Browse content similar to Brideshead Revisited. Check below for episodes and series from the same categories and more!
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AIR-RAID SIREN WAILS | 0:00:25 | 0:00:28 | |
MURMUR OF VOICES | 0:00:48 | 0:00:51 | |
'If you asked me now who I am,... | 0:00:56 | 0:00:59 | |
..the only answer I could give with any certainty would be my name.' | 0:01:00 | 0:01:04 | |
'Charles Ryder.' | 0:01:04 | 0:01:06 | |
'For the rest,... my loves, my hates,... | 0:01:06 | 0:01:11 | |
down even to my deepest desires, | 0:01:11 | 0:01:13 | |
I can no longer say whether these emotions are my own | 0:01:13 | 0:01:16 | |
or stolen from those I once so desperately wished to be.' | 0:01:16 | 0:01:20 | |
'On second thoughts,... | 0:01:24 | 0:01:26 | |
one emotion remains my own, | 0:01:26 | 0:01:29 | |
alone among the borrowed and the second-hand,... | 0:01:29 | 0:01:32 | |
as pure as that faith from which I am still in flight.' | 0:01:32 | 0:01:37 | |
'Guilt.' | 0:01:39 | 0:01:42 | |
Been away, sir? Anywhere interesting? | 0:02:04 | 0:02:07 | |
-Jungle. -Ah! Jungle! | 0:02:07 | 0:02:10 | |
-Explorer, are we? -Painter. | 0:02:11 | 0:02:14 | |
Painter! So, bye bye, beardie. Hello, smooth. | 0:02:14 | 0:02:18 | |
RAUCOUS LAUGHTER / BABBLE OF VOICES | 0:02:27 | 0:02:30 | |
"Famous for his impressive architectural portraits, | 0:02:30 | 0:02:33 | |
British artist Charles Ryder has taken New York by storm | 0:02:33 | 0:02:37 | |
with a series of gripping jungle studies." | 0:02:37 | 0:02:40 | |
"To own a Ryder is the dream of every East Coast millionaire." | 0:02:40 | 0:02:44 | |
You must be so proud of him. | 0:02:44 | 0:02:47 | |
-Was he away long? -Two years. | 0:02:47 | 0:02:50 | |
-And it doesn't feel like a day. -You must feel positively bridal. | 0:02:50 | 0:02:55 | |
Can't paint to save my life. Can't even hold a buggering brush. | 0:02:55 | 0:03:00 | |
But... I know what I like. | 0:03:00 | 0:03:02 | |
Lots of colour. Nice and bright. | 0:03:02 | 0:03:06 | |
I see the jungle in your work as a metaphor, | 0:03:06 | 0:03:09 | |
not least a metaphysical statement of chaos... | 0:03:09 | 0:03:12 | |
-BABBLE OF VOICES CONTINUES -Make an effort, Charles. | 0:03:12 | 0:03:15 | |
You're not in South America now. You're amongst civilised people. | 0:03:15 | 0:03:19 | |
ALL CHATTER AND LAUGH | 0:03:22 | 0:03:25 | |
SIGHS | 0:03:29 | 0:03:31 | |
-Ah! Mr Ryder... -Excuse me, please. | 0:03:58 | 0:04:00 | |
-Can I just have a word... -ALL CHATTER | 0:04:00 | 0:04:04 | |
BAND PLAYS LIVELY RUMBA-STYLE MUSIC | 0:04:22 | 0:04:25 | |
FEMALE VOCALIST SINGS, INDISTINCT | 0:04:27 | 0:04:30 | |
Hello, Charles. | 0:05:15 | 0:05:17 | |
-You're wearing a coat! -Yes, Father. I am. | 0:06:09 | 0:06:12 | |
-Why? -I'm going up to Oxford. | 0:06:12 | 0:06:16 | |
Ah, yes. Hmm... | 0:06:16 | 0:06:19 | |
Remind me. What are you taking? | 0:06:19 | 0:06:23 | |
-History. -And what allowance have I given you? | 0:06:23 | 0:06:26 | |
-A hundred pounds. -Oh, how very indulgent of me! | 0:06:26 | 0:06:29 | |
Mind you, it all comes out of capital. | 0:06:29 | 0:06:32 | |
Oh, I suppose this is the time I should give you advice. | 0:06:32 | 0:06:35 | |
Your mother was always so good at that. | 0:06:38 | 0:06:41 | |
-Who's meeting you? -Cousin Jasper offered to show me around. | 0:06:43 | 0:06:47 | |
-Cousin Jasper? -LAUGHS CREAKILY | 0:06:47 | 0:06:50 | |
Most entertaining. | 0:06:50 | 0:06:52 | |
BICYCLE BELL RINGS | 0:07:26 | 0:07:28 | |
Ah, there you are, Charles! | 0:07:32 | 0:07:34 | |
This way, please. | 0:07:34 | 0:07:37 | |
Come along! | 0:07:38 | 0:07:40 | |
As an only child, you will, of course, have much to learn. | 0:07:40 | 0:07:44 | |
Though I'm only your cousin, you must look upon my as a brother - | 0:07:44 | 0:07:47 | |
older, wiser, but a brother nevertheless. | 0:07:47 | 0:07:50 | |
It is no secret that our families are not rich in material wealth. | 0:07:50 | 0:07:54 | |
Keep off the grass! But I like to think that we Ryders are, all of us, | 0:07:54 | 0:07:58 | |
rich in the striving of minds. Now, then... Not that way! | 0:07:58 | 0:08:02 | |
Clothes. Dress as you do in a country house. | 0:08:02 | 0:08:05 | |
Never wear a tweed coat and flannel trousers. | 0:08:05 | 0:08:08 | |
Always a suit. And go to a London tailor. You'll get a better cut. | 0:08:08 | 0:08:12 | |
Protocol - first and foremost, behaving with restraint. | 0:08:12 | 0:08:15 | |
Nine adulteries, 12 liaisons, | 0:08:15 | 0:08:19 | |
64 fornications, and something approaching a rape | 0:08:19 | 0:08:23 | |
rest nightly upon the soul of our d-delicate friend, Florialis, | 0:08:23 | 0:08:28 | |
and yet the man is so quiet and reserved in demeanour | 0:08:28 | 0:08:32 | |
that he passes for both bloodless and sexless! | 0:08:32 | 0:08:35 | |
-ALL LAUGH -Well done, my man! | 0:08:35 | 0:08:38 | |
Sodomites, all of them. Steer well clear. | 0:08:38 | 0:08:42 | |
Treat all dons as you would the local vicar, with indifference. | 0:08:44 | 0:08:48 | |
Oh, dear, oh, dear, this won't do at all... | 0:08:48 | 0:08:51 | |
You must change your rooms. | 0:08:51 | 0:08:54 | |
I've seen many a man ruined through having ground-floor rooms | 0:08:54 | 0:08:57 | |
in the front quad. People start dropping in. | 0:08:57 | 0:09:00 | |
They leave their gowns here and come and collect them before hall. | 0:09:00 | 0:09:04 | |
-You start giving them sherry, and - -DRUNKEN SHOUTING | 0:09:04 | 0:09:07 | |
-ALL SHOUT IN AMUSEMENT -Ah. Sebastian, come along. | 0:09:10 | 0:09:13 | |
Look at the state of you... Come on. Let's get some Chateau... | 0:09:13 | 0:09:17 | |
GRUNTS DISGUSTEDLY | 0:09:17 | 0:09:19 | |
Oh, no, no, no, sir. Stop! | 0:09:23 | 0:09:26 | |
-You don't clear up after yourself. That's my job. -Sorry, Lunt. | 0:09:26 | 0:09:31 | |
-What's all this? -From the gentleman last night, sir. | 0:09:31 | 0:09:34 | |
He just called. Left a note for you. | 0:09:34 | 0:09:38 | |
"I am very contrite. Please come to luncheon today. Sebastian Flyte." | 0:09:44 | 0:09:49 | |
The lord Sebastian Flyte, don't you know. | 0:09:49 | 0:09:51 | |
I'm sure it's quite a pleasure to clear up after him. | 0:09:51 | 0:09:54 | |
I take it you'll be out to lunch today, then, sir. | 0:09:54 | 0:09:58 | |
Yes, Lunt. I think I shall be. | 0:09:58 | 0:10:02 | |
STYLISH LIGHT-JAZZ MUSIC PLAYS | 0:10:12 | 0:10:15 | |
I've just counted them. There's five each, | 0:10:42 | 0:10:46 | |
and two over, so I'm having the two. | 0:10:46 | 0:10:48 | |
I'm unaccountably hungry today. I've put myself in the hands | 0:10:49 | 0:10:54 | |
of Dolbear and Goodall, and feel so drugged | 0:10:54 | 0:10:56 | |
I've begun to believe the whole of yesterday evening was a dream. | 0:10:56 | 0:11:00 | |
Please don't wake me. | 0:11:00 | 0:11:03 | |
-Do try one. -Thank you. | 0:11:03 | 0:11:06 | |
-What are they? -Plover's eggs. | 0:11:06 | 0:11:09 | |
The first this year. | 0:11:09 | 0:11:11 | |
Mummy sends them from Brideshead. They always lay early for her. | 0:11:11 | 0:11:16 | |
You would, too, if you knew my mother. | 0:11:16 | 0:11:19 | |
-Are you terribly angry with me about last night? -No. | 0:11:21 | 0:11:25 | |
Not at all. Thank you for the flowers. | 0:11:25 | 0:11:29 | |
Aloysius, you can't go there. | 0:11:30 | 0:11:33 | |
Do sit down. | 0:11:33 | 0:11:35 | |
Tell me about you. | 0:11:40 | 0:11:43 | |
Me? I'm, um,... in my first year, reading history. | 0:11:43 | 0:11:48 | |
But really what I most want to be is a painter. | 0:11:50 | 0:11:53 | |
Would you like to paint me? | 0:11:53 | 0:11:55 | |
Why,... yes. Yes, if you like. | 0:11:57 | 0:12:00 | |
It's so clever of you, knowing what you want. | 0:12:00 | 0:12:02 | |
I've no idea what I want - except to be happy,... | 0:12:02 | 0:12:06 | |
..if I can. Let's have some champagne. | 0:12:07 | 0:12:10 | |
A glass each, before the rowdies arrive. | 0:12:11 | 0:12:14 | |
You don't want to join the Old Boys. They're all bloody drugged bogs | 0:12:19 | 0:12:24 | |
or collegers. Top me up, will you, old man? | 0:12:24 | 0:12:27 | |
-I don't remember you from Eton. -I didn't go to Eton. | 0:12:27 | 0:12:30 | |
Oh, really? Where, then? Harrow or Winchester? | 0:12:30 | 0:12:34 | |
-ALL LAUGH -Rugby? | 0:12:34 | 0:12:36 | |
-Well, not Charterhouse, I hope. -ALL LAUGH | 0:12:36 | 0:12:39 | |
-You wouldn't have heard of it. -Oh! | 0:12:39 | 0:12:42 | |
-There are other schools, Boy. -Yes. I suppose there must be. | 0:12:42 | 0:12:46 | |
ALL BUT SEBASTIAN SNIGGER | 0:12:46 | 0:12:49 | |
-My dears! -Hello, Blanche. -Hello, Blanche. | 0:12:49 | 0:12:52 | |
I couldn't get away before. I was lunching | 0:12:52 | 0:12:54 | |
with my pr-preposterous tutor. I told him I had to change | 0:12:54 | 0:12:58 | |
-f-for f-f-f-footer! -ALL LAUGH | 0:12:58 | 0:13:01 | |
Mmm... | 0:13:04 | 0:13:06 | |
Anthony, you remember Charles. | 0:13:06 | 0:13:09 | |
From last night. Charles is reading history, | 0:13:09 | 0:13:12 | |
-but he wants to be an artist. -No! | 0:13:12 | 0:13:15 | |
-Why ever not? -Either you are an artist, or you are not. | 0:13:15 | 0:13:19 | |
Hear, hear. | 0:13:19 | 0:13:21 | |
-Then, I am. -Interesting! | 0:13:22 | 0:13:25 | |
You have about you a distinct hint of the pragmatic. | 0:13:25 | 0:13:29 | |
What do you wanna be an artist for?! I mean, what's the point of it? | 0:13:29 | 0:13:33 | |
Why don't you just buy a bloody camera and take a bloody photograph, | 0:13:33 | 0:13:37 | |
-and stop giving yourself airs? -Go it, Boy. | 0:13:37 | 0:13:40 | |
-I don't give myself airs. -Er, yes, you do. | 0:13:40 | 0:13:43 | |
And anyway, you haven't answered my question. Come on! Answer! | 0:13:43 | 0:13:49 | |
(ALL CHANT) Answer! Answer! Answer! | 0:13:49 | 0:13:52 | |
ALL CONTINUE TO CHANT | 0:13:52 | 0:13:55 | |
Because... | 0:13:55 | 0:13:57 | |
a camera is a mechanical device | 0:13:57 | 0:14:00 | |
which records a moment in time, | 0:14:00 | 0:14:02 | |
but... not what that moment means, | 0:14:02 | 0:14:06 | |
or the emotions that it evokes, | 0:14:06 | 0:14:09 | |
whereas a painting,... | 0:14:09 | 0:14:11 | |
however imperfect it may be, | 0:14:11 | 0:14:14 | |
is an expression of... feeling. | 0:14:14 | 0:14:18 | |
An expression of love. | 0:14:18 | 0:14:21 | |
Not... just a copy of something. | 0:14:22 | 0:14:25 | |
ALL SNIGGER ANTHONY APPLAUDS | 0:14:25 | 0:14:28 | |
-Who on earth do you think cares about your feelings? -I do. | 0:14:29 | 0:14:33 | |
Boy, you're an oaf. Behave yourself. | 0:14:33 | 0:14:36 | |
To art,... | 0:14:36 | 0:14:38 | |
and love. | 0:14:38 | 0:14:40 | |
(ALL) To art and love. | 0:14:42 | 0:14:45 | |
We'd just arrived in his rooms, | 0:14:48 | 0:14:51 | |
then, without even a by-your-leave, | 0:14:51 | 0:14:53 | |
the Lord Flyte pokes his head through the window and vomits. | 0:14:53 | 0:14:57 | |
Ground-floor rooms, you see! Poor Charles may never recover. | 0:14:57 | 0:15:01 | |
-Morning, Jasper! -Morning... | 0:15:01 | 0:15:03 | |
LAUGHS | 0:15:03 | 0:15:05 | |
Charles! You're to come away at once. | 0:15:14 | 0:15:16 | |
I've got a basket of strawberries and a bottle of Chateau Peyraguey, | 0:15:16 | 0:15:20 | |
which isn't a wine you've ever tasted, so don't pretend. | 0:15:20 | 0:15:23 | |
It's heaven with strawberries. | 0:15:23 | 0:15:26 | |
Just the place to bury a crock of gold. | 0:15:43 | 0:15:46 | |
I should like to bury something precious | 0:15:50 | 0:15:52 | |
in every place where I've been happy. | 0:15:52 | 0:15:55 | |
And then, when I was old and ugly and miserable,... | 0:15:55 | 0:15:58 | |
..I could come back and dig it up,... | 0:16:00 | 0:16:04 | |
..and remember. | 0:16:05 | 0:16:07 | |
Come along, Charles. There's someone I want you to meet. | 0:16:18 | 0:16:22 | |
-Is this where you live? -It's where my family live. | 0:16:49 | 0:16:53 | |
-Don't worry. You won't have to meet them. -But I should like to. | 0:16:55 | 0:16:58 | |
You can't. They're away. | 0:16:58 | 0:17:01 | |
Everything's shut up. We'd better go this way. | 0:17:24 | 0:17:27 | |
Keep up! | 0:17:40 | 0:17:42 | |
-Charles! -Oh! -(LAUGHS) Charles... | 0:17:51 | 0:17:54 | |
TAPS ON DOOR | 0:18:00 | 0:18:02 | |
-Well,... this -is -a surprise! | 0:18:05 | 0:18:08 | |
Oh, how lovely to see you! Oh... | 0:18:08 | 0:18:11 | |
Meet my new chum, Charles. | 0:18:11 | 0:18:14 | |
Charles, this is Nanny Hawkins. This is who I wanted you to meet. | 0:18:14 | 0:18:18 | |
-I don't think I know you, do I? -How do you do? | 0:18:18 | 0:18:21 | |
Your friend has charming manners. What family are you from, Charles? | 0:18:21 | 0:18:25 | |
-No family. I mean, no-one important. -Charles is an artist. | 0:18:25 | 0:18:29 | |
-He's going to paint me. -GASPS | 0:18:29 | 0:18:31 | |
How jolly! Oh... | 0:18:31 | 0:18:34 | |
You've come at just the right time. Lady Marchmain's on her way. | 0:18:34 | 0:18:38 | |
It's the Conservative Women's tea. They always turn out for Brideshead. | 0:18:38 | 0:18:42 | |
I'm afraid we may have to miss them, Nanny. | 0:18:42 | 0:18:45 | |
Your mother will be disappointed. I'm sure she'd want to meet - | 0:18:45 | 0:18:49 | |
Can't be done, I'm afraid. Got to get back, or we'll be gated. | 0:18:49 | 0:18:53 | |
I pray for my dear Sebastian every day. | 0:19:00 | 0:19:03 | |
-Charles! -It was very nice to meet you. | 0:19:05 | 0:19:08 | |
-Come along. -Couldn't we just have a quick look? | 0:19:14 | 0:19:17 | |
-We've seen who we came for. -Just a little look? | 0:19:17 | 0:19:20 | |
RIPPLING ORCHESTRAL THEME MUSIC | 0:19:23 | 0:19:26 | |
Don't be such a tourist, Charles. If you're that keen, | 0:19:56 | 0:20:00 | |
you can see it for a shilling on Queen Alexandra's Day. | 0:20:00 | 0:20:04 | |
God, I loathe that painting! | 0:20:04 | 0:20:07 | |
I could show you the chapel, I suppose. If we're quick. | 0:20:09 | 0:20:13 | |
What did you do that for? | 0:20:36 | 0:20:38 | |
You're not... Catholic, are you? | 0:20:38 | 0:20:40 | |
No. | 0:20:40 | 0:20:42 | |
I was just... trying to fit in. | 0:20:42 | 0:20:45 | |
Well, don't! | 0:20:45 | 0:20:47 | |
-Come on, come on! -Sorry. I don't have the knack. | 0:20:52 | 0:20:56 | |
What are you doing? | 0:20:56 | 0:20:58 | |
-ENGINE COUGHS AND CATCHES -Car. Now. | 0:21:00 | 0:21:04 | |
Who's that in the car with your mother? | 0:21:35 | 0:21:38 | |
-My sister. -What's she like? -For goodness sake! | 0:21:38 | 0:21:41 | |
I don't keep asking you about your family. | 0:21:41 | 0:21:44 | |
-But I've never asked you anything before! -You're so inquisitive. | 0:21:44 | 0:21:47 | |
-You're so mysterious about them. -I'd hoped I was mysterious | 0:21:47 | 0:21:51 | |
about everything. | 0:21:51 | 0:21:53 | |
Why don't you want me to meet them? Are you ashamed of them or me? | 0:21:53 | 0:21:57 | |
Don't be so vulgar, Charles. | 0:21:57 | 0:21:59 | |
I'm not having you mixed up with my family. | 0:22:03 | 0:22:06 | |
You're my friend. | 0:22:06 | 0:22:09 | |
I don't have a family. | 0:22:09 | 0:22:11 | |
You have me. | 0:22:13 | 0:22:16 | |
Sebastian and Charles contra mundum. | 0:22:20 | 0:22:24 | |
Contra mundum! | 0:22:27 | 0:22:30 | |
Father? | 0:22:47 | 0:22:49 | |
Father? | 0:22:51 | 0:22:54 | |
-Back already? -Term's over. | 0:22:56 | 0:22:58 | |
So soon! | 0:22:58 | 0:23:00 | |
KNOCK AT DOOR | 0:23:13 | 0:23:15 | |
-Father, I have to leave at once. -Oh, yes? | 0:23:21 | 0:23:24 | |
-A great friend has had a terrible accident. I must go to him. -May I? | 0:23:24 | 0:23:27 | |
"Gravely injured. Come at once. Sebastian." | 0:23:31 | 0:23:35 | |
Oh, I'm sorry you're upset. Reading this message, | 0:23:36 | 0:23:41 | |
I would say that the accident was not as serious | 0:23:41 | 0:23:44 | |
as you seem to suggest, or... it would not have been signed | 0:23:44 | 0:23:48 | |
by the victim himself. | 0:23:48 | 0:23:50 | |
Still, of course, he may be fully conscious | 0:23:51 | 0:23:54 | |
but horribly paralysed. Remind me - | 0:23:54 | 0:23:57 | |
why is your presence necessary? | 0:23:57 | 0:23:59 | |
I told you. He's a great friend. | 0:23:59 | 0:24:03 | |
Well, I shall miss you, my boy. | 0:24:03 | 0:24:05 | |
But... don't hurry back on my account. | 0:24:05 | 0:24:08 | |
TRAIN WHISTLES | 0:24:10 | 0:24:13 | |
Take your bag, sir? | 0:24:26 | 0:24:28 | |
Excuse me! | 0:24:33 | 0:24:35 | |
Are you Charles Ryder? | 0:24:39 | 0:24:42 | |
Yes. Sorry! Hello. | 0:24:43 | 0:24:45 | |
I'm Julia, Sebastian's sister. I've been sent to pick you up. | 0:24:45 | 0:24:49 | |
Hop in, Mr Ryder. | 0:24:49 | 0:24:51 | |
Case in the back. | 0:24:54 | 0:24:57 | |
-How's Sebastian? -He's fine. | 0:25:25 | 0:25:28 | |
-Fine? -Did he tell you he was dying? | 0:25:28 | 0:25:31 | |
Well, I thought... His message said... | 0:25:31 | 0:25:34 | |
-I expect he thought you wouldn't come, if you knew. -He's not hurt? | 0:25:34 | 0:25:37 | |
He cracked a bone in his foot so small it hasn't even got a name. | 0:25:37 | 0:25:41 | |
-How did it happen? -Playing croquet. | 0:25:41 | 0:25:44 | |
I must admit, I did think it was a little queer, | 0:25:48 | 0:25:51 | |
-you travelling all this way for a croquet injury. -I don't mind. | 0:25:51 | 0:25:54 | |
-It's wonderful to be here again. -Is it? Why? | 0:25:54 | 0:25:57 | |
Well, it's such a beautiful house, for one thing. | 0:25:57 | 0:26:01 | |
I can't stand the place. | 0:26:01 | 0:26:03 | |
Be an angel and light me one. | 0:26:08 | 0:26:11 | |
There you are! At last! | 0:26:47 | 0:26:49 | |
-I thought you were dying. -I thought I was, too. | 0:26:49 | 0:26:53 | |
The pain was excruciating. | 0:26:53 | 0:26:56 | |
Julia, ask Wilcox to fetch us some champagne. | 0:26:57 | 0:27:00 | |
-I hate champagne. -For our guest! | 0:27:00 | 0:27:03 | |
Well, take your coat off. You'll boil! | 0:27:04 | 0:27:07 | |
Come along, Charles. | 0:27:12 | 0:27:14 | |
PHONOGRAPH PLAYS LIGHT JAZZ | 0:27:17 | 0:27:19 | |
-I thought you hated champagne. -I do. | 0:27:28 | 0:27:31 | |
I suppose Sebastian's told you all about us. | 0:27:31 | 0:27:35 | |
-No. Nothing at all, as a matter of fact. -Nor should I. | 0:27:35 | 0:27:38 | |
-What? -I take it you're not one of us. | 0:27:40 | 0:27:43 | |
-Don't answer. -I don't live like this, if that's what you mean. | 0:27:43 | 0:27:47 | |
-She means you're not a Catholic. -Sorry. No. | 0:27:47 | 0:27:51 | |
-Nothing at all. -You mean you're an atheist? | 0:27:51 | 0:27:54 | |
Well, yes, I suppose. Strictly speaking we're C of E, | 0:27:54 | 0:27:57 | |
but Father only ever goes at Christmas. | 0:27:57 | 0:28:00 | |
And funerals. He likes those. | 0:28:00 | 0:28:03 | |
What about your mother? | 0:28:04 | 0:28:06 | |
She's dead. I was very young. | 0:28:06 | 0:28:09 | |
She died working for the Red Cross, which, given her devotion to good, | 0:28:09 | 0:28:14 | |
does rather point up the arbitrariness of it all. | 0:28:14 | 0:28:17 | |
I see! So you're here arbitrarily. | 0:28:17 | 0:28:20 | |
He's here... as my friend! | 0:28:20 | 0:28:23 | |
Given Mr Ryder's staunch position on religion, | 0:28:23 | 0:28:26 | |
don't you think he ought to know what he's getting into? | 0:28:26 | 0:28:29 | |
-Leave Charles out of it. -Tell me. -Oh, God... | 0:28:29 | 0:28:33 | |
Mummy takes her faith very seriously indeed - | 0:28:33 | 0:28:36 | |
so seriously, in fact, that our fat little priest, Father McKay, | 0:28:36 | 0:28:40 | |
called her a living saint. Mind you, he drinks. | 0:28:40 | 0:28:44 | |
Sebastian and I are a couple of heathens. | 0:28:44 | 0:28:47 | |
I'm not a heathen. I'm a sinner, cast out from God's love. | 0:28:47 | 0:28:51 | |
As for you, you're not a heathen at all. Not really. | 0:28:51 | 0:28:54 | |
Why do we always end up talking about family? | 0:28:55 | 0:28:58 | |
It's time for my bath. | 0:28:58 | 0:29:01 | |
Good evening, Mr Ryder. Look after my brother. | 0:29:03 | 0:29:06 | |
I don't think your sister likes me very much. | 0:29:15 | 0:29:18 | |
I don't think she cares for anyone much. | 0:29:18 | 0:29:21 | |
I love her. | 0:29:21 | 0:29:23 | |
She's like me. | 0:29:23 | 0:29:25 | |
Drink! In remembrance of me. | 0:29:26 | 0:29:29 | |
CHUCKLES | 0:29:29 | 0:29:31 | |
Hang on! | 0:29:33 | 0:29:36 | |
-Oh! -Argh! (LAUGHS) | 0:30:01 | 0:30:03 | |
I know, but that's... checkmate. | 0:30:03 | 0:30:07 | |
BOTH LAUGH Come here. | 0:30:10 | 0:30:13 | |
(LAUGHS) Oh... | 0:30:14 | 0:30:16 | |
If only it could be like this always. | 0:30:17 | 0:30:19 | |
Always summer. | 0:30:19 | 0:30:22 | |
'Always alone.' | 0:30:22 | 0:30:25 | |
Fruit always ripe. | 0:30:26 | 0:30:28 | |
Cheers. | 0:30:37 | 0:30:39 | |
PHONOGRAPH PLAYS LIGHT JAZZ | 0:30:40 | 0:30:42 | |
-Now... -Mmm? | 0:30:44 | 0:30:46 | |
Try this. | 0:30:48 | 0:30:50 | |
-No? -Mm. It's a shy little wine. | 0:30:58 | 0:31:01 | |
Like a gazelle. | 0:31:01 | 0:31:03 | |
-Like a leprechaun. -Dappled in a tapestry meadow. | 0:31:06 | 0:31:09 | |
-BOTH LAUGH -A flute by still water. -Mmm. | 0:31:09 | 0:31:13 | |
This... This is a wise old wine. | 0:31:14 | 0:31:18 | |
Mm-hm? | 0:31:21 | 0:31:23 | |
A prophet in a cave. | 0:31:24 | 0:31:27 | |
And this... | 0:31:27 | 0:31:29 | |
is a string of pearls on a white neck. | 0:31:29 | 0:31:33 | |
BOTH LAUGH | 0:31:33 | 0:31:35 | |
A swan. | 0:31:38 | 0:31:40 | |
The last unicorn. | 0:31:40 | 0:31:42 | |
LAUGHS | 0:31:42 | 0:31:44 | |
BOTH LAUGH | 0:32:19 | 0:32:21 | |
Who's that? | 0:32:31 | 0:32:34 | |
-Is that your brother? -Yes. That's Bridey. | 0:32:41 | 0:32:43 | |
He seems all right to me. | 0:32:43 | 0:32:46 | |
Wait till you meet him. | 0:32:46 | 0:32:49 | |
Mother! | 0:32:52 | 0:32:54 | |
-Hello, there. -Go away! We're not decent! | 0:33:06 | 0:33:10 | |
-Mummy's here. -We know! | 0:33:10 | 0:33:12 | |
She's invited Charles to dinner. | 0:33:12 | 0:33:15 | |
WOMAN SPEAKS QUIETLY AND REPROACHFULLY | 0:33:23 | 0:33:26 | |
It's no use crying, darling. That's just childish. | 0:33:28 | 0:33:32 | |
-SEBASTIAN SOBS -It's not going to help, is it? | 0:33:32 | 0:33:35 | |
You see, darling, whatever yesterday's sins, | 0:33:35 | 0:33:39 | |
we must all pray for God's forgiveness. | 0:33:39 | 0:33:41 | |
REPLIES, INDISTINCT | 0:33:41 | 0:33:44 | |
Try. Try again, hmm? | 0:33:45 | 0:33:47 | |
Be a good boy - for God, and for Mummy. | 0:33:47 | 0:33:51 | |
-Hmm? -SOBS SOFTLY | 0:33:51 | 0:33:54 | |
Put your jacket on now. | 0:33:56 | 0:33:59 | |
Dining room's this way. | 0:33:59 | 0:34:01 | |
Is Sebastian all right? He seemed... upset. | 0:34:04 | 0:34:08 | |
Oh,... he and Mummy often have these talks. | 0:34:08 | 0:34:12 | |
Flannels for dinner! Very bold, Mr Ryder. | 0:34:14 | 0:34:17 | |
-Will your mother mind? -Yes. She'll be appalled. | 0:34:17 | 0:34:20 | |
No. Don't worry. She'll be understanding. | 0:34:20 | 0:34:23 | |
Do you often do that? | 0:34:23 | 0:34:26 | |
What? | 0:34:26 | 0:34:27 | |
-Say one thing and mean another. -Yes. | 0:34:27 | 0:34:31 | |
And no. | 0:34:31 | 0:34:33 | |
Thank you. | 0:34:50 | 0:34:52 | |
RECITES GRACE IN LATIN | 0:34:56 | 0:34:58 | |
-Amen. -(ALL) Amen. | 0:35:01 | 0:35:04 | |
Welcome to Brideshead, Mr Ryder. I've been hearing all about you. | 0:35:06 | 0:35:09 | |
I hope you didn't let Sebastian call you away in too much of a rush. | 0:35:09 | 0:35:14 | |
I didn't have time to pack the right things. | 0:35:14 | 0:35:16 | |
Sebastian must lend you some clothes while you're here. | 0:35:16 | 0:35:20 | |
Or perhaps Bridey's a better fit. Are you a Bridey or a Sebastian? | 0:35:20 | 0:35:24 | |
He can't borrow Bridey's clothes. Bridey dresses like a bank clerk. | 0:35:24 | 0:35:28 | |
Don't be vulgar, Cordelia. Vulgar is not the same as funny. | 0:35:28 | 0:35:33 | |
I hope you've been looked after properly, Ryder. | 0:35:33 | 0:35:37 | |
Has Sebastian been seeing to the wine? | 0:35:37 | 0:35:39 | |
Yes. Sebastian's been seeing to the wine. | 0:35:39 | 0:35:43 | |
Delighted to hear it. | 0:35:43 | 0:35:45 | |
You're... fond of wine? | 0:35:46 | 0:35:48 | |
-Yes, very. -I wish I were. | 0:35:48 | 0:35:51 | |
It's such a bond with other men. | 0:35:51 | 0:35:54 | |
At Christchurch I tried to get drunk, but I didn't enjoy it. | 0:35:54 | 0:35:58 | |
-What -do -you enjoy, Bridey? | 0:35:58 | 0:36:01 | |
Hunting. | 0:36:01 | 0:36:03 | |
Shooting. | 0:36:03 | 0:36:05 | |
Fishing. | 0:36:07 | 0:36:09 | |
-And what form do your pleasures take, Mr Ryder? -Sorry. Pleasures? | 0:36:10 | 0:36:15 | |
Your hobbies. What do you do to relax? | 0:36:15 | 0:36:18 | |
-He drinks. -Drinking is not a hobby, Sebastian. | 0:36:18 | 0:36:20 | |
You live in London. Is that correct? | 0:36:20 | 0:36:23 | |
-Yes. -Whereabouts? -Paddington. | 0:36:23 | 0:36:27 | |
You live in a railway station? | 0:36:27 | 0:36:30 | |
No, no. (CLEARS THROAT) Sorry. I, um... | 0:36:30 | 0:36:33 | |
-I live nearby. -Oh, I see. | 0:36:33 | 0:36:37 | |
And has this led to an interest in trains? | 0:36:37 | 0:36:39 | |
-No. -So,... | 0:36:41 | 0:36:44 | |
are you close with Sebastian's crowd? | 0:36:44 | 0:36:48 | |
-Not really. -Anthony Blanche? | 0:36:49 | 0:36:52 | |
We're... acquainted. | 0:36:53 | 0:36:55 | |
Charles is a painter, Mummy. | 0:36:55 | 0:36:58 | |
How charming! We must get you to paint something for us. | 0:37:00 | 0:37:03 | |
-Would you do that? -I'd be delighted. | 0:37:03 | 0:37:06 | |
I think Brideshead's the most beautiful house I've ever seen. | 0:37:06 | 0:37:10 | |
-It's utterly magical. -How kind you are! | 0:37:13 | 0:37:16 | |
Summer at Brideshead... | 0:37:18 | 0:37:21 | |
Mr Ryder must stay with us for the rest of the vacation. | 0:37:21 | 0:37:24 | |
As a matter of fact, I've just heard from Papa. | 0:37:24 | 0:37:28 | |
-He wants me to go and see him in Venice. And Julia. -I see. | 0:37:28 | 0:37:32 | |
-And do you intend to accept this invitation? -Yes. Why not? | 0:37:32 | 0:37:36 | |
-Julia, will you be going? -I'd like to. | 0:37:36 | 0:37:39 | |
Wouldn't you rather stay at Brideshead? | 0:37:39 | 0:37:42 | |
Well,... yes, if you want me to. | 0:37:47 | 0:37:50 | |
You must not neglect your duty. | 0:37:51 | 0:37:55 | |
No, Mother. | 0:37:55 | 0:37:58 | |
I think we might spend a little time in the chapel after dinner. | 0:38:03 | 0:38:07 | |
Would you join us, Mr Ryder? | 0:38:08 | 0:38:10 | |
-Thank you. -You do know Charles is an atheist? | 0:38:12 | 0:38:15 | |
An agnostic, surely. | 0:38:17 | 0:38:20 | |
Actually, no. | 0:38:20 | 0:38:22 | |
But you'll join us anyway,... | 0:38:22 | 0:38:25 | |
..out of curiosity. | 0:38:26 | 0:38:28 | |
Thank you. | 0:38:29 | 0:38:31 | |
-No Sebastian? -No, Mummy. | 0:38:35 | 0:38:39 | |
Charles, are you really an atheist? | 0:38:40 | 0:38:42 | |
Yes. | 0:38:42 | 0:38:45 | |
-I am. -How awful for you! | 0:38:45 | 0:38:48 | |
I'll put you on my prayer list. I have a long list to pray for, | 0:38:48 | 0:38:52 | |
including six Black Cordelias in Africa. It's a new thing. | 0:38:52 | 0:38:55 | |
You send five bob to some nuns, and they christen a baby after you. | 0:38:55 | 0:38:59 | |
Right. | 0:38:59 | 0:39:00 | |
(ALL EXCEPT CHARLES) ..Thy will be done, on earth as it is in heaven. | 0:39:00 | 0:39:04 | |
Give us this day our daily bread, and forgive us our trespasses, | 0:39:04 | 0:39:09 | |
as we forgive those who trespass against us, | 0:39:09 | 0:39:12 | |
and lead us not into temptation, | 0:39:12 | 0:39:15 | |
but deliver us from evil. Amen. | 0:39:15 | 0:39:19 | |
# Salve Regina | 0:39:22 | 0:39:26 | |
(ALL) # Mater misericordiae | 0:39:26 | 0:39:30 | |
# Vita dulcedo | 0:39:30 | 0:39:34 | |
# Et spes nostra salve | 0:39:34 | 0:39:38 | |
# Ad te clamavus | 0:39:38 | 0:39:42 | |
# Exsules filii Hevae | 0:39:42 | 0:39:47 | |
# Ad te suspiramus | 0:39:47 | 0:39:51 | |
# Gementes et flentes | 0:39:51 | 0:39:55 | |
# In hac lacrimarum valle... # | 0:39:55 | 0:39:59 | |
Have you ever been to Venice, Mr Ryder? | 0:39:59 | 0:40:02 | |
-No. No, I haven't. -Oh, every ambitious young man | 0:40:02 | 0:40:05 | |
should visit Venice. It makes one sound more complete. | 0:40:05 | 0:40:09 | |
I was thinking,... | 0:40:11 | 0:40:14 | |
if Sebastian were to go, | 0:40:14 | 0:40:16 | |
it might be a good thing if you were to accompany him. | 0:40:16 | 0:40:19 | |
He needs someone plausible by his side. | 0:40:19 | 0:40:23 | |
I gather last time he was there he was befriending some... | 0:40:24 | 0:40:28 | |
very odd types. If it's youthful high spirits, I understand. | 0:40:28 | 0:40:32 | |
But in the end,... we must all accept God's limits,... | 0:40:34 | 0:40:38 | |
..atheist or no. | 0:40:40 | 0:40:42 | |
I know I can rely on you. | 0:40:46 | 0:40:49 | |
You seem to be a very reliable young man. | 0:40:49 | 0:40:52 | |
CHURCH BELLS RING | 0:41:06 | 0:41:09 | |
-San Giovanni e Paolo! -Oh, dear. | 0:41:27 | 0:41:30 | |
I can see you're going to be impossibly curious. | 0:41:30 | 0:41:33 | |
By the way, I should warn you. Our lovely father is rather a scoundrel. | 0:41:33 | 0:41:38 | |
He lives in one of the palazzos with Cara. | 0:41:38 | 0:41:40 | |
-Who's Cara? -His mistress. | 0:41:40 | 0:41:43 | |
Poor Papa is rather shunned by society. | 0:41:43 | 0:41:47 | |
Not the Italians, of course. They adore him. | 0:41:47 | 0:41:50 | |
-Santa Maria dei Miracoli. -I know! I've seen the postcard. | 0:41:53 | 0:41:57 | |
-My dear boy! -Darling Papa! | 0:42:24 | 0:42:26 | |
-You look so young! -Do you think so? I've been playing tennis at the Lido | 0:42:28 | 0:42:32 | |
with a professional. Cara thinks I'm getting far too fat. | 0:42:32 | 0:42:35 | |
-Julia, come here. -Father! | 0:42:35 | 0:42:38 | |
My child! I wasn't sure if you'd come. | 0:42:38 | 0:42:40 | |
-Mummy gave me her blessing. -Blessed by your mother! | 0:42:40 | 0:42:43 | |
What a saint that woman is! I used to try everything to please her. I - | 0:42:43 | 0:42:47 | |
-Julia, this is your friend Mr Ryder? -Charles is my friend, Papa. -I see. | 0:42:47 | 0:42:51 | |
-Delighted. -How do you do, sir? | 0:42:51 | 0:42:53 | |
-Welcome to Venice! -There's Cara! Now we can eat. | 0:42:53 | 0:42:57 | |
Come along, now. This way. | 0:42:57 | 0:42:59 | |
CHURCH BELLS RING BABBLE OF ITALIAN VOICES | 0:43:01 | 0:43:05 | |
Don't look so greedy! It won't go away. | 0:43:12 | 0:43:16 | |
Sorry. | 0:43:16 | 0:43:18 | |
I wasn't sure you'd come to Venice. | 0:43:22 | 0:43:25 | |
Your father seemed pleased to see you. | 0:43:25 | 0:43:28 | |
I'm not sure Father cares much if I come. | 0:43:28 | 0:43:31 | |
He'd be just as happy with Sebastian. They adore each other. | 0:43:31 | 0:43:35 | |
They're alike in so many ways. | 0:43:35 | 0:43:37 | |
-Who are you like? -Me? | 0:43:38 | 0:43:41 | |
Oh... | 0:43:41 | 0:43:43 | |
Nobody. | 0:43:43 | 0:43:45 | |
I'm the family shadow. | 0:43:45 | 0:43:48 | |
-BELL RINGS -Drinks. | 0:43:51 | 0:43:55 | |
LAUGHS | 0:43:55 | 0:43:57 | |
-Julia! -Cara... | 0:43:58 | 0:44:01 | |
Mr Ryder, Sebastian tells me you are a painter. | 0:44:02 | 0:44:06 | |
-Charles is an artist. -Good! | 0:44:06 | 0:44:09 | |
I will show you all the great art of Canaletto and Veronese. | 0:44:09 | 0:44:13 | |
He never goes anywhere. Such a philistine! | 0:44:13 | 0:44:17 | |
I don't mind the art. It's religion I can't stand. | 0:44:17 | 0:44:20 | |
The Italians seem unable to paint anything half decent | 0:44:20 | 0:44:23 | |
without putting Christ dying in it. Your mother loved Italy - | 0:44:23 | 0:44:28 | |
-a pieta on every street corner. -Don't be cruel. | 0:44:28 | 0:44:31 | |
She'd be flattered. God was always her first love. | 0:44:31 | 0:44:34 | |
-Mummy loves all of us equally. -Julia... -You were the one who left! | 0:44:34 | 0:44:38 | |
What must you think of us, Mr Ryder?! | 0:44:44 | 0:44:47 | |
A family of monsters, are we not? | 0:44:47 | 0:44:50 | |
No, not at all. I lost my mother when I was young. | 0:44:50 | 0:44:55 | |
Tell me, Mr Ryder,... as an artist,... | 0:44:59 | 0:45:04 | |
-what did you make of Brideshead? -I thought it was magnificent. | 0:45:04 | 0:45:08 | |
You think that? Really? | 0:45:08 | 0:45:11 | |
And now here you are in Venice. | 0:45:11 | 0:45:15 | |
What a lot of temptations! | 0:45:15 | 0:45:17 | |
BOTH CHATTER AND LAUGH | 0:45:19 | 0:45:22 | |
He walks for two hours every day. He wants to be immortal. | 0:45:32 | 0:45:36 | |
But he's quite fragile, you know? Inside. | 0:45:36 | 0:45:41 | |
That woman nearly suffocated him. | 0:45:41 | 0:45:45 | |
She's been very kind to me. | 0:45:45 | 0:45:47 | |
Oh, yes. I'm sure! | 0:45:47 | 0:45:50 | |
But you will see. | 0:45:50 | 0:45:52 | |
Just look at her children! Even when they were tiny, | 0:45:52 | 0:45:56 | |
in the nursery, they must do what she want them to do, | 0:45:56 | 0:45:59 | |
be what she want them to be. Only then would she love them. | 0:45:59 | 0:46:03 | |
It's not Lady Marchmain's fault. Her god has done that to her. | 0:46:04 | 0:46:10 | |
-But surely you're Catholic, too. -(CHUCKLES) Yes, but... | 0:46:10 | 0:46:13 | |
a different sort. It's different in Italy. | 0:46:13 | 0:46:17 | |
Not so much guilt. | 0:46:17 | 0:46:19 | |
We do what the heart tell us, and... | 0:46:19 | 0:46:22 | |
then we go to confession. | 0:46:22 | 0:46:24 | |
Sebastian loves you very much, I think. | 0:46:32 | 0:46:35 | |
They're very good, these romantic English friendships,... | 0:46:37 | 0:46:41 | |
if they don't go on too long. | 0:46:41 | 0:46:44 | |
For you, it's just... How do you say? A phase. | 0:46:46 | 0:46:51 | |
But I think it's more than that for poor Sebastian. | 0:46:52 | 0:46:56 | |
Tread carefully, Mr Ryder. | 0:47:01 | 0:47:04 | |
-Come on. -BOTH LAUGH | 0:47:08 | 0:47:10 | |
No... No! | 0:47:11 | 0:47:13 | |
ALL LAUGH | 0:47:15 | 0:47:19 | |
-Can't sleep. -Try pyjamas. | 0:48:13 | 0:48:16 | |
I enjoyed the beach today. I hope I wasn't too rough. | 0:48:22 | 0:48:25 | |
You were very sweet. | 0:48:25 | 0:48:28 | |
Charles? | 0:48:32 | 0:48:35 | |
There you are! | 0:48:36 | 0:48:38 | |
Oh... | 0:48:38 | 0:48:40 | |
Oh! (LAUGHS) Sorry. | 0:48:45 | 0:48:48 | |
Lots to drink. | 0:48:50 | 0:48:53 | |
-I'm so glad you're here. -Mm-hm? -I'm glad you're here. | 0:48:56 | 0:48:59 | |
-I'm glad I came. -Did I say I'm glad you're here? | 0:48:59 | 0:49:03 | |
You're really glad I'm here? BOTH LAUGH | 0:49:03 | 0:49:06 | |
SHOUTING / CHEERING | 0:49:07 | 0:49:09 | |
-Let's get plastered! -If you want. | 0:49:16 | 0:49:19 | |
Oh, yes, I do. I want! (LAUGHS) I want! | 0:49:19 | 0:49:24 | |
BABBLE OF EXCITED VOICES | 0:49:24 | 0:49:27 | |
LAUGHTER FIREWORKS CRACKLE | 0:49:27 | 0:49:31 | |
Oh, there's a wonderful chapel near here. | 0:49:31 | 0:49:34 | |
-You will see a masterpiece. -DRUM BOOMS | 0:49:34 | 0:49:37 | |
PANDEMONIUM | 0:49:41 | 0:49:43 | |
The devil's got his eye on you. | 0:49:55 | 0:49:58 | |
-LAUGHS EVILLY -Then, you must protect me. | 0:49:59 | 0:50:02 | |
LAUGHTER RISING MUSIC | 0:50:06 | 0:50:09 | |
ALL CHATTER AND SHOUT | 0:50:09 | 0:50:13 | |
Julia! | 0:50:24 | 0:50:26 | |
ALL PLAY VIGOROUS TATTOO | 0:50:26 | 0:50:30 | |
ALL SHOUT AND LAUGH | 0:50:50 | 0:50:53 | |
Julia! | 0:51:12 | 0:51:14 | |
I got lost. All those people... | 0:51:14 | 0:51:17 | |
What are you doing? | 0:51:48 | 0:51:50 | |
What's the matter? | 0:51:52 | 0:51:55 | |
Funny old religion, isn't it? | 0:53:10 | 0:53:13 | |
Sebastian... | 0:53:16 | 0:53:18 | |
What happened just now... | 0:53:20 | 0:53:23 | |
I never meant you to... | 0:53:23 | 0:53:25 | |
If I'd known it was going to happen,... | 0:53:27 | 0:53:30 | |
I'd never have... | 0:53:32 | 0:53:35 | |
I don't know what I'm supposed to... | 0:53:37 | 0:53:40 | |
LAUGHS CREAKILY | 0:54:34 | 0:54:37 | |
Check... mate. | 0:54:37 | 0:54:40 | |
I'm boring you! | 0:54:42 | 0:54:45 | |
Perhaps it is dull for you here. You've been enjoying yourself? | 0:54:45 | 0:54:50 | |
-I've been in Venice. -Ah, yes... I suppose so. | 0:54:50 | 0:54:54 | |
The friend you were so much concerned about... | 0:54:54 | 0:54:58 | |
Did he die? | 0:54:58 | 0:55:00 | |
-No! -Oh, I'm very thankful. | 0:55:02 | 0:55:05 | |
You should have written to tell me. I worried about him so much. | 0:55:05 | 0:55:09 | |
BUZZ OF CONVERSATION | 0:55:20 | 0:55:22 | |
-Oh, watch out, Flyte! -Sebastian! | 0:55:24 | 0:55:26 | |
-Sebastian! -Leave me alone! | 0:55:29 | 0:55:32 | |
-Where is he... bastard? -Who? | 0:55:35 | 0:55:38 | |
-Mr Samgrass. -Who's Mr Samgrass? | 0:55:38 | 0:55:41 | |
One of Mummy's gang. Fat little Catholic from All Souls. | 0:55:41 | 0:55:44 | |
Bastard's been set up to follow me. I wouldn't mind | 0:55:44 | 0:55:47 | |
if he wasn't so infernally ugly. God, I feel a hundred years old! | 0:55:47 | 0:55:51 | |
Why haven't you called round? I was beginning to think | 0:55:51 | 0:55:54 | |
they hadn't sent you up. | 0:55:54 | 0:55:57 | |
-Since Venice? -Yes. | 0:55:57 | 0:56:00 | |
-Damn! There he is again. -Who? What are you talking about? | 0:56:04 | 0:56:07 | |
Mr Samgrass! There! Mummy's hired him to watch me. | 0:56:07 | 0:56:10 | |
-What does he want? -My head on a plate. | 0:56:10 | 0:56:13 | |
Look,... if he's bothering you, I can stop him. | 0:56:13 | 0:56:17 | |
LAUGHS | 0:56:17 | 0:56:19 | |
Dear Charles! | 0:56:19 | 0:56:21 | |
Always so certain. | 0:56:21 | 0:56:23 | |
I'm not certain of anything. | 0:56:24 | 0:56:27 | |
Aren't you? | 0:56:27 | 0:56:29 | |
Oh, by the way,... | 0:56:31 | 0:56:33 | |
Mummy's here. | 0:56:33 | 0:56:36 | |
She has to talk to you. | 0:56:36 | 0:56:38 | |
Probably wants you to spy on me, as well. | 0:56:40 | 0:56:42 | |
Don't be like that. | 0:56:42 | 0:56:44 | |
Why don't I come round to your rooms later? | 0:56:44 | 0:56:48 | |
I'm not sure I want to see you any more. | 0:56:48 | 0:56:51 | |
I'm so sorry! | 0:57:05 | 0:57:07 | |
So, Charles,... | 0:57:25 | 0:57:27 | |
..how was Venice? | 0:57:28 | 0:57:30 | |
Venice was fine. | 0:57:30 | 0:57:32 | |
Strange way to put it. | 0:57:32 | 0:57:35 | |
-It was beautiful. -Speaking as an artist or a man? | 0:57:35 | 0:57:39 | |
I want a word with you about Sebastian. | 0:57:41 | 0:57:44 | |
I'm concerned about him. | 0:57:44 | 0:57:46 | |
-Tea? -No, thank you. Why? Should I be? | 0:57:48 | 0:57:51 | |
He's drinking too much. You must have noticed. | 0:57:51 | 0:57:54 | |
After all, I sent you to look after him. | 0:57:54 | 0:57:57 | |
-I suppose we both drink too much. -No. You drink to get drunk. | 0:57:57 | 0:58:01 | |
Sebastian drinks to escape the claims of his conscience. | 0:58:01 | 0:58:04 | |
I do wish I could understand why he's so upset. Ever since Venice, | 0:58:07 | 0:58:11 | |
he's been unreachable. | 0:58:11 | 0:58:13 | |
Did something happen there? | 0:58:14 | 0:58:16 | |
No. | 0:58:16 | 0:58:18 | |
-You all had a good time? -Yes. | 0:58:20 | 0:58:23 | |
I wonder what it could have been. | 0:58:23 | 0:58:26 | |
I hope you didn't let Julia mislead you. | 0:58:29 | 0:58:32 | |
I don't understand. | 0:58:32 | 0:58:34 | |
Oh, I think you do. | 0:58:34 | 0:58:37 | |
Please understand, I would not want you to make yourself look foolish. | 0:58:37 | 0:58:41 | |
Her future is not a question of choice. | 0:58:41 | 0:58:45 | |
It is a matter of faith. | 0:58:45 | 0:58:48 | |
Were it simply a difference in... upbringing, | 0:58:48 | 0:58:51 | |
this I might overlook. | 0:58:51 | 0:58:54 | |
But you are a self-proclaimed atheist, | 0:58:54 | 0:58:57 | |
and my daughter is destined to marry a Catholic. | 0:58:57 | 0:59:00 | |
God commands, and we obey. | 0:59:00 | 0:59:03 | |
However, we're here to talk about your friendship with my son. | 0:59:03 | 0:59:08 | |
I'm not sure Sebastian wants to be my friend any more. | 0:59:08 | 0:59:11 | |
Because of Julia? | 0:59:11 | 0:59:13 | |
That is all cleared up now. | 0:59:13 | 0:59:16 | |
We're giving a ball for Julia's 21st. | 0:59:16 | 0:59:18 | |
I'd like you to keep Sebastian company. | 0:59:18 | 0:59:21 | |
You came to Brideshead as my son's friend. | 0:59:21 | 0:59:24 | |
If you have... unaccountably offended him, | 0:59:24 | 0:59:27 | |
is it too much to ask that you revisit your responsibilities? | 0:59:27 | 0:59:31 | |
-To him or to you? -To the family. | 0:59:32 | 0:59:36 | |
And, of course, Brideshead does look particularly beautiful | 0:59:38 | 0:59:42 | |
at this time of year. | 0:59:42 | 0:59:45 | |
Tell me,... I'm curious. | 0:59:45 | 0:59:48 | |
Since, as you claim, you have no religion,... | 0:59:50 | 0:59:53 | |
..what do you imagine you are doing on this earth? | 0:59:54 | 0:59:58 | |
Living my life, the same as you. | 0:59:59 | 1:00:02 | |
But without faith, what could your purpose possibly be? | 1:00:02 | 1:00:06 | |
I want to look back and say that I was... | 1:00:08 | 1:00:11 | |
alive. | 1:00:11 | 1:00:13 | |
That I didn't turn my back. That I tried. | 1:00:14 | 1:00:19 | |
-That I was happy. -Happiness in this life | 1:00:20 | 1:00:23 | |
is irrelevant. All that matters - | 1:00:23 | 1:00:26 | |
the only thing of consequence - | 1:00:26 | 1:00:30 | |
is the life hereafter. | 1:00:30 | 1:00:32 | |
Funny, isn't it? It's my little present to the family. | 1:01:15 | 1:01:19 | |
-Rex Mottram. How do you do? -Charles Ryder. | 1:01:19 | 1:01:23 | |
Good to meet you, Charles. Heard all about you. | 1:01:23 | 1:01:26 | |
We should, er,... compare notes sometime. | 1:01:26 | 1:01:30 | |
-Going on the hunt? -I don't think so. -Wise man. | 1:01:30 | 1:01:33 | |
Load of English bluebloods on horseback... | 1:01:33 | 1:01:36 | |
Got to fit in, though! | 1:01:36 | 1:01:39 | |
TAPS ON DOOR | 1:01:44 | 1:01:46 | |
-Who is it? -JAZZ MUSIC PLAYS | 1:01:50 | 1:01:53 | |
-It's me. -You could have knocked. | 1:01:56 | 1:02:00 | |
-I nearly spilled my drink. -I did! | 1:02:00 | 1:02:03 | |
Sit down. | 1:02:06 | 1:02:08 | |
If only it could be like this always. | 1:02:37 | 1:02:40 | |
-Always summer... -Ancient history. | 1:02:40 | 1:02:43 | |
Pass me the towel. | 1:02:43 | 1:02:46 | |
Where's that damn shirt? | 1:03:01 | 1:03:04 | |
You're shaking. | 1:03:04 | 1:03:07 | |
What is it? What's the matter? | 1:03:07 | 1:03:09 | |
Don't you know, Charles? | 1:03:10 | 1:03:12 | |
Why this is hell, nor am I out of it? | 1:03:13 | 1:03:16 | |
-If I've ever done anything... -It's not you. | 1:03:16 | 1:03:20 | |
It's me. | 1:03:20 | 1:03:22 | |
For God's sake,... | 1:03:26 | 1:03:29 | |
do stop mooning at me like a great big cow. | 1:03:29 | 1:03:32 | |
I'm fine. | 1:03:33 | 1:03:35 | |
I'm fine, so long as I've got plenty of this. | 1:03:36 | 1:03:39 | |
I want you to know that, whatever happened in Venice, | 1:03:39 | 1:03:43 | |
I'm not in your mother's gang, if that's what you think. | 1:03:43 | 1:03:47 | |
I'm on your side. | 1:03:48 | 1:03:50 | |
Contra mundum. | 1:03:50 | 1:03:53 | |
Dear Charles! | 1:03:56 | 1:03:59 | |
You're not in anybody's gang. | 1:04:02 | 1:04:05 | |
That's always been your problem. | 1:04:06 | 1:04:08 | |
Why are you going on the hunt? I thought you detested hunting. | 1:04:17 | 1:04:22 | |
I do. | 1:04:22 | 1:04:24 | |
I'm going to leave Bridey at the first covert, | 1:04:25 | 1:04:28 | |
hack over to the nearest pub and spend the whole day drinking. | 1:04:28 | 1:04:33 | |
They treat me like a dipsomaniac. They can bloody well have one. | 1:04:35 | 1:04:38 | |
-Well, they can't stop you. -They can, as a matter of fact. | 1:04:38 | 1:04:43 | |
By not giving me any money. They've stopped my bank account! | 1:04:46 | 1:04:50 | |
I pawned my watch and cigarette case. | 1:04:52 | 1:04:55 | |
That lasted for a bit, but... | 1:04:55 | 1:04:58 | |
..that's all gone now. | 1:05:00 | 1:05:02 | |
So,... | 1:05:02 | 1:05:04 | |
-regretfully... -Sebastian, I can't do that. | 1:05:04 | 1:05:08 | |
I thought you were on my side. | 1:05:08 | 1:05:10 | |
-I am! -Well, then... | 1:05:10 | 1:05:13 | |
Why don't I come with you? It's miserable drinking alone. | 1:05:14 | 1:05:19 | |
We can get drunk together, like we used to. | 1:05:19 | 1:05:22 | |
No. | 1:05:22 | 1:05:24 | |
I'm past all that. | 1:05:24 | 1:05:26 | |
Thanks for the offer. | 1:05:26 | 1:05:29 | |
Well,... | 1:05:33 | 1:05:35 | |
are you with me or against me? | 1:05:35 | 1:05:37 | |
A bit further up on the shoulder. | 1:06:04 | 1:06:06 | |
Look. | 1:06:06 | 1:06:09 | |
Up here. | 1:06:09 | 1:06:11 | |
ALL APPLAUD | 1:06:36 | 1:06:39 | |
Ladies and gentlemen, it gives me great pleasure | 1:07:03 | 1:07:06 | |
to announce, on top of the birthday festivities, | 1:07:06 | 1:07:09 | |
to announce the engagement of my eldest daughter, Lady Julia Flyte, | 1:07:09 | 1:07:13 | |
to Mr Rex Mottram. | 1:07:13 | 1:07:16 | |
ALL GASP / APPLAUD | 1:07:16 | 1:07:19 | |
LIVELY CHARLESTON MUSIC STRIKES UP | 1:07:24 | 1:07:27 | |
-Thank you, Charles. I'd love to dance. -Cordelia... | 1:07:36 | 1:07:39 | |
-Cordelia, I'm really... -Come along! | 1:07:39 | 1:07:42 | |
Charles, I hope you don't mind me asking, | 1:07:52 | 1:07:56 | |
but... modern art, | 1:07:56 | 1:07:59 | |
-it is all bosh, isn't it? -Yes. It's all bosh. | 1:07:59 | 1:08:02 | |
Good. Thought so. | 1:08:02 | 1:08:04 | |
Oh, get a grip, Charles. Rex? | 1:08:07 | 1:08:11 | |
Rex, I need a better dancer. | 1:08:11 | 1:08:14 | |
Yours for five minutes and no more. | 1:08:14 | 1:08:17 | |
-Come on! -OK. | 1:08:17 | 1:08:19 | |
Why didn't you tell me? | 1:08:45 | 1:08:47 | |
It's not Sebastian. I don't believe that. | 1:08:48 | 1:08:51 | |
Charles, I can't do this. | 1:08:51 | 1:08:53 | |
-When we kissed... -Please, stop! | 1:08:53 | 1:08:56 | |
Why? | 1:08:57 | 1:08:59 | |
It was wonderful. | 1:08:59 | 1:09:01 | |
I know. | 1:09:01 | 1:09:03 | |
I think about it all the time. | 1:09:06 | 1:09:09 | |
I have no choice. | 1:09:11 | 1:09:13 | |
Oh, Sebastian! | 1:09:29 | 1:09:31 | |
Never mind. | 1:09:31 | 1:09:33 | |
-Oh, Charles... -Don't! GLASS BREAKS | 1:09:37 | 1:09:39 | |
-Come along, old boy. -I don't want your help. | 1:09:43 | 1:09:45 | |
-You're in tweed. This is a ball. -Bugger off, Bridey. | 1:09:45 | 1:09:49 | |
You're worse than wet. | 1:09:49 | 1:09:51 | |
You see, what it is,... | 1:09:53 | 1:09:56 | |
I hate you all so very much! | 1:09:56 | 1:09:59 | |
-Sebastian... -Get off me! You don't care about me. | 1:09:59 | 1:10:02 | |
-All you ever wanted was to sleep with my sister. -That's enough. | 1:10:02 | 1:10:06 | |
All right. I'm going. | 1:10:08 | 1:10:10 | |
BAND STRIKES UP LIVELY DANCE MUSIC AGAIN | 1:10:22 | 1:10:25 | |
Charles... | 1:10:50 | 1:10:52 | |
Did you give Sebastian money today? | 1:10:54 | 1:10:57 | |
Yes, I did. | 1:10:59 | 1:11:01 | |
Knowing how he was likely to spend it? | 1:11:02 | 1:11:06 | |
Yes. | 1:11:07 | 1:11:09 | |
I don't understand. | 1:11:09 | 1:11:12 | |
How could you be so nice in so many ways, | 1:11:12 | 1:11:15 | |
and then do something so wantonly cruel? | 1:11:15 | 1:11:19 | |
We all liked you so much. | 1:11:19 | 1:11:21 | |
I just don't understand how we deserved it. | 1:11:21 | 1:11:25 | |
Do you think it's better... | 1:11:25 | 1:11:28 | |
to make him feel like a criminal? | 1:11:28 | 1:11:31 | |
Having him watched every second of the day? | 1:11:32 | 1:11:36 | |
You deliberately helped him to drink. | 1:11:36 | 1:11:39 | |
You're the reason he drinks,... | 1:11:39 | 1:11:42 | |
..not me. | 1:11:43 | 1:11:45 | |
All I did was... | 1:11:46 | 1:11:48 | |
-try to give him a little freedom. -No. You just wanted him to like you. | 1:11:48 | 1:11:53 | |
You're so desperate to be liked. I think you should leave now, Charles. | 1:11:53 | 1:11:58 | |
Hello, there. Would you like me to hold the ladder? | 1:13:17 | 1:13:20 | |
Yes. Thanks. | 1:13:20 | 1:13:22 | |
I'm Celia Mulcaster, by the way. | 1:13:26 | 1:13:29 | |
Charles Ryder. | 1:13:31 | 1:13:33 | |
I saw your paintings in the brochure. | 1:13:33 | 1:13:36 | |
I thought how charming they looked. | 1:13:36 | 1:13:38 | |
No need to look so gloomy. | 1:13:41 | 1:13:44 | |
If I had half your talent, I'd be delirious. | 1:13:44 | 1:13:47 | |
You can thank me if you want. | 1:13:48 | 1:13:51 | |
Thank you. | 1:13:53 | 1:13:55 | |
Would you like me to buy something now? | 1:13:57 | 1:14:00 | |
..silent as the grave, and, pop! The mouse is dead. | 1:14:17 | 1:14:21 | |
-Charles. -Lady Marchmain. | 1:14:22 | 1:14:25 | |
Thank you, Father. | 1:14:26 | 1:14:29 | |
I'm so glad your son didn't die of his injuries. | 1:14:30 | 1:14:33 | |
Please, sit down. | 1:14:45 | 1:14:48 | |
I'm fine. Thank you. | 1:14:48 | 1:14:50 | |
-How did you know where I lived? -My driver found you. | 1:14:53 | 1:14:56 | |
The Ryders of Paddington are limited in number. | 1:14:56 | 1:14:59 | |
I hear you have your first exhibition at the Royal Academy. | 1:14:59 | 1:15:03 | |
-Congratulations. -I'm sure you're not here to ask me how I am. | 1:15:03 | 1:15:07 | |
No. The last time we saw each other, I spoke rather harshly. | 1:15:07 | 1:15:11 | |
I'm not here to apologise. What I said, I meant. | 1:15:11 | 1:15:14 | |
I took you into my confidence and you betrayed me. | 1:15:14 | 1:15:18 | |
I do hope you're not asking me to agree with you. | 1:15:18 | 1:15:21 | |
-I act only as God directs. -Rubbish! | 1:15:21 | 1:15:24 | |
God's your best invention. Whatever you want, he does. | 1:15:24 | 1:15:27 | |
-I am not here to argue with you. -Good. I'm glad to hear it. | 1:15:27 | 1:15:32 | |
The reason I called was to ask you a favour. | 1:15:32 | 1:15:36 | |
A favour? | 1:15:38 | 1:15:40 | |
Sebastian's gone missing. He's in a house in Morocco. | 1:15:40 | 1:15:44 | |
I'm worried about him. I need you to bring him back. | 1:15:44 | 1:15:48 | |
You banish me from your house, | 1:15:49 | 1:15:52 | |
you poison my friendship with both your children, | 1:15:52 | 1:15:55 | |
and now you expect me to go begging on your behalf? | 1:15:55 | 1:15:58 | |
-There's no-one else I can ask. -Even if I were to agree, | 1:15:58 | 1:16:01 | |
what makes you think Sebastian would take any notice of me? | 1:16:01 | 1:16:05 | |
Because he cared for you more than he ever cared for anyone else. | 1:16:05 | 1:16:11 | |
All I ever wanted was to see them safe. | 1:16:15 | 1:16:18 | |
And all they do is hate me. | 1:16:18 | 1:16:21 | |
I'll be at Brideshead. You may send word to me there. | 1:16:37 | 1:16:41 | |
Driver! | 1:16:42 | 1:16:45 | |
-Driver! -COUGHS | 1:16:47 | 1:16:49 | |
BABBLE OF VOICES | 1:17:27 | 1:17:30 | |
ALL SHOUT AND ARGUE | 1:17:32 | 1:17:34 | |
HEN CLUCKS | 1:17:39 | 1:17:41 | |
Bonjour, monsieur. | 1:18:02 | 1:18:05 | |
POIGNANT JAZZ MUSIC PLAYS | 1:18:14 | 1:18:17 | |
COUGHING | 1:18:31 | 1:18:34 | |
I'm looking for Sebastian Flyte. | 1:18:37 | 1:18:40 | |
This is... his house. | 1:18:43 | 1:18:46 | |
-Who are you? -I'm his friend. | 1:18:46 | 1:18:49 | |
In the local hospital. | 1:18:51 | 1:18:53 | |
When you see him,... tell him I'm still here. | 1:18:55 | 1:18:59 | |
Your friend has got the gripe. | 1:19:05 | 1:19:08 | |
One of his lungs is full of fluid. | 1:19:08 | 1:19:12 | |
He will recover. | 1:19:12 | 1:19:14 | |
But travel with you? Not a chance. | 1:19:14 | 1:19:16 | |
He's very weak. No resistance. | 1:19:16 | 1:19:19 | |
What do you expect? He is an alcoholic. | 1:19:19 | 1:19:22 | |
Excusez-moi. | 1:19:22 | 1:19:25 | |
Here is your friend. | 1:19:52 | 1:19:54 | |
-What the hell are you doing here? -Your mother asked me to come. | 1:20:10 | 1:20:15 | |
She wants me to... bring you back home, | 1:20:15 | 1:20:18 | |
but the doctor said it's out of the question for you to travel. | 1:20:18 | 1:20:22 | |
I wouldn't, even if I could. | 1:20:22 | 1:20:24 | |
I think... | 1:20:25 | 1:20:27 | |
I think she's dying. | 1:20:28 | 1:20:31 | |
Walk with me. I'm meant to exercise. | 1:20:38 | 1:20:42 | |
Did you go to my house? | 1:21:01 | 1:21:03 | |
Did you meet Kurt? | 1:21:03 | 1:21:06 | |
Yes. | 1:21:06 | 1:21:08 | |
He wanted you to know he was waiting for you. | 1:21:10 | 1:21:13 | |
It's rather a pleasant change,... | 1:21:13 | 1:21:16 | |
..when, all your life, you've had people looking after you, | 1:21:17 | 1:21:21 | |
to have someone to look after yourself. | 1:21:21 | 1:21:24 | |
-I thought you'd want to go back to Brideshead one day. -Brideshead?! | 1:21:37 | 1:21:41 | |
Are you mad? | 1:21:41 | 1:21:44 | |
The place would still be full of her. | 1:21:44 | 1:21:47 | |
I wouldn't go within a hundred miles of the place. | 1:21:49 | 1:21:53 | |
I need to sit. | 1:21:57 | 1:21:59 | |
I'm sorry. | 1:22:12 | 1:22:14 | |
Whatever for? | 1:22:14 | 1:22:16 | |
Everything. | 1:22:25 | 1:22:28 | |
It's all right. | 1:22:28 | 1:22:30 | |
Truly. | 1:22:30 | 1:22:32 | |
I asked too much of you. | 1:22:34 | 1:22:37 | |
I knew it all along, really. | 1:22:39 | 1:22:42 | |
Only God can give you that sort of love. | 1:22:43 | 1:22:47 | |
Come home, Sebastian. | 1:22:53 | 1:22:55 | |
When you're well enough. | 1:22:56 | 1:22:59 | |
Don't finish it like this. | 1:23:00 | 1:23:02 | |
This is my life now. | 1:23:06 | 1:23:09 | |
I'm happy here. | 1:23:09 | 1:23:12 | |
I miss you. | 1:23:16 | 1:23:18 | |
How sweet of you to say that! | 1:23:20 | 1:23:22 | |
Dear Charles. | 1:23:25 | 1:23:27 | |
It was my fault for bringing you to Brideshead. | 1:23:30 | 1:23:33 | |
Run away. | 1:23:38 | 1:23:40 | |
Run far away, and don't ever look back. | 1:23:41 | 1:23:44 | |
I'm sorry. | 1:24:36 | 1:24:38 | |
You must be so proud of him! | 1:25:04 | 1:25:06 | |
-Was he away long? -Er, two years. | 1:25:06 | 1:25:09 | |
And it doesn't feel like a day! | 1:25:09 | 1:25:11 | |
Hello, Charles. | 1:25:58 | 1:26:01 | |
Did you know I was on the boat? | 1:26:07 | 1:26:09 | |
If I said no, you wouldn't believe me. | 1:26:11 | 1:26:13 | |
You're married now. | 1:26:19 | 1:26:22 | |
Yes. | 1:26:22 | 1:26:23 | |
You haven't changed at all. | 1:26:27 | 1:26:30 | |
Neither have you. | 1:26:30 | 1:26:32 | |
-How ridiculous! -Yes, isn't it? | 1:26:36 | 1:26:39 | |
Tell me this is fate. | 1:26:42 | 1:26:46 | |
-What? -Nothing. | 1:28:06 | 1:28:08 | |
Tell me. | 1:28:08 | 1:28:10 | |
I was thinking about Sebastian. | 1:28:10 | 1:28:13 | |
Mummy died without ever seeing him again. | 1:28:13 | 1:28:16 | |
I know. | 1:28:21 | 1:28:23 | |
-Let's go up on deck. -Are you sure? | 1:28:26 | 1:28:29 | |
They're all asleep! Come on. | 1:28:29 | 1:28:32 | |
LAUGHS | 1:28:33 | 1:28:35 | |
Come on! | 1:28:35 | 1:28:37 | |
(LAUGHS) Ssh! | 1:28:37 | 1:28:40 | |
Sorry! | 1:28:47 | 1:28:49 | |
-So, where's Rex? -I drowned him! | 1:28:52 | 1:28:55 | |
Forgive me, Rex! | 1:28:55 | 1:28:58 | |
-Lady Julia! Fancy meeting you here. -Mr Ryder. | 1:29:11 | 1:29:13 | |
-Could I possibly get you a drink? -Dry martini, please. | 1:29:13 | 1:29:17 | |
One dry martini, one whisky with water. Please, allow me. | 1:29:17 | 1:29:21 | |
Hmm... BOTH CHUCKLE | 1:29:24 | 1:29:26 | |
-So, why did you marry Rex? -Oh, I don't know. | 1:29:30 | 1:29:33 | |
-Because he wasn't you. -Because he was rich. | 1:29:33 | 1:29:36 | |
Because he was Catholic. Because Mummy approved, | 1:29:36 | 1:29:40 | |
God rest her soul. | 1:29:40 | 1:29:42 | |
-I thought he was my painted savage. -Hmm! | 1:29:42 | 1:29:46 | |
It turns out he was thoroughly up to date. | 1:29:46 | 1:29:49 | |
-Thank you. -No more talk about Rex. He's in England. | 1:29:52 | 1:29:56 | |
Do you have children? | 1:30:04 | 1:30:07 | |
No. | 1:30:07 | 1:30:09 | |
No. | 1:30:09 | 1:30:11 | |
-What will you tell your wife? -Wait until London. | 1:30:13 | 1:30:17 | |
I have a viewing to arrange. I'll sort it out. It'll be fine. | 1:30:17 | 1:30:22 | |
-Where shall we go? -Somewhere abroad, like Daddy. | 1:30:22 | 1:30:25 | |
-What about Italy? Capri? -Antibes. | 1:30:25 | 1:30:28 | |
-Seville. -Verona. -Paris. | 1:30:28 | 1:30:30 | |
-Brideshead. -(LAUGHS) No! | 1:30:30 | 1:30:32 | |
Why not? It's the loveliest place on earth. | 1:30:32 | 1:30:35 | |
I can't go back there, not after this. | 1:30:35 | 1:30:38 | |
-Nonsense. We've nothing to apologise for. -No! | 1:30:38 | 1:30:42 | |
-Rex is there. -Leave it to me. I'll settle things with Rex. | 1:30:43 | 1:30:47 | |
I'll settle everything. | 1:30:49 | 1:30:51 | |
-Trust me. -(LAUGHS) I do! | 1:30:54 | 1:30:57 | |
-And stop worrying. -I will. | 1:30:59 | 1:31:02 | |
Mr and Mrs Ryder? | 1:31:21 | 1:31:23 | |
Look! That's the Duke and Duchess of Clarence. | 1:31:24 | 1:31:28 | |
-They want to buy one. -How very gracious of them! | 1:31:28 | 1:31:31 | |
Make an effort, Charles. I've got you the cream of Mayfair. | 1:31:33 | 1:31:38 | |
Charles! | 1:31:43 | 1:31:45 | |
How charming you look! | 1:31:45 | 1:31:47 | |
Anthony! | 1:31:49 | 1:31:51 | |
I heard, quite by chance, that you were having an exhibition, | 1:31:51 | 1:31:55 | |
so I dashed impetuously to the shrine to pay homage. | 1:31:55 | 1:31:58 | |
Where are the pictures? | 1:31:58 | 1:32:00 | |
Let me explain them to you. | 1:32:02 | 1:32:04 | |
MURMUR OF POLITE CONVERSATION | 1:32:05 | 1:32:08 | |
This is simply charm - simple English creamy charm, | 1:32:14 | 1:32:18 | |
playing tigers. | 1:32:18 | 1:32:21 | |
But enough of art. They tell me you're happy in love, | 1:32:23 | 1:32:27 | |
and that is everything, isn't it? Or... nearly everything. | 1:32:27 | 1:32:32 | |
Everyone's talking about it. So, it's Julia now. | 1:32:32 | 1:32:36 | |
And it used to be Sebastian. | 1:32:36 | 1:32:39 | |
Do you think I should warn her? | 1:32:39 | 1:32:41 | |
Warn her about what? | 1:32:41 | 1:32:43 | |
How apropos that you should have chosen j-j-jungles for your canvas. | 1:32:43 | 1:32:49 | |
I always thought you the lamb to be slaughtered, | 1:32:50 | 1:32:53 | |
when, all along, it is they who are to be hunted. | 1:32:53 | 1:32:57 | |
There really is no end to your hunger, | 1:32:57 | 1:33:00 | |
is there, Charles? | 1:33:00 | 1:33:02 | |
-Why do I feel so nervous? -Don't be. | 1:33:19 | 1:33:22 | |
Who are all these people? | 1:33:27 | 1:33:30 | |
Politicians. Money men. Rex thinks there's a war coming with Hitler. | 1:33:30 | 1:33:34 | |
He wants to do well out of it. It's all he talks about. | 1:33:34 | 1:33:37 | |
-Hello, Julia. -Hello, Rex. | 1:33:37 | 1:33:40 | |
-Good evening, Rex. -Mr Ryder! Welcome back to Brideshead. | 1:33:40 | 1:33:43 | |
-I hear you're making quite a name for yourself. -Could we talk? | 1:33:43 | 1:33:47 | |
Later. I have guests. | 1:33:47 | 1:33:50 | |
It's cold. | 1:33:55 | 1:33:58 | |
Not here! | 1:34:03 | 1:34:05 | |
-Sorry. -Let's go back to London. | 1:34:08 | 1:34:11 | |
-Let me settle everything with Rex. -And then we'll leave. | 1:34:11 | 1:34:14 | |
Yes? | 1:34:14 | 1:34:16 | |
-Charles! -Yes. | 1:34:16 | 1:34:18 | |
If that's what you want. | 1:34:18 | 1:34:21 | |
LAUGHS | 1:34:25 | 1:34:27 | |
-Hello, Bridey! -Oh, hello, Julia. | 1:34:32 | 1:34:35 | |
-Just up from London? -Yes. | 1:34:35 | 1:34:38 | |
Welcome back to Brideshead, Charles. How's your family? | 1:34:38 | 1:34:41 | |
Fine, thank you. | 1:34:41 | 1:34:44 | |
-Rex still entertaining? -He's got business. | 1:34:44 | 1:34:48 | |
Ah! I'm sorry he's not here. I have a little announcement to make. | 1:34:49 | 1:34:54 | |
-Well, come on. Out with it! -I'm engaged to be married. | 1:34:54 | 1:34:57 | |
-Congratulations, Bridey! -Wh-... Who is she? | 1:34:57 | 1:35:02 | |
-Oh, no-one you know. -Is she pretty? | 1:35:02 | 1:35:04 | |
I don't think you could exactly call her pretty. | 1:35:04 | 1:35:08 | |
"Comely" is the word I think of in her connection. | 1:35:08 | 1:35:11 | |
-She is a big woman. -Fat? | 1:35:11 | 1:35:14 | |
No, big. She's called Mrs Muspratt. Her Christian name is Beryl. | 1:35:14 | 1:35:18 | |
-But, Bridey, where did you find her? -Her late husband, Admiral Muspratt, | 1:35:18 | 1:35:22 | |
-collected matchboxes. -You're not marrying her for her matchboxes?! | 1:35:22 | 1:35:26 | |
-CHUCKLES QUIETLY -No, no. | 1:35:26 | 1:35:29 | |
The matchboxes were left to the library. I'm just holding them. | 1:35:29 | 1:35:33 | |
-Why are you laughing? -I hope you'll be very happy. | 1:35:33 | 1:35:37 | |
Thank you. I think I'm very fortunate. | 1:35:37 | 1:35:40 | |
You sly old thing! When are we going to meet her? | 1:35:40 | 1:35:43 | |
-You must bring her here. -I couldn't. -Why not? | 1:35:43 | 1:35:46 | |
Beryl is a woman of strict Catholic principle, | 1:35:46 | 1:35:49 | |
fortified by the prejudices of the middle classes. | 1:35:49 | 1:35:52 | |
-I couldn't possibly bring her here. -I don't understand. | 1:35:52 | 1:35:57 | |
It may be a matter of indifference to you that you live in sin, | 1:35:57 | 1:36:01 | |
but on no account would Beryl consent to be your guest. | 1:36:01 | 1:36:04 | |
How dare you talk to her like that? | 1:36:04 | 1:36:08 | |
Bloody offensive thing to say! | 1:36:10 | 1:36:12 | |
There was nothing she could object to. I was merely stating a fact | 1:36:12 | 1:36:16 | |
well known to her. | 1:36:16 | 1:36:18 | |
Take no notice of him, my darling. | 1:36:37 | 1:36:39 | |
So! Got you. | 1:36:42 | 1:36:45 | |
Sorry about the delay. | 1:36:45 | 1:36:48 | |
I'll be outside. | 1:36:48 | 1:36:51 | |
The door? Door's made from all the works of Dickens. | 1:37:02 | 1:37:06 | |
-I had it installed especially. Want one? -No, thank you. | 1:37:06 | 1:37:11 | |
I know what you're thinking. | 1:37:15 | 1:37:17 | |
How vulgar can I get? You wanna know a secret? | 1:37:22 | 1:37:25 | |
I do it on purpose! It amuses me to offend their delicate sensibilities. | 1:37:29 | 1:37:34 | |
So, you wanna take my wife off me... | 1:37:36 | 1:37:38 | |
You know she can't marry a divorcee, right? | 1:37:38 | 1:37:42 | |
-Against the rules. -At least she'll be free of you. | 1:37:42 | 1:37:45 | |
-She'll never be free. -Don't pretend you've been faithful. | 1:37:45 | 1:37:48 | |
Who said I had? I bet you'd love to get your hands on the house, though. | 1:37:48 | 1:37:53 | |
All those pretty paintings, all those pretty views... | 1:37:53 | 1:37:58 | |
Let her go, Rex. You never loved her. | 1:37:58 | 1:38:00 | |
The only thing you ever had in common was religion. | 1:38:00 | 1:38:03 | |
I wasn't a Catholic. I converted before the wedding. | 1:38:03 | 1:38:07 | |
-Bet she didn't tell you that. -I guessed. | 1:38:09 | 1:38:13 | |
Oh, yeah? | 1:38:13 | 1:38:15 | |
You're the type. | 1:38:15 | 1:38:17 | |
You people... | 1:38:22 | 1:38:25 | |
You never learn. | 1:38:25 | 1:38:27 | |
You could have had it all, if you'd been a little more flexible. | 1:38:29 | 1:38:33 | |
They wanted a Catholic. I converted. It's a great religion. | 1:38:33 | 1:38:37 | |
You sin all you want, then you confess. Problem solved. | 1:38:37 | 1:38:40 | |
You've got to woo these people. This family don't live in the real world. | 1:38:40 | 1:38:45 | |
-They're mortgaged up to the hilt. -Get to the point. | 1:38:45 | 1:38:49 | |
You want my wife? Make me an offer. | 1:38:55 | 1:38:58 | |
-I'm not just giving her away. -Don't do this. It's demeaning. | 1:38:58 | 1:39:02 | |
Try a little harder. | 1:39:04 | 1:39:07 | |
You're a rich man. You've already got what you want. | 1:39:07 | 1:39:10 | |
You can never have enough of what you want. | 1:39:10 | 1:39:13 | |
Nah, you're right. | 1:39:17 | 1:39:19 | |
You're taking her off my hands. That's a favour. | 1:39:19 | 1:39:23 | |
I'll tell you what I'll do. | 1:39:23 | 1:39:25 | |
You give me a couple of your jungle pics, | 1:39:25 | 1:39:30 | |
and I'll give you an annulment. I hear you're worth collecting. | 1:39:30 | 1:39:33 | |
Come on, Charlie-boy. Say yes. You know you want to. | 1:39:38 | 1:39:42 | |
You don't have to speak. | 1:39:44 | 1:39:47 | |
Just nod. | 1:39:49 | 1:39:52 | |
My driver will take me to London. He'll pick up the paintings. | 1:40:08 | 1:40:12 | |
You know she's mad? Can't even give you children. | 1:40:21 | 1:40:25 | |
Lost the only one we had. | 1:40:27 | 1:40:29 | |
RETREATING FOOTSTEPS | 1:40:31 | 1:40:34 | |
Julia? | 1:40:48 | 1:40:50 | |
I'm so sorry. I didn't know. | 1:41:08 | 1:41:11 | |
-It's just a shock. -Ssh. | 1:41:13 | 1:41:15 | |
Ssh. Don't. | 1:41:15 | 1:41:17 | |
I've always known, ever since nursery. | 1:41:19 | 1:41:22 | |
I tried to be good. I really did. I married Rex. | 1:41:23 | 1:41:27 | |
All through the backgammon and cigars, I tried. | 1:41:28 | 1:41:31 | |
But it's not enough. | 1:41:31 | 1:41:33 | |
It's never enough. | 1:41:33 | 1:41:36 | |
God had to punish me. | 1:41:36 | 1:41:38 | |
So he took my little stillborn... My child. My girl. | 1:41:39 | 1:41:45 | |
With you, I thought I could really and truly be free. | 1:41:45 | 1:41:49 | |
But coming back here, it's like a thread, | 1:41:49 | 1:41:52 | |
an invisible thread, drawing you back, inch by inch, | 1:41:52 | 1:41:56 | |
until, all of a sudden, you're a child again, | 1:41:56 | 1:41:59 | |
and that voice inside your head, the one that Mummy planted | 1:41:59 | 1:42:03 | |
all those years ago, every night in the nursery, | 1:42:03 | 1:42:06 | |
filling your head with it, and the voice is whispering, | 1:42:06 | 1:42:10 | |
"Wicked little Julia! Bad little girl, living in sin!" | 1:42:10 | 1:42:13 | |
-And here I am again with you, living in sin! -Ssh... | 1:42:13 | 1:42:17 | |
It's over. It's over now. SOBS | 1:42:18 | 1:42:21 | |
SOBS | 1:42:27 | 1:42:29 | |
-Everything set? -That's everything, sir. | 1:42:40 | 1:42:43 | |
-Thank you, Wilcox. -Best of luck, sir. | 1:42:43 | 1:42:46 | |
Who's that? | 1:43:09 | 1:43:11 | |
Go back! Turn around. I have to go back. | 1:43:15 | 1:43:18 | |
-Staff, immediately. -Yes, sir. | 1:43:20 | 1:43:23 | |
Come on, quickly, now! | 1:43:23 | 1:43:26 | |
Hurry, hurry! | 1:43:33 | 1:43:35 | |
-The sedan chair! -Very gently, very gently. -Argh! | 1:43:35 | 1:43:39 | |
-Hurry, hurry! -Get a move on! | 1:43:40 | 1:43:43 | |
-Come along, come along! -Have you got the wrap? | 1:43:43 | 1:43:47 | |
-Hup! -Gently... | 1:43:49 | 1:43:51 | |
Can I have the medical bag? | 1:43:51 | 1:43:53 | |
-Father! -Oh, dear Julia! | 1:43:57 | 1:43:59 | |
Come on, please. Come on! | 1:43:59 | 1:44:02 | |
I'm sorry. I was to call, but we've been travelling without stop. | 1:44:10 | 1:44:14 | |
-It was Cordelia. She was visiting us in Venice... -What happened? | 1:44:14 | 1:44:18 | |
His heart. Some long word... at the heart. | 1:44:19 | 1:44:24 | |
He's dying. He has come home to die. | 1:44:26 | 1:44:29 | |
-That's it. Chop-chop. -(WILCOX) -Come along! | 1:44:34 | 1:44:37 | |
We must get Lord Marchmain to the great dining room. | 1:44:37 | 1:44:41 | |
He's sleeping. | 1:44:56 | 1:44:59 | |
-Should we let Sebastian know? -We could, but I doubt he'd come. | 1:45:00 | 1:45:04 | |
The last I heard of him, he's still struggling rather. | 1:45:04 | 1:45:08 | |
The monks have him as a porter in the hospital in Morocco. | 1:45:08 | 1:45:11 | |
He seems to like it. They've taken him under their wing, | 1:45:11 | 1:45:15 | |
dear old thing. Still,... | 1:45:15 | 1:45:17 | |
..salvation of a sort. | 1:45:19 | 1:45:21 | |
Bridey, you need to call for a priest. | 1:45:21 | 1:45:24 | |
I'll ask Father McKay to drop in this evening. | 1:45:24 | 1:45:27 | |
Julia, your father doesn't want a priest. | 1:45:27 | 1:45:31 | |
What he wants is to die in his old home. | 1:45:31 | 1:45:33 | |
Our father's soul,... all sinners' souls... face mortal danger. | 1:45:33 | 1:45:39 | |
It is our duty, as Catholics, | 1:45:39 | 1:45:42 | |
to do all in our power to save those we love from themselves. | 1:45:42 | 1:45:46 | |
Hateful woman! | 1:46:26 | 1:46:28 | |
She wants me dead. | 1:46:28 | 1:46:31 | |
What about you? Do you want me dead? | 1:46:33 | 1:46:38 | |
No. | 1:46:38 | 1:46:40 | |
You know the family are sending for a priest? | 1:46:47 | 1:46:50 | |
They seem determined to drag God into it. | 1:46:50 | 1:46:54 | |
Why should you care? | 1:46:54 | 1:46:57 | |
You don't believe in God. | 1:46:57 | 1:46:59 | |
You said so yourself. | 1:47:01 | 1:47:03 | |
Have you suddenly become my conscience? | 1:47:04 | 1:47:08 | |
I've already seen Sebastian ruined by God. | 1:47:08 | 1:47:11 | |
I don't see why I should watch it happen again | 1:47:11 | 1:47:15 | |
with your daughter. | 1:47:15 | 1:47:17 | |
How very caring of you! | 1:47:18 | 1:47:21 | |
You forget I was there. | 1:47:21 | 1:47:24 | |
I watched that woman crucify my son, | 1:47:25 | 1:47:28 | |
little by little, | 1:47:28 | 1:47:30 | |
and I was silent. | 1:47:30 | 1:47:33 | |
What does that say about me? | 1:47:33 | 1:47:36 | |
You're not responsible for what she did. | 1:47:36 | 1:47:39 | |
But are we not also our brother's keeper? | 1:47:39 | 1:47:42 | |
You, Charles, | 1:47:42 | 1:47:45 | |
and me? | 1:47:45 | 1:47:47 | |
I let Sebastian down. | 1:47:48 | 1:47:51 | |
I let everyone down. | 1:47:54 | 1:47:56 | |
MURMUR OF CONVERSATION | 1:48:01 | 1:48:03 | |
BREATHES RAGGEDLY THROUGH VENTILATOR | 1:48:06 | 1:48:09 | |
Oh, dear, no. That's too many. Your father needs to rest. | 1:48:12 | 1:48:15 | |
-Get him away. -It's Father McKay. -Get him away! | 1:48:15 | 1:48:19 | |
-GET HIM AWAY! (COUGHS) -Everybody out! | 1:48:19 | 1:48:22 | |
Out, out, out! | 1:48:22 | 1:48:25 | |
-I'm so sorry, Father. -Oh, not at all. | 1:48:25 | 1:48:28 | |
Give him time. I've known worse cases make beautiful deaths. | 1:48:28 | 1:48:32 | |
What were you talking to my father about? | 1:48:36 | 1:48:39 | |
He doesn't want a priest. | 1:48:43 | 1:48:45 | |
Please, Charles. | 1:48:47 | 1:48:49 | |
-Please don't interfere with matters that don't concern you. -Julia! | 1:48:49 | 1:48:53 | |
Let's get out of here. We'll go to Italy. | 1:48:57 | 1:49:00 | |
-Capri. -I can't leave now. | 1:49:02 | 1:49:04 | |
My father's dying. | 1:49:04 | 1:49:06 | |
When this is over, I can make you happy. | 1:49:06 | 1:49:10 | |
-Why should I believe you? -Believe me. | 1:49:24 | 1:49:28 | |
You just bought me from Rex. | 1:49:28 | 1:49:30 | |
What are you talking about? | 1:49:34 | 1:49:37 | |
According to you, I'm worth two pictures. | 1:49:37 | 1:49:40 | |
I thought I'd fetch at least three. | 1:49:42 | 1:49:45 | |
Don't be ridiculous. | 1:49:47 | 1:49:49 | |
-That was Rex. -You agreed to it, Charles. | 1:49:50 | 1:49:54 | |
-I had no choice. -You agreed! | 1:49:54 | 1:49:56 | |
I was doing what you wanted. | 1:49:56 | 1:49:59 | |
No! You thought you were getting me and the house together. | 1:49:59 | 1:50:03 | |
-Is that really what you think? -You tell me. Please. | 1:50:03 | 1:50:06 | |
What does Charles Ryder really want? | 1:50:06 | 1:50:09 | |
Can you imagine what it was like for me, | 1:50:28 | 1:50:31 | |
to be invited into Brideshead? | 1:50:31 | 1:50:34 | |
Me, | 1:50:35 | 1:50:37 | |
Charles Ryder. | 1:50:37 | 1:50:39 | |
A painter from Paddington, as your mother so sweetly put it. | 1:50:41 | 1:50:44 | |
There was no humiliation I would not have endured | 1:50:44 | 1:50:48 | |
just to be part of that dream. | 1:50:48 | 1:50:51 | |
And your mother... | 1:50:51 | 1:50:53 | |
That woman is more alive now than she ever was. | 1:50:53 | 1:50:56 | |
She's in every brick, every stone, | 1:50:56 | 1:51:00 | |
every slate. | 1:51:00 | 1:51:02 | |
Sebastian was right. | 1:51:05 | 1:51:08 | |
We should run away. | 1:51:14 | 1:51:16 | |
-Why did you bring me here? -We can still leave. | 1:51:20 | 1:51:23 | |
THUNDER RUMBLES | 1:51:31 | 1:51:33 | |
GASPS / WHEEZES | 1:51:38 | 1:51:40 | |
AGONISED BREATHING | 1:51:43 | 1:51:45 | |
WHEEZES / CHOKES | 1:51:46 | 1:51:49 | |
BREATHES RAGGEDLY | 1:51:58 | 1:52:00 | |
-Bridey... -Don't interfere, Charles. | 1:52:09 | 1:52:11 | |
Now, try and remember your sins, and tell God you're sorry. | 1:52:37 | 1:52:41 | |
I'm going to give you absolution now, and while I'm giving it, | 1:52:41 | 1:52:45 | |
I want you to tell God you're sorry you offended Him, | 1:52:45 | 1:52:49 | |
and then I want you to make a sign, if you can. | 1:52:49 | 1:52:52 | |
Misereatur tui omnipotens Deus, | 1:52:54 | 1:52:57 | |
et dimissis peccatis tuis, | 1:52:57 | 1:53:00 | |
perducat te ad vitam aeternam. Amen. | 1:53:00 | 1:53:04 | |
-Amen. -Amen. | 1:53:04 | 1:53:06 | |
CONTINUES TO READ ABSOLUTION IN LATIN | 1:53:06 | 1:53:09 | |
In nomine Patris, | 1:53:25 | 1:53:28 | |
et Filiis et Spiritu Sancti. | 1:53:28 | 1:53:32 | |
Amen. | 1:53:33 | 1:53:36 | |
SOBS | 1:53:45 | 1:53:47 | |
(Please, God, please...) | 1:53:49 | 1:53:51 | |
(Forgive him.) | 1:53:51 | 1:53:54 | |
(Forgive me. Oh, God, forgive me. Let him have a sign.) | 1:53:54 | 1:54:00 | |
MURMURS FAINTLY | 1:54:08 | 1:54:10 | |
ALL RECITE PRAYER IN LATIN | 1:55:12 | 1:55:14 | |
Sebastian used to loathe this painting. | 1:55:36 | 1:55:39 | |
Daddy gave it to Mummy as a wedding present. | 1:55:41 | 1:55:44 | |
Tell me. | 1:55:48 | 1:55:50 | |
I wanted... | 1:55:54 | 1:55:56 | |
too much. | 1:55:56 | 1:55:59 | |
It's nobody's fault. | 1:55:59 | 1:56:02 | |
But... you're not coming with me. | 1:56:02 | 1:56:05 | |
I can't shut myself off from His mercy. | 1:56:10 | 1:56:13 | |
Can you understand that? | 1:56:16 | 1:56:18 | |
I don't want to make it... easier for you. | 1:56:20 | 1:56:24 | |
I hope your heart... | 1:56:31 | 1:56:34 | |
..breaks. | 1:56:35 | 1:56:38 | |
But I do understand. | 1:56:44 | 1:56:46 | |
I have to let you go. | 1:56:51 | 1:56:54 | |
LOW MURMUR OF CONVERSATION | 1:57:48 | 1:57:51 | |
SOLDIERS SHOUT | 1:57:54 | 1:57:57 | |
'Whether by fate, or the divine ironies of some higher power, | 1:58:09 | 1:58:13 | |
I find myself returned once more to Brideshead.' | 1:58:13 | 1:58:18 | |
Let it go! | 1:58:18 | 1:58:20 | |
'Did I want too much?' | 1:58:31 | 1:58:33 | |
'Did my own hunger blind me to the ties that bound them to their faith?' | 1:58:38 | 1:58:42 | |
'Am I only now, shadowed by war, | 1:58:44 | 1:58:48 | |
all moorings gone,... | 1:58:48 | 1:58:50 | |
..alone enough to see the light?' | 1:58:53 | 1:58:55 | |
Worst place we've struck yet. No facilities, no amenities, | 1:59:02 | 1:59:06 | |
and the nearest village is a five-mile walk. Mind you, | 1:59:06 | 1:59:09 | |
there's a big push coming. They'll ship us off to France soon. | 1:59:09 | 1:59:13 | |
Yes. Very soon. | 1:59:13 | 1:59:16 | |
Where are the family now? Does anyone know? | 1:59:16 | 1:59:18 | |
Some Lady Flyte, who lives here on her own... | 1:59:18 | 1:59:21 | |
She's overseas with the Women's Service. | 1:59:21 | 1:59:24 | |
Elder brother died in the Blitz. They're all Roman Catholic. | 1:59:24 | 1:59:28 | |
-I take it you're not religious. -Me? God, no. | 1:59:28 | 1:59:31 | |
Can't see the point in it. You're born, you live, then you die. | 1:59:31 | 1:59:34 | |
-Do you have any hopes for the future? -Hopes? Oh, aye! | 1:59:37 | 1:59:40 | |
Plenty. It's our time now. You watch. | 1:59:40 | 1:59:43 | |
The old ways, all this, they're gone. | 1:59:43 | 1:59:46 | |
Future belongs to us, long as we don't get shot. | 1:59:46 | 1:59:49 | |
How about you, sir? You got someone special waiting for you? | 1:59:50 | 1:59:54 | |
Me? No. | 1:59:54 | 1:59:56 | |
I've loved and lost enough for more than one lifetime. | 1:59:56 | 1:59:59 | |
Would you like me to drive you back, sir? | 1:59:59 | 2:00:02 | |
No, not yet. | 2:00:02 | 2:00:05 | |
-Carry on, Hooper. -Very good, sir. | 2:00:05 | 2:00:08 | |
AEROPLANE ENGINES THUNDER OVERHEAD | 2:00:13 | 2:00:16 | |
SOMBRE INSTRUMENTAL MUSIC | 2:00:49 | 2:00:52 | |
INSTRUMENTAL CLASSICAL MUSIC | 2:02:20 | 2:02:22 | |
Subtitles by IMS | 2:02:22 | 2:02:24 |