The Ploughman's Lunch Page #4

Synopsis: James Penfield has made a career out of journalism. Now bankrupt, he finds himself with a group of other writers in the middle of the dispute-ridden British homeland at the time of the Falklands War.
Genre: Drama
Director(s): Richard Eyre
  Nominated for 1 BAFTA Film Award. Another 1 win.
 
IMDB:
6.5
R
Year:
1983
107 min
365 Views


INT. JAMES' FLAT - EVENING

James is clearing a desk he has against a wall, in

preparation for work on his Suez book. It is a desk that

has not seen much use before, piled high with clutter. He

brings over a lamp for it, arranges the typewriter in its

centre. Various London library books are arranged along

one edge.

On the wall above the desk, James pins a large map of Europe

and the Mediterranean. He sits at the desk, lines up a

couple of pencils...and picks up a book.

INT. RESTAURANT - DAY

Langan's, Piccadilly. Gold and James are met at the door

by the HEAD WAITER, Gold is obviously known here.

Businessmen, media people, agents, conspiracy, urgency,

babble. Cornucopia too - dessert trolley, cheese trolley,

something being flambee'yd at a table.

ANOTHER SHOT through the diners we find Gold and James

already seated. The main course has been cleared away. A

clock shows the time to be ten to three.

JAMES:

I was only ten years old at the

time, but it was the first

international crises I can remember.

It's obviously a key point, and

I've always thought that sooner or

later we would have to re-examine

Suez in the light of subsequent

events. And now, suddenly, with

this Falklands business on us,

it's quite clear we do need to

take another look at 1956. The

way I see the book is that it would

get away completely--

The waiter has wheeled up the dessert trolley. Gold has

been examining it for the last few seconds before breaking

in.

GOLD:

Would you like a dessert...I'm

having one.

JAMES:

No thanks. I'd like to break away--

GOLD:

I'll have some of that.

JAMES:

...break away completely from--

GOLD:

And some of that. Sorry.

JAMES:

...from all the moralising and

talk of national humiliation that

is now the standard line on Suez...

Gold has a great forkful of gateau near his face.

GOLD:

Yes...You're not a socialist then?

JAMES:

No. I'd want to--

GOLD:

Good.

JAMES:

I'd want to set out events as they

happened. The way I see it is

this:
the British Empire was an

ideal. It may have become totally

obsolete by the middle of this

century, but it wasn't totally

dishonourable to try and defend

its remains and try and salvage

some self-respect, which is what I

think the Conservatives were trying

to do. Then there's the essential--

GOLD:

Are you going to have coffee?

JAMES:

Yes, please.

GOLD:

And you'll join me in a sambucca?

JAMES:

Thank you.

Gold speaks to the waiter as James continues.

JAMES:

...there's the business of the

British collusion with Israel. Of

course it's proved beyond all doubt

now, but I want to set it in the

context of diplomacy and warfare.

I mean, if you're about to attack

one country, it makes sense to

encourage neighbouring countries

to attack it to. The French

understood this. They could never--

The waiter brings the coffee. Gold is lighting a cigar,

having offered one to James.

JAMES:

The French could never make out

all the embarrassment and breast-

beating of the British. My enemy's

enemy is my friend. It's as simple

as that. If we had not been so

scrupulous we would not have been

so ashamed.

The waiter brings the sambuccas. We CLOSE IN on the drinks

as James goes on talking. Gold puts a match to James's

drink on this next line.

JAMES:

Now it's as if we discovered

ourselves again. We're acting

independently when the standard

line has always been that after

Suez we couldn't lift a finger

without the Americans.

INT. ARCADE - DAY

Gold and James stroll through the arcade, bloated from

their lunch. Both are slightly drunk. Gold is expansive.

GOLD:

Personally James, I'm very excited

by this new arrangement we have.

It gives us direct access to

literally hundreds of American

collages. Twentieth century history

is a growth area over there, don't

ask me why. Your readership will

be first and second year American

collage students...

Rate this script:5.0 / 1 vote

Ian McEwan

Ian Russell McEwan CBE FRSA FRSL (born 21 June 1948) is an English novelist and screenwriter. In 2008, The Times featured him on their list of "The 50 greatest British writers since 1945". McEwan began his career writing sparse, Gothic short stories. The Cement Garden (1978) and The Comfort of Strangers (1981) were his first two novels, and earned him the nickname "Ian Macabre". more…

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