♪

woman: my name is jane eyre. i was born in 1820, a harsh time of change in england. and position seemed all that mattered. charity was a cold and disagreeable word. religion too often wore a mask of bigotry and cru there was no proper place for the poor or the unfortunate.

i had no father or mother, brother or sister. as a child i lived with my aunt, mrs. reed of gateshead hall. i do not remember that she ever spoke one kind word to me. careful, bessie. she bites. come on out, jane eyre. mrs. reed wants to see you in the drawing room. go on. knock. don't bullchild. knock. [knocking on door] mrs. reed: come in. this, mr. brocklehurst, is the chi in question.

she's the daughter of my late husband's sister, by an unfortunate union which we in the family prefer to forget. for some years, she's lived in this house. thrlrecipient, i can cleay see, of every care which her loving benefactress could lavish upon her. come here, little girl. what is your name? jane eyre, sir. well, jane eyre, are you a good child? the less said on that subject, the better. indeed. only this morning, she struck her little cousin most brutally and without provocation. that isn't true! he hit me first! mrs. reed: silence! john, deir, did you strike her? no, indeed, mama. you did! you know you did! you knocked me down and hit myeeead and made it i did not! you did! silence! i won't listen to your odious lies. you see, mr. brocklehurst, how passionate and wicked she is.

i do, indeed. come here, child. you and i must have some talk. no sight so sad as that of a wicked child. do you know where the wicked go after death? they go to hell. what is hell? a pit full of fire. and should you like to fall into that pit and be burning there forever? no, sir. then woit must you do to it? i must keep in good health and not die. but children younger than you die daily. only last week, we buried a little child of 5. a good little child, whose soul is now in heaven. but what of your soul, jane eyre? i don't see why it shouldn't go to heaven, too. you don't see, but others see clearly enough. do they not, mrs. reed? you have heard the name of lowood? no, sir. it ia school for unfortunate orphans. my estate

and as chairman of the board, i spend much time on its supervision. you like to go there, little girl? you mean not live here anymore? i don't know what aunt reed would say. it was your kind benefactress who suggested the plan. you wish to go? yes, sir. you've made a wise choice-- wiser than you know. and now i must pray go to take away your heart of stone and make you meek, and humble, and penitent. you may rest assured, mrs. reed, well do our best to collaborate withhe almighty. bessie. yes, jane? i never dreamt i'd get away from re till i was quite grown-up. won't you even be sorry to leave your poor old bessie? what does bessie care for me? she's always scolding and punishing. all the same, i am rather sorry to be leaving you. rather sorry? is that all? and i supp i asked you to give me a kiss,

you'd say you would rather not? i'll kiss you, and welcome, bessie. you are such a strange, solitary little thing. here's a keepsake, jane. it'll help you remember me. uachman: come on. hur be a good girl, and i hope you'll be happy. thank you,e. good-bye. bye, jane. good-bye, mrs. reed. i hate you, and i hate everything about you! i'll never come e you when i'm grown up, and i'll never call you "aunt" as long as i live! and if anyone asks me how you treated me, i'll say you are hard-hearted, and mean. the very sight of you makes me sick! at school i shall have drawing lessons,

and french lessons, and history lessons, and music lessons, and there'll be hundreds of other girls to play with. and, uh, what's the name of this school of yours? it's called lowood. lowood? lowood. [blows horn] [bell rings] co she's been asleep for hours. ride away, bil [whip cracks]

jane: i was to awaken in the morning to find my dreams of lowood shatted. in their place was to stand a school that was more like a prison, dominated by the cold, implacable cruelty of mr. brocklehurst. [bell rings] [ding ding] [ding ding] [ding ding] pupils... observe this child. she possesses the ordinary form of girlhood. no single deformity points her out as a marked character.

who would believe that the evil one had already found in her a servant and an agent? yet such, i grieve to tell you, is the case. therefore, you must be on your guard against her. shun her example, avoid her compy, exclude her from your sports, and shut her out from your converse. teachers... you must watch her. weigwell her words, and scrutinize her actions. punish her body for it is my duty to warn you-- and my tongue falters as i tell it-- that this girl, this child, the native of a christian land, no better than many a little athen that said its prayers to brahma and kneels before jagannath. this girl is a liar. let her remain on that stool.

let no one speak to her fo ♪

i brought you this from supper. didn't you hear what he said? he said you mustn't have anytng to do with me. go on. take it. i'm not bad. i promise i'm not. but i hate him. i hate him! it's wrong to hate people. i can' it. i thought school would be a place where people would love me. i want people to love me, and believe in me, and be kind to me. i'd let my arm be broken if it would make anyone lovee, or let a horse kick me, or btossed by a bull. don't say such things. but i would. i would!

eat your bread, jane. woman: o merciful providence, who of thy generous plenty doth give us the abundant fruits of the field for our sustenance, grant us that, though we are duly and properly grateful for this, our earthly food yet our hearts may be more lastingly fixed upon thy heavey manor. amen. jane: helen, where does that road go? i told you befor- to bradford. but after bradford. darby, i suppose. nottingham, anthen london. from london to dover, fd across the sea nce... and then over the mountains and down to italy... and to florence, and rome, and madrid.

madrid isn't in italy, jane. that road goes there all the same. we'll drive along it one day, when we're grown-up, helen, in a lov coach-and-four. and i'll have beautiful, curly hair, just like yours, and i'll have read all the books in the world, and i'll play the piano, and talk french almost as well as you do. dreaming again, jane? oh, drrivers. i know somebody who's going to be late for inspection. not this time. i'll beat you there. ah. ah. ah. ah. [cough cough cough cough] ah. that cough doesn't seem any better, helen. we'll have to are of it. ah. ah. ah. ah.

thank you. you keep your schoolroom uncommonly cold, mr. brocklehurst. a mattve of principle, dr. ri. our aim is not to pamper the body but to strengthen e soul. i should hardly have thought that a bad cough was any aid to salvation, but then not a theologian. good day, sir. [girls laugh] miss scatcherd: if i may venture an opinion-- when i want your opinion, madam, i shall call for it. johnson, you poke your chin most unpleasantly. draw it . edwards, i insist on your holding your head up. i will note ave you stand before that attitude. miss scatcherd, fetch me the scissors immediately.

what, may i ask, is the meaning of this? why, in defiance of every precept and principal of this establishment, is this young person permitted to wear her hair in one mass of curls? miss scatcherd: her hair curls naturally, sir. miss srd, how often must i tell you we are not here to conform to nature? i want these girls to be children of grace. please, please, sir, don't do that! you can cut mine, sir, as much as you wish, t, please-- silence! so this is the spirit that prevails at lowood. first vanity, and now insurrection. it se rooted out.

[knock knock] dr. rivers. i brought this oil for helen. i her chest rubbed with it. helen, doctor? i'm concerned abouher lungs. i've spoken to mr. br-- dr. rivers: good heavens, madam, what aret hose children doing the rain? 'twas mr. brocklehurst's order. well, bring them in at once. s whll i say to mr. brocklehurst? you can refer mr. brocklehurst to me. mr. brocklehurst: with your leave, dr. rivers, i shall offe one more prayer. almighty god, look dow supon this miserabner and grant that the sense of her weakness may give strength to her faith and seriousness to her repentance. amen.

the ways of providence are inscrutable, doctor. was it providence th g sent that poor girl drenched in the rain? dr. rivers! was it providence that ordered her to her death? yes, to her death, mr. brocklehurst. helen. helen! oh, i'm so glad. i heard dr. rivers say... i was raid. i'm not afraid, jane. helen. helen! you must be ld. lie down and cover yourself up. don't cry, jane. i don't want you to cry.

are you warm now? yes. good night, jane. good night, helen. i--i do wish they... hadn't...cut your helen. are you awe? it's morning. helen! aah! [sobbing] jane. come, no. i want to stay here. i want to be with helen. helen isn't here. helen's with g

jane, remember what you say in your prayers every day-- "thy will be done"? do you think you're doing god's will by giving way to despair? god wants children to be brave and strong. won't you do what god wants? i'll try. that's right. and don't forget, the harder you try, the more god will help you. now let me take you back. no, i can't go back to school! i'll never go back! i'll run away! jane. yo what duty is, don't you? duty is what you have to do even when you don't wa to do it. i may not want to go out into a snow storm but i know i have to go because it's my duty. now, what is your duty, jane? i don't know. yes, you do, jane. in your heart, you know perfectly well. your duty is to prepare yourself to do god's work in the world isn't th true? and who can dood's work, an ignorant woman or an educated one? yes, you know the answer to that.

and where can you get an education, jane? where? at school. precisely. so you know you ve to go back to school even though you may hate the very thought of it. isn't that tru i suppose it is true. good, jane. very good. mr. brocklehurst: true, gentlemen, we had some difficulties in the beginning. a very stiff-necked and evil child. but eyre has been with us 10 years, and h those 10 years, been granted me to plant her feet on the path of salvation.

n: i suppose we ought to see her. i intended that you should. let eyre be brought in. t need to remind you of the advantages of appointing one of our own pupils as a teacher. an outsider would have to be paid twice as much. r opens] eyre, this is a solemnoment. little did i imagine that the unregenerild i received into this institution would grow, in 10 short years, to become a teacher. yes, a teacher. but that is the honor co the trustees at my endation have now bestowed upon you. your wages will be 20 guineas per annum, from which only 10 will be withheld for board and lodging, for spl instruction, and laundry. your duties will begin on the first day of the new term. i r,ed detain you no lonentlemen.

good day, gentlemen. good day. here is the post, sir. that i eyre. i cannot accept your offer, sir. and why not, pray? i do not wish to stay at lowood. but this is unheard of. the ingratitude. what have i to be grateful for? 10 years of harshness and-- silence! necked as ever. i see that i've been sadly deceived in you. and where, may i ask, do you intend to go? out into the wor sir. out into the world. and you yow how the world treang paupers without friends or connections? i intend to find a position as a gorness. how, may i ask? i've advertised in a newspaper. oh. and doubtless you've been overwhelmed with demands for your services. no, sir.

d you never will be. you have no talents, your disposition is dark and rebellious, your appearance insignificant. it's folly to dream of such a position. eyre, you heard me. i'm willing to overlook your ungracious outburst, but i warn you, if you persist in your folly, this haven will never again be open to you. i ving lowood, sir. oor shuts] ♪

here you are, miss. righto. jane it's not every young woman that can fdee the world single-h but you know what right is and will stick to it through thick and thin. [blowing horn] £20 is my limit. no. make it guineas, and they're yours, lad. excuse me. could you tell me if there's anyone here from mrs. fairfax of thornfield hall? not that i've heard, ma'am. take seat in coffee room, and i'll inquire. who'the young lady, sir? couldn't say, sir. just come in by coach. give her my compliments k if she'd care to join me in a glass of madeira. yes, sir.

the gentleman over there presents his compliments and asks if you'd care to take a glass of something with him. no, thank you. i-- i never take wine. man: is your name eyre yes, i'm miss eyre. are you from thornfield? you're not the w governess. yes, i am. is this all your luggage? yes. ♪

i'll tell mrs. fairfax you're here. thank you. how do you do, my dear? i'm afraid you've had a tedious journey. i'm mrs. fairfax. why, your hand is like ice. i'll take you straight to your room.

we've a nice, cozy fire building there for you, and leah's taken the chill off the sheet with a warming pan. you know, dear, i'm so glad you've come. living here with no company but the servants, it's not too cheful, i can tell you. i do declare, not a living creature but the butcher and the postman has come to this house since the hard weath set in. shall i have the pleasure of seeing miss fairfax tonight? miss fairfax? oh, you mean miss adele. isn't she your daughter? oh, gracious, no. adele is french. i o family. no family at all. that's mr. edward's room. he's abroad, of course, but i always keep it ready for him. his visits are always so unexpected and sudden. a wanderer on the face of the earth. that's what mr. edward is, i'm afraid. mr. edward. who is mr. edward? why, the owner of thornfid, of course. i thought this was your house. why, bless i'm only the housekeeper. thornfield belongs to mr. edward rochester,

and little adele is his ward. and here is your room, my dear. it's quite small, but i thought you'd like it better e than one of the la front chambers. oh, it's very beautiful. y i can't understand gentleman of a house like this so seldom comes to it. it is strange. but you'll find, miss eyre, that in many ways mr. edward is a strange man. good night, my dear. good night. [musiclays]

bonjour, mademoiselle. mama had a dress like that, mademoiselle, only she could dance much more beautifully. do you wish to see? now? this very moment? now you speak like monsieur rochester. for him it is never the right moment, maisamais. your name's adele, isn't it? do you know what i was inking, adele? i was just t lnking that never in e have i been awakened so happily. [playing piano] you like that, mademoiselle? very much, adele. grealemen and ladies came to see mama, and i used to dance before them or sit on their knees and sing to them.

i liked and where was that? in paris. we lived always in paris. but then when mama had to go to the holy virgin, monsieur rochester came and took me across the sea in a great ship d,th a chimney that smo and i was sick. : 5, 6, and 3? dostou like monsieur roc? i've not met him yet. this is his chair. he ss here, and stares into the fire, and frowns like this. [laughing] is he as bad as that? twice as bad. i cannot make how bad he is. but i'm sure he's very kind, too. sometimes he brings me autiful presents, but i'm sure he's very kind, too. but when he's angry-- that's terrible. and may the holy virgin give me grace, and god bless monsieur rochester, and make him polite to mademoiselle so she will stay witme forever and ever.

amen. ♪ aa [dog barking]

can i do anything? stand out of the way. i'm sorry i frightened your horse. apologies won't mend my ankle. [dog barking] down, pilot! well, what are you waiting for? i can't leave until i see you're fit to ride. a will of your own. where are you from? from mr.ster's house, just below. you know mr. rochester? no. i've never seen him. you're not a servant at the hall. i'm the new governess. oh. the new governess. uhh. now just hand me my whip. thank you. now kindly get out of the way. [dog barking]

[dog growling] mrs. fairfax: quick, dear... off with your things. he's been asking to see the new governess. who? why, mr. rochester, of course. rode in on us suddenly without any warning, and in such a vile humor. it seems he had an accident. i don't know what to do. he won't let me send for the doctor. oh, my goodness-- your bonnet. here is miss eyre, sir

well, miss eyre, ha you no tongue? i was waiting, sir, until i was spoken to. very proper. next time you see a man on a horse, don't run out in the middle ss the road till he's . i assure you, sir, it was not deliberate. it may not have been deliberate. it was, nonetheless, painful. sit down, miss eyre. where do you come from? from lowood initution, sir. lowood? what's that? it's a charity school. i was there 10 years. 10 years. you must be tenacious of life. no wonder you have rather a look of another world. i marveled where you got that sort of face. when you came on me in the mist, i found myself thinking of fairy tales. i had half a mind to demand whether you'd bewitched my horse. indeed, i'm not sure yet. who are your parents? i have none, sir.

your home? i have no home, sir. who recommended you to come here? i advertised, and mrs. fairfax hunted the advertisements you came posthaste to be here in time to throw me off my horse. hmm. what did you learn at lowood? do you play ano? a little. of course. it's the established answer. go in the drawing room. i mean, if you please. excuse my tone ocommand. i'm used to saying, "do this," and it is done. i cannot alter my customary habits for one new inmate. take a candle with you, leave the door open. sit down at the piano. play a tune. [playing classical tune]

enough! you play a little, i see, like any other english schoolgirl. perhaps rather better than some. not well. good night, miss eyre. good night. jane: what sort of man was this master of thornfield-- so proud, sardonic, and harsh?

instinctively i felt that his malignant mood had its source in some cruel cross of fate. i was to learn that ts was indeed true, and that beneath the harsh mask he assumed, lay a tortured soul, fine, gentle, and kindly. [knock on door] [door opens] [whispering] mrs. fai too much noise, grace. i've spoken to you before. did i disturb you, my dear? m so sorry. i had to say something to grace poole. e's a person we have do the sewing. not altogether unobjectionable, but she does her work. how did you get on with mr. rochester, my dear? is he always so changeful and abrupt? his little peculiarities of temper, of course, but then allowances should be made why for him more than for anyone else? partly because that's his nature, and partly, too, because he has painful thoughts. about?

family troubles. i think that's why seldom comes to thornfield. it has unpleasant associations for him. good night, my dear. good night, mrs. fairfax. ♪ adelonsieur rochester is very diicult, but he brings the most beautiful presents. look, madeiselle. you see? they suit me perfectly.

[dog barking] a ballet dress, just like mama used to wear. isn't it beautiful, mademoiselle? beautiful, adele. i shall wear it when i dance, always. miss eyre-- [speaking french] miss eyre. i'm not fond of the prattle of children. as you see, i am a crusty old bachelor, and i have no pleasa associations connected with their lisp.

in this house, e only alternative is the prattle of a simple-minded old lady, which is near as bad. today i feel disposed to be gregarious and communicative, and i believe you could amuse me. eayou puzzled me a deal that first evening in the library, miss eyre. i'd almost but now i'm resolved to be at ease. doing what pleases me. it would ple now to draw you out, to learn more of you. sit down, miss eyre. ba... not further . just here. i've placed it... foard a little. you're still too far back. i can't see you without disturbing my position in this comfortable chair, which i have no mind to do. you examine me, miss eyre. do you find me handsome? no, sir. indeed? wa i beg your pardon. too plain. my answer was a mistake. just so, and you should be answerable for it.

now then, explain. does my forehead not please you? what do you say of my head? am i a fool? no, sir. far from it. woulsay it is the head of a kindly man? hardly that, sir. very well, madam. i am not a kindly man, though i did once have a sort of... tenderness of heart. you ubt that? since then, fortune's knocked me about, kneaded me with her knuckles, till now i flatter myself i'm as hard and tough as an india rubber ball with, perhaps, one small, sensitive point in the middle of the lump. e does that lepe for me? hope of what, sir? my retransformation from india rubber back to flesh. you look very puzzled, young lady, and a puzzled air becomes you. besides, it keeps those searching eyes of yours away from my fac you are silent, miss eyre. stubborn? no. annoyed, and quite rightly so.

i put my request an absurd way. the fact is, once and for all, i do not wish to treat you as an inferior, but i've battled through a varied experience with many men of many nations and roamed over ha the globe, while you've spent your whole life with one set of peopi. don't you agree that gives me a right to be a li?le masterful and abru do as you please, sir. you pay me £30 a year for receiving your orders. £30? i'd quite forgotten that. well, on that mercenary ground, won't you agree to let me hector you a little? gr no, sir, not on thand, but on the ground that you did forget it and inquired feelings as an equal. good! well, then... u'll let me dispense with the conventional forms without thinking me insolent. i should never mistake informality for insolence. one i rather like, the other no freeborn person would submit to, even for a salary. humbug. most freeborn people will submit to anything for a lary. where are you going? it's time for adele's lesson. oh, no, youn.

it's not for adele that you're going. it'sd ecause you're afr me. you wish to escape me. in my presence, you are hesitant to smile gaily or speak too freely. admit that you're afraid. bewildered, sir, but i am certainly not afraid. [door opens] don't i look beautiful, monsieur? thdo is how mama used to t, is it not? precisely. that's how she charmed my english gold out of my britches' pocket. then i shall dance for you. you will not. go straight upstairs to the nursery. but, monsieur... at once. mi eyre... i'm not finished talking to you. why are you looking at me like tt? i was thinking whatever your past misfortune,

you have no right to revenge yourself on the child. you're quite right, of course. i was thinking only of myself, my own private memories and feelings. the fact is, nature meant me to be, on the whole, a good man... one of the better kind, but circumstance decreed otherwise. i was as green as you once. aye, grass g now my spring is gone, leaving me what? this little artificial french flower. you , miss eyre. miss eyre... i hope you'll be hldpy here at thornf i hope so, sir. i think so.

i'm glad. [cackling laughter] who's there? [footsteps running] mr. rochester!

that's done it. i think someone must have tried to kill you. i heard footsteps along the gallery. fairfax? shall i call mrs s. fairfax? what the deuce do you want to call her for? let her sleep. come in, sit down. i'm going to leave you here. be still as a

when you came out of your room... did you see anything? only a candlestick on the floor, but i heard a door shu anything else? yes. kind of a laugh. kind of a laugh. have you heard it before? there's a strange woman here called grace poole-- just so. grace poole. you guessed it. well, it's-- it's a bit, um-- meanwhile, say nothing about this to anyone. adele! we forgot the child!

i had an awful fear. you see what she has? poor little adele, trying to console herself from my unkindness to her. the child has dancing in her blood and coquetry in the very marrow of her bones. [music box plays] [chuckles] i once had the misfortune to be in love with this and jealous of that. love's a strange thing, miss eyre. you ow that a person is worthless, without heart, or mind, or scruple, yet suffer to the point of torture when she betrays you. least i had the pleasure of putting a pistol bullet through my rival's lungs. and the little doll in the dancing skirt? we tell adele she died. the truth isn't quite so touching. i gave her some money and turned her out, whereupon she decamped with an italian painter, leaving me with what she said was my daughter.

let me light you to your room. well, miss eyre... now that you know what your pupil is-- the offspring of a french dancing girl-- i suppose you'll be coming to tell m to look out for a new governess. adele has had so little love. i shall try to make up for it. are you always drawn to the loveless and unfriended? when it's deserved. would you say that my life deserved saving? i should be distressed if harm came to you, sir. u did save my life tonight. i should like to thank you for it. at least shake hands. i knew you'd do me good in some way, sometime. good night, jane. good night, sir.

[dog barking] [barking] er, miss eyre, isn't itble? we might all have been burnt in our beds. where did mr. rochester go? he smething about a house party at millcote. goodness knows how long he'll be away. one can never tell with mr. rochester. maybmoa day, or a year, or h. mrs. fairfax... yes, my dear? did mr. chester tell you how the fire started? why, of course.

he was reading in bed and fell asleep with the cane lit, and the curtains took fire. why do you a? i wondered if the fire had anything to do with mr. what possible connection could there be? he said this morning that he was reless. the house with only us here was unbearably oppressive for him.

[shrieking] what art thou doing here? no one is allowed up here. understand? no one. get thee dow jain: had the mystery he tower driven him madly away, just as we seemed so close together? winter turned to spring and no news came. but i found a measure of escape in the happiness of adele. adele: look, mademoiselle!

mrs. fairfax: the moment the carriage is stopped, stand by the front door and be ready to take the gentlemen's cloaks. yes, madam. my dear, i'm so glad you're back. mr. rochester is so difficult. leah, you must be with me to take the ladies to their rooms. yes, ma'am. imagine not even telling me how many guests he's bringing. juaid, "get all the best bedrooms ready, and more servants from the inn." manservant: they're coming, mum. 1... 2...3... oh, dear, 15 at least. far more than i prepared for. jane: who's that riding with mr. rochester?

why, t dt's blanche ingram, r. haven't you heard about miss ingram and mr. rochester? she's quite an old flame of his. it wouldn't surprise me if it came to an engagement one of these days. such a beautiful girl, isn't she? where's miss ingram's bath? coming as quickly as we can. adele, why aren't you the nursery? oh, mademois, let me look. no, dear. you're in the way. didn't i tell you that blanche had set her cap at him? well, he is very romantic, and he's enormously rich. oh, miss eyre, mr. rochester wishes you to bring adele to the drawing room after dinner.

please send adele by herself. he only asked me out of politeness. that's what i thought. i told him you weren't used to company. "nonsense," he said. "if she objects, i'll come and fetch her myself." of course, you must wear your very best, my dear. i--i think the black. [overlapng voices] man: bang, bang. then i got two more birds with my spare gun. woman: well, perhaps we'd better leave ntlemen to their port. they're coming, mademoiselle. bonsoir, madame. bonsoir. what's your name? adele. now, blanche, stop teasing mr. rochester. come along, my angel.

ng in italian] splendid match, sir george. 6 or 7,000 a year at least. what a striking co. very fortunate, isn't it? fine shoulders, eh, ned?

[murmuring] aking italian] monsieur rochester, may i sing now? i think we'vhad eno. edward, i thought you weren't fond of children. no. nor am i. run along, dear. then what induced you to take charge of such a little puppet? where did you pick her up? i did not pick her up. she was left on my hands. well, ose you have a governess for her. i saw a person with her just now. is she gone? no, there she is, erill hiding in the co you should hear mama on the subject of governesses. governesses? don't speak to me of governesses. the martyrdom i've endured with those creatures.

the clever ones are detestable, and the others are grotesque. how do you do? very well, sir. why did you not come and speak to me in the drawing room? i did not wish to disturb you as you seemed engaged. what have you been doing whe i've been away? teaching adele as usual. yes, and getting a good deal paler than you were. what's the matter? nothing. take cold the night of the fire? no, sir. go back to the drawing roo you're leaving too early. i'm a little tired, sir.

yes, and a little depressed. what about? i'm not depressed, sir. but i tell you y. so much depressed that few words more, and there will be tears in your eyes. indeed, they're there now. shining, swimming. [knock on door] who the devil's that? i wish to see mr. rochester. what name shall i say, sir? mr. mason of spanish town, jamaica. very good, sir. mason... spanish town. ai wish i were uiet island with only you... trouble, ager, and hideous recollection far away. can i help you, sir? if h needed, i'll seek it at your hands. promise you that. janell the people in that room

came and spat on me... what wld you do? i'd turn them out of the room... if i could. if i were to go to them, and they only looked coldly at me... and dropped off and left me, one by one... what then? would yogo with them? i would stay with you, sir. to comfort me? yes, sir. to comfort you, as well as could. edward... i shall not be so hypocritical as to say you are welcome in this house. follow me, mason.

aah! aah! aah! aah! aah! woman: what is it? what's happened? man: noise came from down there. edn 2: where the devil's rd, i'd like to know. man 3: here he is. blanche: edward... edward, you haven't been hurt, have you? put that pistol away, colonel. artillery's no goo nightmares? that's all it was. one of the maids had a bad dream, woke up screaming. moral of that is don't eat toasted cheese for supper. [chuckling] now, ladies, you all go to your rooms. lady ingram, you set the good example. i declare, i'm quite disappointed. i was so looking forward to seeing uncle percy shoot a robber. man: nowevblanche, less of youry. good night, edward.

sweet dreams, my courageous blanche. edward: jane, are you awake? ye. come out then, quietly. come this way and make no noise. you don't turn sick at the sight of blood, do you? never been tried. give me your hand. won't do to risk a fainting fit... warm and steady. jane, what you see may shock,nd frighten...

and confuse you. not to seek an explanation. don't try to understand. whatever the appea jane... i'm going to leave you in this room with this gentleman while i fetch a sueon. you will sponge the blood as i do now. if he comes to, do not speou to him on any a. do you understand me? whatever h, do not move from here. whatever happens, do not open a door. either door. [door banging]

[crying] [door opens] now, doctor, be on the alert. give you half an hour for dressing the wound, getting , e patient downstairsd all. mason: edward, i'm done for, i fear.

nonsense. you've lost a little blood. that's all. she sank her teeth into me like a tigress. [groans] she said she'd drain my heart's blood. be silent, mason. forget it. [woman screaming] edward: jane... yes, sir? go and get some things on. go down the back stairs and the side-passage door. find a carriage waiting. see if the driver's ready. i shall be down in a moment. mason! i to not to come up here! i thought i could have done some good. you thought? you thought?! come, doctor. hurry. we must haveff. i've tried so long to avoid exposure. i shall make very certain it doesn't come now. edward: take care of him, doctor.

don't let him leave your house until he's quite well. hey, boy-o, what is it? let her be taken care of. let her be treayed as tenderly ase. i do my best, and have done it, and will do it. [door opens] edward: jane... come here a few minutes where there's some freshness. house is a dungeon, a sepulcher. here everything is fresh, and real... and pure. we passed a strange night, jane. you're a little pale. mr. rochester, will grace poole live here still? yes... grace poole wiy. after last night? don't ask for explanations.

justve me when i tell you that there are reasons for it. good reasons. you're my li yle friend, jane, aren? i like to serve you, sir, in everything that's rig. if i asked you to do something you thought was wrong, what then? my little friend would turn to me, very quiet and pale, and say, "oh, no, sir. it's impossible." am i right? jane... i want you to use your fancy. suppose yourself a boy, a thoughtless, impetuous boy indulged from childhood upwards. imagine yourself in some remote, foreign land. conceive that you there commit a capital error, one that cuts you off from the possibility of all human joys. in your despair, you wander about vainly seeking contentment and empty pleasure. then... suddenly... fate offers you the chance oregeneration...

and true happiness. are you justified in overleaping the obstacles of mere custom? tell me, jane. are you justified? how can i answer, sir? every conscience must come to its own decision. co but it can't to a decision. if you're afraid that you may bring shame to what you most cherish or destrir what you most dto protect. oh, jane... don't you curse me for pl curse you? no, sir. give me your assurance on that. cold fingers. they we warmer last night. jane... will you watch with me again? whenever i can be useful. for instance... the right before i'm m, will you sit with me then? are you go be married, sir? sometime. why not? blanche: what makes youink he's?

i suppose you think no one will have me. well, you're wrong. you don't know these young ladies of fashion. they may nadmire m, but i assure you they dote on my purse. blanche? good morning, edward. by rights i should scold you for running off like this. mmm. a correct host entertains his guests. edward: my dear blanche, when will you learn? i never was correct, nor ever shall b y,edward: very preartner. thank you. edward, i'm so glad you made up your mind to come to london with us tomorrow. have i? i didn know. ourse you're coming. what now, edward? put the red ball in the top pocket. edward, does that person want you? i'm sorry, sir. i did not know you were occupied. ve good, miss eyre. i'm sure the ladies will excuse me. governesses, mama.

but i understood you were leaving early in the morning, and i wish to ask you for e?reference. refere what the deuce do you want a reference for? to get a new place, sir. hm you as good as told me that you're going to be married. yes. what then? in which case, adele ought to go to school. to g out of my bride's way who otherwise might walk over her rather too emphatically? there's some sense in your suggestion. adele, as you say, must go to school. and you must go to the devil, is that it? i hope not, sir, unless it's the devil who answers my advertisement. not yet, sir, but i shall. you'll do nothing of the kind. time come for you to get a new situation, i'll get one for you. do you hear? very well, sir. good-bye, mr. rochester. good-bye, miss eyre. jane... is that all? seems stingy to my notion... dry and unfriendly.

won't you do more than jussay good-bye? well, i'll... i'll shake hands, sir. oh, you'll shake hands. good-bye. it is a beautid.l place, your thornfi well, for a dungeon, it serves its purpose. "dungeon"? why, it's a paradise. huh. though, of course, if one led here, one would really have to have a house in london, ne? wouldn't

unquestionably, and a little apartment in paris. perhaps a villa on the mediterranean. how delightfthat would be. but thornfield would always be there as a retreatom the world, a green haven of peace and... and love. love? who's talking of love? all a fellow needs is a bit of distraction, a housefulof beaun every now and then to keep him from brooding on his woes, or peeri too closely into the mysteries of his heart. that is if he has a heart. and sometimes i eander, edward, if youy do have one. have i ever done or said anything to make you believe that i have? if so, i assure you it was quite unintentional. are you never serious? never more than at th moment, except perhaps when i'm eating my dinner. really, edward, you can be revoltingly coarse at times. can i ever be anything else? can you? would i have come to thornfield if you couldn't? that's a very oint, blanche. would you, or would you not? let's begin by considering the signiffacts of the case. first, mr. rochester is revoltingly coarse and as uy as sin-- edward, i-- allow me, my dear blanche. i repeat--as ugly as sin. secondly, he flirts metimes, but he's careful never to talk about love or marriage. ho pver--this is the thint--

lady ingram is somewhat impoverished, whereas the revolting mr. rochester has an assured income of 8,000 a year. now in view of all this, what is the attitude that miss blanche may be expected to te? from my experience of the world, i'd surmise that she'd ignore the coarseness, et cetera, until suchtime- how dare you? now, now, no horseplay. i'vesuever been so grossly ed in all my life. insulted? i merely paid you the enormous complimeny of being completnest. mr. rochester, you are a boor and a cur. ♪ i thought you'd gone. i changed my mind. or rather the ingram family changed theirs. why are you crng?

i was thinkingut having to leave thornfield. you've become quite attached to that foolish little adele, haven't you? to that simple old fairfax. yes. you'll be sorry to part with them. yes, sir. it's always the way in this life. no sooner have you got settled in a pleasant resting place, and you're summoned to move on. as i told you, sir, i shall be ready when the order comes. it's come now. ed then it-- it's set all settled. even about your futursituation. you foun yes, jane, i have. in the west of ireland. you'll like ireland, i think. they're such warm-hearted people there. it's a long way off, sir. from what, jane? from englandnd... from thornfield. well... and from you, sir. yes, jane. it's a long way.

when you get there, i shall ly never see you again. we've been good friends, jane, haven't we? yes, sir. even good friends may be forced to part. let's makehe most of what time has left us. let us sit here in peace... even though we should be destined never to sit heragain. qu sometimes i have r feeling with regard to you, jane. especiallyyou're near me as now. it's as if iad a... string somewhere under my left rib, tightly and inextricably knotted to a similar string situated in... a corresponding corner of your little frame. and if we should have to be parted... that cord of communion would be snapped.

i have the nervous notion i should take to bleeding inwardly. as for you, you'd forget me. that i never will, sir. you know that. e the necessity of going, but it's like... looking on the necessity of death. th where do you se necessity? in your bride. my bride? i have no bride. but you will have. yes, i will. i will. do you think i could stay here to become nothing to you? do you think because i'poor, and obscure, and plain that i'm soulless and heartless? i have as much soul as you and fully as much heart. and if god had gifted me with wealth and beauty, i... ould have made it as hard for you to leave me as...

as it is now to leave you. there. i've spoken my heart. now let me go. jane... jane, you strange, almost unearthly thing. you that i love as my own flesh. don't mock m i've no love for blanche. it's you i want. answer me, jane, quickly. say, "edward, i'll marry you." say it, jane. say it. i want to read your face. read quickly. say, "edward i'll marry you." [thunder] edward, i'llarry you. god, pardon me. jane: doubts, and all the grim shadows that hung over thornfield shattered like the riven chestnut tree. i loved, and loved. every sunlit hour, i lookedlforward to love's lment.

edward: jane, what do you think you're doing? teaching adele as usual. as usual as a new heaven and a new earth, you go on teaching adele as usual. what is wrong with that? because i'm going to marry mademoiselle and take mademoiselle to the moon, and find a cave in one of the white valleys, and mademoh elle will live w there forever. do you approve? there's no one i'd rather you marry, not even mrs. fairfax. some of that, and a length of the scarlet-- i tell you i-- and a length omethe scarlet, and f the gold silk... here you are, milady. half a guinea each way... there's 35 and a tanner. tell your fortune, milord? go away, mother. i'll read the pretty lady's future. the pretty lady's going to marry me. we shall make ls chime]

i require and charge ye both as ye will answer at the dreadful day ofudgment when the secrets of all hearts shall be disclosed that if either of you know any impediment why you may not lawfully be joined in mrimony, ye do now confess it. for be ye well assured that if any persons are joined together otherwise than as the word of god doth allow, then are they not joined by god, nor is their matrimony lawful. edward rochester, wilt thou have this woman to be thy wedded wife? man: one moment, please. i declare istence of an impediment. proceed with the ceremony. you cannot proceed. mr. rochester has a wife now living. who are you? my name is briggs. i'm an attorney. mr. mason... briggs: on the 20th of october, 1824,

edward rochester of thornfield hall was married to bertha mason at st. mary's church, spanish town, jamaa. the record of the marriage will be found in the register of that church. it's true, it's true! i swear it! she's now living at thornfield. i've seen her there myself. i'm her brother. parson, close your book. there'll be no wedding today. in i invite you all to my house to meet grace poole's patient... my wife. to the right about, every one of you. away with your congratulations. they're 15 years late.

aah! that, gentlemen, is my wife-- mad--and the offspring of a mad family, with whom the church would law-bind me forever without hope of divoe. this is what i wish to have-- this young girl... who stands so grave and quiet at the mouth of hell. at the difference... and then judge me.

edward: jane. jane...i did not even know her. i was married at 19 in spanish town to a bride already courted for me. but i married her...

gross, groveling, mole-eyed blockhead that i was. jane, hear me. i suffered all the agonies of a man bound to a wife that was intemperate and unchaste. i watched her excesses drive her at last into madness. and i brought her back to england, to thornfiel jane, i did everything that godnd humanity demanded when i fled from this place, my fixed desire wad to find a woman i cove, a contrast to the fury i'd left here. what did i find? french dancing girl, a viennese milliner, a neapolitan contessa with a taste for jewelry. back to england. i rode again inside of thornfield. someone was walking there in the moonlight-- a strange little elfin-like cature. it frightened my horse and then came up and gravely offered me help. i was to be aided, and by that hand.

and aided i was. and then later that evening... do you remember, jane? say you remember. i remember. you came into that room. how shy you were. and yet how readily and roundly you answered my questions. and then you smiled at me. that moment, i knew i'd foundou. jane, can you not forgive me? i do forgive you. coulu still love me? i doarove you with all my i can say it now since it's for the last time. you mean to go one way in the world, let me go anher? stay with me, jane. we would be rting nobody. rswe should be hurting ves. would it be so wicked to love me? would it? i could crush you between my hands...

but your spirit would still be free. you arg? i am going, sir. you will not be my comforter, my rescuer? p love, my frantic prayer... are they nothinto you? god bless you, my dear master. god ke from harm and wrong. jane. jane. jane. jane: going nowhere, i had nowhe to go. without references, i could not find employment. i knew hunger and unsheltered nights. at last old mories, rather than my will, drew me back to gateshead hall--

to bessie who had once been kind to me. bessie. yes, i'm bessie. if you're looking for work, we haven't got no work for no one nowadays. you look poorly, lass. if you're cold, you're welcome sit . bessie: sit down, lass. uh, wheru get that brooch?

you gave it to me, bessie. jane! jane eyre! a grown ung lady, and you were such a tiny thing, no higher than a broomstick. oh, miss jane. [bell rings] that's your poor aunt. don't tell aunt reed i'm here, or cousin john, or anyone. master john isn't here anymore. as soon as he was of age, he was off to london. gambling, th's what it was. thousands and thousands of pounds the missus paid for him. she had to shut up most of the house servants,turn out the othe but still he kept plaguing her for money. then...last summer, he killed himself, miss jane. they found him hanging in his room, and hee cards still onable where they'd played the night before. when they told the missis, she had a kind of stroke. wandering-like in her mind. [bell is that you, bessie? bessie: yes, ma'am.

who are you? go away. i'm jane, aunt reed. jane eyre. jane ey... eyre. nobody could know the trouble i've had with tt child. the little pauper brat... should've been in... workhouse. [muttering indtly] jane. jane eyre. ohh... oh, don't leave me, jane. please don't leave me. i won't leave.

oh... [bells ringing] ie: no, sir, missus can't see nobody. she's been ill for months. . man: i'm sor i wanted to make some inquiries about a niece of hers--miss eyre. would you wait inside a moment, sir? thank you. thank you. a gentleman to see you, miss jane. i don't wa to see him. i don't want to see anyone. now, don't be foolish. you can't live all alone like i'll sit with the missus. run along now. he's waiting. jane. how did you know i was here? i didn't. i was trying to find you. i received an inquiry about you the other day.

didn't stay in that place you went to very long, did you? dn't you like it? what happened? i-had to leave. forgive me. it's no business of mine. all the same, i do feel obliged to ask you about this letter. it comes from a lawyer in millcote. he writes to me as a person whose name you gavas au went to thornfield. that's near millcote, isn't it? a client of his wants to know your whereabouts. you know who's inquiring for yo janeou don't want me to talk about this anymore, i won't. thank you, dr. rivers. it's for you to say. or would you rather i didn't answer it at all?

man 1: 3 shillings. man 2: a quid. £1. 35. that's much better. thank you very much, sir. 30 shillings, 35 bob. any vows for 35? £2 is bid. going at £2. going, going... take it away, bill. ♪

edward: jane. jane. jane. jane: it seemed the cry of a soul in pain, an appeal so wild and urgent that i knew i must go, and go quickly. only when i knew what had happened him-- only when i had looked once more hat tortured face-- could i make my decision. mrs. fairfax: it was she who did it, miss eyre. she struhe down grace poole aslept, and then she set fire to thornfield. it was her laugh in the gallery that woke me. i ran into the n, and wrapped adele in a shawl, and carried her down. and as we came out into the courtyard, i heard her laugh again. i looked up,

and there she was on the roof... mslaughing and waving her above the battlements. mr. edward saw h he did not say anything, but went straight back into the house to try to save her. all this side of the house was blazing. there was smoke everywhere. then it cleared. and suddenly we saw mr. edward behind her on the battlements. she saw him, too. he came towards her to help her down. she stood very still for a moment, and just as he seemed to reach her, she gave a dreadful scream and ran from him to the edge. the next moment, she lay smashed on the pavement before us. she was dead, miss eyre. mr. edward? the great staircase fell in as he was coming down. [dog barks]

mrs. fairfax? yes, sir? what the deuce are you doing in this part of the house? adele is waiting for her supper. yes, sir. here, pilot. who's there? who e you?! i've come back, sir.

edward, ward. her very fingers. hmm. her small, soft fingers. her hair. her little flower-soft face. and a heart, too, edward. jane. all you can feel now is mere pity. i don't want your pity. edward. you can't spend your life on the mere wreckage of a man. you're young and fresh. you ought to get married. don't send me away. pldon't send me away. you think i want to let you go? ♪

jane: as the months went past, he came to see the light once more, as well as to feel its warmth. to see first the glory of the sun, and then the mild splendor of the moon, and at last the evening star. then one day when our first-born was put into his arms, he could see that e boy had inherited his own eyes as they once were-- large, brilliant, and black. ♪

[ fire crackling ] lee: no one ever believes campfire stories.

but this one true. i would know. it all happened because of me] it was summer. her name was annie. she was always messing around in the woods with her boyfriend, dale. i remember the first time she saw me. i thought we had a moment. she was... conflicted.

yo ev thought she was just a mean girl. but there was something mysterious about her. [ gunshot ] [ indistinct shouting ] no one ever seemed to notice me. but everyone talked ab st annie and the thin did. little brian and the water bomb. [ laughter ] the inner-tube incident. but there was one target lucleft to hit.llipops. burger boy. no one knew how old he was or where he came from, o

just that henly ate burgers and never got in the water. girl: i heard once someone tried to take his burgers, and they, like, died. boy: do you know what happens when he gets in the water? all: medium rare! medium rare! lee: things got out of control. a you could teie and dale were up to something --g somethazy. [ indistinct conversions ] that day at lunch, everything changed forever. ♪ [ girl laughing ] lee: i followed her.

i wanted to tell her she was better than him, better than everyone. because she knew what feelings really felt like, and i wanted to tell her that i knew, too. i was waiting for the right moment. this was it. i'd walk up to her, and she'd fall into my arms, crying. then i'd kiss her on the mouth. i just had to be cool.

but not everything goes according to plan. annie: hey. what are you doing? do you want do something fun? [ girls scream ] [ laughter, water splashes ] [ indistinct talking ] ♪ take off your shirt. lee: what?

[ girls scream, water splashes ] [ indistinct talking ] girl: what are you guys doing?

[ water splashing ] [ bell ringing ] [ wind whistling ] [ girls scream, water splashes ] [ water bubbling ] es [ water spla

[ bell ringing ] ♪ annie: [ screams ] [ creaking ] [ water splashes ]

lee: no one wod ever believe me. why would they? [ girl screams ] ♪ narrator: you can watch filmst by subscribi our youtube and vimeo channels or visiting kqed.org/fss. announcer: "film school shortsr is made possible by t from maurice kanba-- celebrating the vitality and power of the moving image, and by the members of kqed. ♪

steves: until modern times, rome's river was part of its economy. then, in the 1870s, in order to protect ng the city from floo the romans walled off the tiber. they built thesenkall, anonymous emnts that continue to isolate the river from the city to this day. while rome was born on the tiber, today the town seer, to ignore its ri but the city's graceful bridges connect thriving neighborhoods. just over the tiber from here is one of rome's most colorful districts. trastevere is the place to immerse yourself in the crustier side of rome. the name "trastevere" actually means "across the tiber river." wandering here offers a chance to hone your senses, to see rome more intimately. ll discover a world of artisans who've found their niche and love it. the people here, "trasteverini," are proud. old-timers once bragged of never setting foot on the opposite side of the river.

as we explore and observe, the big city seems worlds away. for maximum trastevere fun and insight, i'm joined by my friend and roman tour guide, francesca caruso. especially here in trastevere, you get this sense of the many layers of rome. caruso: certainly. that is really the key to understanding rome. this city has almost 3,000 years of history. it was nevpl abandoned, so phave just built on top and around of what was already there. : like a layer cake, isn't it? boy, there's a beautiful roof garden. caruso: yeah. most of us in rome live in apartments, so no garden, no backyard, so we all dream of the attico con terrazzo. c steves: attico terrazzo, an attic with a terrace. caruso: yes, so the skyline of rome is full of these little jungl steves: everything is so intimate. it's like we're walking through somebody's laundry room. caruso: well, we've always lived very close together here. sharing space is really not a problem. we don't even have the word for "privacy" in itaan. we use the english word instead.

imply roll the "r," so we say privacy. steves: privacy. i knne more italian word now. caruso: [ laughs ] [ people conversing in italian ] steveswhy are so many of the oldest churches in rome on this side of the river? caruso: becausnetrastevere was thhborhood of foreigners, often christian, who brought their faith with the for the whole period of the persecutions, they could not build churches, so mass would be celebratey in the homes of wealnverts who offered their homes for mass. i steves: so, then, thone of those kind of churches? caruso: yes, it was the house of cecilia, and in later times they built a church dedicated to her. steves: and today, caruso: is santa cecilia. steves: now, what happened to saint cecilia? caruso: saint cecilia and her husband were killed because of their faith. the romans tried to steam her to death for three days in her own home, and after that, they beheaded he steves: this is a beautiful statue. peaceful. it's jus caruso: yes, it's very quiet. there's something very tender about it and also very sad,

abouung woman who was killed so brutally for her faith. steves: the concept of a piazza serving as a community center goes back to ancient times. piazza sania in trastevere is the heart of this neighborhood. with its broad and inviting steps, the fountain s actually designed to be a kind of neighborhood sofa. great f exploring a neighborhood is just sitting in the main square. caruso: i think it's really in our dna we've been living in our piazzas as common living rooms since ancient roman times, so it's always beethis way, and let's hope it will always be this way in the future, too. steves: and, as usual, the district's main church fronts the maire. the church of santa maria in trastevere is also one of rome's oldest and most beloved churches. like cecilia's church, it's built on the site of a third-centy home, where early christians worshipped illegally. and, like the city itself, it's been a work in progress, rebuilt continuously over the centuries. the portico is decorated with ancient fragments

filled with early chris- the anchor, birds, people with hands up, praying as evanlical christians do toda many of these stones were originally lids fr to burial niches the catacombs. stepping inside takes you back centuries. the granite columns were scavenged ma from ancient buildings. the church feels like an ancient hall of justice. that's because early churches adopted the pre-christian basilica floor plan -- a rectangular space divided by rows of columns. these mosaics are early medieval, well over 1,000 ars old. they're rich in symbolism. mary is given high stature. she's at the throne with jesus in heaven. he has his arm around his mothhe as if introducinto us. locals claim this is thfirst church dedicated to the virgin mary. i never leave without checking in with st. anthony,

who hangs out in the back. he's a favorite of the poor wi and is inundated prayer requests on scraps of paper.

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