Accident Page #3

Synopsis: The Oxford professor of philosophy Stephen has two favorite pupils, the athletic aristocrat William and the Austrian Anna von Graz. Stephen is a frustrated man, with a negligent wife, Rosalind, who is pregnant of their third child, and is envious of the Oxford professor Charley that has a television show. Stephen feels attracted to Anna, but William woos her and she becomes his girlfriend. Charley has a love affair with Anna but when things go wrong, Anna must leave town.
Genre: Crime, Drama
Director(s): Joseph Losey
Production: Rialto Pictures
  Nominated for 1 Golden Globe. Another 5 wins & 6 nominations.
 
IMDB:
7.1
Rotten Tomatoes:
86%
Year:
1967
105 min
$17,161
Website
452 Views


'The same as I was then?'

'The same.'

Hello.

I've just come from London.

I know.

To see the television people.

Did you see them?

I'm hungry.

I'm going to make an omelette.

We don't want any.

Shall I cook?

Can you?

Give me a cigarette.

I wrote to you.

The letter is in the hall.

You didn't get it.

I left early.

Get the letter.

There it is.

Another one for you.

From my wife.

A personal letter.

From her to you.

Open it.

De-da, de-da, de-da, de-da...

Ah.

"So I just want to beg you

that while...

"...still being understanding,

sympathetic, et cetera...

"...you don't necessarily show to him

"you think it's the great thing

of his life.

"You might even hint

that sooner or later,

"you'll be bored to death by her.

"I believe this, of course,

"but naturally I'm in a wrong position

even to hint.

"I always...

"...wondered what this would be like

if and when it happened.

"But I must say it beats everything.

"Love, Laura.

Don't say I wrote this

for heaven's sake."

I thought you didn't want any.

- I didn't.

- Then why are you eating it?

Mind your own damn bloody business!

- What are you doing?

- Making the bed.

No need to do that.

A woman comes in every morning.

I can do it.

Leave it!

Please.

Hello?

Hello? Yes?

This is Palling 146.

We are going.

Yes.

Taxi. Now! To go into Oxford.

You might as well stay.

- It's very late.

- Straight away, OK?

Bye.

Anna?

I've got a taxi.

It's on its way.

Shut the door, for God's sake.

It was her idea.

She knew Rosalind was away.

She said you wouldn't mind.

I don't mind.

Nothing to do with me.

It's your bloody house!

Anyway, I wrote to you.

You didn't get the damn letter.

- When did it start?

- What?

Weeks ago. Weeks.

We used to go to her room

in the afternoon.

Didn't even have a lock on the door.

Anyone could have come in.

Someone did come in once.

A girl.

Can you imagine?

Anyway, I'm sleeping at college

most of the time now.

I can't take her there, can I?

Where can I damn well take her?

I thought she and William were...

close friends.

They are. They're just friends.

Means nothing.

She's not a whore.

I don't know what to do, you see.

I can't have enough of her.

I don't know what to do.

Where's your car?

Laura's got it.

I will see Rosalind tomorrow

at her mother's.

And I'm going to William's house.

I've been invited down.

You can bring her here

for the weekend.

Thanks.

It's the children, you see.

I'm never there.

They're missing me.

The taxi's waiting!

Coming!

This is your dressing gown.

- Can I ask you a question?

- What?

How did you get in tonight?

Through the lavatory window.

You're getting old for that, aren't you?

- Yes, I am.

- Here's a key.

Thanks.

One more question.

What?

Last Sunday night,

when you all stayed...

...did you sleep with her here?

Of course I did.

Did you see anyone in London?

No.

What happened

about the television people?

Nothing. Wasn't any good.

You look wonderful.

I feel it. I feel great.

- I wish you could stay.

- So do I.

Still, you'll have a good time

at William's house, won't you?

With all those lords and ladies.

What's the matter?

- Hello, Laura.

- Hello, Stephen.

The door was open.

How are you?

Fine.

What are you doing?

Charley's not here.

I got your letter.

I'm just doing the garden.

When I got back from London...

...Charley and Anna were there.

Charley and Anna?

Yeah.

- Together in the house?

- Mm.

I was... I got back late a bit drunk.

I was astonished.

Why were you drunk?

Oh, I had dinner with Francesca.

You remember.

You remember Francesca?

Yes.

I just gave her a ring, you know.

It was quite pleasant.

He's sleeping with her, is he?

Hm? Who?

Charley. With Anna.

Yeah, of course.

How pathetic!

- What do you mean?

- Poor, stupid, old man.

- He's not old!

- Stupid bastard!

Does Laura know?

Yes.

And what about the children?

Has he told them?

- Do you want me to come?

- Yes.

It's just that I'm trying to tell you.

Do you want some coffee?

No, I don't want any coffee.

Listen...

This, this thing...

...i-i-it's nothing.

It'll all f-f-f.... fall flat.

He says he's in love with her.

Love. Everyone thinks

they're in love.

Do you?

I've never heard of anything

so bloody puerile, so banal!

What's banal about it?

Poor, stupid little b*tch.

You just calling people stupid.

What's the use of...?

Well, they are. Except Laura.

She's stupid too.

You chucked them out, I hope.

- Don't worry about it.

- I'm not.

I think I'll pop in and see Laura.

It's on my way.

Give her my love.

I wanted to meet your father.

I'm sorry.

Anna was coming down but she's got

some of her family over or something.

Ah.

I've never thanked you

for introducing us.

I didn't.

Haven't you ever played

this game before?

No.

Tradition.

We all played it at school.

Oh.

You'll enjoy it. It's fun.

This is the ball.

You see?

I think you should go in goal.

- Where is it?

- Down there by that door.

I have a funny feeling

this is a murderous game.

Not at all.

Isn't it true that every aristocrat

wants to die?

I don't.

What do I do in goal?

Defend it.

- How?

- Any way you like.

- Can't I just watch?

- No.

You're a house guest.

You must play.

Only the old men watch.

And the ladies.

- You want one?

- No, thank you, Provost. No.

- Don't you smoke?

- Pipe.

- Ah.

- Come on!

And again!

Come on!

Owzat?

Hard luck.

He really is a magnificent athlete,

that boy.

Yes.

He's a natural.

That boy.

I was quite good myself. I...

But not altogether in the same class.

Stephen, were you any good?

No.

I... saw Francesca

when I was in London.

- Your daughter.

- Ah.

- How is she?

- Very well.

She sent you her love.

Ah, please give her mine

when you see her again.

Oh, I don't know

when I shall be seeing her again.

Hello.

Have a nice weekend?

Yes. Thank you

for your hospitality.

I'm getting married.

Oh. Who to?

William.

Ah.

Have you told him?

Well, congratulations.

I wonder

if you could tell Charley for me.

Will you let me know what he says?

Hello.

- Well played.

- Thanks!

Look, I want to come and see you.

Have a word with you.

Can I come tonight after this party?

It'll be a bit late.

- Yes, sure. What's the trouble?

- No trouble. No trouble at all.

- You coming?

- I don't want her!

I want a man-to-man talk!

Well, we can talk when she's in bed.

She can sleep in the spare room.

- Can't you?

- That would be nice.

OK. We'll see you later.

Come on!

It's all right.

Did anyone know

you were with him?

You can hear, can't you?

Did anyone know

you were coming here with him?

Was he supposed to have

dropped you off at your room?

He's dead.

You had an accident.

You crashed.

You were driving, weren't you?

Someone may see you.

Right.

Your handbag.

Hello?

Yes.

Oh, have you?

Oh, I was asleep.

I... I didn't hear it.

Yes.

Ah.

I see.

She's all right.

Yes.

Er... I-I-I-I'll get dressed right away

Rate this script:0.0 / 0 votes

Harold Pinter

Harold Pinter (; 10 October 1930 – 24 December 2008) was a Nobel Prize-winning British playwright, screenwriter, director and actor. One of the most influential modern British dramatists, his writing career spanned more than 50 years. His best-known plays include The Birthday Party (1957), The Homecoming (1964), and Betrayal (1978), each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant (1963), The Go-Between (1971), The French Lieutenant's Woman (1981), The Trial (1993), and Sleuth (2007). He also directed or acted in radio, stage, television, and film productions of his own and others' works. Pinter was born and raised in Hackney, east London, and educated at Hackney Downs School. He was a sprinter and a keen cricket player, acting in school plays and writing poetry. He attended the Royal Academy of Dramatic Art but did not complete the course. He was fined for refusing National service as a conscientious objector. Subsequently, he continued training at the Central School of Speech and Drama and worked in repertory theatre in Ireland and England. In 1956 he married actress Vivien Merchant and had a son, Daniel, born in 1958. He left Merchant in 1975 and married author Lady Antonia Fraser in 1980. Pinter's career as a playwright began with a production of The Room in 1957. His second play, The Birthday Party, closed after eight performances, but was enthusiastically reviewed by critic Harold Hobson. His early works were described by critics as "comedy of menace". Later plays such as No Man's Land (1975) and Betrayal (1978) became known as "memory plays". He appeared as an actor in productions of his own work on radio and film. He also undertook a number of roles in works by other writers. He directed nearly 50 productions for stage, theatre and screen. Pinter received over 50 awards, prizes, and other honours, including the Nobel Prize in Literature in 2005 and the French Légion d'honneur in 2007. Despite frail health after being diagnosed with oesophageal cancer in December 2001, Pinter continued to act on stage and screen, last performing the title role of Samuel Beckett's one-act monologue Krapp's Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October 2006. He died from liver cancer on 24 December 2008. more…

All Harold Pinter scripts | Harold Pinter Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Accident" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/accident_2178>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Which of the following is a common structure used in screenwriting?
    A Four-act structure
    B Five-act structure
    C Two-act structure
    D Three-act structure