Jane Eyre

by John Caird & Paul Gordon

Steve TylerLarry Hochman

NOTICE: DO NOT DEFACE!

NOT FOR SALE

rented

the period

GordonJohn Caird

Charlotte Brontë

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USICTHEATREI

JANE EYRE

YOUNG JANE (JANE as a girl of 10)

JOHN REED, her cousin MRS REED, her aunt

MR BROCKLEHURST, the owner of Lowood School

MISS SCATCHERD, a teacher MARIGOLD, a servant at the school HELEN BURNS SCHOOLGIRLS

MRS FAIRFAX, the house-keeper of Thornfield Hall ROBERT, the butler ADELE, Mr Rochester’s ward GRACE POOLE SERVANTS at the hall

EDWARD FAIRFAX ROCHESTER

BLANCHE INGRAM

LADYINGRAM (‘Maud’) her mother LORD INGRAM (‘Tedo’), her brother MARYINGRAM, her sister

MR ESHTON, a magistrate LOUISAESHTON, his elder daughter AMYESHTON, his younger daughter COLONELDENT

MRS DENT (‘Clare’), his wife

RICHARD MASON BERTHAMASON

THE VICAR of the Parish of Thornfield

ST JOHN RIVERS, a curate in the Parish of Gateshead

THE ENSEMBLE, who tell the story in JANE’s words and comprise all of the characters listed above.

ADELE

#9—Perfectly Nice . . . . . . . . . . .27

BERTHA

#18—The Fire . . . . . . . . . . . . . .52

#25—Sirens . . . . . . . . . . . . . . . .74

#27—The Scream . . . . . . . . . . . .76

#35—The Secret of the House . .105 BLANCHE INGRAM

#22—The Finer Things . . . . . . .64

#23—The Ball / Oh How You Look in the Light . .67

#29—In the Light of the Virgin Morning . . . . . . . . . .85

MR. BROCKLEHURST

#1—The Attic . . . . . . . . . . . . . . . .4

#2—Children of God . . . . . . . . . .6

ENSEMBLE

#5—The Deathof Helen Burns .15

#7—Sweet Liberty . . . . . . . . . . .22

#8—Secrets of the House . . . . . .25

#11—The Icy Lane . . . . . . . . . . .34

#18—The Fire . . . . . . . . . . . . . . .52

#23—The Ball / Oh How You Look in the Light . .67

#26—Sympathies Exist . . . . . . .76

#27—The Scream . . . . . . . . . . . .76 #32—The Chestnut Tree . . . . . .97

#34—The Wedding . . . . . . . . .103 #35—The Secret of the House .105

#39—Rain . . . . . . . . . . . . . . . .112 #39a—Gateshead Revisited . . .115 #40—The Deathof Mrs. Reed . .115 #43—Brave Enough for Love . .127

MRS FAIRFAX

#9—Perfectly Nice . . . . . . . . . . .27

#13—The Master Returns . . . . .37

#20—Society’s Best . . . . . . . . . .59

#21-Galloping Up to the Drive .60

#33—Slip of a Girl . . . . . . . . . .98 #42—Return to Thornfield . . . .124

THE FIGURE

#18—The Fire . . . . . . . . . . . . . . .52

#25—Sirens . . . . . . . . . . . . . . . .74

GIRLS

#2—Children of God . . . . . . . . . .6

GRACE POOLE

#32—The Chestnut Tree . . . . . .97

GUESTS

#21—Galloping Up to the Drive 60

HELEN

#3—Forgiveness . . . . . . . . . . . .12

#4—Willing To Be Brave . . . . . .15

JANEEYRE

#1—The Attic . . . . . . . . . . . . . . . .4

#5—The Deathof Helen Burns .15

#6—The Graveside . . . . . . . . . .19

#7—Sweet Liberty . . . . . . . . . . .22

#9—Perfectly Nice . . . . . . . . . . .27

#12—An Incident Has Come and Gone . . . . . . . . . . . . .37

#17—Your Word to God . . . . . .51

#18—The Fire . . . . . . . . . . . . . . .52

#19—Secret Soul . . . . . . . . . . . .55

#20—Society’s Best . . . . . . . . . .59

#24—The Pledge . . . . . . . . . . . .71

#25—Sirens . . . . . . . . . . . . . . . .74

#28—Painting Her Portrait . . . .82

#29—In the Light of the Virgin Morning . . . . . . . . . .85

#30—The Gypsy . . . . . . . . . . . .88

#31—My Hope of Heaven . . . . .93

#33—Slip of a Girl . . . . . . . . . .98

#35—The Secret of the House .105

#36—Sail Away . . . . . . . . . . . .108

#39—Rain . . . . . . . . . . . . . . . .112

#40—The Deathof Mrs. Reed . .115

#41—The Voice Across the Moors .. . . . . . . . . . . . . . . . . . . . . . . . . .121

#42—Return to Thornfield . . . .124

#43—Brave Enough for Love . .127

YOUNG JANE

#3—Forgiveness . . . . . . . . . . . .12

#5—The Death of Helen Burns .15

#6—The Graveside . . . . . . . . . .19

MARGUERITE

#11—The Icy Lane . . . . . . . . . . .34

MASON

#27—The Scream . . . . . . . . . . . .76

MRS REED

#2—Children of God . . . . . . . . . .6

#40—The Deathof Mrs. Reed .115

ROBERT

#9—Perfectly Nice . . . . . . . . . . .27

#13—The Master Returns . . . . .37

#30—The Gypsy . . . . . . . . . . . .88

ROCHESTER

#0—Jane . . . . . . . . . . . . . . . . . . .1

#13—The Master Returns . . . . .37

#14—The Captive Bird . . . . . . .44

#16—As Good As You . . . . . . . .49

#17—Your Word to God . . . . . .51

#18a—After the Fire . . . . . . . . .55

#19—Secret Soul . . . . . . . . . . . .55

#23—The Ball /

Oh How You Look in the Light . .67

#24—The Pledge . . . . . . . . . . . .71

#25—Sirens . . . . . . . . . . . . . . . .74

#30—The Gypsy . . . . . . . . . . . .88

#31—My Hope of Heaven . . . . .93

#35—The Secret of the House .105 #36—Sail Away . . . . . . . . . . . .108

#37—Farewell Good Angel . . . .110 #41—The Voice Across the Moors . . . . . . . . . . . . . . . . . . . . . . . .121

#43—Brave Enough for Love . .127

ST JOHN

#40—The Deathof Mrs. Reed .115 #41—The Voice Across the Moors .. . . . . . . . . . . . . . . . . . . . . . . . . .121

MISS SCATCHERD

#2—Children of God . . . . . . . . . .6

#5—The Deathof Helen Burns .15

VICAR

#34—The Wedding . . . . . . . . .103

#35—The Secret of The House .105

WOMEN

#30—The Gypsy . . . . . . . . . . . .88

Vision, Flame & Flight Adapting Jane Eyre for the stage

ByJohnCaird

At the heart of all the greatest love stories is a pair of journeys. Whether it be Romeo & Juliet, Antony & Cleopatra, Jane Eyre & Rochester or Peter Pan & Wendy, for a love story to be truly great both the lovers must be unalterably changed by exposure to each other on their journeys through the story. The greatest stroke of genius in the novel Jane Eyre is the way in which Charlotte Brontë interweaves the journeys of Jane and Rochester so that they change each other in this unalterable manner while simultaneously interweaving Jane’s story with her, Charlotte’s, own, no doubt changing herself as a woman and as an author in the process.

When Paul Gordon and I decided to dramatize the novel for the musical stage, we resolved that unless we told both of these stories – the love story and the autobiography – then we would be selling our author short. So while we accord the relationship between Jane and Rochester the central place in our adaptation, we begin where Charlotte begins, with Jane’s early childhood, so redolent of her own and that of her sisters. But this is also where a reader of the novel will notice the first significant difference between the page and the stage. In the novel the child Jane is punished by being locked in the ‘red room’ where her uncle died. In our version we have put her up in the attic, hiding from her abusers in the house below. Our purpose here is to draw a clear parallel between young Jane at the start of her life and mad Bertha Mason at the end of hers, so that the meeting between them on the morning of the aborted marriage to Rochester can illuminate both of their fates and draw attention to one of the central themes of the story – secrets and the lies that secrets create.

If a house can be a metaphor for a human life, then the attic is the mind where all the memories and secrets reside. In this respect Thornfield is the most potent example of both such metaphors. The house represents the life and personality of Rochester – a place he has grown to hate just as he hates himself. The attic hides the awful reality of a life blighted by madness but it also represents the lies and self-deceit that haunt Rochester’s mind, making him incapable of honoring his love for Jane without perjuring himself into the bargain. Jane too has her secrets and her terrors - lies she has told herself about her unworthiness, her plainness and her lack of grace - all of which she must overcome if she is to live for Rochester as she would live for herself, with absolute

openness and integrity. One of the most evocative moments in our adaptation is, I believe, when the secrets and lies in Rochester’s life collide with the secrets and lies in Jane’s. Rochester’s two brides stare at each other across the darkened attic and across the years with a mutual mixture of the most painful reproach and the deepest understanding.

Another major difference in storytelling between the novel and this dramatic adaptation is the treatment of Rochester. Because Brontë chose to write using an autobiographical narrative device, the reader must never know more than Jane herself knows. So Rochester and his motives must remain obscure until the novel is half over. The reader may suspect that all is not right at Thornfield, but not so much that Jane would seem stupid in not working it out for herself. In a sense the reader becomes Jane and Rochester’s motives become almost as obscure to the reader as to the heroine. In the theatre this trick is all but impossible to bring off, and in any case is not really desirable. Adirector or book writer cannot instruct the actor playing Rochester to perform his part as an act of obstructive mystery towards Jane. Playing the part of an enigma would soon become tedious to actor and audience alike. The actor needs to know what Rochester is to himself and he must have as strong a relationship with the audience as has the actress playing the part of Jane. For its part the audience is not looking at Rochester through Jane’s eyes, it is looking at the man himself without the aid of a partial interpreter. We decided therefore that we had to reveal Rochester’s deep feelings for Jane, at least before the intermission falls, or he would risk losing so much sympathy with the audience that they would never forgive Jane for falling in love with him. Achieving this dramatic end without giving away the central secret of the story was perhaps the most delicate task of the whole adaptation.

The stripping away of the mystery surrounding Rochester also allowed us to examine more closely one of the story’s most elusive themes - that of vision. At the beginning of the story Jane has nothing As Miss Scatcherd says of Jane just before she leaves Lowood School, she is ‘a girl with no money, no talents, no beauty and no class’. But without material possessions or prospects of any sort Jane still has the one significant talent that Charlotte Bronte prizes above all others. She has her insight, or moral vision, strong in her from childhood but greatly strengthened by her friendship with Helen Burns. Thus a young woman with nothing but her insight travels across the moors to her first job and there she meets a man who has everything - everything that is except insight. His class, his status, his family and his history are all tellingly represented by the chestnut tree, growing proudly in the gardens of the house. But Rochester, materially rich and astonishingly enlightened about so much, is morally blind. The greatest irony in the story of Jane Eyre is that he has to become actually blind before he is worthy of Jane’s love for him. The agency of Rochester’s blindness is the fire - the fire that in earlier parts of the story has illuminated and guided and warmed and now returns to destroy and purge.

—ix—

At the end of the story all the metaphors are powerfully linked together - blindness, the house, the attic, the fire, the tree - to provide a single potent dramatic image: the young woman of vision providing the eyes and the hands for her blind and crippled lover as they sit together under the stricken chestnut tree in the shadow of the burnt out house that was once their home.

We have made other significant alterations to the structure of the novel, for instance by conflating the death of Mrs. Reed and Jane’s relationship with St John Rivers, making it possible for Jane’s forgiveness of Mrs. Reed to become a crucial factor in her ability to forgive and therefore to hear the anguished Rochester and make her speedy way back to Thornfield. Fully to dramatize the novel’s preoccupation with St John Rivers and his attempt to control Jane and replace Rochester in her affections, would need a musical drama all to itself, but not one I would want to see.

Of course the most obvious addition we have made to the novel is music and song. There is very little of either in the original book. Jane herself is an expert draughtswoman and painter but only a poor performer at the piano. The only really musical person in the book other than Rochester himself, and perhaps Adele, is Blanche Ingram who plays and sings with extraordinary skill and panache. But Charlotte Brontë teaches us to despise Blanche and to value her gifts as nothing compared to the inner spiritual talents - even the silence –possessed by her heroine.

But there is music in Jane Eyre - the music of bird-song. From our first meeting with Jane as a child, sitting in the attic poring lovingly over Bewick’s Book of British Birds, birds and their flight provide the most apposite of images for Jane and her spiritual longing. So it must have been for Charlotte and her sisters, walking on the moors all their lives, the sound of bird-song etching itself into their deepest imaginings. This is why we have pervaded our adaptation with birds and their song. They trill through the melodies, flit amongst the lyrics, dart through the stage directions and soar effortlessly above the libretto. From the sparrows and thrushes of Gateshead to the finches and warblers of Lowood, from the rooks and linnets and nightingales of Thornfield to the curlews on the desolate moors of Yorkshire, it is from nature’s original songsters that we can most clearly hear the authentic music singing in the hearts of Jane Eyre and her creator.

John Caird

Highgate

December 2002

JANE EYRE

Jane Eyre can be performed by 9 women, 5 men and 3 children, or more if greater numbers are artistically desired or professionally necessary. The following character list can therefore be doubled according to the numbers and talents of the available performers. It canbe seene from the original Broadway cast list how we managed it there, but new producers and directors should by no means be constrained by our method. The lines in the script designated for the Ensemble should be divided up amongst the available cast members according to vocal suitability and character availability—the actress playing the part of Jane not included. If more child performers can be afforded then more should be employed. 20 or 30 schoolgirls at Lowood would make a wonderful impression on the audience and give the child performers themselves the experience of a lifetime, though the backstage areas would be a little more chaotic.

THE SETTING

The action is set in England in the 1820s at Gateshead Hall, Lowood School, Thornfield Hall and the surrounding moors of North Yorkshire. The scenes change regularly as the story progresses so a design solution that is swiftly and silently adaptable is essential. The drama must not be obliged to stop in order to accommodate the movement of heavy scenic devices. Lighting can obviously be an enormous help in the establishment of atmosphere and location as can the careful use of sound effects – the moorland wind and the wild birds of the English countryside being particularly apposite. The Ensemble of actors can also be used imaginatively in the creation of the settings. JANE herself narrates the drama while the story concerns her life as a little girl (YOUNG JANE), but as soon as she grows up the ENSEMBLE take over her narrative role and can therefore be used throughout the performance to help in creating the physical environment for the story when they are not engaged in playing the other characters.

AN OTEOF T HANKS

Prior to its Broadway run JANE EYRE had four previous incarnations. It was given a workshop production at Manhattan Theatre Club under the Artistic Directorship of Lynne Meadow. It had its first proper production at Music Theatre Wichita in Wichita, Kansas, under the Artistic Directorship of Kathryn Page Hauptmann. It then played at the Royal Alexandra Theatre in Toronto, produced by David Mirvish. David and Kelly Robinson, his Director of Development, both helped us enormously in taking the piece forward to its third production at La Jolla Playhouse where the Artistic Director Michael Greif and his Administrator Terry Dwyer worked indefatigably for the show’s success. To them and to all the other theatre folk in Wichita and Toronto, La Jolla and New York - the actors, singers, designers of lighting, costumes, sound and projections, musicians, musical directors, demo singers, child actors, understudies, wig and make-up artists, stage managers, administrators, wardrobe staff, copyists, casting directors, agents, producers, publicists, graphic designers, sponsors, angels and of course audiences - we owe a great debt of gratitude.

Special thanks to John Napier, who provided us with a series of inimitable sets, to Larry Hochman, orchestrator and sublime musical friend, to Michael Rafter and Steve Tyler for their selfless help in resolving the musical challenges of all four productions, to Marla Schaffel who was always Jane, to Anthony Crivello our first Rochester and only begetter of Jane Eyre for he it was who introduced us to each other, to all our Girls who proved false the maxim that one should never work with children or animals, and to Nell Balaban, eldest child of the Jane Eyre family, who can still sing every note of every version we ever wrote.

John Caird Paul Gordon

JANE EYRE opened on Broadway at the Brooks Atkinson Theatre on 3 December, 2000 with the following cast.

JANE EYREMarla Schaffel

YOUNG JANELisa Musser

JOHN REEDLee Zarrett

MRS REEDGina Ferrall

MR BROCKLEHURSTDon Richard MISS SCATCHERDMarguerite MacIntyre MARIGOLDMary Stout

HELEN BURNSJayne Paterson SCHOOLGIRLSNell Balaban Andrea Bowen Elizabeth de Grazia Bonnie Gleicher Rita Glynn Gina Lamparella

MRS FAIRFAXMary Stout ROBERTBruce Dow ADELEAndrea Bowen GRACE POOLENell Balaban EDWARD FAIRFAX ROCHESTERJames Barbour BLANCHE INGRAMElizabeth de Grazia LADYINGRAMGina Ferrall LORD INGRAMLee Zarrett MARYINGRAMJayne Paterson

MR ESHTONStepen Buntrock LOUISAESTONGina Lamparella AMYESHTONNell Balaban COLONELDENTDon Richard MRS DENT Marguerite MacIntyre RICHARD MASONBill Nolte BERTHAMASONMarguerite MacIntyre VICARDon Richard ST JOHN RIVERSStephen Buntrock

Directed by John Caird & Scott Schwartz Designed by John Napier Costumes by Andreane Neofitou

Lighting by Jules Fisher & Peggy Eisenhauer Sound by Mark Menard & Tom Clark Associate Scenic Design by Keith Gonzales Dance & Movement by Jayne Paterson Music Direction by Steve Tyler Production Stage Management by Lori Doyle General Management by David Richards & Tamar Climan Produced by Annette Niemtzow, Janet Robinson, Pamela Koslow & Margaret McFeeley Golden, in association with Jennifer Manocherian & Carolyn Kim McCarthy

—xiii—

#0—Jane

ACT I, prologue

(Music as JANE EYRE appears out of the darkness. We hear a man’s voice in the distance calling out her name.)

JANE

My name is Jane Eyre. My story begins, gentle audience, a long age ago, in the dark and lonely attic of Gateshead Hall.

(YOUNG JANE appears sitting between the dusty joists of a gabled roof.)

Here I am, a little girl of ten years old, in hiding from the terrors of the house belowfrom the coldness and indifference of my aunt Mrs Reed, and the cruel and constant bullying of her darling son John.

(YOUNG JANE reaches for a large book, hidden in the rafters, and carries it to a patch of light on the floor.)

Into this hiding-place I brought a treasured volume - Bewick’s Book of British Birds. For hours on end I would study the pictures - of linnets, and thrushes, and majestic mountain eagles, of solitary rocks and tempestuous seas.

(YOUNG JANE reads the book, a little smile of wonderment playing around her face.)

All human beings must love something, and for want of a worthier object of affection, I had my rag doll.

(YOUNG JANE pulls a doll from her apron pocket and sits it in her lap as she continues to read.)

It puzzles me now to remember with what absurd sincerity I doted on this little graven image, believing it alive and capable of feeling.

(YOUNG JANE shows the doll the pictures in the book.)

With my book and my doll I could be happy for a while - though never, alas, for long.

(JOHN REED appears in the open trap door.)

JOHN REED

Boh!

(YOUNG JANE starts fearfully.)

Orphan, orphan, parents dead!

Stupid, stupid, in the head!

(He approaches her.)

Ugly, ugly, ugly face!

(JOHN REED)

You should learn to know your place!

(He sees the book.)

What are you reading?

It’s Bewick’s Book of....

YOUNG JANE

JOHN REED

You have no business to take my books.

(He snatches the book from YOUNG JANE.)

For they are mine. This whole house belongs to me, or will do in a few year’s time. You - you’re a dependent. That’s what mamma says. You ought to beg and not live here and eat our food and wear good clothes and steal our things!

(JOHN REED suddenly and furiously rips pages from the book and throws them at YOUNG JANE.)

YOUNG JANE

No, please. Don’t!

(Crying)

(He hurls what is left of the book at YOUNG JANE’s feet then recoils from her, adopting a tone of mock horror.)

JOHN REED

Jane Eyre! What ever have you done?

(He turns and shouts down through the trap-door.)

Mama! Mama! Come quickly!

MRS. REED

(From below)

What is it, John?

JOHN REED

(Swiftly to YOUNG JANE)

Ugly, ugly, ugly face!

Now you’ll learn to know your place!

(MRS. REED comes up the stairs and appears waist-high in the trap-door. JOHN REED points at YOUNG JANE who is now sitting on the floor in tears surrounded by pieces of the tattered book. MRS. REED stiffens with fury.)

Jane Eyre!

MRS REED

(YOUNG JANE turns to MRS REED and shakes her head, bewildered.)

Aprecious book! Completely destroyed! How could you do such a wicked, wicked thing?

YOUNG JANE

It was John. John did it.

(MRS REED looks at JOHN, who turns on YOUNG JANE in outraged innocence.)

JOHN

Liar!

Mama!

(Crying)

(Mrs. REED turns back to YOUNG JANE, her fury suddenly brimming over.)

MRS. REED

How dare you accuse your kind young master. You vile, deceitful child.

YOUNG JANE

How is he my master? Am I a servant?

MRS. REED

You are less than a servant. For you do nothing to earn your keep. God should strike you dead for the ingratitude you show.

(She starts to leave through the trap door, JOHN REED following.)

YOUNG JANE

Then let him strike me dead. For I cannot bear to live here any longer.

(MRS REED is silenced briefly by YOUNG JANE’s outburst.)

MRS REED

This violence is repulsive. Come along, John.

JOHN REED

(Still sniveling)

Yes, mama.

MRS REED

It’s all right, my darling. I know what I must do. (Turning back to YOUNG JANE.)

I abominate lying, particularly in children. My duty obliges me to purge you of your faults.

(As MRS REED descends through the trap-door a clock chimes seven in the hall below. JOHN REED follows her, turning to make a hideous face at YOUNG JANE before disappearing down the stairs. YOUNG JANE collects up the torn pages of the book and starts to piece them together, as JANE starts to sing.)

#1—The Attic

JANE

AFLOOD OF MEMORYWASHES OVER ME

ALONELYGIRLBETRAYED AND BATTERED RETRIEVES THE PIECES OF ALIFE THAT’S TORN APART AND TRIES IN VAIN TO MEND THE TATTERED PAGES OF HER HEART

IT’S SEVEN O’CLOCK IN THE EVENING ANOTHER DAYOF THEIR ABUSE REPEATED PERSECUTION FOR BEING OF SO LITTLE USE

(YOUNG JANE closes the torn pages into the book as best she can and returns to her dusty cranny under the gable.)

SHE CURSES THE INJUSTICE

AND BEGS TO KNOW THE REASON WHY SHE SUFFERS IN THIS PRISON WHEN ALLSHE WANTS TO DO IS FLY

(YOUNG JANE peers out through a crack in the roof at the night sky beyond.)

OVER MOUNTAINS OVER OCEANS

HOW HER RESTLESSNESS STIRS FOR SHE LONGS FOR HER LIBERTY WHEN WILLLIBERTYBE HERS?

(JANE)

(YOUNG JANE turns back to the audience and sits hugging her knees and rocking gently to and fro.)

HER LIFE IS NOT OF VALUE POVERTYSECURES HER FATE CONDEMNED TO BE AWOMAN BARELYFIT TO EDUCATE SHE SWALLOWS HER REBELLION BUT THERE’S ASTORM WITHIN HER BREAST SHE TRIES TO QUELLTHE DOWNPOUR YET CANNOT TAME HER SOUL’S UNREST

(YOUNG JANE rises and moves towards the audience, her face lit by a crack of light coming through the roof.)

AND THE LIGHTNING STRIKES INSIDE HER AS SHE LOOKS TO THE SKY AND SHE PLEDGES TO SPREAD HER WINGS THROUGH AHURRICANE SHE’LLFLY

(BOTH JANES look out over the audience.)

OVER MOUNTAINS OVER OCEANS HOW HER RESTLESSNESS STIRS FOR SHE LONGS FOR HER LIBERTY WHEN WILLLIBERTYBE HERS?

(BROCKLEHURST emerges from the shadows, tall, darkclad and forbidding, MRS. REED behind him. YOUNG JANE shrinks away from him, a tiny figure kneeling at his feet. JANE kneels behind her, both of them looking up at BROCKLEHURST.)

BROCKLEHURST

THERE’S NO SIGHT SO SAD NO STENCH SO BAD AS THAT OF ANAUGHTYGIRL NO CRIME SO GRAVE AS CHILDREN WHO MISBEHAVE WHEN AGIRLCAN’T BE SAVED GOD HEARS HER PLEA BUT HE LEAVES HER SOULTO ME

(The music crashes into the next scene, as JANE takes YOUNG JANE to one side of the stage and dresses her in the uniform of Lowood School.)

ACT I, scene i

(BROCKLEHURST, the owner of Lowood, shouts out over the sound of the music as the school takes shape around him.)

BROCKLEHURST

Form classes! Silence! Order!

#2—Children of God

(We are in a large, gloomy school-room, more like a prison than a school. There are benches arranged in rows on two sides of a central aisle with a dusty chalk-board at the front of the room. Hanging on one side of the chalk-board is a well-used leather strap. The SCHOOLGIRLS enter in a regimented line. They are supervised by MISS SCATCHERD, a grimlooking woman of indeterminate age, and MARIGOLD, a serving-woman with a vacant, semi-moronic face.)

GIRLS

WE ARE THE CHILDREN OF GOD AND WE PRAISE HIS WORD WE ARE BLIND IN HIS LOVE

IN HIS LOVE WE WILLTRUST FOR WE ARE TAUGHT THAT WE MUST MISS SCATCHERD

GIRLS, DON’T SLOUCH, KEEPIN LINE OR MYNERVES WILLSNAP DO NOT WHISPER OR BREATHE OR I’LLSHOW YOU THE STRAP

(BROCKLEHURST greets MRS REED and JOHN REED at the side of the stage.)

GIRLS

OH, GRATEFULWE ARE FOR OUR DAILYBREAD MINDFULARE WE OF WHAT JESUS SAID TRUST IN HIM, TURN THE CHEEK EVER BLESSED ARE THE MEEK

(The GIRLS sit on the benches as BROCKLEHURST goes to the front of the class and addresses them.)

BROCKLEHURST

I HAVE AWORD TO ADDRESS TO THE STUDENTS

HERE IS AGIRLWHO IS NEW TO OUR SCHOOL (MISS SCATCHERD has collected YOUNG JANE from JANE and leads her to the front of the school-room.)

Her name is Eyre, Jane Eyre, and she is brought here by her excellent benefactress, Mrs. Reed.

(MRS REED steps forward to reply to BROCKLEHURST, but she includes the whole school in her address.)

MRS. REED

I should wish her to be brought up in a manner suiting her prospects - to be made useful - to be kept humble.

ONE MUST PUNISH THE FLESH SHE’S PRONE TO DECEIT I WOULD CAUTION YOU NOT TO BE FOOLED BYHER LIES

BROCKLEHURST

DECEIT IS ACARDINALSIN

MRS. REED

SHE KNOWS NOT THE DANGER SHE’S IN (BROCKLEHURST looms over YOUNG JANE, who faces forward, seemingly impervious.)

BROCKLEHURST

Do you know where liars go after death?

YOUNG JANE

They go to hell.

And what is hell?

Apit full of fire.

BROCKLEHURST

YOUNG JANE

BROCKLEHURST

And should you like to be falling into that pit, and to be swimming there forever?

YOUNG JANE

No, sir.

BROCKLEHURST

Then what must you do to avoid it?

YOUNG JANE

I must keep in good health and not die.

(This is not the right answer, and BROCKLEHURST is momentarily non-plussed before angrily responding.)

BROCKLEHURST

Children younger than you die daily!

(He walks amongst the other GIRLS.)

THESE ARE THE CHILDREN OF GOD SHE WILLQUICKLYLEARN THAT ACHILD DECEITFUL FOREVER SHALLBURN

(As BROCKLEHURST points out YOUNG JANE with his stick, she turns on him.)

YOUNG JANE

I am not deceitful! I have never told a lie!

(She turns back and faces MRS. REED who freezes in horror.)

If I told lies, I would say I love you, Mrs. Reed. But I declare I do not love you. I dislike you worst of anybody in the world. I will never come to see you when I’m grown up - even when you’re dying - for the very thought of you makes me sick. You are the liar!

(MRS. REED reels back and is helped onto a chair by JOHN REED.)

BROCKLEHURST

Shocking conduct!

(BROCKLEHURST takes YOUNG JANE by an ear and pulls her to the head of the class where MARIGOLD places a stool. As the whole school joins in the condemnation, Miss SCATCHERD puts YOUNG JANE up on the stool. MRS REED and JOHN REED cross to BROCKLEHURST who escorts them away from the classroom. MARIGOLD chalks the word ‘LIAR’up on the chalk-board behind YOUNG JANE as MISS SCATCHERD leads all the other GIRLS off into the darkness.)

(MRS. REED, MISS SCATCHERD, MR. BROCKLEHURST AND ENSEMBLE 1, 2, & 3 sing the following lyrics simultaneously)

MRS. REED

LET THIS TEACH YOU! LET THIS TEACH YOU!

WICKED CHILD. HORRID, WRETCHED CHILD. GOD DESPISES YOU!

MISS SCATCHERD (to MRS. REED)

SHE IS DEPRAVED (to MR. BLOCKLEHURST)

THE GIRLWILLBE WATCHED, SIR, EV’RYHOUR (To YOUNG JANE)

STAND VERYSTILL ALLEYES WILLBE WATCHING. WATCHING ASHAMEFULCHILD.

MR. BROCKLEHURST PUNISH THE FLESH TO CHASTEN THE SPIRIT DISCIPLES ARE BORN TO BE HUMBLE AND SUFFER. PURITYCOMES FROM THE PAIN OF CORRECTION DISCIPLES ARE BORN TO BE HUMBLE AND SUFFER. THE TORMENT OF MARTYRS IS HOLYAND CHRISTIAN. STARVING THE BODY, YOU’LLNEVER EXTINGUISH THE SOUL.

ENS. 1ENS. 2ENS. 3

WE ARE THE CHILDREN OF GOD.

WE ARE THEWE MAKE ONE CHILDREN OF GOD.REQUEST. WE ARE THEWE MAKE ONETHAT THE CHILDREN OF GODREQUEST.PORRIDGE BEFORE US AND WE PRAISE HIS WORDTHAT THE PORRIDGEIS PROPERLY WE ARE BLIND IN HISBEFORE US IS PROPERLYBLESSED

IN HIS LOVE WE WILLTRUSTAND SAFE TO INGEST

WE ARE THEWE ARE THE CHILDREN OF GODAND SAFE TO INGESTCHILDREN OF GOD BUT WE FIND IT QUEERWE ARE THEBUT WE FIND IT QUEER

IF WE’RE REALLYCHILDREN OF GODIF WE’RE REALLY HIS CHILDREN,HIS CHILDREN, WHYISN’T HE HERE?WHYISN’T HE HERE?WHYISN’T HE HERE?

SCHOOLGIRLS

BLIND IN HIS LOVE

WE’RE CHARITYCHILDREN

NO MOTHER OR FATHER JUST HEAVENLYCARE

GOD BLESSES OUR SOULS

AND YET WE DESPAIR

(Silence. YOUNG JANE stands on the stool in the empty hall. Achapel bell tolls the hour in the distance. HELEN BURNS comes out of the darkness and approaches YOUNG JANE, looking round to make sure the coast is clear. She is one of the school-girls we have seen earlier and is dressed exactly like them. She is 14 or 15 years old, quiet, gentle and serious. YOUNG JANE notices her.)

HELEN

I’ve brought you some bread. (YOUNG JANE shakes her head.)

Come, you must eat something.

(Another shake of the head. HELEN looks round again.)

HELEN

Please…

(She holds out the crust of bread, but gets no response, so she tucks it into YOUNG JANE’s apron pocket.)

If you don’t want it now, you can save it for later.

(HELEN starts to leave, YOUNG JANE watching her with great suspicion.)

JANE

What is your name?

Burns - Helen Burns.

HELEN

YOUNG JANE

Why do you talk to a girl everyone believes to be a liar?

HELEN

Everyone, Jane? Only forty people have heard you called so, and the world contains hundreds of millions.

YOUNG JANE

What have I to do with millions? The forty people here despise me.

HELEN

No one despises you. Many I’m sure feel for you.

(HELEN returns to YOUNG JANE at the stool.)

But even if all the world hated you and believed you wicked, if your own conscience approved you, you would not be lonely.

YOUNG JANE

(Passionate)

No, no! If others don’t love me, I’d rather die than live.

HELEN

Hush, Jane! You think too much of the love of human beings. Apart from this earth, there is a kingdom of spirits who watch over us and protect us.

YOUNG JANE

Where?

HELEN Everywhere.

(MR. BROCKLEHURST emerges from the shadows.)

Burns! Taking to the new girl!

Scatcherd!

BROCKLEHURST

(Bellowing at the top of his voice)

(HELEN looks up at YOUNG JANE with a little smile of regret as MISS SCATCHERD hurries into the hall, closely followed by MARIGOLD, the servant.)

Burns is talking to the new girl against my express command!

MISS SCATCHERD

Hardened child! Will nothing break your spirit?

BROCKLEHURST

The strap, Scatcherd, will do her spirit no harm.

(YOUNG JANE watches in horror as MISS SCATCHERD fetches the strap from its hook on the chalk-board.)

MISS SCATCHERD

(Beating HELEN)

Let - this - teach - you - willful - child!

(As HELEN is beaten, YOUNG JANE winces at every stroke, BROCKLEHURST observing her with interest. MISS SCATCHERD then hands the strap back to HELEN who curtseys to her and then turns to look calmly up at YOUNG JANE before returning the strap to its hook.)

BROCKLEHURST

This floor is filthy. Since Burns and the liar are so keen to converse, let them be usefully employed while they do so.

(BROCKLEHURST goes. MARIGOLD dumps a bucket down on the floor and nudges YOUNG JANE off the stool.)

MISS SCATCHERD

The whole room, mind you - till I can see my face in it.

(MISS SCATCHERD and MARIGOLD go. HELEN and YOUNG JANE are now alone in the schoolroom. They take rags from the bucket and start polishing. YOUNG JANE is furious, her words tumbling out of her in an angry torrent.)

#3—Forgiveness

YOUNG JANE

If she used that strap on me, I would take it from her hand.

HELEN

You would do no such thing.

I would beat her with it.

YOUNG JANE

HELEN

YOU MUSN’T BE REVENGEFUL YOUNG JANE

She would deserve it, and so would he!

HELEN

YOU HAVE TO BE STRONG

YOUNG JANE

Wicked, unjust people…

HELEN

TO OFFER GOOD FOR EVIL

YOUNG JANE

They should be the ones to suffer.

HELEN

RETURN RIGHT FOR WRONG WE MUST NOT HOLD AGRUDGE AND WE MUST LEARN TO ENDURE

I will never learn.

YOUNG JANE

HELEN

THEN AS GOD IS OUR JUDGE YOUNG JANE

You should learn - to strike back at them

HELEN

AT LEAST OUR HEARTS WILLBE PURE FORGIVENESS

IS THE MIGHTIEST SWORD FORGIVENESS

OF THOSE YOU HATE WILLBE YOUR HIGHEST REWARD

And those who hate me?

YOUNG JANE

HELEN

WHEN THEYBRUISE YOU WITH WORDS WHEN THEYMAKE YOU FEELSMALL WHEN IT’S HARDEST TO BEAR YOU MUST DO NOTHING AT ALL FORGIVENESS IS THE SIMPLEST VOW FORGIVENESS OF ALLTHEIR CRIMES IS YOUR DELIVERANCE NOW

(HELEN rises and refers YOUNG JANE to the scrawled ‘LIAR’on the chalk-board.)

(HELEN)

BLESS THOSE SOULS

WHO WOULD CURSE YOUR NAME WHEN THE LAST BELLTOLLS YOU’LLBE FREE OF BLAME YOUNG JANE

No, Helen. It’s not possible.

(HELEN takes a testament from her apron pocket and looks up a reference.)

HELEN

YOU CAN RESIST IF YOU WISH YOUNG JANE

I must hate those who hate me.

HELEN

BUT KNOW THE GOSPELIS TRUE

(She gives the book to YOUNG JANE and points to the reference she has found.)

YOU MUST FORGIVE THOSE WHO SIN YOUNG JANE

I will never forgive Mrs. Reed.

HELEN

AND BLESS THEM THAT CURSE YOU YOUNG JANE

I will never bless her son, John.

FORGIVENESS

HELEN

IS THE MIGHTIEST SWORD

(YOUNG JANE reads on in the testament.)

FORGIVENESS OF THOSE YOU FEAR WILLBE YOUR HIGHEST REWARD

(YOUNG JANE hands the book back to HELEN.)

YOUNG JANE

But when, Helen? When will we get our reward?

HELEN

The time will come when we will leave this world, and then the injustice and the pain and the sin will fall away from us, and only the spirit will remain - returning to God who created it.

(YOUNG JANE is calm now, watching HELEN with a quiet reverence.)

#4—Willing To Be Brave

YOU MUST NEVER LOSE FAITH

YOU MUST NEVER LOSE HEART

GOD WILLRESTORE YOUR TRUST

AND I KNOW YOU’RE AFRAID

I’M AS SCARED AS YOU ARE (HELEN puts out a cautious hand to YOUNG JANE.)

BUT WILLING TO BE BRAVE (YOUNG JANE slips her hand into HELEN’s)

BRAVE ENOUGH FOR LOVE

(The light fades on the two girls.)

ACT I, scene ii

#5—The Death of Helen Burns

(As JANE takes up the story, HELEN and YOUNG JANE spread an old blanket on the ground and sprawl on it, surrounding themselves with books and sketch-pads. All around them is the dappled light of a springtime glade.)

JANE

Spring drew on and the snows of winter melted. April dawned with sunshine and warmth. Helen and I would steal away to a secret hollow in the neighbouring woods. There we would talk and read and paint for hours and hours, surrounded by wild primrose plants.

(HELEN reads from a school poetry book.)

HELEN

‘The World was all before them, where to choose

(HELEN)

Their place of rest, and Providence their guide They hand in hand with wandering steps and slow Through Eden took their solitary way.’ (Music changes. The light around the girls begins to darken.)

JANE

But the forest dell where Lowood lay was a cradle of fog and pestilence. Typhus crept into the orphans’ dormitory infecting the lungs of the semi-starving girls.

(YOUNG JANE and HELEN look at each other, HELEN reaching out a protective hand to YOUNG JANE’s face.)

Helen and I were spared at first from the deadly plague, but there came a day when Helen fell ill and her bed was moved to the infirmary.

(HELEN rises and moves off into the darkness, taking the books with her. YOUNG JANE is left sitting on her own in the glade.)

The weeks went by and all alone I watched our primroses fade in the woods. I was kept from Helen for fear of infection, and heard no news of her, or her condition.

(YOUNG JANE rises, wraps herself in the blanket and stands hesitantly under the shadowy trees as the scene moves to a darkened hallway at the school.)

BUT SYMPATHIES EXIST

PRESENTIMENTS AND SIGNS

THAT BAFFLE OUR MORTALCOMPREHENSION

(MISS SCATCHERD hurries past with bottles of medicine and a blanket. YOUNG JANE approaches her, quite boldly.)

YOUNG JANE

Please, Miss Scatcherd.

What is it, girl?

How is Helen today?

MISS SCATCHERD

YOUNG JANE

MISS SCATCHERD

Burns? Not well. Not well at all.

Is she going to die?

YOUNG JANE

(MISS SCATCHERD turns away, caught unawares by YOUNG JANE’s candor.)

She’s very ill.

MISS SCATCHERD (Gruffly)

(YOUNG JANE puts a hand to her head and looks intently at MISS SCATCHERD as JANE sings.)

JANE

TO DREAM OR TO SEE OR TO FEELOR TO HEAR WHAT SEEMS NOT TO BE THERE

Get back to bed, girl.

MISS SCATCHERD

YOUNG JANE

I had a dream that Helen died, and I became a ghost and lost my soul.

MISS SCATCHERD

Nonsense, girl. You can never lose your soul. As for ghosts - there are no such things.

(MISS SCATCHERD hurries away. YOUNG JANE stands pondering as JANE continues to sing.)

JANE

BUT SUCH THINGS EXIST THINGS BEYOND THIS EARTH THINGS BEYOND OUR SACRED THOUGHTS OF HEAVEN THESE ARE THE THINGS THAT REASON DEFIES BUT REASON SOMETIMES LIES

That very night I awoke from my bed with a terrible start. Helen was dying. I knew it, but knew not how I knew it. I rose from by bed...

(YOUNG JANE runs upstage through the dark corridors of the school.)

...and silently ran through the sleeping house. I had to see Helen - to kiss her once before she died.

(YOUNG JANE arrives, breathless, at the door of the infirmary. HELEN lies in a little bed, deathly pale. She sees YOUNG JANE and smiles.)

HELEN

Jane, what are you doing here? Have you come to say good-bye?

YOUNG JANE

Good-bye? Are you going home, Helen?

HELEN

Yes, Jane. To my long home. My last home.

(YOUNG JANE runs over to HELEN’s bed and embraces her.)

YOUNG JANE

No, no Helen!

(HELEN draws back the covers of the bed and YOUNG JANE crawls in beside her.)

HELEN

THERE IS AFEVER ON MYBROW

AND I FEAR THE TIME HAS COME

WHEN AT LAST I LEAVE YOU I KNOW MYDEATH MAYGRIEVE YOU

BUT DO NOT CRYFOR ME TONIGHT

I LEAVE WITH NO REGRET MYANGELS BRING ME HOME THEYCALLMYNAME ACROSS THE SKY I HEAR THEM JANE AND WHEN I GO TO GOD I’LLFEELNO PAIN AND I’LLBE WATCHING YOU FROM HEAVEN

(They fall asleep. JANE emerges from the shadows behind them.)

JANE

Miss Scatcherd found me the next morning, laid in Helen’s little crib, my face against Helen’s shoulder, my arms round her neck. I was asleep - and Helen was dead.

(The light fades on the infirmary.)

ACT I, scene iii

(Agraveyard with moss-covered tombstones. YOUNG JANE comes through the graveyard, a lily in her hand. JANE watches her as she kneels at one of the graves. At the foot of the simple stone cross there is a small pile of old roses in various stages of decay.)

JANE

From the moment her body was cold in the earth, there was not a day I did not visit her grave. #6—The Graveside

YOUNG JANE

HELEN, I HAVE BROUGHT YOU ALILYTODAY FOR THE ROSES WERE FRAIL AND THE PETALS FELLAWAY THE MORNING MIST HAS KISSED YOUR GRAVE REST NOW IN SLEEP OUR SECRETS WILLKEEP TILLWE SPEAK AGAIN TOMORROW

(JANE kneels at the grave with YOUNG JANE)

JANE

And so, gentle audience, as the days and the weeks and the months passed by, and the seasons altered - the spirits that Helen said watch over us - seemed to grow stronger all around me.

(The ENSEMBLE emerges from the darkness of the graveyard.)

ENSEMBLE ONE

What they were I cannot tell...

ENSEMBLE TWO ...fragments of memory, perhaps...

ENSEMBLE THREE ...or thoughts of hope.

ENSEMBLE FOUR

Spirits from the past...

ENSEMBLE FIVE ...or the present...

ENSEMBLE SIX ...or the future -

JANE - but all of them part of me...

ENSEMBLE SEVEN ...protecting...

ENSEMBLE EIGHT ...warning...

ENSEMBLE NINE ....imagining...

...or knowing...

ENSEMBLE TEN

JANE

...just beyond the edges of my mind.

(JANE walks amongst the ENSEMBLE as they sing.)

ENSEMBLE ONE

MYHOPE OF HEAVEN LIES

ENSEMBLE TWO

BEYOND ALLEARTHLYTIES

ENSEMBLE THREE

I HEAR GODS CHERISHED VOICE

ENSEMBLE FOUR

ACROSS THE OPEN SKIES

ENSEMBLE

HIS GRACE AND POWER CALLTO ME FROM HEAVEN (JANE and YOUNG JANE look out over the graveyard, transfixed by the same vision. The ENSEMBLE watch them from one side of the graveyard.)

BOTH JANES

AS I LAYMYSELF DOWN TO SLEEPTONIGHT

I PRAYI MIGHT KNOW WHYGOD HAS TEMPERED JUDGMENT NOT WITH MERCYBUT WITH SORROW

LET THE WORLD FORSAKE ME LET THEM DO THEIR WORST I WILLWITHSTAND IT ALL THEYWILLNOT BREAK ME

THERE IS ANOTHER WORLD THAT WATCHES US I’M NOT AFRAID

THE ANGELS KNOW WHEN WE HAVE SINNED OR WE HAVE BEEN BETRAYED

Jane Eyre!

Yes, Miss Scatcherd.

(MISS SCATCHERD and a small group of SCHOOLGIRLS come through the graveyard. MISS SCATCHERD addresses YOUNG JANE, who starts up guiltily.)

MISS SCATCHERD

YOUNG JANE

MISS SCATCHERD

Get to breakfast! You’re late as usual.

Yes, Miss.

Morbid little child!

YOUNG JANE

(YOUNG JANE leaves Helen’s grave and walks off through the churchyard with the other SCHOOLGIRLS, MISS SCATCHERD following.)

MISS SCATCHERD

(As YOUNG JANE and the other schoolgirls disappear, JANE continues to kneel at Helen’s grave.The lights change as MISS SCATCHERD suddenly truns back to face JANE. In this little moment, eight years pass.)

Well, Miss Eyre?

(JANE starts up guiltily, just as YOUNG JANE did.)

JANE

Yes, Miss Scatcherd.

Your class is waiting!

MISS SCATCHERD

JANE (Rising)

Yes, of course.

You never miss a day, do you?

No…no I don’t.

MISS SCATCHERD

JANE

MISS SCATCHERD

Well, she’s in a better place now, I’m sure.

Indeed....

Miss Scatcherd...

Yes?

JANE

(MISS SCATCHERD goes off towards the school, but stops as JANE calls her back. Achapel bell tolls seven.)

JANE

MISS SCATCHERD

JANE

I should tell you, I’m thinking of leaving here.

MISS SCATCHERD

Leaving? To go where?

JANE

I don’t know. But I can’t stay here forever.

MISS SCATCHERD

Meaning that I have, I suppose?

Well...

JANE

MISS SCATCHERD

You’d be mad to leave here. Agirl with no money, no talents, no beauty and no class. Don’t think of it.

(She turns to go.)

And don’t be late for breakfast!

(MISS SCATCHERD disappears into the darkness upstage. JANE walks slowly through the graveyard, looking out at the sky beyond.)

JANE

IT’S SEVEN O’CLOCK IN THE MORNING

I LIFT MYEYES TO AUTUMN SKIES

I LOOKOUT THROUGH THE GRAVEYARD

ASILHOUETTED SWALLOW FLIES

HE FLIES TO DISTANT COUNTRIES

(JANE)

I LOSE HIM JUST BEHIND ACLOUD I YEARN TO BE THAT SWALLOW AND GO WHERE I AM NOT ALLOWED (She moves away from the graveyard and walks around the stage.)

OVER MOUNTAINS, OVER OCEANS HEAVEN TAKE ME AWAY FOR I LONG FOR MYLIBERTY FOR SWEET LIBERTYI PRAY

(Aschool bell rings. JANE sits on a stool, a book in her lap, teaching a lesson to a group of SCHOOLGIRLS, who sit and sprawl all around her.)

IT’S NINE O’CLOCK IN THE MORNING I TEACH WHAT’S BEEN INSTILLED IN ME BUT IS THIS ALLWE’RE MEANT FOR CONDEMNED TO MERE TRANQUILLITY?

FOR WOMEN FEELAS MEN DO WE MUST ENGAGE OUR MINDS AND SOULS LET US LIKE OUR BROTHERS HAVE OUR WORTH DEFINE OUR ROLES

(She rises and the SCHOOLGIRLS cluster around her. She talks to them earnestly, putting an arm round the shoulders of her two favourites.)

BREAKING CUSTOM AND CONVENTION LET TRADITION GIVE WAY FOR WE ALLNEED OUR LIBERTY FOR SWEET LIBERTYWE PRAY

(Another bell rings in the distance and the SCHOOLGIRLS exit. JANE moves across the stage once more.)

AND I WAKE FROM MYBED WITH THE URGE TO DEPART AND TO FOLLOW THE CALLOF MYHEART

(She kneels on the floor in the darkness, packing a traveling bag with books and clothes.)

IT’S TWELVE O’CLOCK IN THE PITCH BLACK NIGHT I CAN’T CONTAIN MYWANDERLUST

I SEEK ANEW ADVENTURE AND SEARCH THE SKIES BECAUSE I MUST

I HUNGER FOR NEW FACES TO FIND ABETTER DESTINY AND FLYAMONG THE SWALLOWS FAR ABOVE THE TROUBLED SEA

(She heaves her bag up over her shoulder and strides out around the stage.)

OVER MOUNTAINS, OVER OCEANS

HEAVEN TAKE ME AWAY FOR I LONG FOR MYLIBERTY FOR SWEET LIBERTYI PRAY

(She climbs onto a craggy rock as if at the top of a high hill and looks out at the country around her, the ENSEMBLE gathering in the darkness around her.)

‘CROSS THE RIVERS PAST THE HIGHLANDS WITH GOD’S WIND IN MYHAIR

I LOOK OUT OVER BOUNDLESS SKIES MYSPIRITS RISE

ENSEMBLE

MYSPIRITS RISE

JANE AND CARRYME ENSEMBLE

AND CARRYME.

HEAVEN LET MYFREEDOM CARRYME

JANEENSEMBLE

BEYOND MYPAST,AH

WHERE I WILLFINDI WILLFIND

SWEET LIBERTY

LIBERTY MYLIBERTYLIBERTY

AT LASTLAST

(As the song ends, JANE stands still for a moment, then climbs down off the rock and continues her journey, more slowly now, and thoughtful as the scene changes around her.)

ACT I, scene v

(The ENSEMBLE shadow JANE as she walks amongst them.)

#8—Secrets of the House

ENSEMBLE ONE

Half a day’s journey across the moors brought me to the place of my new servitude.

ENSEMBLE TWO

Evening was drawing on as I walked down a lonely valley…

ENSEMBLE THREE

…the misty hills lowering around me…

ENSEMBLE FOUR

…when, turning a corner of the leafy lane…

ENSEMBLE FIVE

…a dark looming manor rose before my eyes.

ENSEMBLE SIX

In the sky above the house flew dozens of cawing rooks…

ENSEMBLE SEVEN

…and in the meadows all around stood an array of mighty old thorn-trees…

ENSEMBLE EIGHT

…the trees from which the house derived it’s name…

ALLENSEMBLE

…Thornfield Hall.

(JANE passes the gates of Thornfield, as the ENSEMBLE sing.)

ENSEMBLE

THE SECRETS OF THE HOUSE ARE JUST BEYOND THESE WALLS

THEYHIDE IN LONG FORGOTTEN SHADOWS

FRAGMENTS OF MEMORIES AWAKENED AND STIRRED BYACALLMYHEART HAS HEARD (MRS. FAIRFAX appears.)

Hello?

Hello!

Can I help you?

MRS. FAIRFAX

JANE

MRS. FAIRFAX

JANE

Well, I… MRS. FAIRFAX

You’ll have to speak up.

JANE

I’m Jane Eyre. MRS. FAIRFAX

Yes, autumn days are chilly.

JANE (Raising her voice)

Jane Eyre, the new governess. MRS. FAIRFAX

Ah, no! She’s not here yet.

No, it’s me.

What is?

I’m Jane Eyre.

No! Really? But that’s terrible!

JANE

MRS. FAIRFAX

JANE

MRS. FAIRFAX

JANE

Is it? MRS. FAIRFAX

Why, no one’s given you any tea.

Well, no….

Robert!!

JANE

MRS. FAIRFAX

Madame?

Tea for Miss Eyre.

(ROBERT appears, lounging at a table reading a newspaper.)

ROBERT

MRS. FAIRFAX

(As if he has been asked to move the house a yard to the left.)

ROBERT

Tea?

Tea!

MRS. FAIRFAX

(ROBERT slaps a footman’s wig onto his head and snaps into action, producing a trayful of tea-things. MRS. FAIRFAX and JANE sit at the table, a passing SERVANT divesting JANE of her cloak, bag and bonnet.)

#9—Perfectly Nice

Thank you.

No, I...

MRS. FAIRFAX

IT’LLBE PERFECTLYNICE

HAVING SOMEBODYWITH WHOM TO CONVERSE THE SERVANTS ARE FINE

(Glaring at ROBERT) BUT ALITTLE PERVERSE

AND IF I’M ATINYBIT TERSE

IT’S ONLYBECAUSE I BERATED THE CHEF JANE

(To the SERVANT)

MRS. FAIRFAX

ARE YOU TALKING TO ME?

JANE

MRS. FAIRFAX

I’M ALITTLE BIT DEAF

(MRS. FAIRFAX)

THE WEATHER’S BEEN RAINYAND GRAY ROBERT, STOPFUSSING, GET OUT OF THE WAY WHERE IS THE CAKE?

(MRS FAIRFAX serves the tea as they continue to chat.)

FOR GO-ODNESS’ SAKE THERE WAS ATIME WHEN WINTER WAS HERE

MRS. FAIRFAX Milk?

(JANE declines. MRS FAIRFAX adds milk to her tea.)

NO ONE CAME BY NO ONE CAME NEAR Sugar?

(JANE declines again, MRS. FAIRFAX adds a lump to her tea.)

MRS. FAIRFAX

I WAS ALONE, NEARLYAYEAR More?

JANE

No, thank you....

(Two more lumps.)

MRS FAIRFAX

AND NOT ACREATURE WOULD COME TO THE HOUSE THE VICAR CAME ONCE BUT HE DIDN’T STAYLONG OR DID HE COME TWICE? MAYBE I’M WRONG

(MRS FAIRFAX starts to drink JANE’s tea but stops herself just in time.)

THEN AS THE DAYS WENT ALONG LIKE IT OR NOT I WAS NOT AS DEPRESSED AND SOON AFTER THAT WE WERE FINALLYBLESSED

(ADELE runs in from the garden. She is 8 or 9 years old, very prettily attired. From her ribbons to her parasol to her pumps she is the picture of Parisian chic. MRS. FAIRFAX catches sight of her.)

MRS FAIRFAX

WITH LITTLE ADELE, DARLING, COME HERE!

(ADELE runs over to the tea table.)

THIS IS MISS EYRE, YOUR GOVERNESS, DEAR (ADELE curtseys expertly)

ADELE

BONJOUR, MISS EYRE

BONJOUR, ADELE

Oh! Vous parlez Francais!

JANE

ADELE

(JANE turns to MRS. FAIRFAX in surprise.)

JANE

She is French then?

(Before MRS. FAIRFAX can respond, ADELE replies with haughty grandeur.)

ADELE

Yes, I am French, but I speak English frighteningly well. (She pops a sugar lump into her mouth.)

JANE

You certainly do.

Run along now Adele.

MRS. FAIRFAX

(ADELE curtseys to JANE and MRS FAIRFAX...)

ADELE

ADIEU, MAM’SELLE

AU’VOIR, ADELE

JANE

(…and skips off into the house.)

WHAT ATALENTED GIRL

MRS. FAIRFAX

WHAT ASTORYTO TELL HER MOTHER IS GONE GONE TO THE LORD...

(MRS. FAIRFAX)

...and Mr. Rochester took her in as his ward.

JANE

Mr. Rochester? Who is he?

MRS. FAIRFAX

The owner of Thornfield. Did you not know he was called Rochester?

JANE

I thought Thornfield belonged to you. (MRS. FAIRFAX nearly chokes on her tea. ROBERT, who has entered bearing a plate of bread and butter, raises a laconic eyebrow, before retreating once more.)

MRS. FAIRFAX

Bless you child, what an idea!

I AM IN CHARGE OF THE HALL WHEN HE’S AWAYI LOOK AFTER IT ALL AND HE’S AWAYMOST OF THE TIME JANE

WHAT SORT OF MAN IS HE LIKE? MRS. FAIRFAX

THE KIND OF AMAN WHO IS NEVER ABOUT JANE

WHERE DOES HE GO? MRS. FAIRFAX

I WOULDN’T KNOW (JANE drinks her tea as MRS. FAIRFAX chatters on.)

MRS. FAIRFAX

ONE OF AKIND SMART AS ASAGE AND LIKE AGOOD WINE GETS BETTER WITH AGE MODEST AND FAIR YET ONE WOULDN’T DARE BEHAVE IN AMANNER UNFITTING ONE’S CLASS ONE HAS APLACE THAT ONE MUSTN’T SURPASS THIS IS OUR LOT

(MRS. FAIRFAX)

LIKE IT OR NOT

I THINK I’VE FORGOTTEN MYTHOUGHT

WHAT WAS IT? AH! NO, THAT’S NOT IT AT ALL DID I HAVE APOINT?

I CAN BARELYRECALL BUT YOU’LLSETTLE IN

JANE READ AFEW BOOKS

Yes, that would be… YOU’VE GOT THE BRAINS

Well I’m not… IF NOT QUITE THE LOOKS

Well thank you… YOU’LLSOON ADJUST

Mrs. Fairfax… EVERYONE MUST

But…

Yes… HEED MYADVICE

LET’S BE PRECISE LISTEN TO ME I WILLNOT TELLYOU TWICE

YOU WILLBE IN GOOD GRACE IF YOU FACE THAT AGIRLIN YOUR PLACE WILLSUFFICE…

(MRS. FAIRFAX and JANE both drink their tea.)

MRS. FAIRFAX AND JANE

…IF SHE’S PERFECTLYNICE!

(MRS FAIRFAX looks at JANE for a moment, not quite sure if she is being mocked, then she rises from the table.)

Come along, Miss Eyre. Robert, clear away!

ROBERT

(Under his breath)

‘Robert clear away!’

(JANE looks at him, with some surprise, but he seems unaware of having said a thing. He clears away the tea things as MRS. FAIRFAX and JANE walk round the stage surveying the house. All around them the furniture and pictures are draped in dust-sheets.)

Floor

MRS. FAIRFAX

What do you think of the Hall, Miss Eyre? Lovely isn’t it?

JANE

Certainly....

MRS FAIRFAX

But cold. That’s what you’re thinking. And you’re right.

JANE

Well, it is a little....

MRS FAIRFAX

Alittle? Why it’s positively Canadian in winter.

JANE

And dark.

MRS FAIRFAX

Dark? Yes, it is dark. The shutters stay shut while the master’s away. Sunlight, you know, is such a fader of things.

JANE

Ah, yes.

MRS FAIRFAX

Here we are in the grand salon. Aglorious room, don’t you agree?

JANE

It’s a little hard to tell...

MRS. FAIRFAX

Yes, you can’t see a thing. And the paintings especially are all very fine…by Van Dyke and Holbein and Rubens and such.

JANE

Really!

(Ashuttered window appears downstage.)

MRS FAIRFAX

Ah! Now! Have you looked into the garden?

JANE

Not yet.

Let’s take a peek, shall we?

All right.

MRS FAIRFAX

JANE

(MRS FAIRFAX opens the shutters and they look out through the window. Music, and the sound of cawing rooks. Apatch of dappled sunlight floods across their faces.)

Oh, Mrs. Fairfax....

JANE

MRS. FAIRFAX

The great old chestnut of Thornfield. Planted by the first Edward Rochester at the birth of his son.

JANE

When was that?

MRS. FAIRFAX

Nearly three hundred years ago. The very soul of Thornfield Hall is in that tree.

(She gazes at the tree in a sentimental reverie before snapping back into her normal peremptory manner.)

Come along now, dear. I’ll show you the rest of the house.

(They turn away from the window and walk through the house once more.)

JANE

How many rooms are there?

MRS FAIRFAX

O heavens, I’ve never counted. Ahundred or so. I’ve no idea.

(They turn a corner of the stage and climb a flight of stairs.)

JANE

And where are we now?

MRS FAIRFAX

Confusing, is it not? So many stairs and passages and doors. Here we are on the upper floor - though you’ll have no cause to come here, I’m sure.

(As they turn to go, a strange mirthless laugh echoes through the upper gallery.)

Mrs. Fairfax! What was that?

JANE

MRS FAIRFAX

(Suddenly flustered)

One of the servants, very likely - Grace Poole, I expect. She does some sewing here from time to time.

(The laugh is repeated, hollow, barking and sardonic.)

MRS. FAIRFAX

Grace!

(GRACE POOLE appears from a doorway at the side of the stage, her face lit by the candle she is holding. She is a grimlooking woman, very plainly dressed.)

MRS. FAIRFAX

Too much noise, Grace. Remember directions!

Ay, Ma’am.

GRACE POOLE

(GRACE curtseys to JANE, with a strange fixed smile on her face.)

GRACE POOLE

Welcome to Thornfield Hall, Miss Eyre.

(MRS FAIRFAX gives her a sharp look before walking on down the corridor. GRACE POOLE backs off into the darkness leaving JANE on her own as the scene ends.)

ACT I, scene v

(JANE stands quietly in a patch of sunlight streaming through the leaves of the chestnut tree, the ENSEMBLE at a distance around her.)

#11—The Icy Lane

ENSEMBLE ONE

OCTOBER AND NOVEMBER PASS

AFROST HAS COME, THE AIR IS STILL

I WALK IN UTTER SOLITUDE DELIGHTING IN THE WINTER CHILL

(JANE moves amongst the ENSEMBLE as the scene changes to a leafless wood in a lane through the moors, the eerie shapes of skeletal trees all around her.)

ENSEMBLE TWO

I FIND MYSOLACE ON THE MOOR WALKING DOWN AN ICYLANE

THE LEAFLESS TREES IN SOFT REPOSE AWINTER MOON IS ON THE WANE

(It is now a bright moonlit night, the music changing as we hear the echoing hooves of an approaching horse.)

ENSEMBLE TWO

Ahorse was racing towards me down the icy lane…

ENSEMBLE THREE

...a great black stallion with clattering metalled hooves.

(The hoof-beats grow louder and JANE freezes in panic, caught between the hedges of the lane.

In a commotion of wild hoof-beats and neighs, a horse rears up in the darkness, throwing its rider, ROCHESTER, to the ground.)

ROCHESTER

Damn you, blasted woman!

(Shouting after the horse)

Useless God-damned beast!

Are you injured, sir?

JANE

(ROCHESTER looks up at JANE who is now standing on a rock at the side of the lane. He is instantly silent and still, as if observing an improbable apparition. After a moment she hops down from the rock and approaches him.)

JANE

If you’re hurt I can fetch someone.

(ROCHESTER pulls away from her with a snarl.)

ROCHESTER

It’s only a sprain. For God’s sake, leave me.

(He picks himself up from the ground and staggers over to the rock, cursing at every painful step.)

You’ve done enough damage for one night.

JANE (Calm)

I cannot think of leaving you at so late an hour, in this solitary lane, till I see you are fit to mount your horse.

(He looks at her again, now quite convinced of her realness.)

ROCHESTER

You should be at home yourself. What the deuce are you doing out here alone? Where do you come from?

JANE

From a place just below here.

ROCHESTER

Ah, from just below....I see! From some nether region of the spirits, some horse-terrifying limbo of darkness.

JANE

I’m sorry if I frightened…

ROCHESTER (Interrupting)

No. Don’t apologize. Witches never apologize.

JANE

I shall keep silent then.

(ROCHESTER regards her sharply, unable to decide whether the girl he is talking to is stupid or as clever as he is.)

ROCHESTER

(Giving up the game)

You live, I suppose, at that house in the valley - the one with the battlements?

JANE

Thornfield Hall, sir.

Yes. Who’s house is it?

Mr. Rochester’s.

Ah, Mr. Rochester! What’s he like?

ROCHESTER

JANE

ROCHESTER

JANE

I’ve never met him, sir, though I believe…

ROCHESTER

He’s a brute, I hear. Athoroughly unpleasant, violent fellow. Not to be trusted with man nor beast.

JANE

I’ve heard no such thing.

ROCHESTER

But you can’t be a servant at the Hall - surely! You’re too refined.

JANE

I am the governess.

The governess! Of course!

ROCHESTER

(ROCHESTER attempts to walk again but his wounded leg will not support him. He looks doubtfully at JANE.)

ROCHESTER

Well, ‘Governess’, I must use you as a crutch. Help me to my horse, if you’d be so kind.

JANE

Yes, sir.

(She walks him to his horse, delivering him upstage into the semi-darkness.)

ROCHESTER

Back to your toadstool, little elf. The night draws on.

(He turns back into the darkness where his horse is stamping and snorting.)

Come here, you stupid beast!

(We hear the clatter of hooves once more as JANE turns back towards the audience, following the course of the departing horse and its rider.)

#12—An Incident Has Come and Gone

JANE

AN INCIDENT HAS COME AND GONE ARIPPLE IN MYLIFE’S ROUTINE

IN STASIS AND SECURITY

I LIVE ANOTHER DAYUNSEEN BUT I WILLNOW RECALLHIS FACE SHROUDED IN MYMEMORY APORTRAIT HANGING IN MYMIND OF LITTLE CONSEQUENCE TO ME.

(The lights fade on JANE as the scene returns to Thornfield Hall.)

ACT I, scene vi

(MRS.FAIRFAX bustles on in a flurry of excitement, flinging orders all around her at various SERVANTS, BUTLERS, GROOMS AND MAIDS, who run to and fro in obedience to her commands.)

#13—The Master Returns

MRS. FAIRFAX

SEND FOR THE BUTLER, THE STEWARD, THE GROOM JENNY, AIR OUT HIS ROOM

BRING UPABOTTLE OF CHATEAU MARGAUX IT’S THE OLDEST BORDEAUX

SARAH, SEND FOR ADELE AND MAKE SURE THAT SHE’S DRESSED GET HER INTO HER BEST!

(ROBERT wanders on rather aimlessly, bearing a small tray of sweetmeats.)

ROBERT DON’T DAWDLE! ATTEND TO YOUR STATION OR SUFFER THE SCORN OF THE MASTER’S DAMNATION

ROCHESTER

(From off stage)

Mrs. Fairfax!

MRS. FAIRFAX

THE MASTER IS HERE AND I FEAR THAT HIS LEER IS ATRIFLE SEVERE

ROCHESTER (Getting closer)

Fairfax!

MRS. FAIRFAX

HE’S CALLING FOR ME ROBERT, WHAT COULD IT BE?

I HAD BETTER GO SEE

MA’AM, IF I MAY I’VE ALOVELYARRAY OF PARFAIT ON ATRAY

Oh, dear Lord, he’ll be hungry!

ROBERT

MRS. FAIRFAX

WHYDON’T WE SERVE UP ADUCK OR APHEASANT?

ROBERT

THE MASTER HATES PHEASANT MRS. FAIRFAX

YES, THAT WOULD BE PLEASANT WE COULD PLUCK APLEASANT PHEASANT I’LLTALK TO THE CHEF

ROBERT

NO I’LLTALK TO THE CHEF, MA’AM

(To a passing SERVANT)

BYGOD, THAT WOMAN’S DEAF! (JANE comes back into the house.)

MRS. FAIRFAX

Miss Eyre! Where have you been? The master has sent for you!

JANE

The master? He’s returned then?

MRS. FAIRFAX

Yes, and he’s as droll and demanding as ever. He wants to see us in the drawing room at once.

JANE

Oh! Should I not change my frock?

MRS FAIRFAX

Good heavens, no! You’ll do as you are. He’s not particular. (As they go, MRS FAIRFAX snaps at a departing SERVANT.)

Get along, Percy.

(ROCHESTER comes into view, lying on a chaise. His injured leg is raised up on a cushion. ADELE is sitting on a padded bench nearby, searching delightedly through a large box of Parisian presents.)

ADELE

Meesees Fairfax, Mees Eyre, see what Meestair Rochestair, ‘e geeve me!

(MRS FAIRFAX and JANE curtsey to ROCHESTER. JANE is astonished to see that he is the stranger from the icy lane.)

MRS FAIRFAX

In a minute, dear. Here is Miss Eyre, Sir.

ROCHESTER

Let Miss Eyre be seated.

(MRS. FAIRFAX indicates a comfortable chair for JANE and sits herself down on the bench with ADELE. She then divides her attention between the little girl and the conversation which continues between the Master and the Governess.)

ROCHESTER

You’ve been a resident in my house three months now?

JANE

Yes, sir.

And you come from....?

Lowood School, in Yorkshire.

ROCHESTER

JANE

ROCHESTER

Ah! Acharitable establishment. How long were you there, Miss Eyre?

JANE

Eight years, sir.

ROCHESTER

Eight years! You must be tenacious of life. Half that time in such a place would kill off the strongest constitution.

(JANE smiles to herself, remembering Helen.)

No wonder you have the look of another world. I marveled where you’d got that face. When I saw you in the lane tonight I thought unaccountably of fairy tales.

In the lane....?

(MRS FAIRFAX turns to him in puzzlement.)

MRS FAIRFAX

ROCHESTER

I had half a mind to demand whether you’d bewitched my horse. I’m still not sure. Who are your parents?

JANE

I have none.

ROCHESTER

Nor ever had, I suppose. Do you remember them?

JANE

No.

ROCHESTER

I thought not. So you were waiting for your people while you perched upon that rock.

JANE

For whom, sir?

For the men in green.

The men in green?

The elves.

Elves?

ROCHESTER

MRS FAIRFAX

ROCHESTER

ADELE

ROCHESTER

It was a proper moonlight night for them. Did I break through your fairy ring? Is that why you spread that damned ice on the roadway?

JANE

My people, the elves, all forsook England a hundred years ago. Neither summer, nor harvest, nor winter moon will ever shine on their revels again.

(MRS FAIRFAX is open-mouthed and ADELE saucer-eyed at this exchange.)

ADELE

Mademoiselle is a fairy?

Not really, Adele.

MRS FAIRFAX

(ROCHESTER stirs restlessly and glares at MRS FAIRFAX, who picks up ADELE’s box and retreats to a further part of the room.)

MRS FAIRFAX

Adele, come along.

ADELE (Following her)

Afairy!

Shush!

MRS FAIRFAX

(ROCHESTER turns back to JANE.)

ROCHESTER

I have no fondness for the prattle of children. To spend an evening tête-à-tête with a brat - agh! Intolerable! Nor do I affect the company of simple-minded old women.

(He refers back to MRS. FAIRFAX, now out of earshot.)

Though this one I must tolerate. She’s a Fairfax, after all, and blood is thicker than water.

(Silence. He smiles at JANE who stares back at him impassively.)

You examine me, Miss Eyre, do you think me handsome?

JANE

No, sir.

ROCHESTER

By my word, you are quaint. You have the air of a little nun - quiet, grave and simple. Then one asks you a question and you rap out the bluntest of rejoinders.

JANE

Sir, I beg your pardon. I was too plain. I should have replied that tastes differ - or that beauty is of little consequence, or...something of that sort.

ROCHESTER

Beauty of no consequence! So - under cover of stroking my wounded pride, you stick a sly penknife under my ear! Go on - what faults do you find with me, pray?

JANE

Mr Rochester, allow me to disown my previous answer. I intended no insult. It was only a blunder.

ROCHESTER

And you shall be answerable for it. Criticize me.

(He lifts his hair up for her closer inspection.)

ROCHESTER

Does my forehead not please you? Am I a fool?

JANE

Far from it, sir. But would you think me rude if I asked in return - are you a philanthropist?

ROCHESTER

There again! Another stick of the penknife! And all because I said I dislike the company of children and—(low be it spoken)—old women.

(ROCHESTER)

(He glances round at MRS FAIRFAX, still busy with ADELE on the other side of the room.)

No, young lady, I am not a philanthropist. But I bear a conscience. And once upon a time I had a rough kind of tenderness of heart. Though now I flatter myself that I’m as hard and tough as an india-rubber ball, but still with a little feeling left, buried deep in the middle of the lump. Does that leave hope for me?

JANE

Hope of what, sir?

ROCHESTER

Of heaven, I suppose - or some such dangerous place.

(He observes her closely.)

#14—The Captive Bird

Oh, you look very much puzzled, Miss Eyre, and though you’re not pretty, any more than I’m handsome, yet a puzzled air becomes you.

(JANE rises from her chair.)

ROCHESTER

Where are you going?

JANE

To put Adele to bed. It’s past her bedtime.

ROCHESTER

You’re afraid of me, because I talk like a sphinx.

JANE

Your language is enigmatical. But I’m certainly not afraid.

ROCHESTER

You are afraid. Your self-love dreads a blunder.

JANE

Indeed, I have no wish to talk nonsense.

ROCHESTER

If you did, it would be done so gravely I should mistake it for sense. Do you never laugh, Miss Eyre?

(JANE looks back at him, surprised and thoughtful.)

Don’t trouble yourself to answer. I see you laugh rarely, but you laugh very merrily. Believe me, you are not naturally austere any more than I am naturally vicious.

(He looks at her very seriously now - puzzled and intrigued.)

I SEE ACAPTIVE BIRD WHO PEERS BEYOND THE BARS

ARESTLESS VIVID THING WHO LONGS TO SEE THE STARS

AWILD CREATURE CRAVING FREEDOM

I CAN SEE HER FLYING UPTO HEAVEN

Good-night, Miss Eyre.

(JANE looks back at him in silence.)

(He limps off into the darkness.)

JANE

Good-night, sir.

(JANE watches him leave as the light fades to darkness.)

ACT I, scene vii

#15—Adele’s Melodrama

Thunder! Lightning!

(The scene has changed to a bright sunlit morning in the drawing-room of Thornfield. Tragic music. ADELE, dressed in the home-made costume of a grand opera heroine, bursts into the room in wildly dramatic style.)

ADELE

(Shaking her fist at the heavens)

Oh you gods! Will this storm never cease?

Adele!

(MRS.FAIRFAX follows her on, out of breath.)

MRS.FAIRFAX

ADELE

(Gazing around her in mad alarm)

What voice speaks to me through the raging storm?

(SHE takes up a grief-struck pose.)

MRS FAIRFAX

Go to your studies this minute.

No, no, vile witch! Pursue me not!

ADELE

MRS FAIRFAX

I’ll pursue you with my slipper if you don’t mind your tongue.

ADELE

(Very serious)

But Mrs Fairfax - when I grow up I will be tragic.

MRS FAIRFAX

Yes, I’m horribly afraid you will be.

Ah,. here you are, Adele...

...it’s time for your Latin.

Never! Never!

It is poison to my ears!

Come along!

JANE

(ADELE sees JANE and reels back in wild amazement.)

ADELE

(Another tragic pose)

JANE

ADELE

I warn you. I will climb to the battlements and throw myself to death!

MRS FAIRFAX

(To JANE)

To my death, shouldn’t that be?

JANE

Where did she learn such things?

MRS FAIRFAX

Lord alone knows. I shudder to think.

Shudder not, old crone.

ADELE

MRS FAIRFAX

Ah! Whatever’s to be done with her?

(ADELE picks up a handful of ROCHESTER’s quill pens from the desk and starts to strew them around the room, like the mad Ophelia with the flowers.)

ADELE

Rosemary, for remembrance....

(ROCHESTER enters accompanied by a MALE SERVANT) JANE

She’s to be taught.

MRS FAIRFAX

You’ll never teach all that out of her.

(ROCHESTER stands transfixed by the sight of ADELE in her Ophelia mode.)

ADELE

....and pansies and a daisy...

What the devil’s going on?

ROCHESTER

(He goes to his desk where he searches through some papers. ADELE dances across the stage towards him in seraphic ecstasy.)

O Hamlet! Sweet prince!

ADELE

(ROCHESTER freezes in exasperation. He is busy and has no time for this nonsense.)

MRS FAIRFAX

(Whispering a warning)

Adele!

ROCHESTER

Miss Eyre, you would oblige me by earning your salary and applying this child to her studies.

ADELE

(Mimicking ROCHESTER)

Yes Mees Eyre! Apply me to my studies!

ROCHESTER

Adele! Remove those ridiculous rags!

(ADELE is suddenly still, very hurt. She looks at ROCHESTER, tears welling up in her eyes.)

ADELE

Bête! Je vous hais!

ROCHESTER (Snarling)

Maintenant!

(ADELE bursts into tears and runs from the room. MRS FAIRFAX sighs wearily and follows her off. JANE has picked up the strewn quills, and returns them very abruptly to the desk.)

ROCHESTER

Well, Miss Eyre?

JANE

I don’t in the least mind how you address me sir, but I do think you should talk more kindly to the child.

ROCHESTER

So you’re of Adele’s opinion. I’m a beast.

Well...

JANE

ROCHESTER

Seeing her playing that role, my deepest feelings received something of a shock. She is the very image of her mother, Miss Eyre. Abreaker of hearts in training.

JANE

(Mystified)

She is a child. And she craves your love.

ROCHESTER

Ah, love!

#16—As Good As You

(ROCHESTER)

LOVE IS LIKE AVIRUS WE’RE INFECTED WITH YOU’RE SO NAIVE

WOULDN’T IT BE WONDERFULIF LIFE WAS JUST AS YOU PERCEIVE

WOMEN ARE INHUMAN WORTHLESS HARD AND SAVAGE ON THE AVERAGE NEVER TO BE TRUSTED COMPLETELYMALADJUSTED

IT’S TRUE

AND IF I’D NOT LOVED AFEW I MIGHT HAVE BEEN AS GOOD AS YOU (spoken)

You never felt jealousy, did you Miss Eyre? Of course not. I need not ask you, for you never felt love.

(sung)

SHE WAS MYFLAME, MYGALLIC SYLPH

I WAS HER FOOL’S DELIGHT SHE PUT ME IN HER SPELL AND TURNED MYRAGE TO TRUST IN JUST ONE NIGHT

WITH APPETITES FOR PLEASURE

WE WOULD SEARCH FOR BURIED TREASURE IN THE EXCESS OF TEMPTATION I THOUGHT IT MYSALVATION, IT’S TRUE BUT IF I HAD THOUGHT THINGS THROUGH I MIGHT HAVE BEEN AS GOOD AS YOU

(He rises and starts to pace.)

(ROCHESTER)

SHE FOUND ME HANDSOME MYOPERADANCER AND LIKE AFOOLI BELIEVED IT WAS TRUE

I HELD THE WORLD INSIDE MYHANDS AMAN FULLIN HIS PRIME WHEN SHE LEFT ME FOR ANOTHER PIERCED MYHEART ASECOND TIME

‘NOTHING LASTS FOREVER’ SHE SAID ‘FIND THE DOOR YOURSELF, DEAR, WON’T YOU? THINK ME STILLYOUR FLOWER I’VE TREASURED EVERYHOUR, IT’S TRUE AND IF I HAD LOVED YOU TOO I MIGHT HAVE BEEN AS GOOD AS YOU’

I CAME UPON HER SOME TIME LATER THE YEARS HAD NOT BEEN VERYKIND SHE HAD THIS CHILD ADELE SAID SHE WAS MINE AS WELL

‘NOTHING LASTS FOREVER, EDWARD TAKE GOOD CARE, AND OH YES, WON’T YOU TAKE OUR LOVELYDAUGHTER FOR YOU SEE DEAR, I DON’T WANT HER… BUT I’M STILLYOUR FLOWER I’LLJUST BLOOM ELSEWHERE TELLHER MYSOULIS IN HEAVEN WITH GOD’ (ROCHESTER slowly approaches JANE.)

MISS EYRE, I TELLYOU THIS BECAUSE I WANT YOU TO KNOW THAT I, WITH SOME LUCK WITHOUT SHAME, WITHOUT BLAME OR THE CURSE OF MYNAME MIGHT HAVE BEEN AS GOOD AS YOU (As the song ends, ROCHESTER puts out a hand, nearly touching JANE’s face, but stops himself and turns away, returning to the papers on his desk.)

ROCHESTER

SO NOW YOU FINALLYKNOW THE TRUTH OF HER. THE OFFSPRING OF AFRENCH SEDUCTRESS…

I’M SURE YOU’LLWISH TO MAKE ARRANGEMENTS NOW TO LEAVE I WOULD UNDERSTAND YOU MUST STAND BYWHAT YOU BELIEVE

JANE

I BELIEVE IN HER SHE MUST NOT BEAR THE BLAME FOR HONOUR YOU HAVE LOST AND CAN’T RESTORE AND IF AMOTHER ERR’D THAT IS NOT HER SHAME. AND IN FACT I VOW TO LOVE HER MORE (ROCHESTER, much moved, looks sharply back at JANE.)

ROCHESTER

IS THIS THE TRUTH?

JANE

ON MYHONOUR, SIR ROCHESTER

YOU VOW TO STAY?

JANE

IF YOU WISH ME TO (ROCHESTER ends the conversation with an abrupt certainty, as if he had caught JANE in a trap and will never release her.)

ROCHESTER

THEN YOU MUST STAY, YOUR WORD TO GOD… (He leaves the room, JANE following)

#18—The Fire

(JANE and ROCHESTER move to their respective bedrooms. With the help of a CHAMBERMAID, JANE changes into her night-clothes and gets into bed.

In ROCHESTER’s bedroom ROBERT enters with a tray on which stand a bottle of brandy and a glass. ROCHESTER refuses the glass, taking the whole bottle instead. ROBERT withdraws from the room.

JANE sits in her bed with a sketch book and a small box of pastels and starts painting by the light of a single candle at her bedside.)

JANE

I’M PAINTING HIS PORTRAIT AN ABSOLUTE LIKENESS FAITHFULTO ILLUSTRATE EVERYROUGH LINE

(As JANE sketches, ROCHESTER sits broodingly on his bed, drinking from the brandy bottle.)

HIS HUMOUR AND SADNESS

HIS PRIDE AND DETACHMENT

CAREFULTO CATCH THE RESENTMENT HE FEELS THAT AWOMAN COULD FATHOM THE WOUNDS HE CONCEALS?

(She puts away her work, blows out her candle and sleeps. Darkness. ROCHESTER takes one last pull at his bottle and slumps backwards onto his bed, falling into a deep, drunken sleep. The ENSEMBLE appears in the darkness upstage as a voice echoes through the house, haunting and sepulchral.)

VOICE

AH-AH-AH

(The FIGURE of a WOMAN carrying a candle appears on the upper level. Passing through the ENSEMBLE she descends into JANE’s bedroom. She is dressed in layers of ragged white, and veiled so we cannot see her face.)

ENSEMBLE

THE SECRETS OF THE HOUSE ARE JUST BEYOND THESE WALLS

THEYHIDE IN LONG FORGOTTEN SHADOWS

THE FIGURE

AH-AH-AHHHH

(The FIGURE studies JANE’s face by the light of her candle, gazing at her with a violent intensity. She starts to whimper and moan, uncertain as to what she should do. Suddenly she leaves the room and disappears into the darkness upstage. The ENSEMBLE continue to sing as we watch the FIGURE running through the house.)

ENSEMBLE

(The FIGURE re-appears in ROCHESTER’s bedroom and walks silently around the room. She then turns her attention to the sleeping ROCHESTER. She slowly climbs onto the bed and studies his face by the light of her candle.)

ENSEMBLE

THE SECRETS OF THE HOUSE

(The FIGURE looks down and discovers the brandy bottle. She picks it up and considers for a moment, then douses the brandy all up and down the drapes of the bed. She throws down the bottle and holds the candle flame to the sodden drapes. They catch light immediately.)

ENSEMBLE

MEN AND WOMEN DIE CHRISTIANS LOSE THEIR FAITH

(The FIGURE draws away from the bed and dances in the light of the flame, half crying, half laughing as the ENSEMBLE sings.)

ENSEMBLE

IN ONE WOMAN’S LIFE

THERE IS DARKNESS AND LIGHT

(JANE wakes up with a start and listens, alert. The FIGURE turns and runs from ROCHESTER’s room, now laughing wildly. JANE gets out of bed and runs from her room through the house, reappearing in ROCHESTER’s bedroom. She goes to the bed and tries to shake ROCHESTER awake.)

JANE

Wake! Wake! Get out of bed!!

(ROCHESTER doesn’t stir. JANE runs to the night-stand, takes up the water-jug and dashes the contents into ROCHESTER’s face. He starts up at once, looking blearily around him.)

ROCHESTER

Is there a flood?

No, sir, a fire!

JANE

ROCHESTER

Is that Jane Eyre? What have you done with me, you witch?

JANE

In heavens name, get up! Someone has plotted to kill you.

(JANE pulls down the burning drapes and sets about smothering them. ROCHESTER pulls the blanket from his bed and stamps on the smoking fabric. MRS FAIRFAX appears at the door of the bedroom. ROCHESTER crosses to her and they have a hurried conversation before she disappears back into the corridor. ROCHESTER turns back to JANE who is still occupied with putting out the last remnants of the fire.)

ROCHESTER

Who did this, Jane? Did you hear anyone?

JANE

Only a laugh in the passageway, sir.

Then you didn’t see anyone?

No, sir.

ROCHESTER

JANE

ROCHESTER

But you’ve heard that laugh before, I should think, or something like it.

JANE

There’s a woman who works here, Grace Poole - she laughs in that way. She’s a singular person.

ROCHESTER

Just so. Grace Poole - you’ve guessed it. She is as you say, singular - very. Well, I shall deal with her. In the meantime, you say nothing about it to anyone, Jane.

JANE

Good night then, sir.

#18a—After the Fire

(ROCHESTER puts out a hand and gently restrains JANE from leaving)

ROCHESTER

YOU, JANE EYRE, HAVE SAVED MYLIFE

IT IS ADEBT I WILLREPAY

I KNEW WHEN WE MET YOU’D DO ME GOOD IN SOME WAY

I THINK I SAW IT IN YOUR EYES

THEYSTRUCK ASTRANGE DELIGHT IN ME

And now I know why…

(He takes her hand.)

My cherished preserver, goodnight.

(JANE starts to go.)

What? You will go?

I am cold, sir.

JANE

ROCHESTER

Cold? Yes - of course you are. Go then, Jane. Leave me.

(He releases her hand. JANE, perplexed, leaves the room and walks back through the dark corridor to her own room. ROCHESTER slumps on his bed, his head in his hands. JANE arrives back in her room and gets into bed. Aclock strikes three in the hall nearby.)

JANE

WHAT CAN I DO NOW, MYPRECIOUS LORD?

I FEAR HIS FAITH MAYNEVER BE RESTORED

I KNOW I SHOULD NOT DARE TO GO DEEPER IN HIS MADNESS

BUT IT’S LIKE AFIELD I MUST RUN THROUGH

ALLMYPULSES RACE

I CANNOT SLEEP APRECIPICE IS DARING ME TO LEAP WILLI RESIST DELIRIUM MYJUDGMENT WARNS MYPASSION NOT TO LET THIS FEVER RAVAGE ME

DEEPIN MYSECRET SOUL

AFIRE BURNS MYHEART FLUTTERS NEAR THE FLAME

FOR WHICH IT YEARNS

BUT I CAN STILLRECALL DEAD LILIES ON AGRAVE ALITTLE CHILD IN THE ATTIC THAT NO ONE’S LOVE WOULD SAVE

NOW I MOVE THROUGH HIS UNQUIET SEA

I PRAYAWAVE WILLCOME AND CARRYME CLOSER TO HIS TROUBLED TIDE WATERS OF HIS FURY

BUT HOW CAN I SWIM THIS GREAT DIVIDE?

(ROCHESTER stirs from his reverie and gives voice to his despair. JANE, in her own room, intensifies her resolve as the song grows to a climax.)

JANEROCHESTER

DEEPIN MYSECRET SOULHER SPRING OF LIFE

I CRYHIS TEARSDRAWS ME NEAR.

I WEATHER HIS ANGRYVOICEHER GENTLE VOICE

I FEELHIS FEARSI HOLD DEAR.

HIS LIFE HAS INFECTEDHER LIFE HAS INFECTED EVERYWOUND AND EVERYPOREEVERYWOUND AND EVERYPORE

I FEELHIS MYSTERYPOSSESS MEI FEELHER MYSTERYPOSSESS ME

(JANE)(ROCHESTER)

AND I PRAYTHAT MERCY’SAND I PRAYTHAT MERCY’S HAND WILLBLESS MEHAND WILLBLESS ME

DEEPIN MYSECRET SOULDEEPIN MYSECRET SOUL

HIS HEART IS CURSEDISTAND ALONE I SUMMON MYDEEPEST WILL TO STILLHIS THIRSTIWILLNOT ATONE GOD GIVE ME THE STRENGTH TO GOAND I WILLNOT EVER CLOSER TO WHERE MYHEART IS WHOLELET HER DEEPWITHIN DEEPWITHIN MYSECRET SOUL.MYSECRET SOUL.

(JANE blows out her candle and the lights fade on her and Rochester as the song ends.)

ACT I, scene ix

(Morning light in Jane’s bedroom. GRACE POOLE enters and stands for a moment looking at JANE asleep in her bed. JANE stirs and wakes, startled to see GRACE POOLE studying her.)

GRACE

Best get up, Miss. You’re the last one risen this mornin’ and there’s enough to do, what with visitors comin’.

JANE

Visitors?

GRACE

Ay, the Master’s friends. ‘E was up at daybreak ridin’ off to fetch ‘em. Place’ll be infested by noon. I come to ‘elp you dress.

JANE

Thank you.

No trouble.

(Very wary)

GRACE

(JANE rises from her bed and starts to dress, GRACE POOLE helping her when necessary.)

JANE

Grace?

Ay?

What happened last night?

Last night, Miss?

GRACE

JANE

GRACE

(JANE looks at her very pointedly, daring her not to answer.)

Oh that - that were nothin’. Master were reading in bed and fell asleep wi’ candle lit. Bed-curtains caught fire, but he doused ‘em wi’ jug. No ‘arm done.

JANE

Astrange affair. Did Mr. Rochester not wake the house? Did no one hear anything?

GRACE

Not if you did’n, Miss. Your room’s closer than servants’. (GRACE POOLE and JANE look at each other intently, both of them trying the other’s resolve.)

JANE

I heard a laugh, Grace.

GRACE

(Apparently mystified) Alaugh, Miss?

JANE

Yes, and a very strange one.

GRACE

It’s ‘ardly likely Master ‘d laugh, Miss. You must’ve bin dreamin’.

JANE

I was not dreaming.

(GRACE is wary herself, her questions becoming almost aggressive.)

GRACE

Did you not think of opening your door, and takin’ a look into corridor, Miss?

JANE

(Thinking very quickly)

No, on the contrary. I bolted my door.

GRACE

Very wise, Miss. There’s many as would trust to Providence, but there’s nowt like a

(GRACE)

bolted door to keep you safe from danger. That’s what I say.

(MRS FAIRFAX bustles in, out of breath.)

MRS FAIRFAX

Oh, here you are…

(She notices GRACE)

…both of you. Grace, you’re wanted in the kitchen.

(GRACE turns and leaves the room, with one last look at JANE as she goes.)

#20—Society’s Best

Come along, Miss Eyre.

(She hurries out into the corridor, followed by JANE, as the bedroom disappears behind them. )

Adele must be made presentable for the Master’s guests. She’s in the garden. JANE

What guests are these?

MRS FAIRFAX

THE USUALCROWD THE NOBLE, THE PROUD THE RICHLYENDOWED JANE

Alarge party, then?

(Jane and Mrs. Fairfax walk into the garden.)

MRS FAIRFAX

SOCIETY’S BEST

THE ELITE AND THE GREAT FROM THE INGRAM ESTATE FOR THERE LIVES ALADY THE MASTER ADMIRES COMMANDING THE CLASS THAT THE MASTER DESIRES JANE

(Calling down the garden) Adele!

MRS FAIRFAX

THE CREME DE LACREME

SHE’S PROPER AND PURE

JANE

(Seeing Adele in the distance))

Adele! Vien ici.

MRS FAIRFAX

AGENUINE GEM

HE LIKES HER I’M SURE JANE

Who, Mrs. Fairfax?

MRS FAIRFAX

Why, the honorable Blanche Ingram, of course...

ELEGANT, STATELY POISED AND IMPRESSIVE EVEN THE PRESS OF HER DRESS IS EXPRESSIVE

JANE

And is she not married, this accomplished lady?

MRS FAIRFAX

NOT MARRIED YET BUT IT SHOULDN’T BE LONG TILLAWEDDING IS SET

JANE

To whom?

MRS. FAIRFAX

I WOULDN’T PRESUME TO TELLYOU TO WHOM! GOSSIPIS VULGAR!

(MRS. FAIRFAX hears the sound of hooves on the drive. She moves downstage and looks out over the audience. JANE joins her.)

NOW WHAT IN THE DICKENS IS THAT AWFULRACKET?

THE MASTER IS BACK! AND HE’S BACKING HIS HACK IN HIS NEW HACKING-JACKET

Adele!

Up to the Drive (MRS. FAIRFAX)

MYGOD THEY’RE ALLHERE!

(ADELE rushes on, in hysterical excitement.)

ADELE

They’re here! They’re here! All the King’s horses and all the King’s men!

MRS FAIRFAX

Go and get dressed, Adele! At once!

(She hurtles off in a panic.)

ADELE (Mimicking Mrs Fairfax.)

At once! JANE (Likewise.)

At once!

ADELE

At once! JANE

At once!

(They go off, ‘at onceing’each other as the GUESTS appear upstage, a large group of magnificently dressed LADIES and GENTLEMEN, MR ROCHESTER amongst them.)

THE GUESTS

GALLOPING UPTO THE DRIVE ALLOF THE BEAUTIFULPEOPLE ARRIVE THE CREAM OF THE CROP CLIPPITY-CLOP…

SHUTTING AND OPENING DOORS SHUFFLING SHOES ON THE PARQUETRYFLOORS THE POLISH OF PEARLS THE FROLIC OF GIRLISH CURLS

THERE WERE BUT NINE

(THE GUESTS)

WHO WALKED THROUGH THE DOOR BUT THEYTOOK UPTHE SPACE OF SO MANYMORE SOME WERE IN WHITE ALLWERE SUBLIME

GORGEOUSLYGARMENTED, SLENDER AND TALL LAVISH AND SPLENDID THEYGLIDED THEIR WAY THROUGH THE HALL AND UTTERED NO WORDS THEYLOOKED LIKE AFLOCK OF BEAUTIFULBIRDS SOFTLYTHEYSAT POLITE AND REFINED IN THE SALON SUPPRESSING AYAWN WAITING TO DRINK ALLTHE DOM PERIGNON. THEYWERE BRIMMING WITH PRIDE FIT TO BE TIED APPETITES RUMBLING AFTER THE RIDE THEYWERE READYFOR PICKLES AND HAM SHOULDER OF LAMB CUCUMBER SANDWICHES, STRAWBERRYJAM APOT OF DARJEELING IS AWFULLYAPPEALING HOW HORRIBLYHUNGRY… I AM!

(By the time the song finishes ROCHESTER and his GUESTS have arrived in the drawing room and are now sitting and standing about in statuesque grandeur.

Commanding the room is BLANCHE INGRAM, stunningly beautiful, elegant and sophisticated, with sparkling eyes, dark ringlets and an aquiline profile. MARY INGRAM, her younger sister is sharp-faced and catty, constantly smirking under her breath at someone else’s expense. TEDO, her brother, the young LORD INGRAM, is languid and chinless, stroking his little moustache from time to time as if to check that it’s really there. Their mother, LADY INGRAM, is splendidly throned in the most confortable chair in the room. She is amply proportioned and wears an expression of almost insupportable haughtiness. Her eyes are fierce and hard and her voice deep, pompous and dogmatical.

Also present are MR ESHTON, the local magistrate, a charming but ineffectual middle-aged widower with his two daughters, LOUISA, myopic and a little slow, and AMY, pretty, child-like and naive.

COLONELand MRS DENT complete the assemblage, he a choleric old campaigner with an eye for the young women, and she pale, fair-haired, sweet-natured and utterly under the mighty thumb of LADY INGRAM.

ADELE and JANE enter. ADELE breaks away from JANE and walks across the room. She is wearing a full ballerina costume, complete with a pair of fairy wings, and performs a subtle little pirouette as she proceeds to the window seat, where she meets JANE, who has taken a more decorous course to the same location.)

AMY

LADY INGRAM

COL. DENT

AMY

There.

Gorgeous.

Adorable.

Ludicrous.

MR. ESHTON

MRS. DENT

MARY

LOUISA

(Her spectacles now in place)

Oh there!

Edward - who is the little Titania?

My ward, Adele.

And that?

Miss Eyre, her governess.

BLANCHE

ROCHESTER

(ADELE flits about the room, magicking everyone with her wand. JANE fetches her back to the side of the room, but not without ADELE drawing attention to her.)

BLANCHE

ROCHESTER

(JANE makes a modest curtsey to the assembled company.)

BLANCHE

Don’t speak to me of governesses. I have just one word to say of the whole tribe, they are a plague.

(MARY cackles with derision.)

Mary, Tedo and I have had a dozen.

LORD INGRAM

(Languidly)

God, how we tortured them.

MARY

(Hitting her brother) Tedo!

BLANCHE

Half of them were detestable and the rest ridiculous. Were they not, Mama?

LADY INGRAM

Governesses, my dear! The very word makes me nervous. I have suffered a martyrdom from their incompetency and caprice. I thank heaven I have now done with them!

MRS. DENT

(Whispering.)

Perhaps we should restrain our feelings. The young lady is after all, present in the room.

BLANCHE INGRAM

Tant pis! I hope it may do her some good! I noticed her, I am a judge of physiognomy, and in hers I see all the faults of her class. Am I right, Baroness Ingram of Ingram Park?

LADY INGRAM

My lily flower, you’re right now as always. Then no more need be said. Change the subject.

#22—The Finer Things

BLANCHE INGRAM

Certainly, Mama. Edward!

(ROCHESTER has been examining JANE’s reaction to the previous conversation but is instantaly drawn back to BLANCHE)

ROCHESTER

Miss Ingram.

BLANCHE INGRAM

There are so many beautiful things in this house.

COL.DENT

(Leering at the nearest beauty)

Hear, hear!

BLANCHE INGRAM

But there seems to be something missing in this room - I can’t quite put my finger on it.

(sings)

YOU HAVE SUCH EXQUISITE TASTE

(BLANCHE)

CHINESE CHIPPENDALE

WALLS SWATHED IN FESTOONS OF SILK SUCH ORNATE DETAIL BUT THERE’S ONE THING THAT IS NOT IN THIS HALL IN FACT, NOT IN YOUR LIFE EDWARD - THIS HOUSE COULD USE AWIFE!

(As she sings, she walks through the room referring ROCHESTER to all his most expensive possessions)

WE’RE LUCKYTO LIVE IN THE GREAT AGE OF ELEGANCE POETRY, OPERAAND ART SPARING NO EXPENSE REMBRANDT AND BREUGHELAND BOSCH IN THIS ROOM WITH ARUG FROM CHEN CHOU THAT SPENT ATHOUSAND DAYS ON THE LOOM

THESE ARE THE FINER THINGS AND WHAT IS FINER THAN ABRIDE? PLEASURE AND LUXURY THAT ONLYMARRIAGE CAN PROVIDE NO INNUENDO IS IMPLIED

(BLANCHE takes a glass of claret from ROBERT, glancing over the label as ROBERT pours.)

CHATEAU LAFITTE NINETY-EIGHT AH! THE PERFECT DRINK! SO MUCH MORE DRINKABLE NOW THAN LAST YEAR, I THINK MAKE NO MISTAKE LIKE THE TASTE OF THE WINE WHEN IT COMES TO AWOMAN YOU MUST SCRUTINIZE THE VINE

THESE ARE THE FINER THINGS AND SHE MUST HAVE WHAT IS HER DUE PRICELESS ENGAGEMENT RINGS

(BLANCHE)

AFAMILYJEWEL, OR MAYBE TWO AND BUT OF COURSE, MYDARLING - YOU!

MOZART AND SCHUMANN AND BACH WROTE THE FINEST NOTES EVERYCADENZADELIGHTS EVERYCADENCE FLOATS

(She sings a cadenza, lounging on the sofa, ROCHESTER by her side.)

SCHUMANN IS GLORIOUS BUT I DECLARE WHEN IT COMES TO AWOMAN SCHUMANN JUST CANNOT COMPARE

THESE ARE THE FINER THINGS THAT ONLYBEAUTYCAN SUPPLY THESE ARE THE FINER THINGS AND WHAT’S MORE BEAUTIFULTHAN I? FOR NOT ASOULCOULD GIVE YOU MORE ARPEGGIOS AND TRILLS FURBELOWS AND FRILLS SOON YOU WILLSEE OF ALLYOUR THINGS THE VERYFINEST THING IS ME!

(BLANCHE takes her applause from the other GUESTS, deferring to ROCHESTER as she does so.)

ROBERT

My Lady, my Lord, Mr. Rochester. ladies. gentlemen. Tea is being served in the garden.

MARY

Tea? LOUISA

Tea!

Splendid!

MR. ESHTON

AMY

Lovely!

Marvelous!

Tea!

I’m as parched as a ship’s biscuit!

COL. DENT

MRS. DENT

LADY INGRAM

(The GUESTS exit towards the garden. BLANCHE, still with ROCHESTER, turns to ADELE.)

BLANCHE

Come along, my little fairy!

(ADELE, delighted, trips up to BLANCHE and takes her hand. BLANCHE turns back to JANE.)

Oh, Governess. I’ll need my cape. It’s in one of the carriages. You’ll find it.

(She turns back to ROCHESTER who has been watching this encounter.)

Edward, darling, come and show me your famous chestnut tree.

(BLANCHE, ADELE and ROCHESTER move off into the garden, MRS FAIRFAX gazing after them in seraphic admiration. As they go, MRS FAIRFAX turns to JANE, the lights changing around them.)

Request

MRS FAIRFAX

Miss Eyre. There’s to be dancing tonight. You and Adele are requested to attend.

JANE

Adele will be delighted - though I need not appear, I’m sure.

MRS FAIRFAX

No, no - you must. It’s the Master’s particular wish.

JANE

Then I shall come, though I won’t like it.

MRS FAIRFAX

Oh never fear - hide yourself in the corner - nobody will notice you. (Mrs. Fairfax bustles off as...)

ACT I, scene x

(...the scene transforms itself to the warmly lit main salon of Thornfield. JANE crosses the front of the stage to sit on a chair to one side, watching the GUESTS dancing, ROCHESTER and BLANCHE very much the center of attention. Suddenly JANE rises and starts to leave the room. ROCHESTER leaves the dance and intercepts her.)

#23—The Ball / Oh How You Look in the Light

ROCHESTER

Jane, where are you going?

I am tired, sir.

JANE

ROCHESTER

Tired, yes, and a little depressed. About what? Tell me.

JANE

Nothing - nothing, sir. I am not depressed.

ROCHESTER

So much depressed that a few more words would bring tears to your eyes - indeed they are there now, shining and swimming. What does this mean?

(JANE shakes her head and makes to go)

ROCHESTER

(Suddenly very abrupt)

Jane, sit down. You’re departing too early. (Jane hesitates)

It is my wish. Do not neglect it.

(JANE returns to her seat. BLANCHE calls to ROCHESTER from the other end of the room as the dance finishes.)

BLANCHE

Signior Eduardo, are you in voice tonight?

ROCHESTER

(Softly, to JANE)

Well, Jane? Am I in voice?

(JANE turns and looks at him, unable to speak. ROCHESTER turns back to BLANCHE)

ROCHESTER

Donna Bianca, if you command it, I will be. (BLANCHE and ROCHESTER sing together, but his attention keeps wandering towards JANE.)

BLANCHE

OH, HOW YOU LOOK IN THE LIGHT OH, HOW THE COLORS RING TRUE

BOTH

I FEELMYHEART LILTING AND TILTING TO ONE SIDE ENCHANTÉ CAPTIVÉ FOU DE VOUS

ROCHESTER

SAYTHAT YOU WILLTAKE MYHAND SAYTHAT YOU WILLCOME TO ME

BOTH

I WILLBE WAITING AND ANTICIPATING ENCHANTÉ CAPTIVÉ FOU DE VOUS ENCHANTÉ CAPTIVÉ FOU DE VOUS (BLANCHE sings a beautiful cadenza. The waltz resumes.)

ALL

OH, HOW YOU LOOK IN THE LIGHT OH, HOW THE COLORS THE COLORS RING TRUE

I FEELMYHEART LILTING AND TILTING TO ONE SIDE ENCHANTÉ CAPTIVÉ FOU DE VOUS ENCHANTÉ CAPTIVÉ FOU DE VOUS OH HOW YOU LOOK IN THE LIGHT.

(The song ends in formality with the GUESTS bowing to one another. Aloud banging on the front door is heard from off. ROBERT goes to answer it. The GUESTS are still for a moment, all their attention on ROCHESTER as he waits for ROBERT’s return.)

(ROBERT returns carrying a light traveling bag. With him is RICHARD MASON, a well-dressed middle-aged gentleman of distinguished appearance.)

Mason.

Rochester.

ROCHESTER

MASON

(ROCHESTER crosses the room to MASON and whispers to him.)

ROCHESTER

Mason, why didn’t you write and tell me you were coming?

MASON

You would have told me not to come.

Yes, so I would have, damn you.

I have to see her.

You’ll do no good.

Well, perhaps not.

ROCHESTER

MASON

ROCHESTER

MASON

BLANCHE

(Becoming impatient)

Edward. What secrets pray are these?

ROCHESTER

Forgive me, this is Mr. Richard Mason. An old… acquaintance. Just arrived from the West Indies.

LADY INGRAM

The Indies?

The West Indies.

Really?

The West Indies?

(Faintly)

BLANCHE

MARY

LOUISA

MRS. DENT

Lovely.

Mm.

Ladies. Gentlemen.

GUESTS

(MASON bows to the assembled company.)

MASON

(ROCHESTER, clearly perturbed, puts on a good face in front of his guests. BLANCHE has now recovered from having lost the attention of the room and takes on the role of ROCHESTER’s hostess.)

BLANCHE

Mr. Mason, you must be exhausted. I’m taking you into the library. There’s a fire there and a comfortable chair. We’re all most intrigued to hear about the West Indies!

#24—The Pledge

(BLANCHE takes MASON’s arm and they leave the salon followed by the other GUESTS and ADELE. ROCHESTER turns away, unseen by the departing GUESTS and moves unsteadily from the house into the garden. JANE notices his distress and follows him closely.)

JANE

Are you ill, sir?

ROCHESTER

Jane, I’ve been dealt a blow - I’ve been dealt a blow, Jane.

JANE

What is it, sir?

ROCHESTER

WILLYOU EASE MYTROUBLE? JANE

IF YOU TELLME HOW ROCHESTER

ONCE YOU OFFERED YOUR SWEET SHOULDER JANE

YOU CAN HAVE IT NOW PLEASE TAKE MYARM, SIR, LET ME COMFORT YOU

(She helps him to a stone bench in the garden, a window behind them aglow with warm light from within the house.)

ROCHESTER

JANE, I WISH THAT WE WERE FAR AWAY ON AQUIET ISLAND IN ADISTANT COUNTRY LIVING DAYTO DAY

JANE

Why, sir? What are you afraid of?

(He breathes deeply and stares hopelessly around him.)

ROCHESTER

You think this house a place of beauty, do you not?

JANE

I do, sir.

ROCHESTER

It is a dungeon. An insolent vault of living death - under an open sky. Damned for eternity! God help me - never to be free!

JANE

Free from what, sir?

ROCHESTER

(Staring back at her.)

I should have made an end of it - then - when I had no life to lose.

JANE

(Tears in her eyes.)

I can’t understand you…

No!

Nor can I - nor can I!

ROCHESTER

(Half laughing - half crying.)

(He turns away from her, suddenly collecting himself.)

What are they doing now, Jane?

(JANE looks towards the doors of the salon through which she can see the GUESTS.)

JANE

They’re laughing and talking, sir.

ROCHESTER

They don’t look grave and mysterious as if they had heard something strange?

JANE

Not at all. They’re full of jests and gaiety.

And Mason?

ROCHESTER

JANE

He’s laughing too, sir - you look so pale. Who is this Mason?

ROCHESTER

Aghost from my youth.

(He looks at JANE directly, taking her hand.)

Aman who could, with one careless word, deprive me forever of happiness. JANE, WHAT WOULD YOU DO?

IF ALLTHE PEOPLE THAT YOU SEE DENOUNCED MYNAME AND SPAT AT ME

JANE

I would comfort you….

ROCHESTER

OH, JANE, WHAT WOULD YOU DO?

IF THERE WAS SOMETHING I HAD DONE TO MAKE THEM LEAVE ME ONE BYONE?

JANE

I WOULD NEVER LOSE FAITH I WOULD NEVER LOSE HEART

I WOULD STAND BYYOUR SIDE THEYCOULD SLANDER YOUR NAME THEYCOULD BRAND YOU WITH SHAME BUT SO YOUR HEART BE PURE THERE WOULD BE NO BLAME

(ROCHESTER stares at her for a brief moment. ROBERT enters from the house but stops when he sees JANE and ROCHESTER, embarrassed by their obvious intimacy.)

ROBERT

Excuse me, sir. Your guests have all retired for the night. Shall I lock up?

ROCHESTER

No, Robert. You go to bed. I’ll lock up.

ROBERT

Yes, sir. Thank you, sir.

Good night, sir.

(ROBERT waits for JANE to join him. SHE rises from the bench.)

JANE

ROCHESTER

Good night, my friend. My Jane. #25—Sirens

(She goes, ROBERT following. ROCHESTER remains sitting in the garden on his own. Suddenly he rises and starts pacing up and down, greatly perturbed.)

ROCHESTER

DAMN THE PASSION, DAMN THE SKIES DAMN THE LIGHT THAT’S IN HER EYES

I KNOW TOO WELLWHERE IT HAS LED BEFORE SHE SAVES ME BUT I CAN’T BE SAVED FREES ME BUT I’M STILLENSLAVED NOW I BATTLE WHAT I MOST ADORE

OH LET ME SAILAWAY

I’D MAKE THIS VOW THAT WHAT MYHEART WANTS I CANNOT ALLOW FOR AS SIRENS CALLTHE SAILORS SHE CALLS ME NOW

(Jane appears at the other side of the stage. She is inside the house looking out into the garden.)

JANE

GOD SAVE HIM IF HE CAN BE SAVED FREE HIM IF HIS SOUL’S ENSLAVED CLEAR THE CLOUDED REFUGE OF HIS MIND

QUELLHIS ANGER, CALM HIS SCORN LET HIS SPIRIT BE REBORN HELPHIM GATHER SIGHT WHERE HE IS BLIND

ROCHESTERJANE

OH LET ME SAILAWAYFOR I BELIEVE THE GHOSTS OF SHAME GET LOST AT SEATHAT HAUNT HIS PAST WHERE I WON’T HEAR HER VOICEWILLREST AT LAST WHERE I AM BLIND AND FREETHE PAIN WILLCEASE FOR AS SIRENS CALLTHE SAILORSGOD BRING HIM PEACE SHE CALLS TO ME

ROCHESTER

I CANNOT STAND ANOTHER KNOCK MYBODYDASHED UPON THE ROCKYSHORE

THE DARKNESS THAT INVADES MYSOUL IT SUCKS MYBLOOD, IT TAKES CONTROL WELLI WILLNOT ENDURE IT ANYMORE

ROCHESTERJANE

DAMN THE PASSION, DAMN THE SKIESI CANNOT THINK DAMN THE LIGHT THAT’S IN HER EYESI CANNOT BREATHE I KNOW TOO WELLWHERE THIS HAS LEDI CRYHIS TEARS

BEFORE SHE SAVES ME BUT I CAN’T BE SAVEDI SENSE THE SECRETS OF HIS PAST SHE FREES ME BUT I’M STILLENSLAVED

NOW I BATTLE WHAT I MOST ADOREI FEELHIS FEARS OH LET ME SAILAWAY

GET LOST AT SEAFOR I BELIEVE

WHERE I WON’T HEAR HER VOICE

WHERE I AM BLIND AND FREETHE GHOSTS OF SHAME FOR AS SIRENS CALLTHE SAILORS

SHE CALLS TO METHAT HAUNT HIS PAST WILLREST AT LAST THE PAIN WILLCEASE GOD BRING HIM PEACE

(The FIGURE of the WOMAN reappears on an upper level, upstage.)

THE FIGURE

AAAH!

(JANE and ROCHESTER look up, hearing the voice at the same time.)

ROCHESTERTHE FIGUREJANE

SHE CALLS TO MEAH!HEALHIS PAIN SHE CALLS TO MEAH!CALM HIS SEA

AAAAH!AND LET HIM SAILON GENTLER WATERS TO ME

(As the song ends, JANE and ROCHESTER and the FIGURE of the WOMAN are held for a moment in an eerie stillness as the light fades around them.)

END OF ACT ONE

#26—Sympathies Exist

(JANE stands at the center of the stage in a deep reverie, the ENSEMBLE ranged around her.

ENSEMBLE

SYMPATHIES EXIST PRESENTIMENTS AND SIGNS THAT BAFFLE OUR MORTALCOMPREHENSION TO DREAM OR TO SEE OR TO FEELOR TO HEAR WHAT SEEMS NOT TO BE THERE

BUT SUCH THINGS EXIST THINGS BEYOND THIS EARTH THINGS BEYOND OUR SACRED THOUGHTS OF HEAVEN

THESE ARE THE THINGS THAT REASON DEFIES BUT REASON SOMETIMES LIES

#27—The Scream

(The trap door opens. MASON, holding a lantern, comes up the stairs and shuts the trap behind him.)

MASON

LET HER, GOD, PLEASE KNOW MYNAME LET HER, GOD, BE GLAD I CAME AS I WALK THE CREAKING UPPER FLOOR

CAN I PERHAPS STILLDO SOME GOOD? I THINK BACK TO ATIME I COULD WHAT CREATURE WILLEXIST BEHIND THE DOOR?

(He walks around the stage, in search of a particular door.)

I’VE TRIED TO STAYAWAY, FORGET HER AGONY BUT WHEN I CLOSE MYEYES IT IS HER FACE I SEE FOR AS SIRENS CALLTHE SAILORS, SHE CALLS TO ME (Adoor opens and a silhouetted FIGURE appears.)

AH-H-H

THE FIGURE & ENSEMBLE

(MASON turns, raising his lantern. He smiles, recognizing the FIGURE.)

MASON & THE FIGURE

AH-H-H

(The FIGURE moves back through the door and MASON follows, the door closing behind them. Suddenly there is a long, blood-curdling scream.)

MASON’S VOICE (Shouting)

Help! Rochester, for God’s sake, help!

(JANE breaks out of her reverie and runs through the house.)

ENSEMBLE ASCREAM

PIERCED THE STILLNESS OF MYSLEEP AND I RAN THE DARKENED HALLS IN ADREAM

(ROCHESTER comes on from another direction holding a candle and a handful of bandages.)

JANE

What is it, sir?

ROCHESTER

Jane, return to your chamber. All is well. One of the servants has had a bad dream.

JANE

But, sir....

ROCHESTER

Yet why should you not know? You are my friend...are you not?

JANE

You know that I am.

ROCHESTER

Then, by God, I’ll test your friendship to the limit. Come this way and make no noise. You don’t turn sick at the sight of blood?

JANE

I think I shall not. I’ve not been tried as yet.

Give me your hand.

ROCHESTER

(ROCHESTER leads JANE through the house.)

ENSEMBLE ONE

THE SECRETS OF THE HOUSE ARE UPTHE DARKENED STAIR HE LED ME TO APASSAGE UNFAMILIAR ENSEMBLE TWO SHEETS STAINED IN BLOOD AND AMAN IN ABED

ENSEMBLE THREE & FOUR

WITH NO CLUE TO WHYHE BLED

(MASON is revealed lying on a bed, the sheets drenched with blood. ROCHESTER and JANE enter.)

MASON

EDWARD AM I STILLALIVE?

I DID NOT THINK THAT I’D SURVIVE HER RAGE

It’s Mr. Mason.

JANE

ROCHESTER

Yes, Jane. Prepare a bandage. POOH! IT’S JUST ASCRAPE, MYFRIEND AWOUND MISS EYRE WILLHELPUS MEND

MASON

MUST WE KEEPHER LOCKED INSIDE ACAGE?

Richard, do not speak. No words!

ROCHESTER

JANE

(Inspecting the wound)

There’s teeth marks here!

Yes, yes. Let’s staunch the wound.

ROCHESTER

(ROCHESTER and JANE dress MASON’s wound.)

MASON

(to JANE)

She said she’d drain my heart....

Richard, be silent!

ROCHESTER

(ROBERT enters from the shadows with MASON’s coat and bag.)

ROCHESTER

Gather your strength, you must leave here - now.

JANE

He’s not fit to be moved…

Robert, is the coach prepared?

ROCHESTER

(ROBERT nods.)

MASON

She’s done for me, I fear…

Courage, man!

ROCHESTER

(ROBERT and ROCHESTER help MASON to his feet)

MASON

I THOUGHT I’D DO SOME GOOD IT’S MYHEART I BLAME I SHOULD HAVE STAYED AWAY BUT LIKE AFOOLI CAME FOR AS SIRENS CALLTHE SAILORS SHE CALLS MYNAME…

(As ROBERT helps him off, MASON pauses and turns to ROCHESTER.)

Let her be treated gently and kindly.

ROCHESTER

It will be done, my friend. As it has always been done. (MASON limps upstage supported by ROBERT as the bed is pulled away into the darkness.)

ACT II, scene ii

(ROCHESTER turns to JANE)

ROCHESTER

Now Jane, I will return you to your chamber.

JANE

No need. ROCHESTER

Every need. I wish to talk to you.

#27a—The Strange Night

(As they talk, they walk through the halls and corridors of Thornfield.)

ROCHESTER

Well, you have passed a strange night, Jane.

Yes, sir.

Were you afraid?

I was curious.

JANE

ROCHESTER

JANE

(Jane’s bedroom appears and JANE and ROCHESTER enter it as they continue to talk.)

ROCHESTER

Curious about the stranger who bleeds, the bed that catches fire, the house that holds dark mysteries...but most, Jane - curious about the man who lives in this dark place.

JANE

Yes, sir.

ROCHESTER

Aman whom hope has quitted - and for whom the sun at noon has long been darkened into an eclipse. And now he stands on the crust of a crater which any day may crack beneath his feet and swallow him in fire.

(ROCHESTER turns to JANE with a curious regard.)

And who do you think would make the perfect wife for this wretched man?

(Silence. JANE looks levelly back at him.)

ROCHESTER

Miss Ingram, do you suppose? Awoman whose moral stature is equal to his own?

(JANE shakes her head, unable to understand where ROCHESTER is leading her.)

ROCHESTER

No? You don’t agree? Would not Blanche Ingram make my perfect mate?

JANE

You cannot ask me such a question.

ROCHESTER

Please Jane, advise me. Tell me what to do...my only friend.

JANE

It’s not for me to say, sir....if you are troubled in your thoughts, a fellow-creature cannot help you. Men and women die, philosophers falter in wisdom, Christians in goodness. If certainty is what you seek, you must look to a higher power for strength to amend and solace to heal.

ROCHESTER

But Jane, I am certain. I know who gives me strength. I know who heals my life. (He looks at JANE for a long moment of indecision, and she returns his stare. He suddenly breaks away and turns back to her with a mischievous smile.)

Well, Jane, when will you sit up with me again?

JANE

Whenever I can be useful, Sir.

ROCHESTER

Well, you can be useful the night before I’m wed. I’m sure I won’t sleep. Will you sit up with me and bear me company? To you I can talk of my lovely one, for now you have seen her and know her.

JANE

No, sir.

No?

ROCHESTER

JANE

If you are to marry, then I must leave this place.

ROCHESTER

Really - why?

(JANE looks at him but can say nothing.)

(ROCHESTER)

Well, that must be your decision, of course. I would be lonely here without you, my little elf.

Good night, my Jane.

(He looks at her for a moment.)

(ROCHESTER exits with the candle. JANE turns to the audience)

#28—Painting Her Portrait

JANE

WHAT AFOOLI HAVE BEEN TO WONDER

IF HE MIGHT HAVE ACARE FOR ME HOW INSANE THE THOUGHT

THAT YOU COULD BE TO HIM DEAR IN ANYWAY

THAT AMORE ABSURD YOUNG GIRLHAS LIVED

I DOUBT THAT YOU COULD SAY You? Afavourite of Mr. Rochester?

GIFTED WITH THE POWER YOUR LOGIC’S FADING BYTHE HOUR AND TO NO AVAIL, JANE Poor, blind puppy!

HAD TO GO ON DREAMING

HAD TO TRYTO GIVE YOUR LIFE SOME MEANING STILLYOU FAIL, JANE

(She takes up a candle and moves out of her room, which disappears into the darkness behind her.)

HOW DARE YOU THINK THERE’S APLACE IN HIS LIFE FOR YOU

(JANE sits at a small table in another part of the house. From the drawer of the table she takes out her drawing-box. She opens up the box and takes from it all she needs for the execution of two miniature portraits: her paints, brushes and two pieces of smooth ivory drawing card. She sits at the table, a small angled easel set up in front of her, and begins to paint.)

JANE

I’M PAINTING MYPORTRAIT AN ABSOLUTE LIKENESS FAITHFULTO ILLUSTRATE EVERYFINE LINE

I’M MASTERING DETAIL HIGHLIGHTING DEFECTS

MAKING APERMANENT MIRROR TO SEE ALLOF THE FAULTS THAT LIE HIDDEN IN ME

I’M PAINTING MYPORTRAIT

IT’S PLAIN AND UNEVEN REMINDING ME WHAT I AM WHAT I MUST BE

I’M LEAVING OUT NOTHING NO MATTER HOW PAINFUL ALLOF MYFLAWS ON DISPLAYTO BE SEEN

(She sets aside the self-portrait and starts on the other piece of card)

NOW MYPAINTING IS DONE I’LLSTART ANOTHER THIS ONE OF HER

AND WHEN I CLOSE MYEYES

I CLEARLYSEE HER FACE CAPTURE HER GRACE AND POISE FIGHT BACK THE TEARS

AND I’M PAINTING HER PORTRAIT AN ABSOLUTE LIKENESS THE LOVELIEST FACE THE MOST DELICATE SKIN ATRIBUTE TO BEAUTY THE PERFECT MISS INGRAM OMIT NEITHER DIAMOND RING NOR GOLDEN ROSE MAKE HER ALADYOF RANK GLISTENING SATIN OH HOW SHE GLOWS

(JANE)

MIX IN YOUR FINEST TINTS PAINT HER DRAMATICALLY WITH ALLYOUR SWEETEST HUES SIT HERE FANATICALLY… PAINTING OUR PORTRAITS

(She takes up the self-portrait and leans it up against her drawing-box)

THIS ONE WILLLIVE ALLOF HER LIFE AS AGOVERNESS JUST ALONELYGOVERNESS

(She places the portrait of Miss Ingram, next to the selfportrait.)

THIS ONE WILLALWAYS BE HAPPY AND MARRYAMAN WHO WILLCARRYHER AWAY AND SHOULD YOU FANCY THAT HE REALLYLOVES YOU JUST COMPARE THE PICTURES TWO COMPLETELYDIFFERENT MIXTURES

YOU SHOULD BE ASHAMED, JANE WHYWOULD HE TRADE HIS SILVER? FOR SOME UNPOLISHED METAL? WHYWOULD HE SETTLE FOR ASLAVE WHEN HE COULD HAVE AQUEEN, JANE? IT’S FORESEEN, JANE! DON’T EVEN DARE ANYMORE TO COMPARE SAYAPRAYER FOR YOUR SORRYSOUL JANE!

(The lights fade on JANE as the song ends.)

ACT II, scene iii

(BLANCHE is walking in the parterre garden of Thornfield, warm summer light dappling on her through the trees. At the front of the stage is a sun-dial, half covered up by a flowering creeper.)

Light of the Virgin Morning

BLANCHE

IN THE LIGHT OF THE VIRGIN MORNING

I LOOK OUT THROUGH AMISTYHAZE THE ESTATE HAS AN ANCIENT BEAUTY MOTHER MUST APPRAISE

AS I STROLLTHROUGH THE PINKS AND ROSES AS I SAVOR THE COLUMBINE

I AM GRATEFULFOR ALLHIS WORTH AND WHAT WILLONE DAYALLBE MINE THE PERFECT PLAN

IF ONLYI COULD LOVE THE MAN BUT I’M NOT QUITE SURE I CAN (JANE enters, unseen by BLANCHE, wandering through the garden just as BLANCHE has done.)

JANE

IN THE LIGHT OF THE VIRGIN MORNING IN THE SHADE OF THE CHESTNUT TREE

IF I LEAVE THIS UNHAPPYBLISS WHERE WILLMYEDEN BE? FOR I’LLMISS THIS ENCHANTED GARDEN AND THE MANOR OF GREAT REKNOWN.

BLANCHE

WE WILLSELLTHE ESTATE, OF COURSE AND WE WILLMOVE TO TOWN (The two women sing together, each unaware of the presence of the other.)

JANEBLANCHE

THIS IS MYFATE

WHAT MORE DO I DESERVEWE’LLBE ADMIRED AND PRAISED I MUSTN’T STAY WHAT PURPOSE WOULD IT SERVE?I’LLKNOW WHAT HAPPINESS IS HE DOESN’T NEED ME HIS HEART IS BLINDEDWHEN I AM HIS WHERE WILLI GO?I’LLBE THE STAR IN HIS NIGHT

(JANE)(BLANCHE)

WHAT STAR WILLLIGHT MYWAY? THIS IS MYHOME, OH GOD ABOVE I PRAYAND I WILLSHINE AS ABRIDE THE ROCK OF AGES WILL SHOW ME MERCYBYHIS SIDE

(BLANCHE and JANE suddenly catch sight of each other, but they turn warily away, continuing to think their separate thoughts.)

JANEBLANCHE

IN THE LIGHT OF THE VIRGININ THE LIGHT OF THE VIRGIN MORNINGMORNING

I AM CURSED IN MYHOPE OF HEAVENI AM BLESSED IN MYHOPE OF FOR I KNOW I WILLALWAYS LOVE HIMHEAVEN

FOR I KNOW I WILLCOME TO LOVE HIM

(JANE disappears into the shrubbery upstage as the aristocratic LADIES wander into the garden, bored and listless. Only BLANCHE INGRAM shows any sign of life, restlessly pacing up and down the lawn..)

MRS. DENT

Oh look, a sundial.

Asundial in England? Useless!

LADY INGRAM

MARY INGRAM

Oh, God! We’ve been here for two days and it seems like an eternity.

AMY ESHTON

Oh, to be in town!

Or anywhere!

LOUISAESHTON

(JANE appears at the side of the garden. BLANCHE is the first to notice her.)

JANE

Excuse me.

(BLANCHE turns away from her to the other LADIES.)

BLANCHE

I think this person wants something.

Yes?

MRS DENT

(Mrs. Dent addresses Jane.)

JANE

I was looking for Mr. Rochester.

Not here.

Out.

With all the other men.

Shooting things.

With guns.

Back in time for dinner.

Sorry.

Thank you. I’ll wait till then.

LADY INGRAM

MARY INGRAM

LOUISAESHTON

MRS. DENT

AMY ESHTON

LOUISAESHTON

LADY INGRAM

JANE

BLANCHE

(To MARY)

Creeping creature! Cluttering up the garden! (MARY giggles as JANE walks quietly downstage. ROBERT appears from the house.)

ROBERT

Pardon the intrusion, ladies, but there’s a gypsy in the house who declares she will not leave until she has read your fortunes.

LADY INGRAM

Agypsy?

At last! Something to do!

BLANCHE

Blanche...

What’s she like?

LADY INGRAM (Disapproving)

AMY

ROBERT

Very old, Miss, and very ugly.

Areal sorceress! Excellent sport!

Blanche…

Put her in the library.

…really!

Come along, Mother.

Oh, do let’s go, Maud.

Oh,very well then.

BLANCHE

LADY INGRAM

BLANCHE

LADY INGRAM

BLANCHE

MRS DENT

LADY INGRAM

(ROBERT turns to LADY INGRAM and MRS DENT.)

ROBERT

Forgive me - the gypsy says she will see only those ladies who are young and single.

LADY INGRAM

Well, really!

Really, Robert!

Come along, Clare!

MRS. DENT

LADY INGRAM

(LADY INGRAM drags MRS DENT off into the garden in high dudgeon.)

I go first!

MARY INGRAM

(As the scene dissolves, BLANCHE and the YOUNG LADIES go into the house as ROBERT approaches JANE at the bench.)

ROBERT

If you please, Miss Eyre, the Gypsy declares she must see all the young single ladies, whatever their station.

JANE

Oh, I will go, by all means, Robert. Perhaps I will learn something of my future. (They walk towards the house as the scene changes to the library.)

ACT II, scene iv

(The GYPSY, scarcely visible, is seated in an easy chair in the chimney corner of the darkened library. She is wearing a red cloak and black bonnet, tied down with a striped handkerchief under her chin. Asingle candle glows on a table next to her. Her shadowed face is surrounded by dirty gray curls and she mutters to herself as BLANCHE and MARY INGRAM and AMY and LOUISAESHTON come into the room. MARY sits on a little footstool in front of the Gypsy’s chair, and the GYPSY takes her hand.)

GYPSY

I SEE AFLAME IN THE PALM OF YOUR HAND, OH SISTER

YOU’RE PEEVISH AND PUNYAND SPOILED AND BLAND. OH SISTER

(MARY is aghast. AMY and LOUISAESHTON join her and hold out their hands to the GYPSY who addresses LOUISA first…)

YOU HAVE NO PRINCIPLES

YOU HAVE NO TASTE

(…and then AMY.)

YOUR EDUCATION WAS TRULYAWASTE

DON’T BE UPSET GIRLS

THIS HAS TO BE FACED SWEET SISTERS

Scandalous!

(MARY, LOUISAand AMY stand to one side as BLANCHE sits on the stool.)

GYPSY

I SEE AMAN IN YOUR FUTURE, MYDEAR AUSPICIOUS BUT HIS STATUS AND TITLE AND WEALTH ARE, I FEAR FICTICIOUS YOU’LLMARRYTHE SCOUNDRELAND

SOON AFTER THAT YOU BEAR HIM ACHILD AND THEN YOU’LLGET FAT SADLYFOR YOU HE LEAVES BOTH OF YOU FLAT DEAR LADY

(The GYPSY whispers to BLANCHE who looks more and more shocked. JANE enters at the side of the room and stands in the darkness, watching.)

BLANCHE

(Snatching away her hand)

MARY

What is it, Blanche?

Mary! Fetch Mother! Fetch!

BLANCHE

(MARY, AMY and LOUISAhurry out. As BLANCHE leaves, she turns briefly in the doorway to study Jane before disappearing into the darkness. JANE takes her place on the stool. The GYPSY takes JANE’s hand.)

GYPSY

I SEE AJOURNEYYOU’RE PLANNING TO TAKE OH SISTER

BELIEVE ME MYCHILD IT’S A FATALMISTAKE OH SISTER

THE ROAD HOLDS GREAT DANGER

YOU’D BETTER STAYHERE THERE’S SOMEONE YOU LONG TO BE CLOSE TO MYDEAR

HE’S NOT SO FAR OUT OF REACH AS YOU FEAR DEAR SISTER

JANE

And who might he be, Mother?

(The GYPSY’s voice begins to change)

GYPSY

I’M GETTING TIRED OF THIS MASQUERADE OH SISTER

(The GYPSY removes her bonnet, wig and shawl and reveals herself to be ROCHESTER)

ROCHESTER

DO YOU FORGIVE ME, FOR THIS ODD CHARADE? DEAR SISTER…

JANE

Now, sir, what a strange idea…

ROCHESTER

But well performed, eh? Don’t you think so?

JANE

Very well performed. You’ve been talking nonsense to make me talk nonsense. It’s scarcely fair, sir.

ROCHESTER

I beg your forgiveness, Jane.

I should think so.

JANE

ROCHESTER

And did you observe Miss Ingram as she left the room?

JANE

Yes, she seemed disturbed, and annoyed.

ROCHESTER

I’m sure she was.

(ROBERT enters, flustered, and whispers to ROCHESTER.)

ROBERT

Sir! The Ingrams have requested that their carriage be prepared. ROCHESTER

Yes, yes, Robert. That’s quite in order.

Sir.

ROBERT

(Going)

ROCHESTER

Come Jane, take a stroll with me into the garden.

#30a—Into the Garden

JANE

I’d like that, sir, for there’s something I wish to discuss with you.

ROCHESTER

Is there indeed?

(The library fades as ROCHESTER and JANE move downstage into the garden.)

ACT II, scene v

(The huge old chestnut tree of Thornfield appears as JANE and ROCHESTER move into the garden. They stand together for a moment, breathing in the night air.)

ROCHESTER

Ah! The sweet heady of an English summer. Sweet-briar and southernwood, jasmine, pink and rose. There’s thunder in the air too, Jane. Can you sense it? There’ll be a storm tonight, I’ll wager.

JANE

I think so, sir.

ROCHESTER

Are you still planning on leaving us, Jane?

Yes, sir.

JANE

ROCHESTER

That’s a shame. Thornfield is a pleasant place in the summer, is it not?

JANE

It is indeed, sir.

ROCHESTER

You must have become in some degree attached to this house?

JANE

I have grown quite attached to Thornfield.

ROCHESTER

And to that foolish little child Adele. And even to simple Dame Fairfax?

JANE

In different ways, I have affection for them both. I shall be sorry to leave here.

ROCHESTER

Must you really leave, Jane?

JANE

Mr. Rochester, you are to be married are you not?

Yes. What of it?

ROCHESTER

JANE

Adele ought to go to school. I’m sure you perceive the necessity of it.

ROCHESTER

To get her out of my bride’s way who might otherwise walk over her too emphatically? There’s sense in the suggestion.

JANE

I shall advertise for a new situation.

Nonsense. Leave that to me.

Sir, you need not take the trouble…

ROCHESTER

JANE

ROCHESTER

No trouble, Jane. I have in fact already heard of a suitable position, from the Honourable Lady Ingram…

(He takes a card from his pocket and reads from it.)

You are to undertake the education of the five daughters of Mrs. Dionysius O’Gall. At Bitternut Lodge, Kilkenny, Ireland.

JANE

Ireland! I really must object…

JANE

I don’t agree, sir.

ROCHESTER

JANE, WHEN YOU’RE GONE. I WILLTHINK OF YOU OUT ON THE GLEN YOU SEEMED SO LIKE AFAIRYTHEN…

JANE

SUCH ADISTANCE, WHYSO FAR, SIR? ROCHESTER

OH DOES THAT PERTURB YOU?

JANE

IT’S ALONG WAY…

ROCHESTER

WELL, FROM WHAT, JANE?

WHYDOES THAT DISTURB YOU?

JANE, WE’VE BEEN FRIENDS (JANE rises to go to the house)

JANE

IT’S GETTING LATE, SIR ROCHESTER

JANE, WHAT IS WRONG?

JANE

I MUST GO IN, SIR ROCHESTER

JANE, IS THAT ATEAR THAT’S IN YOUR EYE?

(JANE cannot contain her pent-up feelings any longer, and she turns on ROCHESTER with a passion.)

JANE

YES IT IS AND I CRYBECAUSE THE PAIN BECAUSE THE GRIEF IS SLOWLYTURNING TO RAGE

I’M LIKE ABIRD UPON THE BRIEF WHO WISHES SHE WERE NEVER BORN INTO THIS CAGE I KNOW YOU THINK BECAUSE I’M PLAIN THAT I FEELNOTHING INSIDE

(JANE)

IF I WERE RICH, IF I WERE BEAUTIFUL… (spoken)

…then I should think I would make it as hard for you to leave me as it is for me to leave you. I love Thornfield. I grieve to leave it, for here I have talked face to face with what I reverence, what I delight in - with an original, a vigorous, an expanded mind . But I see the necessity of departure and it is like looking on the necessity of death.

ROCHESTER

Where do you see the necessity?

In the shape of your bride.

JANE

ROCHESTER

JANE, THERE IS APLACE FOR YOU AND JANE, IT IS HERE WITH ME TO LIVE IN THIS HOUSE TO STAND AS MYWIFE

JANE

What do you mean?

ROCHESTER

JANE, YOU ARE MYSECOND SELF AND JANE, DON’T YOU SEE THE TRUTH? THAT YOU ARE THE HEART OF MYLIFE

JANE

But what of Miss Ingram?

She’s gone, never to return.

ROCHESTER

THE GYPSYTOLD HER THAT MYWEALTH WASN’T HALF OF MYFIRST CLAIM AND BLANCHE INGRAM, BLESS HER HEART TOOK THE BAIT AND NOT MYNAME

I would not - I could never - have married Blanche Ingram. Because my equal is here and my likeness.

JANE

Why did you make me believe you loved her?

ROCHESTER

To make you jealous.

JANE

Why!

Edward.

ROCHESTER

JANE, TO MAKE YOU AS IN LOVE WITH ME AS I AM IN LOVE WITH YOU BE MYWIFE

(JANE shakes her head in disbelief.) SAYMYNAME!

JANE

ROCHESTER

WILLYOU MARRYME, JANE EYRE?

YOU MEAN MORE TO ME THAN LIFE WHAT’S YOUR ANSWER? TELLME NOW!

Do you consent to be my wife?

(JANE touches ROCHESTER’s face searching his eyes. Then she moves quickly away from him.)

God forgive me. You’re not getting away from me…

IF I HAD ASTRING UNDER MYRIBS KNOTTED TO YOU, CONNECTING OUR FRAMES I’D BE AFRAID THAT MANYAMILE WOULD SEVER THE TIE AND I WOULD TAKE TO BLEEDING INWARDLY

ARE YOU MYSAVIOR, ARE YOU MYSAINT PROTECTING ME NOW WITH COMMUNION AND LIGHT? STAND AS MYEQUALBE MYREWARD SLAYCUSTOM AND CODE WITH LOVE AS YOUR SWORD CHILDISH, SLENDER CREATURE

MYHOPE OF HEAVEN LIES INSIDE YOUR PRECIOUS EYES I HEAR YOUR CHERISHED VOICE ACROSS THE MOORLAND SKIES YOUR YOUTH AND SPIRIT FLIES US UPTO HEAVEN OPEN MYWINDOW DRINK FROM MYWELL

(ROCHESTER)

SHOWER MYBLISS WITH YOUR APRICOT SMELL ARE YOU AN EAGLE COMING TO NEST OR ASWIFT ON THE WING WITH NO NEED TO REST CHILDISH SLENDER CREATURE

MYHOPE OF HEAVEN LIES INSIDE YOUR PRECIOUS EYES THE FLOWER OF YOUR HEART IT BLOOMS AND NEVER DIES

WILLI NOT GUARD AND CHERISH YOU AS LONG AS I SHALLLIVE? WILLI NOT SANCTION YOU WITH ALLTHE LOVE MYHEART CAN GIVE? AND I WASH MYHANDS OF EVERYYOUTHFULCRIME DEFYTHEM ALL GOD WILLGIVE ME TIME AND YOU WILLLEAD ME BLIND…

JANE

Yes, sir, I will marry you.

(As he continues to sing, a storm approaches, with rumbles of thunder coming from a long way off.)

ROCHESTER

CHILDISH, SLENDER, CREATURE

MYHOPE OF HEAVEN LIES INSIDE YOUR PRECIOUS EYES

I HEAR YOUR CHERISHED VOICE ACROSS THE MOORLAND SKIES YOUR YOUTH AND SPIRIT TENDER NATURE GENTLE PRESENCE FLIES US UPTO HEAVEN ACROSS THE SKIES

(They kiss. The storm breaks, with lightning very close and loud thunder. JANE and ROCHESTER run into the house, laughing.)

#32—The Chestnut Tree

(Morning light. Two MAIDSERVANTS stand gazing out of the large window that overlooks the garden, GRACE POOLE approaching from a distance.)

FIRST SERVANT

IN THE LIGHT OF THE VIRGIN MORNING WHAT ATERRIBLE SIGHT TO SEE SPLIT IN TWO BYABOLT OF LIGHTNING OUR GREAT CHESTNUT TREE (GRACE POOLE joins the other two servants.) GRACE POOLE

IS IT FATE THAT HAS TORN HER BRANCHES?

FIRST SERVANT

IS IT CHANCE THAT HAS STRUCK HER DOWN?

SECOND SERVANT ONLYGOD CAN PROVIDE THE ANSWERS WHYHE’S BLIGHTED THORNFIELD’S SOUL

FIRST SERVANT AFATEFULSIGN

FIRST SERVANT & GRACE

THE PLANETS AND THE STARS ALIGN ALLTHREE

FOREWARNING OF AGREAT DECLINE (MRS. FAIRFAX screams and hurries onto the stage, ADELE scampering behind her.)

MRS. FAIRFAX

I cannot believe it!

What is it, Madame?

ADELE

MRS. FAIRFAX

He means to marry her… a governess! (GRACE POOLE and the two MAIDSERVANTS make themselves scarce as MRS FAIRFAX launches into her tirade.)

#33—Slip of a Girl

(MRS. FAIRFAX)

ASLIPOF AGIRL

NO BREEDING, NO BRASS NO KINSHIP, NO CLASS ASLIPOF AGIRL

WHO MISPLACES HER GRACE AND DISGRACES HER PLACE ASLIPOF AGIRL

WHO SHOULD SETTLE FOR LESS AND CONFESS ASUCCESS

I’M OUTRAGED AND APPALLED DISTRESSED AND OFFENDED SCANDALIZED, MORTIFIED SHOCKED AND UPENDED

(JANE skips on from another part of the house.)

JANE

Morning! ADELE

Is it true, Mam’selle?

Yes!

JANE

(ADELE runs into her arms. JANE kisses her, then sits down and busies herself with some sewing, ADELE at her feet.)

MRS. FAIRFAX

YOU’RE ASLIPOF AGIRL

ITS UNLIKELY, I FEAR

HE’S IN LOVE WITH YOU, DEAR

Mrs. Fairfax!

ASLIPOF AGIRL

JANE

MRS. FAIRFAX

WOULD YOU MARRYHIM WHEN YOU’VE NO KNOWLEDGE OF MEN?

ASLIPOF AGIRL

I WOULD BEG YOU TO PURGE YOUR UNVIRGINALURGE

I’M FRETTED AND ANXIOUS CONCERNED AND DISTURBED UPSET, APPREHENSIVE HARASSED AND PERTURBED

(MRS. FAIRFAX)

Oh, Jane, you must be careful…

…I REMEMBER IN MYYOUTH

I THOUGHT THE SAME AS YOU BUT MEN, MYDEAR, WILLBREAK YOUR HEART WHILE SWEARING TO BE TRUE…

(ROBERT arrives with a jewel case, which he sets down on a table at JANE’s side.)

From Mr. Rochester, Miss.

Thank you, Robert…

ROBERT

JANE

(ROBERT goes. MRS. FAIRFAX opens the box and examines the contents.)

MRS. FAIRFAX

But these are the Rochester jewels…

(JANE knows very well what is in the box, but she is annoyed at Mrs. Fairfax’s interference and pretends a complete lack of interest.)

JANE

Oh, yes…

To be worn by a governess?

MRS. FAIRFAX

I’M ASTONISHED, ALARMED

(MRS. FAIRFAX)

PERPLEXED AND DUMBFOUNDED BEWILDERED, EMBARRASSED AMAZED AND ASTOUNDED

JANE

I don’t know why he sent them. I told him I would not wear them.

MRS. FAIRFAX

Not wear them? And who are you to say you will not wear jewels given to you by Mr. Edward Fairfax Rochester?

JUST ASLIPOF AGIRL WHOSE FORM, I’LLBE SWORN HE SHOULD SCORN TO ADORN

No, indeed, Mrs. Fairfax…

JANE

MRS. FAIRFAX

ASLIPOF AGIRL WHO’D BE BLESSED, AT THE BEST TO BE FETCHINGLYDRESSED

JANE

I shall not wear them!

ASLIPOF AGIRL

MRS. FAIRFAX

WHO’LLDO AS SHE’S TOLD OR BE WHOLLYCAJOLED

LAUGHABLE, IMPUDENT BRAZEN, AUDACIOUS SAUCY, IMPERTINENT BOLD AND UNGRACIOUS!

(ROBERT re-enters bearing a wedding-dress, mounted on a tailor’s dummy.)

ADELE

Ooooh, voila!…

(But for once she is too overwhelmed to speak further.)

ROBERT

From the tailors at Milcote, Miss.

Oh, yes, thank you.

So this is the dress?

Do you like it?

Like it?… Well, I…

JANE

(ROBERT bows himself out.)

MRS. FAIRFAX

JANE

MRS. FAIRFAX

…I REMEMBER LONG AGO WHEN I WORE SUCH ADRESS HE DIED, POOR MAN, AND BROKE MYHEART STILLBROKEN, I CONFESS

JANE

I’m very sorry to hear that, Mrs. Fairfax.

(MRS. FAIRFAX has momentarily lost herself in her memory, but JANE’s remark snaps her back to the subject in hand.)

MRS. FAIRFAX

ASLIPOF AGIRL INSIPIDLYBUILT ILL-EQUIPPED TO THE HILT

JANE

Mrs. Fairfax…

MRS. FAIRFAX

YOU’RE ASLIPOF AGIRL AND I’LLBET HE’LLNOT LET YOU BE MORE THAN APET

HE’S TWENTYYEARS OLDER AESTHETICS WON’T LET IT BE MORE THAN AFRIENDSHIP YOU’D BETTER FORGET IT JANE

No, indeed, Mrs Fairfax, Edward is young…

MRS FAIRFAX

Edward!

JANE

…HE’S YOUNG IN HIS HEART MRS. FAIRFAX

Oh, dear, I don’t know.

JANE

HE LOVES ME I’M SURE MRS. FAIRFAX

Love is a great thing.

JANE

I SOLEMNLYSWEAR OUR LOVE WILLENDURE MRS FAIRFAX

Then…

I’M THRILLED, I’M ENCHANTED ENRAPTURED, EXCITED GRATIFIED, TICKLED

I TRUST I’M INVITED?

I’M CHARMED, I’M DISARMED

JANE EYRE… I’M DELIGHTED!

(MRS FAIRFAX presses JANE to her bosom, but then remembers her station and turns on ADELE with great severity.)

MRS. FAIRFAX

Come Adele.

(MRS FAIRFAX and ADELE run off one way and JANE the other.)

(The ENSEMBLE enters as the scene changes around them to the parish church of Thornfield Hall. ROCHESTER, the VICAR and MRS FAIRFAX appear upstage and make their way through the body of the church as the ENSEMBLE sings. In the background the figure of MASON stands watching, but we cannot see his face yet.)

ENSEMBLE

GOD BEFORE ME HUMBLE TEMPLE

WAITING, WATCHING IN SILENCE

ENSEMBLE MEN

AND IN THE SHADOWS ASTRANGER WATCHING

ENSEMBLE WOMEN

EARLYMORNING LOWLYALTAR

WAITING, WATCHING IN SILENCE

(As part of the ENSEMBLE continues to sing in cannon, the others whisper Jane’s thoughts in quiet counterpoint.)

ENSEMBLE ONE

I know not if the day was fair or foul…

ENSEMBLE TWO

I gazed not on the sky nor on the earth…

ENSEMBLE THREE

My eyes were always with my heart, both fixed on Rochester’s form…

ENSEMBLE FOUR

We hurried through the churchyard gate, passing the graves of fallen ancestors…

ENSEMBLE FIVE

The gray old house of God rising up before us…

ENSEMBLE SIX

The rooks wheeling round the steeple…

ENSEMBLE SEVEN

The ruddy morning sky beyond.

VICAR

Our Father blesses this sacred union now and forever.

(JANE enters the church arrayed in her wedding-dress, ROCHESTER turning to watch her walking towards him. They both kneel as the VICAR proceeds with the ceremony.)

VICAR

I do require and charge you both - as you will answer at the dreadful Day of Judgment, when the secrets of all hearts shall be disclosed - that if either of you know any impediment why you may not be lawfully joined together in matrimony, you do now confess it.

(The VICAR pauses for a moment. JANE smiles at ROCHESTER, who stares back into her eyes, unmoving. MASON walks forward out of the shadows.)

Edward Fairfax Rochester, wilt thou have this woman to be thy wedded wife? Wilt thou love her, comfort her…

MASON

This marriage cannot go on. I declare the existence of an impediment.

ROCHESTER

(To the VICAR)

Proceed with the ceremony

VICAR

I cannot proceed without further investigation.

MASON

I can prove my allegation.

What is the nature of the impediment?

VICAR

MASON

Mr. Rochester is already married. He has a wife now living...at Thornfield Hall. I saw her there this summer. I am her brother.

VICAR

At Thornfield Hall? Impossible! I am an old resident in this neighborhood, sir, and I’ve never heard of a Mrs Rochester at Thornfield Hall.

ROCHESTER

No, by God, I took care that none should ever hear of her. Vicar, close your book. There shall be no wedding today. What this man says is true. I have been married and the woman is alive. Vicar, Mason, Mrs Fairfax, I invite you all to the house to visit Grace Poole’s patient…my lovely wife!

#35—The Secret of the House / Wild Boy

(The lighting shifts, as the scene changes to the attic of Thornfield Hall.)

ACT II, scene viii

(From the dark recesses of the attic ra FIGURE moves backwards and forwards, sometimes pacing, sometimes on all fours, growling and snatching at the air like a wild animal. This is BERTHAMASON. She clutches a ragged book, which she opens from time, scanning through the print and the pictures as if looking for something she has lost. We must be reminded, unmistakably, of Young Jane’s attic at the start of the story. ROCHESTER enters the room, closely followed by JANE, MASON, the VICAR and MRS FAIRFAX. As JANE catches sight of BERTHA, she freezes in horror, the scene is so reminiscent of her own earliest memories.)

ROCHESTER

THE SECRET OF THE HOUSE IS RIGHT BEFORE YOUR EYES YOU STARE AT FATE’S ABOMINATION

SO TRAGIC IS THE SIGHT OF GOD’S FORGOTTEN SOUL SO DEEPIN HER DESPAIR SO FAR BEYOND REPAIR

ROCHESTER and is suddenly stock-still, fixing him with her eyes. The book drops from her hand onto the floor.)

BERTHA

GRACE POOLE

Ah!

Just

few

ROCHESTER

BERTHA

(BERTHAutters a fierce cry and suddenly throws herself at ROCHESTER, seeking his throat with her teeth. She is fit and strong and is almost a match for him, but he wrestles her into submission and, with GRACE POOLE’s help, he pinions her arms behind her, and binds her to a chair with leather straps. BERTHAMASON continues to make convulsive lunges in an attempt to escape, snatching at the air with her teeth and uttering fierce yells of rage. GRACE POOLE holds her firmly by the head and administers a sedative drug from a small bottle which she pulls from her apron. BERTHAquickly subsides into a heavy torpor, though she still watches ROCHESTER through hooded eyelids. ROCHESTER turns to the spectators and speaks with increasing bitterness.)

ROCHESTER

This is my wife. Such is the sole conjugal embrace I am ever to know. Such is the lone companion I am ever to enjoy.

VICAR

When were you married, sir?

I WAS AWILD BOY

ROCHESTER

HAD THE SORT OF FATHER WHO WAS GREEDY AVARICIOUS AND SELF-SERVING MYFATHER RESOLVED ONE DAY HE WOULD NOT DIVIDE HIS PROPERTY AND WILLED IT TO MYELDER BROTHER YET MYFATHER COULD NOT LET HIS WILD BOYBE POOR AND TARNISH HIS NAME SO HE SOUGHT ME AWIFE TO LESSEN HIS SHAME

(ROCHESTER crosses to BERTHAwho is much quieter now.)

SO SOON I WAS SENT ABROAD AND AMARRIAGE MADE FOR MONEY WAS ARRANGED BYBOTH THE FAMILIES SHE WAS ATORRID BEAUTY

(BERTHAsmiles back at ROCHESTER, just for a moment a faded glamour appearing on her face.)

(ROCHESTER)

I WAS DAZZLED, I WAS STIMULATED SENSES WERE EXCITED

I THOUGHT IT WAS LOVE (ROCHESTER reaches out to touch BERTHA’S hair but she suddenly arches her body back in the chair, snarling at him.)

WHAT MADNESS JUST THE BLINDNESS OF YOUTH I DID NOT KNOW HER SECRETS DID NOT KNOW THE TRUTH (BERTHAlaughs harshly as ROCHESTER turns to MASON.)

BUT MYFATHER KNEW AND HER BROTHER TOO THAT DISEASE WAS IN HER BLOOD (MASON turns away, embarrassed.)

SHE SOON BEGAN TO CHANGE I WAS LIVING WITH ADEMON FOR THIRTYTHOUSAND POUNDS THEYCONCEIVED THIS PLOT AGAINST ME

THERE WAS NOTHING I COULD DO THE LAW WAS IN THEIR FAVOUR AND I WAS NOT THE FIRST TO BE SO CURSED …by her unchaste propensities.

(BERTHA’s attention is suddenly caught by her book, which lies on the floor near JANE’s feet. She whimpers and pleads for it, her hand straining against the leather straps of her chair. JANE picks up the book and slowly crosses to BERTHA, holding it out to her as ROCHESTER continues to sing.)

I THOUGHT MYLIFE WAS THROUGH THEN AVOICE SOMEWHERE INSIDE ME

SAID, ‘IT’S TIME TO LIVE IN FREEDOM YOU’VE DONE ALLYOU CAN DO KEEPHER SAFE AND GIVE HER SHELTER’ WAS I WRONG TO WANT MYLIBERTY?

(GRACE POOLE releases BERTHAfrom the chair. BERTHA rises and takes her book from JANE, curtseying her thanks. JANE curtsies back to her and GRACE POOLE leads BERTHAoff into the darkness.)

(ROCHESTER)

I HIRED GRACE POOLE TO CARE FOR HER SHE TENDS HER FULLTIME LOVING YOU JANE, IS MYONLYCRIME (MASON, the VICAR and MRS FAIRFAX turn and leave as ROCHESTER approaches JANE.)

Jane, will you hear reason?

CHILDISH, SLENDER CREATURE?

(JANE turns away from ROCHESTER, lost in her own thoughts as he continues to address her.)

#36—Sail Away

JANE

WHAT CAN I DO, I FEELHIS LOVE

WOULD I BE JUDGED BYGOD ABOVE?

IF I WERE TO STAYHERE BYHIS SIDE?

SURELYTHERE WOULD BE NO BLAME

IF I DO NOT TAKE HIS NAME I’LLHAVE HIS HEART BUT I’LLNOT BE HIS BRIDE

AND WE COULD SAILAWAY GET LOST AT SEA

WHERE WE COULD LOSE OURSELVES WHERE WE ARE BLIND AND FREE FOR AS SIRENS CALLTHE SAILORS HE CALLS TO ME

LORD, IS THIS TO BE MYWORTH?

I PRAYED THERE WAS AREASON FOR MYBIRTH

IS THIS WHAT YOU WOULD HAVE ME DO? BREAK MYSACRED VOW TO YOU DESTROYTHE LAWS OF HEAVEN HERE ON EARTH?

JANEROCHESTER

WHAT CAN I DO, I FEELHIS LOVEJANE WOULD I BE JUDGED BYGOD ABOVEDON’T YOU SEE?

IF I AM NOT THERENO ONE IS INJURED TO HEAR HIS CALL?BYTHIS BREACH

CURSE THE PASSIONJANE DIM THE FLAMEDON’T YOU SEE?

IF I CANNOT TAKE HIS NAMEOUR SPRING OF LIFE I CANNOT TAKE ANYTHING AT ALLIS WITHIN REACH

OH LET ME SAILAWAYYOU ARE MYLIFE AND MAKE THIS VOWMYSECOND SELF THAT WHAT MYHEART WANTSMYREALWIFE I WILLNOT ALLOWMYLITTLE ELF FOR AS SIRENS CALLTHE SAILORS...YOU ARE MYJANE... ...HE CALLS ME NOW...OH SAYMYNAME

(ROCHESTER kneels at JANE’s feet.)

JANE

Mr. Rochester, I must part from you for my whole life…

ROCHESTER

Jane, do you mean to go one way in the world and let me go another?

JANE

I do.

ROCHESTER

Oh, Jane, this is bitter! This is wicked. It would not be wicked to forgive me.

JANE

It would to obey you.

ROCHESTER

Where shall I turn for a companion and for some hope?

JANE

(Crying)

Do as I do. Trust in God. Believe in heaven. And hope to meet again there.

(JANE runs out. ROCHESTER is left alone in the attic.)

ROCHESTER

IS THIS HOW YOU WOULD LEAVE ME IN RUIN AND DESPAIR?

MYHOPE IS QUENCHED, MYLIFE IS LOST LAID WASTE BEYOND REPAIR

I WAS WRONG WHEN I DECEIVED YOU BUT THERE WAS NO OTHER WAY YOUR CHARACTER WON’T LET YOU LIVE THE LIE MINE MUST OBEY

AND I DON’T MEAN TO CLAIM THAT HONOR HAS BEEN SERVED BUT WHYMUST I HAVE EYES TO SEE YOU’RE NOT THERE WHYMUST I TAKE ONE MORE BREATH LET LIGHTNING STRIKE THAT’S NOT THE WORST NOW THAT YOU’VE SHATTERED MYSOUL I DIE ACCURSED

(ROCHESTER moves through the house into Jane’s bedroom, MRS FAIRFAX appearing in the doorway behind him. Jane’s wedding dress lies across the bed, a jewel-case laid on top of it.)

MRS FAIRFAX

Her traveling bag has gone.

(He looks around the room.)

And all her own things.

ROCHESTER

Everything I gave her she has left behind.

(ROCHESTER turns away from MRS FAIRFAX, who wrings her hands helplessly.)

MRS FAIRFAX

I’m so sorry.

Everything!

ROCHESTER

(MRS FAIRFAX turns and leaves the room, in great distress.)

SO FAREWELLGOOD ANGEL ANOTHER DAYIS DONE

(ROCHESTER)

I WRAPPED MYLIFE AROUND YOU AND FOR ATIME TWO FUSED AS ONE (ROCHESTER is now in the garden, the dark windows of the house behind him.)

AND GOD SHOULD STRIKE ME DOWN

IF YOU ARE TRULYGONE BUT WHY, MUST I HAVE EYES TO SEE YOU’RE NOT THERE

WHYMUST I TAKE ONE MORE BREATH LET LIGHTNING STRIKE THAT’S NOT THE WORST

I’D RATHER BURN IN HELL DAMNING MYSOULTO DWELL LOST IN MYPAIN

THAN TO LIVE HERE ON EARTH WITHOUT MYJANE!

#38—The Fall

(As ROCHESTER finishes the song the stage behind him lights up with flames. BERTHAruns madly across the upper floor, laughing and crying at the same time. ROCHESTER turns and sees BERTHA, the flames flickering all around her now. He runs iinto the house attempting to get to her. As he disappears from view, the conflagration intensifies, the inside of the house splits and burns and Bertha falls.

SHE is caught in the air, held in the light of the flames, as if falling through the burning house. Time stands still as BERTHAspirals slowly downwards towards the flames below.)

ACT II, scene ix

(The ENSEMBLE takes up the story as JANE appears on the empty moorland, dressed as she was when she first arrived at Thornfield, in a black frock and traveling cloak.)

#39— Rain

ENSEMBLE ONE

I wandered for days across barren moors.

ENSEMBLE TWO

I slept on cold hillsides in the driving rain.

ENSEMBLE THREE

I walked through villages and lonely farms. (JANE moves across the stage, more and more distressed.)

ENSEMBLE FOUR

Destitute and hungry, I begged for shelter…

ENSEMBLE FIVE

…and I begged for bread.

ENSEMBLE SIX

But everywhere I went I was turned away. (She stumbles to the ground, exhausted)

ENSEMBLE SEVEN

After four long days, my strength quite failed me.

ENSEMBLE EIGHT

Faint with hunger and desolate of heart, I lay down to die in the gathering dusk.

ENSEMBLE

Gentle audience...

ENSEMBLE ONE

...may you never feel what I then felt.

ENSEMBLE TWO

May your eyes never shed such stormy, scalding, heart-wrung tears as poured from mine.

ENSEMBLE THREE

May you never appeal to heaven in prayers so hopeless as in that hour left my lips.

ENSEMBLE FOUR

For never may you, like me, dread to be the instrument of evil to what you wholly love.

(JANE is aroused by drops of light rain.)

WOMAN ONE

RAIN

FALLS FROM THE SKY FRESH ON MYSKIN

(WOMAN ONE)

KISSES MYFACE

I DRAG MYSELF UP WEARYI WALK GUIDED BYGRACE

(In the darkness upstage we see the light of a dark lantern.)

ENSEMBLE

THERE IN THE DARKNESS AFLICKER OF LIGHT

(JANE walks forward, her attention fixed on the light ahead.)

LEADING ME ONWARD OVER THE MOORS TO AROAD AROAD WINDING SLOW THAT LEADS TO AHOUSE

JANE & ENSEMBLE

…AHOUSE THAT I KNOW.

(ST JOHN (pronounced ‘Sinjun’) RIVERS appears, holding the lantern that JANE has been following. He approaches JANE from the shadows.)

May I help you? Are you lost?

I recognize this place.

Your face is unfamiliar to me.

Does Mrs. Reed live here?

ST JOHN

JANE

ST JOHN

JANE

ST JOHN

Indeed she does. Are you an acquaintance?

JANE

Mrs Reed is my Aunt.

ST JOHN

How strange. She never spoke to me of a niece.

JANE

(Under her breath)

I’m not surprised.

May I ask your name?

Jane Eyre.

ST JOHN

JANE

ST JOHN

My name is St John Rivers, Miss Eyre. I’m the curate of the local parish. Mrs. Reed, I’m afraid, has not been well of late. I lodge here in the house and lend what little help I can.

JANE

I’m sorry her health is poor.

Have you come far, Miss Eyre?

Far? I think so, yes. So very far…

ST JOHN

JANE

(She collapses against him. He puts an arm around her and helps her into the house.)

ACT II, scene x

(As ST JOHN and JANE move into the house, YOUNG JANE appears, dressed as she was when first we saw her. YOUNG JANE watches her older self throughout the ensuing scenes, just as JANE did to YOUNG JANE at the start of the story.)

#39a—Gateshead Revisited

ENSEMBLE

IT’S SEVEN O’CLOCK IN THE EVENING ANOTHER DAYOF THEIR ABUSE REPEATED PERSECUTION FOR BEING OF SO LITTLE USE SHE CURSES THE INJUSTICE AND BEGS TO KNOW THE REASON WHY SHE SUFFERS IN THIS PRISON WHEN ALLSHE WANTS TO DO IS FLY

(MRS REED appears, lying on her sick-bed, YOUNG JANE watching her intently. ST JOHN and JANE approach the bed.)

Mrs. Reed, you have a visitor.

#40—The Death of Mrs. Reed

ST JOHN

Hello, Aunt Reed.

(JANE and YOUNG JANE stand on opposite sides of the bed.)

JANE

MRS REED

Who is it? Who is this child?

(She turns from side to side. Throughout the scene she cannot tell whether she should be addressing Jane herself or the image of Young Jane, just as vivid to her.)

ST JOHN

She says she is your niece, Jane Eyre.

Are you Jane Eyre?

I am.

MRS REED

JANE

MRS REED

I’ve had more trouble with that child...such a burden to be left on my hands…her sudden fits of temper…and her watching...always watching!

JANE

Mrs Reed, why did you hate her so?

MRS REED

It was her mother I hated - my husband’s only sister and oh! such a favourite with him! When she died he was heart-broken, pitiful man.

(MRS REED grows more and more harsh and sarcastic.)

He had to take the sickly, whining, pining creature in. Aweak man. Weak. Naturally weak.

(MRS REED seems to be in her own world. ST JOHN takes JANE aside.)

Jane, she knows not what she says…

ST JOHN

JANE

What of her son, John? Should he not be sent for?

ST JOHN

John, I’m afraid, is dead Miss Eyre.

Oh, no.

JANE

ST JOHN

His death is the cause of his mother’s sad state.

JANE

How did it happen?

ST JOHN

Alife of indulgence amongst the worst men and women. Extravagance and debt. Prison and despair. They say he killed himself.

JANE

God save his soul.

Amen.

ST JOHN

(MRS REED suddenly sits up and speaks with a calm clarity.)

MRS REED

Mr Rivers. In the top drawer of my dresser you’ll find some miniature portraits. Bring them here.

(ST JOHN leaves. MRS REED turns to JANE.)

MRS REED

Jane Eyre. Come closer.

(JANE sits on the bed by MRS REED)

Do you despise me, child?

(ST JOHN returns with two small portraits.)

MRS REED

Give them to Jane Eyre.

(ST JOHN gives JANE the portraits. Music begins as JANE examines them.)

JANE

Who painted these portraits?

Your mother painted them.

My mother?

These are my parents?

Yes, child.

MRS REED

JANE

(Asudden dawn of understanding)

MRS REED

JANE

My mother - and my father. Why did I never see these before?

MRS REED

Your uncle sent them to you.

My uncle!

JANE

MRS REED

Your uncle in Madeira. Your father’s brother. He wanted to adopt you, and comfort you, and cherish you…

(Her voice starts to rise as she grows more and more impassioned.)

…and leave you all his money. I told him you were dead!

(She laughs and her eyes gleam as she continues.)

There was typhus at Lowood School. Many of the pupils died. But you - you didn’t die - but I said you did. And I wish you had! You should have died!

JANE

Why, Mrs. Reed? Why?

MRS REED

Because you so despised me! —when you told me that day you hated me so, in front of the school, in front of my son…

JANE

You must think no more of it.

MRS REED

…that the very thought of me made you sick.

JANE

I tell you I couldn’t forget it.

MRS REED

JANE

WHAT ELSE WOULD YOU HAVE ME BE?

So I took my revenge on you.

MRS REED

JANE

I COULD HAVE LOVED YOU SO MUCH MRS REED

Now you watch my death with joy.

JANE

IF YOU HAD ONLYLOVED ME MRS REED

Pure joy!

JANE

FORGIVENESS IS THE MIGHTIEST SWORD FORGIVENESS OF THOSE YOU FEAR IS STILLTHE HIGHEST REWARD

I have cheated you.

MRS REED

JANE

I DO NOT HOLD AGRUDGE MRS REED

No! You must!

JANE

THESE ARE THE THINGS OF THE PAST MRS REED

I’ve robbed you of any chance of happiness…

JANE

AND FOR YOUR SOULTO BE FREE MRS REED

My soul is in hell.

JANE

YOU MUST ACCEPT THIS AT LAST FORGIVENESS IS YOUR ONLYWAYFREE

(JANE)

FORGIVENESS OF YOURSELF IS YOUR FORGIVENESS OF ME

I will never comprehend! Never!

MRS REED

JANE

YOU MUST PRAY FOR GOD TO BRING YOU PEACE AND COME WHAT MAY FORGIVENESS IS YOUR RELEASE

(The ENSEMBLE speak from the surrounding darkness, YOUNG JANE amongst them.)

ENSEMBLE ONE

Poor suffering woman. At twelve o’clock that night she died.

ENSEMBLE TWO

She had ever hated me. Dying, she must hate me still.

ENSEMBLE THREE

St John and I gazed at her still figure with gloom and pain.

ENSEMBLE FOUR

Nothing soft, nothing sweet, nothing hopeful did it inspire. Neither of us dropped a tear.

(JANE looks out over the audience as ST JOHN closes MRS REED’s eyes and arranges her hands, YOUNG JANE is now sitting at the bed-side.)

ENSEMBLE

BLESS THOSE SOULS, ALLTHOSE WHO WOULD CURSE YOUR NAME. FOR WHEN THE LAST BELLTOLLS, YOU’LLBE FREE OF BLAME

(The bed is borne away into the darkness.)

ACT II, scene xi

(As the ENSEMBLE takes up the story, JANE and ST JOHN walk out onto the moors.)

ENSEMBLE ONE

As the months went by St John and I grew closer and closer.

ENSEMBLE TWO

He seemed to take pleasure in cherishing me.

ENSEMBLE THREE

As if I was some half-frozen bird...

ENSEMBLE FOUR

flown through his casement on a wintry night.

ENSEMBLE ONE

On a day in late summer we walked to the top of the neighbouring moor.

ENSEMBLE TWO

Evening drew on as we reached the summit of the rocky crag.

ENSEMBLE THREE

Awild and savage place, a place of solitude.

ENSEMBLE FOUR

Alast, high refuge of silence and spirit.

(JANE and ST JOHN are sitting on an outcrop of rock, looking out over the surrounding countryside. ST JOHN reads from a book.)

ST JOHN

‘The World was all before them, where to choose Their place of rest, and Providence their guide...

(JANE joins in with ST JOHN, speaking from memory.)

JANE & ST. JOHN

...They hand in hand with wandering steps and slow Through Eden took their solitary way.’

ST JOHN

You know it well.

Oh, I’m an expert at Paradise Lost.

JANE

ST JOHN

Yes. I suspected something of that sort.

And you, St John, do you have an Eden?

JANE

ST JOHN

My Eden will be India, Jane.

JANE

You’re resolved to be a missionary, then?

ST JOHN

Oh, quite resolved.

JANE

How wonderful. To know where you belong.

#41—The Voice Across the Moors

ST JOHN

IN THE LIGHT OF THE VIRGIN EVENING IN THE VEILOF ATWILIGHT BLUE GOD HAS SEEN I’M AT LAST REWARDED HE HAS SENT ME YOU

AND I HEAR HIS DIVINE COMMANDMENTS AND I SAILHIS CELESTIALSEA

IN THE HARMONYOF THE HEAVENS HE’S PROCLAIMED TO ME

JANE YOU WERE FORMED FOR LABOUR, NOT LOVE JANE SHOW YOUR FAITH IN THE HEAVENS ABOVE FOR NOW I CLAIM YOU IN HOLYMARRIAGE

JANE

Marriage? St John, if I am not formed for love, how can you talk to me of marriage? Should I go with you to India, I must go free.

ST JOHN

That would never do. I need a friend and partner for all of my life. Someone to cherish till my very death. Give your heart to me, Jane, and to God.

JANE

Oh, I would give my heart to God. It’s you who do not really want it.

ST JOHN

I want you to be useful, Jane. You are a teacher, an intellect, a spiritual force. Think what you could do with heart and mind fully engaged.

JANE

Oh, St John, I dream of such a life.

ST JOHN

Marry me, Jane Eyre. Let God and time show us the worth of our love.

JANE

If it were God’s will I should marry you, I could vow to do it here and now!

ST JOHN

Then pray. Pray for His guidance. He will show you the way. (JANE walks to one side, her hands folded together in prayer. ST JOHN bows his own head in prayer and stands alone while JANE sings.)

JANE

WHAT CAN I DO NOW MYPRECIOUS LORD?

WOULD THIS UNION BE MYBEST REWARD?

IS THIS WHYI’VE LANDED HERE FROZEN ON HIS DOORSTEP?

IS THIS PART OF YOUR ETERNALPLAN?

JANEST JOHN

DEEPIN MY SECRET SOULGOD GIVE HER STRENGTH OH GOD ITO KNOW THE WAY PRAYAND TO SEE THYWILLBE DONE SHOW ME THE ROAD TO TAKELIKE ASOLDIER TO FIGHT AND LIGHT MYWAYTILLHER BATTLE IS WON GIVE ME ASIGN, MYLORDFATHER FILLHER WITH LIGHT AND I WILLPROMISE TO OBEYTILLTHE WHOLE OF HER IS BLESSED

(As JANE and ST JOHN pray, ROCHESTER’s voice echoes across the moor. JANE doesn’t hear it at first.)

ROCHESTER

JANE…

JANE

I’LLGO WITH HIM AS HIS WIFE ROCHESTER

JANE… JANE

IF IT’S YOUR WILL, I’LLOBEY

ROCHESTER

JANE…

Oh God, what is it?

JANE…

(JANE hears ROCHESTER’s voice)

JANE

ROCHESTER

(JANE looks around for the source of the voice, but can only see empty moorland. ST JOHN cannot hear the voice and can only watch JANE as she becomes increasingly distraught.)

JANE

Edward! Edward! Where are you?

Jane, what is it. What do you hear?

JANE…

ST JOHN

ROCHESTER

(JANE rises and calls out over the moors.)

JANE

Edward! Where are you? Wait for me!

(ROCHESTER’s voice continues to echo over the hillside as JANE turns and looks out over the audience.

ROCHESTER

JANE!

JANE

I HEAR YOUR CHERISHED VOICE ACROSS THE MOORLAND SKIES

(Her face lightens as she realizes what she has heard and what it means to her.)

#42—Return to Thornfield

THERE IS ANOTHER WORLD THAT WATCHES US

I’M NOT AFRAID

THE ANGELS KNOW WHEN WE HAVE SINNED OR WE HAVE BEEN BETRAYED

(JANE approaches ST JOHN)

St John, I cannot marry you. You must make your voyage to India alone.

I see.

I have a journey of my own to make.

Then God go with you.

ST JOHN

JANE

ST. JOHN

JANE

With both of us, I trust. Farewell, dear friend.

ST JOHN

I shall pray for you, Jane, every hour of every day.

(She embraces ST JOHN and then walks down stage as the lights fade on everything else.)

ACT II, scene xii

(JANE walks towards us, her traveling bag in her hand.)

JANE

SIR, IT WON’T BE LONG I CAN ALMOST SEE THE LIGHTS OF THORNFIELD BURNING STRONG

I’M BACK WHERE I BELONG…

(JANE turns and then stands stock still as all around her the burnt-out ruins of Thornfield appear. She walks through the shell of the house as MRS FAIRFAX enters. She looks older and poorer than when we last saw her, not shabby exactly but certainly less careful of her appearance. JANE sees MRS. FAIRFAX and runs over to her.)

JANE

Mrs. Fairfax… MRS. FAIRFAX

Is it really you, Miss Eyre!

(THEY embrace)

Thank God, thank God…I though you’d gone forever.

JANE

When did this happen?

Late last year. The day after…

MRS. FAIRFAX

(MRS. FAIRFAX)

(She stops for a moment, considering her answer) ...after you left us.

JANE

And it was…

Oh, Miss Eyre…

MRS. FAIRFAX

MRS. FAIRFAX

SHE RAN THROUGH THE HOUSE AND SHE SET IT AFLAME POOR WOMAN THEN JUMPED TO HER DEATH WHAT AMIS’RABLE SHAME POOR WOMAN THORNFIELD WAS BURNING WE ALLWOULD HAVE DIED HAD NOT MISTER ROCHESTE GONE BACK INSIDE.

(MRS. FAIRFAX)

WHAT HAPPENED TO HIM WELL, I’M STILLHORRIFIED POOR MASTER

JANE

God have mercy… What happened?

MRS. FAIRFAX

HE’S STILLALIVE BUT THE POOR MAN IS BLIND

JANE DEAR MASTER MRS. FAIRFAX

AND CRIPPLED IN BODY IF NOT IN HIS MIND JANE

POOR EDWARD

MRS. FAIRFAX

But where have you been, my girl?

There’s time for that later.

Where is Adele?

JANE

(suddenly fearful)

MRS. FAIRFAX

Oh, out in the garden somewhere—running as wild as the roses.

JANE

And… MRS. FAIRFAX

Yes, quite unharmed. She was the first he carried from the house.

JANE

And Robert and…?

MRS. FAIRFAX

Oh, Robert’s all right…everyone’s all right…thanks to the master.

JANE

Where is he living?

MRS. FAIRFAX

We’re all of us at Ferndean—the gardener’s cottage at the edge of the woods… (JANE nods. She knows where to go and makes to leave, but Mrs. Fairfax stops her.)

But you’ll not find him there…

(JANE turns back to Mrs. Fairfax)

He’ll be sitting in the garden, under the stricken chestnut tree. He stays there sometimes long into the night. Dark or light, it’s all one to him, poor man.

ACT II, scene xiii

(They leave. As they do so, ROCHESTER is revealed standing underneath the chestnut tree, which is now split and half destroyed. He turns toward the audience and we see that his face is disfigured, a scar closing one eye completely. His left arm is also damaged, the hand twisted into a useless clench. In his good hand he holds a stick with which he gropes over to a bench, where he sits. JANE walks into the garden. ROCHESTER raises his head as he hears her approach.)

ROCHESTER

Mrs Fairfax?

She’s in the house.

Who is it?

Who is it? Speak again.

JANE

ROCHESTER

(JANE stands looking at him, overwhelmed.)

#43—Brave Enough for Love

JANE

SIR, I HAVE COME BACK TO YOU ROCHESTER

Great God! What delusion is this?

JANE CONTENT

READYTO STAND HERE BYYOUR SIDE

AS YOU SEE FIT

Is it Jane?

ROCHESTER

JANE

AS YOUR FRIEND, OR AS YOUR BRIDE ROCHESTER

My living Jane!

(He reaches out to her, and she takes his hand in hers.)

JANE

SIR, YOU ARE MYSECOND SELF AND I WILLBE YOUR HANDS

I’LLBE YOUR EYES

I AM HERE WITH MYHEART

(ROCHESTER embraces her.)

ROCHESTER

I CAN’T SEE, BUT I CAN FEEL…

JANE

I’VE LOVED YOU STRONGER EVERYDAY

ROCHESTER

HOW I’VE LOVED YOU EVERYDAY

JANE

HOW I’VE LIVED WITHOUT YOUR TOUCH…

ROCHESTER

HOW I’VE STRUGGLED TO SURVIVE…

BOTH

ONLYGOD ABOVE CAN SAY

(They sit together on the bench. ROCHESTER suddenly becomes aware of himself, half turning away from JANE.)

ROCHESTER

Am I hideous, Jane?

Very, sir. You always were, you know.

JANE

ROCHESTER

(Smiling in spite of himself)

I see the wickedness is still within you. But is it really you, my Jane? Are you come back to me?

JANE

I am!

ROCHESTER

And are you not dead in some ditch, or an outcast among strangers?

JANE

No, sir! I am an independent woman, now.

ROCHESTER

(Shocked)

An independent woman?

My aunt has died and left me a fortune.

JANE

ROCHESTER

Then you possess more wealth than I. (He rises from the bench and walks away from her, moving confidently in spite of his blindness.)

ROCHESTER

What can I offer you?

I AM NO BETTER THAN THE OLD CHESTNUT STRUCK DOWN BYLIGHTNING, ITS LIFE CLEFT IN TWO FOR WHYSHOULD YOU MARRYABLIND MAN, ACRIPPLE? TELLME, JANE WHAT RIGHT DO I HAVE TO YOU?

I PRAYED IN THE NAME OF GOD DON’T LET JANE SUFFER DON’T LET HER DIE FOR THREE DAYS IN MYDESPAIR

I CRIED TO HEAVEN WHERE IS JANE EYRE?

THEN FROM MYLIPS CAME AVOICE, CAME ANAME I CRIED ‘JANE’ FROM THE DEPTHS I CALLED OUT I CRIED ‘JANE’

(JANE is astonished at this news and scarcely knows how to respond.)

ROCHESTER & JANE

AND I DON’T KNOW WHAT HAPPENED BUT I THOUGHT I HEARD YOU…

JANE

Did you speak these words out loud?

ROCHESTER

I did. If anyone was listening he would have thought me mad, I called with such frantic energy.

JANE

And it was last Monday evening, just after sunset?

ROCHESTER

Yes, but what followed is the strangest point. Where the voice came from I cannot tell, but I know whose voice it was and the voice replied…

JANE

…’Edward, where are you? Wait for me!’

ROCHESTER

Yes! But how could you know that?

JANE

THE SECRETS OF YOUR HEART ARE LIKE THE SECRETS OF THE HOUSE THEYHAVE FINALLYBEEN REVEALED

ROCHESTER

THERE IS NO MORE TO HIDE

I HAVE LOOKED DEATH IN THE FACE AND THOUGH APART OF ME HAS DIED

BOTH

I WILLNEVER LOSE FAITH I WILLNEVER LOSE HEART FOR YOU HAVE RESTORED MYTRUST AND I KNOW YOU’RE AFRAID I’M AS SCARED AS YOU ARE

(They move together and stand close, ROCHESTER’S good hand entwined in JANE’S)

BUT WILLING TO BE BRAVE BRAVE ENOUGH FOR LOVE

(MRS FAIRFAX and ADELE come through the trees with ROBERT. JANE greets them fondly before returning to ROCHESTER.)

AND WHEN I HEARD YOUR VOICE BEYOND THE SKY

I KNEW IT WAS ASIGN FROM GOD ABOVE ONE I COULD NOT DENY

(JANE turns away from ROCHESTER and addresses the audience.)

JANE

So, gentle audience, I married him.

(ADELE sits ROCHESTER on the bench as ROBERT and MRS FAIRFAX congratulate him.)

No woman was ever nearer to her mate than I am, ever more absolutely bone of his bone and flesh of his flesh.

(ROCHESTER sits ADELE on his lap and holds her closely as he continues to sing to JANE. Members of the ENSEMBLE enter and stand at a distance.)

ROCHESTER

THE SECRET OF THE FLAME IS THAT THERE IS NO MORE TO HIDE IT CURES OUR BLINDNESS AND OUR PRIDE (JANE joins ROCHESTER and ADELE at the bench.)

JANE & ROCHESTER

WE WILLNEVER LOSE FAITH WE WILLNEVER LOSE HEART FOR YOU HAVE RESTORED MYTRUST AND I KNOW YOU’RE AFRAID

I’M AS SCARED AS YOU ARE BUT WILLING TO BE BRAVE BRAVE ENOUGH FOR LOVE

(JANE speaks to the audience again. As she does so, the figure of HELEN BURNS emerges from the darkness cradling a baby in her arms. She walks amongst the other members of the ENSEMBLE till she gets to JANE to whom she gives the baby.)

JANE

Edward continued blind the first two years of our marriage, then slowly the sight in one eye began to return to him… (JANE returns to the bench with the baby in her arms.)

ENSEMBLE

FORGIVENESS

IS THE MIGHTIEST SWORD

(JANE puts the baby into ROCHESTER’s arms.)

JANE

…and when our first born was put into his arms he could see that the boy had inherited his own eyes, as they once were - large, brilliant and black.

(ROCHESTER gazes down into the face of his infant son. MRS. FAIRFAX, ROBERT and ADELE clustered around him.)

On this occasion, we acknowledged, with full hearts, that God had tempered judgment with mercy.

(The ENSEMBLE starts to gather round the central group. ROCHESTER singing to his son.)

ROCHESTER

I WILLNEVER LOSE FAITH

I WILLNEVER LOSE HEART FOR YOU HAVE RESTORED MYTRUST

JANE

AND I KNOW YOU’RE AFRAID

I’M AS SCARED AS YOU ARE

ROCHESTER & JANE

BUT WILLING TO BE BRAVE BRAVE ENOUGH FOR LOVE

(As the whole ENSEMBLE takes up the song, ADELE whispers to ROCHESTER. He smiles at her and nods his head in approval. Adele kneels in front of JANE and puts out her hands to hold the baby.)

ENSEMBLE

I WILLNEVER LOSE FAITH

I WILLNEVER LOSE HEART FOR YOU HAVE RESTORED MYTRUST

(JANE gives the baby to ADELE, waving away MRS FAIRFAX’S protestations. ADELE sits at JANE’S feet gazing reverently into her brother’s face.)

AND I KNOW YOU’RE AFRAID

I’M AS SCARED AS YOU ARE BUT WILLING TO BE BRAVE I WILLNEVER LOSE FAITH

I WILLNEVER LOSE HEART FOR YOU HAVE RESTORED MYTRUST AND I KNOW YOU’RE AFRAID

I’M AS SCARED AS YOU ARE BUT WILLING TO BE BRAVE

JANE

BRAVE ENOUGH FOR LOVE

(JANE, the baby now back in her arms, and her little family clustered around her, looks out over the audience as the lights begin to fade.)

BRAVE ENOUGH FOR LOVE

ADELE

#9—Perfectly Nice . . . . . . . . . .171

BERTHA

#18—The Fire . . . . . . . . . . . . .189

#25—Sirens . . . . . . . . . . . . . . .219

#27—The Scream . . . . . . . . . . .227

#35—The Secret of the House .264

BLANCHE INGRAM

#22—The Finer Things . . . . . .205

#23—The Ball / Oh How You Look in ihe Light .211

#29—In the Light of the Virgin Morning . . . . . . . . .238

MR. BROCKLEHURST

#1—The Attic . . . . . . . . . . . . .140

#2—Children of God . . . . . . . .144

ENSEMBLE

#5—The Deathof Helen Burns 157

#7—Sweet Liberty . . . . . . . . . .163

#8—Secrets of the House . . . . .170

#11—The Icy Lane . . . . . . . . . .176

#18—The Fire . . . . . . . . . . . . .189

#23—The Ball / Oh How You Look in ihe Light .211

#26—Sympathies Exist . . . . . .225

#27—The Scream . . . . . . . . . . .227

#32—The Chestnut Tree . . . . . .255 #34—The Wedding . . . . . . . . .261

#35—The Secret of the House .264 #39—Rain . . . . . . . . . . . . . . . .277

#39a—Gateshead Revisited . . .278 #40—The Death of Mrs Reed . .279 #43—Brave Enough for Love . .291

THE FIGURE

#18—The Fire . . . . . . . . . . . . .189 #25—Sirens . . . . . . . . . . . . . . .219

GIRLS

#2—Children of God . . . . . . . .144

MRS FAIRFAX

#9—Perfectly Nice . . . . . . . . . .171

#13—The Master Returns . . . .180

#20—Society’s Best . . . . . . . . .199

#21—Galloping Up to the Drive . . . . . . . . . . . . . . . . . . . . . . . . .201

#33—Slip of a Girl . . . . . . . . .256 #42—Return to Thornfield . . . .287

JANEEYRE

#1—The Attice . . . . . . . . . . . .140 #5—The Death of Helen Burns 157

#6—The Graveside . . . . . . . . . .160

#7—Sweet Liberty . . . . . . . . . .163

#9—Perfectly Nice . . . . . . . . . .171 #12—An Incident Has

Come and Gone . . . . . . . . . . . .179 #17—Your Word to God . . . . .187 #18—The Fire . . . . . . . . . . . . .189 #19—Secret Soul . . . . . . . . . . .194 #20—Society’s Best . . . . . . . . .199 #24—The Pledge . . . . . . . . . . .216 #25—Sirens . . . . . . . . . . . . . . .219 #28—Painting Her Portrait . . .232 #29—In the Light of the Virgin Morning . . . . . . . . .238 #30—The Gypsy . . . . . . . . . . .242 #31—My Hope of Heaven . . . .247 #33—Slip of a Girl . . . . . . . . .256 #35—The Secret of the House .264 #36—Sail Away . . . . . . . . . . . .270 #39—Rain . . . . . . . . . . . . . . . .277 #40—The Death of Mrs Reed . .279 #41—The Voice Across the Moorl .. . . . . . . . . . . . . . . . . . . . . . . . . .283

#42—Return to Thornfield . . . .287 #43—Brave Enough for Love . .291

YOUNG JANE

#3—Forgiveness . . . . . . . . . . .153 #5—The Death of Helen Burns 157 #6—The Graveside . . . . . . . . . .160

GRACE POOLE

#32—The Chestnut Tree . . . . . .255

GUESTS

#21—Galloping Up to the Drivel ....... . . . . . . . . . . . . . . . . . . . . . . . . .201

HELEN

#3—Forgiveness . . . . . . . . . . .153

#4—Willing To Be Brave . . . . . .156

MARGUERITE

#11—The Icy Lane . . . . . . . . . .176

MASON

#27—The Scream . . . . . . . . . . .227

MRS REED

#2—Children of God . . . . . . . .144

#40—The Death of Mrs Reed . .279

ROBERT

#9—Perfectly Nice . . . . . . . . . .171

#13—The Master Returns . . . .180

#30—The Gypsy . . . . . . . . . . .242

ROCHESTER

#0—Jane . . . . . . . . . . . . . . . . .139

#13—The Master Returns . . . .180

#14—The Captive Bird . . . . . .182

#16—As Good As You . . . . . . .183

#17—Your Word to God . . . . . .187

#18a—After the Fire . . . . . . . .193

#19—Secret Soul . . . . . . . . . . .194

#23—The Ball / Oh How You Look in the Light .211

#24—The Pledge . . . . . . . . . . .216

#25—Sirens . . . . . . . . . . . . . . .219

#30—The Gypsy . . . . . . . . . . .242

#31—My Hope of Heaven . . . .247

#35—The Secret of the House .264

#36—Sail Away . . . . . . . . . . . .270

#37—Farewell Good Angel . . .273

#41—The Voice Across the Moors l . . . . . . . . . . . . . . . . . . . . . . . .283

#43—Brave Enough for Love . .291

ST JOHN

#40—The Death Of Mrs Reed .279

#41—The Voice Across the Moors . . . . . . . . . . . . . . . . . . . . . . . .283

MISS SCATCHERD

#2—Children of God . . . . . . . .144

#5—The Death of Helen Burns .157

VICAR

#34—The Wedding . . . . . . . . .261

#35—The Secret of the House . .264

WOMEN

#30—The Gypsy . . . . . . . . . . .242