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1
00:01:26,100 --> 00:01:30,700
It’s no use, that woman beat hell out
of me, and I’m still limp anyway.
2
00:01:30,800 --> 00:01:32,000
Let’s go in.
3
00:01:54,600 --> 00:01:56,700
- I’d better take my shoes off.
- All right.
4
00:02:20,000 --> 00:02:22,400
Well, bravo!
5
00:02:22,500 --> 00:02:24,500
Bravo!
6
00:02:24,600 --> 00:02:27,800
I confess I came
round the other way.
7
00:02:27,900 --> 00:02:31,000
Yes, I was not sure
about that door, somehow.
8
00:02:31,100 --> 00:02:34,100
They have been working on it
all morning, you know.
9
00:02:35,200 --> 00:02:38,500
Well, bravo!
10
00:02:38,600 --> 00:02:41,200
D’you know you’re the first lady
that I’ve seen?
11
00:02:41,300 --> 00:02:42,600
I’m very lucky.
12
00:02:42,700 --> 00:02:46,100
No, we are the lucky ones.
13
00:02:46,200 --> 00:02:47,400
Charmed.
14
00:02:53,600 --> 00:02:57,800
Your usual, sir?
Scotch and tepid water, I think.
15
00:02:57,900 --> 00:03:00,000
- Thank you.
- And for the lady?
16
00:03:00,100 --> 00:03:02,000
Might I suggest a nip of champagne?
17
00:03:02,100 --> 00:03:06,100
D’you know, the awful thing is
I would like champagne very much.
18
00:03:06,200 --> 00:03:08,900
- I’ll have some champagne too.
- Very good, sir.
19
00:03:10,200 --> 00:03:12,400
What a life of pleasure –
20
00:03:12,500 --> 00:03:17,600
roses, half an hour with a female pugilist,
and now champagne!
21
00:03:23,400 --> 00:03:25,100
I wish you wouldn’t
keep going on about the roses.
22
00:03:25,200 --> 00:03:28,500
It wasn’t my idea in the first place.
Someone sent them Celia.
23
00:03:28,600 --> 00:03:32,200
Oh, that’s quite different.
That lets you out completely.
24
00:03:32,300 --> 00:03:34,900
But it does make my massage worse.
25
00:03:35,000 --> 00:03:38,200
Well, I did have the barber
shave me in my room this morning.
26
00:03:40,700 --> 00:03:43,900
I’m glad about the roses.
Frankly, they were a shock.
27
00:03:44,000 --> 00:03:47,000
They made me think we were
starting the day on the wrong foot.
28
00:03:56,300 --> 00:04:01,500
All the next day Julia and I
spent together without interruption;
29
00:04:01,600 --> 00:04:08,800
talking, sometimes scarcely moving,
held by the swell of the sea.
30
00:04:08,900 --> 00:04:14,100
After luncheon the last hardy
passengers went to rest
31
00:04:14,200 --> 00:04:20,100
and we were alone as though
the place had been cleared for us,
32
00:04:20,200 --> 00:04:22,700
as though tact on a titanic scale
33
00:04:22,800 --> 00:04:27,000
had sent everyone tip-toeing out
to leave us to one another.
34
00:04:30,200 --> 00:04:34,000
We thought papa might come back
to England after mummy died,
35
00:04:34,100 --> 00:04:38,600
or that he might marry again,
but he lives just as he did.
36
00:04:40,000 --> 00:04:43,300
Rex and I often go and see him now.
37
00:04:43,400 --> 00:04:46,100
I’ve grown very fond of him.
38
00:04:50,700 --> 00:04:52,800
And Sebastian?
39
00:04:54,500 --> 00:04:57,000
He’s disappeared completely.
40
00:05:05,500 --> 00:05:08,400
Cordelia’s in Spain with an ambulance.
41
00:05:10,400 --> 00:05:13,800
Bridey leads his own extraordinary life.
42
00:05:13,900 --> 00:05:17,300
He wanted to shut Brideshead
after mummy died,
43
00:05:17,400 --> 00:05:20,600
but papa wouldn’t hear of it
for some reason,
44
00:05:20,700 --> 00:05:23,400
so Rex and I live there now.
45
00:05:25,100 --> 00:05:27,900
And Bridey too?
46
00:05:28,000 --> 00:05:31,200
He has two rooms
next to Nanny Hawkins,
47
00:05:31,300 --> 00:05:33,400
part of the old nurseries.
48
00:05:34,700 --> 00:05:39,000
One meets him sometimes
coming out of the library or on the stairs –
49
00:05:39,100 --> 00:05:40,800
I never know when he’s at home –
50
00:05:40,900 --> 00:05:42,900
and now and then he suddenly
comes in to dinner
51
00:05:43,000 --> 00:05:46,000
like a ghost, quite unexpectedly.
52
00:05:46,100 --> 00:05:48,500
He’s like a character from Chekov.
53
00:05:57,000 --> 00:06:00,200
You know, Charles, Rex has never
been unkind to me intentionally.
54
00:06:02,700 --> 00:06:05,900
It’s just that he isn’t
a real person at all;
55
00:06:07,700 --> 00:06:11,800
he’s just a few faculties of a man
highly developed;
56
00:06:11,900 --> 00:06:14,700
the rest simply isn’t there.
57
00:06:18,800 --> 00:06:21,000
He couldn’t imagine
why it hurt me to find out
58
00:06:21,100 --> 00:06:23,700
two months after we came back
to London from our honeymoon
59
00:06:23,800 --> 00:06:26,200
that he was still keeping up
with Brenda Champion.
60
00:06:31,800 --> 00:06:36,500
I was glad when I found
that Celia was unfaithful.
61
00:06:36,600 --> 00:06:39,800
I felt it made it all right
for me to dislike her.
62
00:06:39,900 --> 00:06:42,200
Is she?
63
00:06:42,300 --> 00:06:44,600
Do you?
64
00:06:44,700 --> 00:06:47,700
I’m glad.
I don’t like her either.
65
00:06:49,100 --> 00:06:51,500
Why did you marry her?
66
00:06:55,900 --> 00:06:59,700
Physical attraction.
67
00:06:59,800 --> 00:07:03,500
Ambition. Everyone agrees,
she’s the perfect wife for a painter.
68
00:07:08,000 --> 00:07:11,100
Loneliness.
69
00:07:11,200 --> 00:07:13,500
Missing Sebastian.
70
00:07:16,700 --> 00:07:19,500
You loved him, didn’t you?
71
00:07:19,600 --> 00:07:21,500
Oh yes.
72
00:07:21,600 --> 00:07:23,700
He was the forerunner.
73
00:07:30,400 --> 00:07:34,100
She told me, as though
fondly turning the pages
74
00:07:34,200 --> 00:07:37,900
of an old nursery-book, of her childhood.
75
00:07:38,000 --> 00:07:41,800
And I lived long sunny days
with her in the meadows,
76
00:07:41,900 --> 00:07:48,000
with Nanny Hawkins on her camp stool
and Cordelia asleep in the pram.
77
00:07:48,100 --> 00:07:51,000
She told me of her life with Rex
78
00:07:51,100 --> 00:07:53,900
and of the secret, vicious,
disastrous escapade
79
00:07:54,000 --> 00:07:56,600
that had taken her to New York.
80
00:07:56,700 --> 00:07:59,400
She, too, had had her dead years.
81
00:07:59,500 --> 00:08:03,400
At first I used to stay away
with Rex in his friends’ houses.
82
00:08:03,500 --> 00:08:05,600
He doesn’t make me anymore.
83
00:08:07,300 --> 00:08:14,600
He was ashamed of me when he found
I didn’t cut the kind of figure he wanted,
84
00:08:14,700 --> 00:08:17,700
ashamed of himself
for having been taken in.
85
00:08:19,500 --> 00:08:22,800
I wasn’t at all
the article he bargained for.
86
00:08:32,500 --> 00:08:35,500
He can’t see the point of me,
87
00:08:38,900 --> 00:08:42,100
but whenever he’s made up his mind
there isn’t a point
88
00:08:42,200 --> 00:08:46,900
and he’s begun to feel comfortable,
he gets a surprise –
89
00:08:47,000 --> 00:08:51,000
some man, or even woman,
he respects, takes a fancy to me
90
00:08:51,100 --> 00:08:54,600
and he suddenly sees
there’s a whole world of things
91
00:08:54,700 --> 00:08:57,700
we understand that he doesn’t.
92
00:08:59,900 --> 00:09:02,300
He was upset when I went away.
93
00:09:03,800 --> 00:09:06,500
He’ll be delighted to have me back.
94
00:09:10,200 --> 00:09:13,800
I was faithful to him
until this last thing came along.
95
00:09:19,800 --> 00:09:23,500
When, before dinner,
she went to get ready
96
00:09:23,600 --> 00:09:29,900
I came with her,
uninvited, unopposed, expected.
97
00:09:30,000 --> 00:09:34,600
I recalled the courtships
of the past ten dead years;
98
00:09:34,700 --> 00:09:39,300
how, knotting my tie before setting out,
putting the gardenia in my buttonhole,
99
00:09:39,400 --> 00:09:44,800
I would plan an evening of seduction
and think, at such and such a time,
100
00:09:44,900 --> 00:09:47,900
at such and such an opportunity,
I shall cross the start-line
101
00:09:48,000 --> 00:09:50,500
and open my attack
for better or worse;
102
00:09:50,600 --> 00:09:53,900
“this phase of battle has gone on
long enough,” I would think;
103
00:09:54,000 --> 00:09:57,300
“a decision must be reached.”
104
00:09:57,400 --> 00:10:01,900
With Julia there were no phases,
105
00:10:02,000 --> 00:10:04,800
no start-line,
106
00:10:04,900 --> 00:10:08,200
no tactic at all.
107
00:10:27,600 --> 00:10:29,400
I’ll see you at dinner.
108
00:10:38,700 --> 00:10:40,600
There’s nothing like a good upbringing.
109
00:10:43,000 --> 00:10:46,200
Do you know last year, when I thought
I was going to have a child,
110
00:10:46,300 --> 00:10:49,000
I’d decided to have it
brought up a Catholic?
111
00:10:50,400 --> 00:10:54,700
I hadn’t thought about religion before;
I haven’t since;
112
00:10:54,800 --> 00:10:58,600
but just at that time,
when I was waiting for the birth.
113
00:10:59,900 --> 00:11:03,100
I thought, “That’s the one thing
I can give her.
114
00:11:05,300 --> 00:11:09,800
It doesn’t seem to have done me
much good, but my child shall have it.”
115
00:11:11,900 --> 00:11:16,400
It was odd, wanting to give something
one had lost oneself.
116
00:11:21,200 --> 00:11:24,800
Then, in the end,
I couldn’t even give her that:
117
00:11:27,400 --> 00:11:29,800
I couldn’t even give her life.
118
00:11:33,700 --> 00:11:36,200
I never saw her;
119
00:11:36,300 --> 00:11:39,300
I was too ill to know
what was going on,
120
00:11:39,400 --> 00:11:44,200
and afterwards, for a long time,
until now,
121
00:11:44,300 --> 00:11:46,700
I didn’t want to speak about her.
122
00:11:54,800 --> 00:11:59,800
She was a daughter, so Rex didn’t
so much mind about her being dead.
123
00:11:59,900 --> 00:12:03,500
We’d argued endlessly about whether
I should have a child in the first place;
124
00:12:03,600 --> 00:12:05,500
at first I wanted one.
125
00:12:08,400 --> 00:12:10,100
After a year or so I discovered
126
00:12:10,200 --> 00:12:13,200
that I’d have to have
an operation to make it possible;
127
00:12:13,300 --> 00:12:16,500
by that time Rex and I were out of love.
128
00:12:19,900 --> 00:12:22,200
But he still wanted an heir.
129
00:12:30,100 --> 00:12:31,900
It’s late.
130
00:12:33,700 --> 00:12:35,800
Perhaps we’d better go to bed.
131
00:12:37,500 --> 00:12:40,700
I have been punished a little
for marrying Rex.
132
00:12:42,200 --> 00:12:45,800
You see, I can’t get all that sort
of thing out of my mind, quite –
133
00:12:45,900 --> 00:12:52,300
Death, Judgment, Heaven, Hell,
Nanny Hawkins, and the catechism.
134
00:12:55,500 --> 00:12:59,200
It becomes part of oneself,
if they give it to one early enough.
135
00:13:00,400 --> 00:13:03,700
And yet I wanted my child to have it...
136
00:13:07,200 --> 00:13:11,200
Now I suppose I shall be punished
for what I’ve just done.
137
00:13:16,800 --> 00:13:20,100
Perhaps that is why you and I
are here together like this…
138
00:13:28,600 --> 00:13:30,100
Part of a plan.
139
00:13:38,200 --> 00:13:40,900
No, Charles, not yet.
140
00:13:41,000 --> 00:13:42,600
Perhaps never.
141
00:13:44,600 --> 00:13:48,100
I don’t know.
I don’t know if I want love.
142
00:13:48,200 --> 00:13:50,000
Love?
143
00:13:52,100 --> 00:13:54,200
I’m not asking for love.
144
00:13:58,100 --> 00:14:02,500
Oh yes, Charles,
145
00:14:02,600 --> 00:14:05,000
you are.
146
00:15:04,400 --> 00:15:06,200
Charles, are you there?
147
00:15:09,000 --> 00:15:10,200
Yes.
148
00:15:12,300 --> 00:15:14,400
I’ll come in.
149
00:15:34,400 --> 00:15:36,800
Oh, I’ve been asleep such a long while.
150
00:15:39,200 --> 00:15:40,700
What time is it?
151
00:15:42,100 --> 00:15:43,600
It’s half past three.
152
00:15:47,200 --> 00:15:49,000
It’s no better, is it?
153
00:15:50,100 --> 00:15:51,600
It’s worse.
154
00:15:53,900 --> 00:15:56,300
I feel a little better, though.
155
00:15:58,400 --> 00:16:01,900
D’you think they’d bring me some tea
or something if I rang the bell?
156
00:16:02,000 --> 00:16:03,300
I expect so.
157
00:16:15,700 --> 00:16:17,800
Did you have an amusing evening?
158
00:16:19,700 --> 00:16:22,300
Everyone’s sick.
159
00:16:22,400 --> 00:16:24,700
Poor Charles.
160
00:16:24,800 --> 00:16:28,700
It was going to be such a lovely trip, too.
161
00:16:28,800 --> 00:16:31,300
It may be better tomorrow.
162
00:16:31,400 --> 00:16:33,200
Perhaps.
163
00:16:53,500 --> 00:16:55,700
Next day the wind had dropped,
164
00:16:55,800 --> 00:16:58,600
and again we were
wallowing in the swell.
165
00:17:21,200 --> 00:17:25,900
That day, because we had
talked so much the day before
166
00:17:26,000 --> 00:17:29,600
and because what we had to say
needed few words,
167
00:17:29,700 --> 00:17:32,200
we spoke little.
168
00:17:32,300 --> 00:17:35,600
When after long silences we spoke at all,
169
00:17:35,700 --> 00:17:39,300
our thoughts, we found, had kept
pace together side by side.
170
00:17:42,400 --> 00:17:45,100
You’re standing guard over your sadness.
171
00:17:51,200 --> 00:17:53,300
It’s all I’ve earned.
172
00:17:56,600 --> 00:17:59,300
You said so yesterday.
173
00:18:00,600 --> 00:18:03,000
My wages.
174
00:18:05,700 --> 00:18:07,800
An I.O.U. from life.
175
00:18:09,200 --> 00:18:11,600
A promise to pay on demand.
176
00:18:24,500 --> 00:18:26,600
It’s the end of our day.
177
00:18:29,100 --> 00:18:31,200
Let’s go on deck.
178
00:19:34,000 --> 00:19:35,800
Yes, now.
179
00:21:04,400 --> 00:21:09,100
Oh dear, where can we hide,
180
00:21:09,200 --> 00:21:12,200
we orphans of the storm?
181
00:21:56,700 --> 00:21:58,500
- Morning.
- Morning, sir.
182
00:22:17,200 --> 00:22:18,400
Charles?
183
00:22:20,400 --> 00:22:21,600
Charles!
184
00:22:28,900 --> 00:22:31,000
- Good morning.
- I feel so well.
185
00:22:31,100 --> 00:22:33,000
What do you think
I’m having for breakfast?
186
00:22:33,100 --> 00:22:35,400
Good Lord!
187
00:22:35,500 --> 00:22:38,500
I’ve fixed up a visit
to go to the hairdresser –
188
00:22:38,600 --> 00:22:40,900
do you know they couldn’t take me
till four o’clock this afternoon,
189
00:22:41,000 --> 00:22:42,500
they’re so busy suddenly?
190
00:22:44,600 --> 00:22:47,300
So I shan’t appear till this evening,
191
00:22:47,400 --> 00:22:51,000
but all sorts of people are coming
this morning to see us.
192
00:22:53,400 --> 00:22:56,600
I’m afraid I’ve been a worthless
wife to you these last few days.
193
00:22:56,700 --> 00:22:58,900
What have you been up to?
194
00:23:03,300 --> 00:23:05,500
Have you been behaving yourself?
195
00:23:05,600 --> 00:23:09,000
You haven’t been picking up sirens?
196
00:23:09,100 --> 00:23:12,000
There was scarcely a woman about.
197
00:23:12,100 --> 00:23:14,700
No, I have been talking to Julia.
198
00:23:14,800 --> 00:23:16,200
Oh good.
199
00:23:16,300 --> 00:23:18,200
I always wanted to get you two together.
200
00:23:18,300 --> 00:23:21,400
She’s one of my friends I knew you’d like.
201
00:23:21,500 --> 00:23:23,400
You must have been a godsend to her.
202
00:23:23,500 --> 00:23:26,200
She’s been through
a rather gloomy time lately.
203
00:23:27,300 --> 00:23:32,400
I don’t expect she mentioned it,
but she got into trouble with an awful man.
204
00:23:38,100 --> 00:23:40,900
I hear you’ve been looking after
my husband for me.
205
00:23:41,000 --> 00:23:43,300
Yes, we’ve become very matey.
206
00:23:44,600 --> 00:23:48,000
Oh Charles, do let’s go
and see what’s going on.
207
00:23:48,100 --> 00:23:49,900
We’ll catch you up.
208
00:23:53,800 --> 00:23:56,000
What are your plans?
209
00:23:56,100 --> 00:23:57,900
London for a bit.
210
00:23:59,600 --> 00:24:02,800
Celia’s going straight down to the country.
She wants to see the children.
211
00:24:02,900 --> 00:24:04,700
You too?
212
00:24:06,900 --> 00:24:08,100
No.
213
00:24:11,400 --> 00:24:12,800
In London then.
214
00:24:59,100 --> 00:25:03,300
Charles, the little red-haired man –
Foulenough. Did you see?
215
00:25:03,400 --> 00:25:05,900
Two plain clothes police
came and took him off.
216
00:25:06,000 --> 00:25:10,200
Oh, I missed it. There was such a crowd
on that side of the ship.
217
00:25:10,300 --> 00:25:13,100
- I found out about trains and sent a telegram.
- All right.
218
00:25:13,200 --> 00:25:15,200
We shall be home by dinner.
219
00:25:15,300 --> 00:25:18,200
The children will be asleep.
220
00:25:18,300 --> 00:25:20,500
Perhaps we could wake Johnjohn up,
just this once.
221
00:25:22,500 --> 00:25:26,100
Ehm, you go down.
I really have to stay in London.
222
00:25:26,200 --> 00:25:29,500
Oh, Charles, you must come.
You haven’t seen Caroline.
223
00:25:29,600 --> 00:25:33,200
- Will she change much in a week or two?
- Darling, she changes every day.
224
00:25:33,300 --> 00:25:35,200
Then where’s the point
of seeing her now?
225
00:25:37,600 --> 00:25:39,800
I’m sorry, my dear,
but I must get the pictures unpacked
226
00:25:39,900 --> 00:25:42,500
so I can see how they’ve travelled.
227
00:25:42,600 --> 00:25:44,800
I must get the exhibition fixed up.
228
00:25:44,900 --> 00:25:46,800
Must you?
229
00:25:46,900 --> 00:25:49,700
It’s very disappointing.
230
00:25:49,800 --> 00:25:52,600
Besides, I don’t know if Andrew and Cynthia
will be out of the flat.
231
00:25:52,700 --> 00:25:54,100
They took it to the end of the month.
232
00:25:55,600 --> 00:25:57,300
Oh, I can go to a hotel.
233
00:25:57,400 --> 00:25:59,500
Oh, but that’s so grim.
234
00:25:59,600 --> 00:26:02,200
I can’t bear you to be alone
your first night home.
235
00:26:03,600 --> 00:26:06,800
I’ll stay and go down tomorrow.
236
00:26:06,900 --> 00:26:10,400
Oh no, you mustn’t
disappoint the children.
237
00:26:10,500 --> 00:26:12,700
No.
238
00:26:12,800 --> 00:26:14,900
Will you come down at the week-end?
239
00:26:15,000 --> 00:26:16,500
If I can.
240
00:26:16,600 --> 00:26:19,900
All British passport holders
to the smoking-room, please.
241
00:26:22,800 --> 00:26:25,300
I’ve arranged for that sweet
Foreign Office man at our table
242
00:26:25,400 --> 00:26:27,800
- to get us off early.
- Good.
243
00:26:58,500 --> 00:27:01,100
Hello? Cavendish Hotel?
244
00:27:01,200 --> 00:27:03,300
Mr Charles Ryder, please.
245
00:27:07,600 --> 00:27:09,400
Charles!
246
00:27:09,500 --> 00:27:11,400
Are you off to the gallery?
247
00:27:11,500 --> 00:27:13,800
I’m sick of the pictures already
and never want to see them again,
248
00:27:13,900 --> 00:27:18,100
but I suppose I better
put in an appearance.
249
00:27:18,200 --> 00:27:20,000
Do you want me to come?
250
00:27:20,100 --> 00:27:22,100
I’d much rather you didn’t.
251
00:27:22,200 --> 00:27:27,200
Celia sent a card with “Bring everyone”
written across it in green ink.
252
00:27:27,300 --> 00:27:28,800
When do we meet?
253
00:27:28,900 --> 00:27:31,300
In the train.
254
00:27:31,400 --> 00:27:33,300
You could pick up my luggage.
255
00:27:33,400 --> 00:27:35,400
If you’ll have it packed soon
I’ll pick you up, too,
256
00:27:35,500 --> 00:27:36,900
and drop you at the gallery.
257
00:27:37,000 --> 00:27:39,200
I’ve got a fitting next door at twelve.
258
00:27:39,300 --> 00:27:41,200
Lovely.
259
00:27:41,300 --> 00:27:44,300
See you in about an hour then.
Bye.
260
00:28:25,400 --> 00:28:27,500
- Good morning, Mr Fisher.
- Good morning, sir.
261
00:28:27,600 --> 00:28:28,800
How’s it going?
262
00:28:30,400 --> 00:28:34,000
Now Charles, darling, do remember,
be nice to the critics.
263
00:28:36,900 --> 00:28:38,600
No one’s come yet.
264
00:28:38,700 --> 00:28:42,400
I’ve been here since ten
and it’s been very dull.
265
00:28:42,500 --> 00:28:44,700
Who’s car was that you came in?
266
00:28:44,800 --> 00:28:46,300
Julia’s.
267
00:28:46,400 --> 00:28:49,700
Julia’s?
Why didn’t you bring her in?
268
00:28:50,900 --> 00:28:53,100
Oddly enough, I’ve just been
talking about Brideshead
269
00:28:53,200 --> 00:28:55,800
to a funny little man
who seemed to know us well.
270
00:28:55,900 --> 00:28:58,400
He said he was called Mr Samgrass.
271
00:28:58,500 --> 00:29:02,600
Apparently he’s one of Lord Copper’s
middle-aged young men on the Daily Beast.
272
00:29:02,700 --> 00:29:04,500
I tried to feed him some paragraphs,
273
00:29:04,600 --> 00:29:06,900
but he seemed to know
more about you than I do.
274
00:29:07,000 --> 00:29:09,800
He said he’d met me
years ago at Brideshead.
275
00:29:09,900 --> 00:29:13,300
I wish Julia had come in;
we could have asked her about him.
276
00:29:13,400 --> 00:29:15,300
- You know, I...
- Your whisky, darling.
277
00:29:15,400 --> 00:29:16,400
Thank you.
278
00:29:16,500 --> 00:29:18,400
I remember him.
279
00:29:18,500 --> 00:29:19,500
He’s a crook.
280
00:29:19,600 --> 00:29:22,500
Why yes, that stuck out a mile.
281
00:29:22,600 --> 00:29:26,200
He’s been talking all about
what he calls the “‘Brideshead set”.
282
00:29:26,300 --> 00:29:31,100
Apparently Rex Mottram has turned the place
into a nest of party mutiny. Did you know?
283
00:29:31,200 --> 00:29:34,300
What would Teresa Marchmain have thought?
284
00:29:34,400 --> 00:29:36,200
I’m going up there tonight.
285
00:29:37,600 --> 00:29:39,800
No, not tonight, Charles;
286
00:29:39,900 --> 00:29:41,400
you can’t go tonight.
287
00:29:41,500 --> 00:29:43,700
You’re expected at home.
288
00:29:43,800 --> 00:29:47,300
You promised, as soon as the exhibition
was ready, you’d come home.
289
00:29:47,400 --> 00:29:50,500
Johnjohn and Nanny have made
a banner with “Welcome” on it.
290
00:29:50,600 --> 00:29:53,600
And you haven’t seen Caroline yet.
291
00:29:53,700 --> 00:29:55,800
I’m sorry, it’s all settled.
292
00:29:55,900 --> 00:29:59,800
Besides, Daddy will think it so odd.
293
00:29:59,900 --> 00:30:01,900
And Boy is home for Sunday.
294
00:30:02,000 --> 00:30:07,000
And you haven’t seen the new studio.
Charles, you can’t go tonight.
295
00:30:07,100 --> 00:30:08,800
Did they ask me?
296
00:30:08,900 --> 00:30:13,400
Of course, but I knew
you wouldn’t be able to come.
297
00:30:15,500 --> 00:30:18,100
No, I can’t now.
298
00:30:18,200 --> 00:30:20,500
I could have,
if you’d let me know earlier.
299
00:30:20,600 --> 00:30:23,500
I should adore to see
the “Brideshead set” at home.
300
00:30:25,000 --> 00:30:29,700
I do think you’re perfectly beastly,
but this is no time for a family rumpus.
301
00:30:29,800 --> 00:30:33,500
The Clarences said they’d look in before
luncheon; they may be here any minute.
302
00:30:33,600 --> 00:30:34,600
Good.
303
00:30:34,700 --> 00:30:39,100
- Mr Ryder? Pamela Lomax, Daily Mail.
- Oh yes.
304
00:30:39,200 --> 00:30:41,600
I wondered if I might have a word.
305
00:30:43,300 --> 00:30:45,100
Oh, here they are.
306
00:30:53,000 --> 00:30:54,500
Lovely to see you again.
307
00:30:56,700 --> 00:31:00,400
- What a very charming hat.
- Oh sir, you are sweet.
308
00:31:00,500 --> 00:31:04,000
Interesting, this trip down the Amazon;
one of my brothers has just got back.
309
00:31:04,100 --> 00:31:05,800
Got pretty bitten.
310
00:31:05,900 --> 00:31:07,700
Looking forward to seeing the pictures.
311
00:31:10,200 --> 00:31:13,000
- How kind of you to come, sir.
- Very good to see you.
312
00:31:13,100 --> 00:31:16,100
- Ma’am.
- It’s lovely to be here.
313
00:31:16,200 --> 00:31:19,400
- Would you care for some champagne?
- Not for me, thank you.
314
00:31:31,400 --> 00:31:33,400
Pretty hot out there,
I should think.
315
00:31:33,500 --> 00:31:34,700
Yes, it was, sir.
316
00:31:45,800 --> 00:31:48,600
Was it terribly uncomfortable?
317
00:31:48,700 --> 00:31:53,000
Well, ma’am, there were
one or two sticky moments.
318
00:31:57,800 --> 00:32:01,900
Awfully clever the way you’ve hit off
the impression of heat.
319
00:32:02,000 --> 00:32:04,800
Makes me feel quite uncomfortable
in my great-coat.
320
00:32:08,700 --> 00:32:12,000
Just a little bit closer, please.
That’s it. Fine, lovely.
321
00:32:12,100 --> 00:32:12,900
Can you see the picture?
322
00:32:13,000 --> 00:32:14,900
That’s all right, now.
I’m not interested in the picture.
323
00:32:15,000 --> 00:32:17,100
That’s fine.
Just a tiny bit closer.
324
00:32:17,200 --> 00:32:18,900
Lovely.
325
00:32:19,000 --> 00:32:20,600
Now smile, please.
326
00:32:26,000 --> 00:32:28,500
How kind, sir John.
I’m delighted to hear it.
327
00:32:28,600 --> 00:32:31,000
Oh, Charles, Charles...
328
00:32:31,100 --> 00:32:34,000
Sir John has been saying
the most marvellous things about you.
329
00:32:34,100 --> 00:32:36,400
- Oh good. I’m glad.
- Yes, I think it’s safe to say
330
00:32:36,500 --> 00:32:39,100
that we can look forward
to another Ryder at the Tate.
331
00:32:39,200 --> 00:32:41,500
And now, if I may, I’d like to mark down
332
00:32:41,600 --> 00:32:44,300
the following ones
for further consideration.
333
00:32:44,400 --> 00:32:45,800
Number seven.
334
00:32:45,900 --> 00:32:51,300
You see, Charles lives for one thing –
Beauty.
335
00:32:51,400 --> 00:32:54,300
I think he got bored
with finding it ready-made in England;
336
00:32:54,400 --> 00:32:56,800
he had to go and create it for himself.
337
00:32:56,900 --> 00:32:59,900
He wanted new worlds to conquer.
338
00:33:00,000 --> 00:33:04,200
After all, he has said the last word
about country houses, really, hasn’t he?
339
00:33:04,300 --> 00:33:07,000
Not, I mean, that he’s
given that up altogether.
340
00:33:07,100 --> 00:33:09,700
I’m sure he’ll always do
one or two more for friends.
341
00:33:14,100 --> 00:33:16,900
From fashionable
and unfashionable lips alike
342
00:33:17,000 --> 00:33:19,400
I heard fragments of praise.
343
00:33:19,500 --> 00:33:22,500
They all thought they had found
something new.
344
00:33:23,700 --> 00:33:25,700
It had not been thus
at my last exhibition
345
00:33:25,800 --> 00:33:29,500
in these same rooms,
shortly before my going abroad.
346
00:33:29,600 --> 00:33:32,800
Then there had been
an unmistakable note of weariness.
347
00:33:32,900 --> 00:33:36,600
Then the talk had been less of me
than of the houses,
348
00:33:36,700 --> 00:33:40,200
anecdotes of their owners.
349
00:33:40,300 --> 00:33:44,600
I remembered that last exhibition, too,
for another reason;
350
00:33:44,700 --> 00:33:49,100
it was the week I had detected
my wife in adultery.
351
00:33:49,200 --> 00:33:53,100
Then, as now, she was a tireless hostess.
352
00:33:53,200 --> 00:33:55,500
Whenever I see anything
lovely nowadays –
353
00:33:55,600 --> 00:33:58,100
a building or a piece of scenery –
354
00:33:58,200 --> 00:34:01,200
I think to myself,
“that’s by Charles.”
355
00:34:02,600 --> 00:34:04,900
Throughout our married life,
again and again,
356
00:34:05,000 --> 00:34:09,500
I had felt my bowels shrivel within me
at the things she said.
357
00:34:09,600 --> 00:34:13,000
But today, in this gallery,
I heard her unmoved,
358
00:34:13,100 --> 00:34:17,500
and suddenly realised that she was
powerless to hurt me any more;
359
00:34:17,600 --> 00:34:19,900
I was a free man;
360
00:34:20,000 --> 00:34:25,000
she had given me my manumission
in that brief, sly lapse of hers;
361
00:34:25,100 --> 00:34:29,000
my cuckold’s horns made me
lord of the forest.
362
00:34:38,400 --> 00:34:40,000
Darling, I must go.
363
00:34:40,100 --> 00:34:43,400
It’s been a terrific success, hasn’t it?
364
00:34:43,500 --> 00:34:46,500
I’ll think of something
to tell them at home,
365
00:34:46,600 --> 00:34:49,000
but I wish it hadn’t had
to happen quite like this.
366
00:35:20,900 --> 00:35:22,700
Good afternoon.
367
00:35:24,500 --> 00:35:27,300
No, I have not brought
a card of invitation.
368
00:35:27,400 --> 00:35:29,800
I do not even know
whether I received one.
369
00:35:29,900 --> 00:35:32,900
I’ve not come
to a social function –
370
00:35:33,000 --> 00:35:36,700
I do not seek to scrape
acquaintance with Lady Celia;
371
00:35:36,800 --> 00:35:39,800
I do not want my photograph in the Tatler;
372
00:35:39,900 --> 00:35:45,600
I haven’t come to exhibit myself.
I’ve come to see the pictures.
373
00:35:45,700 --> 00:35:49,500
Perhaps you are unaware
that there are any pictures here.
374
00:35:49,600 --> 00:35:53,400
I happen to have a personal
interest in the artist –
375
00:35:53,500 --> 00:35:56,000
if that word has any meaning for you.
376
00:35:56,100 --> 00:35:59,200
Antoine, come in!
377
00:35:59,300 --> 00:36:04,700
My dear, there is a g-g-gorgon here
who thinks I am g-g-gate-crashing.
378
00:36:08,300 --> 00:36:11,600
- Dear Charles.
- How are you?
379
00:36:15,300 --> 00:36:18,700
I only arrived in London yesterday,
and I heard quite by chance at luncheon
380
00:36:18,800 --> 00:36:21,200
that you were having an exhibition,
381
00:36:21,300 --> 00:36:25,400
so, of course I dashed impetuously
to the shrine to pay homage.
382
00:36:25,500 --> 00:36:28,100
Have I changed?
Would you recognise me?
383
00:36:28,200 --> 00:36:32,700
Now, where are the pictures?
Let me explain them to you.
384
00:36:37,700 --> 00:36:43,100
Where, my dear Charles,
did you find this sumptuous greenery?
385
00:36:43,200 --> 00:36:48,500
In the corner of a hothouse
at T-t-rent or T-t-tring?
386
00:36:48,600 --> 00:36:55,100
What gorgeous usurer nurtured these fronds
for your pleasure?
387
00:36:55,200 --> 00:36:57,500
I’ve been in South America for two years,
haven’t you heard?
388
00:36:57,600 --> 00:36:59,700
I know all about that.
389
00:37:40,800 --> 00:37:44,900
But they tell me, my dear,
that you are happy in love.
390
00:37:45,000 --> 00:37:49,500
And that is everything, is it not,
or nearly everything?
391
00:37:50,700 --> 00:37:53,100
Are they as bad as that?
392
00:37:53,200 --> 00:37:57,100
My dear, let us not expose
your little imposture
393
00:37:57,200 --> 00:38:00,800
before these good, plain people –
394
00:38:00,900 --> 00:38:04,800
let us not spoil
their innocent pleasure.
395
00:38:04,900 --> 00:38:08,900
We know, you and I,
this is all t-t-terrible t-t-tripe.
396
00:38:09,000 --> 00:38:13,000
Let’s go, before we
offend the connoisseurs.
397
00:38:13,100 --> 00:38:16,100
I know of a louche little bar
quite near here.
398
00:38:16,200 --> 00:38:19,600
Let us go there and talk
of your other c-c-conquests.
399
00:38:22,800 --> 00:38:25,500
- Goodbye, sir.
- Thank you for everything.
400
00:38:34,100 --> 00:38:39,600
Not quite your milieu, my dear,
but mine, I assure you.
401
00:38:39,700 --> 00:38:43,800
After all, you have been
in your milieu all day.
402
00:38:45,900 --> 00:38:52,400
I was given the address by a dirty old man
in the Bœuf sur le Toit.
403
00:38:52,500 --> 00:38:55,200
I’m most grateful to him.
404
00:38:55,300 --> 00:38:57,500
I’ve been out of England so long,
405
00:38:57,600 --> 00:39:02,700
and really sympathetic little
joints like this change so fast.
406
00:39:02,800 --> 00:39:06,500
I presented myself here
for the first time yesterday evening,
407
00:39:06,600 --> 00:39:09,800
and already I feel quite at home.
408
00:39:09,900 --> 00:39:12,500
- Good evening, Cyril.
- Lo, Toni, back again?
409
00:39:12,600 --> 00:39:14,100
Can’t keep away, my dear.
410
00:39:14,200 --> 00:39:17,000
- What you’re having, dear?
- What would you like, Charles?
411
00:39:17,100 --> 00:39:20,400
- A gin and dry Vermouth.
- Ah, two of those, please.
412
00:39:22,300 --> 00:39:24,400
- Hello, Toni.
- Oh, good evening.
413
00:39:24,500 --> 00:39:26,600
- How are you?
- Fine, thank you.
414
00:39:26,700 --> 00:39:30,200
Do you know Mr Charles Ryder,
the artist?
415
00:39:30,300 --> 00:39:33,400
- Pleased to meet you.
- How do you do?
416
00:39:33,500 --> 00:39:36,500
Thank you.
We’ll take our drinks and sit down.
417
00:39:37,800 --> 00:39:42,100
You must remember, my dear,
that here you are just as conspicuous
418
00:39:42,200 --> 00:39:49,100
and, may I say, abnormal, my dear,
as I should be in B-b-bratt’s Club.
419
00:39:51,400 --> 00:39:53,400
Would your friend care to rhumba?
420
00:39:53,500 --> 00:39:58,100
No, Tom, he would not,
and I’m not going to give you a drink;
421
00:39:58,200 --> 00:40:00,600
not yet, anyway.
422
00:40:03,000 --> 00:40:05,400
That’s a very impudent boy,
423
00:40:05,500 --> 00:40:09,100
a regular little gold-digger, my dear.
424
00:40:14,500 --> 00:40:20,100
Well, Antoine, what have you
been up to all these years?
425
00:40:20,200 --> 00:40:23,700
My dear, it’s what you’ve been up to
that we’re here to talk about.
426
00:40:23,800 --> 00:40:25,600
I’ve been watching you, my dear.
427
00:40:25,700 --> 00:40:29,900
I’m a faithful old body
and I’ve kept my eye on you.
428
00:40:33,400 --> 00:40:36,000
I went to your first exhibition, my dear.
429
00:40:36,100 --> 00:40:39,400
I found it – charming.
430
00:40:39,500 --> 00:40:42,200
There was an interior
of Marchmain House,
431
00:40:42,300 --> 00:40:46,300
very English, very correct,
but quite delicious.
432
00:40:46,400 --> 00:40:49,200
“Charles has done something,” I said;
433
00:40:49,300 --> 00:40:53,900
“not all he will do, not all he can do,
but something.”
434
00:40:54,000 --> 00:40:56,100
Even then, my dear, I wondered a little.
435
00:40:56,200 --> 00:41:01,000
It seemed to me there was something
a little gentlemanly about your painting.
436
00:41:01,100 --> 00:41:03,600
You must remember, my dear,
that I am not English;
437
00:41:03,700 --> 00:41:07,800
I cannot understand
this keen zest to be well-bred.
438
00:41:07,900 --> 00:41:14,200
English snobbery is even more
macabre to me than English morals.
439
00:41:14,300 --> 00:41:18,200
However, I said,
“Charles has done something delicious.
440
00:41:18,300 --> 00:41:20,800
What will he do next?”
441
00:41:20,900 --> 00:41:24,300
Imagine then my excitement
at luncheon today.
442
00:41:24,400 --> 00:41:26,100
Everyone was talking about you.
443
00:41:26,200 --> 00:41:28,400
How you had broken away, my dear,
444
00:41:28,500 --> 00:41:32,000
gone to the tropics,
become a Gaugin, a Rimbaud.
445
00:41:32,100 --> 00:41:35,000
You can imagine how my old heart lept.
446
00:41:39,600 --> 00:41:42,900
“Poor Celia,” they said,
“after all she’s done for him.”
447
00:41:43,000 --> 00:41:45,300
“He owes everything to her.
It’s too bad.”
448
00:41:45,400 --> 00:41:49,500
“And with Julia,” they said,
“after the way she behaved in America.”
449
00:41:49,600 --> 00:41:51,700
“And just as she was going back to Rex.”
450
00:41:51,800 --> 00:41:55,000
“But the pictures,” I said;
“Tell me about them.”
451
00:41:55,100 --> 00:41:59,200
“Oh, the pictures,” they said;
“they’re most peculiar.”
452
00:41:59,300 --> 00:42:01,200
“Not at all what he usually does.”
453
00:42:01,300 --> 00:42:04,500
“Very forceful.”
“Quite barbaric.”
454
00:42:04,600 --> 00:42:08,900
“I call them downright unhealthy,”
said Mrs Stuyvesant Oglander.
455
00:42:09,000 --> 00:42:11,200
My dear, I could hardly
keep still in my chair.
456
00:42:11,300 --> 00:42:14,000
I wanted to dash out of the house,
leap into a taxi and say,
457
00:42:14,100 --> 00:42:16,900
“Take me to Charles’s
unhealthy pictures!”
458
00:42:18,100 --> 00:42:23,800
Well, my dear, I went
and what did I find?
459
00:42:23,900 --> 00:42:29,400
I found a very naughty
and successful practical joke.
460
00:42:29,500 --> 00:42:31,800
It reminded me of dear Sebastian
461
00:42:31,900 --> 00:42:36,300
when he liked so much
to dress up in false whiskers.
462
00:42:36,400 --> 00:42:40,000
It was charm again, my dear,
463
00:42:40,100 --> 00:42:45,200
Simple, creamy, English charm,
464
00:42:45,300 --> 00:42:48,000
playing tigers.
465
00:42:53,800 --> 00:42:56,600
- You’re quite right.
- Of course I’m right, my dear.
466
00:42:56,700 --> 00:42:58,700
I was right years ago –
467
00:42:58,800 --> 00:43:02,500
more years, I am happy to say,
than either of us shows –
468
00:43:02,600 --> 00:43:05,500
when I warned you.
469
00:43:05,600 --> 00:43:09,100
I took you out to dinner
to warn you of charm.
470
00:43:09,200 --> 00:43:15,500
I warned you expressly
and in great detail of the Flyte family.
471
00:43:15,600 --> 00:43:18,600
Charm is the great English blight.
472
00:43:18,700 --> 00:43:22,300
It does not exist
outside these damp islands.
473
00:43:22,400 --> 00:43:26,100
It spots and kills anything it touches.
474
00:43:27,900 --> 00:43:31,800
It kills love;
It kills art;
475
00:43:31,900 --> 00:43:37,900
and I greatly fear, my dear Charles,
that it has killed you.
476
00:43:45,300 --> 00:43:48,000
It’s nice seeing you again, Anthony.
477
00:43:48,100 --> 00:43:50,600
I’ve got to go,
I’ve got a train to catch.
478
00:43:50,700 --> 00:43:54,700
Dommage.
I so enjoy our little talks together.
479
00:43:54,800 --> 00:43:56,900
À bientôt, Charles.
480
00:44:10,700 --> 00:44:14,000
Don’t be a tease, Toni.
Buy me a drink. Hm?
481
00:44:16,000 --> 00:44:17,200
All right.
482
00:44:43,400 --> 00:44:45,200
This way, m’lady.
483
00:44:52,500 --> 00:44:54,900
- Charles.
- Hello, darling.
484
00:45:03,400 --> 00:45:06,800
Thank your Ladyship, I’ll just go
and make sure the luggage is safely stowed.
485
00:45:06,900 --> 00:45:10,600
- Thank you.
- I thought you’d missed the train.
486
00:45:10,700 --> 00:45:12,900
It seems days since I saw you.
487
00:45:13,000 --> 00:45:16,900
Six hours; and we were
together all yesterday.
488
00:45:24,100 --> 00:45:25,400
You look worn out.
489
00:45:27,100 --> 00:45:34,100
Oh, it’s been a nightmare of a day –
crowds, critics, and the Clarence’s,
490
00:45:34,200 --> 00:45:39,300
ending up with half an hour’s well-reasoned
abuse about my pictures in a pansy bar...
491
00:45:42,900 --> 00:45:45,600
I think Celia knows about us.
492
00:45:45,700 --> 00:45:47,000
She had to know some time.
493
00:45:47,100 --> 00:45:50,600
Would you care for a drink
before dinner, madam?
494
00:45:50,700 --> 00:45:54,000
- Two very dry Martini’s, please.
- Very good, sir.
495
00:45:56,800 --> 00:45:58,800
Everyone seems to know.
496
00:45:58,900 --> 00:46:02,600
My pansy friend had only been in London
twenty-four hours before he’d found out.
497
00:46:02,700 --> 00:46:04,300
Damn everybody.
498
00:46:04,400 --> 00:46:07,200
Yes, but what about Rex?
499
00:46:07,300 --> 00:46:11,200
Rex isn’t anybody at all;
he just doesn’t exist.
500
00:46:55,500 --> 00:46:56,700
Julia.
501
00:46:57,800 --> 00:46:59,000
Charles.
502
00:47:33,800 --> 00:47:36,700
- What we want is a show-down.
- Wouldn’t work with Baldwin.
503
00:47:38,500 --> 00:47:41,500
Baldwin’s too canny.
Baldwin’s too clever,
504
00:47:41,600 --> 00:47:43,400
and Baldwin can rig it.
505
00:47:43,500 --> 00:47:47,100
A chap just came from Fort Belvedere,
and what he said was very interesting.
506
00:47:51,200 --> 00:47:53,600
Absolutely true.
507
00:47:53,700 --> 00:47:57,100
Chap I know in the Foreign Office
swears it’s a fact
508
00:47:57,200 --> 00:47:59,600
that Franco is a German agent.
509
00:48:01,400 --> 00:48:04,000
- Bring some more whisky, Rogers.
- Yes, sir.
510
00:48:04,100 --> 00:48:07,400
Charles!
Excuse me, madam.
511
00:48:10,900 --> 00:48:15,200
Grizel’s here somewhere.
She saw your show this morning.
512
00:48:15,300 --> 00:48:17,100
Very impressed,
513
00:48:17,200 --> 00:48:20,800
impressed with what she calls
your... your new style.
514
00:48:22,500 --> 00:48:24,000
Here, help yourself.
515
00:48:24,100 --> 00:48:28,300
I must say, Charles,
the murals are as handsome as ever.
516
00:48:30,000 --> 00:48:31,800
That was a long time ago.
517
00:48:35,600 --> 00:48:37,700
You seem to have a pretty good set-up here.
518
00:48:38,900 --> 00:48:41,700
It’s a very happy arrangement.
519
00:48:41,800 --> 00:48:43,900
Well, it suits me down to the ground.
520
00:48:44,000 --> 00:48:48,400
The old boy keeps up the house,
and Bridey takes care of the feudal stuff –
521
00:48:48,500 --> 00:48:51,700
you know, with the tenants.
I have the run of the house rent-free.
522
00:48:51,800 --> 00:48:56,000
All it costs me is the food and wages
for the indoor servants.
523
00:48:56,100 --> 00:48:57,700
Couldn’t be fairer than that, could it?
524
00:48:57,800 --> 00:49:02,300
Rex! Come and support me.
Come and stop Ronnie losing a bet.
525
00:49:02,400 --> 00:49:05,700
He’s put his shirt on Baldwin winning.
526
00:49:05,800 --> 00:49:08,000
Do you know Henry and Ronnie Nash?
527
00:49:08,100 --> 00:49:10,500
- Come on over and say hello.
- I’ll join you in a minute.
528
00:49:15,400 --> 00:49:17,800
What I’m saying, of course,
is that now he can marry her
529
00:49:17,900 --> 00:49:20,000
and make her Queen tomorrow.
530
00:49:20,100 --> 00:49:22,200
Would you mind awfully not doing that?
531
00:49:22,300 --> 00:49:25,100
- Why not?
- ’Cause I don’t much enjoy it.
532
00:49:25,200 --> 00:49:27,800
Who cares about divorces
these days, anyway?
533
00:49:27,900 --> 00:49:29,300
A few old maids?
534
00:49:36,000 --> 00:49:38,100
Good evening.
535
00:49:44,100 --> 00:49:46,600
- Charles!
- Grizel.
536
00:49:47,900 --> 00:49:50,100
That exhibition of yours was divine.
537
00:49:50,200 --> 00:49:52,300
- You enjoyed it?
- I adored it.
538
00:49:52,400 --> 00:49:55,900
- How’s that lovely Celia?
- Oh, she’s well.
539
00:50:08,000 --> 00:50:12,200
Julia, darling, you’ve lost weight.
540
00:50:12,300 --> 00:50:14,300
And it suits you.
541
00:50:14,400 --> 00:50:16,700
Goodness, you look
more stunning than ever.
542
00:50:16,800 --> 00:50:19,500
I could spit.
543
00:50:19,600 --> 00:50:22,700
Hello, everybody.
Do carry on.
544
00:50:22,800 --> 00:50:25,300
I’m sorry I wasn’t here
to greet you.
545
00:50:25,400 --> 00:50:28,100
I hope Rex is taking care of you all.
546
00:50:28,200 --> 00:50:29,400
Good evening, Henry.
547
00:50:32,900 --> 00:50:34,700
Evening, darling.
548
00:50:34,800 --> 00:50:36,100
- You look lovely.
- Thank you.
549
00:50:38,400 --> 00:50:41,700
- My dear, you look simply marvellous.
- Thank you so much.
550
00:50:43,300 --> 00:50:44,500
Good evening.
551
00:50:46,900 --> 00:50:48,300
- Hello.
- Hello.
552
00:50:48,400 --> 00:50:51,100
- I guess that you’ve been gambling.
- Well, we did.
553
00:50:51,200 --> 00:50:53,500
- How was it?
- Lost about £4,000.
554
00:50:53,600 --> 00:50:55,700
Too bad.
555
00:51:12,600 --> 00:51:13,800
Hello.
556
00:52:10,100 --> 00:52:12,200
I wonder which is the more horrible,
557
00:52:12,300 --> 00:52:16,100
Celia’s Art and Fashion
or Rex’s Politics and Money.
558
00:52:17,900 --> 00:52:20,000
Why worry about them?
559
00:52:27,000 --> 00:52:30,400
Oh, my darling,
560
00:52:30,500 --> 00:52:34,000
why is it that love
makes me hate the world?
561
00:52:34,100 --> 00:52:36,700
It’s supposed to have
quite the opposite effect.
562
00:52:39,800 --> 00:52:44,500
I feel as though all mankind,
and God, too,
563
00:52:44,600 --> 00:52:47,700
were in a conspiracy against us.
564
00:52:47,800 --> 00:52:49,900
They are.
565
00:52:51,000 --> 00:52:53,100
They are.
566
00:52:57,000 --> 00:53:00,000
But we’ve got our happiness
in spite of them;
567
00:53:00,100 --> 00:53:02,200
here and now.
568
00:53:05,800 --> 00:53:07,800
We’ve taken possession of it.
569
00:53:12,200 --> 00:53:14,300
They can’t hurt us, can they?
570
00:53:15,600 --> 00:53:19,100
Not now;
571
00:53:19,200 --> 00:53:21,300
not tonight.
572
00:53:24,400 --> 00:53:27,100
Not for how many nights?
43963
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