches helplessly as Mrs Fairfax takes her portfolio.
INT. DAY. THORNFIELD - THE HALL/LANDING.
Jane is crossing the landing holding Adele's hand.
Downstairs, the library doors swing wide open. The sound of
male laughter can be heard; gentlemen walk out into the
hall. Rochester follows, walking with a stick.
ADELE
Monsieur!
All eyes turn upon the landing. Jane tries to find a shadow
to back into but there are none. Adele curtsies.
ROCHESTER
Ah, there she is...
It is unclear whether he is referring to Adele or Jane. He
makes a bow. The men are staring at Jane with great
curiosity. It makes her uncomfortable. She tugs Adele away.
INT. NIGHT. THORNFIELD - THE DRAWING ROOM.
A box tied with ribbons sits on the table.
ADELE
Ma boite, ma boite!
Rochester is leaning against the mantelpiece, drinking.
ROCHESTER
Take it away you genuine daughter
of Paris and amuse yourself with
disembowelling it.
MRS FAIRFAX
We'll open it together, shall we?
Mrs Fairfax kindly leads Adele away. Jane is about to cross
the room with them.
ROCHESTER
Miss Eyre. Sit there.
Jane Eyre adapted by Moira Buffini March 2008 45.
He gestures to a chair by the fire. Jane obeys. She studies
Rochester. He is intent on Adele, who is pulling a pink
satin dress out of the box.
ROCHESTER (CONT'D)
I'm not fond of children.
ADELE
Oh Ciel! Que c'est beau!
ROCHESTER
Nor do I particularly enjoy
simple-minded old ladies. But you
might suit me - if you would.
JANE
How, sir?
ROCHESTER
By distracting me from the mire
of my thoughts.
Adele, irrepressible, runs across the room embracing the
dress. She drops on one knee at Rochester's feet.
ADELE
Monsieur, je vous remercie mille
fois de votre bonte...
She looks up, seeking his approval.
ADELE (CONT'D)
That is how Maman used to say, is
it not?
ROCHESTER
Precisely.
MRS FAIRFAX
Let's try it on, shall we?
Adele skips off with Mrs Fairfax.
ROCHESTER
(TO HIMSELF)
And that is how she charmed my
English gold out of my English
breeches pocket.
Rochester notices how keenly Jane is observing him.
ROCHESTER (CONT'D)
Your gaze is very direct, Miss
Eyre? D'you think me handsome?
JANE
No sir.
Jane Eyre adapted by Moira Buffini March 2008 46.
Rochester laughs.
JANE (CONT'D)
I was too plain; I beg your pardon.
ROCHESTER
What fault do you find with me? I
have all my limbs and all my
FEATURES -
JANE
Mr Rochester, it was a blunder.
I ought to have replied that
beauty is of little consequence -
ROCHESTER
Now you stick a knife under my
EAR -
JANE
You have other qualities, sir.
ROCHESTER
Just so; other qualities... When
I was your age I was a felling
enough fellow. I might have been
insulted then. You're blushing
Miss Eyre.
JANE
Not at all.
ROCHESTER
And though you're not pretty any
more than I am handsome, I must
say it becomes you.
(HE LAUGHS)
And now I see you're fascinated
by the flowers on the rug.
Jane senses his mockery.
ROCHESTER (CONT'D)
I'd like to draw you out. Come,
speak to me.
JANE
What about, sir?
ROCHESTER
The choice of subject is entirely
yours.
JANE
How can I introduce a subject
when I don't know what'll
interest you?
Jane Eyre adapted by Moira Buffini March 2008 47.
ROCHESTER
The fact is, Miss Eyre, I don't
wish to treat you like an
inferior.
JANE
Yet you'd command me to speak?
ROCHESTER
Well I probably have a right to
be a little abrupt and exacting
on the grounds of my superiority
in age. There must be twenty
years between us and a century's
advance in experience.
JANE
I don't think you have a right to
command me just because you're
older. Your claim to superiority
depends on the use you've made of
your time and experience.
ROCHESTER
I've made indifferent use of
both. And this is why I sit,
galled by my own thoughts - and
order you to divert me. Are you
very hurt by my tone of command?
Jane smiles.
JANE
There are few masters who'd
trouble to enquire whether their
paid subordinates were hurt by
their commands.
ROCHESTER
Oh yes... paid subordinate; I'd
forgotten the salary. Well on
that mercenary ground, will you
consent to speak with me as my
equal - without thinking that the
request arises from insolence?
JANE
I'd never mistake informality for
insolence, sir. One, I rather
like. The other, nothing free
born should ever submit to - even
for a salary.
ROCHESTER
Humbug. Most free-born things
would submit to anything for a
salary. But I mentally shake
hands with you for your answer.
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 48.
ROCHESTER (CONT'D)
Not three in three thousand
schoolgirl governesses would have
answered me as you've just done.
JANE
You've clearly not spent much
time in the company of schoolgirl
governesses. I'm the same plain
kind of bird as all the rest,
with my couple of accomplishments
and my common tale of woe.
ROCHESTER
I envy you.
JANE
How?
ROCHESTER
Your openness, your clear
conscience, your unpolluted mind.
If I were eighteen I think we truly
would be equals. Nature meant me to
be a good man, one of the better
kind and as you see, I am not so.
JANE
Are you a villain then, sir?
ROCHESTER
I'm a trite commonplace sinner,
hackneyed in all the dissipations
that the rich and worthless try
to put on life.
(HE SIGHS)
When I was your age, fate dealt me
a blow. I was - cursed with a
burden to carry through life. I
lacked the wisdom to remain cool
and I turned desperate. Dread
remorse, Miss Eyre. It is the
poison of life.
Rochester takes in her open, compassionate face.
ROCHESTER (CONT'D)
And since happiness is denied me,
I've a right to get pleasure in
its stead. And I will get it,
cost what it may.
JANE
Then you'll degenerate still more.
ROCHESTER
Are you preaching to me?
Jane Eyre adapted by Moira Buffini March 2008 49.
JANE
I'm reminding you of your own
words; remorse is the poison of
life.
ROCHESTER
But, Miss Eyre, if the pleasure I
was seeking was sweet and fresh;
if it was an inspiration; if it
wore the robes of an angel of
light... what then?
JANE
I don't know. To speak truth, I
don't understand you at all.
ROCHESTER
My heart has long been a charnel
house. Perhaps it'll transform
into a shrine.
JANE
Sir, I find the conversation has
got out of my depth.
ROCHESTER
You're afraid of me because I
talk like a sphynx.
JANE
I'm not afraid.
ROCHESTER
Yes you are.
JANE
I've simply no wish to talk
nonsense.
ROCHESTER
If you did it would be in such a
grave, quiet manner that I would
mistake it for sense. Do you
never laugh, Miss Eyre?
This question cuts Jane to the quick.
ROCHESTER (CONT'D)
Only rarely, perhaps. But you're
not naturally austere, any more
than I'm naturally vicious. I can
see in you the glance of a curious
sort of bird through the close set
bars of a cage: a vivid, restless,
resolute captive. Were it but free,
it would soar. Cloud high.
Jane opens her mouth to speak - but she cannot.
Jane Eyre adapted by Moira Buffini March 2008 50.
EXT. DAY. THORNFIELD - THE GROUNDS. SPRING.
Jane is playing battledore and shuttlecock with Adele. Her
playing is full of energy, very free. Her cheeks looks
almost rosy. It is spring.
JANE
Just as it turns to come down -
that's when you hit it.
Adele serves. The game continues apace. Rochester wanders
out of the open double doors of the library. He watches.
Something lands at his feet. A rook's feather. He looks up
at the battlements. A shape disappears, too fast to see.
Rochester's features cloud over with an expression of shame
and detestation. He stands in a terrible inner conflict.
Jane notices him - she misses her shot.
JANE (CONT'D)
Mademoiselle has got to rest.
ADELE
Because I start to win!
JANE
Have mercy, Adele. Play with
Pilot for a while.
Rochester is leaning over the balustrade, his head bowed.
JANE (CONT'D)
Is our game disturbing you, sir?
He looks up. A hard and cynical expression has mastered his
countenance, something resolute. Jane is taken aback.
ROCHESTER
On the contrary. I like your game.
I like this cold, hard day. I like
Thornfield.
Rochester picks up the black feather. He starts to walk
across the grounds at a fast pace. Jane follows.
ROCHESTER (CONT'D)
I've been arranging a point with
my destiny, Miss Eyre. My destiny
stood up there by that chimney,
like one of the hags who appeared
to Macbeth. 'You like Thornfield?'
She said. 'Like it if you dare'.
Well, I dare. It's felt like a
plague house for years -
He turns, the whole house now in his sights. He shouts:
Jane Eyre adapted by Moira Buffini March 2008 51.
ROCHESTER (CONT'D)
But Thornfield is my home and I
shall like it!
Adele is running after them.
ADELE
Mademoiselle - Il faut jouer -
Rochester snaps at her with shocking ferocity.
ROCHESTER
Get back! Keep at a distance
child, or go in!
Adele's face crumples into tears. Rochester sees Jane's
shock at his outburst. He walks away.
Jane isn't sure whether she has been dismissed or not.
Adele has run back to Pilot. Jane watches her. She suddenly
finds Rochester is back at her side. He walks her along.
ROCHESTER (CONT'D)
She's the daughter of an opera
dancer, Celine Varens. Celine was a
beauty and she professed to love
me. Her ardour was so great that,
ugly as I am, I believed myself her
idol. So I installed in her in a
hotel, gave her servants, gowns
cashmeres, diamonds - in short, I
was an idiot.
JANE
To fall in love, sir?
ROCHESTER
You've never felt love, have you
Miss Eyre? Your soul still sleeps.
JANE
Does it?
ROCHESTER
You're still floating gently in
the stream of life, unaware of
the rocks ahead waiting to dash
you to pieces.
JANE
Were you dashed to pieces, Mr
Rochester?
ROCHESTER
Not by Celine. How can one ever
truly love a woman one has paid
for?
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 52.
ROCHESTER (CONT'D)
It ended when I visited her
unexpectedly one night and caught
her with her handsome, charmless
lover. I overheard her waxing
lyrical on all my defects - she was
mercenary, heartless, senseless.
The whole intoxication fell away
like a dream. I left her money to
support the little French floweret
over there, whom she swore blind
was mine. I see no proof of my grim
paternity in her features; I think
Pilot is more like me than she.
JANE
But you took her on?
Adele is curled up, seeking comfort from the dog.
ROCHESTER
Some years later, I heard that
Celine had abandoned the brat,
disappeared to Italy and left it
destitute. So I lifted it from the
mud and slime of Paris and brought
it here, to grow up clean in the
wholesome soil of an English
country garden. My one good work in
a sea of countless sins.
Jane is looking at Adele full of compassion.
ROCHESTER (CONT'D)
You listen, Miss Eyre, as if it was
the most usual thing in the world
for a man like me to tell stories
of his opera-mistresses to an
inexperienced girl like you. Adele?
Adele looks up. Rochester speaks graciously.
ROCHESTER (CONT'D)
Forgive me; for keeping Miss Eyre
from your game for so long.
Adele is immensely gratified by his apology.
INT. DUSK. THORNFIELD / THE RED ROOM.
Jane, aged ten, is walking along the long gallery. She
opens a door and finds herself in the Red Room.
She stares into the mirror, searching the pale face of her
reflection, as if trying to find an answer. A murmur seems
to come down the gaping chimney; a woman's deep sigh.
Jane's throat tightens with fear. Something moves in the
shadows behind her.
Jane Eyre adapted by Moira Buffini March 2008 53.
She scans them, her eyes full of terror. Jane knows beyond
all doubt that something is there. She hears a low laugh.
It seems to be right next to her. She tries to scream -
INT. NIGHT. THORNFIELD - SECOND FLOOR.
Jane wakes. Her curtains are open; moonlight spilling in.
She hears it again; the laugh from her dream, right outside
her door - low and deep.
JANE
Who's there?
Footsteps run away. Jane springs out of bed and pulls the
door open. A door shuts at the end of the corridor.
There is a single candle burning in its holder on the rush
matting, flickering in the draft. Jane picks it up. She
notices something else - a curling wreath of grey smoke.
She follows its trail through the pitch darkness. It is
coming thickly from a half-open door at the front of the
house - Rochester's.
Jane rushes in. Rochester's bed is on fire; the hangings,
the curtains, all are alight. The flames are leaping.
Rochester is asleep. She shakes him.
JANE (CONT'D)
Wake up! Wake up! Sir!
Rochester only stirs. The smoke has stupefied him. Jane
pulls the burning sheets off - then stops; he is naked. She
takes his basin and douses the bed - soaking him.
ROCHESTER
Who's there?
JANE
It is I, Jane Eyre, sir.
Jane takes the ewer and throws water on the curtains. She
pulls the soggy fabric from its rail and smothers the
burning couch. When all the flames are out, she rushes to
the windows and opens them. Smoke billows out. She stands
in the moonlight, coughing.
Rochester is sitting up, staring at her.
ROCHESTER
What in the name of all the elves in
Christendom have you done with me?
JANE
For heaven's sake get up. Somebody
has plotted something; you must
find out who. I'll light the lamp -
Jane Eyre adapted by Moira Buffini March 2008 54.
ROCHESTER
Light the lamp at your peril.
Rochester is springing out of bed. Jane turns away,
mortified - having caught sight of his silhouetted shape.
JANE
I heard a laugh outside my door
loud enough to wake me. I opened
it. Someone was running towards
the third floor.
Rochester is putting on a dressing gown, lighting the lamp.
JANE (CONT'D)
And a candle was left burning in
the middle of the floor. Shall I
fetch Mrs Fairfax, sir?
ROCHESTER
What the deuce can she do?
JANE
Then I'll wake John and Martha.
ROCHESTER
Not at all. Stay here. You're
shivering.
Rochester gets his coat and puts it round her.
ROCHESTER (CONT'D)
I have to go to the third floor.
Don't make a sound. Sit there. I
shan't be long.
He goes. Jane looks at his ruined chamber; The blackened
drapes on the four poster bed, the fireplace, the huge
wardrobe. It is not unlike the red room.
INT. NIGHT. THORNFIELD - ROCHESTER'S ROOM.
Half an hour later. First light. Jane is in an armchair.
She has snuggled up in the coat. She takes in a breath,
smelling its owner. She nuzzles her head against it. She
closes her eyes, running her fingers down the lining.
She looks up. Rochester is watching her. His expression is
peculiar. She holds the coat closely around her.
ROCHESTER
Did you see anything when you
opened your chamber door?
JANE
Only the candle on the ground.
Jane Eyre adapted by Moira Buffini March 2008 55.
ROCHESTER
But you heard a laugh?
JANE
Yes.
ROCHESTER
Have you heard that laugh before?
JANE
There's a woman who sews here;
Grace Poole - She laughs in that
way, I think.
ROCHESTER
Just so. Grace Poole - you have
guessed it. Well, you're no
talking fool; please say nothing
about this.
JANE
BUT -
ROCHESTER
I will account for this state of
affairs. Go back to your room and
say nothing.
JANE
Yes, sir.
(She takes off his coat)
Good-night.
ROCHESTER
Is that how you're going to leave
me?
JANE
You said I should go.
Rochester approaches her.
ROCHESTER
Jane, fire is a horrible death. You
have saved my life. Don't walk past
me as if we were strangers.
JANE
What am I to do then, sir?
ROCHESTER
At least... shake hands.
Rochester holds out his hand. Jane takes it. They shake.
Rochester wraps Jane's hand in both of his.
Jane Eyre adapted by Moira Buffini March 2008 56.
ROCHESTER (CONT'D)
I have a pleasure in owing you my
life.
JANE
There is no debt.
ROCHESTER
I knew you would do me good in some
way. I saw it in your eyes when I
first beheld you. Their expression
did not - did not strike delight
into my very inmost being so, for
nothing. People talk of natural
sympathies... You.
Rochester is drawing her slowly closer. Jane, disconcerted,
is trying to resist.
JANE
Good night then, sir.
ROCHESTER
So you will leave me?
JANE
I'm cold.
ROCHESTER
Go.
At last, he relaxes his grip. She backs away. She goes.
INT. DAWN. THORNFIELD. JANE'S ROOM.
Jane is keeling on the windowsill, looking out at the
rising sun. She is lit by its glowing rays; inspired. It's
a rare feeling that prompts her mood, as new and unfolding
as the day itself - happiness.
INT. DAY. THORNFIELD - ROCHESTER'S ROOM.
Jane looks in to see Leah and Martha cleaning the soot from
the woodwork and windowpanes. To her amazement, Grace Poole
is there, calmly sewing rings to new curtains.
GRACE
Good day to you, miss.
JANE
What's happened here?
GRACE
(CANNILY)
Only master reading in his bed
last night.
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 57.
GRACE (CONT'D)
Fell asleep with his candle lit
and the curtains got on fire.
Managed to put it out with the
water from his stand.
Did you not hear anything, miss?
JANE
I did. I heard a strange laugh.
GRACE
It's hardly likely the master
would laugh when he was in such
danger. Perhaps you were dreaming.
JANE
I was not.
GRACE
Then you didn't think of opening
your door and looking out?
Jane is infuriated. She turns on her heel.
INT. EVENING. THORNFIELD - MRS FAIRFAX'S PARLOUR.
Jane walks in. Their meal is laid out.
JANE
Has Mr Rochester not sent for us
today?
MRS FAIRFAX
Why, he's gone away. Were you not
aware? He left after breakfast.
Jane takes this piece of news like an invisible shock.
MRS FAIRFAX (CONT'D)
He's gone to The Leas, Mr
Eshton's place, about ten miles
from here. I believe Blanche
Ingram is there. She's a great
favourite of his.
JANE
Oh?
MRS FAIRFAX
I saw her two years ago when Mr
Rochester had a party here. Oh,
she was a beauty; I daresay the
most elegant girl I've ever seen.
So tall, with raven hair cascading
down her back; I don't know how
she'd had it done. She sang a duet
with Mr Rochester. They made a
lovely harmony.
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 58.
MRS FAIRFAX (CONT'D)
I was quite surprised he didn't
make a proposal. Perhaps that is
his intention now.
INT. DAY. THORNFIELD - THE NURSERY.
Jane is at the window, brooding. Outside the rain is
pouring. Adele, dressed in yellow frills, is concerned.
ADELE
Qu'avez vous mademoiselle?
JANE
(without looking at her)
Nothing. Speak in English,
please.
Jane turns, expecting to see Adele.
INT. DAY. MORTON - THE SCHOOL ROOM.
Jane finds herself in front of her class. They are looking
at her expectantly. She looks back at them curiously. Eager
faces, plain rural clothes. She has quite lost her place.
JANE
Thank you, girls. You may go.
INT. EVENING. MORTON - THE SCHOOL ROOM.
Jane is tidying up at the end of the day. The classroom is
empty. Her life is bare. It shows on her face. She looks
up. St John Rivers is watching her from the door.
ST JOHN
Do you find the work too hard?
Jane immediately puts on a sprightly face and continues
clearing up.
JANE
Not at all. I'm getting on very
well.
ST JOHN
Do you feel the solitude an
oppression?
JANE
I hardly have time to notice it.
ST JOHN
Then perhaps your accommodations
have disappointed you. They are
in truth scanty enough -
Jane Eyre adapted by Moira Buffini March 2008 59.
JANE
A few months ago I had nothing. I
was wretched. Now I have a home
and work; free and honest. I
wonder at the goodness of God and
at the generosity of my friends.
St John approaches her; speaks intimately.
ST JOHN
What you had left before I met
you, I don't know. But I counsel
you to resist firmly every
temptation to look back.
JANE
It's what I mean to do.
ST JOHN
We can overcome every kind of human
weakness. A year ago I was myself
intensely miserable. I considered
my life was so wretched that it
must be changed - or I would die.
After a season of darkness and
struggling, light broke. I heard my
call from God. Put your trust in
him, Jane. Let him lead you to your
future.
JANE
Thank you.
St John is turning to go.
JANE (CONT'D)
Why were you intensely miserable?
ST JOHN
A year ago, I was weak enough to
fall in love.
Jane moves involuntarily towards him.
ST JOHN (CONT'D)
Don't pity me; I have no compassion
whatsoever for you. I regarded this
love as a fever of the flesh; not a
thing that would ever touch my
soul. I scorned the weakness,
fought hard against it - and won.
Jane is incredulous. St John is at her desk. It is covered
in her drawings. He glances through them.
Jane Eyre adapted by Moira Buffini March 2008 60.
ST JOHN (CONT'D)
I could have listened to
temptation, sunk down in the silken
snare and known a feverish and
delusive bliss. I could have
squandered my future upon it.
JANE
You could have been happy.
ST JOHN
A slave in a fool's paradise? I'd
rather my life had purpose -
St John suddenly snatches up a piece of paper.
ST JOHN (CONT'D)
Is this yours?
JANE
Yes.
His eyes, in an instant, seem to take in everything about
her. He opens his mouth to speak - then checks himself.
JANE (CONT'D)
What's the matter?
ST JOHN
Nothing in the world.
He folds the paper and takes it.
ST JOHN (CONT'D)
Good night.
He goes. Jane looks after him, puzzled.
INT. DAY. THORNFIELD - THE HALL.
Mrs Fairfax approaches Jane with a letter in her hand.
MRS FAIRFAX
He's back in three days he says -
heavens that's Thursday - and not
alone. He gives directions to
prepare all the best rooms. I'm to
get more staff from the George
Inn. The ladies will bring their
maids, the gentlemen, valets. We
must accommodate them all.
Supplies to be got; linen, the
MATTRESSES -
Mrs Fairfax has worked herself up into quite a panic.
Jane Eyre adapted by Moira Buffini March 2008 61.
MRS FAIRFAX (CONT'D)
I'll get started. I'll go to the
George. No, I'll tell Martha...
Jane can sense that the old lady is overwhelmed.
JANE
May I assist you, Mrs Fairfax?
We see Mrs Fairfax approach Jane in a rush of gratitude.
INT. DAY. THORNFIELD - THE SECOND FLOOR.
Jane wears a housekeeper's apron over her dress. She enters
Rochester's room with an armful of bed linen. It has been
returned to its former glory. Adele is jumping up and down
on the bed. Sophie is trying to coax her off it. Jane gives
Sophie the sheets.
Adele leaves the room with Jane and skids all the way down
the newly polished gallery in her stockinged feet. Jane
can't help smiling.
INT. DAY. THORNFIELD - THE KITCHENS.
Jane sets down several bottles of wine on the kitchen table
in order to dust them. The kitchen is a hive of activity -
except for one lone figure sitting quietly in a chair by
the fire, smoking a pipe; Grace Poole. Leah and one of the
hired under cooks are talking abut her.
UNDER COOK
She gets good wages, I'd guess?
LEAH
Wish I had as good; not one fifth
what Mrs Poole receives.
Jane affects not to listen, but is keenly interested.
LEAH (CONT'D)
And she's laying it all by. I
shouldn't wonder if she's saved
enough to keep her independent.
UNDER COOK
She's a good hand, I daresay.
LEAH
Not everyone could do it, that's
for sure, not even for the money.
UNDER COOK
No wonder the master relies on
HER -
Jane Eyre adapted by Moira Buffini March 2008 62.
Leah notices Jane's curious glance. She nudges the under
cook. Jane, picks up the bottles and carries them away. As
she passes she hears:
UNDER COOK (CONT'D)
Doesn't she know?
At that moment, Adele rushes in.
ADELE
They're here! They're here!
Mrs Fairfax tries to get her apron off. She becomes
flustered. Jane helps her.
MRS FAIRFAX
Thank you.
Mrs Fairfax and Adele go. Jane looks out of the window.
Her attention is focussed on two equestrians who lead the
arriving party; Rochester and Blanche, the dark beauty at
his side. She is laughing at something. The sun shines
behind her. Jane is dazzled. She turns away.
INT. NIGHT. THORNFIELD - THE SECOND FLOOR.
Jane comes up the back stairs and on to the gallery, just
as the ladies start to issue from their rooms. She stands
back in a dark corner.
There is an approach of chatter; a subdued vivacity. A
flurry of multicoloured silks, lace and velvets go by. They
descend the staircase as noiselessly as a bright mist.
Jane steps out. She walks right into the path of Blanche
Ingram, who is dressed in white. They both startle.
JANE
Excuse me, miss.
Blanche gives her a look of ice. Rochester is at the top of
the stairs.
ROCHESTER
Good evening.
They both turn. Rochester has seen Blanche, not Jane. He
offers her his arm, his gaze full of admiration. Jane sinks
back into the shadows.
ROCHESTER (CONT'D)
May I?
Blanche lays her gloved hand on Rochester's arm, barely
touching him. They glide away.
Jane Eyre adapted by Moira Buffini March 2008 63.
INT. NIGHT. THORNFIELD - THE HALL.
Adele and Jane sit on the stairs, listening to Blanche and
Rochester sing. Their voices thrill. Jane is trying not to
feel. But when Rochester hits an exceptionally beautiful
note, she involuntarily closes her eyes.
Adele leans into Jane. She is crying.
JANE
What is it, darling?
ADELE
She sing like Maman.
Jane, full of compassion, takes Adele back to her room.
INT. DAY. THORNFIELD - THE SCHOOLROOM.
Mrs Fairfax enters in a great hurry.
MRS FAIRFAX
Tonight. He wants you both in the
drawing room after dinner.
Adele leaps up, delighted. Jane is crestfallen.
JANE
Not me, surely.
MRS FAIRFAX
It's his particular wish.
JANE
He was being polite.
MRS FAIRFAX
I'm instructed to tell you that
if you resist, he'll come up and
get you himself. You needn't stay
long. Just let him see you and
then slip away. Don't worry; no
one'll look at you.
INT. NIGHT. THORNFIELD - THE DRAWING ROOM/HALL
Jane is delivering Adele into the centre of the company.
JANE
May I present Miss Adele Varens?
ADELE
Bon jour, mesdames, monsieurs.
Jane finds it hard to get a proper impression of the
guests, as she cannot raise her eyes to look at them.
Jane Eyre adapted by Moira Buffini March 2008 64.
Adele makes a dainty curtsey - pink frock, hair in
ringlets, little lace gloves. In the midst of the crowd is
Blanche.
BLANCHE
Why, what a little puppet.
LADY INGRAM
(mutton dressed as lamb)
Is this your ward, Mr Rochester?
ROCHESTER
Yes.
LOUISA ESHTON
(English rose; nineteen)
What a love of a child.
Adele blissfully disappears into a moving sea of dresses.
Only one guest is still looking in Jane's direction;
Blanche. Her lip curls in distaste.
Jane backs into a nearby window seat; always her place of
refuge. She closes her eyes. A great Atlantic wave hits the
sash window behind her, drenching it with foam and brine.
When she opens her eyes, Rochester is in her line of
vision, standing out in a crowd of unmanly men. He senses
her gaze; glances at her. Jane looks down, pulling her work
on to her lap; a beaded purse. She does not lift her eyes
from the beads, fully feeling the humiliation of her class -
and of her love. Blanche sidles up to Rochester.
BLANCHE
I thought you weren't fond of
children?
ROCHESTER
You're right; I'm not.
BLANCHE
Then what induced you to take
charge of that little doll?
Rochester turns away from Jane.
ROCHESTER
She was left on my hands.
BLANCHE
Why don't you send her to school?
ROCHESTER
She has a governess.
Jane glances up; sees Rochester's back to her, throws her
eyes down, once more.
Jane Eyre adapted by Moira Buffini March 2008 65.
BLANCHE
You should hear mamma on the
chapter of governesses. I had
half a dozen in my day - all
detestable, ridiculous incubi -
were they not, mamma?
LADY INGRAM
Did you speak, my lily flower?
BLANCHE
I said governesses.
The reaction is instant.
LADY INGRAM
Oh, don't mention them; the very
word makes me nervous! I've
suffered a martyrdom from their
incompetence and caprice. I thank
heaven we're now done with them.
BLANCHE
I have just one word to say of
the whole tribe; nuisance.
Jane's fingers sew. Only the briefest flash of her eyes
towards the company shows her mortification. Blanche has
started playing a brilliant prelude on the piano.
BLANCHE (CONT'D)
We shall have music - and new
subject, if you please. Signor
Eduardo, what shall it be?
ROCHESTER
Donna Bianca, I give you beauty.
BLANCHE
Beauty? Why there's nothing new
to be said. I give you back male
beauty. Mamma, what's your idea
of male beauty?
LADY INGRAM
My son, of course.
LORD INGRAM
Hear hear.
BLANCHE
Oh, Tedo's quite typical of the
young men of today. They're so
absorbed in the pursuit of
fashion that they've forgotten
how to be men at all.
Jane Eyre adapted by Moira Buffini March 2008 66.
LORD INGRAM
I say -
BLANCHE
A woman who neglects herself is a
blot on humanity. But a man
should pay no heed to his looks.
(Glancing at Rochester)
A man should possess only
strength and valour. He could be
a gentleman or a highwayman. His
beauty lies in his power.
ROCHESTER
So a Levantine pirate would do
for you?
BLANCHE
(QUIETLY)
As long as he resembled you.
Rochester laughs loudly. Jane is heading for the door.
BLANCHE (CONT'D)
I am serious. To my mind, a man
is nothing without a spice of the
devil in him.
Jane closes the door on Blanche. She breathes in fresh air,
nauseous. Blanche's splendid prelude drifts out.
Rochester comes into the hall from the other door. Jane
instantly bends down and pretends to be tying her shoe.
ROCHESTER
Why did you leave the room?
JANE
I am tired, sir.
ROCHESTER
Why didn't you come and speak to
me? I haven't seen you for weeks.
It would have been normal and
polite to wish me good evening.
JANE
You seemed engaged, sir.
ROCHESTER
What have you been doing while
I've been gone?
JANE
Teaching Adele.
ROCHESTER
You look pale.
Jane Eyre adapted by Moira Buffini March 2008 67.
JANE
I am well.
ROCHESTER
You're depressed; your eyes are
shining with tears. What's the
meaning of this?
Jane catches sight of Mrs Fairfax, who is watching them
with an expression of unease. Rochester glares at her.
MRS FAIRFAX
A gentleman has arrived to see
you, sir.
ROCHESTER
Who?
MRS FAIRFAX
He says he's travelled a long
way, from Spanish Town, Jamaica -
Rochester seems winded.
MRS FAIRFAX (CONT'D)
And indeed I think he must have
come from some hot country because
he won't take off his coat.
ROCHESTER
Spanish Town...
MRS FAIRFAX
Mr Richard Mason. He says you're
old friends. I've put him in the
morning room.
Rochester cannot speak.
MRS FAIRFAX (CONT'D)
Have I done wrong?
ROCHESTER
Not at all. Please tell him I'll
see him directly.
Mrs Fairfax goes.
ROCHESTER (CONT'D)
Oh Jane - Jane. This is a blow.
JANE
Can I help you sir?
In the drawing room, Blanche's prelude finishes to
enthusiastic applause. Rochester has Jane's hand.
Jane Eyre adapted by Moira Buffini March 2008 68.
ROCHESTER
Jane, if all those people came and
spat at me, what would you do?
JANE
Turn them out of the room sir, if
I could.
ROCHESTER
And if they cast you out for
adhering to me?
JANE
I should care nothing about it.
ROCHESTER
You'd dare censure for my sake?
Jane is frightened of his passion.
JANE
For the sake of any friend who
deserved it.
Rochester lets her hand go. He steps back. He goes to the
morning room. Jane peers through the door, worrying how her
last words have given offence.
She sees a man rising to meet Rochester; handsome but gaunt
and painfully thin. His smile doesn't reach his eyes - as
if his soul is not quite his own.
MASON
Fairfax...
ROCHESTER
Richard. How the devil are you?
They embrace, Rochester doing a fine impression of delight.
INT. DAY. LOWOOD - THE HALL.
Jane is standing on the pedestal of infamy, ten years old.
Helen Burns is walking towards her with something in her
arms. The rising sun is all around her.
HELEN
He is yours.
Jane looks down at the bundle. In it, is a newborn boy.
Jane looks up to ask Helen for help. But Helen has gone.
Jane alone with her burden, teeters on the stool. The baby
starts to cry. Jane panics.
The crying becomes deafening, terrifying. It is not a
baby's cry but a human scream.
Jane Eyre adapted by Moira Buffini March 2008 69.
INT. NIGHT. THORNFIELD - JANE'S BEDROOM/ THE GALLERY.
Jane wakes, hearing a savage, sharp shriek of such power
and intensity it seems to tear the night in two.
Overhead, the sounds of a struggle begin - a deadly one.
Jane hears footsteps rush past her door. She starts to pull
on her dress. She hears a man's voice from above:
MASON (O.S.)
Help! Rochester, for God's sake
come!
A great stamp on the floor above; something falls with a
thud; silence. Jane grabs her candle and leaves her room.
The guests likewise are all issuing from their rooms; some
with candles, some stumbling into the dark. The gallery is
filling with terrified ladies and shocked gentlemen. Their
shadows dance grotesquely on the walls.
LADY INGRAM
Oh what is it?
BLANCHE
Who is hurt?
LORD INGRAM
Where the devil is Rochester?
Rochester comes forth from the door at the end of the
gallery, holding a candelabra.
ROCHESTER
I'm here, be composed.
Blanche flies towards him like a banshee.
BLANCHE
What awful event has taken place?
She embraces him. Rochester patiently removes her.
ROCHESTER
A servant has had a nightmare,
that's all. She's an excitable,
nervous person and has taken a
fit with fright.
Jane, the only person behind Rochester, sees by the light
of her candle that his dressing gown is trailing blood.
ROCHESTER (CONT'D)
Now I must see you back into your
rooms because until the house is
settled, she can't be properly
looked after.
Jane Eyre adapted by Moira Buffini March 2008 70.
BLANCHE
Is there anything I might do?
ROCHESTER
Miss Ingram, ladies, please
return to your nests like the
doves that you are. You'll take
cold for certain if you stay in
this icy gallery any longer.
The candles flicker and fade as the guests make their way
back to their rooms. Rochester sees Jane.
ROCHESTER (CONT'D)
Come this way. Make no noise.
INT. NIGHT. THORNFIELD - THE THIRD FLOOR.
Rochester stops by a low door. He puts a key in the lock.
ROCHESTER
Be steady. I need you.
He unlocks it. A room hung with tapestries; a four poster
bed with its curtains half drawn. One part of the tapestry
is hooked up over a hidden door - which lies open to an
inner chamber. A dull, sickly light shines out.
ROCHESTER (CONT'D)
Wait.
He goes to the inner chamber. A grim laugh greets him.
ROCHESTER (CONT'D)
Thank you, Mrs Poole.
He locks the door. Jane shudders. He goes to the bed.
ROCHESTER (CONT'D)
Here. Bring the candle.
Jane obeys. Richard Mason is lying, one arm and all the
linen soaked in blood. Jane controls her reaction and makes
herself useful. Rochester is cleaning the wound.
MASON
Am I dying?
ROCHESTER
No.
MASON
She bit me - while the knife was
in - Bit me -
Jane Eyre adapted by Moira Buffini March 2008 71.
ROCHESTER
It was folly to attempt the
interview tonight and alone.
MASON
I thought I might have done some
good.
ROCHESTER
It makes me impatient to hear
you.
MASON
She sucked the blood. Said she'd
drain me - like a vampire -
ROCHESTER
Think of her as dead, dead and
buried. Say nothing!
Mason is silenced. Rochester puts the bloody sponge into
Jane's hand.
ROCHESTER (CONT'D)
I am going for a doctor. I must
leave you here with him. Sponge
the blood away when it returns.
Give him water if he wants it. Do
not speak to him for any reason.
And Richard - on pain of death -
do not speak to her.
Rochester takes the candelabra. He is gone. Mason is
staring at Jane. There is something about the pupils in his
eyes that she finds deadly, chilling.
She dips the sponge in the bloody water and wipes away the
trickling gore.
She hears a low moan. She looks over at the door to the
inner chamber, aching to know the mystery behind it. Mason
makes her start by taking her wrist. He is trying to say
something. Jane puts her finger to her lips. She is begging
him not to speak.
INT. DAWN. THORNFIELD - THE THIRD FLOOR.
Rochester and Dr Carter are carrying Mason down the stairs.
DR CARTER
I only wish I could have got here
sooner. He'd not have bled so much.
ROCHESTER
Jane, make sure the way is clear.
Jane looks out on to the gallery. She is pale, drawn.
Jane Eyre adapted by Moira Buffini March 2008 72.
EXT. DAY. THORNFIELD - THE GROUNDS.
A carriage waits. Rochester lifts Mason in to Dr Carter.
Jane hands in Mason's great coat. She stands back.
ROCHESTER
I'll ride over tomorrow to see
how you do. Goodbye, Richard.
MASON
Fairfax - Let her treated as
tenderly as may be -
ROCHESTER
I do my best and have done it and
will do it!
The carriage goes. Jane prepares to go inside but Rochester
walks her towards the orchard.
ROCHESTER (CONT'D)
Come, Jane. That house is a
dungeon, don't you feel it?
JANE
It seems to me a splendid
mansion, sir.
ROCHESTER
It is slime and cobwebs.
EXT. DAWN. THORNFIELD - THE ORCHARD.
The orchard is a different world; the dawn light
illuminating dewy trees. Rochester is silent. Jane is
trying to fathom him.
JANE
Will Grace Poole stay here now?
ROCHESTER
Oh yes, don't trouble your head
about her.
JANE
But sir -
ROCHESTER
Grace Poole is not the danger.
He walks off, pulling the heads off flowers as he passes.
ROCHESTER (CONT'D)
You've noticed my tender feelings
for Miss Ingram?
Jane Eyre adapted by Moira Buffini March 2008 73.
JANE
Yes sir.
ROCHESTER
Keep vigil with me again, the night
before I marry. For now you've met
my lovely one and you know her.
She's a rare one, isn't she?
JANE
Yes sir.
ROCHESTER
A strapper, a real strapper; big
and buxom...
He throws a cankered rose across the orchard. Jane manages
to articulate her anxiety.
JANE
I'd do anything for you sir,
anything that was right.
ROCHESTER
(GENTLY)
And if I ever bid you do what was
wrong, you'd turn to me, quiet
and pale and say 'I cannot do
it.' And you'd be as immutable as
a fixed star.
Rochester, gazing at her, seems to have decided something.
He turns a corner and is gone. Jane is left alone. We hear
the sound of a blow.
INT. DAY. GATESHEAD - THE WINDOW SEAT.
The brutal face of John Reed, aged fourteen, triumphant
after hitting Jane.
JOHN
That's for the look you had on
your face.
INT. DAY. THORNFIELD - THE BILLIARD ROOM.
Jane enters as Rochester helps Blanche to line up a shot.
He is leaning intimately over her. She coyly permits him.
JANE
Excuse me, sir.
Jane has ruined Blanche's shot.
Jane Eyre adapted by Moira Buffini March 2008 74.
BLANCHE
Does that creeping creature want
you?
INT. DAY. THORNFIELD - THE LONG GALLERY.
Rochester has followed Jane out of the billiard room.
JANE
If you please, I want leave of
absence for a week or two.
ROCHESTER
What to do?
Jane shows him the letter.
JANE
This is from my old nurse, Bessie.
She says my cousin John Reed is
dead. He ruined himself and has
committed suicide. The news has so
shocked his mother, my Aunt, that
it's brought on a stroke.
ROCHESTER
What good can you do her?
JANE
She's been asking for me. I
parted from her very badly and I
can't neglect her wishes now.
ROCHESTER
Promise me you won't stay long.
JANE
Sir, it seems you are soon to be
married.
ROCHESTER
What of it?
JANE
Adele should go to school.
ROCHESTER
To get her out of my bride's way
who might otherwise trample her?
JANE
And I must seek another situation.
I intend to advertise.
Jane Eyre adapted by Moira Buffini March 2008 75.
ROCHESTER
At your peril you advertise. Trust
it to me. I'll find you a good
situation in time.
He is on the point of returning to the billiard room.
JANE
And sir? Forgive me but I have had
no wages as yet.
ROCHESTER
How much do I owe you?
JANE
Fifteen pounds.
Rochester looks in his wallet.
ROCHESTER
Here's fifty.
JANE
That's too much.
ROCHESTER
Take your wages.
JANE
I cannot.
ROCHESTER
Then I only have a ten.
JANE
(TAKING IT)
Now you owe me five.
ROCHESTER
Just so. Come back for it quickly.
Meantime, I shall safeguard it in
here.
He taps the wallet, which is in his breast pocket.
ROCHESTER (CONT'D)
Do you trust me to keep it, Jane?
JANE
(SMILING)
Not a whit, sir. You are not to
be trusted at all.
Rochester strides away, grinning. Jane turns.
Jane Eyre adapted by Moira Buffini March 2008 76.
INT. DAY. GATESHEAD - BESSIE'S PARLOUR.
Bessie, now housekeeper, is moving forward to meet Jane.
BESSIE
Bless you! - I knew you'd come.
They embrace.
JANE
Bessie... I'm not too late? How
is Mrs Reed?
BESSIE
She may linger yet a while. She's
spoken of you daily. At first we
couldn't tell what she was saying
but when her speech came clear we
heard 'Jane Eyre, get Jane Eyre.'
JANE
Shall I see her now?
BESSIE
I'll take you up directly. But look
at you. What a lady you've become.
Why you're almost pretty.
INT. DAY. GATESHEAD - MRS REED'S BEDROOM
Jane takes her aunt's hand. Mrs Reed looks very near death.
JANE
Aunt Reed? It is Jane Eyre. You
sent for me, and here I am.
Mrs Reed, with an effort, pulls her hand away from Jane's.
MRS REED
No one knows the trouble I have
with that child. Such a burden.
Left on my hands. Speaking to me
like a fiend. The fever at
Lowood. She should have died!
JANE
Why do you hate her so?
MRS REED
Her mother. Reed's sister - his
beloved. When news came of her
death he wept like a fool. Sent
for the baby. Sickly thing - not
strong like mine. But Reed loved
it. Kept it by his bed. Made me
vow to bring the creature up. Why
did he not love mine?
Jane Eyre adapted by Moira Buffini March 2008 77.
The words are a revelation to Jane. Mrs Reed gazes at her.
MRS REED (CONT'D)
Who are you?
JANE
I am Jane Eyre, Aunt.
MRS REED
You. Is there no one in the room?
Jane motions Bessie to go.
JANE
We are alone.
MRS REED
I've twice done you wrong. I
broke the vow I made to Reed -
JANE
Please, don't think of it -
MRS REED
I am dying; I must get it out!
Mrs Reed indicates a box on her bedside table.
MRS REED (CONT'D)
Open that box. Take out the
letter. Read it.
Jane obeys. She reads the letter aloud.
JANE
'Madam, will you have the goodness
to send me the address of my
niece, Jane Eyre. I desire her to
come to me at Madeira. Fortune has
blessed my endeavours and as I am
childless I wish to adopt her and
bequeath her at my death whatever
I may have to leave. Yours, John
Eyre, Madeira.'
Jane is stunned.
JANE (CONT'D)
This is dated three years ago.
Why did I never hear of it?
MRS REED
Because I wrote and told him you
had died of typhus at Lowood
school. You fury. You were born to
be my torment. I'll never forget
how you turned on me and raged.
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 78.
MRS REED (CONT'D)
You called the names of the dead
down upon me. I was afraid.
JANE
Forgive me.
MRS REED
You cursed me.
JANE
I would have loved you if you'd
let me.
MRS REED
My life has been cursed.
JANE
Please, let us be reconciled.
Mrs Reed shrinks from Jane's touch. Jane wipes her tears.
JANE (CONT'D)
Then love me or hate me as you
will. You have my full and free
forgiveness. Now ask for God's -
and be at peace.
Mrs Reed's eyes close.
INT. DAY. GATESHEAD - THE RED ROOM.
The morning sun is pouring in. Jane goes to the bed. She
puts her hand upon it, gently, as if thanking her uncle for
all he did. She notices a picture on the wall. A miniature
of a brown-haired woman with elfin eyes.
Jane takes it off the wall. Bessie comes in.
JANE
My mother.
Bessie nods. A tear rolls down Jane's face. She clasps the
picture, looking round the room.
JANE (CONT'D)
Why ever was I so afraid?
EXT. DAY. A ROADSIDE.
A coach pulls up in the lane near Thornfield. Jane gets
out. We hear her voice.
JANE (V.O.)
My dear uncle, some years ago, my
Aunt Reed mistakenly informed you
that I had died.
Jane Eyre adapted by Moira Buffini March 2008 79.
EXT. EVENING. A SUMMER WOOD.
Jane is walking through the wooded glade where she first
met Rochester. All is green and verdant and bathed in
sunset light. There seems to be life everywhere.
JANE (V.O.)
I am writing to tell you that I
am very much alive and living at
Thornfield Hall, where I am
currently governess to the ward
of Mr Edward Fairfax Rochester -
ROCHESTER (O.S.)
There you are.
Jane turns. Rochester is sitting on the stile where they
first met. For a moment, her every nerve is unstrung.
ROCHESTER (CONT'D)
Just like one of your tricks to
steal into your home along with
the twilight. Where the deuce
have you been this last month?
JANE
I have been with my aunt sir, who
is dead.
Rochester laughs.
ROCHESTER
A true Janian reply. If I dared
I'd touch you, to see if you were
real...
Jane puts out her hand. Rochester takes it. He helps Jane
over the stile.
ROCHESTER (CONT'D)
Go home - stay your wandering
feet at a friend's threshold.
Jane lets go of his hand.
JANE
Thank you Mr Rochester. I'm
strangely glad to get back again to
you. Wherever you are is my home.
Jane, knowing she has said too much, turns and runs over
the fields towards Thornfield.
INT. EVENING. THORNFIELD - MRS FAIRFAX'S PARLOUR
Jane is on a low seat, Adele nestling close to her.
Jane Eyre adapted by Moira Buffini March 2008 80.
MRS FAIRFAX
We're expecting the announcement
very soon. He went down to London
only last week to buy her a new
carriage.
JANE
Then we must accept it. He'll
soon bring home his bride.
Mrs Fairfax nods.
EXT. TWILIGHT. THORNFIELD - THE ORCHARD
Jane is alone, drinking in the beauty of the evening -
looking at the gardens as if she may never see them again.
She turns a corner and sees Rochester staring intently at
something. His back is to her. She is about to tiptoe away.
ROCHESTER
Come and look at this fellow, Jane.
Jane approaches, wondering how he has sensed her presence.
Rochester is looking at a huge moth.
ROCHESTER (CONT'D)
Look at his wings. He looks West
Indian - I have never seen one
like him, here. There; flown.
They watch the moth as it flies towards the house.
ROCHESTER (CONT'D)
Thornfield is a pleasant place in
summer, isn't it?
JANE
I'll be sad to leave it.
ROCHESTER
Yes, but it can't be helped. I
soon hope to be a bridegroom.
JANE
Have you found me a new situation,
sir?
ROCHESTER
A situation, yes of course. It's
the least I can do for a faithful
paid subordinate such as yourself.
You're to undertake the education
of the five daughters of Mrs
Dionysus O'Gall of Bitternut Lodge,
Connaught.
Jane Eyre adapted by Moira Buffini March 2008 81.
JANE
Connaught?
ROCHESTER
You'll like Ireland. They're such
warm-hearted people, they say.
JANE
It is a long way away, sir.
ROCHESTER
From what?
JANE
From here. From you.
ROCHESTER
We've been good friends, Jane
haven't we? But with the Irish sea
between us you'd soon forget me.
Jane's great distress escapes her.
JANE
I wish I could. I wish I'd never
come here. I love Thornfield -
I've lived a full life here. I've
not been trampled on or petrified
or buried with inferior minds.
I've talked face to face with what
I reverence, with what I delight
in. I've known you Mr Rochester -
ROCHESTER
Then why must you be torn from me?
JANE
Because of your bride.
ROCHESTER
I have no bride.
JANE
But you will have.
ROCHESTER
Yes, I will.
JANE
Then I must go.
ROCHESTER
You must stay.
JANE
Do you think I could stay to become
nothing to you? Am I an automaton,
a machine without feelings?
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 82.
JANE (CONT'D)
Do you think that because I am
poor, obscure, plain and little
that I am soulless and heartless?
ROCHESTER
JANE -
JANE
I have as much soul as you and full
as much heart. I'm not speaking to
you through mortal flesh. It's my
spirit that addresses your spirit
as if we'd passed through the grave
and stood at God's feet, equal - as
we are.
Rochester takes Jane in his arms.
ROCHESTER
As we are.
Jane struggles away from him.
JANE
Let me go.
ROCHESTER
NO -
JANE
I'm a free human being with an
independent will, which I now
exert to leave you.
Rochester releases her. She stands in front of him.
ROCHESTER
Then let your will decide your
destiny. I offer you my hand, my
heart and a share of all this.
He gestures towards the house, the land. Jane is stunned.
ROCHESTER (CONT'D)
I ask you to pass through life at
my side. Jane, you are my equal
and my likeness. It is you I
intend to marry.
JANE
Are you mocking me?
ROCHESTER
Do you doubt me?
JANE
Entirely.
Jane Eyre adapted by Moira Buffini March 2008 83.
ROCHESTER
You have no faith in me?
JANE
Not a whit.
ROCHESTER
You little sceptic.
JANE
Your bride is Miss Ingram -
ROCHESTER
What love have I for Miss Ingram?
What love has she for me? I
caused a rumour to reach her that
my fortune was lost and got
instant coldness. I wanted to
make you jealous, to move you to
love me. It's you - you strange,
unearthly thing. I love you as my
own flesh. You - poor and obscure
as you are - please accept me as
your husband.
Jane begins to believe him.
JANE
Are you in earnest?
ROCHESTER
I must have you for my own.
JANE
You wish me to be your wife?
ROCHESTER
I swear it.
JANE
You love me.
ROCHESTER
I do.
JANE
Then sir, I will marry you.
They embrace.
Neither Jane nor Rochester moves. Darkness is almost
complete. Still the intensity of the embrace is held.
ROCHESTER
It will atone. It will atone.
A sheet of lightning momentarily lights up the sky. Some
moments later a distant rumble of thunder.
Jane Eyre adapted by Moira Buffini March 2008 84.
I/E. NIGHT. THORNFIELD - THE FRONT HALL
It is teeming with rain. Rochester and Jane run to the
front entrance. He holds his jacket around her. Lightning.
They reach the dry hearth inside. Thunder. They are both
euphoric, breathless, laughing.
JANE
I must go.
ROCHESTER
Good night. Good night.
He kisses her. They kiss again. Jane will not let him go.
JANE
Good night.
As Jane runs upstairs she sees Mrs Fairfax, deeply shocked.
INT. DAY. THORNFIELD - MRS FAIRFAX'S PARLOUR
Jane wears a lilac gown. Mrs Fairfax is very concerned.
MRS FAIRFAX
Have you accepted him?
JANE
Yes.
MRS FAIRFAX
Well I never would have thought.
Jane is hurt.
JANE
Am I a monster? Is it so
impossible that Mr Rochester
should love me?
MRS FAIRFAX
No, I've long noticed that you were
a sort of pet of his. But you're so
young and so little acquainted with
men. I don't want to grieve you
child, but let me put you on your
guard. Gentlemen in his position...
Let's just say they're not
accustomed to marry their
governesses. Until you are wed,
distrust yourself as well as him.
Please, keep him at a distance -
Jane has heard enough. She turns away.
JANE
Thank you.
Jane Eyre adapted by Moira Buffini March 2008 85.
INT. DAY. THORNFIELD - THE HALL
Jane, walking through, finds herself in Rochester's arms.
She laughs as he raises her off the ground.
ROCHESTER
Is this my pale elf? This sunny
faced girl with the radiant eyes?
JANE
It is I, Jane Eyre sir.
ROCHESTER
Soon to be Jane Rochester.
JANE
It can never be, sir. Human
beings were not meant to enjoy
complete happiness on this earth.
It's too much like a fairy tale.
ROCHESTER
(KISSING HER)
Let the fairy tale begin.
INT. DAY. A HABERDASHER'S SHOP.
Rochester is rolling out reams of beautiful silks. Jane
gets more uncomfortable as she looks at them.
ROCHESTER
This morning I wrote to my banker
in London to send certain jewels.
In a day or two I hope to pour
them into you lap -
JANE
Oh, no sir -
ROCHESTER
I will put the diamond chain
around your neck myself -
JANE
I don't want jewels -
ROCHESTER
I'll dress you in these satins -
JANE
Then you won't know me. I'll not
be Jane Eyre any longer but an
ape in a harlequin's jacket. Put
them away.
Jane pushes the silks away.
Jane Eyre adapted by Moira Buffini March 2008 86.
ROCHESTER
Well for cool native impudence
and pure innate pride, you
haven't your equal.
JANE
I'm naturally proud. And hard and
flinty. You ought to know what
sort of bargain you've made while
you've still got time to rescind
it. I want only one thing from
you, Mr Rochester.
ROCHESTER
And what's that?
JANE
Your regard.
Jane puts her arm through Rochester's. He smiles.
ROCHESTER
It's your time now, little tyrant
but it'll soon be mine and when I
have seized you, to have and to
hold, I'll attach you to a chain,
like this...
Rochester flicks his watch into the air.
INT. DAY. THORNFIELD - MRS FAIRFAX'S PARLOUR.
A summer gale. The moan of the wind sounds almost human.
The light is sickly, nightmarish.
A great box sits on the table, which Jane is opening.
Adele, Sophie and Mrs Fairfax are all looking on. Jane
pulls out a pearl coloured wedding gown. She is dismayed at
its opulence.
She holds it up to herself. Adele starts to play with the
great veil. She wraps it round herself. She becomes caught
in it, tangled, distressed.
INT. NIGHT. THORNFIELD - JANE'S BEDROOM.
JANE
Adele?
Jane wakes. There is a candle alight at the end of her bed.
Her eyes focus. Her wardrobe is open. Jane is unnerved.
JANE (CONT'D)
Adele, is that you?
Jane Eyre adapted by Moira Buffini March 2008 87.
A form emerges, a woman, tall and gaunt, with thick, black
hair hanging down her back. She is dressed in a nightgown -
like a shroud. Over her head, she wears Jane's bridal veil;
a phantom bride.
Jane is paralysed with terror.
The form takes the veil and slowly tears it in half;
bruised arms, dirt, predatory nails, neglect. The last
thing to be revealed is the woman's face, pale and ghastly.
Her eyes are glittering with hatred.
The figure takes the candle and bends down to Jane. Her
intention looks deadly. Jane's breath catches. She cannot
breathe.
The figure moves closer, then blows out the candle.
Darkness.
INT. DAY. THORNFIELD - JANE'S BEDROOM.
Jane wakes, lying half out of the bed. The veil is over
her. She flings it away from her face. Jane sits, her
terror dawning. Her breath comes in great dry sobs. She is
shocked to find herself still alive.
EXT. EVENING. - THORNFIELD - BY THE GATES
Jane is waiting, pale with anxiety. A man on horseback
approaches, a great dog at his side; Rochester. He is
grinning.
He pulls Jane up on the horse in front of him. She curls
into his arms, desperate for his comfort and his strength.
Rochester senses something is wrong. He slows the horse.
ROCHESTER
What is it?
JANE
I'm afraid.
INT. EVENING. THORNFIELD - JANE'S BEDROOM.
Rochester holds the torn veil in his hands. He is aghast.
He cannot think what to say.
ROCHESTER
Jane, this is the only explanation.
It must have been half-dream, half-
reality. A woman did enter your
room last night and that woman was -
must have been - Grace Poole -
Jane Eyre adapted by Moira Buffini March 2008 88.
JANE
It was not Grace Poole.
Rochester keeps talking over her.
ROCHESTER
You know how strange she is. What
did she do to me? To Mason? In a
state between sleeping and waking -
JANE
I was not asleep.
ROCHESTER
You noticed her entrance and her
actions but you've ascribed to
her an appearance different from
her own. That was your nightmare -
JANE
I know what I saw.
ROCHESTER
I see you'd ask why I keep such a
woman in my house. When we've been
married a year and a day, I promise
I'll tell you. Are you satisfied
Jane? Do you accept my solution?
Jane clearly doesn't. Rochester takes her in his arms.
ROCHESTER (CONT'D)
Dear God. It was only the veil...
INT. DAY. THORNFIELD - ADELE'S ROOM.
Jane is in an unadorned pearl wedding gown.
ADELE
Mademoiselle...
Adele gives her a small bouquet. Jane hugs her, very moved -
as if she is leaving her childhood behind. She turns to go.
SOPHIE
Please, you must look.
Jane gazes stupefied at the stranger in the mirror.
INT. DAY. THORNFIELD - THE HALL.
Rochester is waiting at the bottom of the stairs for Jane.
She slows when she sees him. She finds she cannot speak.
Neither can he.
Mrs Fairfax is by the door. Jane can't find words for her.
Jane Eyre adapted by Moira Buffini March 2008 89.
ROCHESTER
Come.
Rochester grips her hand. They quit the house.
EXT. DAY. THORNFIELD - THE GROUNDS.
Rochester, grimly resolute, is striding at a pace Jane can
hardly follow. Her satin shoes are muddy. She is becoming
breathless. A rook flies over their heads, cawing.
EXT. DAY. THORNFIELD - THE CHURCH.
Rochester is striding purposefully towards a small church
of ancient design. Jane stumbles. Rochester is contrite.
Jane tries to collect herself. She looks up to the sky. The
rook wheels around the spire. She takes Rochester's hand.
INT. DAY. THE CHURCH
At the altar, Jane glances at Rochester. He is looking
straight ahead at the clergyman, Wood.
WOOD
I require and charge you both, as
ye will answer at the dreadful
day of judgement when the secrets
of all hearts shall be revealed,
that if either of you know any
impediment why ye may not be
lawfully joined together in
matrimony, ye do now confess it.
There is not a sound. Rochester still doesn't look at Jane.
The clergyman prepares the rings.
WOOD (CONT'D)
Edward Fairfax Rochester, do you
TAKE -
A commotion at the back of the church. Two men rapidly
enter. One of them Briggs, hurries up the aisle.
BRIGGS
The marriage cannot go on. I
declare the existence of an
impediment.
Rochester moves, shaken.
ROCHESTER
Proceed.
Jane Eyre adapted by Moira Buffini March 2008 90.
BRIGGS
The ceremony is quite broken off.
An insuperable impediment to this
marriage exists.
ROCHESTER
Proceed.
BRIGGS
Mr Rochester has a wife now
living.
Wood is utterly dismayed.
ROCHESTER
(SHOUTS)
Where is your proof?
Briggs starts to read out a document.
BRIGGS (O.S.)
I affirm and can prove that Edward
Fairfax Rochester was fifteen years
ago married to my sister, Bertha
Antoinetta Mason at St James
church, Spanish Town, Jamaica.
Jane looks at Rochester. She forces him to look at her. He
denies nothing; defies everything.
BRIGGS (CONT'D)
The record of the marriage will be
found in the register of that
church - a copy of it is now in my
possession. Signed, Richard Mason.
Rochester turns to Briggs.
ROCHESTER
That does not prove that my wife
is still living.
BRIGGS
She was living two months ago.
ROCHESTER
How do you know?
BRIGGS
I have a witness to the fact.
ROCHESTER
Produce him or go to hell.
The figure by the door steps out of the shadows. It is
Richard Mason. Rochester flies down the aisle, a groan of
rage escapes him. He lifts his arm.
Jane Eyre adapted by Moira Buffini March 2008 91.
MASON
Good God -
WOOD
Sir, you are in a sacred place -
Mason flinches away. Rochester swallows his rage.
ROCHESTER
What have you to say?
MASON
She is at Thornfield Hall. I saw
her there in April. I'm her
brother.
A grim smile contorts Rochester's lips. He turns towards
Jane. She remains where she was abandoned - at the altar -
tiny, under he vaulted arch. The bouquet falls from her
hand. Rochester walks to her.
ROCHESTER
This girl knew nothing. She
thought all was fair and legal.
She never dreamt she was going to
be entrapped into a feigned union
with a defrauded wretch.
A tiny breath is the only noise Jane utters. Rochester
pulls her from the altar to his side.
ROCHESTER (CONT'D)
Come, Jane, come all of you and
meet Mrs Poole's charming
patient. Come and meet my wife.
The sun outside is blinding. Jane closes her eyes.
I/E. DAY. THORNFIELD - THE ENTRANCE / HALL
Rochester enters pulling Jane after him, her hand still in
his iron grip. Wood, Mason and Briggs follow.
Mrs Fairfax, Adele, Sophie, Martha and Leah are waiting.
Adele runs forward. Rochester stops her in her tracks.
ROCHESTER
Get back! Do not come near! Go,
all of you - keep your
congratulations - they come
fifteen years too late!
Adele has crumpled into frightened tears. Mrs Fairfax has
her hand over her mouth, pale with shock. Jane meets her
eye as Rochester pulls her up the stairs. A revelation.
Jane Eyre adapted by Moira Buffini March 2008 92.
INT. DAY. THORNFIELD - THE THIRD FLOOR.
The tapestried room. Rochester glances at Mason. He unlocks
the inner door with one hand; the other won't let go of
Jane. Grace Poole sits by a strongly guarded fire, stirring
something in a pot.
Rochester leads Jane and the men into the room. There is no
window, no furniture except for Grace's chair; only a
mattress on the floor.
GRACE
Sir, you can't be bringing folk
in here. It's madness.
Bertha Antoinetta Mason stands, amazed at the sight of her
visitors. She wears a white shift. There are black rook
feathers twined in her hair; her only ornament.
ROCHESTER
This clothed hyena is my wife.
Bertha's pose is dignified, her expression grows
triumphant. She approaches Rochester - her eyes locked with
Jane's. Jane gazes: fear, disgust, compassion.
ROCHESTER (CONT'D)
I was duped into marriage with
this lunatic fifteen years ago.
Briggs and Wood are deeply repelled.
WOOD
Let us go. We have seen enough.
Bertha puts her arm through Rochester's; lays her head on
his shoulder; smiles at Jane, magnanimous in her victory.
ROCHESTER
My own demon, Bertha.
With shocking speed and strength Bertha lays her nails into
Rochester's cheek. He struggles with her.
Grace assists Rochester. They do not hit; they subdue.
Bertha's attack is effectively contained. They have her on
her knees, her arms behind her.
Bertha lifts her head and screams. If a scream could
express the agony of a whole soul then this would. Jane
turns on her heels. She stumbles, finds the door, exits.
INT. DAY. THORNFIELD - THE SECOND FLOOR.
Jane is coming down the stairs. Briggs is at her side.
Jane Eyre adapted by Moira Buffini March 2008 93.
BRIGGS
You, madam, are clearly not to
blame. Your uncle will be glad to
hear it.
Jane looks at Briggs, only dimly comprehending him.
BRIGGS (CONT'D)
You wrote to your uncle, did you
not? To inform him you were going
to marry Mr Rochester? Mr Mason
was staying with him when your
letter came.
Briggs gets only a blank look of puzzlement from Jane.
BRIGGS (CONT'D)
Mr John Eyre has been the Madeira
correspondent of the Mason trading
house for some years. You can
imagine his distress when Mason
revealed the real state of matters.
Jane starts walking towards the sanctuary of her room.
BRIGGS (CONT'D)
He would have come himself but
I'm sad to tell you that his
health is in mortal decline. He
implored Mr Mason to prevent this
false marriage and referred him
to me for assistance. I only hope
that he survives long enough to
hear that you are safe.
Jane opens her door. She turns to Briggs.
JANE
Thank you.
She shuts the door on Briggs and on the world.
INT. DAY. THORNFIELD - JANE'S BEDROOM.
Jane sits on her bed. She mechanically starts taking off
the blond square she has worn as a veil.
CUT TO:
Jane, standing in stillness with the pearl dress crumpled
around her feet.
CUT TO:
Jane Eyre adapted by Moira Buffini March 2008 94.
Jane has taken a black stuff dress off its hangar. She
slowly puts her arms around it, as if it is her old self.
She holds it, her eyes staring at nothing.
CUT TO:
Jane in her underclothes, sitting down on the bed. She
closes her eyes.
EXT. DAY. A DRY RIVER BED.
Jane lies curled up on a rock at the bottom of a dried-up
river bed. All of nature is suspended in stillness.
Far away, we hear the sound of a flood loosened in the
remote mountains. We hear the sound of the torrent
approach.
Jane doesn't move. She has no will to flee. The sound of
rushing water pounds in her ears. She lies, waiting to be
dashed away. We see the flood approach and hit. A dazzling
whiteness of water and foam.
INT. DAY. THORNFIELD - JANE'S BEDROOM.
Jane's room is entirely unchanged except for the fact that
it is full of river water from floor to ceiling. Her
bedding, furniture and belongings all sit in the room as
normal - underwater.
The light shines murkily in through the window to reveal
Jane floating, suspended. Her hair and her garments trail
out. She is alive. But she is drowned.
INT. NIGHT. THORNFIELD - JANE'S BEDROOM.
The moon has risen. Jane is lying in an exhausted doze on
the bed. She wakes; sits up. She is faint. She recovers
herself. She knows what she must do.
CUT TO:
Jane, dressed in black in the silver light, putting her
brush, comb and brooch in a bag. She looks in her purse.
She has some coins.
INT. DAY. THORNFIELD - SECOND FLOOR.
Jane unbolts her door, takes a step out of her room, and
stumbles into Rochester's arms. He has been keeping guard.
ROCHESTER
JANE -
Jane Eyre adapted by Moira Buffini March 2008 95.
His cheek has been cut by Bertha's nails.
ROCHESTER (CONT'D)
Five minutes more of that death-
like hush and I'd have forced the
lock.
He examines her face. He is desperate.
ROCHESTER (CONT'D)
No tears. Your heart has been
weeping blood. Forgive me.
Rochester buries his head in Jane's arms. She automatically
comforts him.
ROCHESTER (CONT'D)
How could I? I am a worthless
sinner. Don't spare me. Rain your
tears up on me.
JANE
I cannot.
ROCHESTER
I deserve a hail of fire.
Jane extricates herself from his embrace.
JANE
I'm tired and sick. I need some
water.
Rochester perceives Jane's inanition. He carries her down
the gallery. Jane clings on to her bag of belongings. She
has nothing else left.
INT. NIGHT. THORNFIELD - THE LIBRARY.
Rochester has lain Jane in front of the fire. She forces
herself to eat. Rochester gives her wine. She sips.
ROCHESTER
How are you now?
JANE
Much better, sir. I shall be well
again soon.
Rochester paces away to the fire. He comes back. Stoops his
head down to Jane to kiss her. She turns her head away.
ROCHESTER
I know you. You are thinking.
Talking is no use; you are
thinking how to act.
Jane Eyre adapted by Moira Buffini March 2008 96.
JANE
All is changed, sir. I must
change too.
ROCHESTER
Yes. There is no doubt that we
both must change. I was wrong
ever to keep you here; this
narrow stone vault with its one
real fiend. I'll shut it up. I'll
pay Mrs Poole two hundred a year
to care for its inmate and then
no one will be harmed when she is
prompted to burn people, to stab
them, to bite the flesh from
their bones -
JANE
Sir - you speak of her with hate -
it is cruel. She cannot help
being mad.
ROCHESTER
It's not because she's mad that I
hate her. If you were mad do you
think that I'd hate you?
JANE
I do.
ROCHESTER
Then you know nothing about me,
nothing about the way I love. Your
mind is my treasure - and if it
were broken it would be my treasure
still. You are my sympathy, my
better self, my angel. I will wrap
my whole existence round you. Let
us leave here tomorrow. Come with
me - as my wife.
JANE
No.
ROCHESTER
I'll pledge you my fidelity -
JANE
You can't.
ROCHESTER
You'll live a happy, most
innocent life -
JANE
I must leave you, sir.
Rochester cannot take this in.
Jane Eyre adapted by Moira Buffini March 2008 97.
ROCHESTER
Don't you love me?
JANE
I do love you - But I mustn't
show it or speak it ever again. I
must begin a new existence -
strange scenes among strange
faces. I must part from you.
ROCHESTER
Must be a part of me; that's what
you mean. You are my wife, Jane.
In truth -
JANE
You have a wife already.
ROCHESTER
I was tricked, duped into wedlock
with that demon-hate, that harlot,
that succubus upstairs. My father
wanted her money and so I was sent
to Spanish Town and the match was
made. I hardly spoke with her. I
was dazzled, ignorant, raw. My
senses were besotted and I married
her - gross, grovelling mole-eyed
blockhead that I was.
Rochester sits, staring at the fire.
ROCHESTER (CONT'D)
I lived with her for four years.
She dragged me through all the
degrading agonies which attend
those bound to the intemperate and
unchaste. Her excesses developed
germs of madness and the doctors
shut her up. One night, unable to
bear her screaming hate and knowing
I could never be rid of her, I put
a gun to my head to kill myself.
Jane is both appalled and moved.
ROCHESTER (CONT'D)
I would have pulled the trigger,
died in that tropical place but for
a breeze which blew in from the sea
and smelt of home. With it, I came
to my senses. Bertha Antoinetta
Mason had abused my long suffering,
sullied my name, outraged my honour
and blighted my youth. It was
enough. At that moment, as I
decided to live, she ceased to be
my wife.
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 98.
ROCHESTER (CONT'D)
Only my father and brother knew of
the marriage and by then they were
both dead. I let my connection with
her be buried in oblivion and I
brought her here. I have seen that
she's cared for as her condition
demands and that is all that God
and humanity asks.
JANE
I earnestly pity you, sir.
He sees that Jane is silently crying.
ROCHESTER
Jane, it's not pity that I see in
your face. It's not pity -
JANE
Do not say it -
ROCHESTER
It is love.
JANE
STOP -
They are holding each other.
ROCHESTER
I was wrong to deceive you. It was
cowardly. I should have appealed to
your spirit - as I do now - should
have opened my life, described my
hunger for a better existence -
shown you my chains. I give you my
life. I give you my pledge. Please,
be my wife.
JANE
I can not.
ROCHESTER
You would be my equal.
JANE
How?
ROCHESTER
I would make it so.
JANE
You once told me that hiring a
mistress is the next worse thing
to buying a slave.
ROCHESTER
Not my mistress -
Jane Eyre adapted by Moira Buffini March 2008 99.
JANE
I would not degrade you by having
you live with a slave.
ROCHESTER
I said wife, my wife -
Jane tries to rise. Rochester keeps hold of her hand. He
gently pulls her down again. Comforts her.
ROCHESTER (CONT'D)
Do you really mean to leave me?
JANE
I do.
ROCHESTER
Jane...
He kisses her gently, lovingly.
ROCHESTER (CONT'D)
Do you mean it now?
JANE
I do.
He runs his hands over her, with great tenderness. Jane
offers no resistance.
ROCHESTER
And now?
Jane nods.
ROCHESTER (CONT'D)
Oh Jane...
Rochester lays her down.
ROCHESTER (CONT'D)
What friends would you offend by
living with me? Who would be
injured? Who would care?
Jane is almost lost. She speaks in a small voice.
JANE
I would.
ROCHESTER
Jane, it would not be wicked to
love me...
JANE
It would be to obey you. I care
for myself.
Jane Eyre adapted by Moira Buffini March 2008 100.
Jane's resolve grows. She resists.
JANE (CONT'D)
The more alone, the more friendless,
unsustained I am, the more I must
respect myself -
ROCHESTER
Will you listen to me?
JANE
I must listen to myself -
ROCHESTER
Will you hear reason?
JANE
Let me go -
ROCHESTER
Because if you won't I'll try
violence.
Jane instantly stops resisting. She looks at him with utter
shock. He is above her.
ROCHESTER (CONT'D)
I could bend you with my finger
and thumb; a mere reed you feel
in my hands.
Jane neither moves nor speaks.
ROCHESTER (CONT'D)
But your eye; resolute, free. What
ever I do with this cage I cannot
get at you. And it is you, soul,
that I want. Why don't you come of
your own free will here, to my
heart? Oh come, Jane, come -
JANE
(CRYING OUT)
God help me!
All the life seems to go out of Rochester. He lets Jane go.
She pulls herself away from him. She stands. He remains,
his face buried.
She goes to the door. Rochester turns his eyes to her.
ROCHESTER
You have never called me by my
name. My name is Edward.
Jane cannot speak it. She turns away.
Jane Eyre adapted by Moira Buffini March 2008 101.
EXT. DAWN. THORNFIELD - THE GROUNDS.
First light. Jane is running; flushed, breathless, her
dress soaked with dew. She has her bag of belongings over
her shoulder. She trips; falls to her knees.
She looks back. For a moment she seems paralysed. She
returns her gaze to the route ahead. Her need to escape is
so great that she crawls forwards until she is able to
raise herself to her feet.
She reaches the stile; lifts herself on to it; puts her
arms around the post. She holds it, as if it were beloved.
Her eyes close. We hear the sound of a winter blizzard.
INT. NIGHT. JANE'S COTTAGE.
Jane opens her eyes. She is sitting at her fireside.
Outside, a snowstorm howls. On her knee is a sketchbook.
She looks down at it.
Rochester's dark eye is beginning to appear on her paper.
She puts a line through it; scribbles it out, blinding him.
She stands up, trying to escape her thoughts. She whispers:
JANE
Edward.
There is a loud knock on the door. Jane starts.
CUT TO:
Jane opening the door. Rochester is there, standing in the
frozen hurricane and howling darkness.
ROCHESTER
Jane.
Jane pulls him inside. She falls into his arms. They
embrace passionately. Jane is actively pulling him towards
her, delirious with love and longing.
CUT TO:
The exact same shot of Jane opening the door. St John
Rivers is there, having waded through the drifting snow.
JANE
Mr St John - What on earth brings
you away from your hearth on a
night like this? Has anything
happened? There's no bad news I
hope?
ST JOHN
How easily alarmed you are.
Jane Eyre adapted by Moira Buffini March 2008 102.
He takes off his cloak; stamps the snow off his boots.
ST JOHN (CONT'D)
The snow was up to my waist at
one point.
JANE
You are recklessly rash about
your own health.
ST JOHN
Nonsense.
St John's eyes alight on Jane's charcoal drawing. Jane
snatches it away too late. There is a moment of silence.
JANE
Why are you come?
ST JOHN
An inhospitable question.
JANE
I mean on a night like this -
ST JOHN
I got tired of my mute books and
empty rooms. Besides I've been told
half a story and I'm most impatient
to find out the end.
JANE
Please...
Jane motions to St John to sit. He doesn't. She becomes
increasingly uneasy as he speaks.
ST JOHN
Twenty years ago, a poor curate
fell in love with a rich man's
daughter and married her. She was
disowned by her family and two
years later the rash pair were both
dead. They left a daughter which
charity received into her lap - as
cold as that snow drift I almost
stuck fast in. Charity carried the
friendless thing to the house of
its rich maternal relations. It was
reared by an aunt-in-law; I come to
names now - Mrs Reed of Gateshead.
Jane starts. She is on her feet.
ST JOHN (CONT'D)
Mrs Reed kept the orphan ten years
and at the end of that time she was
sent to Lowood school.
(MORE)
Jane Eyre adapted by Moira Buffini March 2008 103.
ST JOHN (CONT'D)
It seems her career there was very
honourable. She became a teacher
like yourself, and left it, like
yourself, to be a governess. She
undertook the education of the ward
of a certain Mr Rochester -
JANE
Mr Rivers! -
ST JOHN
I can guess your feelings but hear
me to the end. Of Mr Rochester's
character I know nothing but he
professed to offer honourable
marriage to this young girl and at
the very altar she discovered that
he had a wife yet alive. His
subsequent conduct is a matter of
pure conjecture but when the
governess was enquired after it was
discovered that she had fled
Thornfield Hall and no trace of her
has since been found. Now isn't
that an odd tale?
JANE
Since you know so much, perhaps
you can tell me how he is.
ST JOHN
Who?
JANE
Mr Rochester; how is he?
ST JOHN
I'm ignorant of all concerning him.
St John opens his pocket book and removes a piece of paper.
ST JOHN (CONT'D)
Well, since you won't ask the
governess's name, I must tell
you. I have it written down here
in black and white.
He hands her the paper. On it are doodled the heads of some
of her pupils. She has absently written Jane Eyre in the
margin several times.
ST JOHN (CONT'D)
A solicitor named Briggs wrote to
me of a Jane Eyre. I knew a Jane
Elliott. This paper resolved my
suspicion into certainty.
Jane Eyre adapted by Moira Buffini March 2008 104.
JANE
The solicitor - Mr Briggs - does
he have any news of Mr Rochester?
ST JOHN
Are you not going to enquire why
he has gone to such lengths to
find you?
JANE
What does he want with me?
ST JOHN
Merely to tell you that your uncle,
Mr John Eyre of Madeira, is dead;
that he has left you all his
property and that you are now rich.
JANE
What?
ST JOHN
You are rich; quite an heiress.
Silence. Jane is flabbergasted.
ST JOHN (CONT'D)
Your fortune is vested in the
English funds; Briggs has the
will and all the necessary
documents. You can enter on
immediate possession.
At last, Jane looks questioningly up at him.
ST JOHN (CONT'D)
Your forehead unbends at last; I
thought you were turning to
stone. Perhaps now you will ask
how much you are worth.
JANE
How much am I worth?
ST JOHN
Oh a trifle. Twenty thousand
pounds - but what of that?
The news literally takes Jane's breath away.
JANE
Twenty thousand pounds?
St John begins to laugh at Jane's reaction. She has never
seen him laugh before.
Jane Eyre adapted by Moira Buffini March 2008 105.
ST JOHN
If you'd committed a murder and
I'd found you out, you could
scarcely look more aghast.
JANE
There must be some mistake. It's
two thousand, surely.
ST JOHN
It's twenty. You look desperately
miserable about it, I must say.
Jane still cannot take it in. She frowns in disbelief.
JANE
Why did Mr Briggs write to you?
ST JOHN
You see, that is the strange thing.
It makes me wonder what power or
providence led you to our door.
Your name is Jane Eyre.
JANE
Yes.
ST JOHN
Then I'm you namesake. I was
christened St John Eyre Rivers.
JANE
St John Eyre -
ST JOHN
My mother had two brothers, one was
a clergyman, your father, the other
was John Eyre of Madeira. Mr Briggs
wrote to inform us that the
clergyman's daughter was lost. I
have been able to find her out;
that is all.
JANE
Your mother was my father's
sister?
ST JOHN
Yes.
JANE
My uncle John was your uncle
John?
ST JOHN
That is correct.
Jane Eyre adapted by Moira Buffini March 2008 106.
JANE
So you, Diana and Mary -
ST JOHN
We are cousins, yes.
Jane is deeply moved.
JANE
Oh, I am glad! - I am glad!
She throws her arms around St John. Tears of happiness
start to flow. He, finding it peculiar to be held, gently
tries to calm her.
ST JOHN
Here you are neglecting essential
points to pursue trifles. You were
utterly downhearted when I told you
that you were rich and now, for a
matter of no moment, you are
deliriously happy.
JANE
Of no moment? You have sisters and
maybe don't care for a cousin but I
have nobody. I have been alone,
always. And now three relations are
born into my world full grown. Oh, I
am glad. You, who saved my life -
ST JOHN
You must try to tranquillise your
feelings.
Jane finally releases him, still radiant with joy.
JANE
Write to Diana and Mary. Tell
them to hand in notice and come
home. They will have five
thousand each and so will you.
ST JOHN
I've told you the news too quickly.
You're confused.
JANE
Don't put me out of patience,
cousin. I am rational enough.
Twenty thousand divided equally
between the nieces and nephews of
our uncle, gives five to each.
ST JOHN
This is acting on first impulse.
You don't know what it is to have
WEALTH -
Jane Eyre adapted by Moira Buffini March 2008 107.
JANE
And you cannot imagine - family -
I never had a home. I never had
brothers and sisters -
A terrible thought occurs to her.
JANE (CONT'D)
You are not reluctant to own me,
are you?
St John takes her hand. She has surprised and moved him. He
looks at her, seeing her anew.
ST JOHN
Jane, I will be your brother.
EXT. DAY. SPRING - THE MOORS.
Jane, Diana and Mary are running over the moors. Mary has a
kite. They are as delighted as children.
INT. DAY. MOOR HOUSE - THE KITCHEN.
Jane is sitting at the table letting Diana style her hair.
They all have new summer dresses on. There is a lightness
to all three as if a great weight has been lifted from
their shoulders.
Diana is setting Jane's hair into curls like her own. Jane
looks at herself in the mirror; softer, gentler, different.
INT. NIGHT. MOOR HOUSE - THE PARLOUR.
The girls each have a candle. St John kisses Mary. He
kisses Diana.
ST JOHN
Good night.
DIANA
You call Jane your sister but you
don't treat her as such. You should
kiss her too.
Jane turns to Diana, embarrassed.
JANE
Di, you are very provoking.
As she turns back, she finds St John's face right in front
of her. He kisses her. A kiss with no warmth; an
experiment. He examines its effect. He is satisfied.
Jane Eyre adapted by Moira Buffini March 2008 108.
ST JOHN
Good night.
INT. NIGHT. MOOR HOUSE - JANE'S BEDROOM.
Jane closes the door. She puts her hand across her lips.
The icy kiss has agonised her with the full force of her
loneliness. She curls up in a ball, desperate.
EXT. EVENING. MOOR HOUSE - THE GARDEN.
A glorious summer sunset. Jane is digging at a flower bed,
putting all her passion into the task. She is flushed with
exertion. St John watches.
ST JOHN
You are wasted here.
JANE
Am I not being useful?
ST JOHN
You should look beyond Moor
House, beyond the selfish calm
and comfort of affluence.
JANE
Beyond to what?
ST JOHN
I go to India in six weeks.
JANE
So soon? -
St John draws Jane away from her work.
ST JOHN
I can see what your gifts are and
why they were given. Come with me.
Jane is utterly crestfallen.
ST JOHN (CONT'D)
God and nature intended you for a
missionary's wife. You are formed
for labour not for love. I want
to claim you - not for my
pleasure but for God's service.
JANE
I'm not fit for it. I have no
vocation.
ST JOHN
You're far too humble.
Jane Eyre adapted by Moira Buffini March 2008 109.
JANE
St John have mercy. I feel my
mind shrinking -
ST JOHN
Don't be afraid. You are diligent,
faithful, docile, courageous,
gentle and heroic. Cease to
mistrust yourself. I trust you
unreservedly. Let me give you time
to think. But know this; in you, I
recognise a fellow soul, a soul
that would revel in the flame and
excitement of sacrifice.
Jane is chilled to the bone by his words. St John leaves
the garden and walks away over the moors.
CUT TO:
Jane leaning against the garden wall, trying to think,
trying to compose herself. The sun is setting.
INT. NIGHT. MOOR HOUSE - THE PARLOUR.
Jane carrying a candle, opens the door. St John is at the
table working by lamp light. The moon shines brightly in.
JANE
I used to long for a life of
action, to overleap the horizon, to
move in the world of men. Maybe God
is giving me this. And what is
there for me here? Pain and longing
for what can't be. I don't know how
long I would survive in India. My
frame isn't strong. But I'll go
with you, if I may go free.
ST JOHN
Free?
JANE
You and I had better not marry.
ST JOHN
Why not?
JANE
Because I am your sister.
ST JOHN
But you'll go with me.
JANE
Conditionally - as your curate.
Jane Eyre adapted by Moira Buffini March 2008 110.
ST JOHN
Jane, I don't need a curate; I
need a wife.
JANE
I must have my heart and mind
free, my own self to turn to. I
couldn't become part of you -
ST JOHN
A part of me you must become or the
whole bargain is void. How can I, a
man not yet thirty take out to
India a girl of nineteen, unless
she is my wife? Don't offer God
half a sacrifice. He must have all.
And undoubtedly enough of love
would follow to make the union
right, even in your eyes.
Jane is shocked.
JANE
Enough of love?
ST JOHN
Yes, quite enough.
JANE
St John, I scorn your idea of
love. I scorn the counterfeit
sentiment you offer and I scorn
you when you offer it!
St John is mortified. A slow rage begins to boil in him.
ST JOHN
I've uttered nothing that
deserves scorn.
JANE
Forgive me but the very name of
love is an apple of discord
between us. My dear cousin,
please abandon your scheme of
marriage.
ST JOHN
No; and if you reject it, it's
not me you deny but God.
Jane is stung. St John has turned from her. His face is icy
in the moonlight.
JANE
Do not be angry with me please.
It makes me wretched. I want us
to be friends.
Jane Eyre adapted by Moira Buffini March 2008 111.
ST JOHN
We are friends. I hope we can be
more.
JANE
I cannot come as your wife.
ST JOHN
Why this refusal? It makes no
sense!
JANE
If I were to marry you, you'd
kill me. You're killing me now.
ST JOHN
(FURIOUS)
I'd kill you? I am killing you?
Your words are violent, unfeminine
and untrue -
JANE
You'd kill me without drawing any
blood or receiving on your
conscience any stain of crime.
ST JOHN
What nonsense is this?
JANE
You'd experience no pain - but I
tell you it would kill me!
ST JOHN
Why?
JANE
Because I would inevitably come to
conceive love for you, because you
are so talented and good, because
there is such grandeur in your
look. You wouldn't want this
strange and torturing love; if I
showed it you would find it
unbecoming. And my lot would be
wretched.
ST JOHN
(UNDERSTANDING HER)
Jane...
JANE
You're a good man, but you forget
the feelings of little people. We'd
better keep out of your way lest
you trample us.
Jane Eyre adapted by Moira Buffini March 2008 112.
St John's anger has faded. He is compassionate. This is far
harder to resist.
ST JOHN
I wouldn't trample you. You'd
walk at my side towards God's
altar. He'd be your solace,
heaven your reward. We seek to do
the greatest work, to open
death's gates, to save souls.
Love God Jane, love God.
St John puts his hand on her forehead; Christlike. Jane is
falling under his power.
ST JOHN (CONT'D)
Give up your heart to Him. He is
love.
Jane falls to her knees. St John's face is angelic.
JANE
If I were sure; if I were certain -
She suddenly hears a voice: Rochester's; clear, urgent.
ROCHESTER (O.S.)
Jane! Jane! Jane!
She springs away from St John, crying:
JANE
Oh God, what is it?
She looks wildly about the room; rushes to the window.
ST JOHN
What have you heard? What can you
see?
Jane glances at him, seeing him for what he is; a cold,
controlling man. She shouts:
JANE
I am coming!
She runs out, leaving St John aghast, behind her.
EXT. NIGHT. THE MOOR.
Jane runs on to the moors.
JANE
Wait for me!
She looks all around her at the moonlit landscape.
Jane Eyre adapted by Moira Buffini March 2008 113.
JANE (CONT'D)
Where are you?
The moors send her question back in an echo. We see Jane's
face. Her path is clear.
EXT. DAY. WHITCROSS MOOR.
Jane is waiting for the coach at the crossroads where she
arrived, almost a year before. It comes pounding towards
her. She hails it. This time, the coachman respectfully
descends to take her bag and help her on. She is so
confident and so changed that he doesn't recognise her.
EXT. DAY. THORNFIELD - THE GROUNDS.
Jane is walking through the orchard. It is wild, neglected.
Its untended state worries her. She looks up. Rooks are
circling, cawing.
CUT TO:
Jane finds herself at the side of the house. The ground is
pitted with weeds. The windows are dark. She half runs
round to the front. What she sees takes her breath away.
The great walls and battlements are blackened with fire.
Windows gape on a hollow shell. The inside of the house has
collapsed. Through the hanging door, only its charred
remains can be seen. Weeds grow through utter devastation.
Jane gazes in horror and distress.
I/E. DAY. MRS FAIRFAX'S COTTAGE
Jane knocks on the door. Mrs Fairfax opens it.
JANE
They sent me from the inn. I've
been up at the house -
Jane can say no more.
MRS FAIRFAX
Come in, come in.
JANE
Is he dead?
Mrs Fairfax takes Jane in her arms.
MRS FAIRFAX
No, no. Mr Rochester still lives.
Jane is crying tears of relief.
Jane Eyre adapted by Moira Buffini March 2008 114.
JANE
Tell me - please -
MRS FAIRFAX
Why did you run away in the night
like that? I would have helped. I
would have helped.
INT. DAY. MRS FAIRFAX'S COTTAGE
Mrs Fairfax has sat Jane on a settle near the fire.
MRS FAIRFAX
He sought you as if you were a lost
and precious jewel. He didn't rest.
And as days turned into weeks and
no word came, he grew quite savage
in his disappointment.
JANE
He stayed at Thornfield?
MRS FAIRFAX
Didn't leave the house...
I/E. DAY. THORNFIELD - THE FRONT DOOR/GROUNDS.
Rochester, unshaven and unkempt is standing at his
threshold.
MRS FAIRFAX (V.O.)
Shut himself up like a hermit. He
only went out at night, when he
walked like a ghost through the
grounds.
We see what he is looking at: an open carriage piled with
luggage, into which Mrs Fairfax is helping Adele. Leah and
Sophie are already sitting inside, dressed for a journey.
MRS FAIRFAX (V.O.) (CONT'D)
He'd have no one near him. Adele
was sent off to school. He placed
me here. Only John and Martha
stayed - and Mrs Poole of course.
Adele looks back at Rochester with tears in her eyes. He
walks across the dark hall and slams the library doors.
EXT. EVENING. THORNFIELD - THE ORCHARD.
Rochester, in his shirt sleeves, is looking at the tree
where Jane promised him her hand - now dying, cleft by
lightning. The rising moon inhabits the sky.
Jane Eyre adapted by Moira Buffini March 2008 115.
MRS FAIRFAX (V.O.)
It was harvest time when it
happened. No one knows how she
got out.
Rochester hears a cry from the top floor. He sets off, a
look of finality on his face.
INT. EVENING. THORNFIELD - THE KITCHEN.
Grace Poole is asleep, her empty jug of gin beside her.
MRS FAIRFAX (V.O.)
My theory is that when Mrs Poole
was asleep, having taken too much
of the gin and water...
Rochester takes Grace's keys.
INT. EVENING. THORNFIELD - THE THIRD FLOOR
Rochester opens the door to the inner chamber.
MRS FAIRFAX (V.O.)
... The mad lady must have stolen
her keys and let herself out.
Bertha Antoinetta Mason, standing in the last patch of
daylight thrown down from her skylight, sees that it is
Rochester. She calmly walks towards him.
Rochester graciously bows, indicating that she may leave.
Bertha glides past him. She is free.
INT. EVENING. THORNFIELD - THE GALLERY
Bertha walks past an elegant vase. She tips it to the
floor. It smashes. Rochester pays it no heed.
INT. EVENING. THORNFIELD - THE LIBRARY.
Rochester has stood Bertha at his desk. A case of jewels is
open before her. She has put on a tiara, a diamond
necklace, bracelets. She is gazing at a ruby brooch. She
turns to Rochester. His expression is calm, resigned.
Bertha begins to laugh.
She takes the candelabra from the table. She admires
herself in the mirror; her white shift, the black feathers,
the jewels. She holds up the candelabra and sets the huge
curtains alight.
Jane Eyre adapted by Moira Buffini March 2008 116.
Rochester is impassive; he does nothing to stop her. As she
passes, Rochester realises he is bleeding. She has run the
brooch pin across him.
INT. EVENING. THORNFIELD - THE HALL/STAIRS.
Bertha knocks a lamp onto the floor. The oil springs into
flames, licking the tapestries and the paintings. Rochester
sees his ancestors begin to burn.
INT. EVENING. THORNFIELD - THE SECOND FLOOR
The conflagration is growing. Rochester sees Bertha leaving
Jane's room. As he passes, he sees everything inside it
being consumed by fire. He can't bear to look.
EXT. EVENING. THORNFIELD - THE LEADS.
Bertha is watching the rooks. Rochester goes to the edge of
the roof. Bertha looks at him. The invitation is clear.
Rochester is ready to die.
Bertha sees the rooks wheeling away. She runs at the edge
of the roof. Rochester sees her intention too late. He puts
out his arm to stop her.
For the perfect fraction of a second, Bertha flies.
Rochester sees her fall; almost falls himself - saves
himself.
Life reawakens in him. Behind him, he sees Grace Poole,
coughing, crawling up through the door.
GRACE
Antoinetta?
Responsibility floods over him. He goes to her side, lifts
Grace, helps her down the stairs.
MRS FAIRFAX (V.O.)
He didn't leave the house until
everyone was out. Some say it was a
just judgement on him for having
her confined there all those years
but for my part, I pity him.
INT. DAY. MRS FAIRFAX'S COTTAGE
Jane is deeply affected.
MRS FAIRFAX
He's alive child, but many think
he'd be better off dead.
Jane Eyre adapted by Moira Buffini March 2008 117.
JANE
Why?
MRS FAIRFAX
When he was taken out from under
the ruins, a beam had fallen in
such a way as to protect him,
partly - but his eye was taken
out and his left hand so crushed
that he lost it. The other eye
inflamed and - he is blind. He's
blind.
Tears fall from Jane's eyes.
MRS FAIRFAX (CONT'D)
I know... it's a terrible thing.
JANE
I had dreaded worse. I'd dreaded
he was mad.
A great sense of urgency is coming over her.
JANE (CONT'D)
Where is he?
EXT. DAY. FERNDEAN - THE GROUNDS.
Jane is walking through forest, along a grass grown track.
Her pace is fast; her journey almost at an end. She comes
to a pair of rusting iron gates hanging open between
granite pillars. She walks through them.
She finds herself in front of a decrepit Elizabethan manor
house; no garden, just a sweeping semi circle of meadow
grass, which someone has cut at with a scythe. Jane stops.
Standing on the threshold is Edward Fairfax Rochester. He
is in his shirtsleeves. He stands strong, stalwart,
brooding. His hair is still raven black. He is looking
sightlessly around his domain, with the concentration of a
hawk. His strength is undiminished.
He walks fifteen paces from the house. It brings him into
the middle of the semicircle of grass. He is close enough
for Jane to see his scarred eyes. She walks towards him,
silent.
A few drops of rain begin to fall. Rochester puts out his
right hand to feel them. He raises his face up to the sky
as if he is looking for something from there. He is
absolutely still; his expression, serene.
Jane is very close. She steps on a twig. It breaks with a
loud crack, shattering the silence. Rochester is
immediately on guard, his expression turning wary.
Jane Eyre adapted by Moira Buffini March 2008 118.
He suddenly swipes the air with his left arm; the ruin of
it passing an inch from her face. Jane steps back.
Rochester swipes again. She holds her breath.
He seems satisfied at last that nothing is there. He turns
and walks fifteen paces back to the house. He disappears
into the dark interior.
Jane starts to breathe again.
EXT. DAY. FERNDEAN - THE SIDE ENTRANCE.
Jane lightly taps on the side door. Martha opens it; she is
astonished. Jane puts her finger over her lips.
INT. EVENING. FERNDEAN - THE DRAWING ROOM.
Rochester is in an armchair in front of his fire. Pilot is
at his feet. Jane carries in a tray with a candelabra and a
jug of water.
ROCHESTER
I can see the candles, Martha, at
your side like a luminous glow.
And the fire; a red haze.
Pilot notices Jane. He leaps up with a whine, wagging his
tail, madly. Jane spills half the water. She cannot help
finding it funny. Her entrance has been ruined by the dog.
ROCHESTER (CONT'D)
Martha?
Jane giggles. Rochester's face falls.
ROCHESTER (CONT'D)
Martha, is that you?
JANE
Martha is in the kitchen, sir.
ROCHESTER
Who's there?
JANE
Pilot knows me. Will you have
some more water? I've spilt half
the glass.
Rochester stands, holding out his hand.
ROCHESTER
If you are real, touch me.
Jane touches his fingers; puts her hand in his. Rochester
pulls her into his arms.
Jane Eyre adapted by Moira Buffini March 2008 119.
ROCHESTER,
Her hand, her shape, her size.
JANE
And her voice.
ROCHESTER
Jane Eyre - Jane Eyre.
JANE
My Edward, I am Jane Eyre: I have
found you out. I am come back to
you.
For some while neither is able to speak.
ROCHESTER
You're not lying dead in some
ditch? Not an outcast among
strangers?
JANE
I've been with good people; far
better than you, quite more
refined and exalted.
ROCHESTER
(DELIGHTED)
She insults me -
JANE
And I'm an independent woman. My
uncle in Madeira died and left me
five thousand pounds -
ROCHESTER
This is real. This is practical.
JANE
I'm here. I'm home. I am where I
love best.
CUT TO:
Jane curled on Rochester's knee by the fire. He is running
his fingers over her face, feeling its contours.
ROCHESTER
You're altogether a human being,
Jane?
JANE
I conscientiously believe so,
sir.
She is running her hands through his hair.
Jane Eyre adapted by Moira Buffini March 2008 120.
JANE (CONT'D)
But I see that you're turning
into a lion. It's time someone
undertook to rehumanise you.
ROCHESTER
I'm a sightless block -
JANE
I know.
She kisses his eyes.
JANE (CONT'D)
And the worst of it is, I'm in
danger of loving you too well for
this, and making too much of you.
ROCHESTER
Am I hideous, Jane?
JANE
Very. But you always were, you
know.
A smile cracks Rochester's face.
Jane runs her fingers over it, feeling its contours.
He holds her.
Silence falls.
THE END.
