All language subtitles for Priest of love cc

[GULLS CRYING]

[PIANO PLAYING]

FRIEDA: [SPEAKING GERMAN]

-Oh, look.

Skylark.

"Teach me half the gladness
that my brain must know.

Such harmonious madness
from my lips would flow.

The world should listen,
then, as I am listening now."

-Is that one of yours?

-Oh, nay.

That's one of Shelley's.

-What a pretty picture!

What's in the bag?

-What bag?

-The bag.

The bloody bag.

-Just some food and--

[DOG GROWLS]

A bottle of water.

[DOG BARKS]

-That could have been a
camera, for all we know.

-Yes, but you'll find
it's a cheese sandwich.

-Your old lady's
German, isn't she?

-Yes.

BRITISH SOLDIER: Von
Richthofen, isn't that right?

-That's what we heard.

-One of her relations shoots
down all our aeroplanes.

Kills all our lads.

-Oh, yeah.

She comes down here
at night and throws

love letters to the
German submarines.

While I'm asleep.

-That's what we heard.

[KNOCK]

-There's a light showing.

-That is because you knocked
at the door and I opened it.

-Visitors?

-Neighbors.

BRITISH OFFICER: English?

LAWRENCE: Yes.

-New Zealand.

But we're on England's side.

-It's been reported you
sing German songs here.

-Ugh!

Italian songs, Hebridean
songs, Hebrew songs--

BRITISH OFFICER: If it's not
English, it must be German.

LAWRENCE: Watch the lights.

[RECORD SHATTERS]

-(SHOUTING) Now will we
sing a good German song!

DH AND FRIEDA:
[SINGING IN GERMAN]

-Mm.

-This is the second time you've
been here ransacking our house.

-You will leave Cornwall
within three days.

You will not live in
any prohibited area.

You must report to the police
whenever you move house.

-Why?

-There's no need to give
grounds for order, which

is made under Regulation 14B of
the Defense of the Realm Act.

-What is a prohibited area?

-You ask us, and we tell you.

[MUSIC PLAYING]

-It does not appear
to be obscene

in absolutely legal terms.

Anti-British to the point
of insanity, of course.

-Apparently Mr. Lawrence
is going to America.

-We must inform the authorities.

-It's been attended
to, Mr. Muskett.

Shall I take this?

-Leave it.

I-- I shall read it again
to make absolutely sure.

[FOGHORN BLOWING]

-I'm the one with the beard.

-Of course.

-We have been invited to New
Mexico by a rich American lady.

-Mrs. Mable Dodge Stern.

She collects money
and great artists.

And husbands.

FRIEDA: I think she's had three
so far, but maybe it's four.

-And she wants me to
write about New Mexico.

-Is it going to be a
colony of great artists?

LAWRENCE: Oh, love bless
us, not great artists.

Just good people.

-And DH Lawrence is the savior?

LAWRENCE: Who better?

What is your name?

REPORTER: Uh, Simon.

-Simon called Simon,
or Simon called Peter?

-No, just Simon.

LAWRENCE: All right, Simon.

You go to the top of the class.

And tomorrow, you can
collect the [INAUDIBLE].

First prize.

FRIEDA: Not even
Herbert G. Muskett

has complained about that book.

-He probably doesn't
understand it.

-Herbert G?

FRIEDA: Muskett.

He advises the English police
on which books to burn.

-Oh, I see.

-Have you seen Toby?

-Mm, no, sorry.

I haven't--

-Is this your latest book?

-Mm, yes.

-"Kangaroo."

-It's about Australia.

-It's wonderful.

-You expect it to
create another scandal?

-(IN AUSTRALIAN ACCENT)
Oh, the kangaroos

are very happy about it.

-[LAUGHS]

-Have you seen Toby?

-(LAUGHING) Oh, no.

I'm sorry, no.

-Why are you leaving England?

-Because the government reviles
me and persecutes me and set

all manner of evil
against me, falsely--

probably for your sake.

-So you prefer America?

-You ask an Englishman, "To
be or not to be," he'll say,

"Not to be."

The Americans are bullies,
but there are signs of life

as we know it.

-You one of Mr.
Lawrence's disciples, sir?

-Yes.

LAWRENCE: Yes, he'd
rather stay in England.

-Mr. Murry is also a
very famous writer.

M, U, double R, A, Y?

-M, U, double R, Y.

-Is the lady, uh,
traveling with you?

LAWRENCE: The lady is the
Honourable Dorothy Brett.

Yes, she's traveling with us.

She's a painter.

-Oh, are you, uh--

-She's very shy and stone deaf.

-You may also report that Mr.
and Mrs. Lawrence have the most

wonderful marriage in the
history of the human race.

-Thank you all very much.

-Erm, which newspaper
shall we read?

-Oh, I'm a freelance,
Mrs. Lawrence,

but probably "John Bull."

Thanks for the book.

-"John Bull"!

-What's wrong?

-"John Bull" called my
husband a perverted monster,

and you are not fit
to have that book.

REPORTER: If it's as
dirty as the others,

I don't think I'm bothered.

[CROWD EXCLAIMS]

-Ha!

-I might phone later.

-"John Bull."

-Well, they take
a lot of writing.

Have you been
protecting me again?

BRETT: I found him!

I found Toby!

He was in my cabin hiding
behind my easel, wicked boy.

-Ah, I'll just say goodbye.

Well, I wish you
joy of the Americas.

Goodbye, Brett.

-Bye.

-Wish you joy of England.

MABEL: Lorenzo.

Lorenzo.

May I call you Lorenzo?

LAWRENCE: Oh, why not?

-Oh, and this must be Frieda.

-Yeah, this is Frieda.

-Oh!

This is the most
wonderful day of my life.

And have you brought
your disciples?

-Oh, we invited the noblest
intellects of Europe,

but for the moment,
we've got Brett.

-Brett?

-The Honourable Dorothy Brett.

-Honourable?

-Dearly beloved daughter
of Viscount Esher.

-An escaped aristocrat,
just like me.

We call her Brett.

-How do you do, Brett?

FRIEDA: She's extremely deaf.

Mrs. Mabel Dodge Stern.

-Oh, oh, no, Mrs. Mabel Luhan.

This is my new husband, Tony.

-Oh!

MABEL: I've so many
surprises for you.

FRIEDA: We love surprises!

-But what's wonderful is
that you got our messages.

-Messages?

-From the moment I decided
you should come here,

Tony and I sent you
messages each night,

calling you to Taos.

-Oh.

Oh, well, here we are.

FRIEDA: You were wise
to send the tickets.

And Western Union is a
wonderful idea for messages.

-I've so many wonderful plans.

LAWRENCE (VOICEOVER):
"The moment

I saw the brilliant, proud
morning sun shine high up

over the deserts of Santa
Fe, something stood still

in my soul, and I
started to attend."

-Look!

Now you see why they
worship the sun.

A man could find religion here.

MABEL: You love it, Lorenzo.

-If you people don't put it
into a sterilized wrapper.

-[LAUGHS]

My god, what's that all about?

-He doesn't like a
woman to lead the way.

-But he doesn't know the way.

-So?

-Oh.

Uh, and this is
today's big surprise.

-Where is the surprise?

-A little ranch, all for you.

-Little?

-Oh, it's only 160 acres.

And it needs a little
work here and there,

but Tony's these will
come and help out.

-Mrs. Mabel Luhan, I
don't like property.

I don't like things.

I don't like presents.

I don't like patronage.

And I don't need any of it.

-He doesn't like presents.

-Yes, so I see.

-Wait.

-I've never ridden a horse.

Daddy kept a stable, but
I was always frightened.

They said, never mind,
she's only a girl.

-I'll teach you.

I know all about animals.

-Only a girl.

It's not right, is it?

-We'll buy the ranch.

-What with?

What sort of great writer
is it who has money?

-I don't mean money.

We will pay for it with genius.

I will give you the original
manuscript of "Sons of Lovers."

-Oh, in his own handwriting?

-Most of Lorenzo's
original manuscripts

are in his own handwriting.

-Oh, thank you, Mabel,
it's a lovely ranch.

Especially the broken bits.

Any more surprises?

[MUSIC PLAYING ON PHONOGRAPH]

-Shut that up, Frieda!

[CAR APPROACHING]

[HAMMERING]

-I brought something for you.

-Thank you very much indeed.

-Morning, Tony.

I stayed on the roof because I
thought you were somebody else.

-He thought you were Mabel.

-Frieda!

-For Mabel.

Payment for the ranch.

Settlement in full.

-I arranged to borrow
it from Mrs. Luhan,

but I thought she
must have forgotten.

I thought if I
could learn to type,

then I could type
your stories for you,

because I know how
you hate typing.

I'd like to do something
useful, because I don't think

my paintings are
very good, really.

I don't mean to interfere.

[DING]

FRIEDA: You are the call
and I am the answer.

-You are the wish and
I, the fulfillment.

-You're the night,
and I, the day.

What else?

-Oh, you haven't
forgotten, have you?

You are forbidden
to forget my poetry.

-No!

Erm-- "Strange, how we
suffer in spite of this!"

-Are you suffering?

-No.

I have a home of my
own, you writing well.

But I should like to have
my family here with me.

-Frieda, I am your family.

[BOTH LAUGH]

-Poor Mabel.

-Oh, why poor Mabel?

-I could have told
her you would never

make love in the daylight.

-You're a harlot, Frieda.

-I think she and Tony
make love morning,

afternoon, and evening.

-You are a brazen bitch.

Frieda, I'll tell
you this, to think

you were born an aristocrat,
a German aristocrat,

the famous Von
Richthofen family,

you have got a
magnificent arse on you!

[LAUGHS] It takes a collier's
son to find the right words.

-Eh?

In aristocratic circles--

-Mm.

-They'd be inclined
to say "wonderfully

impressive buttocks."

[TYPING]

[ROOSTER CROWS]

MABEL: Brett, where's Lorenzo?

Aw, forget it.

I'll ask one of the trees.

Where's Lorenzo?

-Hiding, I expect.

-Oh, I'm going to
take him riding.

-Impossible.

He's working.

And also, I'm going
to cut his hair.

-With those scissors?

My god, Frieda,
you'll kill the man!

-(CALLING) Lorenzo!

I have not killed him yet.

Come on!

I know you're behind the cow!

LAWRENCE: I know I am the cow!

-I'm here to take you riding.

-I'm going to cut your hair.

LAWRENCE: Really?

I'm going painting with Brett.

-Brett?

-It's her reward for typing
her first 1,000 words.

There's only 100 mistakes.

-You're not writing.

-Frieda says I must deal
with correspondence.

"I saw a young woman reading
'Sons and Lovers.' Wasn't

successful in preventing
a conflagration."

Is there not enough
misery in Nottingham?

Brett?

Brett?

If you ever write to me, make
sure you use flimsy paper.

It makes better handkerchiefs.

[BLOWS NOSE]

[LAUGHS]

[CHUCKLES]

BRETT: That's very much better.

LAWRENCE: Ah.

I was always good at flowers.

-Lorenzo tells me you would
like to go to bed with him.

-Well, sure.

It's only natural.

-Yes.

-Do you mind?

-He's always faithful.

-And you?

-Making love is
better than screaming.

I might make love with somebody,
but I'm always faithful.

-You see, it's the only way
to reach the soul of a man.

-Ah, the famous
soul of DH Lawrence.

-And I believe I can help him.

I really do.

Don't misunderstand me,
Frieda, but I'm-- I'm not

sure that you
treat him properly.

-I am the wrong
woman for Lorenzo?

-Oh, no!

Don't-- don't be offended.

-[SPEAKING GERMAN]

I'll tell you why I am the
right woman for Lorenzo.

Because I'm the right woman for
him, I leave my first husband

and I leave my three children.

Because I am the
right woman for him,

I stand on street
corners trying to catch

a glimpse of my children
as they leave school.

We are without money throughout
the war, and men in uniform

knock on our door in
the middle of the night

because I'm German-- and because
I'm the right woman for him!

I read in the English
press that my husband

is a perverted animal.

I hear Mr. Herbert G. Muskett,
solicitor for Scotland Yard,

describe his work as
a mess of obscenity

of thought, ideas, and action.

I see and hear all this because
I am the right woman for him.

So!

For 12 years, I'm
forbidden to see

or even talk about my children.

But I do see the
soul of DH Lawrence.

Oh, yes, ma'am.

Mine eyes have seen his
glory, and he's seen mine.

I've seen his shame and
I've touched his blood,

and he has touched mine.

All this is my reward for
being the right woman for him.

And nobody will take
it away from me,

Mrs. Mabel Dodge Stern Luhan.

I think we should go
upstairs and make love.

Do you not want me?

-Come here.

I don't want you.

Not for one night.

-But you do want me.

-Yes.

I'll go away with you,
and we'll tell everybody.

-I am a married woman
with three children.

-You don't love him.

You're not even aware of him.

Your blood doesn't quicken--

-That I know.

-(WHISPERING) As it does now.

But if you go away
with me, you'll

have to leave the children.

You may never see them again.

-Of course I will.

-He won't let you see them.

I've looked behind
his eyes, and I know.

I can see behind people's eyes.

-I'm frightened.

-Nay, Frieda,
there'll be no fear.

I promise you that.

There'll be pain.

I promise that, too.

I'll wait downstairs.

[DRUMMING AND SINGING]

-Isn't it fascinating?

-Fascinating.

GUEST: Let's have
some real music now.

-Yeah, I'm sick of
this ethnic purity.

-Do you realize
that each movement

has a precise significance?

-Symbolizing birth,
growth, death,

and rebirth, in that order.

-Exactly that, Lorenzo.

LAWRENCE: Gee whiz!

The great cycle of nature!

I'd recognize it anywhere.

-Let's have a tango.

[MUSIC PLAYING]

-Why don't we dance?

Come on.

-Don't be absurd.

-I do something wrong?

-Very wrong, Mabel Leave him!

He'll hurt you.

-I thought you might
enjoy the dancing.

I've invited lots of people--
poets, musicians, writers.

-And you wanted me to lead
them to the Promised Land?

-Oh, all right.

You're not in your
Jehovah mode today.

So just enjoy the
drink and the dancing.

-The dancing?

You take their civilization,
you turn it into a circus,

you pay them 30
pieces of silver,

they go off and buy chewing gum.

-You take the pieces
of silver, Lawrence.

You took my ranch.

-No, we bought that ranch.

Value of ranch, $1,000.

Value of manuscript, $2,000.

You win again, Mabel.

But then, of course, you always
do, because it's your game.

(MOCKINGLY) It's the great
American money trick.

-You know what I did with
your precious manuscript?

-Oh, I know-- you read it.

It's a rattling good yarn.

-I gave it to Dr. Brill.

Only a part settlement
of what I owe him.

-Dr. Brill, the psychiatrist?

-Yes.

-Dr. Brill dispatched his
bill, and Mabel, she recovers.

She went to bed to
rest her head while she

reads "Sons and Lovers."

Wahey!

MABEL: [LAUGHS]

[PLATE BREAKS]

-Lawrence, you're a crazy man!

[PLATE SHATTERS]

LAWRENCE: And if
you don't like it,

you can buy yourself
some nice man!

[PLATES BREAKING]

-Buy yourself a
Herbert G. Muskett!

[PLATES SHATTERING]

-Or a buck red Indian,
and cut his balls off!

-Lorenzo!

Stop!

-Leave me alone, Frieda.

-I'll not leave you!

-Leave me!

[GUESTS EXCLAIM]

-Don't worry, Tony.

-Are we leaving?

[TRAIN WHISTLE BLOWING]

-Our trouble
without possessions.

I don't believe in possessions.

All I need is my pen.

So you may have that.

It used to belong
to my sister Ada.

-[LAUGHS]

Oh, he'll be back.

Now I know he'll be back.

LAWRENCE: My spirit
always wants to go south.

The high, thin air gets
my chest bronchially,

and the white civilization
makes me feel worse.

[DONKEY BRAYING]

-What are the hotels
like in "Oh-ax-ah-ca"?

-Oaxaca.

-And they're awfully
like Cheltenham.

LAWRENCE (VOICEOVER): "In
Oaxaca, the climate is perfect.

Very peaceful, with a
remote beauty of its own.

You can ride in
four or five days

either to the Pacific
or the Atlantic,

if you don't get shot.

There are so many
wild Zapotec Indians

who don't know anything
about anything,

except that every
rich man is an enemy.

They say the next revolution
begins on Monday."

[MUSIC PLAYING]

-What is that woman doing?

-Probably dressing for dinner.

-[LAUGHS]

-Well, you told her
it was like chutney.

-And she's stupid
enough to believe me?

-Shh!

-I'm sorry I'm late,
but I-- I've lost Toby.

-[INAUDIBLE].

LAWRENCE: Uh, this is
meant to be an ear,

and I want you to make
an ear trumpet, you see?

Like this, made with--
with-- with tin!

You see?

Oh, dear.

Hello.

Hello.

Hola!

Hola, hola, hola, hola!

-Hola!

-You like hola.

-Hola!

Bravo, bravo.

-Usted te parece a Cristo.

-Cristo.

-Cristo.

-Se parece a Cristo!

[CROWD CLAMORING]

-They think you're Jesus Christ.

-Silly buggers.

CHILDREN: Cristo!

Cristo!

Cristo!

-[INAUDIBLE] Lawrence.

CHILDREN: Cristo!

-I come from
Nottingham, England.

Inglaterra!

I write books!

Books!

You understand?

Adios!

[ORGAN MUSIC PLAYING]

[COUGHS]

[PANTING]

-You should see a doctor!

-Oh, Frieda, I show you the
majesty of Zapotec civilization

and you say I
should see a doctor.

Jesus said, I am the way,
the truth, and the life.

But I say unto
you, in this temple

there are a few
great roads to God

and many small, small tracks.

But the way is no longer Jesus!

The dark gods have not
yet sent us a prophet,

so we must find our
own small tracks.

[COUGHING]

-[SPEAKING SPANISH]

[RUMBLING]

[CHIMNEY SHATTERS]

[SCREAMING]

-Lorenzo, get down!

Get down!

Under bed!

[SCREAMING]

-Frieda?

-It's only a little earthquake.

-I'll die in this place.

-I'm taking you to Mexico City
to go see a decent doctor!

-No!

No more doctors!

[SCREAMING]

[BELL TOLLING]

-I'm going to die, Frieda.

-You'll die when I tell
you, and not before.

You understand?

Anyway, the cemetery
here is far too ugly.

[BESTOWS KISSES]

[LAUGHS]

[COUGHS]

[SCREAMING]

-Is that actual blood?

-It's my blood!

-Ours.

-Oh, if you say so.

Mexico City.

-Buenos tardes.

-Buenos tardes.

-Good afternoon, Mrs. Lawrence.

-Wonderful shops in Mexico City.

-I called with the results
of the tests I made.

-I have bought a hat which
needs psychoanalysis.

-Frau Lawrence.

[SPEAKING GERMAN]

[SPEAKING GERMAN]

Your husband's got tuberculosis.

-How long?

-Ein Jahr.

-But the ancient temple
of Mithra said 18 years.

-[SPEAKING GERMAN]

-Two years.

[SPEAKING GERMAN]

LAWRENCE: I shall never forgive
you if you cry all over.

-[SOBBING]

I want to go home!

I want--

-Yes, so do I. So do
I, but where is it?

-I want my children!

[WEEPING]

[BELL RINGING]

-Hello?

Oh, yes.

I understand he is
back in the country.

I managed to get hold of
the proofs of his latest,

uh-- well, to be quite honest,
I simply don't understand it.

-My own, my native bloody land.

They can't even organize
a decent general strike.

Why don't they fight?

Why don't they
make a revolution?

They accept misery when they
should kick it in the guts.

It's all right, Ada, I'm
not writing any more books.

-Why ever not?

LAWRENCE: This is
where my father worked.

He used to walk home
along this track.

[TRAIN CHUGGING]

Look, you see?

All those pit boots have
worn the earth smooth.

[PANTING] [COUGHS]

Sometimes he'd arrive home.

More often, he'd
stop off at the pub.

Oh, but he could drink.

And sing, and dance,
even in his big boots.

And sometimes he'd stopped
and look at flowers.

And my mother, she
was like all women.

Flowers are for picking,
arranging, possessing.

But I've seen mine
as like my father,

just looking at flowers.

Not with admiration
or j or delight,

or any of those arty-farty
things, just-- contemplation.

Like an artist.

-Morning.

-There's the farm.

-Where Jessie lived.

-Jessie.

And Alan.

Alan taught me about
harvesting and haymaking

and muck-spreading.

Of birds and beasts and flowers.

Of birth, growth,
full bloom, and death.

How to bind a sheaf of corn
when it collapses in your arms.

-Hello.

-These are for you.

-Oh.

FRIEDA (VOICEOVER): And Jessie?

LAWRENCE (VOICEOVER):
I once said to Jessie,

will you help me write my books?

She said, no, but I'll
make you write your books.

Our books, I think she said.

So I wrote a book, and
like a good little boy,

I showed it to my father.

[CLOCK TICKING]

ARTHUR LAWRENCE: Hm.

How much did they
pay you for this?

-50 pounds.

-50 pound?

Huh.

And us never done a
day's work in me life.

Ah, well, your mother'll
be pleased, I dare say.

LAWRENCE (VOICEOVER): My
mother, she gave me life.

And then when I was young
and got that pneumonia

and nearly died, she
gave me life again.

[COUGHING]

LAWRENCE (VOICEOVER):
Twice she gave me life,

so she deserved a good book.

Wouldn't you say so, Frieda?

-Oh!

Water.

LAWRENCE (VOICEOVER):
She gave me life.

And, at the end, I
gave her freedom.

She still demands my life back.

They never forgive us
for leaving the womb.

-I am a mother.

-Aye, I know that.

-Have you made peace
with your ghosts?

-No.

I never do that.

28 books, and still no peace.

-I would like to
make peace with mine.

-The children?

-Please.

-Oh, might as well.

I can't give you any children.

-I've told you.

That doesn't matter.

[PLAYING VIOLIN]

FRIEDA: Lorenzo.

Imagine being 21 and
at the state school.

LAWRENCE: Oh, I imagine.

Do they teach her
how to make art?

-They try.

-Ignore them.

Waste of time.

-Uh-- when do you
intend getting married?

-Oh, well, one hasn't
actually fixed the date yet.

-It is difficult for one.

-What are you working on at
the moment, Mr. Lawrence?

Are you going to
shock us all again?

-I'm just making a
few running repairs

to the great shit of life.

-Jolly good.

Think I'll see about that cab.

Excuse me.

-Oh, look at us, all the
millions of pairs of trousers,

and not a man left
inside any of them.

-(SHOUTING) Cab!

Are you for her?

Oh, good.

Come along, Barbara!

Barbara!

-You'll come and
see us in Italy?

-Promise.

-Get rid of him first.

BARBARA'S FIANCE: Barbara!

Bye!

[DOOR SLAMS]

LAWRENCE: I can see
the Mediterranean

and I've got my own
vineyard Oh, Frieda.

-What a devastating uniform.

-(LAUGHING) Has
he lost his opera?

-That is our landlord.

-Oh, nay, Frieda.

We'll never have landlords
like that at home.

-Buongiorno.

-Buongiorno.

-Capitano Ravagli.

-Signor Lawrence.

Signora.

-Parla l'inglese?

-No.

-Frieda, I think I'll teach
our landlord to speak English.

-He will, I think,
understand the essentials.

-Ah, but he might
reduce the rent.

[ALL LAUGH]

LAWRENCE: The sun.

Il sole.

The sun.

CAPITANO RAVAGLI: Si.

LAWRENCE: Il mare.

The sea.

CAPITANO RAVAGLI: The sea.

LAWRENCE: The good earth.

La buona terra.

-The good earth.

-Si.

Il, um-- cuh--

-Cuore.

-Cuore.

The heart.

-The heart.

-Si, bravo.

Right, an English
poem by DH Lawrence.

"My father was a working
man and a collier was he,

at six in the morning
they turned him down

and they turned him up for tea.

My mother was a superior
soul, a superior soul

was she, cut out to
play a superior role

in the god-damn bourgeoisie.

But time has fled.

Our parents are dead.

We've risen in the
world, all three.

But still we're in between.

We tread between the devil
and the deep, sad sea."

Angelo?

-Lorenzo.

The sun.

-Bravo.

[LAUGHS]

FRIEDA: (CALLING) Lorenzo!

-Ah, the wife.

-The wife?

-The wife.

-Ah!

FRIEDA: Look, what a surprise!

Not one daughter, but two!

-Oh, I imagine that makes
three women all together.

[SPEAKING ITALIAN]

-Ah, magnifico.

-Elsa.

Barbara.

Barbara Weekley
and Elsa Weekley.

Capitano Ravagli.

Right, Barbara, haven't you
brought that elderly young man

with you from London?

-My fiance?

LAWRENCE: Is he still?

-I got rid of him, in accordance
with your instructions.

LAWRENCE: Oh, magnifico!

Right, now as a reward, I'm
going to take you fishing

tomorrow, and I'll persuade you
that the world is a miracle!

Barbara, look at those.

Magnifico!

Bravo.

Do you remember those
paper boats I made for you?

-Yes, I remember.

But I don't know if
I really remember

or whether you make me remember.

-Frieda says-- Frieda
says that's the moment

she realized that she loved me.

-Did you have to
steal her from us?

-Yes.

I wanted her to grow,
and help me to grow.

She's a great fire
I warm my hands on.

And a tree that shelters
m, and a lioness that

brings forth strength
and sweetness.

-Did you have a
nice time, Barbie?

-Blessed are the peacemakers.

-It's Lorenzo's new hobby,
being nice to people.

-Oh, really?

LAWRENCE: Even to you.

Here's a present.

-Ugh!

They're beautiful!

-Ah, it's from Capri!

It's from Brett!

Oh, wouldn't it be spiffy
to see Brett again?

-No.

It would not be spiffing
to see the Brett again.

And you--

-This woman is
impossible to live with.

I did you two a favor.

-Ada's coming.

-Ada?

Oh my god.

Don't ever run away
from England, girls.

It comes chasing
after you and grabs

you by the sensitive parts.

Other writers get
checks in the post.

Huxley does.

I've asked him.

I get friends and relatives.

-Huxley writes books.

[HUMMING]

BARBARA: Oh, that looks lovely.

You're a wonderful cook.

-Bravo.

[PANTING]

-I couldn't imagine
our father doing that.

-Mm.

Our father which art in heaven?

-Lorenzo's a much
better cook than I am.

And when we have
special guests--

-Bert does the cooking.

-Frieda just sits there,
blowing cigarette smoke

over everything.

-I'm a lady of leisure
married to an eminent author.

And I can make love.

-Put that bloody
cigarette out, Frieda.

-That was our dad talking.

-Frieda!

(ANGRILY) That was
not our dad talking.

That was me talking.

It might please you to say,
Isn't he like his father?

Or, wouldn't his
mother be proud of him?

But at the end, you know, it
is me, just as that is Frieda.

Not the Baron or the
Baroness von Richthofen,

but their daughter, Frieda.

And this is Barbara, not
Frieda-- or god help us,

not Professor Ernest Weekley,
the celebrated scholar

and betrayed husband--
but just Barbara.

And she'll only find out who she
is if people like us let her!

[COUGHS]

-I hate you, Frieda.

-I know you do.

[COUGHING]

FRIEDA: Lorenzo?

Please!

LAWRENCE: My coughing
keeps you awake.

Leap into bed with
somebody else.

-Lorenzo!

-My body's no good to you.

-Will you open the door, please?

-Good night, Frieda.

[COUGHING]

-Has he locked you out?

-Oh, go to hell!

-Well, what have I done?

LAWRENCE: [COUGHING]

-You have done that.

And it's a pity
to disappoint you,

but he isn't any longer
the darling little brother

who passed all his
examinations and was

kind to his poor, sick mother.

-But at least he was happy then.

-Happy?

ADA: Yes, happy.

And healthy, too, and look
at him now, half-dead.

-Maybe he was a
happy little boy.

I helped him grow up.

Nobody in his family
could help him

to do that, nobody in that
shitty little village!

ADA: Yes, but I have to go on
living in that little village.

I hear people laughing
and sniggering.

That's Bert Lawrence's sister.

He went off with that
German fancy woman.

FRIEDA: Well, you should do
what that fancy German woman

would do.

Tell them to go to hell!

LAWRENCE: [COUGHING]

-Leave them to fester in their
nasty little sniveling minds.

You English women--

-I'll tell you
something, Frieda.

I would never
abandon my children.

LAWRENCE: [COUGHING]

-I'm not abandoned.

I love you.

[KNOCK]

-He won't let you in.

I know.

I've known him
longer than you have.

FRIEDA: Well, I know him.

I know him!

Lorenzo?

-Leave me to die in peace.

FRIEDA: But you have
to make peace with me.

Lorenzo, you have to
make peace with me!

Lorenzo.

Lorenzo!

LAWRENCE: Blessed
are the Brewsters,

my only American friends.

-Isn't it a lovely villa?

LAWRENCE: Oh, yes.

I wish I had a little
place on Capri.

What is that?

-Well, this is my new Toby.

Works on three
shilling batteries.

-My dear sweet Brett, you
could have silence for nothing.

-[LAUGHS]

-We hear rumors
you're not writing.

True or false?

-Well, no more books,
just little morsels.

I've done a tiny
story, about that high,

called "The Virgin
and the Gipsy,"

which is about a woman who
runs away with her lover

and abandons her two
daughters, and one of them

falls in love with
a gipsy, and um--

-A sexual awakening?

-Sleeping Beauty.

-I'm always writing about
the Sleeping Beauty.

You're not meant to notice.

-Sometimes about me, isn't it?

I don't mind if it is.

-Change of subject.

Now, uh, who's this?

[MUSIC PLAYING]

-Oh, "Lamb's Tales"
from Shakespeare.

[ALL LAUGHING]

-Mm, oh, Henry
Wadsworth Longfellow?

Oh, delectable!

[SLURPING]

[SNIFFING LIKE A DOG]

[SNORTING]

[LAUGHTER]

-[GASP] "Women in Love."

Oh, diabolical!

-A critic?

-Uh, warm, warm.

No decent God-fearing
woman shall

be purported to be in love!

-Obviously an Englishman.

-That's true.

-Herbert G. Muskett.

-Oh, correct.

We love you, Brett.

-Who is Herbert G. Muskett?

-He organizes my persecution
and the burning of my books

by the public hangman.

-Oh, come on.

-That is the truth!

I'll beat you,
Herbert G. Muskett!

[LAUGHTER]

-I'll triumph in the end!

CAPITANO RAVAGLI: "My
father was a working

man and a collier was he.

At six in the morning,
they turn him down

and they turn him up for tea."

-Bravo.

BRETT: I don't understand
why people persecute you.

Everybody loves you.

Everybody wants to be with you.

-Do you really want to know?

-I want to know
everything about you.

I always did.

[MUSIC PLAYING]

-Oh, hello.

You'll have to
tell me what to do.

Your beard, it's all soft.

I always thought it
would be bristly.

Shall we blow the candle out?

-You're all wrong.

-I'm sorry, I
didn't quite hear--

[DOOR SLAMS]

-I don't think
that was my fault.

FRIEDA (VOICEOVER): Lorenzo,
you have to make peace.

Lorenzo!

-How much further?

-We turn off at
these two cypresses.

Not much further.

Come on.

[SPEAKING ITALIAN]

-Whoa.

[SPEAKING ITALIAN]

-[SPEAKING ITALIAN]

-[SPEAKING ITALIAN]

-You mind riding in a hay cart?

-I'm a farmer, remember?

[SPEAKING ITALIAN]

FARMER: Bravo!

-Lorenzo, look!

La Villa Miranda.

You can see the whole
of Florence from here.

It's a wonderful villa, Lorenzo.

If I was a great writer, I would
find the words to describe it.

Find the words, Lorenzo.

-How much is the rent?

FRIEDA: Oh, 25 pounds a year.

And the patron is never here.

-Perhaps he's in the army?

-Lorenzo.

I could look after you here.

[DOVES COOING]

Well?

-Not bad.

But it could do with
a coat of paint.

FRIEDA: (SINGING) I kiss all
the pretty girls two at a time.

Around the bend of
Mexico-- Lorenzo,

why are you not singing?

It's your song.

Lorenzo?

Lorenzo?

Lorenzo?

Lorenzo?

Lorenzo!

Lorenzo!

[SPEAKING ITALIAN]

-[SPEAKING ITALIAN]

[DOVES COOING]

-(WHISPERING) Lorenzo?

[GUNSHOT]

[GUNSHOT]

[GUNSHOT]

Lorenzo.

-What?

-You've written fuck.

-Because that's
what they're doing.

You must tell me if
they're doing it properly.

-Lorenzo.

-Oh, listen, Fried.

To fuck, the single
most beautiful, creative

act in the experience
of the human race.

Tender, sharing, giving.

Warm communion.

So why is it a dirty word/

-Because people are frightened.

LAWRENCE: I shall take that
word, and all the other words,

out of the gutter and put
them back in the language.

Where they belong.

-People make love fearfully.

LAWRENCE: Yeah, and they
write about it fearfully.

Geoffrey Chaucer, "Canterbury
Tales," he wasn't frightened.

If one of his characters fucked
or farted, he wrote it down.

No shame, no fear.

Ever since Geoffrey Chaucer,
writers have been frightened.

Take away the shame,
take away the guilt,

there's no "Hamlet" left at all.

500 years-- that's too
long to be frightened.

Anyway, we writers, we're
supposed to be brave.

-You're brave one.

-Frieda, you must help me.

Tell me about a
woman making love.

What you think, how
the body thinks,

how the blood flows,
how the heart beats.

-I'm never frightened.

LAWRENCE: Good.

-And I never care what
the world may think.

When we ran away
together, we had

choices to make, simple choices.

We loved each other, therefore.

Should we run away together?

Or should we go our separate
ways and masturbate?

-We caused pain to other people.

-You can't tell the
truth without pain.

I felt pain.

But I'm not ashamed
of what I did.

Never.

-Let's write it
all down, Frieda.

-Am-- am I to be
your Lady Chatterley?

-Since I met you, every
woman I've written about

has been you.

And a bit of me, yeah.

-Everything about sex?

LAWRENCE: Everything.

-I shall need a bigger book.

[TYPING]

[CART APPROACHING]

-[SPEAKING ITALIAN]

FRIEDA: Heh, heh.
[SPEAKING ITALIAN]

Lorenzo, Piero
says you're genius.

LAWRENCE: I am a genius!

We must ask the Huxleys
to come and stay with us.

FRIEDA: Why the Huxleys?

-Because Maria types
better than you do.

-Scheisse.

-Piero's horse probably
types better than you do.

[CHUCKLES]

Mabel?

MABEL: Yes.

-I have a letter.

Lawrence is writing a new book.

-A book, a proper book.

-He says it's a phallic novel.

-Oh!

-Tender and phallic, he says.

What's phallic?

-Oh, it must be about screwing.

-See?

Oh, good.

Screwing?

-Lawrence's map says this way.

Oh, scusi.

Scusi, um, Villa Miranda?

-DH Lawrence?

That way.

-Oh, thank you.

-Grazie.

-He's quite the genius.

-Thank you very much.

-"My father was a working
man, and a collier was he."

FRIEDA: Hello, Huxleys!

ALDOUS HUXLEY: We found you!

-What a devastating car!

MARIA HUXLEY: We thought
you might like our old one.

-Oh!

Maria!

We love presents.

LAWRENCE: Oh, Frieda, I could
never learn to drive a car.

FRIEDA: I'll do it.

[TYPING]

-I'll just check
up on your husband.

-What do you think?

-Hm.

Well, as a house
painter, you make

a bloody fine novelist, Nelson.

-Your typist has a question.

-All right, Maria?

MARIA HUXLEY: I don't
understand the title.

-Which one?

We've got about three so far.

-"John Thomas and Lady Jane."

-Oh, well, that's simple.

-Every man has his John Thomas
and ever woman has her Lady

Jane.

MARIA HUXLEY: Thank you.

-I thought it was called
"Lady Chatterley's Lover."

-There's a Muskett version
and there's a real version.

The real one is called "Lady C."

That's the one with the
fucks and the shits.

-"John Bull" will
crucify you again.

-Better people than me
have been crucified.

ALDOUS HUXLEY: They'll say
that you're determined to bring

about the downfall
of civilization.

-What civilization?

Well, show it to me!

What is it?

Is it New York or London?

Is it man digging
coal out of the earth?

Is it your shiny new motorcar?

No, civilization's
falling down anyway.

I'm just giving it
a supplementary kick

on the backside.

We've got to smash things,
clear the landscape,

so we can get a
proper sight of God.

-You still need a publisher
who isn't frightened.

-Yes, well, I've got one.

There's this little
Italian bookseller

here in Florence, Pino Orioli.

He'll print it for me.

[GUNSHOTS]

-Very good.

-Well, do you like it?

-Si.

Women very good.

The men, not so good.

-Because he has a
wonderful female model.

-Ah?

-Ha una splendida modela.

-Oh, si!

Very good woman.

Piero very good man.

-Oh, thank you.

Should we start right now?

-Yeah!

Grazie.

[LAUGHS]

-Ah!

-Pino!

-I am exhausted!

-It's only a mile and a
half from the tram terminal.

-Ah.

And 10 of those are up the hill.

-All right, you come on in.

I'll make a drink and
we can talk business.

-When did I last walk
a mile and a half?

-When?

-Never!

-But it's easy if
you follow my map.

-Oh!

LAWRENCE: Here, have a drink.

Did you get my letter?

PINO ORIOLI: Yes.

-They're going to
exhibit my paintings

in a gallery in London.

-Mm!

-London really hate them.

That's called "Dandelions."

It's actually a man pissing.

I think it's charming.

-You want for me to print
1,000 copies of your book.

Is that correct?

-Correct.

We'll sell 500 copies
in England and 500

in the States, two
guineas at a time.

Well, after expenses, that'll
be 1,000 pounds' profit.

And look at this.

This is "The Rape of the Sabine
Women," or "A Study in Arses."

-Delightful.

-It's only a little painting,
but they're only little arses.

-Signor Lorenzo--

-Oh, I recognize a business
tone in your voice, Pino.

-In your letter you say I
should take 10% of the profits

and you should take 90%.

-Yet?

-I consult friends.

They say the publisher,
90%, the writer 10%.

-Oh, you must find
new friends, Pino.

How long does it take
you to print a book?

-Oh, [INAUDIBLE].

A month, two month?

-It's taken me 42
years to write it.

90, 10.

-Has Pino agreed?

-With grace, enthusiasm,
and a certainty

of a place in history.

-We love you!

-Kiss him again from me.

[BELLS TOLLING]

-And forward is [INAUDIBLE].

-Do they know what
the book's about?

-Oh, yes.

I tell Giuseppe.

He says he and his
wife do it every day.

-John Thomas says good night.

-Says good night.

-Ah!

-He's a very good printer.

-Does he read English?

-No.

He only just reads
Italian, but he's

a very good printer
with many other talents.

BRETT: "For England, it is a
very shocking novel, shocking.

But that's because they're
all dead from the neck up.

Do get people to send money
with their orders if you can.

I'm broke again."

-Well, I suppose we'd better
order a couple of copies.

10.

We'll give them to friends.

-OK.

-20!

[GUNSHOT]

-Rabbit.

[GUNSHOT]

-Oh, Brett, I wish you
would stop doing that.

-I have to.

I always miss.

-[SPEAKING ITALIAN]

-[SPEAKING ITALIAN]

-Oh, this is beautiful, Pino.

[CORK POPS]

-Oh!

[APPLAUSE]

-Bravo, bravo!

Bravo.

-Auguri!

PINO ORIOLI: Auguri!

-Auguri!

-Bravo!

-This is beautiful.

-Auguri.

-Auguri.

-Auguri.

-Bravo!

-Astonishing.

An extraordinary,
courageous man.

[LAUGHS]

-He's written, "To Tony."

-Oh!

-See?

[HORSE WHINNIES]

-Oh, it's beautiful.

FRIEDA: The Americans have
banned "Lady C," of course.

LAWRENCE: God bless America.

It's good to be in France.

They never ban anything.

FRIEDA: Don't worry.

Everyone's buying it.

We have made over 1,000 pounds.

All these years, you
make me a rich woman--

I think it's right.

-Do people like the book?

-They adore the book.

Listen to "John Bull."
"A landmark in evil."

I'm married to a
landmark in evil.

"We have no hesitation in
describing this as the most

evil outpouring that
has ever besmirched

the literature of our country.

The sewers of French pornography
would be dragged in vain

to find a parallel
in beastliness."

HERBERT G. MUSKETT:
Mr. Lawrence apparently

believes that decent
people need to know

about the primary functions
of the human body--

indeed, that in some mysterious
way, it would be good for us.

And not only for us,
but for our wives

and children and servants.

He also believes that such lolly
is essential for the future

of the church and the state,
the empire and the monarchy.

[LAUGHS] And probably
for the survival

of civilization itself.

I shall want to speak
to the Home Office.

-Yes, Mr. Muskett.

HERBERT G. MUSKETT:
And Scotland Yard.

-Yes, Mr. Muskett.

Mr. Speaker, will the
Home Secretary please

give the names of the
persons on whose advice

he causes books to
be seized and banned?

-The Home Secretary.

[BLOWS RASPBERRY]

-(IN POSH ACCENT) "I am advised
by [INAUDIBLE] that these

books contain
obscene material--"

CLERK: Ms. Luhan?

FRIEDA: "And as such
are liable to seizure."

CLERK: Ms. Luhan?

Now you can't take that
out of the country.

-Oh, but it's only
for a weekend.

I need something to read.

-You know that's
banned in Mexico.

That's banned.

-Well, perhaps I could
collect it on the way back.

-Well, banned here
in the States, too.

-This is absolute insanity.

-Well, don't tell me.

You tell your friend who
writes these here things.

-I'll tell you this.

If they hate "Lady C," you wait
till they see my paintings.

FRIEDA: I'll protect
your paintings.

LAWRENCE: Yes, I know you will.

REPORTER: Do you think
"Lady Chatterley's

Lover" is obscene,
Mrs. Lawrence?

-Of course not.

The cleanest book ever written,
as beautiful and tender

and frail as the naked self.

-And these paintings?

The same.

-What's it like being
married to DH Lawrence?

-Magnificent.

Every woman in the
world would like

to be married to DH
Lawrence, but I am.

-Is it true he's seriously ill?

-Oh, of course not.

He staying with his
publisher in Florence.

-Three.

Five.

Six.

Seven.

-Um, when?

-Justice must take its time.

Haste would be indecent.

Eight.

-Right, then.

Number three.

Number three.

[GASPS]

-Number five.

Six.

Seven.

Eight.

-Good god!

-Nine.

(SHOUTING) Just a minute, lads.

His, uh, Royal Highness
the Aga Khan would like

to see the pictures
before you take them away.

10.

11.

12.

AGA KHAN: That one will do
nicely for my Paris exhibit.

-13.

14.

-Excuse me.

That is not one
of Mr. Lawrence's.

-Whose is it then?

-William Blake.

He died in 1827.

SERGEANT: 16.

-Sergeant this one's dead.

-Well, put him back,
then, Drinkwater.

Put him back.

SERGEANT: 18.

23.

LAWRENCE: Innocent England.

Oh, what a pity.

Oh, don't you agree
that things aren't

found in the land of the free?

Fig trees don't grow
in my native land.

There's never a fig leaf near
at hand when you want one.

So I did without, and that
is what the row's about.

-I'm sorry, Frieda.

I liked the pictures very much.

Please tell him.

-Do you realize
13,000 people have

visited this exhibition
in three weeks?

Now this?

Can I?

The Aga Khan wants to
exhibit them in Paris.

He gave a dinner party for him.

[LAUGHS BITTERLY] I shall have
to send Lorenzo a telegram.

-Lorenzo, this has just arrived.

[COUGHS]

FRIEDA (VOICEOVER):
Gallery raided.

Paintings removed.

Ada loves you.

So do I.

[COUGHING]

(SHOCKED) Oh!

-Oh, I hate doctors.

I mean, not as people.

That man's a good man.

English.

He won't take a fee.

-You're talking too much.

-It's a symptom.

[WHEEZING]

One of the nurses has
given me a goldfish.

FRIEDA: The nurses love you.

Everybody loves you.

Of course they bring you gifts.

[CAT PURRING]

[BIRDS CHIRPING]

[GLASS BREAKING]

[BELL TOLLING]

LAWRENCE: And the
cat at the fish.

It was a tragedy.

Cheer me up, Frieda.

-I will cheer you up.

Finally, they tell me.

They are not going to
burn your painting.

-Oh, well now, that is cheerful.

What are they going
to do with them?

-They're going to deport them.

-[LAUGHS WEAKLY]

[COUGHS]

Deport them?

-We win a long legal
battle to prevent

them being consumed
by official flames.

And we win the battle.

But they must be taken
away from England.

-To corrupt some poor
bloody foreigners.

Cheer me up, Frieda.

Cheer me up the best way.

-Somebody might walk in.

-You must get me
out of this place.

-The doctor says--

-You most find me
a house to live in.

-I"ll find you a house.

Careful!

-We were never careful.

FRIEDA: [CHUCKLES]

-Oh, look.

See, the mimosa is up.

Thank you, Frieda.

FRIEDA: This is the
first book of poems

he wrote for me, when
we ran away to Germany.

-"Look!

We have come through!"

-And we do.

-May I keep this?

-Of course.

LAWRENCE: (CALLING) Frieda!

Frieda!

[PANTING]

I ought to have morphine now.

Hold me.

Hold me.

I don't know where my hands are.

You're not to cry.

-[SOBS] I don't cry!

-My hands.

-I'm here.

[BREATHING CALMING]

-Mmmm.

I'm better now.

[PIANO PLAYING]

-"You are the call,
and I am the answer.

You are the wish, and
I, the fulfillment.

You are the night,
and I, the day.

What else?

It is perfect enough.

You and I-- what more?

Strange, how we suffer
in spite of this."

I think I will let him die.

(WHISPERING) Look.

We have come through.

[BELL TOLLING]

Goodbye, Lorenzo.

[EARTH FALLING ON COFFIN LID]

LAWRENCE (VOICEOVER): "I shall
always be a priest of love,

and a glad one."

[MUSIC PLAYING]