Separate Tables Page #9

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


All told, it's quite a problem.

- I'm going to tell herthat you're here.

- No, Pat, don't do that.

I'lljust stay out of her way till she's gone.

- She's only waiting to hear how you are.

- You can tell her I'm all right.

You don't think perhaps

you might tell herthat yourself?

No, Pat, no.

It's your own business, of course.

I think if I was in your place, I'd want to.

You don't know

what it's like to be in my place.

You can't even guess.

O, yes, I think I can, John.

I said there was a refuge foryou here.

I was wrong. There is no refuge.

- There's no refuge from yourself.

- Stop it, Pat, please.

Listen, why won't you face facts?

Do you think I enjoy seeing your refuge

blow down overyour head?

After all, I've shared it with you

for a good many years.

In a way, I'm underthe debris, too, you know...

Pat, stop it, please.

I'm asking you to stop it.

Yes, all right. I'll stop it.

Here we are, all cozy now.

- Put it there, Doreen.

- Rightey-oh.

She'll have to go, that girl.

Pat... I'm sorry, but...

but give me one reason,

give mejust one good reason

why I should ever see her again?

All right. Just one then,

and god knows it's not for me to say it...

because you love her,

and she needs you.

What went on between you two last night?

How did she win you over?

She didn't win me over,

John, for heaven's sake.

Feeling the way I do,

do you think she could?

Anyway, to do herjustice,

she didn't even try.

I could see her as she is, all right. I...

I think all you've evertold me

about her is probably true.

She is vain and spoiled

and selfish and deceitful.

Of course, with... you being in love with her,

you see all those things as sort of...

monstrous sins.

I see them as ordinary faults.

I don't like them,

but it doesn't stop me being sorry

for a woman who's ill and lonely...

and desperately in need of help.

Well, shall...

I tell herthat you're here?

No.

No, Pat.

Just let her go back to her own life, and...

leave me here to live mine in peace.

Well, that would be fine, John,

If you tell mejust one little thing...

what sort of peace you

living in down here?

Is it even living?

- Is it, John?

- It'll do.

Thank you. At this moment,

I don't think I could have borne tact.

Well, if... If you won't face her,

there's the door, and outside's the street,

and down the street is the Feathers.

It's a bit early,

but I'm sure they'll open up foryou.

Come in.

- I'm so sorry, you're busy.

- No, Major, come in. It's all right.

- Well, I can come back.

- That's all right, Major, I wasjust leaving,

I've already taken up more of

Miss Cooper's time than I deserve.

I'm so sorry, I shouldn't have barged in.

I'm afraid I've upset him.

No, you didn't upset him.

Now, what can I do foryou, Major?

It'sjust, if you don't mind, to, ah...

to get my bill ready.

I want to make it perfectly plain, Major.

That there's no question whatever

of my asking you to leave this hotel.

If you wish to stay,

you're perfectly at liberty to do so.

Well, that's very good of you, but, ah...

of course, I have to go.

Very well.

I'll send you a forwarding address

when I... when I get something fixed.

I hate to bring this up, but...

would you mind very much if I...

hid here in your office when I bring my bags down?

- I don't awfully want to...

- Of course.

And thank you for being so kind.

God knows I don't deserve it,

but I'm... I'm very grateful.

I do wish you'd change

your mind.

Miss Cooper,

the plain fact is that...

I'm fartoo much of a coward

to stay on here now.

At least you wouldn't be forced

into any more of that 'Major" stuff, would you?

I might be forced into something

a good deal more... inclusive.

Cleaning the old service revolver, perhaps.

Make a nasty mess on one of your carpets

and bring an ugly scandal to your hotel.

I'd take the risk, it you would.

You're thinking of Sibyl, of course?

Sibyl, too, yes.

Not a hope.

Not a hope in the whole blinking wide world.

I know my form, you see.

Still, that is the part about it that I...

that I hate the most.

She's distinctly an odd one, almost a case...

mind of a child and all that.

And yet, she means quite a...

quiet a lot to me.

I ratherthink you mean

a lot to her, too.

I would like to think so.

You know, one's awfully apt

to try and excuse oneself sometimes by saying,

'well, what I do doesn't do

anybody else much harm.'

But one does, you see.

And that's not a thought that I like very much.

Well, mustn't miss

the old train, what, what?

I must... I must stop saying 'what.'

Cheery-bye.

Better stop doing that, too,

I suppose.

Charles...

Oh, Charles, you were asleep.

Darling, I just can't go on like this.

I just simply can't

Like what?

Well, y-you'vejust got to marry me

so I can get some sleep.

I'm never going to

pass these exams.

All right.

What?

All right, we'll be married.

Jean.

Well, after all, if really isn't

going to make the slightest bit of difference.

First of all, we'd better call my mother

so she can get started on the arrangements.

Oh, and you'd better call

yourfather in Liverpool.

Charles, how many children

do you think we should have?

I think maybe 3 to start, don't you?

Y-yes, dear.

- Good morning, Mr. Malcolm.

- Good morning, Miss Meacham.

- Are you all right, Ann?

- Yes, thank you.

- I was worried about you.

- You shouldn't have been.

- Toast, Mrs. Shankland?

- No, thank you.

- Haddock or boiled egg?

- Just coffee, please.

I'm glad you came in.

It gives me a chance to say

how sorry I am I had to lie to you.

Tell me something, Ann.

When you say you need me,

is it me that you need, or...

orjust my love?

Because if it's my love,

you must knowthat you have that.

- It's you, John.

- Why? Why?

I suppose because

you're all the things I'm not.

You're honest and true and...

dependable and sincere and...

virtues that I don't have anymore.

So you see, Ann,

I could never satisfy your need.

And I knowthat you could

never satisfy mine.

I would nevertry to again.

I won't botheryou anymore.

Going back to New York?

I suppose so.

You must have friends there...

hundreds of acquaintances.

You know betterthan that, John.

It's hard to believe, but...

you can be more alone

in New York than... in this hotel.

Even with their separate tables,

they can talk back and forth.

Being alone in a crowd is worse.

It's more painful, more frightening.

So frightening, J...

So frightening.

I'm an awful coward, you see, I...

I've never been able to face anything alone...

being ill, having operations and all that, and...

now I can't even facejust...

just getting old.

Oh, that damn waitress will come

back and catch me crying.

- How did you sleep, dear?

- Oh, not at all well...

that dreadful business

about the Major.

I know. Never wracking, isn't it?

I'm utterly shattered, myself.

Poached eggs foryou, isn't it?

You should know by now

that Miss Railton-Bell

never has anything but

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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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