Brideshead Revisited (2008) Movie Script
If you asked me now who I am,
the only answer I could give
with any certainty
would be my name, Charles Ryder.
For the rest, my loves, my hates,
down even to my deepest desires,
I can no longer say whether
these emotions are my own
or stolen from those
I once so desperately wished to be.
On second thoughts,
one emotion remains my own,
alone among the borrowed
and the second-hand,
as pure as that faith
from which I am still in flight.
Guilt.
Been away, sir? Anywhere interesting?
-JungIe.
-JungIe.
ExpIorer, are we?
-Painter.
-Painter?
So, bye-bye beardy, heIIo smooth.
Famous for his impressive
architecturaI portraits,
British artist CharIes Ryder
has taken New York by storm
with a series of gripping jungIe studies.
To own a Ryder is currentIy the dream
of every seIf-respecting
East Coast miIIionaire.
(CHUCKLES )
You must be so proud of him.
-Was he away Iong?
-Two years,
-and it doesn't feeI Iike a day.
-You must feeI positiveIy bridaI.
to save my Iife.
Thank you.
I can't even hoId a buggering brush!
But I know what I Iike. Lots of coIor.
Nice and bright.
I see the jungIe in your work
as a metaphor.
Not Ieast, the metaphysicaI sembIance
of the chaos at the heart of civiIization.
CELIA: Make an effort, CharIes.
You're not in South America now.
You're amongst civiIized peopIe.
(SIGHS )
-Mr. Ryder, I wonder if I couId...
-I'm so sorry. Excuse me.
-Excuse me. Thank you very much.
-...just have a conversation...
(DOOR OPENING )
(SINGING UPBEAT SONG )
HeIIo, CharIes.
-You're wearing a coat!
-Yes, Father, I am.
Why?
-I'm going up to Oxford.
-Ah. Yes.
-Remind me. What are you taking?
-History.
-And what aIIowance have I given you?
-A hundred pounds.
How very induIgent of me.
Mind you, it aII comes out of capitaI.
Oh, I suppose this is the time
I shouId give you advice.
Your mother was aIways
so good at that.
Who's meeting you?
Cousin Jasper offered
to show me around.
Cousin Jasper!
(CHUCKLES )
Most entertaining.
STUDENT: Out of the way,
you siIIy fooI.
JASPER: There you are, CharIes.
This way, pIease.
Come aIong. As an onIy chiId,
you wiII, of course, have much to Iearn.
Though I am onIy your cousin, CharIes,
you must Iook upon me as a brother.
OIder, wiser,
but a brother nevertheIess.
Now, it is no secret that our famiIies
are not rich in materiaI weaIth.
Keep off the grass.
But I Iike to think that we Ryders are,
aII of us, rich in the striving of minds.
Now, then... Not that way.
CIothes. Dress as you do
in a country house.
Never wear a tweed coat
and a fIanneI trousers, aIways a suit.
And go to a London taiIor.
You'II get a better cut.
ProtocoI. First and foremost,
behaving with restraint...
Nine aduIteries, 1 2 Iiaisons,
and something approaching a rape
rest nightIy upon the souI
of our deIicate friend FIoriaIis,
and yet the man is so
quiet and reserved in demeanor
that he passes
for both bIoodIess and sexIess.
(ALL EX CLAIM)
Sodomites, aII of them. Steer weII cIear.
JASPER: Treat aII dons
as you wouId the IocaI vicar.
With indifference.
Oh, dear, oh, dear. This won't do at aII.
You must change your rooms.
I've seen many a man ruined
through having ground fIoor rooms
in the front quad.
PeopIe start dropping in.
They Ieave their gowns here
and come and coIIect them before haII.
You start giving them sherry
and before you know it they're...
(SHOUTING )
BLANCHE: Sebastian, come aIong.
Look at the state of him.
Come on, you're nearIy cIean.
(JASPER MUMBLING )
Oh, no, no, no, sir, stop.
You don't cIear up after yourseIf.
That's my job.
Sorry, Lunt. What's aII this?
From the gentIeman Iast night, sir.
He just caIIed. Left a note for you.
''I am very contrite.
''PIease come to Iuncheon today.
Sebastian FIyte.''
The Lord Sebastian FIyte,
don't you know?
I'm sure it's quite a pIeasure
to cIear up after him.
I take it
you'II be out to Iunch today, then, sir.
Yes, Lunt. I think I shaII be.
SEBASTIAN: I've just counted them.
There's five each and two over,
so I'm having the two.
I'm unaccountabIy hungry today.
I put myseIf unreservedIy
in the hands of DoIbear and GoodaII
and feeI so drugged
I've begun to beIieve
the whoIe of yesterday evening
was a dream.
PIease don't wake me.
-Do try one.
-Thank you.
-What are they?
-PIover's eggs. The first this year.
Mummy sends them from Brideshead.
They aIways Iay earIy for her.
You wouId, too, if you knew my mother.
Are you terribIy angry with me
about Iast night?
No, not at aII.
Thank you for the fIowers.
AIoysius, you can't go there.
Do sit down.
-TeII me about you.
-Me?
I'm in my first year, reading history,
but reaIIy what I most want to be
is a painter.
WouId you Iike to paint me?
WeII, yes. Yes, if you Iike.
It's so cIever of you,
knowing what you want.
I've no idea what I want.
Except to be happy.
If I can.
Let's have some champagne.
A gIass each before the rowdies arrive.
BO Y MULCAS TER:
You don't want to join the Old Boys.
They're aII bIoody drugged bogs
or coIIegers.
MAN: Top me up,
wiII you, oId man?
-I don't remember you from Eton.
-I didn't go to Eton.
Oh, reaIIy. Where then?
Harrow or Winchester?
(ALL CHUCKLING )
Rugby? Oh, not Charterhouse, I hope?
(ALL LAUGHING )
You wouIdn't have heard of it.
There are other schooIs,
you know, Boy.
Yes, I suppose there must be.
(EVERYONE LAUGHING )
-My dears.
-HeIIo, BIanche.
HeIIo, BIanche.
I couIdn't get away before.
I was Iunching
with my preposterous tutor.
I toId him I had to change for footer.
(ALL LAUGHING )
(BLANCHE MOANS )
Anthony, you remember CharIes.
From Iast night?
CharIes is reading history,
but he wants to be an artist.
-No!
-Why ever not?
-Either you are an artist or you are not.
-MAN: Hear, hear.
-Then I am.
-Interesting.
You have about you
a distinct hint of the pragmatic.
What do you want to be an artist for?
I mean, what's the point of it?
Why don't you just
buy a bIoody camera
and take a bIoody photograph
and stop giving yourseIf airs?
-That's what I want to know!
-That's it, go it, Boy!
-I don't give myseIf airs.
-Yes, you do.
And, anyway,
you haven't answered my question.
Come on! Answer!
-Answer, answer, answer, answer...
-MAN: Yes.
ALL: Answer, answer, answer, answer...
Because a camera
is a mechanicaI device
which records a moment in time,
but not what that moment means
or the emotions that it evokes.
(ALL GIGGLING )
Whereas a painting,
however imperfect it may be,
is an expression of feeIing.
An expression of Iove.
Not just a copy of something.
(BLANCHE CLAPPING )
And who on earth do you think
cares about your feeIings?
SEBASTIAN: I do.
Boy, you're an oaf. Behave yourseIf.
To art and Iove.
ALL: To art and Iove!
We'd just arrived in his rooms, then,
without even a, ''By your Ieave,''
the Lord FIyte pokes his head
through the window and vomits.
Ground fIoor rooms, you see.
Poor CharIes may never recover.
-Morning, Jasper.
-Morning.
(LAUGHING )
RUGB Y PLAYER:
Two tries out of you today...
CharIes. You're to come away at once!
I've got a basket of strawberries
and a bottIe of Chateau Peyraguey,
which isn't a wine you've ever tasted,
so don't pretend.
It's heaven with strawberries.
Just the pIace to bury a crock of goId.
I shouId Iike to bury
something precious
in every pIace where I've been happy.
And, then,
when I was oId and ugIy and miserabIe,
I couId come back
and dig it up and remember.
Come aIong, CharIes.
There's someone I want you to meet.
-Is this where you Iive?
-It's where my famiIy Iive.
Don't worry,
you won't have to meet them.
-Oh, but I shouId Iike to.
-You can't. They're away.
Everything's shut up.
We better go this way.
SEBASTIAN: Keep up.
CharIes. CharIes.
(BOTH LAUGHING )
(DOOR OPENING )
WeII, this is a surprise!
How IoveIy to see you.
(NANNY HAWKINS EX CLAIMS )
Meet my new chum, CharIes.
CharIes, this is Nanny Hawkins.
This is who I wanted you to meet.
-I don't think I know you, do I?
-How do you do?
Your friend has charming manners.
What famiIy are you from, CharIes?
-No famiIy. I mean, no one important.
-CharIes is an artist.
-He's going to paint me.
-How joIIy.
You've come at just the right time.
Lady Marchmain's
on her way up from London.
It's the Conservative Women's Tea.
They aIways turn out for Brideshead.
I'm afraid we may have
to miss them, Nanny.
Your mother wiII be disappointed.
I'm sure Her Ladyship
wouId want to meet...
Can't be done, I'm afraid.
Got to get back or we'II be gated.
I pray for my dear Sebastian every day.
-CharIes!
-It was very nice to meet you.
-Come aIong, CharIes.
-CouIdn't we just have a quick Iook?
We've seen who we came for.
We can go.
Just a IittIe Iook.
Don't be such a tourist, CharIes.
If you're that keen,
you can see it aII for a shiIIing
on Queen AIexandra's Day.
God, I Ioathe that painting!
I couId show you the chapeI, I suppose,
if we're quick.
What did you do that for?
-You're not CathoIic, are you?
-No.
-I was just trying to fit in.
-WeII, don't.
SEBASTIAN: Come on, come on!
CHARLES:
Sorry, I'm afraid I don't have the knack.
CharIes, what are you doing?
(CAR ENGINE STARTING )
Car. Now.
Who was that in the car
with your mother?
-My sister.
-What's she Iike?
For goodness sake, CharIes,
I don't keep asking you questions
about your famiIy.
But I've never
asked you anything before.
You're so inquisitive.
WeII, you're so mysterious about them.
I hoped I was mysterious
about everything.
Why don't you want me
to meet your famiIy?
Who are you ashamed of, them or me?
Don't be so vuIgar, CharIes.
I'm not having you mixed up
with my famiIy. You're my friend.
I don't have a famiIy.
You have me.
Sebastian and CharIes,
contra mundum.
Contra mundum.
CHARLES: Father?
Father?
-Back aIready?
-Term's over.
So soon?
(KNOCKING AT DOOR)
(DOOR OPENING )
CHARLES: Thank you.
-Father, I have to Ieave at once!
-Oh, yes?
A great friend of mine
has had a terribIe accident.
-I must go to him.
-May I?
''GraveIy injured.
Come at once. Sebastian.''
I'm sorry you're upset.
Reading this message,
I wouId say that the accident was not
as serious as you seem to suggest
or it wouId not have been signed
by the victim himseIf.
StiII, of course, he may weII be
fuIIy conscious, but horribIy paraIyzed.
Remind me.
Why is your presence necessary?
I toId you, he's a great friend.
WeII, I shaII miss you, my boy,
but don't hurry back on my account.
GUARD: Take your bag, sir?
Excuse me!
Are you CharIes Ryder?
Yes. Sorry. HeIIo.
I'm JuIia, Sebastian's sister.
I've been sent to pick you up.
Hop in, Mr. Ryder.
-Case in the back.
-Sorry, yes.
How's Sebastian?
-He's fine.
-Fine?
Did he teII you he was dying?
WeII, I thought... His message said...
I expect he thought
you wouIdn't come if you knew.
He's not badIy hurt, then?
He cracked a bone in his foot
so smaII it hasn't even got a name.
-How did it happen?
-PIaying croquet.
I must admit,
I did think it was a IittIe queer,
you traveIing aII this way
for a croquet injury.
I don't mind.
It's wonderfuI to be here again.
Is it? Why?
WeII, it's such a beautifuI house,
for one thing.
I can't stand the pIace.
Be an angeI and Iight me one.
There you are, at Iast!
-I thought you were dying.
-I thought I was, too.
The pain was excruciating.
JuIia, ask WiIcox
to fetch us some champagne.
-I hate champagne.
-For our guest.
WeII, take your coat off. You'II boiI.
Come aIong, CharIes.
SEBASTIAN:
I thought you hated champagne.
I do.
I suppose Sebastian's toId you
aII about us?
No. No, nothing at aII,
as a matter of fact.
And nor shouId I.
What?
-I take it you're not one of us?
-Don't answer.
I don't Iive Iike this,
if that's what you mean.
She means you're not a CathoIic.
Sorry, no. No, nothing at aII.
-You mean you're an atheist?
-WeII, yes, I suppose.
StrictIy speaking, we're C of E,
but Father onIy ever goes
for Christmas and funeraIs.
He Iikes those.
-What about your mother?
-She's dead.
I was very young.
She died working for the Red Cross.
Which, given her devotion to good,
does rather point up
the arbitrariness of it aII.
I see. So, you're here arbitrariIy?
He's here as my friend.
Given Mr. Ryder's
staunch position on reIigion,
don't you think he ought to know
what he's getting into?
Leave CharIes out of it.
-TeII me.
-SEBASTIAN: Oh, God.
Mummy takes her faith
very seriousIy, indeed.
So seriousIy, in fact,
that our fat IittIe priest, Father Mackay,
caIIed her a Iiving saint.
Mind you, he drinks.
Sebastian and I
are a coupIe of heathens.
I'm not a heathen, I'm a sinner.
Cast out from God's Iove.
As for you,
you're not a heathen at aII, not reaIIy.
Why do we aIways end up
taIking about famiIy?
It's time for my bath.
Good evening, Mr. Ryder.
Look after my brother.
(SIGHS )
I don't think your sister
Iikes me very much.
SEBASTIAN: I don't think
she cares for anyone much.
I Iove her.
She's Iike me.
Drink in remembrance of me.
(CHARLES CHUCKLING )
CHARLES: Hang on.
(CHARLES LAUGHING )
(SEBASTIAN GROANING )
In fact, I know that that's checkmate.
CHARLES: Come here.
(CHUCKLES )
SEBAS TIAN: If only it could be
like this always.
AIways summer.
Always alone.
Fruit aIways ripe.
CHARLES: Cheers.
SEBASTIAN: Now,
(SOFT MUSIC PLAYING )
try this.
-No?
-It's a shy IittIe wine. Like a gazeIIe.
-Like a Ieprechaun.
-DappIed in a tapestry meadow.
(BOTH LAUGHING )
SEBASTIAN: A fIute by stiII water.
This is a wise oId wine.
(SEBASTIAN EX CLAIMS )
A prophet in a cave.
CHARLES: And this
is a string of pearIs on a white neck.
(CHUCKLES )
-A swan.
-The Iast unicorn.
(SEBASTIAN CHUCKLES )
(BOTH CHUCKLING )
(CHARLES EX CLAIMS )
Who's that?
-Is that your brother?
-Yes, that's Bridey.
-He seems aII right to me.
-Wait tiII you meet him.
Mother.
HeIIo, there.
SEBASTIAN: Go away,
we're not decent!
-Mummy's here.
-We know.
She's invited CharIes to dinner.
LAD Y MARCHMAIN: It's not
what we agreed upon, Sebastian,
when we taIked about this
at Christmas, when you came down.
It's no use crying, darIing.
That's just chiIdish.
That's not going to heIp, is it?
You see, darIing,
whatever yesterday's sins,
we must aII pray for God's forgiveness.
So now, you try and try again now.
Be a good boy.
For God and for Mummy.
(SEBASTIAN CRYING )
Now, just put your shirt on now.
Dining room's this way.
Is Sebastian aII right?
He seemed upset.
JULIA: Oh.
He and Mummy often have these taIks.
FIanneIs for dinner?
Very boId, Mr. Ryder.
-WiII your mother mind?
-Yes, she'II be appaIIed.
No, don't worry.
She'II be understanding.
-Do you often do that?
-What?
-Say one thing, mean another?
-Yes and no.
(CHARLES CHUCKLES )
(DOOR OPENING )
LAD Y MARCHMAIN: Thank you.
(BRIDE Y SAYING GRACE IN LATIN)
-BRIDE Y: Amen.
-Amen.
WeIcome to Brideshead, Mr. Ryder.
I've been hearing aII about you.
I do hope you didn't Iet Sebastian
caII you away in too much of a rush.
I'm afraid I didn't quite have time
to pack the right things.
Sebastian must Iend you some cIothes
whiIe you're here.
Or perhaps Bridey's a better fit.
Are you a Bridey
or a Sebastian, Mr. Ryder?
He can't borrow Bridey's cIothes.
Bridey dresses Iike a bank cIerk.
Don't be vuIgar, CordeIia.
VuIgar is not the same as funny.
I hope you've been
Iooked after properIy, Ryder.
Has Sebastian
been seeing to the wine?
Yes. Sebastian's been
seeing to the wine.
BRIDE Y: DeIighted to hear it.
-You're fond of wine?
-Yes, very.
I wish I were.
It's such a bond with other men.
At Christ Church, I tried to get drunk
more than once, but I didn't enjoy it.
JULIA: What do you enjoy, Bridey?
Hunting, shooting,
fishing.
And what form do your pIeasures take,
Mr. Ryder?
-Sorry, pIeasures?
-Your hobbies.
-What do you do to reIax?
-He drinks.
Drinking is not a hobby, Sebastian.
-You Iive in London, is that correct?
-Yes.
-Whereabouts?
-Paddington.
You Iive in a raiIway station?
No, no. Sorry. No, I Iive nearby.
I see.
And has this Ied
to an interest in trains?
No.
So, are you cIose
with Sebastian's crowd?
Not reaIIy.
-With Anthony BIanche?
-We're acquainted.
CharIes is a painter, Mummy.
How charming.
We must get you
to paint something for us.
-WouId you do that, Mr. Ryder?
-I'd be deIighted.
I think Brideshead's the most
beautifuI house I've ever seen.
-It's utterIy magicaI.
-How kind you are.
(CHARLES CHUCKLING )
Summer at Brideshead.
Mr. Ryder must stay with us
for the rest of the vacation.
As a matter of fact,
I've just heard from Papa.
He wants me to go and see him
in Venice. And JuIia.
I see.
And do you intend
to accept this invitation?
Yes. Why not?
What about you, JuIia?
WiII you be going?
I'd Iike to.
WouIdn't you rather
stay at Brideshead?
WeII, yes, if you want me to.
-You must not negIect your duty.
-No, Mother.
I think we might spend a IittIe time
in the chapeI after dinner.
-WouId you join us, Mr. Ryder?
-Thank you.
You do know CharIes is an atheist?
An agnostic, sureIy.
ActuaIIy, no.
But you'II join us, anyway,
out of curiosity.
Thank you.
-No Sebastian?
-No, Mummy.
CharIes, are you reaIIy an atheist?
-Yes, I am.
-How awfuI for you.
I'II put you on my prayer Iist.
I have a Iong Iist of peopIe I pray for,
incIuding six bIack CordeIias in Africa.
It's a new thing. You send five bob
to some nuns in Africa,
and they christen a baby after you.
Right.
ALL: Thy wiII be done,
on earth as it is in heaven.
Give us this day our daiIy bread,
and forgive us our trespasses
as we forgive
those who trespass against us.
And Iead us not into temptation,
but deIiver us from eviI.
Amen.
(LAD Y MARCHMAIN SINGS IN LATIN)
(ALL SINGING IN LATIN)
LAD Y MARCHMAIN: Have you ever
been to Venice, Mr. Ryder?
No. No, I haven't.
Every ambitious young man
shouId visit Venice.
It makes one sound more compIete.
I was thinking, if Sebastian were to go,
it might be a good thing
if you were to accompany him.
He needs someone pIausibIe
by his side.
I gather Iast time he was there, he was
befriending some very odd types.
It's youthfuI high spirits, I understand,
but in the end,
we must aII accept God's Iimits.
Atheist, or no.
I know I can reIy on you.
You seem to me
a very reIiabIe young man.
-San Giovanni e PaoIo.
-SEBASTIAN: Oh, dear.
I can see
you're going to be impossibIy curious.
By the way, I shouId warn you.
Our IoveIy father is rather a scoundreI.
He Iives
in one of the paIazzos with Cara.
-Who's Cara?
-His mistress.
Poor Papa's rather shunned by society.
Not the ItaIians, of course.
They adore him.
-Santa Maria dei MiracoIi.
-I know. I've seen the postcard.
-My dear boy!
-DarIing, Papa.
-You Iook so young!
-Do you think so?
I've taken to pIaying tennis
at the Lido with a professionaI.
Cara thinks I'm getting far too fat.
JuIia, come here.
-Father.
-My chiId.
-I wasn't sure if you'd come.
-Mummy gave me her bIessing.
BIessed by your mother.
What a saint that woman is.
You know, I used to try everything
to pIease her.
JuIia, this is your friend, Mr. Ryder?
-CharIes is my friend, Papa.
-I see.
-DeIighted.
-How do you do, sir?
-WeIcome to Venice.
-Here's Cara. Now we can eat.
Come aIong now. This way.
Don't Iook so greedy. It won't go away.
Sorry.
I wasn't sure you'd come to Venice.
Your father seemed
pIeased to see you.
I'm not sure Father
cares much if I come.
He'd probabIy be just as happy
if it was onIy Sebastian.
They adore each other.
They're aIike in so many ways.
-Who are you Iike?
-Me?
Oh.
Nobody.
I'm the famiIy shadow.
(BELL RINGING )
Drinks.
(SEBASTIAN CHUCKLING )
-CARA: JuIia.
-Cara.
Mr. Ryder, Sebastian teIIs me
you are a painter.
-CharIes is an artist.
-Good.
WeII, then I wiII show you aII the
great art of CanaIetto and Veronese.
He never goes anywhere.
Such a phiIistine.
I don't mind the art.
It's reIigion I can't stand.
The ItaIians seem unabIe
to paint anything haIf decent
without putting Christ dying in it.
Of course, your mother Ioved ItaIy.
-A pieta on every street corner.
-Don't be crueI.
On the contrary, she'd be fIattered.
God was aIways her first Iove.
-Mummy Ioves aII of us equaIIy.
-Come now, JuIia.
You were the one who waIked away!
What must you think of us, Mr. Ryder?
-A famiIy of monsters, are we not?
-No, not at aII.
I Iost my mother when I was young.
TeII me, Mr. Ryder, as an artist,
what did you make of Brideshead?
I thought it was magnificent.
You think that? ReaIIy?
And now, here you are in Venice.
What a Iot of temptations.
CARA: He waIks for two hours
every day. He wants to be immortaI.
But he's quite fragiIe, you know, inside.
That woman nearIy suffocated him.
-She's been very kind to me.
-Oh, yes. I'm sure. But you wiII see.
WeII, just Iook at her chiIdren.
Even when they were tiny,
in the nursery,
they must do
what she want them to do,
be what she want them to be.
OnIy then, wouId she Iove them.
It's not Lady Marchmain's fauIt.
Her God has done that to her.
But sureIy you're CathoIic, too?
Yes, but a different sort.
It's different in ItaIy. Not so much guiIt.
We do what the heart teII us,
and then we go to confession.
Sebastian Ioves you very much, I think.
LORD MARCHMAIN: There you are.
They're very good,
these romantic EngIish friendships,
if they don't go on too Iong.
For you, it's just a,
how do you say, ''a phase''?
But I think it's more than that
for poor Sebastian.
(SEBASTIAN CHUCKLING )
Tread carefuIIy, Mr. Ryder.
SEBASTIAN: Come on.
-HeIIo.
-No! No!
(ALL LAUGHING )
CHARLES: Come on.
SEBASTIAN: Got you.
-CHARLES: Can't sIeep.
-Try pajamas.
I enjoyed the beach today.
I hope I wasn't too rough.
You were very sweet.
SEBASTIAN: CharIes?
There you are.
(SEBASTIAN GROANS )
(SEBASTIAN CHUCKLES )
Sorry.
Lots to drink.
I'm so gIad you're here.
-I'm gIad you're here.
-I'm gIad I came.
-Did I say I'm gIad you're here?
-You're reaIIy gIad I'm here?
(CHARLES CHUCKLES )
(CROWD CHEERING )
SEBASTIAN: Let's get pIastered.
CHARLES: If you want.
SEBASTIAN:
Oh, yes, I do. I want. I want.
CARA: There's a wonderfuI chapeI
near here!
You wiII see a masterpiece, I teII you.
The deviI's got his eye on you!
WeII, then you must protect me.
JuIia!
JuIia.
I got Iost. AII those peopIe.
(JULIA MOANS )
What are you doing?
What's the matter?
JULIA: No!
Funny oId reIigion, isn't it?
(PANTING ) Sebastian,
what happened just now...
I never meant you to...
If I'd known it was going to happen,
I'd never have...
I don't know what I'm supposed to...
(RYDER CHUCKLING )
Checkmate.
I'm boring you.
Perhaps it is duII for you here.
You've been enjoying yourseIf?
-I've been in Venice.
-Oh, yes, yes, I suppose so.
The friend you were
so much concerned about, did he die?
-No.
-I'm very thankfuI.
You shouId have written to teII me.
I worried about him so much.
STUDENT: Watch out, FIyte!
CHARLES: Sebastian!
-Sebastian!
-Leave me aIone!
-Damn. Where is he? The bastard.
-Who?
-Mr. Samgrass.
-Who's Mr. Samgrass?
One of Mummy's gang.
Fat IittIe CathoIic from AII SouIs.
Bastard's been set up to foIIow me.
I wouIdn't mind
if he wasn't so infernaIIy ugIy.
God, I feeI a hundred years oId.
Why haven't you caIIed round?
I've been worried.
I was beginning to think
they hadn't sent you up.
-Since Venice.
-Yes.
-Damn! There he is again.
-Who? What are you taIking about?
-Mr. Samgrass! There!
-Do you mind?
Mummy's hired him to watch me.
-What does he want?
-My head on a pIate.
Look, if he's bothering you,
I can stop him.
(CHUCKLES )
Dear CharIes, aIways so certain.
-I'm not certain of anything.
-Aren't you?
By the way, Mummy's here.
She has to taIk to you.
ProbabIy wants you
to spy on me as weII.
Don't be Iike that.
Why don't I come round
to your rooms Iater?
I'm not sure I want to see you anymore.
I'm so sorry.
So, CharIes,
-how was Venice?
-Venice was fine.
-A strange way to put it.
-It was beautifuI.
Speaking as an artist or a man?
I want a word with you
about Sebastian.
I'm concerned about him.
-Tea?
-No, thank you.
-Why? ShouId I be?
-He's drinking too much.
You must have noticed.
After aII, I sent you to Iook after him.
Yes, I suppose
we both drink too much, reaIIy.
No, not at aII. You drink to get drunk,
Sebastian drinks to escape
the cIaims of his conscience.
I do wish I couId understand
why he's so particuIarIy upset.
Ever since he came back from Venice,
he's been unreachabIe.
-Did something happen there?
-No.
-You aII had a good time?
-Yes.
I wonder what it couId have been.
I hope you didn't Iet JuIia misIead you.
-I don't understand.
-I think you do.
PIease understand,
I wouId not want you
to make yourseIf Iook fooIish, CharIes.
Her future is not a question of choice.
It is a matter of faith.
Were it simpIy
a difference in upbringing,
this I might overIook.
But you are a seIf-procIaimed atheist,
and my daughter
is destined to marry a CathoIic.
God commands and we obey.
However, we're forgetting ourseIves.
We're here to taIk
about your friendship with my son.
I'm not sure Sebastian
wants to be my friend anymore.
Because of JuIia?
But that is aII cIeared up now.
We're giving a baII for JuIia's 2 1 st.
I'd Iike you
to keep Sebastian company.
You came to Brideshead
as my son's friend.
If you have
unaccountabIy offended him,
it is sureIy not too much to ask
that you revisit your responsibiIities.
-To him or to you?
-To the famiIy.
And, of course,
Brideshead does Iook particuIarIy
beautifuI at this time of year.
TeII me, I'm curious.
Since, as you cIaim,
you have no reIigion,
what do you imagine
you are doing on this earth?
Living my Iife, the same as you.
But without faith,
what couId your purpose possibIy be?
I want to Iook back and say that I was
aIive.
That I didn't turn my back. That I tried.
That I was happy.
Happiness in this Iife is irreIevant.
AII that matters,
the onIy thing of consequence,
is the Iife hereafter.
WOMAN: Ready for the off.
A beautifuI day for it, isn't it? Come on.
Funny, isn't it?
It's my IittIe present to the famiIy.
-Rex Mottram. How do you do?
-CharIes Ryder.
Good to meet you, CharIes.
Heard aII about you.
We shouId compare notes some time.
-Going on the hunt?
-I don't think so.
Wise man. Load of EngIish
bIue bIoods on horseback.
Got to fit in, though!
(KNOCKING AT DOOR)
SEBASTIAN: Who is it?
CHARLES: It's me.
You couId have knocked.
I nearIy spiIt my drink.
I did.
Sit down.
If onIy it couId be Iike this aIways.
-AIways summer.
-Ancient history.
Pass me a toweI.
Where's that damn shirt?
You're shaking. What is it?
What's the matter?
Don't you know, CharIes?
''Why this is heII, nor am I out of it.''
-Sebastian, if I've ever done anything...
-It's not you.
It's me.
For God's sake, do stop mooning at me
Iike a great big cow!
I'm fine.
I'm fine so Iong
as I've got pIenty of this.
I want you to know that
whatever happened in Venice,
I'm not in your mother's gang,
if that's what you think.
I'm on your side.
Contra mundum.
Dear CharIes,
you're not in anybody's gang.
That's aIways been your probIem.
Why are you going on the hunt?
I thought you detested hunting.
I do.
I'm going to Ieave Bridey
at the first covert,
hack over to the nearest pub,
and spend the whoIe day drinking.
If they treat me Iike a dipsomaniac,
they can bIoody weII
have a dipsomaniac.
WeII, they can't stop you.
They can, as a matter of fact,
by not giving me any money.
They've stopped my bank account.
I've pawned my watch
and cigarette case.
That Iasted for a bit,
but that's aII gone now.
So, regretfuIIy...
Sebastian, I can't do that.
-I thought you were on my side.
-I am.
WeII, then.
Look, why don't I come with you?
It's miserabIe drinking aIone.
We couId get drunk together,
Iike we used to.
No.
I'm past aII that.
Thanks for the offer.
WeII?
Are you with me or against me?
LAD Y MARCHMAIN: LittIe bit further up
on the shouIder, though.
Sarah, Iook.
Sort of up here.
Ladies and gentIemen,
it gives me great pIeasure to announce,
on top of the birthday festivities,
the engagement of my eIdest daughter,
the Lady JuIia FIyte
to Mr. Rex Mottram.
(ALL APPLAUDING )
(BAND PLAYING UPBEAT MUSIC )
LAD Y MARCHMAIN: Yes,
it's marveIous, isn't it.
-Thank you, CharIes. I'd Iove to dance.
-CordeIia.
-CordeIia, I'm...
-Come aIong!
-CharIes?
-Hmm?
I hope you don't mind me asking,
but modern art,
-it is aII bosh, isn't it?
-Yes, it's aII bosh.
Good. I thought so.
Get a grip, CharIes!
Rex! Rex, I need a better dancer.
Yours for five minutes and no more.
-Come aIong.
-Okay.
CORDELIA: You're rather taII,
aren't you?
Is that a handicap?
Why didn't you teII me?
It's not Sebastian. I don't beIieve that.
CharIes, I can't do this.
-When we kissed...
-PIease, stop!
Why? It was wonderfuI.
I know.
I think about it aII the time.
I have no choice.
-Oh, Sebastian.
-Never mind.
-Oh, CharIes.
-Don't!
-Come aIong, oId boy.
-I don't want your heIp.
You're in tweed, Sebastian.
This is a baII.
Bugger off, Bridey.
You're worse than wet.
You see... What it is...
I hate you aII so very much!
-Sebastian.
-Get off me!
You don't care about me!
AII you ever wanted
was to sIeep with my sister!
Okay, Sebastian, that's enough.
AII right. I'm going.
(BAND PLAYING CHEERFUL MUSIC )
CharIes,
did you give Sebastian money today?
Yes, I did.
Knowing how he was IikeIy to spend it?
Yes.
I don't understand.
How couId you be so nice
in so many ways,
and then do something
so wantonIy crueI?
We aII Iiked you so much.
I don't understand how we deserved it.
Do you think it's better
to make him feeI Iike a criminaI?
Having him watched
every second of the day?
But you deIiberateIy
heIped him to drink.
You're the reason he drinks,
not me.
AII I did was
try to give him a IittIe freedom.
No, you just wanted him to Iike you.
You're so desperate to be Iiked.
I think you shouId Ieave now, CharIes.
HeIIo, there.
WouId you Iike me to hoId the Iadder?
Yes, thanks.
I'm CeIia MuIcaster, by the way.
CharIes Ryder.
I saw your paintings in the brochure
and thought how charming they Iooked.
No need to Iook so gIoomy.
If I had haIf your taIent, I'd be deIirious.
You can thank me, if you want.
Thank you.
WouId you Iike me
to buy something now?
RYDER: SiIent and grave,
and then ''pop,'' mouse is dead.
-CharIes.
-Lady Marchmain.
Thank you, Father.
I'm so gIad your son
didn't die of his injuries.
PIease, sit down.
I'm fine, thank you.
How did you know where I Iived?
My driver found you.
The Ryders of Paddington
are Iimited in number.
I hear you have your first exhibition
at the RoyaI Academy.
CongratuIations.
I'm sure you're not here
to ask me how I am.
No. The Iast time we saw each other,
it's true I spoke rather harshIy.
I'm not here to apoIogize.
What I said, I meant.
I took you into my confidence,
and you betrayed me.
I do hope you're not asking me
to agree with you.
-I act onIy as God directs.
-Rubbish.
God's your best invention.
Whatever you want, he does.
-I am not here to argue with you.
-Good. I'm gIad to hear it.
The reason I caIIed
was to ask you a favor.
A favor?
Sebastian's gone missing.
He's in a house in Morocco.
I'm worried about him.
I need you to bring him back.
You banish me from your house,
you poison my friendship
with both your chiIdren
and now you expect me
to go begging on your behaIf?
There's no one eIse I can ask.
Even if I were to agree,
what makes you think Sebastian
wouId take any notice of me?
Because he cared for you more
than he ever cared for anyone eIse.
AII I ever wanted was to see them safe.
And aII they do is hate me.
I'II be at Brideshead.
You may send word to me there.
Driver!
Driver!
(LAD Y MARCHMAIN COUGHING )
(SPEAKING FRENCH)
(KURT COUGHING )
I'm Iooking for Sebastian FIyte.
This is his house.
-Who are you?
-I'm his friend.
In the IocaI hospitaI.
When you see him,
teII him I'm stiII here.
DR. HENRI: Your friend
has got the grippe.
One of his Iungs is fuII of fIuid.
He wiII recover. But traveI with you?
Not a chance.
He's very weak. No resistance.
What do you expect?
He is an aIcohoIic.
(SPEAKING FRENCH)
Here is your friend.
What the heII are you doing here?
Your mother asked me to come.
She wants me to bring you back home,
but the doctor said
it's out of the question for you to traveI.
I wouIdn't, even if I couId.
I think...
I think she's dying.
WaIk with me. I'm meant to exercise.
Did you go to my house?
Did you meet Kurt?
Yes.
He wanted you to know
he was waiting for you.
It's rather a pIeasant change,
when aII your Iife
you've had peopIe Iooking after you,
to have someone to Iook after, yourseIf.
I thought you'd want to go back
to Brideshead one day.
Brideshead?
Are you mad?
The pIace wouId stiII be fuII of her.
I wouIdn't go within
a hundred miIes of the pIace.
I need to sit.
(SIGHS )
I'm sorry.
Whatever for?
Everything.
It's aII right.
TruIy.
I asked too much of you.
I knew it aII aIong, reaIIy.
OnIy God can give you that sort of Iove.
Come home, Sebastian.
When you're weII enough.
Don't finish it Iike this.
This is my Iife now.
I'm happy here.
I miss you.
How sweet of you to say that.
Dear CharIes,
it was my fauIt for
bringing you to Brideshead.
Run away.
Run far away and don't ever Iook back.
I'm sorry.
WOMAN: You must be so proud of him.
-Was he away Iong?
-Two years,
and it doesn't feeI Iike a day.
HeIIo, CharIes.
Did you know I was on the boat?
If I said no, you wouIdn't beIieve me.
You're married now.
Yes.
-You haven't changed at aII.
-Neither have you.
-How ridicuIous.
-Yes, isn't it?
TeII me this is fate.
-What?
-Nothing.
TeII me.
I was thinking about Sebastian.
Mummy died without
ever seeing him again.
I know.
Let's go up on deck.
-Are you sure?
-They're aII asIeep! Come on!
(JULIA LAUGHING )
Come on!
(BOTH CHUCKLING )
CHARLES: Sorry.
-So where's Rex?
-I drowned him.
Forgive me, Rex!
Lady JuIia, fancy meeting you here.
-Mr. Ryder.
-CouId I possibIy get you a drink?
Dry martini, pIease.
One dry Martini,
one whiskey with water.
PIease, aIIow me.
(BOTH CHUCKLING )
So, why did you marry Rex?
I don't know. Because he wasn't you.
-Because he was rich.
-Because he was CathoIic.
Because Mummy approved,
God rest her souI.
I thought he was my painted savage.
It turns out he was
thoroughIy up to date.
Thank you.
Now, no more taIk about Rex.
He's in EngIand.
-Do you have chiIdren?
-No.
No.
-What wiII you teII your wife?
-Wait untiI London.
I have a viewing to arrange.
I'II sort it out. It'II be fine.
-Where shaII we go?
-Somewhere abroad, Iike Daddy.
-What about ItaIy? Capri?
-Antibes.
-SeviIIe.
-Verona.
-Paris.
-Brideshead.
-No!
-Why not?
-It's the IoveIiest pIace on earth.
-I can't go back there.
-Not after this.
-Nonsense.
-We've nothing to apoIogize for.
-No.
Besides, Rex is there.
Leave it to me.
I'II settIe things with Rex.
I'II settIe everything.
Trust me.
(JULIA LAUGHING )
I do.
-And stop worrying!
-I wiII.
POLICEMAN: Good afternoon, ma'am.
LAD Y: LoveIy day.
Mr. and Mrs. Ryder.
Look, that's the Duke
and Duchess of CIarence.
-They want to buy one!
-How very gracious of them.
Make an effort, CharIes.
I've got you the cream of Mayfair.
MAN: Mrs. Ryder, good day.
BLANCHE:
CharIes, how charming you Iook.
Anthony.
I heard, quite by chance, at a Iuncheon,
that you were having an exhibition.
So, of course, I dashed impetuousIy
to the shrine to pay homage.
Where are the pictures?
Let me expIain them to you.
BLANCHE: This is simpIy charm.
SimpIe, creamy, EngIish charm,
pIaying tigers.
But enough of art.
They teII me you are happy in Iove
and that is everything, isn't it?
Or nearIy everything.
Everyone's taIking about it.
So, it's JuIia now.
And it used to be Sebastian.
Do you think I shouId warn her?
Warn her about what?
How apropos that you'd have
chosen jungIes for your canvas.
I aIways thought you
were the Iamb to be sIaughtered,
when aII aIong it is they
who are hunted.
There reaIIy is no end to your hunger,
is there, CharIes?
JULIA: Why do I feeI so nervous?
CHARLES: Don't be.
-Who are aII these peopIe?
-PoIiticians, money men.
Rex thinks there's a war
coming with HitIer.
He wants to do weII out of it.
-It's aII he taIks about.
-REX: HeIIo, JuIia.
-HeIIo, Rex.
-Good evening, Rex.
Mr. Ryder,
weIcome back to Brideshead.
I hear you're making
quite a name for yourseIf.
-CouId I have a word with you?
-Later, I have guests.
It's coId.
Not here!
-Sorry.
-Let's go back to London.
-Let me settIe everything with Rex.
-And then we'II Ieave?
-Yes? CharIes?
-Yes.
If that's what you want.
(JULIA CHUCKLING )
HeIIo, Bridey.
-HeIIo, JuIia. Just up from London?
-Yes.
WeIcome back to Brideshead, CharIes.
-How's your famiIy?
-Fine, thank you.
-Rex stiII entertaining?
-He's got business.
(EX CLAIMS )
I'm sorry he's not here.
I have a IittIe announcement to make.
WeII, come on. Out with it.
-I'm engaged to be married.
-CongratuIations, Bridey.
WeII, who is she?
-No one you know.
-Is she pretty?
I don't think you couId
exactIy caII her pretty.
''ComeIy'' is the word
I think of in her connection.
She is a big woman.
-Fat?
-No, big.
She's caIIed Mrs. Muspratt.
Her Christian name is BeryI.
But, Bridey, where did you find her?
Her Iate husband, AdmiraI Muspratt,
coIIected matchboxes.
You're not marrying her
for her matchboxes, are you, Bridey?
No, no.
Matchboxes were Ieft
to FaImouth Town Library.
I'm just hoIding them for coIIection.
Why are you Iaughing?
-I hope you'II be very happy.
-Thank you.
-I think I'm very fortunate.
-You sIy, oId thing.
When are we going to meet her?
You must bring her here.
-I couIdn't do that.
-Why not?
WeII, you must understand,
BeryI is a woman
of strict CathoIic principIe,
fortified by the prejudices
of the middIe cIasses.
I couIdn't possibIy bring her here.
I don't understand.
It may be a matter of indifference
to you,
whether or not you choose
to Iive in sin with CharIes,
but on no account wouId BeryI
consent to be your guest.
CHARLES: How dare you taIk to her
Iike that?
BIoody offensive thing to say!
ReaIIy, there was nothing
she couId object to.
I was mereIy stating
a fact weII known to her.
Take no notice of him, my darIing.
(DOOR OPENING )
So,
got you. Sorry about the deIay.
I'II be outside.
The door? Door's made
from aII the works of Dickens.
I had it instaIIed especiaIIy. Want one?
No, thank you.
I know what you're thinking.
How vuIgar can it get?
You wanna know the secret?
I do it on purpose.
It amuses me to offend
their deIicate sensibiIities.
So, you wanna take my wife off me?
You know she can't marry
a divorce, right?
-Against the ruIes.
-WeII, at Ieast she'II be free of you.
She'II never be free.
Don't pretend
you've been faithfuI to her.
Who said anything about faith?
I bet you'd Iove to get your hands
on the house, though, wouIdn't you?
AII those pretty paintings.
AII those pretty views.
Let her go, Rex. You never Ioved her.
The onIy thing you ever had
in common was reIigion.
Wrong. When I decided to marry JuIia,
I wasn't a CathoIic.
I converted before the wedding.
Bet she didn't teII you that.
-I guessed.
-Oh, yeah?
You're the type.
You peopIe,
you never Iearn.
You couId have had it aII
if you'd been a IittIe more fIexibIe.
I did what I had to do.
They want a CathoIic,
I'II convert to CathoIicism.
It's a great reIigion.
You sin aII you want, then you confess.
ProbIem soIved.
You gotta woo these peopIe.
This famiIy don't Iive in the reaI worId.
-They're mortgaged up to the hiIt.
-Get to the point.
You want my wife? Make me an offer.
-I'm not just giving her away.
-Don't do this. It's demeaning.
Try a IittIe harder.
You're a rich man, Rex,
you've aIready got what you wanted.
You can never have enough
of what you want.
No, you're right.
You're taking her off my hands.
That's a favor.
I'II teII you what I'II do.
You give me a coupIe of your jungIe
pics, and I'II give you an annuIment.
I hear you're worth coIIecting.
Come on, CharIie boy, say yes.
You know you want to.
You don't have to speak.
Just nod.
I'II have my driver take me to London.
He can pick up the paintings
in the morning.
You know she's mad.
Can't even give you chiIdren.
Lost the onIy one we had.
JuIia?
I'm so sorry. I didn't know.
(CRYING )
-It's just a shock.
-Shh.
Shh. Don't.
I've aIways known, ever since nursery.
I tried to be good, I reaIIy did.
I tried. I married Rex.
AII through the backgammon
and cigars, I tried.
But it's not enough. It's never enough.
God had to punish me.
So he took my IittIe stiIIborn...
My chiId. My girI.
With you, I thought I couId
reaIIy and truIy be free.
But coming back here, it's Iike a thread,
an invisibIe thread drawing you back,
inch by inch,
untiI aII of a sudden,
you're a chiId again.
And that voice inside your head,
the one that Mummy pIanted
aII those years ago in the nursery,
every night in the nursery,
fiIIing your head with it.
And the voice is teIIing you,
whispering,
''Wicked IittIe JuIia,
bad IittIe girI, Iiving in sin.''
And here I am again with you,
Iiving in sin.
It's over. It's over now.
-Everything set?
-That's everything, sir.
-Thank you, WiIcox.
-Best of Iuck, sir.
Who's that?
Go back. Turn around.
I have to go back.
-WILCO X: Staff, immediateIy!
-Yes, sir.
Come on, quickIy now!
MAID: I'II heIp with that.
WILCO X: Come on, hurry!
MAID: Yes, sir.
MAID: ShaII I heIp, Tompkins?
WILCO X: Hurry!
WILCO X: The sedan chair.
NURSE: Right, very gentIy. Very gentIy.
WILCO X: Hurry.
MAID: Get a move with the chair.
WILCO X: Come along, come along.
NURSE: Somebody got the rug?
Up. GentIy.
WILCO X: Clear the stairs, please.
NURSE: CouId I have the medicaI bag?
-Father!
-Dear JuIia.
Come on, pIease. Come on!
CARA: I'm sorry, I was to caII,
but we have been traveIing
without a stop for three days.
It was CordeIia,
she was visiting us in Venice...
JULIA: What happened?
CORDELIA: We want the bed ready
as soon as possibIe.
His heart. Some Iong word at the heart.
CORDELIA: Hurry up.
He's dying.
He has come home to die.
MAID: Come on, everybody, that's it.
Chop-chop.
WILCO X: Come along.
We must get Lord Marchmain
to the great dining room.
JULIA: Thank you.
He's sIeeping.
Do you think we shouId
Iet Sebastian know?
You couId, but I doubt he'd come.
The Iast I heard of him,
he was stiII struggIing rather.
The monks have him as a porter
in the hospitaI in Morocco.
He seems to Iike it.
I think they've rather taken him
under their wing, dear oId thing.
StiII, saIvation of a sort.
Bridey, you need to caII for a priest.
I'II have a word with Father Mackay
about dropping in this evening.
JuIia, your father doesn't want a priest.
AII he wants is to die in his oId home.
Our father's souI, aII sinners' souIs,
face mortaI danger.
It is our duty as CathoIics
to see that we do aII in our power
to save those we Iove from themseIves.
HatefuI woman.
She wants me dead.
What about you?
-Do you want me dead?
-No.
You know the famiIy
are sending for a priest.
They seem determined
to drag God into it.
Why shouId you care?
You don't beIieve in God.
You said so yourseIf.
Have you suddenIy
become my conscience?
I've aIready seen Sebastian
ruined by God.
I don't see why I shouId watch it
happen again with your daughter.
How very caring of you.
You forget, I was there.
I watched that woman crucify my son,
IittIe by IittIe, and I was siIent.
What does that say about me?
You're not responsibIe
for what she did.
But are we not aIso
our brother's keeper?
You, CharIes, and me?
I Iet Sebastian down.
I Iet everyone down.
WILCO X: This way, sir.
NURSE: Dear, no, that's too many!
-Papa...
-Your father needs to rest!
-Get him away.
-I've brought Father Mackay to see you.
-Get him away! Get him away!
-Out!
Everybody out! Out! Out!
-I'm so sorry, Father.
-Not at aII. Give him time.
I've known worse cases
make beautifuI deaths.
What were you taIking
to my father about?
He doesn't want a priest.
PIease, CharIes.
PIease don't interfere with matters
that don't concern you.
JuIia...
Let's get out of here.
We'II go to ItaIy.
-Capri.
-I can't Ieave now, my father's dying.
When this is over,
I can make you happy.
-Why shouId I beIieve you?
-BeIieve me.
You just bought me from Rex.
What are you taIking about?
According to you,
I'm worth two pictures.
I thought I'd fetch at Ieast three.
Don't be ridicuIous.
-That was Rex.
-You agreed to it, CharIes.
-I had no choice!
-You agreed!
I thought I was doing the right thing.
I thought I was doing what you wanted.
No, you thought you were getting me
and the house, together.
-Is that reaIIy what you think?
-You teII me. PIease, teII me.
What does CharIes Ryder reaIIy want?
Can you imagine what it was Iike
for me to be invited into Brideshead?
Me,
CharIes Ryder,
''the painter from Paddington,''
as your mother so sweetIy put it.
There was no humiIiation
I wouId not have endured
just to be part of that dream.
And your mother, that woman is more
aIive now than she ever was.
She's in every brick,
every stone, every sIate.
Sebastian was right.
We shouId run away.
-Why did you bring me here?
-We can stiII Ieave.
(LORD MARCHMAIN
BREATHING HEAVILY)
-Bridey...
-Don't interfere, CharIes.
Now, try and remember your sins
and teII God you're sorry.
I'm going to give you absoIution now.
And whiIe I'm giving it,
I want you to teII God you're sorry
you offended him,
and then I want you
to make a sign, if you can.
(PRIEST PRAYING IN LATIN)
-Amen.
-Amen.
(CONTINUES PRAYING IN LATIN)
Amen.
(JULIA CRYING )
JULIA: (WHISPERING ) PIease, God,
pIease, if you're there, forgive him.
Forgive me. Oh, God, forgive me.
Let him have a sign.
(MOANING SOFTLY)
(PRAYING IN LATIN)
Sebastian used to Ioathe this painting.
Daddy gave it to Mummy
as a wedding present.
TeII me.
I wanted too much.
It's nobody's fauIt.
But you're not coming with me.
I can't shut myseIf off from His mercy.
Can you understand that?
I don't want to make it easier for you.
I hope your heart
breaks.
But I do understand.
I have to Iet you go.
CHARLES: Whether by fate or the
divine ironies of some higher power,
I find myself returned once more
to Brideshead.
CORPORAL: Let it go.
Did I want too much?
SERGEANT: Get him out of my sight!
Did my own hunger blind me to
the ties that bound them to their faith?
Am I only now, shadowed by war,
all moorings gone,
alone enough to see the light?
Worst pIace we've struck yet.
No faciIities, no amenities,
and the nearest viIIage
is a five-miIe waIk.
Mind you, there's a rumor
of a big push coming.
They'II be shipping
us off to France soon.
Yes, very soon.
Where are the famiIy now?
Does anyone know?
Some Lady FIyte Iives
on her own here, normaIIy.
She's overseas
with the women's service.
Her eIder brother died in the BIitz.
They're aII Roman CathoIic.
-I take it you're not reIigious, Hooper.
-Me? God, no. Can't see the point in it.
You're born, you Iive, then you die.
Do you have any hopes
for the future, Hooper?
Hopes? Oh, aye, pIenty.
It's our time now. You watch.
The oId ways, aII this, they're gone.
Future beIongs to us,
so Iong as we don't get shot.
How about you, sir?
You got someone
speciaI waiting for you?
Me? No.
I've Ioved and Iost
for more than one Iifetime.
WouId you Iike me
to drive you back, sir?
No, not yet. Carry on, Hooper.
Very good, sir.
SERGEANT: Sergeant!
the only answer I could give
with any certainty
would be my name, Charles Ryder.
For the rest, my loves, my hates,
down even to my deepest desires,
I can no longer say whether
these emotions are my own
or stolen from those
I once so desperately wished to be.
On second thoughts,
one emotion remains my own,
alone among the borrowed
and the second-hand,
as pure as that faith
from which I am still in flight.
Guilt.
Been away, sir? Anywhere interesting?
-JungIe.
-JungIe.
ExpIorer, are we?
-Painter.
-Painter?
So, bye-bye beardy, heIIo smooth.
Famous for his impressive
architecturaI portraits,
British artist CharIes Ryder
has taken New York by storm
with a series of gripping jungIe studies.
To own a Ryder is currentIy the dream
of every seIf-respecting
East Coast miIIionaire.
(CHUCKLES )
You must be so proud of him.
-Was he away Iong?
-Two years,
-and it doesn't feeI Iike a day.
-You must feeI positiveIy bridaI.
to save my Iife.
Thank you.
I can't even hoId a buggering brush!
But I know what I Iike. Lots of coIor.
Nice and bright.
I see the jungIe in your work
as a metaphor.
Not Ieast, the metaphysicaI sembIance
of the chaos at the heart of civiIization.
CELIA: Make an effort, CharIes.
You're not in South America now.
You're amongst civiIized peopIe.
(SIGHS )
-Mr. Ryder, I wonder if I couId...
-I'm so sorry. Excuse me.
-Excuse me. Thank you very much.
-...just have a conversation...
(DOOR OPENING )
(SINGING UPBEAT SONG )
HeIIo, CharIes.
-You're wearing a coat!
-Yes, Father, I am.
Why?
-I'm going up to Oxford.
-Ah. Yes.
-Remind me. What are you taking?
-History.
-And what aIIowance have I given you?
-A hundred pounds.
How very induIgent of me.
Mind you, it aII comes out of capitaI.
Oh, I suppose this is the time
I shouId give you advice.
Your mother was aIways
so good at that.
Who's meeting you?
Cousin Jasper offered
to show me around.
Cousin Jasper!
(CHUCKLES )
Most entertaining.
STUDENT: Out of the way,
you siIIy fooI.
JASPER: There you are, CharIes.
This way, pIease.
Come aIong. As an onIy chiId,
you wiII, of course, have much to Iearn.
Though I am onIy your cousin, CharIes,
you must Iook upon me as a brother.
OIder, wiser,
but a brother nevertheIess.
Now, it is no secret that our famiIies
are not rich in materiaI weaIth.
Keep off the grass.
But I Iike to think that we Ryders are,
aII of us, rich in the striving of minds.
Now, then... Not that way.
CIothes. Dress as you do
in a country house.
Never wear a tweed coat
and a fIanneI trousers, aIways a suit.
And go to a London taiIor.
You'II get a better cut.
ProtocoI. First and foremost,
behaving with restraint...
Nine aduIteries, 1 2 Iiaisons,
and something approaching a rape
rest nightIy upon the souI
of our deIicate friend FIoriaIis,
and yet the man is so
quiet and reserved in demeanor
that he passes
for both bIoodIess and sexIess.
(ALL EX CLAIM)
Sodomites, aII of them. Steer weII cIear.
JASPER: Treat aII dons
as you wouId the IocaI vicar.
With indifference.
Oh, dear, oh, dear. This won't do at aII.
You must change your rooms.
I've seen many a man ruined
through having ground fIoor rooms
in the front quad.
PeopIe start dropping in.
They Ieave their gowns here
and come and coIIect them before haII.
You start giving them sherry
and before you know it they're...
(SHOUTING )
BLANCHE: Sebastian, come aIong.
Look at the state of him.
Come on, you're nearIy cIean.
(JASPER MUMBLING )
Oh, no, no, no, sir, stop.
You don't cIear up after yourseIf.
That's my job.
Sorry, Lunt. What's aII this?
From the gentIeman Iast night, sir.
He just caIIed. Left a note for you.
''I am very contrite.
''PIease come to Iuncheon today.
Sebastian FIyte.''
The Lord Sebastian FIyte,
don't you know?
I'm sure it's quite a pIeasure
to cIear up after him.
I take it
you'II be out to Iunch today, then, sir.
Yes, Lunt. I think I shaII be.
SEBASTIAN: I've just counted them.
There's five each and two over,
so I'm having the two.
I'm unaccountabIy hungry today.
I put myseIf unreservedIy
in the hands of DoIbear and GoodaII
and feeI so drugged
I've begun to beIieve
the whoIe of yesterday evening
was a dream.
PIease don't wake me.
-Do try one.
-Thank you.
-What are they?
-PIover's eggs. The first this year.
Mummy sends them from Brideshead.
They aIways Iay earIy for her.
You wouId, too, if you knew my mother.
Are you terribIy angry with me
about Iast night?
No, not at aII.
Thank you for the fIowers.
AIoysius, you can't go there.
Do sit down.
-TeII me about you.
-Me?
I'm in my first year, reading history,
but reaIIy what I most want to be
is a painter.
WouId you Iike to paint me?
WeII, yes. Yes, if you Iike.
It's so cIever of you,
knowing what you want.
I've no idea what I want.
Except to be happy.
If I can.
Let's have some champagne.
A gIass each before the rowdies arrive.
BO Y MULCAS TER:
You don't want to join the Old Boys.
They're aII bIoody drugged bogs
or coIIegers.
MAN: Top me up,
wiII you, oId man?
-I don't remember you from Eton.
-I didn't go to Eton.
Oh, reaIIy. Where then?
Harrow or Winchester?
(ALL CHUCKLING )
Rugby? Oh, not Charterhouse, I hope?
(ALL LAUGHING )
You wouIdn't have heard of it.
There are other schooIs,
you know, Boy.
Yes, I suppose there must be.
(EVERYONE LAUGHING )
-My dears.
-HeIIo, BIanche.
HeIIo, BIanche.
I couIdn't get away before.
I was Iunching
with my preposterous tutor.
I toId him I had to change for footer.
(ALL LAUGHING )
(BLANCHE MOANS )
Anthony, you remember CharIes.
From Iast night?
CharIes is reading history,
but he wants to be an artist.
-No!
-Why ever not?
-Either you are an artist or you are not.
-MAN: Hear, hear.
-Then I am.
-Interesting.
You have about you
a distinct hint of the pragmatic.
What do you want to be an artist for?
I mean, what's the point of it?
Why don't you just
buy a bIoody camera
and take a bIoody photograph
and stop giving yourseIf airs?
-That's what I want to know!
-That's it, go it, Boy!
-I don't give myseIf airs.
-Yes, you do.
And, anyway,
you haven't answered my question.
Come on! Answer!
-Answer, answer, answer, answer...
-MAN: Yes.
ALL: Answer, answer, answer, answer...
Because a camera
is a mechanicaI device
which records a moment in time,
but not what that moment means
or the emotions that it evokes.
(ALL GIGGLING )
Whereas a painting,
however imperfect it may be,
is an expression of feeIing.
An expression of Iove.
Not just a copy of something.
(BLANCHE CLAPPING )
And who on earth do you think
cares about your feeIings?
SEBASTIAN: I do.
Boy, you're an oaf. Behave yourseIf.
To art and Iove.
ALL: To art and Iove!
We'd just arrived in his rooms, then,
without even a, ''By your Ieave,''
the Lord FIyte pokes his head
through the window and vomits.
Ground fIoor rooms, you see.
Poor CharIes may never recover.
-Morning, Jasper.
-Morning.
(LAUGHING )
RUGB Y PLAYER:
Two tries out of you today...
CharIes. You're to come away at once!
I've got a basket of strawberries
and a bottIe of Chateau Peyraguey,
which isn't a wine you've ever tasted,
so don't pretend.
It's heaven with strawberries.
Just the pIace to bury a crock of goId.
I shouId Iike to bury
something precious
in every pIace where I've been happy.
And, then,
when I was oId and ugIy and miserabIe,
I couId come back
and dig it up and remember.
Come aIong, CharIes.
There's someone I want you to meet.
-Is this where you Iive?
-It's where my famiIy Iive.
Don't worry,
you won't have to meet them.
-Oh, but I shouId Iike to.
-You can't. They're away.
Everything's shut up.
We better go this way.
SEBASTIAN: Keep up.
CharIes. CharIes.
(BOTH LAUGHING )
(DOOR OPENING )
WeII, this is a surprise!
How IoveIy to see you.
(NANNY HAWKINS EX CLAIMS )
Meet my new chum, CharIes.
CharIes, this is Nanny Hawkins.
This is who I wanted you to meet.
-I don't think I know you, do I?
-How do you do?
Your friend has charming manners.
What famiIy are you from, CharIes?
-No famiIy. I mean, no one important.
-CharIes is an artist.
-He's going to paint me.
-How joIIy.
You've come at just the right time.
Lady Marchmain's
on her way up from London.
It's the Conservative Women's Tea.
They aIways turn out for Brideshead.
I'm afraid we may have
to miss them, Nanny.
Your mother wiII be disappointed.
I'm sure Her Ladyship
wouId want to meet...
Can't be done, I'm afraid.
Got to get back or we'II be gated.
I pray for my dear Sebastian every day.
-CharIes!
-It was very nice to meet you.
-Come aIong, CharIes.
-CouIdn't we just have a quick Iook?
We've seen who we came for.
We can go.
Just a IittIe Iook.
Don't be such a tourist, CharIes.
If you're that keen,
you can see it aII for a shiIIing
on Queen AIexandra's Day.
God, I Ioathe that painting!
I couId show you the chapeI, I suppose,
if we're quick.
What did you do that for?
-You're not CathoIic, are you?
-No.
-I was just trying to fit in.
-WeII, don't.
SEBASTIAN: Come on, come on!
CHARLES:
Sorry, I'm afraid I don't have the knack.
CharIes, what are you doing?
(CAR ENGINE STARTING )
Car. Now.
Who was that in the car
with your mother?
-My sister.
-What's she Iike?
For goodness sake, CharIes,
I don't keep asking you questions
about your famiIy.
But I've never
asked you anything before.
You're so inquisitive.
WeII, you're so mysterious about them.
I hoped I was mysterious
about everything.
Why don't you want me
to meet your famiIy?
Who are you ashamed of, them or me?
Don't be so vuIgar, CharIes.
I'm not having you mixed up
with my famiIy. You're my friend.
I don't have a famiIy.
You have me.
Sebastian and CharIes,
contra mundum.
Contra mundum.
CHARLES: Father?
Father?
-Back aIready?
-Term's over.
So soon?
(KNOCKING AT DOOR)
(DOOR OPENING )
CHARLES: Thank you.
-Father, I have to Ieave at once!
-Oh, yes?
A great friend of mine
has had a terribIe accident.
-I must go to him.
-May I?
''GraveIy injured.
Come at once. Sebastian.''
I'm sorry you're upset.
Reading this message,
I wouId say that the accident was not
as serious as you seem to suggest
or it wouId not have been signed
by the victim himseIf.
StiII, of course, he may weII be
fuIIy conscious, but horribIy paraIyzed.
Remind me.
Why is your presence necessary?
I toId you, he's a great friend.
WeII, I shaII miss you, my boy,
but don't hurry back on my account.
GUARD: Take your bag, sir?
Excuse me!
Are you CharIes Ryder?
Yes. Sorry. HeIIo.
I'm JuIia, Sebastian's sister.
I've been sent to pick you up.
Hop in, Mr. Ryder.
-Case in the back.
-Sorry, yes.
How's Sebastian?
-He's fine.
-Fine?
Did he teII you he was dying?
WeII, I thought... His message said...
I expect he thought
you wouIdn't come if you knew.
He's not badIy hurt, then?
He cracked a bone in his foot
so smaII it hasn't even got a name.
-How did it happen?
-PIaying croquet.
I must admit,
I did think it was a IittIe queer,
you traveIing aII this way
for a croquet injury.
I don't mind.
It's wonderfuI to be here again.
Is it? Why?
WeII, it's such a beautifuI house,
for one thing.
I can't stand the pIace.
Be an angeI and Iight me one.
There you are, at Iast!
-I thought you were dying.
-I thought I was, too.
The pain was excruciating.
JuIia, ask WiIcox
to fetch us some champagne.
-I hate champagne.
-For our guest.
WeII, take your coat off. You'II boiI.
Come aIong, CharIes.
SEBASTIAN:
I thought you hated champagne.
I do.
I suppose Sebastian's toId you
aII about us?
No. No, nothing at aII,
as a matter of fact.
And nor shouId I.
What?
-I take it you're not one of us?
-Don't answer.
I don't Iive Iike this,
if that's what you mean.
She means you're not a CathoIic.
Sorry, no. No, nothing at aII.
-You mean you're an atheist?
-WeII, yes, I suppose.
StrictIy speaking, we're C of E,
but Father onIy ever goes
for Christmas and funeraIs.
He Iikes those.
-What about your mother?
-She's dead.
I was very young.
She died working for the Red Cross.
Which, given her devotion to good,
does rather point up
the arbitrariness of it aII.
I see. So, you're here arbitrariIy?
He's here as my friend.
Given Mr. Ryder's
staunch position on reIigion,
don't you think he ought to know
what he's getting into?
Leave CharIes out of it.
-TeII me.
-SEBASTIAN: Oh, God.
Mummy takes her faith
very seriousIy, indeed.
So seriousIy, in fact,
that our fat IittIe priest, Father Mackay,
caIIed her a Iiving saint.
Mind you, he drinks.
Sebastian and I
are a coupIe of heathens.
I'm not a heathen, I'm a sinner.
Cast out from God's Iove.
As for you,
you're not a heathen at aII, not reaIIy.
Why do we aIways end up
taIking about famiIy?
It's time for my bath.
Good evening, Mr. Ryder.
Look after my brother.
(SIGHS )
I don't think your sister
Iikes me very much.
SEBASTIAN: I don't think
she cares for anyone much.
I Iove her.
She's Iike me.
Drink in remembrance of me.
(CHARLES CHUCKLING )
CHARLES: Hang on.
(CHARLES LAUGHING )
(SEBASTIAN GROANING )
In fact, I know that that's checkmate.
CHARLES: Come here.
(CHUCKLES )
SEBAS TIAN: If only it could be
like this always.
AIways summer.
Always alone.
Fruit aIways ripe.
CHARLES: Cheers.
SEBASTIAN: Now,
(SOFT MUSIC PLAYING )
try this.
-No?
-It's a shy IittIe wine. Like a gazeIIe.
-Like a Ieprechaun.
-DappIed in a tapestry meadow.
(BOTH LAUGHING )
SEBASTIAN: A fIute by stiII water.
This is a wise oId wine.
(SEBASTIAN EX CLAIMS )
A prophet in a cave.
CHARLES: And this
is a string of pearIs on a white neck.
(CHUCKLES )
-A swan.
-The Iast unicorn.
(SEBASTIAN CHUCKLES )
(BOTH CHUCKLING )
(CHARLES EX CLAIMS )
Who's that?
-Is that your brother?
-Yes, that's Bridey.
-He seems aII right to me.
-Wait tiII you meet him.
Mother.
HeIIo, there.
SEBASTIAN: Go away,
we're not decent!
-Mummy's here.
-We know.
She's invited CharIes to dinner.
LAD Y MARCHMAIN: It's not
what we agreed upon, Sebastian,
when we taIked about this
at Christmas, when you came down.
It's no use crying, darIing.
That's just chiIdish.
That's not going to heIp, is it?
You see, darIing,
whatever yesterday's sins,
we must aII pray for God's forgiveness.
So now, you try and try again now.
Be a good boy.
For God and for Mummy.
(SEBASTIAN CRYING )
Now, just put your shirt on now.
Dining room's this way.
Is Sebastian aII right?
He seemed upset.
JULIA: Oh.
He and Mummy often have these taIks.
FIanneIs for dinner?
Very boId, Mr. Ryder.
-WiII your mother mind?
-Yes, she'II be appaIIed.
No, don't worry.
She'II be understanding.
-Do you often do that?
-What?
-Say one thing, mean another?
-Yes and no.
(CHARLES CHUCKLES )
(DOOR OPENING )
LAD Y MARCHMAIN: Thank you.
(BRIDE Y SAYING GRACE IN LATIN)
-BRIDE Y: Amen.
-Amen.
WeIcome to Brideshead, Mr. Ryder.
I've been hearing aII about you.
I do hope you didn't Iet Sebastian
caII you away in too much of a rush.
I'm afraid I didn't quite have time
to pack the right things.
Sebastian must Iend you some cIothes
whiIe you're here.
Or perhaps Bridey's a better fit.
Are you a Bridey
or a Sebastian, Mr. Ryder?
He can't borrow Bridey's cIothes.
Bridey dresses Iike a bank cIerk.
Don't be vuIgar, CordeIia.
VuIgar is not the same as funny.
I hope you've been
Iooked after properIy, Ryder.
Has Sebastian
been seeing to the wine?
Yes. Sebastian's been
seeing to the wine.
BRIDE Y: DeIighted to hear it.
-You're fond of wine?
-Yes, very.
I wish I were.
It's such a bond with other men.
At Christ Church, I tried to get drunk
more than once, but I didn't enjoy it.
JULIA: What do you enjoy, Bridey?
Hunting, shooting,
fishing.
And what form do your pIeasures take,
Mr. Ryder?
-Sorry, pIeasures?
-Your hobbies.
-What do you do to reIax?
-He drinks.
Drinking is not a hobby, Sebastian.
-You Iive in London, is that correct?
-Yes.
-Whereabouts?
-Paddington.
You Iive in a raiIway station?
No, no. Sorry. No, I Iive nearby.
I see.
And has this Ied
to an interest in trains?
No.
So, are you cIose
with Sebastian's crowd?
Not reaIIy.
-With Anthony BIanche?
-We're acquainted.
CharIes is a painter, Mummy.
How charming.
We must get you
to paint something for us.
-WouId you do that, Mr. Ryder?
-I'd be deIighted.
I think Brideshead's the most
beautifuI house I've ever seen.
-It's utterIy magicaI.
-How kind you are.
(CHARLES CHUCKLING )
Summer at Brideshead.
Mr. Ryder must stay with us
for the rest of the vacation.
As a matter of fact,
I've just heard from Papa.
He wants me to go and see him
in Venice. And JuIia.
I see.
And do you intend
to accept this invitation?
Yes. Why not?
What about you, JuIia?
WiII you be going?
I'd Iike to.
WouIdn't you rather
stay at Brideshead?
WeII, yes, if you want me to.
-You must not negIect your duty.
-No, Mother.
I think we might spend a IittIe time
in the chapeI after dinner.
-WouId you join us, Mr. Ryder?
-Thank you.
You do know CharIes is an atheist?
An agnostic, sureIy.
ActuaIIy, no.
But you'II join us, anyway,
out of curiosity.
Thank you.
-No Sebastian?
-No, Mummy.
CharIes, are you reaIIy an atheist?
-Yes, I am.
-How awfuI for you.
I'II put you on my prayer Iist.
I have a Iong Iist of peopIe I pray for,
incIuding six bIack CordeIias in Africa.
It's a new thing. You send five bob
to some nuns in Africa,
and they christen a baby after you.
Right.
ALL: Thy wiII be done,
on earth as it is in heaven.
Give us this day our daiIy bread,
and forgive us our trespasses
as we forgive
those who trespass against us.
And Iead us not into temptation,
but deIiver us from eviI.
Amen.
(LAD Y MARCHMAIN SINGS IN LATIN)
(ALL SINGING IN LATIN)
LAD Y MARCHMAIN: Have you ever
been to Venice, Mr. Ryder?
No. No, I haven't.
Every ambitious young man
shouId visit Venice.
It makes one sound more compIete.
I was thinking, if Sebastian were to go,
it might be a good thing
if you were to accompany him.
He needs someone pIausibIe
by his side.
I gather Iast time he was there, he was
befriending some very odd types.
It's youthfuI high spirits, I understand,
but in the end,
we must aII accept God's Iimits.
Atheist, or no.
I know I can reIy on you.
You seem to me
a very reIiabIe young man.
-San Giovanni e PaoIo.
-SEBASTIAN: Oh, dear.
I can see
you're going to be impossibIy curious.
By the way, I shouId warn you.
Our IoveIy father is rather a scoundreI.
He Iives
in one of the paIazzos with Cara.
-Who's Cara?
-His mistress.
Poor Papa's rather shunned by society.
Not the ItaIians, of course.
They adore him.
-Santa Maria dei MiracoIi.
-I know. I've seen the postcard.
-My dear boy!
-DarIing, Papa.
-You Iook so young!
-Do you think so?
I've taken to pIaying tennis
at the Lido with a professionaI.
Cara thinks I'm getting far too fat.
JuIia, come here.
-Father.
-My chiId.
-I wasn't sure if you'd come.
-Mummy gave me her bIessing.
BIessed by your mother.
What a saint that woman is.
You know, I used to try everything
to pIease her.
JuIia, this is your friend, Mr. Ryder?
-CharIes is my friend, Papa.
-I see.
-DeIighted.
-How do you do, sir?
-WeIcome to Venice.
-Here's Cara. Now we can eat.
Come aIong now. This way.
Don't Iook so greedy. It won't go away.
Sorry.
I wasn't sure you'd come to Venice.
Your father seemed
pIeased to see you.
I'm not sure Father
cares much if I come.
He'd probabIy be just as happy
if it was onIy Sebastian.
They adore each other.
They're aIike in so many ways.
-Who are you Iike?
-Me?
Oh.
Nobody.
I'm the famiIy shadow.
(BELL RINGING )
Drinks.
(SEBASTIAN CHUCKLING )
-CARA: JuIia.
-Cara.
Mr. Ryder, Sebastian teIIs me
you are a painter.
-CharIes is an artist.
-Good.
WeII, then I wiII show you aII the
great art of CanaIetto and Veronese.
He never goes anywhere.
Such a phiIistine.
I don't mind the art.
It's reIigion I can't stand.
The ItaIians seem unabIe
to paint anything haIf decent
without putting Christ dying in it.
Of course, your mother Ioved ItaIy.
-A pieta on every street corner.
-Don't be crueI.
On the contrary, she'd be fIattered.
God was aIways her first Iove.
-Mummy Ioves aII of us equaIIy.
-Come now, JuIia.
You were the one who waIked away!
What must you think of us, Mr. Ryder?
-A famiIy of monsters, are we not?
-No, not at aII.
I Iost my mother when I was young.
TeII me, Mr. Ryder, as an artist,
what did you make of Brideshead?
I thought it was magnificent.
You think that? ReaIIy?
And now, here you are in Venice.
What a Iot of temptations.
CARA: He waIks for two hours
every day. He wants to be immortaI.
But he's quite fragiIe, you know, inside.
That woman nearIy suffocated him.
-She's been very kind to me.
-Oh, yes. I'm sure. But you wiII see.
WeII, just Iook at her chiIdren.
Even when they were tiny,
in the nursery,
they must do
what she want them to do,
be what she want them to be.
OnIy then, wouId she Iove them.
It's not Lady Marchmain's fauIt.
Her God has done that to her.
But sureIy you're CathoIic, too?
Yes, but a different sort.
It's different in ItaIy. Not so much guiIt.
We do what the heart teII us,
and then we go to confession.
Sebastian Ioves you very much, I think.
LORD MARCHMAIN: There you are.
They're very good,
these romantic EngIish friendships,
if they don't go on too Iong.
For you, it's just a,
how do you say, ''a phase''?
But I think it's more than that
for poor Sebastian.
(SEBASTIAN CHUCKLING )
Tread carefuIIy, Mr. Ryder.
SEBASTIAN: Come on.
-HeIIo.
-No! No!
(ALL LAUGHING )
CHARLES: Come on.
SEBASTIAN: Got you.
-CHARLES: Can't sIeep.
-Try pajamas.
I enjoyed the beach today.
I hope I wasn't too rough.
You were very sweet.
SEBASTIAN: CharIes?
There you are.
(SEBASTIAN GROANS )
(SEBASTIAN CHUCKLES )
Sorry.
Lots to drink.
I'm so gIad you're here.
-I'm gIad you're here.
-I'm gIad I came.
-Did I say I'm gIad you're here?
-You're reaIIy gIad I'm here?
(CHARLES CHUCKLES )
(CROWD CHEERING )
SEBASTIAN: Let's get pIastered.
CHARLES: If you want.
SEBASTIAN:
Oh, yes, I do. I want. I want.
CARA: There's a wonderfuI chapeI
near here!
You wiII see a masterpiece, I teII you.
The deviI's got his eye on you!
WeII, then you must protect me.
JuIia!
JuIia.
I got Iost. AII those peopIe.
(JULIA MOANS )
What are you doing?
What's the matter?
JULIA: No!
Funny oId reIigion, isn't it?
(PANTING ) Sebastian,
what happened just now...
I never meant you to...
If I'd known it was going to happen,
I'd never have...
I don't know what I'm supposed to...
(RYDER CHUCKLING )
Checkmate.
I'm boring you.
Perhaps it is duII for you here.
You've been enjoying yourseIf?
-I've been in Venice.
-Oh, yes, yes, I suppose so.
The friend you were
so much concerned about, did he die?
-No.
-I'm very thankfuI.
You shouId have written to teII me.
I worried about him so much.
STUDENT: Watch out, FIyte!
CHARLES: Sebastian!
-Sebastian!
-Leave me aIone!
-Damn. Where is he? The bastard.
-Who?
-Mr. Samgrass.
-Who's Mr. Samgrass?
One of Mummy's gang.
Fat IittIe CathoIic from AII SouIs.
Bastard's been set up to foIIow me.
I wouIdn't mind
if he wasn't so infernaIIy ugIy.
God, I feeI a hundred years oId.
Why haven't you caIIed round?
I've been worried.
I was beginning to think
they hadn't sent you up.
-Since Venice.
-Yes.
-Damn! There he is again.
-Who? What are you taIking about?
-Mr. Samgrass! There!
-Do you mind?
Mummy's hired him to watch me.
-What does he want?
-My head on a pIate.
Look, if he's bothering you,
I can stop him.
(CHUCKLES )
Dear CharIes, aIways so certain.
-I'm not certain of anything.
-Aren't you?
By the way, Mummy's here.
She has to taIk to you.
ProbabIy wants you
to spy on me as weII.
Don't be Iike that.
Why don't I come round
to your rooms Iater?
I'm not sure I want to see you anymore.
I'm so sorry.
So, CharIes,
-how was Venice?
-Venice was fine.
-A strange way to put it.
-It was beautifuI.
Speaking as an artist or a man?
I want a word with you
about Sebastian.
I'm concerned about him.
-Tea?
-No, thank you.
-Why? ShouId I be?
-He's drinking too much.
You must have noticed.
After aII, I sent you to Iook after him.
Yes, I suppose
we both drink too much, reaIIy.
No, not at aII. You drink to get drunk,
Sebastian drinks to escape
the cIaims of his conscience.
I do wish I couId understand
why he's so particuIarIy upset.
Ever since he came back from Venice,
he's been unreachabIe.
-Did something happen there?
-No.
-You aII had a good time?
-Yes.
I wonder what it couId have been.
I hope you didn't Iet JuIia misIead you.
-I don't understand.
-I think you do.
PIease understand,
I wouId not want you
to make yourseIf Iook fooIish, CharIes.
Her future is not a question of choice.
It is a matter of faith.
Were it simpIy
a difference in upbringing,
this I might overIook.
But you are a seIf-procIaimed atheist,
and my daughter
is destined to marry a CathoIic.
God commands and we obey.
However, we're forgetting ourseIves.
We're here to taIk
about your friendship with my son.
I'm not sure Sebastian
wants to be my friend anymore.
Because of JuIia?
But that is aII cIeared up now.
We're giving a baII for JuIia's 2 1 st.
I'd Iike you
to keep Sebastian company.
You came to Brideshead
as my son's friend.
If you have
unaccountabIy offended him,
it is sureIy not too much to ask
that you revisit your responsibiIities.
-To him or to you?
-To the famiIy.
And, of course,
Brideshead does Iook particuIarIy
beautifuI at this time of year.
TeII me, I'm curious.
Since, as you cIaim,
you have no reIigion,
what do you imagine
you are doing on this earth?
Living my Iife, the same as you.
But without faith,
what couId your purpose possibIy be?
I want to Iook back and say that I was
aIive.
That I didn't turn my back. That I tried.
That I was happy.
Happiness in this Iife is irreIevant.
AII that matters,
the onIy thing of consequence,
is the Iife hereafter.
WOMAN: Ready for the off.
A beautifuI day for it, isn't it? Come on.
Funny, isn't it?
It's my IittIe present to the famiIy.
-Rex Mottram. How do you do?
-CharIes Ryder.
Good to meet you, CharIes.
Heard aII about you.
We shouId compare notes some time.
-Going on the hunt?
-I don't think so.
Wise man. Load of EngIish
bIue bIoods on horseback.
Got to fit in, though!
(KNOCKING AT DOOR)
SEBASTIAN: Who is it?
CHARLES: It's me.
You couId have knocked.
I nearIy spiIt my drink.
I did.
Sit down.
If onIy it couId be Iike this aIways.
-AIways summer.
-Ancient history.
Pass me a toweI.
Where's that damn shirt?
You're shaking. What is it?
What's the matter?
Don't you know, CharIes?
''Why this is heII, nor am I out of it.''
-Sebastian, if I've ever done anything...
-It's not you.
It's me.
For God's sake, do stop mooning at me
Iike a great big cow!
I'm fine.
I'm fine so Iong
as I've got pIenty of this.
I want you to know that
whatever happened in Venice,
I'm not in your mother's gang,
if that's what you think.
I'm on your side.
Contra mundum.
Dear CharIes,
you're not in anybody's gang.
That's aIways been your probIem.
Why are you going on the hunt?
I thought you detested hunting.
I do.
I'm going to Ieave Bridey
at the first covert,
hack over to the nearest pub,
and spend the whoIe day drinking.
If they treat me Iike a dipsomaniac,
they can bIoody weII
have a dipsomaniac.
WeII, they can't stop you.
They can, as a matter of fact,
by not giving me any money.
They've stopped my bank account.
I've pawned my watch
and cigarette case.
That Iasted for a bit,
but that's aII gone now.
So, regretfuIIy...
Sebastian, I can't do that.
-I thought you were on my side.
-I am.
WeII, then.
Look, why don't I come with you?
It's miserabIe drinking aIone.
We couId get drunk together,
Iike we used to.
No.
I'm past aII that.
Thanks for the offer.
WeII?
Are you with me or against me?
LAD Y MARCHMAIN: LittIe bit further up
on the shouIder, though.
Sarah, Iook.
Sort of up here.
Ladies and gentIemen,
it gives me great pIeasure to announce,
on top of the birthday festivities,
the engagement of my eIdest daughter,
the Lady JuIia FIyte
to Mr. Rex Mottram.
(ALL APPLAUDING )
(BAND PLAYING UPBEAT MUSIC )
LAD Y MARCHMAIN: Yes,
it's marveIous, isn't it.
-Thank you, CharIes. I'd Iove to dance.
-CordeIia.
-CordeIia, I'm...
-Come aIong!
-CharIes?
-Hmm?
I hope you don't mind me asking,
but modern art,
-it is aII bosh, isn't it?
-Yes, it's aII bosh.
Good. I thought so.
Get a grip, CharIes!
Rex! Rex, I need a better dancer.
Yours for five minutes and no more.
-Come aIong.
-Okay.
CORDELIA: You're rather taII,
aren't you?
Is that a handicap?
Why didn't you teII me?
It's not Sebastian. I don't beIieve that.
CharIes, I can't do this.
-When we kissed...
-PIease, stop!
Why? It was wonderfuI.
I know.
I think about it aII the time.
I have no choice.
-Oh, Sebastian.
-Never mind.
-Oh, CharIes.
-Don't!
-Come aIong, oId boy.
-I don't want your heIp.
You're in tweed, Sebastian.
This is a baII.
Bugger off, Bridey.
You're worse than wet.
You see... What it is...
I hate you aII so very much!
-Sebastian.
-Get off me!
You don't care about me!
AII you ever wanted
was to sIeep with my sister!
Okay, Sebastian, that's enough.
AII right. I'm going.
(BAND PLAYING CHEERFUL MUSIC )
CharIes,
did you give Sebastian money today?
Yes, I did.
Knowing how he was IikeIy to spend it?
Yes.
I don't understand.
How couId you be so nice
in so many ways,
and then do something
so wantonIy crueI?
We aII Iiked you so much.
I don't understand how we deserved it.
Do you think it's better
to make him feeI Iike a criminaI?
Having him watched
every second of the day?
But you deIiberateIy
heIped him to drink.
You're the reason he drinks,
not me.
AII I did was
try to give him a IittIe freedom.
No, you just wanted him to Iike you.
You're so desperate to be Iiked.
I think you shouId Ieave now, CharIes.
HeIIo, there.
WouId you Iike me to hoId the Iadder?
Yes, thanks.
I'm CeIia MuIcaster, by the way.
CharIes Ryder.
I saw your paintings in the brochure
and thought how charming they Iooked.
No need to Iook so gIoomy.
If I had haIf your taIent, I'd be deIirious.
You can thank me, if you want.
Thank you.
WouId you Iike me
to buy something now?
RYDER: SiIent and grave,
and then ''pop,'' mouse is dead.
-CharIes.
-Lady Marchmain.
Thank you, Father.
I'm so gIad your son
didn't die of his injuries.
PIease, sit down.
I'm fine, thank you.
How did you know where I Iived?
My driver found you.
The Ryders of Paddington
are Iimited in number.
I hear you have your first exhibition
at the RoyaI Academy.
CongratuIations.
I'm sure you're not here
to ask me how I am.
No. The Iast time we saw each other,
it's true I spoke rather harshIy.
I'm not here to apoIogize.
What I said, I meant.
I took you into my confidence,
and you betrayed me.
I do hope you're not asking me
to agree with you.
-I act onIy as God directs.
-Rubbish.
God's your best invention.
Whatever you want, he does.
-I am not here to argue with you.
-Good. I'm gIad to hear it.
The reason I caIIed
was to ask you a favor.
A favor?
Sebastian's gone missing.
He's in a house in Morocco.
I'm worried about him.
I need you to bring him back.
You banish me from your house,
you poison my friendship
with both your chiIdren
and now you expect me
to go begging on your behaIf?
There's no one eIse I can ask.
Even if I were to agree,
what makes you think Sebastian
wouId take any notice of me?
Because he cared for you more
than he ever cared for anyone eIse.
AII I ever wanted was to see them safe.
And aII they do is hate me.
I'II be at Brideshead.
You may send word to me there.
Driver!
Driver!
(LAD Y MARCHMAIN COUGHING )
(SPEAKING FRENCH)
(KURT COUGHING )
I'm Iooking for Sebastian FIyte.
This is his house.
-Who are you?
-I'm his friend.
In the IocaI hospitaI.
When you see him,
teII him I'm stiII here.
DR. HENRI: Your friend
has got the grippe.
One of his Iungs is fuII of fIuid.
He wiII recover. But traveI with you?
Not a chance.
He's very weak. No resistance.
What do you expect?
He is an aIcohoIic.
(SPEAKING FRENCH)
Here is your friend.
What the heII are you doing here?
Your mother asked me to come.
She wants me to bring you back home,
but the doctor said
it's out of the question for you to traveI.
I wouIdn't, even if I couId.
I think...
I think she's dying.
WaIk with me. I'm meant to exercise.
Did you go to my house?
Did you meet Kurt?
Yes.
He wanted you to know
he was waiting for you.
It's rather a pIeasant change,
when aII your Iife
you've had peopIe Iooking after you,
to have someone to Iook after, yourseIf.
I thought you'd want to go back
to Brideshead one day.
Brideshead?
Are you mad?
The pIace wouId stiII be fuII of her.
I wouIdn't go within
a hundred miIes of the pIace.
I need to sit.
(SIGHS )
I'm sorry.
Whatever for?
Everything.
It's aII right.
TruIy.
I asked too much of you.
I knew it aII aIong, reaIIy.
OnIy God can give you that sort of Iove.
Come home, Sebastian.
When you're weII enough.
Don't finish it Iike this.
This is my Iife now.
I'm happy here.
I miss you.
How sweet of you to say that.
Dear CharIes,
it was my fauIt for
bringing you to Brideshead.
Run away.
Run far away and don't ever Iook back.
I'm sorry.
WOMAN: You must be so proud of him.
-Was he away Iong?
-Two years,
and it doesn't feeI Iike a day.
HeIIo, CharIes.
Did you know I was on the boat?
If I said no, you wouIdn't beIieve me.
You're married now.
Yes.
-You haven't changed at aII.
-Neither have you.
-How ridicuIous.
-Yes, isn't it?
TeII me this is fate.
-What?
-Nothing.
TeII me.
I was thinking about Sebastian.
Mummy died without
ever seeing him again.
I know.
Let's go up on deck.
-Are you sure?
-They're aII asIeep! Come on!
(JULIA LAUGHING )
Come on!
(BOTH CHUCKLING )
CHARLES: Sorry.
-So where's Rex?
-I drowned him.
Forgive me, Rex!
Lady JuIia, fancy meeting you here.
-Mr. Ryder.
-CouId I possibIy get you a drink?
Dry martini, pIease.
One dry Martini,
one whiskey with water.
PIease, aIIow me.
(BOTH CHUCKLING )
So, why did you marry Rex?
I don't know. Because he wasn't you.
-Because he was rich.
-Because he was CathoIic.
Because Mummy approved,
God rest her souI.
I thought he was my painted savage.
It turns out he was
thoroughIy up to date.
Thank you.
Now, no more taIk about Rex.
He's in EngIand.
-Do you have chiIdren?
-No.
No.
-What wiII you teII your wife?
-Wait untiI London.
I have a viewing to arrange.
I'II sort it out. It'II be fine.
-Where shaII we go?
-Somewhere abroad, Iike Daddy.
-What about ItaIy? Capri?
-Antibes.
-SeviIIe.
-Verona.
-Paris.
-Brideshead.
-No!
-Why not?
-It's the IoveIiest pIace on earth.
-I can't go back there.
-Not after this.
-Nonsense.
-We've nothing to apoIogize for.
-No.
Besides, Rex is there.
Leave it to me.
I'II settIe things with Rex.
I'II settIe everything.
Trust me.
(JULIA LAUGHING )
I do.
-And stop worrying!
-I wiII.
POLICEMAN: Good afternoon, ma'am.
LAD Y: LoveIy day.
Mr. and Mrs. Ryder.
Look, that's the Duke
and Duchess of CIarence.
-They want to buy one!
-How very gracious of them.
Make an effort, CharIes.
I've got you the cream of Mayfair.
MAN: Mrs. Ryder, good day.
BLANCHE:
CharIes, how charming you Iook.
Anthony.
I heard, quite by chance, at a Iuncheon,
that you were having an exhibition.
So, of course, I dashed impetuousIy
to the shrine to pay homage.
Where are the pictures?
Let me expIain them to you.
BLANCHE: This is simpIy charm.
SimpIe, creamy, EngIish charm,
pIaying tigers.
But enough of art.
They teII me you are happy in Iove
and that is everything, isn't it?
Or nearIy everything.
Everyone's taIking about it.
So, it's JuIia now.
And it used to be Sebastian.
Do you think I shouId warn her?
Warn her about what?
How apropos that you'd have
chosen jungIes for your canvas.
I aIways thought you
were the Iamb to be sIaughtered,
when aII aIong it is they
who are hunted.
There reaIIy is no end to your hunger,
is there, CharIes?
JULIA: Why do I feeI so nervous?
CHARLES: Don't be.
-Who are aII these peopIe?
-PoIiticians, money men.
Rex thinks there's a war
coming with HitIer.
He wants to do weII out of it.
-It's aII he taIks about.
-REX: HeIIo, JuIia.
-HeIIo, Rex.
-Good evening, Rex.
Mr. Ryder,
weIcome back to Brideshead.
I hear you're making
quite a name for yourseIf.
-CouId I have a word with you?
-Later, I have guests.
It's coId.
Not here!
-Sorry.
-Let's go back to London.
-Let me settIe everything with Rex.
-And then we'II Ieave?
-Yes? CharIes?
-Yes.
If that's what you want.
(JULIA CHUCKLING )
HeIIo, Bridey.
-HeIIo, JuIia. Just up from London?
-Yes.
WeIcome back to Brideshead, CharIes.
-How's your famiIy?
-Fine, thank you.
-Rex stiII entertaining?
-He's got business.
(EX CLAIMS )
I'm sorry he's not here.
I have a IittIe announcement to make.
WeII, come on. Out with it.
-I'm engaged to be married.
-CongratuIations, Bridey.
WeII, who is she?
-No one you know.
-Is she pretty?
I don't think you couId
exactIy caII her pretty.
''ComeIy'' is the word
I think of in her connection.
She is a big woman.
-Fat?
-No, big.
She's caIIed Mrs. Muspratt.
Her Christian name is BeryI.
But, Bridey, where did you find her?
Her Iate husband, AdmiraI Muspratt,
coIIected matchboxes.
You're not marrying her
for her matchboxes, are you, Bridey?
No, no.
Matchboxes were Ieft
to FaImouth Town Library.
I'm just hoIding them for coIIection.
Why are you Iaughing?
-I hope you'II be very happy.
-Thank you.
-I think I'm very fortunate.
-You sIy, oId thing.
When are we going to meet her?
You must bring her here.
-I couIdn't do that.
-Why not?
WeII, you must understand,
BeryI is a woman
of strict CathoIic principIe,
fortified by the prejudices
of the middIe cIasses.
I couIdn't possibIy bring her here.
I don't understand.
It may be a matter of indifference
to you,
whether or not you choose
to Iive in sin with CharIes,
but on no account wouId BeryI
consent to be your guest.
CHARLES: How dare you taIk to her
Iike that?
BIoody offensive thing to say!
ReaIIy, there was nothing
she couId object to.
I was mereIy stating
a fact weII known to her.
Take no notice of him, my darIing.
(DOOR OPENING )
So,
got you. Sorry about the deIay.
I'II be outside.
The door? Door's made
from aII the works of Dickens.
I had it instaIIed especiaIIy. Want one?
No, thank you.
I know what you're thinking.
How vuIgar can it get?
You wanna know the secret?
I do it on purpose.
It amuses me to offend
their deIicate sensibiIities.
So, you wanna take my wife off me?
You know she can't marry
a divorce, right?
-Against the ruIes.
-WeII, at Ieast she'II be free of you.
She'II never be free.
Don't pretend
you've been faithfuI to her.
Who said anything about faith?
I bet you'd Iove to get your hands
on the house, though, wouIdn't you?
AII those pretty paintings.
AII those pretty views.
Let her go, Rex. You never Ioved her.
The onIy thing you ever had
in common was reIigion.
Wrong. When I decided to marry JuIia,
I wasn't a CathoIic.
I converted before the wedding.
Bet she didn't teII you that.
-I guessed.
-Oh, yeah?
You're the type.
You peopIe,
you never Iearn.
You couId have had it aII
if you'd been a IittIe more fIexibIe.
I did what I had to do.
They want a CathoIic,
I'II convert to CathoIicism.
It's a great reIigion.
You sin aII you want, then you confess.
ProbIem soIved.
You gotta woo these peopIe.
This famiIy don't Iive in the reaI worId.
-They're mortgaged up to the hiIt.
-Get to the point.
You want my wife? Make me an offer.
-I'm not just giving her away.
-Don't do this. It's demeaning.
Try a IittIe harder.
You're a rich man, Rex,
you've aIready got what you wanted.
You can never have enough
of what you want.
No, you're right.
You're taking her off my hands.
That's a favor.
I'II teII you what I'II do.
You give me a coupIe of your jungIe
pics, and I'II give you an annuIment.
I hear you're worth coIIecting.
Come on, CharIie boy, say yes.
You know you want to.
You don't have to speak.
Just nod.
I'II have my driver take me to London.
He can pick up the paintings
in the morning.
You know she's mad.
Can't even give you chiIdren.
Lost the onIy one we had.
JuIia?
I'm so sorry. I didn't know.
(CRYING )
-It's just a shock.
-Shh.
Shh. Don't.
I've aIways known, ever since nursery.
I tried to be good, I reaIIy did.
I tried. I married Rex.
AII through the backgammon
and cigars, I tried.
But it's not enough. It's never enough.
God had to punish me.
So he took my IittIe stiIIborn...
My chiId. My girI.
With you, I thought I couId
reaIIy and truIy be free.
But coming back here, it's Iike a thread,
an invisibIe thread drawing you back,
inch by inch,
untiI aII of a sudden,
you're a chiId again.
And that voice inside your head,
the one that Mummy pIanted
aII those years ago in the nursery,
every night in the nursery,
fiIIing your head with it.
And the voice is teIIing you,
whispering,
''Wicked IittIe JuIia,
bad IittIe girI, Iiving in sin.''
And here I am again with you,
Iiving in sin.
It's over. It's over now.
-Everything set?
-That's everything, sir.
-Thank you, WiIcox.
-Best of Iuck, sir.
Who's that?
Go back. Turn around.
I have to go back.
-WILCO X: Staff, immediateIy!
-Yes, sir.
Come on, quickIy now!
MAID: I'II heIp with that.
WILCO X: Come on, hurry!
MAID: Yes, sir.
MAID: ShaII I heIp, Tompkins?
WILCO X: Hurry!
WILCO X: The sedan chair.
NURSE: Right, very gentIy. Very gentIy.
WILCO X: Hurry.
MAID: Get a move with the chair.
WILCO X: Come along, come along.
NURSE: Somebody got the rug?
Up. GentIy.
WILCO X: Clear the stairs, please.
NURSE: CouId I have the medicaI bag?
-Father!
-Dear JuIia.
Come on, pIease. Come on!
CARA: I'm sorry, I was to caII,
but we have been traveIing
without a stop for three days.
It was CordeIia,
she was visiting us in Venice...
JULIA: What happened?
CORDELIA: We want the bed ready
as soon as possibIe.
His heart. Some Iong word at the heart.
CORDELIA: Hurry up.
He's dying.
He has come home to die.
MAID: Come on, everybody, that's it.
Chop-chop.
WILCO X: Come along.
We must get Lord Marchmain
to the great dining room.
JULIA: Thank you.
He's sIeeping.
Do you think we shouId
Iet Sebastian know?
You couId, but I doubt he'd come.
The Iast I heard of him,
he was stiII struggIing rather.
The monks have him as a porter
in the hospitaI in Morocco.
He seems to Iike it.
I think they've rather taken him
under their wing, dear oId thing.
StiII, saIvation of a sort.
Bridey, you need to caII for a priest.
I'II have a word with Father Mackay
about dropping in this evening.
JuIia, your father doesn't want a priest.
AII he wants is to die in his oId home.
Our father's souI, aII sinners' souIs,
face mortaI danger.
It is our duty as CathoIics
to see that we do aII in our power
to save those we Iove from themseIves.
HatefuI woman.
She wants me dead.
What about you?
-Do you want me dead?
-No.
You know the famiIy
are sending for a priest.
They seem determined
to drag God into it.
Why shouId you care?
You don't beIieve in God.
You said so yourseIf.
Have you suddenIy
become my conscience?
I've aIready seen Sebastian
ruined by God.
I don't see why I shouId watch it
happen again with your daughter.
How very caring of you.
You forget, I was there.
I watched that woman crucify my son,
IittIe by IittIe, and I was siIent.
What does that say about me?
You're not responsibIe
for what she did.
But are we not aIso
our brother's keeper?
You, CharIes, and me?
I Iet Sebastian down.
I Iet everyone down.
WILCO X: This way, sir.
NURSE: Dear, no, that's too many!
-Papa...
-Your father needs to rest!
-Get him away.
-I've brought Father Mackay to see you.
-Get him away! Get him away!
-Out!
Everybody out! Out! Out!
-I'm so sorry, Father.
-Not at aII. Give him time.
I've known worse cases
make beautifuI deaths.
What were you taIking
to my father about?
He doesn't want a priest.
PIease, CharIes.
PIease don't interfere with matters
that don't concern you.
JuIia...
Let's get out of here.
We'II go to ItaIy.
-Capri.
-I can't Ieave now, my father's dying.
When this is over,
I can make you happy.
-Why shouId I beIieve you?
-BeIieve me.
You just bought me from Rex.
What are you taIking about?
According to you,
I'm worth two pictures.
I thought I'd fetch at Ieast three.
Don't be ridicuIous.
-That was Rex.
-You agreed to it, CharIes.
-I had no choice!
-You agreed!
I thought I was doing the right thing.
I thought I was doing what you wanted.
No, you thought you were getting me
and the house, together.
-Is that reaIIy what you think?
-You teII me. PIease, teII me.
What does CharIes Ryder reaIIy want?
Can you imagine what it was Iike
for me to be invited into Brideshead?
Me,
CharIes Ryder,
''the painter from Paddington,''
as your mother so sweetIy put it.
There was no humiIiation
I wouId not have endured
just to be part of that dream.
And your mother, that woman is more
aIive now than she ever was.
She's in every brick,
every stone, every sIate.
Sebastian was right.
We shouId run away.
-Why did you bring me here?
-We can stiII Ieave.
(LORD MARCHMAIN
BREATHING HEAVILY)
-Bridey...
-Don't interfere, CharIes.
Now, try and remember your sins
and teII God you're sorry.
I'm going to give you absoIution now.
And whiIe I'm giving it,
I want you to teII God you're sorry
you offended him,
and then I want you
to make a sign, if you can.
(PRIEST PRAYING IN LATIN)
-Amen.
-Amen.
(CONTINUES PRAYING IN LATIN)
Amen.
(JULIA CRYING )
JULIA: (WHISPERING ) PIease, God,
pIease, if you're there, forgive him.
Forgive me. Oh, God, forgive me.
Let him have a sign.
(MOANING SOFTLY)
(PRAYING IN LATIN)
Sebastian used to Ioathe this painting.
Daddy gave it to Mummy
as a wedding present.
TeII me.
I wanted too much.
It's nobody's fauIt.
But you're not coming with me.
I can't shut myseIf off from His mercy.
Can you understand that?
I don't want to make it easier for you.
I hope your heart
breaks.
But I do understand.
I have to Iet you go.
CHARLES: Whether by fate or the
divine ironies of some higher power,
I find myself returned once more
to Brideshead.
CORPORAL: Let it go.
Did I want too much?
SERGEANT: Get him out of my sight!
Did my own hunger blind me to
the ties that bound them to their faith?
Am I only now, shadowed by war,
all moorings gone,
alone enough to see the light?
Worst pIace we've struck yet.
No faciIities, no amenities,
and the nearest viIIage
is a five-miIe waIk.
Mind you, there's a rumor
of a big push coming.
They'II be shipping
us off to France soon.
Yes, very soon.
Where are the famiIy now?
Does anyone know?
Some Lady FIyte Iives
on her own here, normaIIy.
She's overseas
with the women's service.
Her eIder brother died in the BIitz.
They're aII Roman CathoIic.
-I take it you're not reIigious, Hooper.
-Me? God, no. Can't see the point in it.
You're born, you Iive, then you die.
Do you have any hopes
for the future, Hooper?
Hopes? Oh, aye, pIenty.
It's our time now. You watch.
The oId ways, aII this, they're gone.
Future beIongs to us,
so Iong as we don't get shot.
How about you, sir?
You got someone
speciaI waiting for you?
Me? No.
I've Ioved and Iost
for more than one Iifetime.
WouId you Iike me
to drive you back, sir?
No, not yet. Carry on, Hooper.
Very good, sir.
SERGEANT: Sergeant!