The Ploughman's Lunch Page #20

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JAMES:

What went wrong?

ANN:

Oh, many things. Inertia ... Stalin

and the Cold War... a failure of

nerve. We took the seediest, most

inefficient fifth of the economy

into State care, paid out millions

for it, put the same old duffers

in charge. A new broom with very

old bristles. When the Tories

were returned, I went and sat in

the BM and wrote my little book on

Chartism.

Later. Walking home

ANN.

I don't like admitting it, but the

truth is, I am happy. Matthew's

right. I like comfort. I like

doing my own work and not having

to teach. I love my house and the

garden, and my wood.

(she stops)

And I'm very happy walking here

with you. (She takes his hand.)

You have such a quiet, strong sense

of purpose. Energy. I think I'll

rely on you to take the

uncomfortable stands in life.

I've done my bit.

They smile at each other.

Ann moves in to kiss James passionately. He complies.

A jet fighter flies in low over the marshes.

INT. DRAWING-ROOM - EVENING

Susan and Tom, who wears pyjamas and dressing-gown, are

playing Chess. James watches Susan. Tom is noisily,

bossily instructing her in the rules. Matthew is

approaching James, about to speak.

MATTHEW:

I just might give you a ring when

we get back to London. There's

one or two things I'd like to...

Will you let me have your number

before you leave? Have you ever

watched a commercial being made?

JAMES:

No.

MATTHEW:

Well, it's worth seeing.

Ann appears in the doorway.

ANN:

James...

There is a moment of awkwardness. James squeezes past

Matthew and goes towards Ann.

JAMES:

Excuse me.

INT. LIBRARY - EVENING

The library. A moment later. James has just come in.

Ann hands him a silver framed photograph.

ANN:

I wanted to show you. It was taken

six months before he died.

The resemblance between James and the dead brother should

be clear. James studies the photograph. He looks up.

Ann is gazing at him steadily.

INT. DINING-ROOM - NIGHT

Half an hour later. Ann, Matthew, Susan and James. A

certain strain. The sound of knives and forks only. In

the hall the PHONE RINGS. They hear Betty pick it up.

Still holding the receiver she pushes open the dining-room

door.

BETTY:

(to Matthew)

It's for you, Mr Fox.

The others go on eating, acutely aware of Matthew's

conversation.

MATTHEW:

(from the hall)

Hello... Oh, hi... well, you know...

He pushes the door shut with his foot. James looks at

Susan. Susan glances at her mother. Ann knows it is one

of Matthew's girlfriends. She goes on eating, a brave but

failing attempt to appear untouched.

INT. JAMES'S BEDROOM - NIGHT

Very late, the same night. From the point of view of an

intruder we move into the room. James is asleep.

ANNE'S VOICE

(whispers)

James... James.

He snaps awake. We SEE what he sees. Ann sits on the

edge of his bed, in tears. She touches his face. She

leans over and embraces him.

INT. JAMES'S BEDROOM - NIGHT

A little later. The bedside lamp is on. James lies still,

his expression numb. The bedclothes are in disarray. His

bedroom door is just closing.

INT. NEWSROOM - LATE MORNING

The Newsroom at its busiest, as in Scene One. Linger on

the activity before finding James. He sits writing a report

in longhand, referring to News Agency material. Much

dictating going on around him, so that Philip who sits

across from him has almost to shout to be heard. He has

picked up a phone and is covering the mouthpiece.

PHILIP:

It's that lady from Norfolk again.

JAMES:

I'm not here.

PHILIP:

I'm terribly sorry. He doesn't

seem to be here ... No ... Yes, if

I see him, I will. .. Goodbye.

She's going to phone back.

JAMES:

Next time tell her I've gone away.

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