Brideshead Revisited Page #5

Synopsis: WWII. Charles Ryder, in his civilian life, rose out of his middle class London background, which includes being an atheist and having a distant relationship with his eccentric father, to become an up and coming artist. He is currently an army officer, who is stationed at a makeshift camp set up at Brideshead estate before imminently getting shipped into battle. The locale, which is not unfamiliar to him, makes him reminisce about what ended up being his doomed relationship with Brideshead's owners, the Flytes, an ostentatiously wealthy family. Charles first met Sebastian Flyte when they both were students at Oxford, where Sebastian surprisingly welcomed Charles into his circle of equally wealthy, somewhat stuck up and flamboyant friends. Charles ended up getting caught up in Sebastian's family struggles, where Sebastian used excessive alcohol to deal with the pain resulting from his family relationships. Although Charles and Sebastian were more than just friends, Charles ultimately fel
Genre: Drama, Romance
Director(s): Julian Jarrold
Production: Miramax Films
  10 nominations.
 
IMDB:
6.7
Metacritic:
64
Rotten Tomatoes:
63%
PG-13
Year:
2008
133 min
$6,359,742
Website
925 Views


We couId get drunk together,

Iike we used to.

No.

I'm past aII that.

Thanks for the offer.

WeII?

Are you with me or against me?

LAD Y MARCHMAIN:
LittIe bit further up

on the shouIder, though.

Sarah, Iook.

Sort of up here.

Ladies and gentIemen,

it gives me great pIeasure to announce,

on top of the birthday festivities,

the engagement of my eIdest daughter,

the Lady JuIia FIyte

to Mr. Rex Mottram.

(ALL APPLAUDING )

(BAND PLAYING UPBEAT MUSIC )

LAD Y MARCHMAIN:
Yes,

it's marveIous, isn't it.

-Thank you, CharIes. I'd Iove to dance.

-CordeIia.

-CordeIia, I'm...

-Come aIong!

-CharIes?

-Hmm?

I hope you don't mind me asking,

but modern art,

-it is aII bosh, isn't it?

-Yes, it's aII bosh.

Good. I thought so.

Get a grip, CharIes!

Rex! Rex, I need a better dancer.

Yours for five minutes and no more.

-Come aIong.

-Okay.

CORDELIA:
You're rather taII,

aren't you?

Is that a handicap?

Why didn't you teII me?

It's not Sebastian. I don't beIieve that.

CharIes, I can't do this.

-When we kissed...

-PIease, stop!

Why? It was wonderfuI.

I know.

I think about it aII the time.

I have no choice.

-Oh, Sebastian.

-Never mind.

-Oh, CharIes.

-Don't!

-Come aIong, oId boy.

-I don't want your heIp.

You're in tweed, Sebastian.

This is a baII.

Bugger off, Bridey.

You're worse than wet.

You see... What it is...

I hate you aII so very much!

-Sebastian.

-Get off me!

You don't care about me!

AII you ever wanted

was to sIeep with my sister!

Okay, Sebastian, that's enough.

AII right. I'm going.

(BAND PLAYING CHEERFUL MUSIC )

CharIes,

did you give Sebastian money today?

Yes, I did.

Knowing how he was IikeIy to spend it?

Yes.

I don't understand.

How couId you be so nice

in so many ways,

and then do something

so wantonIy crueI?

We aII Iiked you so much.

I don't understand how we deserved it.

Do you think it's better

to make him feeI Iike a criminaI?

Having him watched

every second of the day?

But you deIiberateIy

heIped him to drink.

You're the reason he drinks,

not me.

AII I did was

try to give him a IittIe freedom.

No, you just wanted him to Iike you.

You're so desperate to be Iiked.

I think you shouId Ieave now, CharIes.

HeIIo, there.

WouId you Iike me to hoId the Iadder?

Yes, thanks.

I'm CeIia MuIcaster, by the way.

CharIes Ryder.

I saw your paintings in the brochure

and thought how charming they Iooked.

No need to Iook so gIoomy.

If I had haIf your taIent, I'd be deIirious.

You can thank me, if you want.

Thank you.

WouId you Iike me

to buy something now?

RYDER:
SiIent and grave,

and then ''pop,'' mouse is dead.

-CharIes.

-Lady Marchmain.

Thank you, Father.

I'm so gIad your son

didn't die of his injuries.

PIease, sit down.

I'm fine, thank you.

How did you know where I Iived?

My driver found you.

The Ryders of Paddington

are Iimited in number.

I hear you have your first exhibition

at the RoyaI Academy.

CongratuIations.

I'm sure you're not here

to ask me how I am.

No. The Iast time we saw each other,

it's true I spoke rather harshIy.

I'm not here to apoIogize.

What I said, I meant.

I took you into my confidence,

and you betrayed me.

I do hope you're not asking me

to agree with you.

-I act onIy as God directs.

-Rubbish.

God's your best invention.

Whatever you want, he does.

-I am not here to argue with you.

-Good. I'm gIad to hear it.

The reason I caIIed

was to ask you a favor.

A favor?

Sebastian's gone missing.

He's in a house in Morocco.

I'm worried about him.

I need you to bring him back.

You banish me from your house,

you poison my friendship

with both your chiIdren

and now you expect me

to go begging on your behaIf?

There's no one eIse I can ask.

Even if I were to agree,

what makes you think Sebastian

wouId take any notice of me?

Because he cared for you more

than he ever cared for anyone eIse.

AII I ever wanted was to see them safe.

And aII they do is hate me.

I'II be at Brideshead.

You may send word to me there.

Driver!

Driver!

(LAD Y MARCHMAIN COUGHING )

(SPEAKING FRENCH)

(KURT COUGHING )

I'm Iooking for Sebastian FIyte.

This is his house.

-Who are you?

-I'm his friend.

In the IocaI hospitaI.

When you see him,

teII him I'm stiII here.

DR. HENRI:
Your friend

has got the grippe.

One of his Iungs is fuII of fIuid.

He wiII recover. But traveI with you?

Not a chance.

He's very weak. No resistance.

What do you expect?

He is an aIcohoIic.

(SPEAKING FRENCH)

Here is your friend.

What the heII are you doing here?

Your mother asked me to come.

She wants me to bring you back home,

but the doctor said

it's out of the question for you to traveI.

I wouIdn't, even if I couId.

I think...

I think she's dying.

WaIk with me. I'm meant to exercise.

Did you go to my house?

Did you meet Kurt?

Yes.

He wanted you to know

he was waiting for you.

It's rather a pIeasant change,

when aII your Iife

you've had peopIe Iooking after you,

to have someone to Iook after, yourseIf.

I thought you'd want to go back

to Brideshead one day.

Brideshead?

Are you mad?

The pIace wouId stiII be fuII of her.

I wouIdn't go within

a hundred miIes of the pIace.

I need to sit.

(SIGHS )

I'm sorry.

Whatever for?

Everything.

It's aII right.

TruIy.

I asked too much of you.

I knew it aII aIong, reaIIy.

OnIy God can give you that sort of Iove.

Come home, Sebastian.

When you're weII enough.

Don't finish it Iike this.

This is my Iife now.

I'm happy here.

I miss you.

How sweet of you to say that.

Dear CharIes,

it was my fauIt for

bringing you to Brideshead.

Run away.

Run far away and don't ever Iook back.

I'm sorry.

WOMAN:
You must be so proud of him.

-Was he away Iong?

-Two years,

and it doesn't feeI Iike a day.

HeIIo, CharIes.

Did you know I was on the boat?

If I said no, you wouIdn't beIieve me.

You're married now.

Yes.

-You haven't changed at aII.

-Neither have you.

-How ridicuIous.

-Yes, isn't it?

TeII me this is fate.

-What?

-Nothing.

TeII me.

I was thinking about Sebastian.

Mummy died without

ever seeing him again.

I know.

Let's go up on deck.

-Are you sure?

-They're aII asIeep! Come on!

(JULIA LAUGHING )

Come on!

(BOTH CHUCKLING )

CHARLES:
Sorry.

-So where's Rex?

-I drowned him.

Forgive me, Rex!

Lady JuIia, fancy meeting you here.

-Mr. Ryder.

-CouId I possibIy get you a drink?

Dry martini, pIease.

One dry Martini,

one whiskey with water.

PIease, aIIow me.

(BOTH CHUCKLING )

So, why did you marry Rex?

I don't know. Because he wasn't you.

-Because he was rich.

-Because he was CathoIic.

Because Mummy approved,

God rest her souI.

I thought he was my painted savage.

It turns out he was

thoroughIy up to date.

Thank you.

Now, no more taIk about Rex.

He's in EngIand.

-Do you have chiIdren?

-No.

No.

-What wiII you teII your wife?

-Wait untiI London.

I have a viewing to arrange.

I'II sort it out. It'II be fine.

-Where shaII we go?

-Somewhere abroad, Iike Daddy.

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Andrew Davies

Andrew Wynford Davies (born 20 September 1936) is a Welsh writer of screenplays and novels, best known for House of Cards and A Very Peculiar Practice, and his adaptations of Vanity Fair, Pride and Prejudice, Middlemarch and War & Peace. He was made a BAFTA Fellow in 2002. more…

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Submitted on August 05, 2018

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