Coming Through | The great love affairs & greatest scandals of the 20th century 1985
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Celebrated actor and actress Sir Kenneth Branagh (Hamlet) and Dame Helen Mirren (Prime Suspect) star in this movie by award-winning playwright Alan Plater about one of the great love affairs and greatest scandals of the twentieth century, D.H. Lawrence's passionate relationship with Frieda Weekley.
Celebrated actor and actress Sir Kenneth Branagh (Hamlet) and Dame Helen Mirren (Prime Suspect) star in this movie by award-winning playwright Alan Plater about one of the great love affairs and greatest scandals of the twentieth century, D.H. Lawrence's passionate relationship with Frieda Weekley.
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Short filmTranscript
00:00:30On the little bank, below the orchard, beyond the gay pink blossom, under the beechen hedge,
00:00:40am I forever making love to you.
00:00:44The weald, the enormous bed between the downs, grows hazy with sunshine.
00:00:51Slow cattle stir on the steep meadow nearby.
00:00:56On the little bank, our two souls glow like blossoms, a start with gladness.
00:01:11No, I am not here. I am not here.
00:01:16Life, twisting its crazed machinery, has conveyed this thing that sits and writes hither,
00:01:23has taken away to that hill in the city, something of you.
00:01:28But you and I, you and I, on the little bank where bluebells droop, sit and make love to each other.
00:01:39As you sit on the trestle, eye on the ground, the glitter of the buckle of your shoe laughs like an eye at me.
00:01:48And I, shy of your face, still bend to woo your feet, and touching your ankles, try to find you and fill my soul with you.
00:02:06I know.
00:02:07Oh yes, Freda. And so do I.
00:02:18I know.
00:02:48I know.
00:03:19Excuse me. Could you tell me where the Lawrence Collection is?
00:03:23Behind the downstairs.
00:03:24Please.
00:04:19Forgive me, madam, but we are both seeking the same wisdom.
00:04:25We get hundreds of people like you, all searching for the secret soul of D.H. Lawrence, oh, I ten a penny.
00:04:32Here, especially this year, centenary, like a swarm of locusts devouring every available fact.
00:04:39Well, you're a very fortunate woman.
00:04:40Really?
00:04:41You met me. If you buy the coffee, I'll tell you why.
00:04:46The fact is, I know all about D.H. Lawrence.
00:04:49Absolutely everything.
00:04:51You go on holiday to the South Seas, and there are these little boys who will dive to the bottom of the ocean to retrieve pennies.
00:04:57In Rome, there are bottom-pinching Italians who will show you the secrets of the Vatican.
00:05:02In Cairo, there are willing natives to sell you filthy postcards. I'm a little of each, except I live in Nottingham.
00:05:09You're a bullshit merchant.
00:05:12Also, I'm a bullshit merchant.
00:05:14So you'll dive to the bottom of the ocean to retrieve the secrets of D.H. Lawrence.
00:05:19For the price of a cup of coffee, yes.
00:05:21Unless you fancy the filthy postcards.
00:05:23Not really. I'm more for the pretty views.
00:05:27Oh, well, that's relevant. You see, a lot of people come here.
00:05:29All they know about Lawrence is that he was the guy who wrote the filthy books.
00:05:32I mean, gamekeepers and chatteliers and flowers when he wants it.
00:05:35I am a serious student, young sir. A serious, mature student.
00:05:40Mature student? It's a contradiction in terms.
00:05:43All right, if you are a serious, mature student, here's a test.
00:05:47What did Lawrence say about this place?
00:05:50He didn't write much about canteens.
00:05:53Not the canteen. The university.
00:05:57Didn't he write a poem about it?
00:06:00In Nottingham, that dismal town where I went to school and college,
00:06:03they've built a new university for a new dispensation of knowledge.
00:06:07They've built it most grand and cakily, out of the noble loots
00:06:11derived from shrewd cash chemistry by good Segesi boots.
00:06:15Boot? As in Boots the chemist?
00:06:18The same. And it ends that future Nottingham lads would be cash-chemically B.S.C.
00:06:23That Nottingham lights would rise and say,
00:06:26By boots I am M.A.
00:06:28From this I learn, though I knew it before,
00:06:30that culture has her roots in the deep dung of cash,
00:06:33and law is a last offshoot of boots.
00:06:36Law is a troublemaker. Some people haven't forgiven him yet.
00:06:52People will hate me, Jessie.
00:06:54They always hate artists and writers who tell the truth.
00:06:57You can't tell the truth without drawing blood,
00:06:59and people can't stand the sight of blood.
00:07:01Especially their own.
00:07:02Most of all that.
00:07:04I mean, look at this valley.
00:07:05See, there's a music here, and nobody dares to sing it out loud.
00:07:09Shakespeare, he heard the music. And Chaucer.
00:07:13Then it was taken away from us.
00:07:15The lords and masters built fences round it with big signs saying,
00:07:18Keep out art and literature. They aren't for the likes of you.
00:07:21Touch your forelock and move on.
00:07:23Or get yourself down the pit where you belong.
00:07:26But we know, Jessie, we know when we've been cheated.
00:07:29And even me father knows.
00:07:31I listen to him when he comes home drunk from the pub.
00:07:33Do you know what he does? He sings.
00:07:36I mean, it's ugly and dirty, his singing,
00:07:38but he's trying to make it beautiful.
00:07:40To him it is beautiful.
00:07:42He knows, same as I know. We've been betrayed.
00:07:45Well, Burt Lawrence will reclaim the English language
00:07:48from the lords and masters.
00:07:50I shall find the music of this valley.
00:07:53I shall sing it loud to the reverberant hills,
00:07:55even in dead of night.
00:07:57You wake everybody up?
00:07:59Well, that's the only decent thing to do when people are asleep.
00:08:02Wake them up.
00:08:04Wake up, you bobbies!
00:08:14So, what's your excuse, Kate?
00:08:17Excuse for what?
00:08:18For piercing the mystery of Lawrence.
00:08:21Doing an open university degree.
00:08:25Married with two kids.
00:08:27Growing up a little.
00:08:29Husband growing up a little.
00:08:32Time on my hands. Boardhouse wife.
00:08:35There's a lot of you about.
00:08:37I'm an archetype.
00:08:39They write articles about women like me and the Guardian nearly every day.
00:08:44So, what's your excuse?
00:08:46Oh, I don't write articles on the Guardian.
00:08:49Your excuse for chasing Lawrence.
00:08:52Unemployed graduate.
00:08:54It's a moonlighting, working behind a bar,
00:08:57plus acting as a tourist guide.
00:08:59But the cover story is I'm doing an MA.
00:09:02That's what you tell the DHSS if they ask you questions.
00:09:06Here we are.
00:09:08Eastwood.
00:09:09Jerusalem, Jerusalem.
00:09:15The birthplace.
00:09:17Plus the chance of a cheap laugh.
00:09:20Bert would have been on the mining side.
00:09:22Bert?
00:09:23Stop calling Bert.
00:09:2911th of September, 1885.
00:09:32Happy anniversary.
00:09:34It's a museum now.
00:09:40Of course, Bert isn't actually buried here.
00:09:43He's in New Mexico, isn't he?
00:09:45Yeah, that's a great story. He was originally buried in France.
00:09:48Then, five years later, Frieda decides she wants him in New Mexico.
00:09:51So she sends Angelo, the new husband, to Europe,
00:09:53saying, bring Lawrence back.
00:09:55Angelo has to organise for Lawrence to be dug up, cremated,
00:09:58forms to fill in, export licences, God knows what.
00:10:01He does it, goes back across the Atlantic, clutching the urn,
00:10:04eventually gets back to New Mexico.
00:10:06Frieda meets him on the station, hugs, kisses, great excitement.
00:10:10They piss off home and leave the ashes in the urn on the station platform.
00:10:14Not forever.
00:10:15Oh, no, they went back later.
00:10:17I suppose they found him in lost property, I don't know.
00:10:19It's funny how cemeteries make you giggle, isn't it?
00:10:29Mr and Mrs Lawrence?
00:10:33Arthur and Lydia?
00:10:37You're right.
00:10:40What?
00:10:42What's wrong?
00:10:43He haunts this place.
00:10:45Oh, it's all in the mind.
00:10:47Well, where else can it be?
00:10:54He's here.
00:11:17He's here.
00:11:19MUSIC PLAYS
00:11:42Softly, in the dusk, a woman is singing to me,
00:11:47taking me back down the vista of years
00:11:50till I see a child sitting under the piano
00:11:53in the boom of the tingling strings
00:11:56and pressing the small, poised feet of a mother
00:12:00who smiles as she sings.
00:12:05Hey, come and sing. Come on.
00:12:09MUSIC CONTINUES
00:12:17Home with every pleasure
00:12:21Home with every blessing crowned
00:12:26In spite of myself, the insidious mastery of song betrays me back
00:12:31till the heart of me weeps to belong
00:12:34to the old Sunday evenings at home with winter outside
00:12:39and hymns in the cosy parlour, the tinkling piano our guide.
00:12:44So now it is vain for the singer to burst into clamour
00:12:48with the great black piano appassionato.
00:12:55The glamour of childish days is upon me.
00:13:00My manhood is cast down in the flood of remembrance.
00:13:05I weep like a child for the past.
00:13:09Quit, my weary muse, your labours.
00:13:14Quit your books and learning.
00:13:19Unless you're that bloody row, Lydia.
00:13:21Children should have music.
00:13:23Music?
00:13:25I don't pay no bills, nor fill no bellies.
00:13:29But, Dad, I've heard the singing when they come home late.
00:13:32Aye, and we'll hear thee singing all if they don't button their lip.
00:13:36Don't you dare hit the child.
00:13:40I shall hit whoever I like.
00:13:44You'd be better employed washing yourself.
00:13:47Splash some cold water on yourself and sober up a bit.
00:13:50I shall wash meself when it suits me and not before.
00:13:56It's my muckle.
00:13:58It's me getting mucky feeds and clothes a lot of the time.
00:14:02I'm only a dirty collie and I know that.
00:14:05But you try eating that stuff.
00:14:13You're an animal.
00:14:15We're all of us bloody animals, Lydia.
00:14:19It's just that some of us are big enough to own up.
00:14:23It's better than pretending to be a bloody lady.
00:14:28It's better than pretending to be a bloody lady.
00:14:33There'll never be a bloody lady married to me.
00:14:40Now, I'll get washed.
00:14:52Shall I help this?
00:14:54Stop saying thee and that.
00:14:57Don't listen to your father.
00:15:02Listen to me.
00:15:05But I thought thee and thou in the Bible.
00:15:09It's all about words, Jessie.
00:15:11It's just finding the words to keep the demon happy.
00:15:13Well, there are thousands of words in English language.
00:15:15Yeah, well, that's why it's a difficult language. See, there are too many words.
00:15:18I mean, supposing you want to say no.
00:15:20I mean, my father knows a hundred ways of saying no and he's forgotten whatever education he ever had.
00:15:24He knows 28 ways of saying no just using the back of his hand, no talking at all.
00:15:29What about your mother?
00:15:30Well, she can say no a hundred different ways just by looking at you.
00:15:33Mind you, all women are like that.
00:15:36All women?
00:15:37Yes, Jessie, all women.
00:15:43And that's where Jessie lived.
00:15:45Jessie, who was Miriam in Sons and Lovers.
00:15:48I've read the book.
00:15:51It's deserted.
00:15:53Oh, aye. The farm belongs to the Lord of the Manor.
00:15:56Lawrence wrote things that made the Lord of the Manor angry.
00:15:59That is the Lord of the Manor's revenge.
00:16:03Look.
00:16:20He's like you.
00:16:22Don't be silly. I can't fly.
00:16:24Offering, looking for the right word.
00:16:28Or the right woman.
00:16:36Just imagine, another year and I shall be a fully certified schoolteacher.
00:16:41Certified?
00:16:43I always find the right word.
00:17:20Right.
00:17:34Right. Tempest.
00:17:36Act one, scene two. Miranda Prospero.
00:17:45If by my art, my dearest father,
00:17:49I put the wild waters in this rock,
00:17:53alight them,
00:17:54When will the bell ring and end this weariness?
00:18:01How long have they tugged the leash
00:18:04and strained apart my pack of unruly hounds?
00:18:09I cannot start them again on a quarry of knowledge they hate to hunt.
00:18:14I can haul them and urge them no more.
00:18:17Right. Get off.
00:18:20That's enough.
00:18:22A brave vessel.
00:18:24No more can I endure to bear the brunt of the books that lie out on the desks.
00:18:29A full threescore of several insults of blotted pages
00:18:33and scrawl of slovenly work that they have offered me.
00:18:38Right.
00:18:41I am sick and tired more than any thrall upon the woodstacks working weirdly.
00:18:48And shall I take the last dear fuel and heap it on my soul
00:18:53till I rouse my will like a fire to consume their dross of indifference
00:18:58and burn the scrawl of their insults in punishment?
00:19:02I will not.
00:19:05I will not waste myself to embers for them.
00:19:09Not all for them shall the fires of my life be hot.
00:19:13For myself a heap of ashes of weirdness
00:19:16till sleep shall have raked the embers clear.
00:19:19I will keep some of my strength for myself.
00:19:23For if I should sell it all for them, I should hate them.
00:19:28I will sit and wait for the bell.
00:19:39Are you trying to drop us a gentle hint that you're not happy teaching?
00:19:43I love teaching. Schools and classrooms is what I hate.
00:19:47And inspectors and other teachers.
00:19:49Yeah, I hate most of them, too.
00:19:51But you mustn't give up teaching, Bert.
00:19:53I thought you believed in free will and independence of thought,
00:19:57and Comrade Hopkin, from each according to his capabilities.
00:20:01Every child goes to school now,
00:20:03but we must have working-class lads to teach them.
00:20:06Otherwise we'll just perpetuate the values of the bourgeoisie.
00:20:09Wrong, Mr Hopkin.
00:20:11Me? Wrong? I'm never wrong.
00:20:13I'm like Bert here. He's never wrong.
00:20:15Correct. I mean, even when we disagree, we're never wrong.
00:20:18You're wrong about the kind of teachers we need in our schools,
00:20:21not working-class lads.
00:20:23Working-class lads and lassies.
00:20:25You'll be wanting the vote next.
00:20:27As long as you like the poem.
00:20:29He said you didn't care.
00:20:31He said you didn't want us to be critics.
00:20:33But he wants to be loved, like all of us.
00:20:36Yeah. Yeah, well, he'll enjoy that.
00:20:38Why don't you have a vote on it?
00:20:40Fine, let's have a vote on it.
00:20:42He loves having votes.
00:20:44Does the meeting like Bert's poem, Show of Hands?
00:20:51Unanimously.
00:20:55And we all love you.
00:20:58Well, I'd rather you didn't have a vote on that.
00:21:01And we all think that you should write some more poems.
00:21:04And stories. And novels.
00:21:06And operas.
00:21:08Why not? We'll all help.
00:21:11Whatever the demon desires.
00:21:15From the chair, it seems to me
00:21:17that all of Eastwood's radical freethinkers
00:21:19are ready and willing to help you in your literary career, Bert.
00:21:22In which case, I should like to move our meeting on to the next business.
00:21:26The imminent overthrow of capitalism.
00:21:53Bert.
00:21:55Will you be able to finish your poem now?
00:22:00Yes.
00:22:02Shouldn't you say thank you?
00:22:06When I finish the poem?
00:22:23Thank you, Alice.
00:22:27Good.
00:22:29Now you can pour the tea.
00:22:31But I...
00:22:33If you say that you're the woman, I shall pour the tea over your head.
00:22:36I shall pour the tea.
00:22:42Votes for women. Tea pouring for men.
00:22:45Tea pouring. Hand pushing. Step scrubbing.
00:22:48Tea pouring. Hand pushing. Step scrubbing. Potato peeling.
00:22:53Who digs the coal?
00:22:55I can't plan the entire 20th century.
00:22:57But at least I'm not living in the 19th.
00:23:02There. Thank you.
00:23:06Which century's your husband in?
00:23:09I'm hoping he'll move out of the Middle Ages in the next few months.
00:23:13Is it just him you hate?
00:23:16Or do you hate all men?
00:23:18I hated my father from birth.
00:23:21No, I hated him before I was born.
00:23:24We could all be excused parents. Life'd be a great deal easier.
00:23:29Since before you were born?
00:23:31That's extremely sensitive of you.
00:23:33By the time I was conceived,
00:23:35my mother was no longer in a fit state to have children.
00:23:40By the same token, she was not in a fit state
00:23:43to resist my father's sexual advances.
00:23:47I'm the product of drink, rape, lust, what you will.
00:23:52But not love.
00:23:57If you hate your father,
00:24:01it is difficult to love any other man.
00:24:05But I do love you.
00:24:08Truly.
00:24:11You must be used to declarations of love by now.
00:24:15Jessie loves you, doesn't she?
00:24:17Why, she says so.
00:24:19And your teacher friend in Croydon.
00:24:21What, Helen or Agnes?
00:24:23There were two.
00:24:25We could form a society.
00:24:27Ask Willie Hopkins to draw up a constitution.
00:24:33I saw Sarah Bernhardt once at the Theatre Royal.
00:24:37In La Damo Camelia.
00:24:39She was terrifying.
00:24:41All her demons pouring out for everyone to see.
00:24:44Primeval.
00:24:46Magnificent.
00:24:48She was like a wild animal.
00:24:51If I could marry a woman like that,
00:24:54I'm sure she'd drive me mad.
00:24:59Am I not primeval and magnificent?
00:25:02Yes, you are strong.
00:25:04And magnificent, yes, in your own way.
00:25:08And unchangeable.
00:25:10You go on your own chosen path at all times.
00:25:14There's no other path.
00:25:16There's my path.
00:25:22I have no intention of changing.
00:25:25Not even for you, Bert.
00:25:29I won't be swallowed whole by anyone.
00:25:32I won't be swallowed whole by any man.
00:25:36I know what'll happen to you, Alice.
00:25:39You'll perform great service for the community.
00:25:43You'll give shelter to the sick and needy.
00:25:46You'll build schools and hospitals.
00:25:49Perhaps you'll build a new society,
00:25:52based on love.
00:25:56And may God have mercy on your husband.
00:26:03BIRDS CHIRP
00:26:21MUSIC PLAYS
00:26:32HORN HONKS
00:26:40Thank you for the conducted tour.
00:26:42It's a comprehensive service.
00:26:44Does it include taking me back to my hotel?
00:26:47Not only that, it includes an invitation back to my place.
00:26:50Oh, hum!
00:26:51For a cup of tea and some in-depth conversation
00:26:54about the many things we have seen.
00:26:56As long as it's understood, I don't want to see your etchings.
00:27:00That reminds me.
00:27:01I don't do etchings, but I have been trying to finish this poem.
00:27:07Tea!
00:27:09Tea.
00:27:13I can't stand Willie Wetlake.
00:27:15Can't stand him at any price.
00:27:17He's resigned.
00:27:19And when you hit him, he lets you hit him twice.
00:27:31MUSIC PLAYS
00:27:45I cannot tell a lie.
00:27:47The etchings are very good.
00:27:49Oh, thank you. I didn't make them.
00:27:51But I bought most of them.
00:27:53Apart from the ones I stole.
00:27:55Do you have many visitors to see them?
00:27:58Hmm. Oh, no.
00:28:00Maybe two or three in an average night.
00:28:06You must admit I make really awful tea.
00:28:08That's true. Very nasty.
00:28:10It's amazingly cheap.
00:28:12I bet.
00:28:13One of my many admirers left these on a previous visit.
00:28:16Do you smoke?
00:28:19Sorrow.
00:28:22No, I said, do you smoke?
00:28:24Sorrow!
00:28:25That doesn't actually make sense.
00:28:27It's a poem.
00:28:29About smoking?
00:28:31Our man wrote about everything.
00:28:46Here we are.
00:28:50Why does the thin grey strand
00:28:52floating up from the forgotten cigarette between my fingers
00:28:55Why does it trouble me?
00:28:57Why did it trouble him?
00:29:25Ah, you will understand.
00:29:44When I carried my mother downstairs
00:29:46a few times only at the beginning of her soft foot malady
00:29:50I should find for a reprimand to my gaiety
00:29:55A few long grey hairs on the breast of my coat
00:29:59and one by one
00:30:01I watched them float up the dark chimney
00:30:25If I come in home or what?
00:30:40So be sent.
00:30:44I can stay here all night if it takes the fancy.
00:30:48Not me.
00:30:52So bloody cold.
00:30:55I loved her.
00:31:00Ah, well.
00:31:02Sons are supposed to love their mothers.
00:31:05That's how it operates.
00:31:09Husbands is different.
00:31:21I love you.
00:31:52Ah, well.
00:32:16He must've loved her once.
00:32:21Well, they're saying, once upon a time.
00:32:28As they say in stories, once upon a time.
00:32:39That doesn't mean they'll lose their believer after.
00:32:44Maybe it's different in the stories they write.
00:32:47No.
00:32:50It isn't different in the stories I write.
00:32:53Well, then, I must have been taking note.
00:33:20This then?
00:33:22My first novel.
00:33:28Did she read it before she passed on?
00:33:32It was too ill.
00:33:36What did they pay you for making this?
00:33:4050 guineas.
00:33:4350 guineas.
00:33:46And they'd never done a proper day's work in their life.
00:33:54Adam should have liked it.
00:33:56She's dead.
00:34:00I'll not allow him, may we talk, a death.
00:34:03I'll live with it day by day in the pit.
00:34:08Death.
00:34:14I spit on it.
00:34:17I spit on it.
00:34:26And now, I'm off to the pub.
00:34:30You can't.
00:34:32I do as I please.
00:34:34That's the same.
00:34:36I'm off to the pub.
00:34:45Unanimous vote of the Eastwood Soviet.
00:34:48The White Peacock is the greatest novel written
00:34:50in the history of the English language.
00:34:52No, it isn't.
00:34:53We know it isn't.
00:34:54But we want to encourage you.
00:34:56You must write another one.
00:34:58And soon.
00:34:59I'm writing it all the time.
00:35:01Shed some blood.
00:35:02I've been feeling.
00:35:04You shouldn't preach at people.
00:35:06It upsets them.
00:35:08Do people get upset when you preach at them?
00:35:10Of course they do.
00:35:12They revile me and persecute me and throw all manner of old
00:35:17fruit and vegetables against me.
00:35:19Falsely.
00:35:20Some of them are very good shots.
00:35:24I think you're right, Comrade Hopkin.
00:35:26I know.
00:35:27I'm always right.
00:35:29Well, that's what I am.
00:35:32And seeing a multitude, he went up into a mountain.
00:35:35We lack a multitude, Bert.
00:35:37Well, pretend you're a multitude.
00:35:39Delighted.
00:35:41Ye have heard that it hath been said, blessed are the meek,
00:35:44for they shall inherit the earth.
00:35:45But I say unto you, we are living in the land of the meek.
00:35:48And the meek are buried deep in the bowels of the earth,
00:35:51digging the coal and feeding the worms.
00:35:53Amen.
00:35:55My mother, which art in heaven, is buried beneath the earth.
00:35:59My father, which art in hell, is buried beneath the earth.
00:36:03Verily they have inherited the earth.
00:36:13Come on, Bert.
00:36:15Here you are, lad.
00:36:16Come on, Bert.
00:36:18Here you are, lad.
00:36:24It's hard work, being a priest.
00:36:43Bert.
00:36:46Bert.
00:36:57How are you?
00:36:59Well, considering I nearly died of pneumonia,
00:37:02I'm very well, considering.
00:37:04Good.
00:37:06No flowers, no grapes, no chocolates.
00:37:10I brought you flowers last time, and you said I'm not dying.
00:37:13Who said that?
00:37:14You did.
00:37:15My grandma's been dying at the time.
00:37:18Are you really better?
00:37:20Improving, yeah.
00:37:22The bronchi will still scratch a bit.
00:37:25But, yes, I shall soon be better.
00:37:28It's all education's fault.
00:37:30Oh, you blame everything on education.
00:37:33No, I don't.
00:37:34Sometimes I blame my parents.
00:37:36Sometimes I blame God.
00:37:38Sometimes I blame women.
00:37:40It's women, mostly.
00:37:41That's your fault.
00:37:43How many engaged at the moment?
00:37:45Including you.
00:37:47Are we engaged?
00:37:49Not really.
00:37:51But you are my best friend.
00:37:53Best woman friend.
00:37:58Is that the manuscript?
00:38:00Yes.
00:38:02Are you read it?
00:38:03Yes.
00:38:09All these words.
00:38:13No man can teach you all day and make words all night.
00:38:16I need a private income or a soft job at a university.
00:38:22Do you like it?
00:38:24Not entirely.
00:38:26I've written it three times.
00:38:28Because I love you, I have to tell you the truth.
00:38:31You love me, but you don't love him.
00:38:33They're all the same person.
00:38:34No!
00:38:36The words are drawn from a deep well,
00:38:39full of blood.
00:38:41From the heart.
00:38:42No, not from her heart.
00:38:44Lower down than that.
00:38:47That frightens you, doesn't it?
00:38:49There are things about you that frighten me, yes.
00:38:53Love can't exist with fear.
00:38:57You have to move through it.
00:39:00The fear and the pain.
00:39:03Before you can find love.
00:39:08And I'll take you up to that task, Jessie.
00:39:13Right.
00:39:16Tell me what's wrong with the book.
00:39:18We'll start at page one.
00:39:30Page one.
00:39:42Page one.
00:39:59You know, my dear, I know that music has a chance to soothe the savage breast,
00:40:04but do you have to soothe all day and all night?
00:40:10Yes.
00:40:13Yes.
00:40:25There's something I have to tell you.
00:40:29It...
00:40:31will wait...
00:40:33until...
00:40:37the end.
00:40:43So, what is your important news?
00:40:45We shall have a visitor for lunch on Sunday.
00:40:48A boring professor.
00:40:50One of my ex-students.
00:40:52Ah, a boring graduate.
00:40:55Undergraduate?
00:40:56He's a writer.
00:40:57Some sort of young genius.
00:41:00Oh, my God.
00:41:01An intellectual. For this, did I run away from Vienna?
00:41:08Come on, my troops.
00:41:10Into battle now.
00:41:12Left, right, left, right, left, right.
00:41:15Elsa, more smart.
00:41:17Very good.
00:41:22And about turn.
00:41:27Barbara.
00:41:42Barbara.
00:42:07Hmm.
00:42:09So, the doctors have advised against a return to teaching.
00:42:14Yes, the chalk dust makes me cough,
00:42:17and I think it corrodes my soul, but that's not a medical opinion.
00:42:22So, what are you in mind?
00:42:24Some university teaching?
00:42:26Yes, a German university, just as a lecturer.
00:42:29I wouldn't expect to be a fully certified academic immediately.
00:42:34So, how are your languages these days?
00:42:36I could live in Germany or France for that matter and not go hungry.
00:42:39Do not go to France, go to Germany.
00:42:54So, are you going to teach English in Germany?
00:42:57Yes.
00:42:59And how is your English?
00:43:02This young gentleman speaks at least two forms of English.
00:43:06Really?
00:43:08Head speech and heart speech.
00:43:10You must explain.
00:43:12Well, I can speak like this,
00:43:14indistinguishable from a lower middle-class school teacher
00:43:17with chalk dust on the brain, the way my mother taught me, that's head speech.
00:43:21Or I can talk the way my father talks, like a collier, heart speech,
00:43:25quarried from the Nottingham Earth.
00:43:27I would like to hear this heart speech.
00:43:29Recite one of your dilated poems.
00:43:32Isn't that a breach of good manners,
00:43:34to recite poetry when you've been invited to Sunday lunch?
00:43:37No, we are asking you to recite.
00:43:40Well, you might find it boring.
00:43:42English Sundays are boring anyway.
00:43:44So, nothing is lost.
00:43:47So be it, if I can remember it.
00:43:50It's called Violets.
00:43:53Violets?
00:43:56The flower.
00:43:57Yes, my dear.
00:43:59I know about English flowers.
00:44:05Violets.
00:44:09Sister,
00:44:10there knows while we was on the planks aside of the grave,
00:44:14while the coffin were lying yet on the yellow clay
00:44:17and the white flowers top of it tried to keep off in a bit of the wet,
00:44:21and pass and make in haste,
00:44:23and all the black woodland close together because of the rain,
00:44:27did happen to notice a bit of a lass,
00:44:29away back by Edston,
00:44:31sobbing and sobbing again.
00:44:34How should I be looking round?
00:44:37And me stood on the plank beside the open ground
00:44:39where our Ted would soon be sank.
00:44:41Yeah, and him, that young snap-sudden out of all his wickedness,
00:44:44among pals worse than any name as you could call.
00:44:47Well, let me that.
00:44:49There's some of the baddies we like better than all your good,
00:44:51and he was one, and cos I liked him best,
00:44:53yeah, better than thee,
00:44:55I can abide to think where he is gone.
00:44:58I know that I liked him better than me.
00:45:01But let me tell thee about this lass.
00:45:04When you had gone,
00:45:06I stopped behind on Paddy the Dripping Wet,
00:45:09and watched what her had on.
00:45:11You should have seen her sliver up when we'd gone.
00:45:14You should have seen her kneel down
00:45:16and look in at the sloppy wet grave,
00:45:19and her little neck shone that white,
00:45:22and her shook that much.
00:45:24I'd like to begin scraping me sin as well.
00:45:27Her undid her black jacket at the bottom
00:45:30and took from out of it over a double handful of violets,
00:45:34all in a pack,
00:45:36raveled blue and white, warm,
00:45:39for a bit of the smell came wefting to me.
00:45:42Her put her face right into them
00:45:45and scraped it out again.
00:45:49Then after a while they'd dropped her down that place,
00:45:53and I'd come away
00:45:55because of the teeming rain.
00:46:03Back to the endant.
00:46:08You have some fascinating words in the poem, Lawrence.
00:46:12Um...
00:46:14Scrating.
00:46:15Scrating.
00:46:17Um, weeping, crying, presumably.
00:46:20Sobbing from the soles of your feet.
00:46:24And raveled?
00:46:26Violets all in a pack, raveled blue and white.
00:46:30You know Shakespeare used raveled.
00:46:33Sleep that knits up the raveled sleeve of care, Macbeth.
00:46:37I probably stole it from Shakespeare without realising,
00:46:40but all writers are thieves, I'm sure you know that.
00:46:43Did you understand any of those strange words, Mrs Wheatley?
00:46:47No, I understood none of the words.
00:46:50But I understood all of the poem.
00:46:55Come on, come on, push, push.
00:46:57Two little girls in blue, lad.
00:47:01Come on, two little girls in blue.
00:47:04They were sisters, we were brothers
00:47:08and learned to love as two.
00:47:11Whoo!
00:47:33Thank you, Mrs Wheatley.
00:47:35Frida.
00:47:42I'm sorry, forgive me.
00:47:45It isn't the smoke, it's everything makes me cough.
00:47:48Fresh air, gardens, Sundays.
00:47:53Ernest prefers me not to smoke in the house.
00:47:56Usually I ignore him, but sometimes I make a constructive gesture
00:48:00by coming into the garden to smoke when the weather is fine,
00:48:04which is almost never.
00:48:06Your children are beautiful.
00:48:09All children are beautiful, but especially mine, yes, I agree with you.
00:48:13And the garden.
00:48:16English gardens, they are fine to smoke a cigarette in,
00:48:19but they are designed to keep out intruders.
00:48:22Fences and hedges and walls.
00:48:24An Englishman's castle.
00:48:26I do not like English homes, their gardens or their castles.
00:48:31But I very much liked your poem.
00:48:35Did you really understand it?
00:48:37Oh, yes, of course.
00:48:39It was about pain and about flowers.
00:48:42The smell of violence and the smell of death.
00:48:45Yes?
00:48:47Yes.
00:48:52Ernest understands all of that.
00:48:56Ernest understands all of the words, but...
00:48:59But you don't love him.
00:49:02Is that a proper thing for an English gentleman
00:49:05to say to his hostess after Sunday lunch?
00:49:08I'm not an English gentleman, Mrs Wheatley. I'm a Collier's son.
00:49:12Your blood doesn't quicken when he walks into the room.
00:49:16Is there any chance of persuading my children
00:49:19to make a little less noise, my dear?
00:49:22Right, I am trying to work.
00:49:28Ah!
00:49:30There we are.
00:49:32The start of the greatest love story ever told.
00:49:35Lawrence and Frida.
00:49:37They're right up there with Romeo and Juliet.
00:49:39Dido and Anais.
00:49:41Daphne and Chloe.
00:49:43Robin Hood and Maid Marian.
00:49:45David and Goliath.
00:49:47Oh, they don't make them like that any more.
00:49:51Dear God, it's at the time.
00:49:54Can I have in for a taxi?
00:49:56I have a feeling it's one of those hotels
00:49:58where they lock the door at 10.30.
00:50:00I'll give you a lift.
00:50:02Are you sure?
00:50:04I am your officially appointed guide and comforter.
00:50:07Guide, yes.
00:50:09Comforting, I'll see to myself.
00:50:12HE GASPS
00:50:15I'll see to myself.
00:50:19I'll get your coat.
00:50:32May I ask you a personal question?
00:50:35As long as I have the choice about answering.
00:50:38The question is, do you really love your husband?
00:50:42Does your blood quicken when he walks into the room?
00:50:46The answer to both those questions is yes.
00:50:49Well, it was worth a try, wasn't it?
00:50:52No, it was not.
00:50:54Honestly, he has been known to work in my favour.
00:50:58Has that happened before?
00:51:00No.
00:51:02Pity.
00:51:04Come on, I'll run you home.
00:51:17DOOR SLAMS
00:51:25I'll write to some people in Germany.
00:51:28You shall have the very best references.
00:51:30We must look after your health.
00:51:33And your talent.
00:51:35I'm grateful for your kindness, Professor Wheatley.
00:51:38Good.
00:51:40HE CLEARS THROAT
00:51:42Well, my wife will see you out. Good night, Lawrence.
00:51:45Good night.
00:52:00Good night, then, Lawrence.
00:52:02Good night.
00:52:04May I visit you again?
00:52:07I hope that you will.
00:52:09I'll...write to you, if I may.
00:52:13Please.
00:52:17My husband is going away for a few days to collect some more words.
00:52:24I see.
00:52:28So write to me, Lawrence.
00:52:36DOOR SLAMS
00:52:44The dawn was apple green.
00:52:47The sky was green wine held up in the sun.
00:52:51The moon was a golden petal between.
00:52:54She opened her eyes and green they shone.
00:52:58Clear like flowers undone for the first time.
00:53:02Now for the first time seen.
00:53:14MUSIC FADES
00:53:27BELL TOLLS
00:53:44Don't hit me.
00:53:48I never hit people in libraries.
00:53:51I thought you might be here. I just came to say sorry.
00:53:55Very well. Say it.
00:53:57Sorry.
00:53:59OK.
00:54:00Which proves it can't be true love,
00:54:02because true love means never having to say you're sorry.
00:54:05Shut up!
00:54:09What happens now?
00:54:11I get on with my life, you get on with yours.
00:54:14But you're going away? Yes, this afternoon.
00:54:17It's rotten.
00:54:19Look, I'm only a part-time student, remember?
00:54:22Husband and two children to support.
00:54:25Look, my train leaves at three o'clock.
00:54:27I've got a lot of work to do. Please go away.
00:54:32I'll take you out to lunch and run you to the station after.
00:54:39One o'clock, here.
00:54:41OK.
00:54:57MUSIC PLAYS
00:55:09It's OK.
00:55:21Thank you for your letter.
00:55:23You asked me to write to you, so I did.
00:55:25Oh, yes. Very much so.
00:55:30I quote...
00:55:32You are the most wonderful woman in all England.
00:55:35I thought you'd like that.
00:55:37Do you write like that to all the women in your life?
00:55:40No, only you. Only when I know it to be true.
00:55:42I'm noted for my honesty and perception.
00:55:44Ask your husband. He thinks I'm a young genius.
00:55:47And what do you think?
00:55:49I think I'm a good writer.
00:55:51If I live long enough, I might turn into a very good one.
00:55:54It's hard work. You need time to practise.
00:55:57I've never known a real, live aristocrat before.
00:56:00Oh, the aristocracy is overrated.
00:56:03Well, not by me.
00:56:05Do you know what the comedian said at the music hall in Nottingham?
00:56:08No, you tell me.
00:56:10He said, a rich man's exactly the same as a poor man,
00:56:13except he's got a lot of money.
00:56:15Have you got a lot of money, Mrs Wheatley?
00:56:18Oh, you want to know everything.
00:56:20Of course, you're the most wonderful woman in the world,
00:56:22therefore I need to know everything about you.
00:56:24What it's like to be a German aristocrat,
00:56:26what it's like to be married to Professor Wheatley,
00:56:28what it's like to have three children,
00:56:30what it's like to be a very unhappy woman.
00:56:35So that you can write about it?
00:56:38Well, I write about everything that happens to me.
00:56:41What else can I do with it?
00:56:45Lawrence...
00:56:46No, no, no, children, please.
00:56:50What do you want, children?
00:56:52Go on, you ask.
00:56:56You ask them, Bobby.
00:56:58We want to know if Uncle Bert's coming out to play.
00:57:01Uncle Bert?
00:57:03When we were playing on the swings, Barbara asked me who I was
00:57:06and I told her I was Uncle Bert.
00:57:10Is he coming?
00:57:12I'm sorry, my darlings.
00:57:14Mr Lawrence is very busy. We have things to discuss.
00:57:17We're very busy planning the picnic.
00:57:19Picnic? Picnic?
00:57:22Picnic?
00:57:23If you'll all be very good and leave us in peace,
00:57:25we will organise a grand picnic for...
00:57:29um... some time this week.
00:57:32Yes, yes, some time this week.
00:57:34For some time this week.
00:57:36So, off you go.
00:57:41I didn't know that I wanted a picnic.
00:57:43But you do, don't you?
00:57:45Oh, yes, very much.
00:57:47But only if you're very good.
00:57:49And what do I have to do to be very good?
00:57:52Tell me about being an aristocrat.
00:57:54I mean, just imagine if my mother knew I was friends with an aristocrat.
00:57:57Go on, tell me.
00:57:58Very well.
00:58:00Very well.
00:58:02I was born Emma Maria Freda Johanna von Richthofen.
00:58:06Wonderful! How old are you?
00:58:0833.
00:58:09I'm 26, but that won't come between us.
00:58:14Lawrence, you are a strange bird.
00:58:18Tell me about being married and unhappy.
00:58:20Well, I'm not unhappy.
00:58:22I don't believe that.
00:58:25No, not unhappy.
00:58:27It just seems that I've been asleep.
00:58:32Well, I shall wake you up, Mrs. Weakley.
00:58:38With a kiss?
00:58:40Only if you're very good.
00:58:44Oh, you'll find that I am not a very good woman.
00:58:49I will find that...
00:58:52We will find...
00:58:56everything.
00:59:22Could I only take your hand
00:59:25As you did when I took your name
00:59:29For it's only a beautiful picture
00:59:33In a beautiful golden frame
00:59:40You have a fine voice.
00:59:42Oh, yes, Mrs. Weakley.
00:59:44People travel miles to avoid hearing me.
00:59:52Oh, thank you, darling.
00:59:54Did you remember to bring the newspaper?
00:59:56Of course. I always obey orders without question.
00:59:59I don't believe that.
01:00:00Just as long as you remember the newspaper.
01:00:02So, do you like to read the Times on a picnic?
01:00:04Never! I destroy it.
01:00:11I'm sorry.
01:00:12I'm sorry.
01:00:13I'm sorry.
01:00:14I'm sorry.
01:00:15I'm sorry.
01:00:16I'm sorry.
01:00:17I'm sorry.
01:00:18I'm sorry.
01:00:19I'm sorry.
01:00:22That's how we make a perfect connection.
01:00:24I've had this in my hat, yes?
01:00:49Good.
01:00:50It's ready for launching.
01:00:51Barbara!
01:00:55Ooh.
01:00:56It's all right.
01:01:00Set.
01:01:01All right.
01:01:02Bring on the champagne.
01:01:03What shall we call it, Barbara?
01:01:06Daddy.
01:01:11As you wish.
01:01:13As you wish.
01:01:20Ta-da!
01:01:29Whoa, whoa, whoa, whoa, whoa!
01:01:31Yay!
01:01:32Yay!
01:01:42It was when I saw you making the boats with the children
01:01:49and playing in the stream that I realized.
01:01:57What did you realize?
01:02:02That I love you.
01:02:05I know.
01:02:10Prove it, Vreda.
01:02:13How?
01:02:15Make us a cup of tea.
01:02:20Personal question, Kate.
01:02:23Last time you did that, I ended up thumping you.
01:02:26An innocent personal question.
01:02:28Ask it, and I'll tell you whether it's innocent.
01:02:32Was there a moment when you saw your husband doing something?
01:02:38Like sailing paper boats, and you knew you loved him?
01:02:42Yes, that's innocent.
01:02:44And dangerous.
01:02:48No, I don't think so.
01:02:50I watched him playing cricket once and kept applauding the wrong man.
01:02:54Well, they all dress in white, and I should wear glasses, really.
01:02:58There are things he does which are endearing,
01:03:01like spending hours arranging his hair to hide the ball patch.
01:03:05When everyone can still see the ball patch.
01:03:07Vanity of vanities.
01:03:09You haven't really answered the question.
01:03:12There isn't an answer.
01:03:14He's never been much for sailing paper boats.
01:03:18I think we ought to go.
01:03:28Lawrence, would you like to stay with me tonight?
01:03:32Here?
01:03:34Yes.
01:03:36I would like that very much.
01:03:38Good.
01:03:40But I won't.
01:03:42Why not?
01:03:44Because I know the difference between appetite and desire.
01:03:47I'm not a man.
01:03:49I'm not a man.
01:03:51I'm not a man.
01:03:53I'm not a man.
01:03:55I'm a man.
01:03:58I'm a man of appetite and desire.
01:04:00You must explain.
01:04:02It's the difference between wanting to go to bed with a woman
01:04:05and wanting to spend the rest of your life with her.
01:04:08You mean you want to spend the rest of your life with me?
01:04:11You say you love me.
01:04:13I say you're the most wonderful woman in the world.
01:04:16It's obvious.
01:04:18Well, it's obvious that we have to go to bed together.
01:04:20No.
01:04:22You're a Puritan.
01:04:24Is there something wrong with that?
01:04:26Bloomsbury on the Danube?
01:04:28In Vienna, we believe that sexual oppression causes great unhappiness.
01:04:32I agree.
01:04:34The great thinkers of Vienna and Eastwood are in total accord on the subject.
01:04:36You'll find them behind all the hedges.
01:04:38So, we must go to bed together.
01:04:40Have you said that before?
01:04:42To other men?
01:04:44I have had other lovers, yes.
01:04:48But you don't solve unhappiness with sex.
01:04:50It's no better than getting drunk.
01:04:52But I like sex.
01:04:54I like wine.
01:04:56Yeah, and you wake up with a headache.
01:04:58You wake up with your unhappiness.
01:05:00You wake up with an empty marriage.
01:05:08Now, you make life very complicated.
01:05:10No.
01:05:12I make it very simple.
01:05:14Like a child.
01:05:16That's why people tell me to be quiet.
01:05:18Sure they are, young Bert.
01:05:20We can't get on with our lives without preaching.
01:05:22It is very simple.
01:05:26I am the right man.
01:05:28You are the right woman.
01:05:32We must spend the rest of our lives together.
01:05:38Oh, you go home, Lance.
01:05:42Go home.
01:05:52You are the call.
01:05:54And I am the answer.
01:05:56You are the wish.
01:05:58And I the fulfillment.
01:06:00You are the night.
01:06:02And I the day.
01:06:04What else?
01:06:06It is perfect enough.
01:06:08It is perfectly complete.
01:06:10You and I.
01:06:12What more?
01:06:18Strange.
01:06:21Strange.
01:06:23How we suffer in spite of this.
01:06:33I need to talk to my best friend.
01:06:35We are here.
01:06:37You look terrible, Bert.
01:06:39Are you looking?
01:06:41No.
01:06:43Have you joined the Tories?
01:06:45No.
01:06:47So it must be a woman.
01:06:49It could be worse.
01:06:51It is worse.
01:06:53I love her, she loves me,
01:06:55and she's married with three children.
01:06:59Frieda Wheatley.
01:07:05Haven't I always warned you about the aristocracy?
01:07:07This is no time to jest and dally.
01:07:15What do you want from us, Bert?
01:07:17A half-rugged crayon.
01:07:21I can tell you the facts of life.
01:07:23I think Frieda Wheatley already knows the facts of life.
01:07:25Yeah, and I know about three of them.
01:07:27There are choices.
01:07:29Recite the manifesto, comrade.
01:07:35Well, you can carry on as you are at the moment.
01:07:37Secret assignations,
01:07:39melodramatic nonsense of that kind.
01:07:41Is that what you've been up to?
01:07:43Yes.
01:07:46Like a bad Victorian novel.
01:07:48Or you can walk away from the situation with dignity.
01:07:50A far, far better thing
01:07:52that you do now.
01:07:54That's quite a decent novel.
01:07:56Well, you can tell the truth.
01:07:58I love Frieda Wheatley,
01:08:00she loves me.
01:08:02And take the consequences.
01:08:04What consequences would you anticipate?
01:08:08In Eastwood,
01:08:10near Nottingham, in the year 1912.
01:08:12Crucifixion.
01:08:16But you wanted to be a priest.
01:08:18You said so yourself.
01:08:22We can't tell you what to do.
01:08:24But those are the choices.
01:08:30Is it a happy marriage?
01:08:32No.
01:08:34It's a sleeping marriage, like most marriages.
01:08:38There are exceptions.
01:08:40Well, this one isn't sleeping.
01:08:42A permanent battlefield, yes.
01:08:44Sleeping, no.
01:08:48Michelangelo,
01:08:50when he died,
01:08:52was working on a set of four sculptures.
01:08:54I've seen pictures of them.
01:08:56I think they're called the Prisoners.
01:08:58You can see the head,
01:09:00the arms, the legs, torso.
01:09:02But they're still embedded
01:09:04in great slabs of stone,
01:09:06waiting to be released.
01:09:08Frieda's like that.
01:09:10So am I.
01:09:12Waiting to be released.
01:09:16But if you see a completed Michelangelo,
01:09:18if you see his statue of David,
01:09:20it is complete.
01:09:22Released.
01:09:26It's beautiful.
01:09:28It's fragile.
01:09:32Naked and vulnerable.
01:09:38That's the price of freedom, Bert.
01:09:41I preach the freedom of the individual,
01:09:43but when the individual gets freedom,
01:09:45it doesn't make life easier.
01:09:47It makes it much harder.
01:09:49There's no church or state telling you what to do.
01:09:51You have to decide.
01:09:55Freedom can be terrifying.
01:10:01So,
01:10:03nobody can tell me what to do?
01:10:07We can offer you love,
01:10:09but you have to try hard.
01:10:11Have you asked your demon?
01:10:13Oh, yes.
01:10:15And what does your demon say?
01:10:19My demon recommends crucifixion.
01:10:39Bert!
01:10:41Bert!
01:10:47What's wrong?
01:10:49Nothing.
01:10:51I'm just another prisoner,
01:10:53contemplating freedom.
01:10:55I can glimpse a patch of blue sky through the cell window.
01:10:57It's true, isn't it? The stories we hear.
01:10:59Of course you should know that.
01:11:01All the stories of D.H. Lawrence are true.
01:11:03I mean, that's why people hate the fellow.
01:11:05What's going to happen?
01:11:07I mean, that's why we keep turning the pages, isn't it?
01:11:09To find out what happens next.
01:11:11I'll let you into a secret, Jessie.
01:11:13Even the author doesn't know.
01:11:15Well, whatever happens, I wish...
01:11:17What do you wish me, Jessie?
01:11:19Happiness? Freedom?
01:11:21Both.
01:11:23Why not both?
01:11:27Because that would be greedy.
01:11:33Goodbye, Jessie.
01:11:37Goodbye, Bert.
01:12:07Isn't that a music hall song?
01:12:09Yes.
01:12:13It's really quite, uh...
01:12:15pretty.
01:12:21We must all learn new music.
01:12:23It helps to keep our minds fresh.
01:12:25Absolutely.
01:12:27You collect words,
01:12:29and I collect pretty tunes.
01:12:31It's a good thing, isn't it?
01:12:33Yes.
01:12:35Pretty tunes.
01:12:41Ernest, I'm going away this weekend.
01:12:47Where?
01:12:49To Kent.
01:12:51The Garnets have invited me for the weekend.
01:12:53Do you mind?
01:12:55I think it's...
01:12:57an excellent idea.
01:12:59Oh, you'd be pleased to be rid of me?
01:13:01On the contrary.
01:13:04You look a little pale recently.
01:13:06And some fresh air will be...
01:13:08good for you.
01:13:10Yes, I hope so.
01:13:16And...
01:13:18good for me, too.
01:13:20I will be going away,
01:13:22and it will be good for you?
01:13:24Do you want to break my heart, Ernest?
01:13:26No, but I have...
01:13:28a great deal of work to catch up with.
01:13:30And a weekend of silence...
01:13:32and tranquillity...
01:13:34will help.
01:14:00Two little girls...
01:14:04Two little girls...
01:14:08They were sisters...
01:14:10We were brothers...
01:14:12And learned to love each other...
01:14:16Two little girls...
01:14:20Two little girls...
01:14:22In a week's time,
01:14:24I'm going to visit my family in Germany.
01:14:26Will you come with me?
01:14:28Yes, I would like that.
01:14:30Good.
01:14:32Will I stay in a schloss...
01:14:34and meet a real aristocratic family?
01:14:36Oh, no.
01:14:38I think it would be more sensible...
01:14:40for you to stay in a hotel.
01:14:42There are some very good hotels there.
01:14:44Free?
01:14:46Oh, no.
01:14:48I think it would be more sensible...
01:14:51for you to stay in a hotel.
01:14:53There are some very good hotels there.
01:14:55Frieda!
01:14:57Whatever happens, wherever we go,
01:14:59whatever we do, we will never hide under a stone.
01:15:01We will tell your family.
01:15:03We'll tell my family.
01:15:05And my husband?
01:15:07We'll tell him first.
01:15:09I'm taking his wife away from him.
01:15:11He's entitled to hear the truth...
01:15:13before anybody else.
01:15:15It will destroy him.
01:15:17I think he's a strong man.
01:15:19And if he's a weak man, then that's his lookout.
01:15:21I've got no time for willy-wetlegs.
01:15:27But he'll be revenged.
01:15:29How? In what way?
01:15:31He'll want to kill you, me...
01:15:33and himself in that order.
01:15:35But he's a rational man and he won't do that.
01:15:37He'll take his revenge...
01:15:39by way of the children.
01:15:41The children?
01:15:43Yes.
01:15:45What about the children?
01:15:47You probably won't see them again.
01:15:49Never?
01:15:51Maybe when they've grown up with minds of their own.
01:15:53If they're allowed to grow up with minds of their own,
01:15:55then they'll see you if they want to.
01:15:57It'll be their choice.
01:15:59But while they're still children...
01:16:01still growing up...
01:16:05I doubt whether you'll see them.
01:16:07Oh, Lawrence.
01:16:17We'll be attacking your husband's dignity and pride.
01:16:19His status within the community.
01:16:21Ernest is an observer of rules.
01:16:23He'll observe the rules and have the best legal advice.
01:16:25And the legal adviser will observe the rules.
01:16:27And the rules will say that you're totally unfit
01:16:29to be the mother of your children.
01:16:31It's normal and natural in the world we live in.
01:16:33No, Ernest won't behave like that.
01:16:35He's not a cool man.
01:16:37He's a kind man.
01:16:39He's a good man.
01:16:41He's a good man.
01:16:43He's a good man.
01:16:46He's a kind man.
01:16:48But the rules won't give him any choice in the matter.
01:16:50The rules will tell him and his best friends
01:16:52will tell him that you are a wicked woman
01:16:54and should therefore be condemned.
01:16:56They can't stone you to death
01:16:58till they take your children away.
01:17:00Am I a bad mother?
01:17:04Parents should tell the truth.
01:17:08How else can children learn?
01:17:10You and I.
01:17:12We're the truth.
01:17:16They and the light.
01:17:18There's a little patch of blue sky.
01:17:22We can choose to reach for it
01:17:24or we can turn our backs, pretend it isn't there
01:17:26and go back to where we were before.
01:17:28And if we go back?
01:17:30We shall never walk in the light.
01:17:34We shall never know.
01:17:36We shall never know.
01:17:42You have to decide.
01:17:46I've already told you what I want.
01:17:50Tell me the truth, Lawrence.
01:17:52I want that you
01:17:54should come live with me
01:17:58and be my wife.
01:18:00I know.
01:18:02Oh, yes, Freelia.
01:18:05And so do I.
01:18:16Can I have a guardian, please, love?
01:18:22It's our.
01:18:25It's our.
01:18:31Thank you for looking after me.
01:18:33My pleasure.
01:18:35Most of the time, anyway.
01:18:37I didn't enjoy being thumped.
01:18:39Mind you, some people go in for that sort of thing.
01:18:41Who do you think I was like that?
01:18:43Don't you know why I hit you?
01:18:45Because I made a certain suggestion
01:18:47and you didn't want to know.
01:18:49You know nothing.
01:18:51Thank you very much.
01:18:53So, tell me where I'm wrong.
01:18:55Well, you think the gospel according to Lawrence
01:18:57is a license for a casual scruple
01:18:59when the Chancellor comes along.
01:19:01Just because some idiots in high places
01:19:03put Lady Chatterley on trial.
01:19:05Lawrence isn't about that.
01:19:07So, tell me what he's about,
01:19:09in case I ever write the thesis.
01:19:11Well, for a start, Lawrence does not equal sex.
01:19:13Lawrence equals love,
01:19:15equals pain,
01:19:17equals love,
01:19:19equals pain,
01:19:21equals pain, equals tenderness,
01:19:23equals a search for truth
01:19:25and the shedding of blood.
01:19:27You're a nice boy,
01:19:29but you're not up to that sort of thing.
01:19:31Sorry.
01:19:45He was a prophet.
01:19:47All things to all men.
01:19:50Like the authorised version, it means what you want it to mean.
01:19:52That's all bollocks and you know it.
01:19:56Yes?
01:20:02And the other reason why I hit you?
01:20:04There were two reasons.
01:20:06Was it the aftershave?
01:20:08You said,
01:20:10do you really love your husband?
01:20:12Does your blood quicken when he walks into the room?
01:20:14And you said yes to both questions.
01:20:16The answer to both questions
01:20:18is no.
01:20:20Ah.
01:20:22That's a hard thing to admit.
01:20:24But, if it's the truth,
01:20:26you should be grateful to me for asking the questions.
01:20:30You didn't ask the questions.
01:20:32He did.
01:20:44You really are
01:20:46a bloody nuisance, Bert.
01:20:48Why don't you leave us alone?
01:21:10Lawrence, I will take you to Italy
01:21:12and introduce you to Michelangelo.
01:21:15I think we'll get on famously.
01:21:21Also, I will live as you
01:21:23and be your wife.
01:21:27Thank you for that too.
01:21:33I can't promise you nothing.
01:21:35I have no money
01:21:37and there'll be a lot of pain.
01:21:39So?
01:21:41But in time,
01:21:43when the pain is gone,
01:21:45we will look at what we have done
01:21:47and say, look!
01:21:49We have come through.
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