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This programme contains some strong language | 0:00:02 | 0:00:03 | |
and some scenes which some viewers may find upsetting. | 0:00:03 | 0:00:06 | |
"We wove a web in childhood, A web of sunny air. | 0:00:06 | 0:00:08 | |
"We dug a spring in infancy Of water pure and fair. | 0:00:08 | 0:00:11 | |
"We sowed in youth a mustard seed, | 0:00:11 | 0:00:13 | |
"We cut an almond rod; | 0:00:13 | 0:00:15 | |
"We're now grown up to riper age - Are they withered in the sod? | 0:00:16 | 0:00:20 | |
"Are they blighted failed and faded, | 0:00:20 | 0:00:24 | |
"Are they moulded back to clay? | 0:00:24 | 0:00:26 | |
"For life is darkly shaded; And its joys fleet fast away." | 0:00:26 | 0:00:31 | |
What the hell is going on? | 0:00:32 | 0:00:34 | |
Qui sont ces gens?! | 0:00:37 | 0:00:38 | |
They'll tear us limb from limb. | 0:00:38 | 0:00:41 | |
I've crossed the Arctic and seen nothing like it. | 0:00:41 | 0:00:44 | |
-Down on them! Instantly! -Run! | 0:00:44 | 0:00:46 | |
Know you that I give into your protection - but not for your own - | 0:00:48 | 0:00:52 | |
these mortals whom you hold in your hands. | 0:00:52 | 0:00:55 | |
-What's yours called? -Wellesley. -This is Gravey. | 0:00:55 | 0:00:59 | |
-Because he looks a bit grave. -Mine's called... | 0:00:59 | 0:01:01 | |
-Waiting Boy. -Is it? Why? | 0:01:01 | 0:01:04 | |
Because he's a queer looking little thing, Anne. Much like yourself. | 0:01:04 | 0:01:08 | |
-Look who's talking. -This is Sneaky. | 0:01:08 | 0:01:11 | |
Thou art under my protection. I will watch over thy life, | 0:01:11 | 0:01:15 | |
for I tell you all - one day... you shall be kings. | 0:01:15 | 0:01:19 | |
Yes! | 0:01:19 | 0:01:21 | |
BELL TOLLS | 0:01:30 | 0:01:34 | |
"Dear Ellen. It was ten o'clock when I got home. | 0:02:01 | 0:02:04 | |
"I found Branwell ill. | 0:02:05 | 0:02:07 | |
"He is so very often these days, owing to his own fault. | 0:02:08 | 0:02:11 | |
"I was not therefore surprised at first, but when Anne informed me of | 0:02:11 | 0:02:14 | |
"the immediate cause of his present illness, I was greatly shocked." | 0:02:14 | 0:02:18 | |
-Charlotte! How was the journey? -Pleasant. | 0:02:23 | 0:02:25 | |
-How was Miss Nussey? -Well. | 0:02:25 | 0:02:28 | |
Did my box arrive safely? | 0:02:28 | 0:02:29 | |
-In our room, we took it up, me and Emily. -What's...? -Branwell. | 0:02:29 | 0:02:33 | |
He's been drinking. He's had a letter. From Mr Robinson. | 0:02:33 | 0:02:36 | |
This last Thursday. He's been dismissed. | 0:02:36 | 0:02:40 | |
How does he do it? | 0:02:40 | 0:02:42 | |
-It's every job he's ever had. -I know, but this is different. -How? | 0:02:42 | 0:02:47 | |
Nothing was spelled out in the letter. But he... | 0:02:47 | 0:02:50 | |
Him and Mrs Robinson... | 0:02:51 | 0:02:53 | |
I had reason to know that they were... | 0:02:54 | 0:02:57 | |
carrying on. | 0:02:57 | 0:02:58 | |
With one another. And I don't know, I can only assume, | 0:02:58 | 0:03:01 | |
that Mr Robinson's found out, and that's what it's about. | 0:03:01 | 0:03:04 | |
Carrying on? How? | 0:03:04 | 0:03:05 | |
Congress? Mr Robinson's wife? | 0:03:07 | 0:03:11 | |
It's why I resigned. I couldn't look people in the face. | 0:03:11 | 0:03:15 | |
I've known for months. Papa doesn't know. | 0:03:15 | 0:03:17 | |
He just knows he's been dismissed, | 0:03:17 | 0:03:18 | |
he doesn't know why. Emily does. I told her. | 0:03:18 | 0:03:20 | |
-And of course we don't know that IS the reason. -Where is Emily? | 0:03:20 | 0:03:23 | |
You must have some idea what this is about! | 0:03:23 | 0:03:26 | |
You think repeating the question enough times, over and over, | 0:03:26 | 0:03:29 | |
is suddenly going to make me able to answer it? | 0:03:29 | 0:03:31 | |
And if not then someone must write to the man | 0:03:31 | 0:03:32 | |
and ask for an explanation! | 0:03:32 | 0:03:34 | |
He hates me! He's not going to give any kind of an explanation. | 0:03:34 | 0:03:38 | |
It's an excuse to get rid of me! | 0:03:38 | 0:03:41 | |
He's a monster, he's a bully, he's a law unto himself. He's an idiot. | 0:03:41 | 0:03:45 | |
Why does he hate you? Why does he need a reason to get rid of you? | 0:03:45 | 0:03:49 | |
Because he's old, he's ill and he's jealous of me! | 0:03:49 | 0:03:53 | |
No, no, no. That doesn't make any sense! | 0:03:53 | 0:03:56 | |
There must have been a misunderstanding. | 0:03:56 | 0:03:59 | |
Has someone misrepresented you to him? | 0:03:59 | 0:04:01 | |
Just... GOD! | 0:04:01 | 0:04:03 | |
This HOUSE! Just go to bed and stop asking me fucking questions! | 0:04:03 | 0:04:08 | |
If you don't like this house, don't stay in it. | 0:04:08 | 0:04:10 | |
There's none of us'll miss you, not when you're like this. | 0:04:10 | 0:04:13 | |
I NEED TO KNOW WHAT HAPPENED! | 0:04:13 | 0:04:15 | |
Tell him. | 0:04:18 | 0:04:19 | |
Branwell's been at it. | 0:04:20 | 0:04:23 | |
With his employer's wife. | 0:04:23 | 0:04:24 | |
She was lonely. | 0:04:26 | 0:04:27 | |
She was lonely! | 0:04:30 | 0:04:32 | |
THE CHILDREN YELL | 0:04:33 | 0:04:36 | |
'Tis a shame you're embarked on this course of myopic self-destruction, | 0:04:39 | 0:04:44 | |
for I imagine you and I might - under better circumstances - | 0:04:44 | 0:04:48 | |
have made very stimulating company for one another! | 0:04:48 | 0:04:51 | |
I despise everything you stand for! Revolution is in the air! | 0:04:51 | 0:04:56 | |
Only a fool like you, sir, would ignore it! | 0:04:56 | 0:04:59 | |
If the parson and your Aunt Branwell were in, | 0:05:01 | 0:05:04 | |
you'd noan make so much din! | 0:05:04 | 0:05:06 | |
They all think you're right quiet | 0:05:06 | 0:05:08 | |
and studious down in t'village, y'know! | 0:05:08 | 0:05:11 | |
YELLING CONTINUES | 0:05:11 | 0:05:13 | |
Mr Brown's here. | 0:05:28 | 0:05:30 | |
"Another outrage has happened in Ireland. | 0:05:35 | 0:05:37 | |
"A party of Orangemen at Armagh, on the 12th, | 0:05:37 | 0:05:40 | |
"unhappily disregarding the advice given them, | 0:05:40 | 0:05:42 | |
-"of abstaining from processions..." -Are you fit, lad? | 0:05:42 | 0:05:45 | |
Yeah, I'm just... | 0:05:45 | 0:05:48 | |
"..conducting themselves with propriety." | 0:05:48 | 0:05:50 | |
KNOCK AT DOOR | 0:05:50 | 0:05:51 | |
John's here. We're off. | 0:05:54 | 0:05:56 | |
-Don't get up. -No, no. I'd like to see him. | 0:05:58 | 0:06:01 | |
-How are you today, John? -I'm very well, thank you, Mr Bronte. | 0:06:05 | 0:06:08 | |
Good, good. | 0:06:08 | 0:06:10 | |
Well, travel safely. | 0:06:10 | 0:06:13 | |
Picked a fine day for it, eh? | 0:06:13 | 0:06:15 | |
You, er, look after yourself. | 0:06:18 | 0:06:20 | |
Thank you. | 0:06:23 | 0:06:24 | |
Well... | 0:06:36 | 0:06:38 | |
I think, with kindness and understanding and prayer, | 0:06:38 | 0:06:45 | |
we might still be able... | 0:06:45 | 0:06:47 | |
in spite of his naivety and...his nonsense... | 0:06:47 | 0:06:53 | |
..be able to get him back onto a proper path. | 0:06:55 | 0:06:58 | |
Will you bring us all something back from Liverpool, Father? | 0:06:59 | 0:07:02 | |
You behave yersen. And then we'll see. | 0:07:02 | 0:07:04 | |
You dozy bastard. | 0:07:13 | 0:07:15 | |
Getting caught. | 0:07:15 | 0:07:17 | |
"Anne left her situation at Thorp Green of her own accord, June 1845. | 0:07:21 | 0:07:26 | |
"Branwell...left. | 0:07:26 | 0:07:28 | |
"We are all in decent health only that Papa | 0:07:29 | 0:07:31 | |
"has a complaint in his eyes and with the exception of Branwell, | 0:07:31 | 0:07:34 | |
"who I hope will be better and do better here after. | 0:07:34 | 0:07:37 | |
"I am seldom more ever troubled with nothing to do | 0:07:38 | 0:07:41 | |
"and merely desiring that everybody could be as comfortable as myself | 0:07:41 | 0:07:44 | |
"and as undesponding of them, | 0:07:44 | 0:07:46 | |
"we should have a very tolerable world of it." | 0:07:46 | 0:07:48 | |
They've set off. | 0:07:50 | 0:07:52 | |
-Good. -Call me old-fashioned, | 0:07:53 | 0:07:55 | |
but I think it's nice having everybody back at home. | 0:07:55 | 0:07:59 | |
-In theory. -What happened? | 0:08:00 | 0:08:03 | |
-You heard the shouting. -I had my pillow over my ears | 0:08:03 | 0:08:06 | |
-so I didn't catch the details. -Lucky you. | 0:08:06 | 0:08:10 | |
So he's...been mucking about, | 0:08:10 | 0:08:13 | |
and by way of punishment, | 0:08:13 | 0:08:14 | |
he's packed off on holiday for a week with Martha's father? | 0:08:14 | 0:08:17 | |
Packed off on holiday for a week, or got shot off for a few days. | 0:08:17 | 0:08:20 | |
It's all a question of how you might choose to look at it. | 0:08:20 | 0:08:23 | |
-Tabby. -Well, if that's how you feel. | 0:08:23 | 0:08:25 | |
-Do you still write stories? -Sometimes. | 0:08:48 | 0:08:51 | |
About Gondal? | 0:08:52 | 0:08:53 | |
When we can. | 0:08:55 | 0:08:56 | |
-Emily as well? -You've been here with her more than I have, surely. | 0:08:58 | 0:09:01 | |
-We never talk about it. -Never? | 0:09:01 | 0:09:03 | |
Do you? Write? | 0:09:16 | 0:09:18 | |
-Still? -Not so much. | 0:09:18 | 0:09:20 | |
What about the infernal world? | 0:09:20 | 0:09:22 | |
I relinquished my pen. | 0:09:22 | 0:09:24 | |
-Why? -Because it frightened me. | 0:09:24 | 0:09:27 | |
Threatened to make the real world seem... | 0:09:27 | 0:09:30 | |
pointless. And colourless and drab. | 0:09:30 | 0:09:34 | |
And that way lies madness. | 0:09:35 | 0:09:37 | |
You know, the real world is what it is, but we must live in it, so... | 0:09:38 | 0:09:41 | |
-You should write, if it makes you happy. -I worry about my eyes. | 0:09:41 | 0:09:45 | |
And I think, as well... when I got that reply from Southey - | 0:09:47 | 0:09:50 | |
"Literature cannot be the business of a woman's life." | 0:09:50 | 0:09:54 | |
At the time I brushed it off. | 0:09:57 | 0:09:59 | |
But the longer I've dwelt on it, the older I've got, | 0:09:59 | 0:10:02 | |
the more I've thought... | 0:10:02 | 0:10:03 | |
..what's the point? | 0:10:05 | 0:10:07 | |
The point...for me... | 0:10:09 | 0:10:11 | |
..I'm never more alive than when I write. | 0:10:14 | 0:10:16 | |
You're the same, surely. | 0:10:18 | 0:10:19 | |
But with no prospect of publication? | 0:10:19 | 0:10:21 | |
It's just playing at it, isn't it? | 0:10:23 | 0:10:25 | |
Are we playing then, or what? | 0:10:28 | 0:10:30 | |
Does it ever bother you that we might be getting... | 0:10:32 | 0:10:35 | |
a bit old? For that. | 0:10:35 | 0:10:37 | |
-You weren't saying that two weeks ago in York. -No, well... | 0:10:40 | 0:10:43 | |
I didn't want to spoil things in York. | 0:10:44 | 0:10:46 | |
It's something I've been thinking for a while. | 0:10:48 | 0:10:51 | |
-Well, what did you come out with me for then? -To talk. | 0:10:52 | 0:10:55 | |
-What about? -Things. At home. Do you never think about...? | 0:10:55 | 0:10:59 | |
What? | 0:11:00 | 0:11:01 | |
The future! | 0:11:02 | 0:11:04 | |
What are we without Papa and Branwell? | 0:11:04 | 0:11:06 | |
Papa won't... He won't live forever. | 0:11:06 | 0:11:09 | |
And he's blind, and that house, our house, | 0:11:09 | 0:11:11 | |
it belongs to the Church trustees, not us. | 0:11:11 | 0:11:13 | |
And Branwell! What's he doing? | 0:11:13 | 0:11:16 | |
What's he thinking that he has such a hopeless grasp | 0:11:16 | 0:11:19 | |
on the realities of what comes next? | 0:11:19 | 0:11:21 | |
Are we nothing to him? Does he even see us? | 0:11:21 | 0:11:24 | |
If we don't make something of ourselves, | 0:11:24 | 0:11:26 | |
and God knows we've been trying, | 0:11:26 | 0:11:28 | |
I've been trying... | 0:11:28 | 0:11:30 | |
I was a governess at that ludicrous place for five years! | 0:11:30 | 0:11:33 | |
What will we do, Emily? What will... | 0:11:35 | 0:11:38 | |
What will we be? | 0:11:38 | 0:11:39 | |
It was when I came back from Roe Head. | 0:11:44 | 0:11:46 | |
And he was there, at home, Branwell. | 0:11:46 | 0:11:49 | |
And he wasn't supposed to be. | 0:11:50 | 0:11:52 | |
You'd gone. You and Charlotte. You'd gone off back to Roe Head. | 0:11:54 | 0:11:57 | |
And he was supposed to be in London, | 0:11:57 | 0:11:59 | |
trying to get his foot in the door at the Royal Academy. | 0:11:59 | 0:12:01 | |
That's when I knew what a liar he was. | 0:12:03 | 0:12:06 | |
-Sharpers? -Thieves! -So what? | 0:12:06 | 0:12:09 | |
-They attacked you? You were robbed? -Four of them?! -I think four. | 0:12:09 | 0:12:13 | |
In broad daylight? That's... | 0:12:13 | 0:12:15 | |
Well, surely someone saw what happened? | 0:12:15 | 0:12:17 | |
-You didn't even get there? -No! | 0:12:17 | 0:12:20 | |
It was just after I arrived at the coaching inn | 0:12:20 | 0:12:23 | |
at St Martin Le Grand, and I knew my way around. | 0:12:23 | 0:12:25 | |
From the maps in my head. | 0:12:25 | 0:12:26 | |
But London...the whole thing is so much bigger than I imagined. | 0:12:26 | 0:12:30 | |
And you didn't tell me how big it was, did ya? | 0:12:30 | 0:12:34 | |
And I didn't know who to turn to, with no money. So, I came home! | 0:12:34 | 0:12:37 | |
Well, er... Witnesses. | 0:12:37 | 0:12:40 | |
Surely someone must have seen what happened. | 0:12:40 | 0:12:42 | |
There were no witnesses. | 0:12:42 | 0:12:43 | |
Everyone just turned around and went about their business! | 0:12:43 | 0:12:46 | |
So all 30 shillings? | 0:12:46 | 0:12:47 | |
-Gone? -YES! | 0:12:48 | 0:12:50 | |
Oh! | 0:12:53 | 0:12:55 | |
Then, when Aunt Branwell went to bed and Papa went back to his study, | 0:12:56 | 0:12:59 | |
I said to him, "You're lying." | 0:12:59 | 0:13:01 | |
And he admitted it. | 0:13:01 | 0:13:02 | |
He didn't even make it to London, | 0:13:03 | 0:13:04 | |
never mind any business at any Royal Academy. | 0:13:04 | 0:13:07 | |
He said he was about to get on the high-flier, in Bradford, | 0:13:08 | 0:13:11 | |
with his paintings and his sketches. | 0:13:11 | 0:13:13 | |
But then, when he was faced with the reality of setting off for London, | 0:13:14 | 0:13:18 | |
he realised that they just... weren't that good. | 0:13:18 | 0:13:21 | |
They might look well enough at home, | 0:13:23 | 0:13:25 | |
but next to a Lawrence, or a Gainsborough... | 0:13:25 | 0:13:28 | |
So he fortified himself, he said, | 0:13:28 | 0:13:31 | |
to get courage to get on the next coach, which was his intention. | 0:13:31 | 0:13:34 | |
But he didn't. | 0:13:37 | 0:13:38 | |
He spent four days in Bradford. | 0:13:40 | 0:13:42 | |
Drunk and miserable and dreaming up some trash | 0:13:42 | 0:13:44 | |
that he thought everyone at home would be blown enough to believe. | 0:13:44 | 0:13:47 | |
He spent 30 shillings on drink, in four days? | 0:13:47 | 0:13:49 | |
I could've cheerfully murdered him, to start with. And then... | 0:13:49 | 0:13:52 | |
Actually I felt sorry for him. | 0:13:55 | 0:13:57 | |
They always expected so much of him. | 0:13:59 | 0:14:02 | |
More, probably, than he was ever capable of. | 0:14:03 | 0:14:06 | |
And I just thought, "Thank God I'm not you." | 0:14:08 | 0:14:11 | |
It's disappointing, I know. | 0:14:15 | 0:14:17 | |
And I'm angry with him too. He humiliated me at Thorp Green, | 0:14:19 | 0:14:23 | |
and he knew what he was doing. | 0:14:23 | 0:14:24 | |
But we shouldn't give up on him, should we? | 0:14:26 | 0:14:27 | |
No, we shouldn't give up on him. But we should see him for what he is. | 0:14:27 | 0:14:32 | |
Not what he isn't. It's not fair on him. | 0:14:32 | 0:14:35 | |
-I sometimes think Charlotte despises him. -Mm, well... | 0:14:40 | 0:14:44 | |
Charlotte has her own demons. | 0:14:46 | 0:14:48 | |
What demons? | 0:14:49 | 0:14:50 | |
Look, you know how low she's been? For months. | 0:14:53 | 0:14:57 | |
To the point of making herself ill, | 0:14:57 | 0:14:59 | |
and convincing herself she's going blind. | 0:14:59 | 0:15:01 | |
-Yes? -Well, you know when we were in Brussels? | 0:15:01 | 0:15:05 | |
-Monsieur Heger? -Yes. | 0:15:06 | 0:15:09 | |
Well...she was very... | 0:15:09 | 0:15:13 | |
taken...with him. | 0:15:13 | 0:15:15 | |
Not when I was there. This was after Aunt Branwell died, | 0:15:16 | 0:15:18 | |
when I stayed at home. | 0:15:18 | 0:15:20 | |
She became... | 0:15:20 | 0:15:21 | |
..obsessed with him. | 0:15:23 | 0:15:25 | |
He was married. | 0:15:26 | 0:15:27 | |
That's why she left. At finish. | 0:15:29 | 0:15:31 | |
"My dear Leyland, | 0:15:51 | 0:15:53 | |
"I returned yesterday | 0:15:53 | 0:15:55 | |
"from a week's journey to Liverpool and North Wales, | 0:15:55 | 0:15:58 | |
"but I found, during my absence, | 0:15:58 | 0:16:01 | |
"that wherever I went, a certain woman, robed in black | 0:16:01 | 0:16:04 | |
"and calling herself Misery, walked by my side, | 0:16:04 | 0:16:08 | |
"and leant on my arm as affectionately | 0:16:08 | 0:16:10 | |
"as if she were my legal wife. | 0:16:10 | 0:16:12 | |
"Like some other husbands, I could have spared her presence." | 0:16:12 | 0:16:16 | |
For the food we are about to receive, | 0:16:28 | 0:16:31 | |
may the Lord make us truly thankful. Amen. | 0:16:31 | 0:16:34 | |
-Is she feeding those dogs again? -No. | 0:16:39 | 0:16:42 | |
Chicken, please. | 0:16:42 | 0:16:44 | |
More tea. | 0:16:45 | 0:16:47 | |
Branwell... | 0:16:47 | 0:16:49 | |
-Yeah? -Tell us something about...Liverpool. | 0:16:49 | 0:16:54 | |
All right. Well, the docks were extraordinary. | 0:16:54 | 0:16:57 | |
-Uh-huh? -We saw a black man. A blackamoor, a Creole. | 0:16:57 | 0:17:02 | |
He really was black. So dark, Papa. | 0:17:02 | 0:17:06 | |
-Ah? -And I spoke to him. | 0:17:06 | 0:17:07 | |
Didn't really understand what he was saying | 0:17:07 | 0:17:10 | |
and I don't think he understood a word I was saying either | 0:17:10 | 0:17:13 | |
but it was just...fascinating. | 0:17:13 | 0:17:15 | |
I think he was something on one of the ships. | 0:17:15 | 0:17:17 | |
MUFFLED LAUGHTER | 0:17:26 | 0:17:27 | |
CHUCKLING | 0:17:37 | 0:17:39 | |
Yes? | 0:17:47 | 0:17:49 | |
If you... | 0:17:55 | 0:17:57 | |
If you don't... | 0:18:01 | 0:18:04 | |
get on top of... | 0:18:04 | 0:18:06 | |
of this habit... | 0:18:06 | 0:18:08 | |
when things don't go right for you, | 0:18:08 | 0:18:10 | |
if you can't exercise some restraint, | 0:18:10 | 0:18:13 | |
-then it'll take over your life, Branwell. -Don't be ridiculous. | 0:18:13 | 0:18:16 | |
I'm not being ridiculous. | 0:18:16 | 0:18:17 | |
-It'll destroy you. -Mm. | 0:18:20 | 0:18:21 | |
Potentially, you still have so much to offer, Branwell. | 0:18:23 | 0:18:26 | |
-You need a plan. -I've got plans. -Have you? | 0:18:26 | 0:18:29 | |
And can you share them? With anyone? | 0:18:31 | 0:18:33 | |
-D'you know what I've realised? -What? | 0:18:33 | 0:18:37 | |
There's no money in poetry. | 0:18:38 | 0:18:40 | |
Novels. That's where the money is. | 0:18:43 | 0:18:46 | |
Whilst the composition of a poem | 0:18:48 | 0:18:51 | |
demands the utmost stretch of a man's intellect... | 0:18:51 | 0:18:54 | |
..and for what? £10 at best. | 0:18:56 | 0:18:59 | |
I could hum a tune and smoke a cigar | 0:19:02 | 0:19:06 | |
and I'd have a novel written. | 0:19:06 | 0:19:08 | |
No-one will publish a novel by an unknown author. | 0:19:08 | 0:19:10 | |
I've had nine poems published in the Halifax Guardian. | 0:19:10 | 0:19:13 | |
It's only Halifax, I know, but it is widely enough read. | 0:19:16 | 0:19:19 | |
You'd need a good story for a novel. | 0:19:20 | 0:19:22 | |
Oh, when was I ever short of a story? | 0:19:22 | 0:19:24 | |
-Are you still thinking about going to Paris? -I don't think it's likely. | 0:20:32 | 0:20:36 | |
-At the moment. -Why? It might do you good. | 0:20:37 | 0:20:40 | |
Are you still hell-bent on making yourself poorly? | 0:20:43 | 0:20:46 | |
I'm not...poorly. | 0:20:46 | 0:20:49 | |
I'm just struggling to... | 0:20:53 | 0:20:54 | |
Why is it that a woman's lot is so very different to a man's? | 0:21:01 | 0:21:04 | |
I've never felt inferior. Have you? Intellectually? | 0:21:04 | 0:21:09 | |
Why is it that we have so very few opportunities? | 0:21:11 | 0:21:14 | |
You or I could do almost anything we set our minds to. But no. | 0:21:14 | 0:21:17 | |
All we can realistically plan is a school, a modest enough school, | 0:21:17 | 0:21:20 | |
that no-one wants to come to. | 0:21:20 | 0:21:21 | |
Why is it that the woman's lot is to be perpetually infantilised... | 0:21:24 | 0:21:29 | |
..or else invisible and powerless to do anything about it? | 0:21:30 | 0:21:33 | |
Did he never write back to you, then? | 0:21:37 | 0:21:39 | |
Heger? | 0:21:40 | 0:21:42 | |
No. | 0:21:50 | 0:21:51 | |
Anne says you've written some poems. | 0:21:58 | 0:22:01 | |
-Have you ever thought about publishing them? -No. | 0:22:08 | 0:22:11 | |
It's just the... | 0:22:16 | 0:22:17 | |
The thing is, you see... I've written some verses too... | 0:22:23 | 0:22:27 | |
and if between us we could accumulate enough material | 0:22:27 | 0:22:30 | |
to think about publishing a small volume... | 0:22:30 | 0:22:32 | |
And have it pored over and rubbished and ridiculed | 0:22:32 | 0:22:34 | |
by anyone who might choose to waste their money on it? Not likely. | 0:22:34 | 0:22:38 | |
"He comes with Western winds, with evening's wandering airs, | 0:24:38 | 0:24:43 | |
"With that clear dusk of heaven that brings the thickest stars. | 0:24:43 | 0:24:47 | |
"Winds take a pensive tone, and stars a tender fire, | 0:24:48 | 0:24:51 | |
"And visions rise, and change, that kill me with desire." | 0:24:51 | 0:24:55 | |
"High waving heather 'neath stormy blasts bending, | 0:24:58 | 0:25:02 | |
"Midnight and moonlight and bright shining stars; | 0:25:02 | 0:25:05 | |
"Darkness and glory rejoicingly blending, | 0:25:05 | 0:25:08 | |
"Earth rising to heaven and heaven descending, | 0:25:08 | 0:25:11 | |
"Man's spirit away from its drear dungeon sending, | 0:25:11 | 0:25:14 | |
"Bursting the fetters and breaking the bars." | 0:25:14 | 0:25:17 | |
"Then dawns the Invisible; the Unseen its truth reveals; | 0:25:18 | 0:25:23 | |
"My outward sense is gone, my inward essence feels; | 0:25:23 | 0:25:27 | |
"Its wings are almost free - its home, its harbour found, | 0:25:27 | 0:25:31 | |
"Measuring the gulf, it stoops and dares the final bound." | 0:25:31 | 0:25:34 | |
"O dreadful is the check - intense the agony - | 0:25:34 | 0:25:39 | |
"When the ear begins to hear, and the eye begins to see; | 0:25:39 | 0:25:41 | |
"When the pulse begins to throb - the brain to think again - | 0:25:41 | 0:25:45 | |
"The soul to feel the flesh, and the flesh to feel the chain. | 0:25:45 | 0:25:47 | |
"Yet I would lose no sting, would wish no torture less; | 0:25:47 | 0:25:53 | |
"The more that anguish racks the earlier it will bless; | 0:25:53 | 0:25:57 | |
"And robed in fires of hell, or bright with heavenly shine, | 0:25:57 | 0:26:01 | |
"If it but herald Death, the vision is divine." | 0:26:01 | 0:26:05 | |
BANGING | 0:26:39 | 0:26:42 | |
FOOTSTEPS ON STAIRS | 0:26:42 | 0:26:44 | |
What's the matter? What's the matter? | 0:26:50 | 0:26:52 | |
Somebody has been in my room! | 0:26:52 | 0:26:54 | |
-Somebody? -Somebody has been through my things. | 0:26:54 | 0:26:56 | |
And not had the wit, when they put them back, | 0:26:56 | 0:26:58 | |
-to realise that everything was in a certain order -Well, who? | 0:26:58 | 0:27:00 | |
-We haven't, I haven't. -You haven't. | 0:27:00 | 0:27:02 | |
You wouldn't. I know that. | 0:27:02 | 0:27:04 | |
Branwell's in Halifax. | 0:27:04 | 0:27:05 | |
It's safe to assume Papa couldn't see to do it, | 0:27:05 | 0:27:07 | |
and anyway why would he bother? | 0:27:07 | 0:27:08 | |
Tabby's got better things to do and Martha can't read that well. | 0:27:08 | 0:27:11 | |
Yet, she also has too much dignity | 0:27:11 | 0:27:13 | |
and respect for other people's things! | 0:27:13 | 0:27:15 | |
I shouldn't have...I know. | 0:27:15 | 0:27:18 | |
But I'm not sorry. I mean, I am sorry! | 0:27:20 | 0:27:22 | |
Look, Emily. | 0:27:23 | 0:27:24 | |
Your poems are... | 0:27:24 | 0:27:27 | |
They're extraordinary. | 0:27:27 | 0:27:29 | |
I know they're private, I know they're personal - | 0:27:29 | 0:27:31 | |
they're 1,001 things, but they're not something to keep hidden. | 0:27:31 | 0:27:34 | |
I admit it was curiosity, but not idle curiosity, I hope, | 0:27:36 | 0:27:39 | |
-but something more...noble. -Noble?! | 0:27:39 | 0:27:41 | |
Going in people's bedrooms? Going through people's things? | 0:27:41 | 0:27:44 | |
No woman, no-one, has ever written poetry like this! | 0:27:44 | 0:27:48 | |
Nothing I've read, nothing I can think of, | 0:27:48 | 0:27:50 | |
nothing published, is its equal. | 0:27:50 | 0:27:53 | |
Emily...they're exceptional. | 0:27:53 | 0:27:55 | |
They're...astonishing. | 0:27:55 | 0:27:57 | |
I couldn't breathe when I was reading them. | 0:27:57 | 0:27:59 | |
I know you're angry and I know what I did is unforgivable. | 0:28:00 | 0:28:05 | |
Except, please, see that it isn't. | 0:28:05 | 0:28:06 | |
You...disgust me. | 0:28:09 | 0:28:11 | |
You can't begin to imagine how much. | 0:28:12 | 0:28:15 | |
You stay out of my room and you don't speak to me. | 0:28:15 | 0:28:17 | |
You don't speak to me generally and you don't speak to me specifically | 0:28:17 | 0:28:21 | |
about your misguided, tedious, grubby little publishing plans. | 0:28:21 | 0:28:24 | |
What on earth is the matter? | 0:28:26 | 0:28:28 | |
She has been in people's bedrooms going through people's things! | 0:28:28 | 0:28:31 | |
I'm putting a lock on that door! | 0:28:31 | 0:28:33 | |
She? What happened? | 0:28:33 | 0:28:36 | |
-Charlotte? -Nothing. | 0:28:36 | 0:28:37 | |
It was nothing. I went in her bedroom. | 0:28:40 | 0:28:42 | |
-Oh! -HE SIGHS | 0:28:42 | 0:28:46 | |
And, um, where is Branwell? | 0:28:48 | 0:28:50 | |
-Halifax. -He's where? -Halifax. | 0:28:50 | 0:28:53 | |
Oh. And is he due in? Tonight? | 0:28:53 | 0:28:56 | |
-Or have we to lock the back door? -I imagine he's taken a key. | 0:28:57 | 0:29:01 | |
Right. | 0:29:01 | 0:29:03 | |
All right! I made a mistake. | 0:29:23 | 0:29:25 | |
Except I didn't! | 0:29:28 | 0:29:30 | |
They're... | 0:29:31 | 0:29:32 | |
Have you read them? | 0:29:33 | 0:29:35 | |
No. | 0:29:35 | 0:29:36 | |
She's never asked me to. | 0:29:37 | 0:29:39 | |
What did she mean about your "grubby little publishing plans?" | 0:29:43 | 0:29:46 | |
They're not without charm. | 0:30:11 | 0:30:13 | |
It's not just the poems, you see. | 0:30:18 | 0:30:20 | |
I'm writing this, too. | 0:30:22 | 0:30:23 | |
It's a novel. | 0:30:23 | 0:30:25 | |
It's not Gondal and Gaaldine. | 0:30:25 | 0:30:27 | |
It's more about how things are in the real world. | 0:30:27 | 0:30:30 | |
It's about being a governess, it's all... | 0:30:31 | 0:30:33 | |
things I've seen and heard and witnessed. | 0:30:33 | 0:30:36 | |
-The thing is, you see, I... -This is beautifully written. | 0:30:39 | 0:30:42 | |
I would be ready. | 0:30:44 | 0:30:46 | |
To try and publish. I would be ready to risk failure. | 0:30:46 | 0:30:49 | |
And who knows? This is what we've done all our lives. | 0:30:49 | 0:30:52 | |
Write. We've lived in our heads. | 0:30:52 | 0:30:55 | |
I don't regard the attempt to do something with it as venal. | 0:30:57 | 0:30:59 | |
It's more venal selling ourselves as governesses | 0:30:59 | 0:31:01 | |
when we find it such a trial. | 0:31:01 | 0:31:03 | |
So long as we approached it carefully, wisely, | 0:31:03 | 0:31:07 | |
-and not make fools of ourselves, then surely... -The plan... | 0:31:07 | 0:31:10 | |
would be to try to publish a volume of poetry first. | 0:31:10 | 0:31:14 | |
And, then, if that met with a modicum of success, | 0:31:14 | 0:31:18 | |
and something of a name was established, | 0:31:18 | 0:31:21 | |
then we could each risk a work of fiction. | 0:31:21 | 0:31:23 | |
I've toyed with writing something about...Brussels. | 0:31:25 | 0:31:28 | |
I mean, I don't even know if that's the etiquette. | 0:31:30 | 0:31:33 | |
But I could write to a publishing house and find out. | 0:31:33 | 0:31:37 | |
Your poems are competent... | 0:31:40 | 0:31:43 | |
and charming. | 0:31:43 | 0:31:44 | |
And I'm no great poet myself, | 0:31:44 | 0:31:46 | |
but Emily's contribution could elevate a small volume | 0:31:46 | 0:31:50 | |
into something... | 0:31:50 | 0:31:52 | |
..actually worth spending a few shillings on. | 0:31:53 | 0:31:56 | |
-I feel sorry for her. -Why? | 0:32:02 | 0:32:05 | |
Same reason I feel sorry for Branwell. | 0:32:06 | 0:32:09 | |
So much is expected of her. Being the eldest. | 0:32:09 | 0:32:12 | |
And not even the eldest. By accident the eldest. | 0:32:12 | 0:32:14 | |
Bossiest. She was bossy when Maria and Elizabeth were still alive, | 0:32:14 | 0:32:17 | |
I remember it. Vividly. | 0:32:17 | 0:32:19 | |
It's being so bossy that's stunted her growth. | 0:32:21 | 0:32:23 | |
She's ambitious. | 0:32:23 | 0:32:25 | |
For all of us. | 0:32:25 | 0:32:27 | |
And I can see nothing wrong with that. | 0:32:27 | 0:32:29 | |
I realise some people might think it's vulgar, but, Emily, | 0:32:31 | 0:32:34 | |
we were born writing, and if we're cautious, if we're clever, | 0:32:34 | 0:32:39 | |
and we are, and if we disguise our real selves and our sex... | 0:32:39 | 0:32:42 | |
Right, that's done. | 0:32:42 | 0:32:44 | |
Tabby! I'm off down the...hill. | 0:32:44 | 0:32:46 | |
It's wonderful how quiet they all think she is in t'village | 0:32:48 | 0:32:52 | |
and how loud she is at home. | 0:32:52 | 0:32:54 | |
You can come with me, if you want. | 0:32:55 | 0:32:57 | |
Have you ever thought about writing something that's not Gondal? | 0:33:02 | 0:33:05 | |
Something more...not princesses and emperors, more just... | 0:33:05 | 0:33:08 | |
what happens in the real world. | 0:33:08 | 0:33:10 | |
You know when I worked in Halifax? At that school at Law Hill. | 0:33:11 | 0:33:15 | |
-Yes. -Miss Patchett, that ran it, she told me this tale. | 0:33:15 | 0:33:18 | |
And I've often thought it'd make a story. A novel. | 0:33:18 | 0:33:21 | |
What was it about? | 0:33:21 | 0:33:22 | |
This man, this lad. Jack Sharp. Have I never told you this? | 0:33:22 | 0:33:25 | |
It serves us well enough, but it's not an attractive building, I know. | 0:33:25 | 0:33:28 | |
It has a rather curious history. | 0:33:28 | 0:33:30 | |
It was built out of spite, apparently, 60 years ago, | 0:33:30 | 0:33:34 | |
by a man called Jack Sharp. | 0:33:34 | 0:33:35 | |
So, there's this family, the Walkers. | 0:33:35 | 0:33:37 | |
They own Walterclough Hall, this big house, just above Halifax, | 0:33:37 | 0:33:40 | |
it's been in the family for generations. | 0:33:40 | 0:33:42 | |
They're woollen manufacturers - aren't they all? | 0:33:42 | 0:33:44 | |
Anyway, John Walker has four children - two boys and two girls - | 0:33:44 | 0:33:47 | |
and he's adopted this nephew, Jack Sharp. | 0:33:47 | 0:33:49 | |
Richard and John, the two sons, were educated well, | 0:33:51 | 0:33:54 | |
and they ended up making their livings in London. | 0:33:54 | 0:33:57 | |
Jack stayed at home with the girls, Grace and Mary, | 0:33:57 | 0:33:59 | |
and he was trained up to take over the family business | 0:33:59 | 0:34:02 | |
which suited everyone, because, it seems, he'd always been | 0:34:02 | 0:34:05 | |
old Mr Walker's favourite, the truth be told. | 0:34:05 | 0:34:07 | |
Then when Richard, the eldest son, dies | 0:34:07 | 0:34:09 | |
in some tragic accident somewhere, | 0:34:09 | 0:34:11 | |
old Mr Walker decides to leave the district and he leaves Jack | 0:34:11 | 0:34:14 | |
in charge of his business and Walterclough Hall. | 0:34:14 | 0:34:16 | |
Eventually, some years later, old Mr Walker himself dies, | 0:34:16 | 0:34:20 | |
and the remaining son, John, | 0:34:20 | 0:34:21 | |
in London, inherits everything and gives Jack Sharp, | 0:34:21 | 0:34:24 | |
who he'd never liked, notice to vacate the property forthwith. | 0:34:24 | 0:34:28 | |
But John Walker Jr has the law on his side, | 0:34:28 | 0:34:30 | |
and after enough wrangling, in court, Jack Sharp has to | 0:34:30 | 0:34:33 | |
vacate the property, whether he likes it or not. | 0:34:33 | 0:34:36 | |
But not before he'd trashed the place and taken anything of value. | 0:34:36 | 0:34:39 | |
Furniture... | 0:34:39 | 0:34:40 | |
..the silver, the plate, the linen. | 0:34:40 | 0:34:42 | |
You can only imagine what they all went through. | 0:34:42 | 0:34:45 | |
The anger and the bitterness. | 0:34:45 | 0:34:47 | |
And then he built his own home, a new house. | 0:34:47 | 0:34:50 | |
Here, at Law Hill. | 0:34:50 | 0:34:51 | |
The spot chosen very carefully, people believed, | 0:34:51 | 0:34:54 | |
because it looks down on Walterclough Hall. | 0:34:54 | 0:34:56 | |
And then he filled it with the stash he'd purloined from the Hall. | 0:34:56 | 0:34:59 | |
Like he was goading John Walker to come and fetch it. If he dared. | 0:34:59 | 0:35:02 | |
-And did he dare? -I doubt it. But the worst thing Jack Sharp did, | 0:35:02 | 0:35:06 | |
one of old Mr Walker's sisters had a son, | 0:35:06 | 0:35:08 | |
grown up by then, called Sam Stead. | 0:35:08 | 0:35:09 | |
And Jack Sharp apprenticed him in the trade, | 0:35:09 | 0:35:11 | |
like he himself had been apprenticed by old Mr Walker. | 0:35:11 | 0:35:14 | |
And he cleverly, calculatedly, bit by bit, | 0:35:14 | 0:35:17 | |
indulged and degraded Sam Stead with gambling and drink, | 0:35:17 | 0:35:20 | |
and the lad was too feckless to know any better. | 0:35:20 | 0:35:23 | |
Why would you do that? | 0:35:23 | 0:35:24 | |
He did it to cause as much misery and humiliation | 0:35:24 | 0:35:26 | |
to the Walkers as he could. | 0:35:26 | 0:35:27 | |
-That's... -I know. All that anger. It's so...rich. | 0:35:27 | 0:35:32 | |
Anyway, if we're writing novels. I imagine we'll need more paper. | 0:35:35 | 0:35:39 | |
BELLS PEAL | 0:35:42 | 0:35:45 | |
Of course we're not going to use our real names! | 0:35:45 | 0:35:47 | |
But must they be men's names? | 0:35:47 | 0:35:49 | |
When a man writes something, it's what he's written that's judged. | 0:35:49 | 0:35:52 | |
When a woman writes something, it's her that's judged. | 0:35:52 | 0:35:54 | |
We must select the poems we want to use and then... | 0:35:54 | 0:35:58 | |
yes, if we're to be taken seriously and judged fairly | 0:35:58 | 0:36:01 | |
and make anything resembling a profit... | 0:36:01 | 0:36:04 | |
..we must walk invisible. | 0:36:05 | 0:36:06 | |
What about names that are neither men's nor women's? | 0:36:11 | 0:36:13 | |
"Dear Ellen. I reached home a little after 2 o'clock | 0:37:02 | 0:37:06 | |
"all safe and right yesterday. | 0:37:06 | 0:37:08 | |
"Emily and Anne were gone to Keighley to meet me. | 0:37:08 | 0:37:10 | |
"Unfortunately, I had returned by the old road | 0:37:10 | 0:37:13 | |
"while they were gone by the new, and we missed each other." | 0:37:13 | 0:37:16 | |
KNOCK ON DOOR | 0:37:30 | 0:37:32 | |
I'm back home. | 0:37:32 | 0:37:33 | |
Ah, Charlotte... | 0:37:33 | 0:37:34 | |
Miss Bronte! | 0:37:36 | 0:37:37 | |
Mr Nicholls. | 0:37:38 | 0:37:40 | |
"I went into the room where Branwell was, to speak to him. | 0:37:52 | 0:37:55 | |
"It was very forced work to address him. | 0:37:55 | 0:37:57 | |
"I might have spared myself the trouble as he took no notice..." | 0:37:57 | 0:38:00 | |
Branwell? | 0:38:00 | 0:38:01 | |
"..and made no reply." | 0:38:01 | 0:38:03 | |
Branwell. | 0:38:03 | 0:38:04 | |
"He was stupefied." | 0:38:04 | 0:38:06 | |
What's this? | 0:38:13 | 0:38:15 | |
Branwell? What's this? | 0:38:15 | 0:38:17 | |
That's for you. | 0:38:17 | 0:38:18 | |
I opened it by mistake. It said "Esquire." | 0:38:19 | 0:38:22 | |
Give me that. | 0:38:22 | 0:38:24 | |
Proof pages! | 0:38:24 | 0:38:26 | |
How much are you paying them for the privilege of being published? | 0:38:26 | 0:38:30 | |
I assume you're paying them. | 0:38:30 | 0:38:32 | |
I assume you've all clubbed together. | 0:38:32 | 0:38:35 | |
I assume they're not paying you. | 0:38:35 | 0:38:37 | |
You've been sick. | 0:38:37 | 0:38:39 | |
I didn't confirm or deny, I made no reply. | 0:38:46 | 0:38:48 | |
I don't care about him knowing we're paying them, | 0:38:48 | 0:38:50 | |
it's a means to an end as far as I'm concerned. | 0:38:50 | 0:38:52 | |
I care about him talking to people. | 0:38:52 | 0:38:53 | |
-About us. -Where's he got the money from anyway? To get into that state? | 0:38:53 | 0:38:56 | |
-He screwed a sovereign out of Papa, yesterday. -He claimed to have | 0:38:56 | 0:38:59 | |
-some pressing matter, and Papa said no. -And the next thing you know | 0:38:59 | 0:39:01 | |
he's given it to him. God knows how or why and he's trotting off | 0:39:01 | 0:39:04 | |
down the hill to get it changed at the Black Bull. | 0:39:04 | 0:39:06 | |
Perhaps, when he's sober, he'll not even remember he's seen | 0:39:06 | 0:39:08 | |
-our proof sheets. -I'll write to Aylott and Jones and ask them | 0:39:08 | 0:39:11 | |
to address our correspondence differently in future. | 0:39:11 | 0:39:13 | |
-Was he angry, Branwell? -What can we do? | 0:39:14 | 0:39:17 | |
We can't include him, the way he is now! He's unmanageable! | 0:39:17 | 0:39:19 | |
We'd never get anything agreed or done! | 0:39:19 | 0:39:21 | |
Anyway, why would Northangerland want to publish with his sisters? | 0:39:21 | 0:39:24 | |
He certainly couldn't afford to contribute to the costs. | 0:39:24 | 0:39:27 | |
We're doing the right thing, Anne. | 0:39:27 | 0:39:29 | |
It's hard, it's tough, | 0:39:29 | 0:39:31 | |
but I'm sorry, he'd drag us down with him if we let him. | 0:39:31 | 0:39:33 | |
Right, come on, you big oaf. | 0:39:36 | 0:39:38 | |
That way. Shift. | 0:39:39 | 0:39:40 | |
TRAIN WHISTLE BLOWS | 0:40:20 | 0:40:23 | |
HAMMERING | 0:40:23 | 0:40:26 | |
Hello, Joe. | 0:40:36 | 0:40:38 | |
Well, I never. | 0:40:40 | 0:40:41 | |
Eh? | 0:40:41 | 0:40:42 | |
-How y'doing, lad? -I've resolved this morning to keep myself busy. | 0:40:59 | 0:41:05 | |
Good. | 0:41:05 | 0:41:06 | |
Good! | 0:41:08 | 0:41:09 | |
Me too. | 0:41:09 | 0:41:11 | |
I thought I'd go and see John Frobisher. | 0:41:14 | 0:41:16 | |
I thought I might write something to set to music. | 0:41:16 | 0:41:19 | |
And he'd be the man. He is still here, isn't he? | 0:41:19 | 0:41:22 | |
-At the church? -So far as I know, yeah. | 0:41:22 | 0:41:24 | |
Have y'not thought any more about going abroad? | 0:41:24 | 0:41:26 | |
Not... No... | 0:41:26 | 0:41:29 | |
I haven't seen any vacancies, | 0:41:30 | 0:41:32 | |
at least nothing, you know... | 0:41:32 | 0:41:35 | |
Not with the way things are at the moment. | 0:41:37 | 0:41:39 | |
How are things at home? | 0:41:41 | 0:41:43 | |
It's like living with people | 0:41:47 | 0:41:49 | |
who don't speak the same language as I do. | 0:41:49 | 0:41:51 | |
Honestly, Joe. I could be with some tribe | 0:41:52 | 0:41:55 | |
from some far flung corner of the globe | 0:41:55 | 0:41:57 | |
for all I have in common with them. | 0:41:57 | 0:41:59 | |
They despise me, | 0:41:59 | 0:42:00 | |
and I... | 0:42:00 | 0:42:02 | |
I only live there because I'm such a fucking pauper. | 0:42:03 | 0:42:06 | |
They need to get married, those three. | 0:42:08 | 0:42:10 | |
Only, who'd have 'em? | 0:42:11 | 0:42:13 | |
Who'd have any of us? | 0:42:15 | 0:42:17 | |
What a ridiculous set we've become. | 0:42:18 | 0:42:20 | |
And we used to be quite a nice little family. | 0:42:23 | 0:42:26 | |
She...she does love me, you know, Joe, Lydia. | 0:42:38 | 0:42:42 | |
Yeah. Well... You know, I don't know. | 0:42:44 | 0:42:48 | |
I wasn't there, I can't say. | 0:42:50 | 0:42:52 | |
I know everyone thinks I'm... | 0:42:54 | 0:42:56 | |
God knows, but if you saw her, | 0:42:57 | 0:42:59 | |
if only for a moment, you'd get it, you'd see. | 0:42:59 | 0:43:03 | |
What would I see? | 0:43:03 | 0:43:05 | |
That she's the kind of woman that can change a man's life. | 0:43:05 | 0:43:09 | |
His whole...everything. | 0:43:09 | 0:43:10 | |
You've got to look forward, though, eh? Not back. | 0:43:10 | 0:43:13 | |
We've talked about this. | 0:43:14 | 0:43:16 | |
Am I boring you, Leyland? | 0:43:20 | 0:43:22 | |
No, lad. No. You're not boring me. | 0:43:22 | 0:43:24 | |
I worry that you're kidding yerself. | 0:43:29 | 0:43:31 | |
Eh? | 0:43:31 | 0:43:32 | |
A woman her age, in her position. | 0:43:32 | 0:43:35 | |
My only hope is that he'll be dead soon and I'll be asked back. | 0:43:41 | 0:43:44 | |
Hello. | 0:43:58 | 0:44:00 | |
Hello. | 0:44:06 | 0:44:08 | |
Look. | 0:44:14 | 0:44:15 | |
I know. | 0:44:17 | 0:44:19 | |
Ahh, it's beautiful! | 0:44:34 | 0:44:36 | |
The same moon that's shone down since we were children. | 0:44:36 | 0:44:39 | |
Since our ancestors were children. | 0:44:41 | 0:44:43 | |
We're so tiny, really. | 0:44:44 | 0:44:46 | |
Aren't we? So... | 0:44:47 | 0:44:49 | |
..so unimportant. | 0:44:50 | 0:44:51 | |
All of us. | 0:44:53 | 0:44:54 | |
That's right. | 0:44:57 | 0:44:58 | |
DOGS BARK IN THE DISTANCE | 0:45:00 | 0:45:02 | |
Bloody dogs. | 0:45:05 | 0:45:07 | |
HE HOWLS | 0:45:09 | 0:45:11 | |
SHE JOINS HIM | 0:45:12 | 0:45:14 | |
A CACOPHONY OF HOWLING | 0:45:14 | 0:45:18 | |
HE LAUGHS | 0:45:20 | 0:45:22 | |
THEY CONTINUE HOWLING | 0:45:22 | 0:45:24 | |
-There's a fella in Black Bull lookin' for thee. -Who? | 0:46:02 | 0:46:05 | |
He says he's from Thorp Green. | 0:46:05 | 0:46:07 | |
Who? | 0:46:10 | 0:46:11 | |
I'll get my coat. | 0:46:14 | 0:46:15 | |
Shift! | 0:46:26 | 0:46:28 | |
-Is there a fella looking for me? -Aye, he's through there. | 0:46:37 | 0:46:40 | |
Mr Bronte. | 0:46:43 | 0:46:45 | |
-Someone's dead. -Mr Robinson. | 0:46:47 | 0:46:50 | |
He passed away three weeks this last Tuesday. | 0:46:51 | 0:46:54 | |
Did you not know? | 0:46:55 | 0:46:57 | |
No. How could I? | 0:46:58 | 0:47:00 | |
Well, it's been in t'papers. | 0:47:01 | 0:47:03 | |
We don't get the York papers. | 0:47:04 | 0:47:05 | |
You're advised... | 0:47:26 | 0:47:28 | |
..to stay away. | 0:47:29 | 0:47:31 | |
Does she not...want me to go to her? | 0:47:38 | 0:47:42 | |
She didn't say that. | 0:47:45 | 0:47:46 | |
No, it isn't her. | 0:47:46 | 0:47:48 | |
It's Mr Evans. | 0:47:49 | 0:47:51 | |
One of the trustees of Mr Robinson's will. | 0:47:51 | 0:47:53 | |
Apparently...he's said if he sees you, he'll shoot you. | 0:47:55 | 0:47:59 | |
Did he send you? | 0:48:01 | 0:48:02 | |
No. No. | 0:48:02 | 0:48:04 | |
She did. | 0:48:04 | 0:48:06 | |
She was concerned you might turn up. | 0:48:07 | 0:48:10 | |
And that Mr Evans might feel obliged to do as he's threatened. | 0:48:10 | 0:48:13 | |
But, as well as that, you should know | 0:48:16 | 0:48:19 | |
by the terms of the will... | 0:48:19 | 0:48:20 | |
..that if she marries again, | 0:48:22 | 0:48:24 | |
she'll forfeit any right to her husband's fortune. | 0:48:24 | 0:48:28 | |
What? | 0:48:29 | 0:48:31 | |
Every penny. | 0:48:31 | 0:48:32 | |
And the house. | 0:48:33 | 0:48:35 | |
She... | 0:48:39 | 0:48:41 | |
She asked me not to tell you how wretched she is. | 0:48:51 | 0:48:53 | |
You'd not recognise her, Mr Bronte. | 0:48:55 | 0:48:57 | |
She's worn herself out these past few months in attendance upon him. | 0:48:58 | 0:49:01 | |
And then, the last few days before his death, | 0:49:01 | 0:49:04 | |
his manner was so mild, so, er... | 0:49:04 | 0:49:06 | |
..conciliatory. | 0:49:09 | 0:49:10 | |
It's a pity to see her, kneeling at her prayers. | 0:49:13 | 0:49:15 | |
In tears. | 0:49:16 | 0:49:18 | |
I suppose we can only guess at | 0:49:19 | 0:49:21 | |
what torments of conscience she might be going through... | 0:49:21 | 0:49:24 | |
..now. | 0:49:26 | 0:49:28 | |
But...she sent you. | 0:49:32 | 0:49:35 | |
Hm. | 0:49:35 | 0:49:36 | |
To beg you to think of your own safety, Mr Bronte. | 0:49:39 | 0:49:43 | |
And her sanity. | 0:49:45 | 0:49:46 | |
Which... | 0:49:47 | 0:49:48 | |
below stairs, | 0:49:48 | 0:49:51 | |
we fear hangs by a thread. | 0:49:51 | 0:49:54 | |
I don't give a damn about my own safety. | 0:49:56 | 0:49:59 | |
No. | 0:50:01 | 0:50:02 | |
But the thing is... | 0:50:03 | 0:50:05 | |
..it's never going to happen, Mr Bronte. | 0:50:09 | 0:50:12 | |
Do you understand? | 0:50:14 | 0:50:16 | |
You're advised to stay away. | 0:50:23 | 0:50:25 | |
Mr Brown! Mr Brown! | 0:50:51 | 0:50:53 | |
-Mr Brown! -What do you want, you little bugger? | 0:50:55 | 0:50:57 | |
You've to come! Mr Thomas at Black Bull says you've to come! | 0:50:57 | 0:51:00 | |
-Now what? -God knows. | 0:51:07 | 0:51:09 | |
There were a fella here. | 0:51:09 | 0:51:10 | |
-Paddy? Come on, lad. What's up? -I sent for thee. | 0:51:10 | 0:51:13 | |
-Look at state he's in... -No, you've done right. | 0:51:13 | 0:51:16 | |
Come on, lad. | 0:51:16 | 0:51:17 | |
BRANWELL WEEPS | 0:51:17 | 0:51:19 | |
Come on, you're all right. | 0:51:19 | 0:51:21 | |
Nothing I do, John. | 0:51:22 | 0:51:24 | |
-You're just tired. -Nothing I do. | 0:51:25 | 0:51:28 | |
Let's get you home. Come on. | 0:51:28 | 0:51:31 | |
-Why are we going up here? -It's where you live. | 0:51:34 | 0:51:37 | |
I don't want to go home, I don't want to go home. | 0:51:37 | 0:51:41 | |
Well, where d'you want to go, then? | 0:51:41 | 0:51:43 | |
Keighley. | 0:51:43 | 0:51:45 | |
I think meself you'd be better off at home. | 0:51:45 | 0:51:48 | |
No, no! I need to go to Thorp Green, John. | 0:51:48 | 0:51:50 | |
I need to go to Thorp Green. | 0:51:50 | 0:51:52 | |
Fair enough, but not just now, not today, not in this state. | 0:51:52 | 0:51:55 | |
Yes, in this state. This is the right state. | 0:51:55 | 0:51:59 | |
Well, you can. I can't, obviously, | 0:51:59 | 0:52:02 | |
it's two o'clock in the afternoon, I've to get to work. | 0:52:02 | 0:52:05 | |
Ah, Mr Nicholls. | 0:52:06 | 0:52:08 | |
He's... He's had a bad do, | 0:52:08 | 0:52:12 | |
he's had a bit of bad news. | 0:52:12 | 0:52:14 | |
Down you go. | 0:52:17 | 0:52:19 | |
Nearly there. | 0:52:22 | 0:52:23 | |
-Careful. -Nearly there. | 0:52:31 | 0:52:32 | |
BRANWELL SOBS | 0:52:32 | 0:52:34 | |
-Calm down. -Get off me! -Please, keep your voice down. | 0:52:34 | 0:52:38 | |
Shut up, I hate you! | 0:52:38 | 0:52:40 | |
Tell me to calm down in my own house! | 0:52:40 | 0:52:42 | |
I want to kill you! | 0:52:42 | 0:52:44 | |
-Get your hands off me! -Calm down. -Don't tell me to calm down. | 0:52:44 | 0:52:47 | |
I don't want you to tell me anything. | 0:52:47 | 0:52:50 | |
My house! | 0:52:51 | 0:52:52 | |
Nothing wrong with me. | 0:52:52 | 0:52:54 | |
Look at them, all looking at me! | 0:52:56 | 0:52:58 | |
They're always looking at me! | 0:53:02 | 0:53:03 | |
With your stupid, empty faces! | 0:53:03 | 0:53:06 | |
Please, stop looking at me! | 0:53:08 | 0:53:11 | |
Just stop. | 0:53:11 | 0:53:12 | |
And him! | 0:53:17 | 0:53:18 | |
What do you want, eh? | 0:53:22 | 0:53:24 | |
You've had everything! | 0:53:25 | 0:53:27 | |
You've had everything you're getting. | 0:53:27 | 0:53:29 | |
You just stand there staring at me all the time! | 0:53:29 | 0:53:33 | |
I hate you! | 0:53:35 | 0:53:37 | |
BRANWELL WEEPS AND MUMBLES INCOHERENTLY | 0:53:39 | 0:53:42 | |
Come on upstairs, have a lie down. | 0:53:48 | 0:53:50 | |
Have a few knock-out drops, eh? | 0:53:52 | 0:53:54 | |
Eh? Come on. | 0:53:55 | 0:53:57 | |
Ohh...I feel sick. | 0:53:57 | 0:53:59 | |
Come on. | 0:53:59 | 0:54:01 | |
-Up we go. -You heard him. Lift me up. | 0:54:01 | 0:54:05 | |
I can do it! | 0:54:05 | 0:54:07 | |
-Sorry. -Sorry. | 0:54:20 | 0:54:22 | |
"Dear Ellen. | 0:54:34 | 0:54:36 | |
"We have been somewhat more harassed than usual lately. | 0:54:36 | 0:54:39 | |
"The death of Mr Robinson has served Branwell for a pretext | 0:54:39 | 0:54:42 | |
"to throw all about him into hubbub and confusion. | 0:54:42 | 0:54:45 | |
"He's become intolerable. | 0:54:45 | 0:54:47 | |
"To Papa he allows rest neither day nor night and | 0:54:47 | 0:54:50 | |
"he's continually screwing money out of him, sometimes threatening | 0:54:50 | 0:54:53 | |
"that he'll kill himself if it's withheld from him." | 0:54:53 | 0:54:56 | |
BELL RINGS | 0:55:00 | 0:55:02 | |
BRANWELL AND FATHER ARGUE IN ROOM | 0:55:02 | 0:55:05 | |
-Morning, Miss Bronte. -Thank you. | 0:55:05 | 0:55:08 | |
-BRANWELL: -Are you stupid as well as blind? | 0:55:08 | 0:55:10 | |
There's nothing out there! | 0:55:10 | 0:55:12 | |
Not for someone who's fit for nothing, like me! | 0:55:12 | 0:55:14 | |
"He says Mrs Robinson is now insane, that her mind is a complete wreck, | 0:55:14 | 0:55:18 | |
"owing to remorse for her conduct towards Mr Robinson, | 0:55:18 | 0:55:22 | |
"whose end it appears was hastened by distress of mind, | 0:55:22 | 0:55:24 | |
"and grief for having lost him. | 0:55:24 | 0:55:26 | |
"I do not know how much to believe of what he says. | 0:55:28 | 0:55:31 | |
"He now declares that he neither can nor will do anything for himself. | 0:55:31 | 0:55:34 | |
"Good situations have been offered more than once, | 0:55:36 | 0:55:38 | |
"for which by a fortnight's work he might have qualified himself, | 0:55:38 | 0:55:41 | |
"but he will do nothing except drink and make us all wretched." | 0:55:41 | 0:55:44 | |
-BRANWELL: -Just tell me where it is! | 0:55:44 | 0:55:46 | |
BRANWELL AND FATHER CONTINUE ARGUING | 0:55:48 | 0:55:52 | |
I beg you to recognise it - you are ill! | 0:55:52 | 0:55:55 | |
Two reviews. One from The Critic one from The Athenaeum. | 0:56:02 | 0:56:05 | |
Both anonymous, but both really, really quite good. | 0:56:05 | 0:56:09 | |
Especially about you. | 0:56:09 | 0:56:11 | |
"Refreshing, vigorous poetry, no sickly affectations, | 0:56:12 | 0:56:15 | |
"no namby-pamby, no tedious imitations of familiar strains." | 0:56:15 | 0:56:19 | |
Are they still fighting? | 0:56:23 | 0:56:25 | |
Are you going to be all right? | 0:56:30 | 0:56:32 | |
When I go to Manchester with Papa? | 0:56:32 | 0:56:35 | |
It's only three weeks. I'm more concerned about when he comes back. | 0:56:35 | 0:56:38 | |
He'll need rest and quiet. Not... | 0:56:38 | 0:56:40 | |
Oh, did you get what you wanted? | 0:56:40 | 0:56:42 | |
Yeah, you! Are you proud of yourself, eh? | 0:56:42 | 0:56:44 | |
Wangling money out of a blind man? A man practically in his 70s. | 0:56:44 | 0:56:47 | |
-Fuck off. -Eh! Come back here and say that. Yeah, go on. Have a go. | 0:56:47 | 0:56:52 | |
-See what happens. -I haven't time. | 0:56:52 | 0:56:53 | |
No? Just the blind and the elderly then, is it? | 0:56:53 | 0:56:56 | |
Otherwise I would. | 0:56:56 | 0:56:58 | |
Course you would! | 0:56:58 | 0:57:00 | |
It's nothing. | 0:57:29 | 0:57:31 | |
Did he just hit you? | 0:57:31 | 0:57:32 | |
Don't make a fuss. | 0:57:35 | 0:57:36 | |
I'm still aiming to finish my story by the end of this week. | 0:57:48 | 0:57:51 | |
There's a handful of passages I'd like to look at again, | 0:57:52 | 0:57:55 | |
but then, depending on where you and Anne are with yours... | 0:57:55 | 0:57:58 | |
Oh, The Professor's finished. As much as it ever will be. | 0:57:58 | 0:58:01 | |
Perhaps we could aim to get them off to a publisher | 0:58:03 | 0:58:06 | |
before you set off for Manchester. | 0:58:06 | 0:58:08 | |
Emily. | 0:58:30 | 0:58:32 | |
Good luck. | 0:58:32 | 0:58:33 | |
And you. | 0:58:33 | 0:58:35 | |
Keep him wrapped up, see. | 0:58:35 | 0:58:37 | |
-All the bags on? -Everything's under control, Papa. | 0:58:37 | 0:58:39 | |
-Has she heard? -Yes! I've heard. -Emily, Emily. | 0:58:39 | 0:58:42 | |
You know where the gun is? | 0:58:42 | 0:58:44 | |
Yes. | 0:58:44 | 0:58:46 | |
We're all in. Thank you. | 0:58:47 | 0:58:49 | |
I'll send you the address as soon as we know what it is. | 0:58:50 | 0:58:53 | |
DRIVER: Walk on! | 0:58:54 | 0:58:55 | |
Branwell doesn't know where the gun is. Does he? | 0:59:05 | 0:59:08 | |
Not any more. | 0:59:08 | 0:59:10 | |
Is he still abed? | 0:59:10 | 0:59:11 | |
Daft question. | 0:59:13 | 0:59:14 | |
You give him no money. | 0:59:24 | 0:59:25 | |
Whatever sob stories he comes up with. | 0:59:25 | 0:59:28 | |
All right? | 0:59:29 | 0:59:30 | |
He won't hit you. | 0:59:32 | 0:59:34 | |
And if he hits me, I'll hit him back. Harder. | 0:59:34 | 0:59:37 | |
"Dear Ellen. Papa and I came here on Wednesday. | 0:59:48 | 0:59:51 | |
"We saw Mr Wilson, the oculist, the same day. | 0:59:51 | 0:59:54 | |
"He pronounced Papa's eyes quite ready for an operation | 0:59:54 | 0:59:57 | |
"and has fixed next Monday for the performance of it." | 0:59:57 | 0:59:59 | |
HE SIGHS WITH PAIN | 0:59:59 | 1:00:01 | |
"Think of us on that day, dear Nell. | 1:00:01 | 1:00:03 | |
"Mr Wilson says we will have to stay here a month at least. | 1:00:03 | 1:00:07 | |
"It will be dreary. | 1:00:07 | 1:00:09 | |
"I wonder how poor Emily and Anne will get on at home with Branwell." | 1:00:09 | 1:00:13 | |
KNOCK ON DOOR, BELL RINGS | 1:00:24 | 1:00:27 | |
Thank you. | 1:00:35 | 1:00:36 | |
"...not able at present to consider publication." | 1:01:00 | 1:01:03 | |
Do you think they actually read them? | 1:01:06 | 1:01:08 | |
Do they look like they've been read? | 1:01:10 | 1:01:12 | |
Who's next on the list? | 1:01:28 | 1:01:29 | |
Chapman and Hall, 186 Strand, London. | 1:01:37 | 1:01:41 | |
RAINFALL, THUNDER RUMBLES | 1:01:41 | 1:01:43 | |
RAIN PATTERS | 1:01:53 | 1:01:56 | |
"There was no possibility... | 1:02:27 | 1:02:29 | |
"..of taking a walk that day." | 1:02:31 | 1:02:34 | |
Do you think it's wrong to write about something very close to home? | 1:03:17 | 1:03:21 | |
Like what? | 1:03:21 | 1:03:22 | |
A woman... | 1:03:24 | 1:03:25 | |
..forced to abandon her home. A good, well-off home, | 1:03:27 | 1:03:31 | |
to protect her child and herself, | 1:03:31 | 1:03:33 | |
because of a change in her husband's character when he sinks into... | 1:03:33 | 1:03:37 | |
You know, addictive behaviour. | 1:03:40 | 1:03:42 | |
And then forced to make her own way in the world. | 1:03:43 | 1:03:46 | |
No. I don't think it's wrong. | 1:03:46 | 1:03:48 | |
I'd never have invented Hindley | 1:03:50 | 1:03:52 | |
if I hadn't been set such a fine example at home. | 1:03:52 | 1:03:54 | |
-Have you seen Branwell today? -No. | 1:04:04 | 1:04:07 | |
Have you heard him? | 1:04:09 | 1:04:10 | |
"I see a corpse upon the waters lie, | 1:04:17 | 1:04:20 | |
"With eyes turned, swelled and sightless, to the sky | 1:04:20 | 1:04:24 | |
"And arms outstretched, to move as wave on wave | 1:04:24 | 1:04:29 | |
"Upbears it in its boundless billowy grave. | 1:04:29 | 1:04:32 | |
"Not time, but Ocean thins its flowing hair; | 1:04:33 | 1:04:38 | |
"Decay, not sorrow, lays its forehead bare; | 1:04:38 | 1:04:42 | |
"Its members move, but not in thankless toil, | 1:04:42 | 1:04:47 | |
"For seas are milder than this world's turmoil. | 1:04:47 | 1:04:50 | |
"Corruption robs its lip and cheeks of red, | 1:04:52 | 1:04:55 | |
"But wounded vanity grieves not the dead; | 1:04:55 | 1:04:58 | |
"And, though those members hasten to decay, | 1:04:59 | 1:05:02 | |
"No pang of suffering takes their strength away; | 1:05:02 | 1:05:06 | |
"With untormented eye, and heart, and brain, | 1:05:06 | 1:05:10 | |
"Through calm and storm it floats across the main. | 1:05:10 | 1:05:14 | |
"Though love and joy have perished long ago, | 1:05:15 | 1:05:19 | |
"Its bosom suffers not one pang of woe; | 1:05:19 | 1:05:23 | |
"Though weeds and worms its cherished beauty hide, | 1:05:23 | 1:05:26 | |
"It feels not wounded vanity or pride." | 1:05:26 | 1:05:29 | |
WIND BLOWS | 1:05:38 | 1:05:40 | |
Where's ye going, lad? | 1:06:03 | 1:06:05 | |
Haworth. | 1:06:05 | 1:06:07 | |
HORSE WHINNIES | 1:06:07 | 1:06:08 | |
Whoa. Whoa! | 1:06:08 | 1:06:10 | |
Go on! | 1:06:13 | 1:06:14 | |
Oh, hello. | 1:07:08 | 1:07:09 | |
Branwell! | 1:07:14 | 1:07:16 | |
Branwell's here! He's collapsed! He's outside! | 1:07:18 | 1:07:21 | |
Branwell? | 1:07:26 | 1:07:27 | |
Branwell. | 1:07:28 | 1:07:29 | |
Branwell? | 1:07:30 | 1:07:31 | |
One of you go and fetch Dr Wheelhouse. | 1:07:34 | 1:07:36 | |
Get a cloak on! | 1:07:36 | 1:07:37 | |
Let's get him inside. | 1:07:37 | 1:07:39 | |
Branwell, eh? | 1:07:39 | 1:07:41 | |
Come on, son, sit up. | 1:07:43 | 1:07:45 | |
Let's get him in the house. Come on. | 1:07:45 | 1:07:47 | |
DOOR OPENS | 1:07:47 | 1:07:50 | |
-You know where I am. -Yes, yes. | 1:07:50 | 1:07:52 | |
Thank you for coming, Doctor. | 1:07:53 | 1:07:55 | |
DOOR CLOSES | 1:07:56 | 1:07:58 | |
There is hope. | 1:08:01 | 1:08:02 | |
He's home, he's back with us. | 1:08:04 | 1:08:05 | |
And, with nourishment and abstinence, | 1:08:06 | 1:08:10 | |
and prayer, and peace and quiet, | 1:08:10 | 1:08:13 | |
we may yet hope for better things. | 1:08:13 | 1:08:16 | |
His body has suffered the ravages of gross neglect. And... | 1:08:17 | 1:08:21 | |
abuse. | 1:08:21 | 1:08:23 | |
Self inflicted. | 1:08:24 | 1:08:25 | |
And I cannot, in all conscience, | 1:08:28 | 1:08:30 | |
do other than blame that woman. | 1:08:30 | 1:08:32 | |
That...sinful, hateful woman. | 1:08:32 | 1:08:35 | |
Who, with her more mature years and social advantages, | 1:08:37 | 1:08:41 | |
surely should have shown better responsibility. | 1:08:41 | 1:08:44 | |
He has come very low. | 1:08:45 | 1:08:47 | |
But, you know, sometimes a man must sink to the bottom | 1:08:48 | 1:08:53 | |
before he can turn his life around. | 1:08:53 | 1:08:55 | |
And perhaps that's what's happened, what's happening. | 1:08:55 | 1:09:01 | |
-Here. -Where's he been? | 1:09:01 | 1:09:03 | |
How's he been living? | 1:09:03 | 1:09:05 | |
Does he want to abstain? | 1:09:05 | 1:09:06 | |
Oh, he has to. He has to abstain. | 1:09:06 | 1:09:09 | |
Halifax, I assume. | 1:09:10 | 1:09:12 | |
I don't know. That's where John always imagined he was. | 1:09:12 | 1:09:15 | |
Or where John knew damned well he was. | 1:09:15 | 1:09:18 | |
Have you talked to him? About abstention? | 1:09:18 | 1:09:21 | |
He's asleep. | 1:09:22 | 1:09:23 | |
It'll only work if he's determined to do it himself. | 1:09:23 | 1:09:26 | |
-Anne. -Ssh! | 1:09:37 | 1:09:40 | |
I... | 1:09:41 | 1:09:42 | |
Anne. | 1:09:43 | 1:09:45 | |
I should have done more. At Thorp Green. | 1:09:46 | 1:09:49 | |
I should have stopped him, I should've told someone, | 1:09:49 | 1:09:52 | |
I should've... | 1:09:52 | 1:09:53 | |
I'm...complicit in their sin. | 1:09:54 | 1:09:59 | |
No, you're not. | 1:09:59 | 1:10:01 | |
-You were in an impossible position. -I let it happen. | 1:10:01 | 1:10:03 | |
All I did was leave, in the end... | 1:10:04 | 1:10:07 | |
I was a coward. | 1:10:09 | 1:10:12 | |
A moral coward, before God. | 1:10:12 | 1:10:14 | |
WOMAN LAUGHS | 1:10:22 | 1:10:24 | |
CHORUS OF LAUGHTER | 1:10:28 | 1:10:31 | |
LAUGHTER BECOMES MORE RIOTOUS | 1:10:52 | 1:10:54 | |
Are you all right, lad? | 1:11:01 | 1:11:03 | |
Lydia. | 1:11:35 | 1:11:37 | |
Wake up! Wake up! There's a fire. | 1:11:50 | 1:11:54 | |
HE SHIVERS | 1:11:54 | 1:11:55 | |
I think I've put it out. | 1:11:55 | 1:11:56 | |
Branwell! Branwell! Branwell! | 1:11:58 | 1:12:00 | |
Look at me. | 1:12:00 | 1:12:02 | |
Branwell! | 1:12:02 | 1:12:03 | |
Delirium tremens. | 1:12:03 | 1:12:05 | |
It's when someone | 1:12:05 | 1:12:06 | |
who's been drinking solidly for weeks suddenly stops. | 1:12:06 | 1:12:09 | |
Either through choice or, more usually, lack of funds. | 1:12:10 | 1:12:15 | |
The body doesn't know how to respond, so it goes into spasm. | 1:12:17 | 1:12:21 | |
Will it happen again? | 1:12:23 | 1:12:25 | |
With care...no. | 1:12:26 | 1:12:28 | |
But you do need to keep an eye on him. | 1:12:30 | 1:12:32 | |
He's lucky. You could've been sending | 1:12:32 | 1:12:35 | |
for the undertaker this morning, Mr Bronte, not me. | 1:12:35 | 1:12:37 | |
I think rather than come back in here, | 1:12:53 | 1:12:57 | |
he should stay in my bedroom with me. | 1:12:57 | 1:13:01 | |
For the time being. | 1:13:03 | 1:13:04 | |
I wrote a rhyme for you. | 1:13:22 | 1:13:25 | |
Did you? | 1:13:26 | 1:13:27 | |
Well, I wrote it, and I was thinking about you, after I'd written it. | 1:13:29 | 1:13:32 | |
So... | 1:13:32 | 1:13:33 | |
It goes... | 1:13:35 | 1:13:37 | |
D'you want to hear it? | 1:13:37 | 1:13:39 | |
Yes. | 1:13:39 | 1:13:40 | |
It starts, it's... | 1:13:43 | 1:13:44 | |
The first line is... | 1:13:45 | 1:13:47 | |
It goes... | 1:13:49 | 1:13:51 | |
"No coward soul is mine | 1:13:51 | 1:13:52 | |
"No trembler in the world's storm-troubled sphere | 1:13:54 | 1:13:57 | |
"I see Heaven's glories shine | 1:13:59 | 1:14:01 | |
"And Faith shines equal arming me from Fear..." | 1:14:01 | 1:14:03 | |
Take your time. | 1:14:03 | 1:14:05 | |
"Oh, God, within my breast... | 1:14:07 | 1:14:09 | |
"Oh, God, within my breast | 1:14:12 | 1:14:14 | |
"Almighty ever-present Deity | 1:14:14 | 1:14:17 | |
"Life That in me hast rest, | 1:14:17 | 1:14:21 | |
"As I Undying Life, have power in Thee | 1:14:21 | 1:14:24 | |
"Vain are the thousand creeds That move men's hearts | 1:14:27 | 1:14:30 | |
"Unutterably vain, | 1:14:31 | 1:14:33 | |
"Worthless as withered weeds | 1:14:33 | 1:14:36 | |
"Or idlest froth amid the boundless main | 1:14:36 | 1:14:39 | |
"To waken doubt in one... | 1:14:39 | 1:14:42 | |
"To waken doubt in one Holding so fast by thy infinity, | 1:14:43 | 1:14:48 | |
"So surely anchored on The steadfast rock of Immortality | 1:14:48 | 1:14:52 | |
"With wide-embracing love | 1:14:54 | 1:14:58 | |
"Thy spirit animates eternal years | 1:14:58 | 1:15:00 | |
"Pervades and broods above | 1:15:02 | 1:15:05 | |
"Changes, sustains, dissolves, creates and rears | 1:15:05 | 1:15:09 | |
"Though earth and moon were gone | 1:15:11 | 1:15:14 | |
"And suns and universes ceased to be | 1:15:14 | 1:15:17 | |
"And Thou wert left alone | 1:15:17 | 1:15:19 | |
"Every existence would exist in thee | 1:15:21 | 1:15:23 | |
"There is not room for Death | 1:15:25 | 1:15:28 | |
"Nor atom that his might could render void | 1:15:29 | 1:15:32 | |
"Since thou art Being and Breath | 1:15:32 | 1:15:35 | |
"And what thou art may never be destroyed." | 1:15:36 | 1:15:39 | |
There's nothing to be frightened of. | 1:15:42 | 1:15:44 | |
Not for someone like you. | 1:15:47 | 1:15:48 | |
I love you. | 1:15:58 | 1:15:59 | |
Good. | 1:16:03 | 1:16:04 | |
I love you. | 1:16:06 | 1:16:08 | |
-Who? -Currer. Bell. | 1:16:16 | 1:16:18 | |
-There's no-one of that name here. -No, I know that, Mr Bronte, | 1:16:18 | 1:16:21 | |
-only it's addressed to here, so... -That's a mystery. | 1:16:21 | 1:16:25 | |
There's no-one of that name in the entire parish, | 1:16:25 | 1:16:28 | |
as far as I'm aware. | 1:16:28 | 1:16:30 | |
No, well, that's why I thought happen a visitor. | 1:16:30 | 1:16:32 | |
No, no. No visitors. | 1:16:32 | 1:16:35 | |
Not at the moment. | 1:16:35 | 1:16:37 | |
Fair enough, I'll take it back to sorting office then. | 1:16:37 | 1:16:40 | |
-Ah, morning, Miss Bronte. -Did I hear the name? | 1:16:56 | 1:17:00 | |
-Currer Bell? -Yes. | 1:17:01 | 1:17:03 | |
Good. That's not me. Obviously. But if I could take it, | 1:17:03 | 1:17:08 | |
I can make sure it reaches him. | 1:17:08 | 1:17:09 | |
Him. | 1:17:09 | 1:17:11 | |
You see, he... Papa, he forgets. | 1:17:13 | 1:17:16 | |
He's... Mr Bell, he's not here. | 1:17:16 | 1:17:21 | |
He was here. But now...he isn't. | 1:17:21 | 1:17:24 | |
So, I can forward it to him. I have his address. | 1:17:24 | 1:17:27 | |
It's a funny name. | 1:17:29 | 1:17:31 | |
Currer. I thought happen it were summat to do wi' Mr Nicholls. | 1:17:31 | 1:17:34 | |
-Arthur Bell Nicholls. -No. No, no, no, that's... It's just... | 1:17:34 | 1:17:37 | |
That's just coincidental. Can I take it? | 1:17:37 | 1:17:40 | |
Good! Well, that saves me filling in a docket back at sorting office. | 1:17:40 | 1:17:43 | |
I'm much obliged. And so will he be. | 1:17:43 | 1:17:45 | |
How's your...brother? Is he...? | 1:17:45 | 1:17:48 | |
Oh, he... | 1:17:48 | 1:17:49 | |
He's...you know. | 1:17:50 | 1:17:52 | |
Till tomorrow, then! Miss Bronte. | 1:17:54 | 1:17:56 | |
Bye! Bye. Bye. | 1:17:56 | 1:17:58 | |
Where's Emily? | 1:18:31 | 1:18:32 | |
Kitchen. D'you want her? | 1:18:32 | 1:18:34 | |
Letter from a publisher. | 1:18:36 | 1:18:38 | |
Emily! | 1:18:41 | 1:18:43 | |
Thomas Cautley Newby | 1:18:53 | 1:18:55 | |
is offering to publish Wuthering Heights and Agnes Grey. | 1:18:55 | 1:18:58 | |
His terms are steep, but he's offering to publish them, | 1:18:58 | 1:19:01 | |
which is more than anyone else has done, so... | 1:19:01 | 1:19:03 | |
What about The Professor? | 1:19:03 | 1:19:04 | |
No. | 1:19:04 | 1:19:05 | |
-No, he's not offering to publish that. -Why? | 1:19:05 | 1:19:08 | |
-So you need to think about how you want to approach this. -No, that's... | 1:19:08 | 1:19:12 | |
We should publish them all together or not at all. Surely. | 1:19:12 | 1:19:14 | |
That's sentimental, it's kind, | 1:19:14 | 1:19:17 | |
but it's nonsense. | 1:19:17 | 1:19:19 | |
This is a solid offer, not a generous one, as I say, | 1:19:19 | 1:19:22 | |
but I'll persevere in sending out The Professor | 1:19:22 | 1:19:25 | |
and with the other one that I've been writing. | 1:19:25 | 1:19:28 | |
But in the meantime, you've got a choice to make. Read it. | 1:19:28 | 1:19:31 | |
He's asking for you to provide an advance of £50 | 1:19:33 | 1:19:35 | |
towards the cost of publication. | 1:19:35 | 1:19:37 | |
But clearly he believes it's viable or he wouldn't make the offer. | 1:19:37 | 1:19:40 | |
-This is addressed to Currer Bell. -Yes. That was interesting. | 1:19:40 | 1:19:44 | |
-You didn't... -Of course not! I had to... | 1:19:44 | 1:19:47 | |
..fib. | 1:19:49 | 1:19:50 | |
£50. | 1:19:50 | 1:19:52 | |
Perhaps that's normal. Perhaps whoever undertook to publish it | 1:19:52 | 1:19:56 | |
would ask for an advance of that sort. | 1:19:56 | 1:19:58 | |
-We're a risk, we're unknown, despite the poems. -Because of the poems. | 1:19:58 | 1:20:02 | |
Two copies sold. | 1:20:02 | 1:20:03 | |
You will...persist? | 1:20:04 | 1:20:07 | |
Oh, yes. | 1:20:07 | 1:20:09 | |
BANGING ON DOOR | 1:20:29 | 1:20:31 | |
Yes? | 1:20:38 | 1:20:39 | |
I'd like to speak to Mr Bronte. | 1:20:39 | 1:20:42 | |
The Reverend Bronte? | 1:20:42 | 1:20:43 | |
Mr Patrick Bronte. | 1:20:43 | 1:20:45 | |
What shall I say it's to do with? | 1:20:45 | 1:20:47 | |
Is he in? | 1:20:47 | 1:20:49 | |
Who wants to know? | 1:20:49 | 1:20:50 | |
I'm a bailiff of the county appointed by Mr Rawson, | 1:20:50 | 1:20:53 | |
the magistrate at Halifax. | 1:20:53 | 1:20:55 | |
I'm here about an unpaid debt. Is Mr Bronte in? | 1:20:55 | 1:20:57 | |
I'll... | 1:20:59 | 1:21:00 | |
You'll just have to give me a minute. | 1:21:01 | 1:21:04 | |
SHE KNOCKS ON DOOR | 1:21:11 | 1:21:13 | |
Yes? | 1:21:13 | 1:21:14 | |
The's a man at the door, Mr Bronte. | 1:21:17 | 1:21:20 | |
He says he's here about an unpaid debt. | 1:21:20 | 1:21:23 | |
He says he's been sent by a magistrate at Halifax. | 1:21:23 | 1:21:27 | |
-Now, then, gentlemen. How may I help you? -Mr Patrick Bronte? -Yes. | 1:21:46 | 1:21:50 | |
I'm appointed by the Magistrate at Halifax to collect a debt of | 1:21:50 | 1:21:54 | |
£14, 10s 6d, | 1:21:54 | 1:21:55 | |
owing to Mr Crowther of the Commercial in Northgate, Halifax, | 1:21:55 | 1:21:58 | |
and now outstanding for a total of eight months. | 1:21:58 | 1:22:01 | |
What's going on? Branwell, what's going on? | 1:22:01 | 1:22:04 | |
Branwell... | 1:22:04 | 1:22:06 | |
Shift. Shift... | 1:22:06 | 1:22:08 | |
Whoa, whoa, whoa! | 1:22:13 | 1:22:14 | |
Not so fast, little fella. Steady now! | 1:22:14 | 1:22:17 | |
You don't want me to hurt you. | 1:22:17 | 1:22:19 | |
And you don't want to hurt me, cos, if you do, | 1:22:19 | 1:22:23 | |
-there'll be bother. -Get off me! | 1:22:23 | 1:22:24 | |
I think it must be my son that you want. | 1:22:25 | 1:22:28 | |
Your son? Right, well, where is your son, Mr Bronte? | 1:22:28 | 1:22:31 | |
I've got him, Mr Riley! | 1:22:31 | 1:22:33 | |
-Emily! Get him off me! I can't breathe, Emily! -Stop wriggling! | 1:22:36 | 1:22:39 | |
-Stop struggling! You're not going anywhere! -I've done nothing wrong! | 1:22:39 | 1:22:42 | |
-You've got the wrong man! -What were you legging it for then? | 1:22:42 | 1:22:45 | |
And why did you try and hit me, you little twat. | 1:22:45 | 1:22:46 | |
-Get your hands off me! -Are you Patrick Bronte? -Up! | 1:22:46 | 1:22:49 | |
Are you Patrick Branwell Bronte? | 1:22:52 | 1:22:54 | |
Answer the man! | 1:22:54 | 1:22:56 | |
I have no idea who these people are. | 1:22:56 | 1:22:58 | |
You owe money to some publican in Halifax. | 1:22:59 | 1:23:03 | |
And if the debt isn't paid, | 1:23:03 | 1:23:05 | |
they'll take you to the debtors' prison. | 1:23:05 | 1:23:07 | |
You'd best pay up then, eh? | 1:23:07 | 1:23:09 | |
Take him. | 1:23:13 | 1:23:14 | |
What? | 1:23:14 | 1:23:16 | |
No! Papa, I'm sorry! I'm sorry! I'm sorry! | 1:23:16 | 1:23:19 | |
I didn't mean it! I'm sorry! Charlotte! Emily! | 1:23:19 | 1:23:22 | |
We have money. We have money! We have money, please stop them. | 1:23:22 | 1:23:26 | |
-Please. -Hang on, boys! | 1:23:26 | 1:23:27 | |
-Bring him back. -If it's all right with you, Reverend, | 1:23:37 | 1:23:40 | |
my colleagues'll keep hold of him until I've got the remittance. | 1:23:40 | 1:23:43 | |
I shall require a receipt. | 1:23:43 | 1:23:45 | |
I shall give you one. | 1:23:47 | 1:23:48 | |
Come on. | 1:24:22 | 1:24:24 | |
It's all right. | 1:24:29 | 1:24:31 | |
"Gentlemen. I have received your communication | 1:24:41 | 1:24:44 | |
"of the 5th instant, for which I thank you. | 1:24:44 | 1:24:46 | |
"Your objection to the want of varied interest in The Professor is, | 1:24:46 | 1:24:49 | |
"I am aware, not without grounds. | 1:24:49 | 1:24:52 | |
"I have a second narrative in three volumes now completed, | 1:24:52 | 1:24:54 | |
"to which I have endeavoured to impart a more vivid interest | 1:24:54 | 1:24:57 | |
"than belongs to The Professor. | 1:24:57 | 1:24:59 | |
"I send you per rail a manuscript, entitled Jane Eyre, | 1:24:59 | 1:25:02 | |
"a novel in three volumes by Currer Bell." | 1:25:02 | 1:25:05 | |
VOICES IN ANOTHER ROOM | 1:26:21 | 1:26:24 | |
-BRANWELL: -One of us is not going to leave that room alive! | 1:26:24 | 1:26:27 | |
I will either kill you or I will kill myself! | 1:26:27 | 1:26:29 | |
Do you want me to kill myself? Eh? | 1:26:29 | 1:26:32 | |
Cos if I do, old man, you can rest assured | 1:26:32 | 1:26:34 | |
that you'll have driven me to it | 1:26:34 | 1:26:36 | |
with your endless prayers and your drivel! | 1:26:36 | 1:26:39 | |
Can you not understand, can you not get the idea | 1:26:39 | 1:26:44 | |
that the only...only respite I have from the misery of my existence | 1:26:44 | 1:26:49 | |
is being allowed a little bit of something to drink. | 1:26:49 | 1:26:53 | |
I'm only asking for a shilling, for God's sake! | 1:26:53 | 1:26:55 | |
Just...just take it. | 1:26:55 | 1:26:57 | |
He'll just go on and on until he gets what he wants anyway. | 1:27:17 | 1:27:21 | |
And I just... | 1:27:22 | 1:27:23 | |
..I don't always have the energy... | 1:27:25 | 1:27:27 | |
..any more. | 1:27:29 | 1:27:30 | |
I know this is contradicting what I've said before, but... | 1:27:59 | 1:28:02 | |
..my second thoughts are, occasionally, | 1:28:03 | 1:28:06 | |
better than my first ones. | 1:28:06 | 1:28:07 | |
I think you should tell Papa about Jane Eyre. | 1:28:08 | 1:28:11 | |
About how successful it's been. | 1:28:13 | 1:28:15 | |
Why? | 1:28:17 | 1:28:19 | |
I think it would help him to know | 1:28:19 | 1:28:21 | |
that we now seem to have found a means of supporting ourselves, | 1:28:21 | 1:28:24 | |
possibly, in the event of... whenever something happens to him. | 1:28:24 | 1:28:29 | |
Why Jane Eyre? | 1:28:30 | 1:28:32 | |
No, we'll tell him about everything, but just...as a way in. | 1:28:32 | 1:28:35 | |
But then...he'll read it. | 1:28:37 | 1:28:40 | |
Now? | 1:28:44 | 1:28:46 | |
SHE KNOCKS | 1:29:48 | 1:29:49 | |
Hello? | 1:29:49 | 1:29:50 | |
Papa? | 1:29:51 | 1:29:53 | |
Have you got a moment? | 1:29:55 | 1:29:57 | |
Yeah, quickly. | 1:29:57 | 1:29:59 | |
I've... | 1:30:02 | 1:30:04 | |
I've...I've been writing a book. | 1:30:05 | 1:30:07 | |
-A book. And... -Oh, well... | 1:30:07 | 1:30:10 | |
Would you like to read it? | 1:30:10 | 1:30:13 | |
No, I can't. | 1:30:13 | 1:30:15 | |
I don't have time. | 1:30:15 | 1:30:16 | |
And you know, with your tiny, little writing, I can't see it. | 1:30:16 | 1:30:20 | |
But well done. | 1:30:20 | 1:30:21 | |
The thing is, you see... it's published. | 1:30:24 | 1:30:27 | |
It's been published, | 1:30:27 | 1:30:29 | |
it's a properly published... it's a book in three volumes. | 1:30:29 | 1:30:34 | |
Well, well! | 1:30:39 | 1:30:40 | |
Currer Bell. | 1:30:44 | 1:30:46 | |
-No, he's famous, he's... -No, that's me. | 1:30:46 | 1:30:49 | |
That's you? What's you?! | 1:30:50 | 1:30:52 | |
That... | 1:30:52 | 1:30:54 | |
I've published under a pseudonym. | 1:30:54 | 1:30:56 | |
Currer Bell. You see, it's the same initials. | 1:30:56 | 1:30:59 | |
And the thing is, it's just about to go into a second edition. | 1:30:59 | 1:31:02 | |
It's...sold a lot of copies. | 1:31:02 | 1:31:05 | |
It's been really quite unusually successful. | 1:31:05 | 1:31:08 | |
There's a stage play of it in rehearsal as we speak | 1:31:10 | 1:31:13 | |
at a theatre in... the Victoria Theatre, in fact, | 1:31:13 | 1:31:16 | |
in London. | 1:31:16 | 1:31:17 | |
It's been so, um... | 1:31:19 | 1:31:21 | |
hugely well received. | 1:31:21 | 1:31:23 | |
But I... | 1:31:25 | 1:31:26 | |
So...you're...? | 1:31:27 | 1:31:30 | |
-You're...?! -Yes. | 1:31:30 | 1:31:34 | |
And...I've made money. | 1:31:34 | 1:31:37 | |
With the prospect of making quite a lot more. | 1:31:37 | 1:31:39 | |
And if we...if I continue to work hard | 1:31:39 | 1:31:43 | |
and produce the kind of writing | 1:31:43 | 1:31:45 | |
that people are prepared to pay money for, | 1:31:45 | 1:31:47 | |
then it should furnish us with a comfortable existence. | 1:31:47 | 1:31:51 | |
Would you like me to read you some of the reviews? | 1:31:55 | 1:31:57 | |
Well, I... | 1:31:57 | 1:31:59 | |
HE LAUGHS | 1:31:59 | 1:32:01 | |
-Why have you kept it such a secret? -To protect ourselves. | 1:32:02 | 1:32:06 | |
We've been accused of vulgarity and coarseness. | 1:32:06 | 1:32:10 | |
I have "forfeited my right to be called a member of the fairer sex" | 1:32:10 | 1:32:13 | |
according to Lady Eastlake, | 1:32:13 | 1:32:15 | |
who speculates that Currer Bell might actually be a woman | 1:32:15 | 1:32:17 | |
and complicit in the revolutions throughout Europe. | 1:32:17 | 1:32:20 | |
"We do not hesitate to say that the tone of mind and thought | 1:32:20 | 1:32:24 | |
"which has overthrown authority and violated every code - | 1:32:24 | 1:32:28 | |
"human and divine - abroad, | 1:32:28 | 1:32:30 | |
"and fostered Chartism and rebellion at home, | 1:32:30 | 1:32:33 | |
"is the same which has also written Jane Eyre." | 1:32:33 | 1:32:35 | |
Jane Eyre. | 1:32:35 | 1:32:36 | |
-And why is it vulgar? -It isn't, Papa! | 1:32:37 | 1:32:40 | |
People are just squeamish about the truth, about real life. | 1:32:40 | 1:32:44 | |
Our work is clever. It's truthful. | 1:32:44 | 1:32:47 | |
It's new, it's fresh, it's vivid and subtle and forthright. | 1:32:47 | 1:32:51 | |
But...more importantly, the point is... | 1:32:52 | 1:32:56 | |
..we didn't want Branwell to know. | 1:32:58 | 1:33:00 | |
That's first and foremost why we've kept it a secret. | 1:33:01 | 1:33:04 | |
It's not that he'd be scathing, we can stand that. | 1:33:04 | 1:33:06 | |
It's because it's what he always wanted to do. | 1:33:06 | 1:33:08 | |
And now it looks less and less likely that he ever will, | 1:33:08 | 1:33:11 | |
it'd be like rubbing salt into a wound. | 1:33:11 | 1:33:13 | |
No-one can ever know who we are. We've agreed. | 1:33:13 | 1:33:16 | |
We just didn't want you to worry that we weren't | 1:33:16 | 1:33:19 | |
doing anything with ourselves, because we have been. We are! | 1:33:19 | 1:33:22 | |
So, who else knows, besides me? | 1:33:23 | 1:33:26 | |
-No-one. -I've not even told Ellen. | 1:33:26 | 1:33:28 | |
Tabby? | 1:33:28 | 1:33:29 | |
-No-one. -The publishers don't even know who we are. | 1:33:29 | 1:33:32 | |
They think we're three men. | 1:33:32 | 1:33:34 | |
-We'd like to keep it that way. -We just wanted you to know. | 1:33:34 | 1:33:37 | |
HE SIGHS | 1:33:40 | 1:33:41 | |
Little Helen Burns. | 1:33:44 | 1:33:46 | |
That's your little sister, Maria. | 1:33:49 | 1:33:51 | |
Maria was our big sister. | 1:33:52 | 1:33:54 | |
Yeah. Of course she was. | 1:33:55 | 1:33:57 | |
Of course she was. | 1:34:00 | 1:34:02 | |
Not a day passes when I don't think about her. | 1:34:04 | 1:34:07 | |
And little Elizabeth. | 1:34:10 | 1:34:12 | |
And your mother. | 1:34:14 | 1:34:16 | |
I am very proud of you. | 1:34:29 | 1:34:31 | |
I always have been. | 1:34:40 | 1:34:42 | |
CHURCH BELLS RING | 1:34:44 | 1:34:46 | |
"Sunday. | 1:34:56 | 1:34:57 | |
"Dear John, I shall feel very much obliged to you | 1:34:57 | 1:35:02 | |
"if can contrive to get me | 1:35:02 | 1:35:04 | |
"fivepence-worth of gin in a proper measure. | 1:35:04 | 1:35:07 | |
"Should it be speedily got, I could perhaps take it from you or Billy | 1:35:07 | 1:35:12 | |
"at the lane top or what would be quite as well, sent out for, to you. | 1:35:12 | 1:35:17 | |
"I anxiously ask the favour because I know the good it will do me. | 1:35:19 | 1:35:22 | |
"Punctually, at half past nine in the morning, you will be paid | 1:35:24 | 1:35:27 | |
"the fivepence out of a shilling given me then. | 1:35:27 | 1:35:31 | |
"Yours, PBB." | 1:35:31 | 1:35:33 | |
CHURCH BELLS RING | 1:35:36 | 1:35:39 | |
HE COUGHS | 1:36:03 | 1:36:06 | |
BELLS CONTINUE RINGING | 1:36:11 | 1:36:13 | |
(Have you got a minute?) | 1:36:52 | 1:36:54 | |
-What? -We're going to have to go to London. | 1:37:06 | 1:37:09 | |
-Who is? -We are. All three of us. | 1:37:09 | 1:37:12 | |
-When? -Today. | 1:37:12 | 1:37:15 | |
Why? | 1:37:15 | 1:37:16 | |
Your... | 1:37:20 | 1:37:22 | |
Mr Newby must've... I don't know... | 1:37:22 | 1:37:26 | |
sold the first few pages of The Tenant Of Wildfell Hall | 1:37:26 | 1:37:29 | |
to an American publisher on the understanding | 1:37:29 | 1:37:31 | |
that it was written Currer Bell. | 1:37:31 | 1:37:33 | |
Well, it's obviously a misunderstanding. | 1:37:33 | 1:37:35 | |
No. Will you... | 1:37:35 | 1:37:37 | |
please...see | 1:37:37 | 1:37:39 | |
that this man is a con man. A rogue! | 1:37:39 | 1:37:43 | |
How many mistakes did he print in Wuthering Heights? | 1:37:43 | 1:37:45 | |
Proofs that you painstakingly corrected that he ignored, | 1:37:45 | 1:37:48 | |
and now this. My publisher is livid | 1:37:48 | 1:37:51 | |
that I could have sold my next novel to another publisher. | 1:37:51 | 1:37:54 | |
They have first refusal of my next two novels, | 1:37:54 | 1:37:56 | |
and now they think I'm some kind of unscrupulous double-dealer! | 1:37:56 | 1:37:59 | |
-Well, just write and explain. -No. | 1:37:59 | 1:38:02 | |
No, we have to go to London | 1:38:02 | 1:38:05 | |
and give ocular proof that we are three separate people, | 1:38:05 | 1:38:08 | |
the novels are not all the work of one person, | 1:38:08 | 1:38:10 | |
and that this is absolute trash. | 1:38:10 | 1:38:12 | |
Well, I'm not going. | 1:38:12 | 1:38:14 | |
-Why? -Because you can write a letter and explain all that, | 1:38:14 | 1:38:18 | |
-and just say that Newby's made a mistake. -This is not a mistake! | 1:38:18 | 1:38:22 | |
This is a deliberate and deceitful attempt | 1:38:22 | 1:38:25 | |
to cash in on the success of Jane Eyre. Sorry. | 1:38:25 | 1:38:27 | |
-It isn't! -It is! | 1:38:27 | 1:38:29 | |
Newby has made the mistake, along with a lot of other people, | 1:38:29 | 1:38:32 | |
of assuming we're all one person, that is all it is. | 1:38:32 | 1:38:35 | |
Why are you so obtuse? | 1:38:35 | 1:38:38 | |
Why are you so melodramatic? | 1:38:38 | 1:38:40 | |
Emily! | 1:38:40 | 1:38:41 | |
I don't want The Tenant Of Wildfell Hall promoted and sold | 1:38:41 | 1:38:44 | |
on a deceitful... misunderstanding, whichever, | 1:38:44 | 1:38:47 | |
that it's by anyone other than me. | 1:38:47 | 1:38:49 | |
We have to go to London. | 1:38:49 | 1:38:51 | |
Now. | 1:38:51 | 1:38:52 | |
Today. | 1:38:52 | 1:38:54 | |
And explain to Mr Smith and Mr Smith Williams what's happened. | 1:38:54 | 1:38:56 | |
It's intolerable to imagine they could think I could be so slippery. | 1:38:56 | 1:38:59 | |
But, wait, look, you can't. | 1:38:59 | 1:39:01 | |
You can't go to London and explain who you are | 1:39:01 | 1:39:03 | |
-because they will see you. -That's the whole point. | 1:39:03 | 1:39:06 | |
Yes, and you promised - you promised me - | 1:39:06 | 1:39:08 | |
that we would never reveal ourselves to anyone. Ever. | 1:39:08 | 1:39:11 | |
Well... | 1:39:11 | 1:39:12 | |
I'm afraid because of your...Mr Newby... | 1:39:12 | 1:39:17 | |
..we now find ourselves in a... situation. | 1:39:18 | 1:39:21 | |
Emily...I think we should go. | 1:39:21 | 1:39:24 | |
No! You're not going, either. | 1:39:24 | 1:39:26 | |
-No, I am! -No, you're not. | 1:39:26 | 1:39:27 | |
Newby's compromised my integrity just as much as Charlotte's. | 1:39:27 | 1:39:30 | |
I shan't publish with him again. | 1:39:30 | 1:39:32 | |
If you won't come with us, that's...that's your choice. | 1:39:32 | 1:39:36 | |
We don't need to fall out about this, Emily. | 1:39:36 | 1:39:39 | |
It's about your novel - and your name. | 1:39:39 | 1:39:41 | |
It's got NOTHING to do with me! | 1:39:41 | 1:39:43 | |
Don't be like that, Em... | 1:39:45 | 1:39:46 | |
What's the matter? | 1:40:03 | 1:40:05 | |
Emily. | 1:40:09 | 1:40:10 | |
Yes, but you do know her bark's worse than her bite, don't you? | 1:40:17 | 1:40:21 | |
TRAIN WHISTLE BLOWS | 1:40:28 | 1:40:31 | |
Charlotte... | 1:41:42 | 1:41:44 | |
Jane Eyre. | 1:41:44 | 1:41:45 | |
Look. | 1:41:46 | 1:41:48 | |
Can I help you, ladies? | 1:42:04 | 1:42:06 | |
Yes. | 1:42:07 | 1:42:09 | |
Yes, I'd... | 1:42:11 | 1:42:12 | |
We'd like to speak to Mr George Smith, please. | 1:42:17 | 1:42:21 | |
Mr Smith? | 1:42:21 | 1:42:22 | |
Mr Smith's very busy. | 1:42:22 | 1:42:24 | |
Yes... | 1:42:25 | 1:42:26 | |
But the thing is, you see... It's important. | 1:42:28 | 1:42:31 | |
Can I tell him what it's about? | 1:42:32 | 1:42:34 | |
Just... | 1:42:34 | 1:42:36 | |
Just that it's a matter of importance. | 1:42:37 | 1:42:39 | |
I'll, er... I'll see what... | 1:42:41 | 1:42:43 | |
I'll see if he's got a minute. | 1:42:43 | 1:42:45 | |
-Who should I say is asking to see him? -It's... | 1:42:45 | 1:42:48 | |
That's delicate. | 1:42:51 | 1:42:52 | |
He is a very busy man. | 1:42:52 | 1:42:54 | |
We've been travelling for 17 hours, | 1:42:54 | 1:42:56 | |
and we'll take up less than one minute of his time. | 1:42:56 | 1:42:59 | |
-Sir, two ladies asking to see you. -What ladies? | 1:43:10 | 1:43:12 | |
-Didn't give a name, sir. -What's it about? | 1:43:12 | 1:43:14 | |
The only thing I could prise out, sir, is that it's important. | 1:43:14 | 1:43:17 | |
-To me or to them? -They've asked for no more than a minute of your time. | 1:43:17 | 1:43:21 | |
They say they've travelled for 17 hours. | 1:43:21 | 1:43:24 | |
Ladies. How can I help you? | 1:43:31 | 1:43:34 | |
-Am I addressing Mr George Smith? -Yes. | 1:43:35 | 1:43:38 | |
It's a confidential matter. | 1:43:40 | 1:43:42 | |
We're... | 1:43:53 | 1:43:54 | |
We're here to address a misunderstanding, | 1:43:56 | 1:43:58 | |
which, once accomplished, will be to everyone's advantage, | 1:43:58 | 1:44:01 | |
yours as much as ours. | 1:44:01 | 1:44:02 | |
And so we apologise for what must be an interruption | 1:44:02 | 1:44:06 | |
to your morning's work. | 1:44:06 | 1:44:07 | |
But perhaps if I gave you this, it would clarify who we are. | 1:44:07 | 1:44:10 | |
Where did you get this letter? | 1:44:14 | 1:44:16 | |
In the post. From you. | 1:44:16 | 1:44:19 | |
You sent it to me. | 1:44:19 | 1:44:20 | |
I am...Currer Bell. | 1:44:23 | 1:44:26 | |
C Bronte, that's me. | 1:44:27 | 1:44:29 | |
And this is Acton Bell, | 1:44:29 | 1:44:31 | |
author of Agnes Grey. | 1:44:31 | 1:44:32 | |
The point is, author of The Tenant Of Wildfell Hall, not me. | 1:44:32 | 1:44:36 | |
And Ellis couldn't come. Ellis didn't want to come. | 1:44:36 | 1:44:40 | |
Ellis is... Anyway...the point is... | 1:44:40 | 1:44:44 | |
we are three sisters. | 1:44:44 | 1:44:46 | |
I have not sold the first few pages of my next novel | 1:44:47 | 1:44:50 | |
to an America publisher, as claimed by Mr Thomas Cautley Newby. | 1:44:50 | 1:44:53 | |
That is not my novel, it's Acton's. | 1:44:53 | 1:44:56 | |
I...Mr Smith, have nothing, exactly nothing, to do with Mr Newby. | 1:44:56 | 1:45:00 | |
And nor will my sister, now she has seen him in his true colours. | 1:45:00 | 1:45:03 | |
We are people of integrity. | 1:45:03 | 1:45:05 | |
And probity. | 1:45:05 | 1:45:07 | |
And that is why we are here. | 1:45:07 | 1:45:10 | |
To set matters straight. | 1:45:10 | 1:45:11 | |
Sorry, you're... | 1:45:11 | 1:45:14 | |
You are Currer Bell? | 1:45:15 | 1:45:17 | |
What makes you doubt it, Mr Smith? | 1:45:17 | 1:45:20 | |
My accent? My gender? My size? | 1:45:20 | 1:45:22 | |
Oh, good heavens! | 1:45:28 | 1:45:30 | |
Oh, good Lord! | 1:45:30 | 1:45:31 | |
Forgive me, I'm sorry. | 1:45:31 | 1:45:35 | |
I'm sorry, too, we've caught you off-guard. | 1:45:35 | 1:45:39 | |
But you see, we felt it best to come and see you in person, | 1:45:39 | 1:45:42 | |
given the tone of your letter. | 1:45:42 | 1:45:44 | |
I wanted no room left for any further misunderstanding or doubt. | 1:45:44 | 1:45:47 | |
That's deeply, deeply appreciated, Miss... | 1:45:47 | 1:45:49 | |
BOTH: Bronte. | 1:45:49 | 1:45:51 | |
And a great relief, of course. | 1:45:51 | 1:45:53 | |
Have you really been travelling for 17 hours? | 1:45:53 | 1:45:56 | |
Through the night. Such was the tone of your letter that.. | 1:45:56 | 1:45:59 | |
You must be exhausted. | 1:45:59 | 1:46:00 | |
Oddly, Mr Smith, I feel extraordinarily awake. | 1:46:02 | 1:46:04 | |
Where are you staying? | 1:46:04 | 1:46:06 | |
We've booked into the Chapter Coffee House. In Paternoster Row. | 1:46:06 | 1:46:09 | |
Our father stayed there briefly before he went up to Cambridge. | 1:46:09 | 1:46:12 | |
And my sister and I, my other sister, Ellis, did once, | 1:46:12 | 1:46:17 | |
-before we travelled to Brussels. -You've taken my breath away. | 1:46:17 | 1:46:22 | |
Miss Bronte. Oh, you have to meet people. | 1:46:22 | 1:46:25 | |
Have you any idea how many people want to... Thackeray! | 1:46:25 | 1:46:29 | |
Thackeray, Thackeray... Thackeray will have to meet you. | 1:46:29 | 1:46:32 | |
Er...Kent, Kent. | 1:46:32 | 1:46:34 | |
Kent! Fetch Smith Williams! You have to meet Smith Williams. | 1:46:35 | 1:46:38 | |
He...he is such an admirer of...of...of... | 1:46:38 | 1:46:42 | |
He was... | 1:46:42 | 1:46:43 | |
..of your genius. | 1:46:43 | 1:46:45 | |
He was the one that read...that read The Professor, and saw instantly, | 1:46:45 | 1:46:51 | |
before Jane Eyre - which is glorious, by the way - | 1:46:51 | 1:46:54 | |
um, he saw... | 1:46:54 | 1:46:56 | |
he saw, he saw, Miss Bronte. | 1:46:56 | 1:46:59 | |
The whole of literary London - the whole of London - | 1:47:02 | 1:47:06 | |
will fall over itself to spend a minute | 1:47:06 | 1:47:09 | |
in the company of Currer Bell. | 1:47:09 | 1:47:11 | |
Um, somebody really needs | 1:47:12 | 1:47:14 | |
to do something about this Mr Newby, though, Mr Smith. | 1:47:14 | 1:47:17 | |
Absolutely, indeed. He will be dealt with. | 1:47:17 | 1:47:19 | |
Please, please, come through to my office. | 1:47:19 | 1:47:22 | |
Ah, Smith Williams! | 1:47:22 | 1:47:24 | |
This... | 1:47:24 | 1:47:25 | |
This is... | 1:47:25 | 1:47:27 | |
Currer Bell. | 1:47:27 | 1:47:28 | |
Oh, how perfect. | 1:47:31 | 1:47:33 | |
How delightful. | 1:47:37 | 1:47:39 | |
And this is Acton...Bell. | 1:47:39 | 1:47:41 | |
-Ellis couldn't come. -Do you like opera? | 1:47:42 | 1:47:45 | |
BRANWELL COUGHS | 1:47:57 | 1:47:59 | |
I'll see to him, I'll sit with him. | 1:48:05 | 1:48:08 | |
Are you sure? | 1:48:11 | 1:48:12 | |
You go sleep in their bed. | 1:48:12 | 1:48:14 | |
Branwell. | 1:48:14 | 1:48:15 | |
I'm going to be sick. | 1:48:16 | 1:48:17 | |
HE VOMITS | 1:48:19 | 1:48:21 | |
You're back! | 1:48:44 | 1:48:46 | |
That was quick! All the way to London. | 1:48:46 | 1:48:49 | |
-How were things here? -Oh, well, | 1:48:49 | 1:48:52 | |
we've had sad work with Branwell. But other than that... | 1:48:52 | 1:48:57 | |
Good. Good. | 1:48:57 | 1:48:59 | |
You're the last person in the world I want to fall out with. | 1:49:06 | 1:49:09 | |
I know. | 1:49:09 | 1:49:11 | |
We only told Mr Smith and Mr Smith Williams. | 1:49:22 | 1:49:25 | |
Well, and Newby, later. | 1:49:25 | 1:49:27 | |
No-one else. We made it clear they hadn't to tell anyone else either. | 1:49:27 | 1:49:31 | |
They took us to the Royal Opera House, | 1:49:31 | 1:49:33 | |
Mr Smith and Mr Smith Williams did, | 1:49:33 | 1:49:35 | |
with Mr Smith's mother and his sisters, | 1:49:35 | 1:49:37 | |
and us with nothing to wear but what we'd gone in. | 1:49:37 | 1:49:39 | |
They'd no idea who we were! | 1:49:39 | 1:49:40 | |
Heaven alone knows what they must have thought about us. | 1:49:40 | 1:49:43 | |
He's... | 1:49:45 | 1:49:46 | |
What? | 1:49:48 | 1:49:50 | |
Branwell. | 1:49:53 | 1:49:54 | |
He's been vomiting blood. | 1:49:54 | 1:49:57 | |
"Dear Ellen, | 1:50:10 | 1:50:11 | |
"I received your letter informing us | 1:50:11 | 1:50:13 | |
"of the time of your arrival in Keighley with great delight. | 1:50:13 | 1:50:16 | |
"Emily and Anne anticipate your long-delayed visit | 1:50:16 | 1:50:19 | |
"as eagerly as I do, myself. | 1:50:19 | 1:50:20 | |
"We will be outside the Devonshire Arms promptly at two o'clock. | 1:50:20 | 1:50:24 | |
"Wishing you a safe and comfortable journey." | 1:50:24 | 1:50:26 | |
Anyone for Keighley? | 1:50:26 | 1:50:28 | |
Ellen! | 1:50:32 | 1:50:33 | |
Charlotte! | 1:50:33 | 1:50:35 | |
Emily! | 1:50:37 | 1:50:38 | |
-Anne! -Miss Nussey. | 1:50:38 | 1:50:40 | |
Which one's your box? Is it this one? | 1:50:40 | 1:50:42 | |
-Yes, that one there. -How was your journey? | 1:50:42 | 1:50:44 | |
Long, tiresome. | 1:50:44 | 1:50:45 | |
We haven't seen you for so long. | 1:50:45 | 1:50:47 | |
I know, I've missed you. | 1:50:47 | 1:50:48 | |
-Shall we go? -Yes. | 1:50:48 | 1:50:50 | |
In the end I realised we'd delay your visit forever | 1:51:00 | 1:51:03 | |
if we weren't careful. | 1:51:03 | 1:51:04 | |
And he's so quiet now. | 1:51:04 | 1:51:06 | |
We barely see him during the day. He just sleeps. | 1:51:06 | 1:51:09 | |
I think more people have crosses to bear than we realise. | 1:51:09 | 1:51:13 | |
On the domestic side. | 1:51:13 | 1:51:15 | |
On the quiet. | 1:51:15 | 1:51:16 | |
The oddest thing - I think I told you - | 1:51:18 | 1:51:21 | |
The Robinson girls, you know the youngest two, Elizabeth and Mary? | 1:51:21 | 1:51:24 | |
They've started writing to Anne. | 1:51:24 | 1:51:26 | |
About six months after their father died. | 1:51:26 | 1:51:30 | |
I mean, they're very fond of Anne, more than she imagined. | 1:51:30 | 1:51:33 | |
Then they wanted to visit. Here. | 1:51:33 | 1:51:36 | |
So we let them, and they came last week. | 1:51:37 | 1:51:40 | |
Of course, Branwell knew nothing about it. | 1:51:40 | 1:51:43 | |
-What were they like? -Oh. | 1:51:43 | 1:51:46 | |
You know. | 1:51:46 | 1:51:47 | |
Pretty. Vacuous. | 1:51:47 | 1:51:50 | |
Non-stop yak-yak-yak. | 1:51:50 | 1:51:52 | |
Emily popped her head in, | 1:51:52 | 1:51:54 | |
purely to satisfy her own curiosity, of course, | 1:51:54 | 1:51:56 | |
and then, after approximately four seconds, withdrew. | 1:51:56 | 1:51:59 | |
It's one of the few occasions I've really enjoyed her surliness. | 1:51:59 | 1:52:02 | |
Anyway, the point is, they told us last week... | 1:52:02 | 1:52:07 | |
..that their mother... | 1:52:09 | 1:52:10 | |
What? | 1:52:12 | 1:52:14 | |
..is going to marry... | 1:52:17 | 1:52:19 | |
Sir Edward Scott. | 1:52:19 | 1:52:21 | |
So much for contrition and guilt and madness | 1:52:21 | 1:52:24 | |
and clauses in people's wills. | 1:52:24 | 1:52:26 | |
He's been very sadly used, Branwell. | 1:52:26 | 1:52:29 | |
You didn't tell him? | 1:52:30 | 1:52:31 | |
What purpose would it serve? | 1:52:32 | 1:52:34 | |
I'm sorry to inflict all this on you, Ellen. | 1:52:35 | 1:52:38 | |
Charlotte, I'm your oldest friend. | 1:52:38 | 1:52:41 | |
You can tell me anything, you know that. | 1:52:41 | 1:52:44 | |
Look! | 1:52:45 | 1:52:46 | |
What is that? It's extraordinary. | 1:52:50 | 1:52:53 | |
It's three suns! | 1:52:53 | 1:52:54 | |
What is it? It's beautiful. | 1:52:57 | 1:53:00 | |
It's you three. | 1:53:01 | 1:53:02 | |
You can go now. | 1:53:30 | 1:53:32 | |
You'll have to sit him up to get his shirt off. | 1:54:50 | 1:54:54 | |
'Tis a shame you're embarked on this course of myopic self-destruction! | 1:55:51 | 1:55:55 | |
'I despise everything you stand for! | 1:55:55 | 1:55:57 | |
'Revolution is in the air! | 1:55:57 | 1:55:59 | |
'Only a fool like you, sir, would ignore it!' | 1:55:59 | 1:56:02 | |
..this is the famous dining room table, | 1:56:43 | 1:56:45 | |
at which the sisters used to sit and write. | 1:56:45 | 1:56:48 | |
Have you been inspired by the story of the Bronte sisters? | 1:58:37 | 1:58:41 | |
To unlock your own creativity, and watch behind-the-scenes interviews | 1:58:41 | 1:58:45 | |
with the cast and crew go to... | 1:58:45 | 1:58:47 | |
..and follow the links to the Open University. | 1:58:51 | 1:58:55 |