Separate Tables Page #4

Synopsis: It's the off-season at the lonely Beauregard Hotel in Bournemoth, and only the long-term tenants are still in residence. Life at the Beauregard is stirred up, however, when the beautiful Ann Shankland arrives to see her alcoholic ex-husband, John Malcolm, who is secretly engaged to Pat Cooper, the woman who runs the hotel. Meanwhile, snobbish Mrs Railton-Bell discovers that the kindly if rather doddering Major Pollock is not what he appears to be. The news is particularly shocking for her frail daughter, Sibyl, who is secretly in love with the Major.
Genre: Drama, Romance
Director(s): Delbert Mann
Production: MGM Home Entertainment
  Won 2 Oscars. Another 5 wins & 15 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
77%
UNRATED
Year:
1958
100 min
736 Views


very good indeed.

But there's quite a difference in

not having an hysterical fit,

and being able to keep ajob.

Now... Go and fetch me

that newspaper, will you, dear?

Yes, mummy.

- Uh, oh, which one do you want?

- The West Hampshire Weekly News.

I want to see what the major

was so interested in.

Oh, dear, what a silly-billy.

I've gone and left my glasses upstairs.

Oh, well, shall I go and get them foryou?

Will you, dear?

That would be so kind of you.

I hate you fetching and carrying for me,

but you know, my poor old legs are a bit tired.

- I think you'll find them on the table by my bed.

- Yes, mummy.

Oh, my dear, there's the most

wonderful quiz program in television.

- There's a little boy...

- Gladys, have you got your glasses?

- Yes, dear.

- Oh, good.

I idiotically left mine upstairs.

Here, read this out to me.

- 'Cab driver loses license.'

- No, no, no, no. 'Ex-officer pleads guilty.'

'Ex-officer pleads guilty.

Offense in theater.'

- Oh, my dear, do we really want to read this?

- Y-yes, we do, Go on.

- But what about the television?

- This is infinitely more important.

On Thursday last,

before the Bournemouth magistrate,

'David Angus Pollock, 55,

giving his address as the Beauregard hotel, Morgan... '

Pollock...

- Maj. Pollock?

- Go on.

...Morgan crescent, Bournemouth,

pleaded guilty to a charge of insulting behavior

'on a Bournemouth cinema."

- Oh, he must've been drinking.

- No. He only drinks one glass of port a day.

Go on.

A Mrs. Osborne, 43 of 4

Studland Road, giving evidence,

stated that Pollock, sitting next to her,

persistently nudged her in the arm

and later attempted to take other liberties.

She subsequently vacated her seat

and complained to an usherette.

Insp. Brown, giving evidence, said that in response

to a telephone call from the theater manager,

Pollock had been kept

under observation by police officers,

from 3:
50 P.M. Until 7:10 P.M.

By which time he had been observed

to change his seat no less than 5 times,

always choosing a seat next to

a female person.

There had, he admitted,

been no further complaints.

But that was not unusual in cases of this kind.

On leaving the theater,

Pollock was arrested.

Is that all?

Oh, yes. 'Mr. William Cowther,

appearing on behalf of the defendant,

stated that his client had

had a momentary aberration.

He was extremely sorry

and ashamed of himself

and would undertake neverto behave

in so stupid and improper a manner in future.

He asked that his client's war record

should be taken into account.

He had enlisted as a private

in the army in 1925,

and afterthe outbreak of war in 1939,

was granted a commission

as 2nd lieutenant in the army...

supply corps.

During the whole of the war

he had held a responsible position

in an army supply depot in the west Indies.'

- The whole of the war?

- Yes, dear. I heard you. Go on.

In 1946, he had been demobilized

with the rank of full lieutenant.

The defendant was not called.

The chairman of the bench,

giving judgment, said,

you have behaved disgustingly,

but because this appears to be your 1st offense,

we propose to deal leniently with you.

The defendant was put

in probation for 12 months.

Oh, dear. Oh, dear. Oh, dear.

Oh, dear. Oh, dear.

He must have thought

he's got away with it.

- What a stroke of luck I take this paper.

- Luck? Humph. Was it luck?

I almost...

Oh, dear, poor Sibyl.

Maud, you mustn't tell her.

Not tell her?

I... I mean, not the details.

Not about the theater.

Oh, dear, I don't know how

I shall look him in the face again.

You won't have to, dear.

I'm going straight to miss Cooper

and insist that he leaves the hotel

before luncheon time tomorrow.

Oh, Maud, do you think you ought to?

Gladys, what's come overyou this evening?

Of course I ought to.

Well, you know what Miss Cooper is...

She's so independent and stubborn.

- Perhaps she won't agree.

- She'll have to if we all insist.

We don't all insist.

Well, I... I mean, there's only two of us.

Oughtn't we to consult the others?

Oh, dear, that means

we shall have to tell them.

An excellent idea, Gladys.

Let's go and get them all together.

I'm sorry it took so long, mummy.

Here are your glasses.

Oh, you found them, clever girl.

Well, I don't need them now.

Gladys, go and see who's in the game room.

Oh, Mrs. Shankland. We'd like you

to come to a meeting in the lounge.

- Oh, but I... I...

- Ah, I'll tell you all about it in a moment.

- Good evening.

- Good evening.

- Am I reading your magazine?

- Oh, no, no. You go right ahead Mrs. Shankland.

I didn't expect to find a fashion magazine here.

Does Miss Coopertake it?

O-Oh, no. No, it's... it's, um...

It's yours, isn't it?

Yes.

You must forgive me for staring at you,

but you look so beautiful,

I really couldn't help it.

Thank you very much.

Y-you lookjust like

the pictures in the magazine.

Oh, but my picture hasn't been

in a magazine, not foryears.

Oh, but I rememberthem, though, and...

and I've always wondered who you were

and the exciting kind of life

you must have led, and...

and you lookjust the same,

just as lovely.

Well, thank you.

That's very sweet of you.

- Sibyl?

- I recognized you the moment that you came into the...

- Sibyl?

- Yes, mummy. I'm here.

Forgive me for staring at you.

It was very rude.

Oh, Sibyl, dear, I think you'd better

go to your room, if you don't mind.

Oh, but why, mummy?

Because we're going to have

a little meeting in here

with some of the regular residents,

to discuss a matter of grave urgency,

which hasjust cropped up.

Oh, but how exciting. Well, can't I stay?

After all, I'm a regular, too.

Yes, yes, yes, I know, dear.

But I don't think the subject is

at all suitable foryou.

- If this is to be a meeting of the residents, I'm...

- No, no, please, Mrs. Shankland.

Although you're only temporary,

we would so like you to feel that you're one of us,

and as a woman of the world,

we would value your advice.

- But what is it, mummy?

- Oh, what an inquisitive child it is.

Well, I'll tell you this much...

But only this much.

It concerns yourfriend, the Major,

and it's extremely grave.

But I don't understand.

What is it, mummy?

I'm not going to tell you any more.

- It might upset you too much.

- But I must know, mummy. I must...

Please, don't raise your voice so, dear.

- You really insist I should tell you?

- Yes, mummy. I do.

- Even after my strong warning?

- Yes, mummy.

Very well then,

I've no option.

Read that.

Middle column,

top of the page.

I couldn't find...

- Oh, Maud, you haven't told her.

- I did my best, but she insisted.

She absolutely insisted.

My dear, I'm so sorry.

Must be a dreadful shock foryou.

It was for us, too.

Are you all right?

Sibyl, are you all right?

Yes, mummy.

Oh, S-Sibyl,

you've broken my glasses.

Ohh, and you've cut your hand.

Here, let me see it.

I think you'd better wrap

this around it forthe moment.

Rate this script:5.0 / 1 vote

Terence Rattigan

Sir Terence Mervyn Rattigan, CBE (10 June 1911 – 30 November 1977) was a British dramatist. He was one of England's most popular mid twentieth century dramatists. His plays are typically set in an upper-middle-class background. He wrote The Winslow Boy (1946), The Browning Version (1948), The Deep Blue Sea (1952) and Separate Tables (1954), among many others. A troubled homosexual, who saw himself as an outsider, his plays centred on issues of sexual frustration, failed relationships, and a world of repression and reticence. more…

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Submitted on August 05, 2018

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