Separate Tables Page #7

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


- If I hadn't been the sort of man I am...

- I knowthe sort of man you are, John.

And the sort of woman she is.

- In all the years I've known you...

- You don't know me at all.

I'm sorry, Pat, but...

blaming her isn't going to help.

I see.

I always knew in my heart

you were still in love with her.

- Pat, Pat, I...

- No, don't John, don't say anything.

I've known it all along.

Will you be going away with her?

I don't know.

- I don't know anything about the future.

- Yes, I expect you will.

She looks as if she's got

some willpower, that girl.

If she's taken that much trouble

to run you to earth down here,

She's not going to let you go so easily.

She didn't run me to earth, Pat.

She came down here to help me.

You rally believe that?

She was going to be married.

Herfiance is in London.

- And she came here to help you?

- Yes.

It doesn't strike you as strange...

All right, let's leave it at that.

- What do you mean?

- Nothing.

- Tell me.

- No.

What is it?

Tell me.

Don't knock me about, John.

I'm not her, you know.

Now I'll ask you a question...

does she know about us?

- No.

- You're sure of that?

I told her I was engaged,

but I didn't say to whom.

The only person who would know

about us is your publisher, David Wilder.

That's right.

She's talking to Mr. Wilder

on the telephone now.

- No, John, listen...

- It's all right, I-I want to talk to her.

- Please, please...

- I've got to talk to her.

- John...

- Ah, Miss Cooper?

- I'm sorry, I...

- I've been waiting foryou.

It's a matter of vital importance.

I can't go into it here.

- I merely ask you to read this.

- Very well.

And I may add, that I've taken

a consensus of the residents.

And we are unanimous...

virtually unanimous...

that the gentleman in question be asked

to leave before lunchtime tomorrow.

Come in.

I'lljust be a minute, darling.

Goodness, you didn't

give me much time.

I can wait.

Oh, there's some brandy on the bureau,

if you'd like.

But I really don't think you should,

do you?

John?

No.

That's a good boy.

Darling John.

Listen.

You can hearthe waves rolling in.

Just like that

hotel in East Hampton.

Like that first summer we met.

A little big perhaps,

a little grand.

But... we could make believe,

couldn't we?

We could wipe out everything

that's happened to us since.

The waves rolling in all night long.

Remember?

That completes it,

doesn't it?

What?

The stage is all set,

just like it was that night.

But I don't understand.

Are you afraid of the light?

- Why should I be afraid of the light?

- People who hate the light usually hate the truth.

The truth?

John, forgive me, but I don't know

what you're talking about.

I'm talking about liars, Ann...

Liars and expensive tramps.

What are you trying to get at?

What did you say to Wilder?

How did you put it?

That you saved dear old John from

the hands of a grubby little hotel keeper?

and he was at yourfeet.

Why, his hands were shaking so much

he couldn't even light your cigarette.

Oh, John, please don't be angry with me.

I... I had to see you.

I was desperate to see you.

What for? Why?

To help me?

You wouldn't think of telling me the truth.

No. You had to have your conquest,

your unconditional surrender.

- And if you could do it by lying and cheating...

- All right.

I knew you were going to get married, but I...

and I should have said so from the beginning, but, I...

- I still have some pride left.

- Pride!

Yes!

I can see the makeup now, all right.

Little lines that weren't there before.

The beginning.

Soon there'll be more and more

and one day this face will begin to decay

and there'll be nothing left to make

a man grovel, to make him want to...

Why don't you?

John!

Don't leave me now, John!

John, come back!

Come back to my room.

John, don't go.

I can make you

forget all those silly lies.

John, come back!

What's happened?

I thought I heard...

Miss Cooper.

Miss Cooper,

Mrs. Shankland has had a fall.

I'm afraid she's hurt.

- I'll come at once.

- What is the matter? What's going on?

Mrs. Shankland has had a fall.

Oh? Miss Cooper,

I'd like my newspaper back.

- Yes. It's on my desk.

- You've read it, I trust?

- Yes, I have, Mrs. Railton-Bell.

- Poor dear. It's so dark on these stairs.

- Thank you.

- Think nothing of it.

Careful, now. Come along,

Mrs. Shankland.

- There now you're all right.

- That's all right, now.

- How's the weather, Miss Meacham?

- Dry as a bone outside.

I should have a winner

if it stays dry at Newbury.

- Did my handicap book arrive?

- Yes, I think...

That looks like it.

Miss Cooper, Mr. Malcolm wasn't in his room

when I took his tea up,

and his bed hadn't been slept in.

Yes, I know, Doreen.

- You know?

- I should've told you. I forgot.

Mr. Malcolm had to go to London

unexpectedly last night.

- Oh, he won't be in to breakfast then?

- No, I don't suppose he will.

That's something, anyway.

And what about the new lady?

She's not down yet.

She's down, Doreen.

I think she'll be in for breakfast.

Okay done.

She's leaving, isn't she?

The new one?

How did you know?

I heard her ask for her bags

to be brought down.

I knew she'd never stick it.

- 'Stick it', Miss Meacham?

- Oh, I don't mean the hotel.

Best forthe price in Bournemouth.

I've always said so.

I meant the life.

She's not an 'alone' type.

- Is anyone an 'alone' type, really?

- Oh, yes. They're rare, of course.

But you are, for one, I'd say.

You're self-sufficient.

I've very glad you think so. Miss Meacham,

perhaps even gladderthan you realize.

What do you mean by that?

I haven't the faintest idea.

I'm a bit tired this morning.

I... I had very little sleep last night.

Well, I don't suppose

you are glad, really.

Probably you haven't had to

face up to it yet.

I faced up to it very early on.

Long before I was an old wreck.

People have always scared me a bit, you see.

They're so complicated.

I suppose that's why I prefer horses.

Feeling better?

A bit.

Any word?

No. But I shouldn't worry.

He's... been out like this before.

I'd feel much better

if he'd come back.

I must catch that train.

Thank you for everything.

Hello, Miss R-B.

Enjoying the sunshine, what, huh?

By Jove, what a morning.

I've been walking on the Chins.

I must say, looking across that sea,

that sky, it could have been Tunis. It really could.

I remember out there one morning.

I the spring of '43...

Please, don't pretend anymore.

- Pretend? My dear Miss R-B...

- The West Hampshire Weekly News.

Mummy's read it, you see.

Did she show it to you?

Yes.

And to all the others.

Miss Cooper as well?

Yes.

She's asked Miss Cooper

to tell you to go.

I see.

Well, that's it then, isn't it?

Yes.

Oh, god!

Why did you do it?

Why did you do it?

I don't know.

I wish I could answerthat.

Why does anybody do anything

that they shouldn't?

Why do some people drink too much

and other people smoke 50 cigarettes a day?

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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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