Withnail and I Page #4

Synopsis: Withnail and I is a 1987 British black comedy film written and directed by Bruce Robinson. Based on Robinson's life in London in the late 1960s, the plot follows two unemployed young actors, Withnail and "I" (portrayed by Richard E. Grant and Paul McGann) who live in a squalid flat in Camden Town in 1969 while squandering their finances on alcohol. Needing a holiday, they obtain the key to a country cottage in the Lake District belonging to Withnail's lecherous gay uncle Monty and drive there. The weekend holiday proves less recuperative than they expected.
Genre: Comedy, Drama
Year:
1987
1,373 Views


[Withnail snorts. Danny takes the head off the doll and extracts a handful

of pills.]

Danny:

Trade:
Phenodihydrochloride benzelex. Street: The embalmer.

Withnail:

Balls. I'll swallow it and run a mile.

Danny:

Cool your boots man. This pill's valued at two quid.

Withnail:

Two quid! You're out of your mind.

I:

That's sense Withnail.

Withnail:

You can stuff it up your arse for nothing and f*** off while you're

doing it.

Danny:

No need to insult me man. I was leaving anyway. Have either of you got

shoes?

---------------------------------------------------------------------------

Monte's house

[A battered Jag pulls up outside Monte's house and Withnail and I get out.

There is a rather flash looking open-topped Rolls parked outside. The sound

of a Schubert piano sonata comes from the house.]

Withnail:

Monte's car.

[Withnail knocks on the door. Monte, a rather fat, effeminate, middle-aged

gentleman, opens the door. He is holding a very large fluffy cat and a

watering can.]

Monty:

Oh hello. Come in.

[They enter and go into the lounge.]

Monty:

Sit down do. Would you like a drink?

[They sit together on a sette.]

Withnail:

Sherry!

Monty:

[To withnail] Sherry. [To I] Sherry?

I:

Sherry.

Monty:

Sherry.

[Monty moves to the sideboard and pours the drinks. Withnail lights up yet

another cigarette.]

Monty:

Do you like vegetables? I've always been fond of root crops but I only

started to grow last summer. I happen to think the cauliflower more

beautiful than the rose.

Withnail:

Chin chin.

[He drinks the sherry.]

Monty:

Do you grow?

Withnail:

Geraniums.

Monty:

Oh you little traitors. I think the carrot infinitely more fascinating

than the geranium. The carrot has mystery. Flowers are essentially

tarts. Prostitutes for the bees. There is you'll agree a certain je ne

ses quoi oh so very special about a firm young carrot. Excuse me. Do

help yourselves to another drink.

[Withnail turns and reaches a bottle over from the sideboard. He takes a

long swig. ]

I:

What's all this. The man's mad.

Withnail:

Eccentric.

I:

Eccentric? He's insane. Not only that he's a raving homosexual.

[There is a yowl from the cat. Monte storms back into the room preceded by

the cat.]

Monty:

You beastly little parasite. How dare you? You little thug. How dare

you? Ooohhhh. Beastly ungrateful little swine.

[He deposits his considerable bulk on the other settee, facing the first.]

Withnail:

Shall I get you a drink Monte?

Monty:

Yes. Yes please dear boy. You can prepare me a small rhesus negative

Bloody Mary. And you must tell me all the news. I haven't seen you

since you finished your last film.

[I smiles wriley to himself. Withnail downs the drink he has prepared for

himself, pours another and starts making the Bloody Mary for Monty.]

Withnail:

Rather busy uncle. TV and stuff. My agent's trying to edge me towards

the Royal Shakespeare again.

Monty:

Oh splendid.

Withnail:

He's just had an audition for rep.

Monty:

Oh splendid. So you're a thespian too?

[Withnail delivers Monte's drink and sits beside him.]

Withnail:

Monte used to act.

Monty:

I'd hardly say that. It's true I crept the boards in my youth but I

never had it in my blood and that's what so essential isn't it?

Theatrical zeal in the veins. Alas, I have little more that vintage

wine and memories.

[He stands and looks at a photograph on the mantlepiece.]

Monty:

It is the most shattering experience of a young man's life when he

awakes and quite reasonable says to himself: [He puts his hand on his

heart] I will never play The Dane. When that moment comes, ones

ambition ceases. Don't you agree?

Withnail:

A part I intend to play, Uncle.

Monty:

And you'll be marvelous. [He starts quoting from Hamlet] We do it

wrong, being so majestical. To offer it the show of violence......

[As Monte rambles in the background I steps over to Withnail and whispers.]

I:

He's a madman. Any moment now he's going to rush out and get into his

tights.

Withnail:

Ok ok. Give me a minute.

I:

The house or out.

[Withnail stands and moves over to Monte.]

Withnail:

Could I have a word with you Monte?

Monty:

Oh forgive me dear boy, forgive me. I was allowing memories to have

the better of me.

Withnail:

Shall I get you a top up? [He moves to the sideboard again. Monte sits

down and reminisces.]

Monty:

Indeed I remember my first agent. Raymond Duck. Dreadful little

Israelite. Four floors up at the charring cross and never a job at the

top of them. I'm told you're a writer too. Do you write poems?

I:

No, I wish I could. It's just thoughts really.

Monty:

Have you published?

I:

No no.

Monty:

Where did you school?

Withnail:

He went to the other place Monte.

Monty:

Oh you went to Eton?

[The cat reappears on I's chair.]

Monty:

Get that damned little swine out of here. It's trying to get itself in

with you. It's trying for even more advantage. It's obsessed with its

gut - its like a rugby ball now. It will die, it will die!

[He storms around ineffectually.]

Withnail:

Monte, Monte.

Monty:

No dear boy you must leave, you must leave. Once again that oaf has

destroyed my day.

Withnail:

Listen Monte. Can I just have a quick word in private.

Monty:

Oh, very well.

[Later they are leaving the house. Monty shows them to the door.]

Monty:

Good night my dears.

Withnail:

Good night Monty.

[Monty closes the inner door to the porch behind them.]

I:

What's all this going off in private business? Why did you tell him I

went to Eton?

Withnail:

Because it wouldn't have helped if I hadn't.

I:

What do you mean by that?

Withnail [Showing him the key to the cottage.]:

Free to those that can afford it. Very expensive to those that can't.

----------------------------------------------------------------------

The car

[They leave Camden in I's battered old Jag. Withnail, still in his

suit, has a bottle and is clearly drunk. They pass some schoolgirls.]

Withnail:

Scrubbers!

Scrubber:

Up yours grandad!

Withnail:

Scrubbers! scrubbers!

I:

Shut up.

Withnail:

Little tarts they love it.

I:

Listen, I'm trying to drive this thing as quietly as possible. If

you don't shut up we'll get stopped by the police.

[The pass a notice anouncing an accident blackspot.]

Withnail:

Look at that, look at that. Accident black spot. These aren't

accidents. They're throwing themselves into the road gladly.

Throwing themselves into the road to escape all this hideousness.

[To a pedestrian] Throw yourselves into the road darling, you

haven't got a chance.

[Somewhat later they join the motorway.]

Withnail:

At some point or another I want to stop and get hold of a child.

I:

What do you want a child for?

Withnail:

To tutor it in the ways of righteousness and procure some

uncontaminated urine.

[He takes out the bottle and instructions provided by Danny.]

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Bruce Robinson

Bruce Robinson (born 2 May 1946) is an English director, screenwriter, novelist and actor. He is arguably most famous for writing and directing the cult classic Withnail and I (1987), a film with comic and tragic elements set in London in the 1960s, which drew on his experiences as "a chronic alcoholic and resting actor, living in squalor" in Camden Town. more…

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