Withnail and I (Bloomsbury Film Classics)

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You must, you must. That poop will bore through the glaze. We'll never be able to use the dinner service again. [Rummaging through a drawer] Here, get it with the pliers. BBC – The Summer of British Film – What's On". BBC. Archived from the original on 22 April 2011 . Retrieved 20 April 2011. Rubbish. [He flings his cigarette across the room] Haven't seen Gielgud down the Labour Exchange. Why doesn't he retire? [He grabs a newspaper from the coffee table] Look at this little bastard. ``Boy lands plum role for top Italian director.'' Of course he does. Probably on a tenner a day and I know what for: two pound ten a tit and a fiver for his arse. We're doing a feature for Country Life. Survey of rural types. You know... farmers, travelling tinkers, milkmen; that sort of thing.

Do you know, when you first came in here, I knew you were a service's man. You can never, never disguise it. They enter and go into the lounge. It is very old fashioned in appearance, paintings, books, a drink's cabinet, a sideboard, an open fire and a pair of opposing sofas separated by a coffee table. There are mementos and photographs everywhere. Sometime later, the three of them are sat around the table having finished breakfast. The table is littered with plates, bottles, cutlery and condiments. Withnail is smoking and they are all drinking wine. And you'll be marvellous. Marvellous. [He starts quoting from Hamlet] We do it wrong, being so majestical. To offer it the show of violence...Robinson, Bruce (9 July 2001). " 'Withnail and I' (essay)". The Criterion Collection . Retrieved 26 April 2020.

Oh, my boys, my boys. We are at the end of an age. We live in a land of weather forecasts and breakfasts that 'set in'. Shat on by Tories, shovelled up by Labour. And here we are. We three. Perhaps the last island of beauty in the world. [He pauses to look at them] Now, which of you is going to be a splendid fellow and go down to the Rolls for the rest of the wine? Then it was a rodent. Opened the oven door and it was in there looking at me. Quite freaked me at the time. I was going to cook onions. Shut up! [To Parkin] That would be very kind of you. Erm, what about food? Do you think you could sell us something to eat? They follow each other into the living room. Marwood has forgotten about the kettle and the kitchen is filling with steam. Marwood catches himself in the mirror as he passes.In September 1969, two unemployed young actors, flamboyant alcoholic Withnail and contemplative Marwood, live in a messy flat in Camden Town, London. Their only regular visitor is their drug dealer, Danny. One morning, the pair squabble about housekeeping and then leave to take a walk. In Regent's Park, they discuss the poor state of their acting careers and the desire for a holiday; Marwood proposes a trip to a rural cottage near Penrith owned by Withnail's wealthy uncle Monty. They visit Monty that evening at his luxurious Chelsea house. Monty is a melodramatic aesthete, who Marwood infers is homosexual. The three briefly drink together as Withnail casually lies to Monty about his acting career. He further deceives Monty by implying that Marwood attended Eton College, whilst a lithograph of Harrow School seen earlier in the flat suggests that both Monty and Withnail were educated there. Withnail persuades his uncle to lend them the cottage key and they leave. I have of late, but wherefore I know not, lost all my mirth and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory... McGann, Paul (1999). Withnail and Us. Channel 4. Event occurs at 6:02. Marwood was always like that little grain of sand... Well, it doesn't mean to say I've got it. They probably just want to see me again. Well, that settles it, then. We leave immediately.

He rips off Marwood's bed sheets. Marwood races across the bed to the other side of the room. Monty advances. As he approaches and corners Marwood, Monty unties his dressing gown. Marwood looks up and down in horror. Monty presses himself against Marwood. Ebert, Roger (25 March 2009). "A side-effect of alcoholism: My thumbs have gone weird!". RogerEbert.com . Retrieved 26 April 2020.As Monty leaves, Withnail turns and reaches a bottle over from the drink's cabinet. He takes a long swig. Thanks for posting the script. Interestingly, the published version includes several missing scenes, cut, apparently, for reasons of rythmn. These include the scene where Withnail, convinced of the Jaguar's roadworthyness, is informed by the mechanic that he has, '..seen better tyres hangin' over the side of a tug.' Priceless. He shouts and throws the shopping in the air. The bull roars, Marwood shouts again and runs at it. It turns and retreats to its field. Owen, Alistair, ed. (2000). Smoking in Bed: Conversations with Bruce Robinson. Bloomsbury. ISBN 0747552592.

Right, that's it! Next garage, I've got to do something about that wiper. And I've got to get some sleep. Rather later, the pair are the only remaining customers. Raymond, wiping down the bar, is clearly very drunk. The cottage They draw up in a yard and get out of the car. Withnail staggers around aimlessly as Marwood gets the baggage from the boot.This is without doubt the best British comedy of all time. It’s sharp, classy and carries a stage-like atmosphere throughout. The Story Behind The Screenplay is a new series by Martin Keady that examines the origins of some of the greatest screenplays. It continues with the story behind arguably one of the greatest (or at least most quotable) screenplays ever written – Withnail and I.