Desperate Romantics BBC TV Miniseries The rise of the pre-Raphaelite Brotherhood E05 2009 Subtitles
#caligula #mansfieldpark #poldark https://www.youtube.com/channel/UC5domZkB-eRa6BuFOO8OXaQ. https://dailymotion.com/bethfreed25
Ruskin is annoyed that Lizzie - frequently taking laudanum - and Rossetti are squandering his advance on wild parties and moves Lizzie's studio into his house. Effie warns her not to allow Ruskin to dominate her but she holds her own conversing with him and his mother. Rossetti takes up with buxom working girl Fanny Cornforth, using her as his next model. He is pursued by two of his students, would-be artists Burne-Jones and Morris ,and eventually admits them to the Brotherhood after they have saved his church mural from fading. Excess laudanum makes Lizzie ill but Rossetti fulfils his pledge to marry her on her recovery. However, minutes after the ceremony he is setting lustful eyes on Morris' fiancee Jane.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
Ruskin is annoyed that Lizzie - frequently taking laudanum - and Rossetti are squandering his advance on wild parties and moves Lizzie's studio into his house. Effie warns her not to allow Ruskin to dominate her but she holds her own conversing with him and his mother. Rossetti takes up with buxom working girl Fanny Cornforth, using her as his next model. He is pursued by two of his students, would-be artists Burne-Jones and Morris ,and eventually admits them to the Brotherhood after they have saved his church mural from fading. Excess laudanum makes Lizzie ill but Rossetti fulfils his pledge to marry her on her recovery. However, minutes after the ceremony he is setting lustful eyes on Morris' fiancee Jane.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
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Short filmTranscript
00:00You
00:31Lizzie is being paid a small fortune by Ruskin the rogue in addition to him
00:36paying for any painting she completes which so far is precisely none
00:51Lizzie dresses like a queen and even Gabriel is such a swell as I never
00:56thought possible. We all trail in their wake though some more happily than
01:05others and me better off than I've ever been but living beyond my means to keep
01:12up with the brotherhood
01:19I would cut myself loose from their moorings but the only stories I can sell
01:24are about their celebrated lives and nobody is more dazzled by money than
01:31revolutionaries. They spent money when they did not have it so now that they
01:36have it they spend it even more
01:46I'm not telling you. Because you are embarrassed. Because I know you're only asking in order to be
01:51outraged at the answer. Why would Johnny be outraged? What is the most he has ever spent on a
01:56dress for you? Was it massive? What did it really matter anyway? It cost three pounds there
02:00Lizzie's dress cost three pounds and we shut up about it. It is beautiful. Three
02:05pounds for a dress? We're brotherhood. I thought we were meant to delight in each other's good
02:09fortune. Yes but we're all alone in the end aren't we? You will be with a conversation like that.
02:16Gabriel I'm so sorry I only wish I could share in your good fortune it's just I
02:19miss Annie. I miss her so much. How about this young lady? She looks ripe enough to shake you
02:25out of your torpor. No I mean to embrace celibacy from this day forth. You need to
02:30embrace something and it's not celibacy. I mean earnest. Listen you must marry
02:37Lizzie without delay. I mean you must be able to afford it now. Do you know who
02:41that is over there? I'm giving you the best advice I can. As a man who has been
02:47led hopelessly astray by his own lust. I do not wish the same fate to befall you.
02:59Do you make a habit of spitting? Depends what I've got my mouth at the time sir. Have you
03:06listened to a word I've just said? Yes I should not become distracted by lust.
03:47Gabriel. Gabriel. Let me take a piss first and then I'll satisfy you you cock hungry jesser.
04:12Gabriel. What? I want you to tell me honestly how much work have you done to the mural that
04:25has been commissioned on my recommendation? The mural? Still very much at the planning stage.
04:32And yet if I was to ask you to return the advance? Spent I'm afraid. Perhaps we have
04:40been a little excessive in our carousing of late. You've been spotted at Cremorne Gardens
04:45reeling from laudanum every evening for the last two months Gabriel. Sorry mr. Ruskin this will
04:50not go on. I'm beginning to think that I've made a mistake in supporting you both in this way. John
04:55blame me not Lizzie. I'm quite the fool when it comes to running around town like a swill. I do
05:00blame you Gabriel. I do. I want to see the mural is completed by the end of the month. Is that
05:06understood? End of the month certainly. And Lizzie? Miss Siddle must set up her studio under my roof
05:14where she will not be so tempted and led astray by the world and all that it has to offer. Your
05:19house? I shall expect you to work there each day between nine and eight and then to return home to
05:23your parents house at the end of each working day. Too exhausted to indulge your newfound passion for
05:31promenading and gin. This is how Ruskin began with Effie. No questioning. Blind obedience. It's all your
05:44fault of course Fred. You and your talking table Colin. I thought you liked having your name in
05:49the papers. I think you took unfair advantage of my shallow nature. She must do it. You make an enemy
05:54of Ruskin and your career will suffer. Look at me. Oh yes your poverty is legendary. Tell me those
06:00two strange creatures over there looking at you not me Gabriel or else I shall be compelled to rip
06:04their heads off. Oh yes they're students from my evening class. The fat one is William something
06:11or other and the thin one is Ned. I can't remember what. The Huns. They adore me. God knows I need it.
06:18You have the love of a woman. That is the most valuable thing of all. You're selling paintings maniac. Johnny
06:24Boy is selling paintings. You're both famous for being artists. I'm famous for being the friend of
06:30artists. It's like being Fred or something. No offense. None taken. Then take my advice. Leave the
06:38debauchery behind. Concentrate only on the work. That is entirely my intention. My code. My manifesto.
06:50What are you doing? Getting my things together so I can go to Ruskin. What's the rush? You heard him Gabriel. He has
07:02given me one last chance. I intend to take it. You're seriously going to report to Ruskin every
07:07day? Perhaps he is right. I should spend every night at my parents house for now at least. You're
07:14letting him control you. He is John Ruskin. I am a novice painter. I think for what he's paying me he
07:23should be able to control me. And my feelings about this? You want me to be an artist. Ruskin
07:35has granted that wish. I love you. But I have to do this. You do see that. Of course. No, absolutely.
07:45And Gabriel get on with the mural. We both need Ruskin.
08:05This was formerly my studio. I haven't completed a painting since my portrait of John Millay. It's
08:19well equipped but you must ask me if you need anything else. Work as much as possible in color.
08:28I do not care if they're separate drawings or illuminations but always try to sketch in color
08:34rather than pencil only. Watercolor of course. And what you do you must show me. Whether you think it
08:41good or bad or nothing or something. I see. Until Gabriel comes to his senses and marries you, you
08:49shall be under my protection and care. Gabriel cares for me far more than you realize. And I
08:55will be happy to buy your work as and when you produce it. But you must not think that you have
08:59to be marvelously productive. I want to see that you are looked after and settled. And healthy.
09:30♪♪♪
09:41-♪♪♪
10:05May I have the next dance? I'm afraid the lady is occupied. If she was occupied Mr.
10:10Dickens should either be waltzing or copulating. Now unless there's a dwarf under her skirts then she's doing neither.
10:17You missed out flight England. God's sake I have company. You will always have company. But an opportunity like me is not something that will happen every day.
10:26God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God! God
10:56You an artist? I am.
11:22Yeah, you fat-clodding artist.
11:26Is that a good thing?
11:32Would you do me the honour of sitting for me?
11:37Me? In a painting?
11:41I've got too much meat on my bones.
11:43You like them skinny like boys, don't you?
11:46I feel deep in my soul that I may be about to change my style.
12:22I've got too much meat on my bones that I may be about to change my style.
12:24I feel deep in my soul that I may be about to change my style.
12:26I feel deep in my soul that I may be about to change my style.
12:28I feel deep in my soul that I may be about to change my style.
12:30I feel deep in my soul that I may be about to change my style.
12:32I feel deep in my soul that I may be about to change my style.
12:34I feel deep in my soul that I may be about to change my style.
12:36I feel deep in my soul that I may be about to change my style.
12:38I feel deep in my soul that I may be about to change my style.
12:40I feel deep in my soul that I may be about to change my style.
12:42I feel deep in my soul that I may be about to change my style.
12:44I feel deep in my soul that I may be about to change my style.
12:46Come on!
12:56Come on!
13:16Come on!
13:46Dandy! Dandy!
13:48Dandy!
13:50Dandy!
13:52Dandy!
13:54Dandy!
13:56Good God!
13:58What are you doing?
14:00What do you want?
14:02You'll have to forgive us. We are rather impulsive.
14:04Just tell me what you want.
14:06Your guidance.
14:08Your advice.
14:10Advice?
14:12Never...
14:14Never...
14:16Never...
14:18go out to matching purple.
14:24William has written some poems he would like you to read.
14:28Poems?
14:30They are the first I have ever written.
14:32And so I just need your help to get them published in...
14:34er... er... pages...
14:36covers... by book.
14:38A big book. Because there are a lot of them.
14:42Er...
14:46To be saved from the wind,
14:48the merciless wind
14:50that moaneth through it always.
15:12Ah!
15:38Ah!
15:40Ah!
15:54I am going to paint you.
15:56I'll pay to model her in such a way...
15:58Yeah, yeah. Pretend you're not paying me for these.
16:00And this.
16:02I've been painting something called found for some time now.
16:04It's about to fall on the woman.
16:06Like awakening conscience.
16:08Awakening conscience?
16:10That aunt painting.
16:12Actually, Hansel found and copied it.
16:14He's a good painter, though, isn't he?
16:16That aunt.
16:18Does the idea appeal or not?
16:20I do any job you pay me for.
16:22Thanks for asking.
16:24No man ever asked
16:26if I minded before.
16:32No, wait, stop.
16:34I've had an idea.
16:36No, no, no, no, wait.
16:40The world doesn't need another fallen woman painting.
16:44I'm going to paint a celebration of your sensuality.
16:48I'm going to call it, er...
16:50Bocca Bacciata.
16:52That's Italian for the kismet.
16:54I won't argue with that.
16:56What's Italian for hourly rate?
16:58Oh, my God.
17:00What time is it?
17:02I have to be somewhere.
17:06Time passes so quickly with you.
17:14Don't leave without some of my own
17:16special ivory bone dust, Miss Siddle.
17:18Bone dust?
17:20An excellent restorative.
17:22It will address your weakness.
17:24And what weakness would that be?
17:26When do you think you can travel to Oxford, Lizzie?
17:28Oxford?
17:30To stay with my friends the Atkins.
17:32He's a medical man and an excellent fellow in such matters.
17:34You have a surfeit of nervous energy, Miss Siddle.
17:36That may be so,
17:38but I hardly think it requires medical attention.
17:40She has pride, does she not, Mother?
17:42Indeed.
17:44I would go as far as to say
17:46that she might have been born a countess.
17:48The plain hard fact
17:50is that I think you have genius.
17:52And I don't think there's much genius in the world.
17:56And I want to keep what there is in it.
18:00I'm so sorry I'm late.
18:04Then there may be
18:06goodish intervals where you cannot work
18:08and may need my financial assistance.
18:10I've been writing a poem.
18:12It's a celebration on this
18:14very subject, actually.
18:16Prostitution.
18:18I hardly think Lizzie's position is
18:20a moral equivalent of prostitution, Gabriel.
18:22Comparison made in very poor taste,
18:24Mr Rossetti, even by your queasy standards.
18:26Only if you consider prostitution
18:28to be morally wrong, Mrs Ruskin.
18:30Gabriel, come now.
18:32What is a prostitute?
18:34A woman who has made a choice.
18:36How does a seamstress
18:38get paid, Lizzie?
18:40I don't know. I was never a seamstress.
18:42Well, a hawk can make twice the money
18:44and have ten times the enjoyment.
18:46You don't know what you speak, Gabriel.
18:48Perhaps my poem on this very subject
18:50will convince you.
18:52Your silk
18:54ungirdled and unlaced
18:56and warm sweets
18:58open to the waist.
19:00All golden
19:02in the lamplight's gleam.
19:04Poor beauty.
19:06So well worth a kiss.
19:08That's bloody lovely sherry,
19:10by the way, John. No wonder your family's
19:12all tinned up, eh?
19:14Straining to shock is rather
19:16an adolescent trait,
19:18Mr Rossetti.
19:20And to be a first-rate painter, you mustn't be pious,
19:22but rather
19:24a little wicked.
19:26Does that sound familiar, John?
19:28I hardly meant that a man should go and throw money
19:30in a prostitute's hair, Gabriel.
19:34Excuse me.
19:36I left those Ruskins reeling, did I not?
19:38Did you hear
19:40the silence after I stopped speaking?
19:42That silence
19:44was the silence of those who were deeply embarrassed.
19:46Oh, I see.
19:48You have Ruskin's camp now as paid
19:50house artist. It has nothing to do
19:52with whose camp I belong to.
19:54You are rude and boorish
19:56and ignorant and, to be frank, insane.
19:58You sat there in silence.
20:00If anyone played the village idiot
20:02in that little cameo, then it was you.
20:04No, Gabriel, it was your arrival
20:06that rendered me dumb.
20:08Oh, I see. I missed your act, did I?
20:10Too late to see the hat shop girl speak
20:12as though she had a brain.
20:14Is that how you regard me?
20:16Like some kind of novelty act
20:18that you've trained up?
20:20The reason I sat in silence
20:22was because you didn't leave me
20:24alone to be myself.
20:26Before you arrived,
20:28I was full of confidence
20:30because two people seemed to want to hear
20:32my opinion.
20:34When you arrived,
20:36it was clear there was only ever going to be
20:38one opinion expressed in that room.
20:40Yours.
20:48I'm sorry.
20:50I'm sorry.
20:54I'm a fool.
20:56I'm only happy on social occasions
20:58when there's chaos around.
21:00I find comfort
21:02in the disequilibrium of others.
21:04It's true.
21:06It was unforgivable to rush in there
21:08and show off
21:10and try in my clumsy way to demonstrate
21:12that I was as good as you.
21:16I suppose I'm jealous.
21:18Jealousy makes me petulant
21:20in the extreme.
21:38Can we just seek comfort in each other's arms tonight?
21:40This is what I'm attempting.
21:42No.
21:44Like this, holding each other, nothing more.
21:46This is exactly what I was talking about
21:48at the Ruskids.
21:50Why must a man be ill that he has to earn the right
21:52to come near a woman?
21:54So you'd rather I showed no reservation
21:56and behaved like the whores you so clearly admire?
21:58Would that be such a hardship?
22:16I'm sorry.
22:18I'm sorry.
22:20I'm sorry.
22:22I'm sorry.
22:24I'm sorry.
22:26I'm sorry.
22:28I'm sorry.
22:30I'm sorry.
22:32I'm sorry.
22:34I'm sorry.
22:36I'm sorry.
22:38I'm sorry.
22:40I'm sorry.
22:42I'm sorry.
22:44I'm sorry.
23:00Leave it now.
23:02Leave it now.
23:04Leave it now.
23:06Leave it now.
23:14Leave it now.
23:16Now.
23:18Go!
23:44Now.
23:50Will you please stop following me?
23:52I'm afraid that's not possible.
23:54It's not possible.
24:08What?
24:14Where's it gone?
24:16Where's it gone?
24:20Oh, shit.
24:22William was wondering
24:24if you'd read the poems yet.
24:26Yes, it does not often help
24:28my poems much to solve them.
24:30You are unbelievable.
24:32Can you not see
24:34that I'm in a terrible crushing dilemma
24:36yet you choose to harass me
24:38about your juvenilia?
24:40Your decision
24:42to abandon an undercoat
24:44was not an artistic one.
24:46An undercoat?
24:48On the wall
24:50before you began.
24:52I assumed
24:54it was a radical departure
24:56rather than an oversight.
25:00Undercoat.
25:04An undercoat.
25:06Oh.
25:08Oh.
25:10Oh.
25:36Hello.
25:39I wasn't expecting you tonight.
25:41I came here because I had
25:43an overwhelming desire to embrace you.
25:46Are you upset in some way?
25:50It's Ruskin, isn't it?
25:52What has he done now?
25:54Everybody wants to blame Ruskin.
25:58But it's you,
26:00Gabriel,
26:02and this...
26:04this...
26:06slut
26:08who you celebrated
26:10in your poem.
26:12Why do you hate other women so much?
26:14What's wrong with you?
26:16Yes, Fanny
26:18is a street girl.
26:20Yes, she is a prostitute.
26:22She has a sweet and giving and sensual nature.
26:24And yes,
26:26I want to capture that on canvas
26:28rather than go down the same old route
26:30of fallen women and the dangers of lust.
26:32And you know something?
26:34You really think it's healthy?
26:36Certainly healthier than your grudging attitude
26:38towards sensuality.
26:40Thank you for at least being honest
26:42in how you feel about our love affair.
26:44We don't have a love affair.
26:46We have an argument punctuated by sex.
26:48I hate you!
26:50For all your talk of your soul and death,
26:52you are dead inside!
26:54Do you hear me, dead?
26:56This is exactly what I feared.
26:58The Ruskins have taken you over.
27:00Millais was right.
27:02I'm lost to you because my wish of being an artist
27:04is coming true.
27:06I fear you much preferred me
27:08when I was a hopeful failure.
27:10I fear that's what you will always want
27:12in a woman.
27:14If you walk away from me, I can only assume
27:16that you won't be returning.
27:18It's over, Gabriel.
27:20You are incapable of love.
27:22And I only wish I'd realized that sooner.
27:26It's over.
27:32You broke off your engagement.
27:34Lizzie broke off our engagement, Fred.
27:36She has changed beyond recognition
27:38from that sweet hat shop girl
27:40we fell out with.
27:42It's a tragedy, Gabriel.
27:44To see you married
27:46would be finally to see you happy.
27:48I know what it means.
27:50To have your heart ripped in two.
27:52Lizzie must have been distraught.
27:54It was hateful, Fred.
27:56It's left me unable to think of anything else.
27:58Well, if you will persist in answering
28:00to your own lust,
28:02then you will never be truly happy.
28:04So what do you suggest?
28:06Well, I'm going to the gardens.
28:10I suggest you come with me.
28:12The gardens?
28:14Yes.
28:16Well, I suppose I might just be able
28:18to block her out of my mind for a few hours.
28:30We're not here to buy them.
28:32Quite the contrary, Gabriel.
28:34We are here to persuade these young ladies
28:36to reform their lives.
28:38A leaflet dissuading ladies from debauchery?
28:40I've already lost Lizzie.
28:42Are you trying to leave me with nothing?
28:44It is necessary that good men like us
28:46intervene to show these young ladies
28:48the error of their ways.
28:50A leaflet, my dear?
28:52An excellent initiative, maniac.
28:54I only wish I'd thought of it myself.
28:56Perhaps you could give the rest to your
28:58Mr. Hunt.
29:04Mr. Hunt.
29:20A noble enterprise, sir, in all respects.
29:24I have taken it one step further.
29:28I have established a house
29:30of fallen women, sir.
29:34A house full of the most
29:36debauched and morally degraded
29:38young ladies in the whole of London
29:40where they will be educated
29:42and reformed.
29:48A house full of young fallen women.
29:50Is that Fanny over there?
29:52That's Fanny, isn't it?
29:58Yes.
30:04You would not be the first man to be mistaken
30:06in the estimation of a lady's character.
30:08I was not mistaken in my estimation
30:10of Fanny's character, my lady.
30:12Don't you see?
30:14I may be jealous, but I'm wrong to feel that.
30:16She's freer than any of us.
30:18Free from the shackles
30:20of social convention.
30:22Or enslaved by economic circumstances
30:24into performing sex with rich
30:26and dirty toffs.
30:36It was bound to happen sooner or later, maniac.
30:38Do you think she looked a little plump?
30:40No, I think she looked terrible.
30:42Really? I thought she looked as though she was thriving.
30:46Which, they say, is often a sign
30:48that someone is feeling terrible inside.
30:50The mask of the merry,
30:52I believe they call it.
30:54I have an idea
30:56that will cheer you up beyond measure, Hunt.
31:00I find myself
31:02in the company of many buyers of art these days
31:04and it occurs to me
31:06that it might perhaps be worth
31:08bypassing the Academy with your new painting.
31:10I will never paint again.
31:12I think you should show it in a gallery and convince them
31:14to let it be seen for a shilling a ticket.
31:16Dashed risky business.
31:18How many attended the Manchester exhibition?
31:20Over a million.
31:22If we can get that number to buy tickets
31:24then we can make more money than anyone previously thought possible
31:26and that's before the painting was even sold.
31:28Would you care for me to open negotiations
31:30on your behalf in return
31:32for a small percentage of the profits?
31:34You know nothing, Fred.
31:36I think I know what makes money.
31:38You know nothing of suffering
31:40and loss.
31:42In the hell I'm in, otherwise
31:44you wouldn't be prattling on about money.
31:48I'm in hell.
31:50Fred.
31:52She has put me in hell.
32:06I'm going to paint married girls
32:08for the backdrop.
32:10They're the flower of sacred love
32:12and pain
32:14and jealousy.
32:16Oh.
32:18No, you surely are not jealous.
32:20Why would I not be?
32:22You've allowed me
32:24to paint beauty and womanhood
32:26for its own sake.
32:28That makes me love you a little.
32:30And love
32:32always brings jealousy in its wake.
32:34Oh.
32:36You don't seem
32:38pleased.
32:40Hardly do I believe it.
32:46Ahem.
32:48How long
32:50have you been standing there?
32:52Oh, what is it, Fred?
32:54It is
32:56Lizzie, Gabriel.
32:58She is dying.
33:02Rossin hadn't seen her
33:04since she left you.
33:06Her family didn't know her whereabouts.
33:08Then last night she turned up,
33:10mad with laudanum and weaker than ever.
33:12I don't know how I can help.
33:14You can tell her of your undying love.
33:16If you want to save her life,
33:18that is what you must do.
33:20She's terrible weak.
33:22Terrible weak and delirious.
33:24She talked of going to Sheffield to improve her art.
33:26Sheffield?
33:28What order of derangement would send a person there?
33:30Well, she got it into her head.
33:32She could find happiness there.
33:34I had no idea it had got this bad.
33:44You came.
34:00Of course I came.
34:02She called for you, Gabriel.
34:04She loves you.
34:06And I her.
34:08Then tell her, Gabriel, for God's sake, tell her.
34:10Charlotte, please.
34:14Please.
34:24Did you bring laudanum?
34:26Sorry, Mel.
34:28Don't lie to me.
34:30Did you bring laudanum?
34:34Here.
34:40Oh, my God.
34:42Mel.
34:50You've broken my heart.
34:54I have, haven't I?
34:58You're right.
35:00Although the laudanum, too,
35:02may have contributed to your wretched state
35:04and to not eating and so forth.
35:06Dear Gabriel,
35:08still looking for excuses?
35:10I am merely pointing out
35:12that you need to take greater care of yourself.
35:16I thought I could go home
35:18without your love.
35:22But without your love,
35:24I have nothing to live for.
35:26You will never lose my love.
35:30I'm giving you the chance to be free.
35:32No.
35:34As soon as you are better, we will be married.
35:36I hardly deserve
35:38that you consent to it,
35:40but please.
35:42Please.
35:44Will you relinquish all other lovers?
35:46I swear.
35:48I swear.
35:50And as soon as you are strong enough
35:52to reach the church at the bottom of the road,
35:54then we will be married.
35:56Now, please.
35:58You need to get better.
36:06You promised to marry her.
36:08Again.
36:10And she accepted.
36:12Oh, you devil!
36:14You're doing it now!
36:16Shit!
36:18Stop, for God's sake!
36:20You are a killer!
36:22You are a fleeting death of a thousand promises!
36:24Now, let go of my hand!
36:26Are you calm now?
36:28I am calm!
36:30Are you calm now?
36:32I am calm.
36:35Fred, help me!
36:37Help me!
36:39Fred!
36:41Please, Charlotte.
36:43Music has made her choice.
36:47For better or worse,
36:49she has made her choice.
36:51For God's sake, Fred, you're not too quick off the mark, are you?
36:53Perhaps because you deserved it, Gabriel.
36:57Whether he offered to marry her
36:59out of fear for his reputation
37:01or pity for her,
37:03one thing is sure.
37:05He is not marrying her for love.
37:16Ruskin!
37:18What on earth are you doing here?
37:20It is Thursday, is it not?
37:22Yes.
37:24So today is the day we arrange for you to show me your completed mural.
37:27Shall we go in?
37:29It is not quite complete.
37:31Well, I am capable of judging a work before it's complete,
37:34and I would like some reassurance that you've made some progress.
37:37So you don't trust me, then?
37:39No, Gabriel, I do not.
37:41Shall we go in?
37:43Lizzie's been ill. We thought she would die,
37:45so I haven't been working on this as often as I should.
37:48Nonsense. She's been on the mend for days now.
37:50Shall we?
37:52Very well.
37:57Are you not accompanying me, Gabriel?
37:59I think you should see for yourself the progress I've made.
38:02Without the expectant artist on your shoulder.
38:05As you wish.
38:17Gabriel!
38:19Gabriel, come in here at once!
38:29You've made miraculous progress.
38:33Indeed I have.
38:40Indeed I have!
38:42Some of your flowers are a little imprecise,
38:45but I've known all along you are no Millie.
38:47God forbid.
38:49I think you've been altogether too modest.
38:52It certainly looks that way, doesn't it?
39:29William Morris.
39:31Nedford Jones!
39:33I thank you!
39:35From the depth of my scrotum.
39:38The sketches were there. We only really had to colour in.
39:41Yes, I mean, some of the flowers were a little rough,
39:43but we can forgive that.
39:45These are poems.
39:47I'll never be the artist you are, of course.
39:49No, Ruskin may disagree with you there.
39:51You mentioned us to Ruskin. Poems, of course.
39:53You don't think that I take the credit alone, do you?
39:55Poems!
39:57Now will you read my poems?
40:15You, my friend, are a big, hairy ball of genius.
40:19You like William's poems?
40:21How long did it take you to write these?
40:23Two, perhaps.
40:25Three.
40:2770 to 30 in a month.
40:29Days!
40:31Three days! And he'd never written poetry before?
40:33Nobody told me it would be so easy.
40:35Come and sit with the brotherhood.
40:37I think I will swoon with pride.
40:39Before you do, you can buy us all drinks.
40:41O Zana, shall I pray for thee?
40:44Her cheek is laid to thine.
40:46I'm telling you,
40:48these boys are every bit as heartfelt and genuine as we once were.
40:54What now, Reverend Fred?
40:56I thought perhaps you might at least stay sober tonight.
40:59Oh, yes.
41:01Lizzie and I are getting married tomorrow, and you and Ned are invited.
41:04To your bride? Groom? Wedding?
41:06Of course. All the brotherhood are invited.
41:09And as you and I are both members of the brotherhood...
41:15The brotherhood?
41:18Ned?
41:20Ned! Ned!
41:22Ned!
41:24What was this decided?
41:26You can't just go adding members to the brotherhood whenever you fancy, Gabriel.
41:30Well, he's gone his own way, maniac.
41:32We need fresh, new, dedicated members.
41:35Ned and Morris are more in tune to our ideals anyway.
41:38And under your spell.
41:40I'm ignoring you, Fred,
41:42until you've recovered some of your former sweetness.
41:45Shriveled and bitter doesn't suit you.
41:47And Ned...
41:49Paint, you say?
41:51You can paint,
41:53and Morris can write the most exquisite poetry.
41:56And he's a modern Christian.
42:03Seems like a good chap.
42:05What did you do that for?
42:08May I bring my sweetheart?
42:11I told you, Ned's invited.
42:13No, no, no.
42:15I have a girl so beautiful she will take your breath away.
42:18Bring her. Bring her by all means.
42:21If she's as big as him, she'll take any man's breath away.
42:28How's Fanny taken the news of your betrothal?
42:31Oh, Fanny's a free spirit.
42:33She'll take it in a stride.
42:36So you don't mind in any way?
42:39Not even a twinge of jealousy?
42:42I have no claims on you, was I?
42:44Because after all, I have no feelings.
42:47What?
42:48I cannot have no feelings because my grammar is all in the wrong.
42:52And I do not have clever words, so surely this means I have no feelings at all.
42:56I'm as thick-skinned as I am thick-headed.
42:59Fanny, please do not take on like this.
43:02Hey.
43:12I worried you, didn't I?
43:14You did indeed.
43:17I have never met a woman with whom I have such a complete understanding.
43:31All right, man.
43:33And?
43:42I'm ten to the gills right now.
43:44Ruskan paid me for the mural.
43:48Oh, where have you been all my life?
43:51Where have you been?
44:18Don't move.
44:20Don't move until I've memorised you.
44:24Oh, the way the light falls on your hair
44:28and captures the pulse on your pale neck.
44:32Tea or hot chocolate?
44:34I have a very good memory.
44:41I'm sorry.
44:42I have a very good memory.
44:47There.
44:49You're burned into my brain.
44:51I will carry you always in here.
44:53And I'll paint you for memory.
44:55That I can do.
44:57You are an artist. That explains a lot.
44:59I was merely a painter until I met you.
45:01And a poet, too.
45:05Would you consider sitting for me?
45:07Me?
45:08There are some people who don't consider modelling to be a respectable profession,
45:11but I insist it's the most noble profession there is.
45:15Apart, perhaps, from being an artist.
45:17An artist only records beauty.
45:20But a model radiates it.
45:22And truth.
45:24And a waitress takes orders from customers, not teasing.
45:27I'm not mocking you.
45:30You are a holy thing to me.
45:32A holy thing.
45:34If I were Millet, I would...
45:36Oh!
45:37I would paint you in a pure white-to-silk dress.
45:41If I were Monroe, I'd carve a lovely medallion from your profile.
45:45You're Rossetti, aren't you?
45:47Does that mean I'm famous?
45:48No. But you're Paris.
46:00I'm not getting married.
46:02You cannot do this.
46:03You simply cannot at this late hour.
46:05If I marry Lizzie, then I'm promising never to launch another stunner.
46:09And we all know there isn't ever going to be a promise I can keep.
46:12Why on earth did you ask her to marry you, then?
46:14I panicked. I thought she'd die before I got her to the altar.
46:17Gabriel, I know lust.
46:19I know what it is to spot a stunner from humble origins.
46:22But listen to me.
46:23God has rewarded me for showing restraint,
46:26for controlling my base urges.
46:28And now I have money flowing in on a regular basis.
46:31You're always selling paintings.
46:34I don't find that a very convincing argument.
46:36£5,000, just this week.
46:37What?
46:38Yeah, Fred's scheme to sell tickets for my paintings.
46:40It worked!
46:41God has rewarded us for living a good life.
46:45A good life, Gabriel.
46:46And your art will flourish.
46:48So that's the bargain we must make with God.
46:51Constancy in marriage or abstinence out of it.
46:54That is the bargain we all must make.
46:57No negotiation.
46:59This is God we're talking about, Gabriel.
47:01He doesn't negotiate.
47:03He doesn't.
47:06Well, I'm really in trouble then.
47:09In the presence of God, Father, Son and Holy Spirit,
47:14we come together to witness the marriage of Elizabeth,
47:17Helena, Siddle to Dante Gabriel Rossetti.
47:23The other way, William.
47:38And to pray for God's blessing upon you,
47:41and to pray for God's blessing upon you,
47:44and to pray for God's blessing upon you,
47:48and to pray for God's blessing upon them,
47:51to share their joy and to celebrate their love.
47:57Come.
48:12May I introduce my sweetheart, Taper?
48:15You're more beautiful than William told me.
48:17He lies. I told him I'd do it.
48:19Congratulations on your marriage, Mr Rossetti.
48:21I admire anyone that can commit to love.
48:24I admire anyone that can commit to love.
48:26I've rarely been committed to anything else, Miss Bradley.
48:30Well done.
48:38Ned.
48:39Gabriel, congratulations.
48:42Who the hell is Ruskin brought with her?
48:45Family friend, Rose Latouche.
48:48She must be 15 years old.
48:5014.
48:5114?
48:53Gabriel, what on earth gives Fred the right to bring Annie here?
48:58Gabriel?
48:59Please do not cause trouble on this our day of days, maniac.
49:05It came out very well, but only for you.
49:08Consider it a wedding present.
49:11I've been hoping for cushions.
49:24Take it you're no fan of weddings.
49:28I just saw a young lady who was once upon a time my sweetheart.
49:33Or in the arm of a man I once considered a friend.
49:38Me too.
49:40Except in my case, the sweetheart was the groom.
49:45It's a trying situation, isn't it?
49:47It is.
49:48It is.
49:49Who's the groom?
49:52It's a trying situation at the best of times.
49:55You know, just because I work with Mother Lodex doesn't mean I don't have a heart.
50:01Very eloquently put.
50:03What?
50:07I've never been called that before, that's for sure.
50:16So Gabriel tells me you're rich.
50:19That is true.
50:21You want to spend a guinea or two with me and I'll show you sins you never thought of.
50:26Just to help us over the outbreak and such like.
50:30So you would willingly subject yourself to no end of degradation.
50:35If the price was right, sir, I would.
50:38Then I take it you are a grubby, uneducated girl...
50:44...who readily feigns enjoyment of the basest of activities.
50:49Lower born than Annie Miller too, sir.
50:55Well, I think I can offer you something.
51:09I can't read.
51:10I can't read.
51:11Well, it says, The Charles Dickens Home for the Reform of Fallen Women.
51:17What's that mean?
51:19Well, it means your salvation, Fanny.
51:23It means your salvation.
51:28Ladies and gentlemen, Gabriel would like to say a few words.
51:32Thank you, John.
51:34As you all know, I'm not a man given to hasty decision making.
51:38Or any decision making comes to that.
51:41But as Maniac reminded me, the day I laid eyes on the woman I love...
51:48...my destiny was set.
51:51So I'd like to describe for you the feelings that engulfed me...
51:55Nay, overwhelmed me that day.
51:59And overwhelm me this day.
52:02Because it wasn't just her hair...
52:04Because it wasn't just her hair...
52:07...which flowed like slick waves down her back.
52:12It wasn't just the intensity in her heavy lidded eyes.
52:18It wasn't just her lips...
52:21...which seemed to form a perfect bow.
52:25Nor was it her long, stately neck and her alabaster skin.
52:32It was the fact that her humble background...
52:36Hands off me!
52:38I have your best interests at heart!
52:40Bugger off! Do gooder!
52:49Not what you think.
52:51Nothing ever is, mate.
52:53Nothing ever is.
52:55To us.
52:57To us!
53:02Congratulations!
53:05Weddings are the best occasion for swift and unlikely liaisons.
53:10I will leave with Annie and be thinking of Lizzie.
53:14Hunt won't leave with Fanny, but be thinking of Annie.
53:18Millet will leave with Effie, but be thinking of Ruskin.
53:21And Rossetti will leave with the greatest prize of all, but will still be thinking of Jane.
53:26And Fanny.
53:28And Annie.
53:31And Fanny.