Career Girls Page #8

Synopsis: Career girls opens with a train journey towards London's Kings Cross where Annie, one of the major characters is about to meet her old university friend Hannah. She recalls moving into a grotty student flat with Hannah in the mid-eighties. In those days Annie was self conscious and jumpy. The pair have not seen one another since graduation. They both now have moderately successful careers and are, at least on the surface, self assured in their new lives. However, they are still carrying a lot of emotional baggage from their university days. During the course of a weekend they rediscover their close friendship and encounter many faces from the past.
Genre: Drama
Director(s): Mike Leigh
Production: Twentieth Century Fox Home Entertainment
  3 wins & 5 nominations.
 
IMDB:
7.2
Metacritic:
76
Rotten Tomatoes:
88%
R
Year:
1997
83 min
260 Views


Hey, Hannah, look where we are.

Yeah.

- Oh! There's that chemist.

- Yeah.

Have you got the right prescription? Ja, ja, ja.

Stupid old fart.

Do you think the flat's still there?

I don't know, actually.

I haven't been that way for ages.

- Could we, uh... you know. Yeah.

- What? Go and see it?

- Got time before the train, haven't we?

- Oh, yeah.

Yeah.

Well, we've got a few minutes anyway.

- I feel like me nan.

- Why?

Every time we went out

on a Sunday run...

she always had to take us to places

where she grew up.

- Oh, no.

- Oh, no.

- Oh, that's a shame, isn't it?

- Typical, eh? Typical.

- Now, that's sad, that is.

- I know. It's terrible.

- I wonder what happened to him.

- Ah, he probably retired.

- Or died.

- Don't.

Well, he couldn't have

gone back to Hong Kong, could he?

Makes me feel so old.

Oh, no. Look at this.

Oh, I used to really like that old door.

- So did I.

- Ohhh.

Wonder who lives here now.

- Hey, look.

- What?

They've got a new CD out.

I haven't listened to them for ages.

Have you?

- Oh, yeah. Now and again, yeah.

- Have you?

This is my old bedroom, up here.

Yeah.

- There's mine. Look.

- Oh, yeah.

Oh, no.

No, I don't believe it.

- It's not, is it?

- It is, it is.

Oh, no, no, no, no.

- This is weird. This is really weird now.

- I know. It's too much, isn't it?

I wanted curry and chips, but, um...

Oh. I'm sorry. I mean,

a coincidence is one thing, you know...

but this is a joke, isn't it?

What are you doing here?

Er, open-top bus, uh, uh...

Ricky.

Plasticine men.

Are you all right?

- Do you know who we are?

- Don't patronize me.

Where's your scabs.

Oh, I don't know, Ricky.

They've gone.

- Why?

- Time. Just time.

- Just goes.

- Yeah. It does, yeah.

- Ticking.

- Passing us by.

Empty. F***in' empty.

Uh, how come you're here?

On the stage, weren't you?

Everybody laughing at your snout.

Uh, pig-faced woman.

- Where are you living, Ricky?

- Hartlepool.

When did you come down to London?

Last night, uh, on the bus.

- Where'd you stay?

- I... I...

Ay, ay, ay, carumba!

Like, uh, Carmen Miranda.

You, uh, go, uh, flying

in, uh, the sand...

the desert...

like a big calendar.

See stones. Uh, you can

only see them from the sky.

The eagle's head.

Uh, big woman.

Blocks.

You, uh, wanna hold me elephant?

Uh, yeah, okay.

Like, uh, almost as big as you are.

Who's it for?

She, uh, called me a C-U-N-T.

- I never.

- Not you.

- Who?

- She says I'm not the dad, but I am.

He's gone to Dungeness. Bastard.

Like, uh, nuclear power.

He got a transfer from Hartlepool.

Uh, devil's work.

- You, uh, wanna live forever?

- No.

- Huh?

- I certainly don't.

We don't, Ricky.

Oh. Oh, lovely.

- Ah, the most beautiful...

- What's she called?

He! He's a f***ing boy.

- Oh, yeah. Sorry. He's lovely.

- Harry.

- He's great.

- He's in Hastings.

I'm gonna surprise her.

She never answers my letters. I'm gonna

walk in there. F*** her.

You, uh, wanna have a hold?

- No.

- Go on!

Ah. It's, uh, nice to see you.

You, uh, want a game of snooker?

Uh, no, thanks.

We've got to go.

Oh, it's, um, a good game.

We don't have time.

She's gotta catch a train,

Ricky, so we've gotta go, all right?

I'm not, uh, an idiot.

- Oh, no.

- No. We know you're not.

I'm like an idiot savant.

Just haven't found my savant yet.

- Are you hungry, Ricky?

- He did good chips.

Yeah, he did great chips.

You're not, uh, gonna invite us up

for a cup of tea or summat?

Oh. We haven't lived here

for six years, Ricky.

Yeah. Me nan is dead.

- Oh.

- Ohhh. Sorry to hear that.

She... coughing.

When did that happen then?

Like... She, like,

coughed all her life up.

- Do you live by yourself then?

- Mi-Mind your business.

- What do you care?

- I do care.

- No, you don't.

- I do.

You, uh, don't think about

anybody but yourself.

- That is not true.

- That's not true, Ricky.

Oh, button it, you.

You never liked us anyway.

- I did, actually.

- Shite.

- I thought a lot about you.

- You don't think. Selfish.

- Talk, talk. Garbage!

- That's not true!

Aw, tittle off!

Rancid! Go on! F*** yeah!

Lesbos!

Oh, Hannah, I can't do this.

- Oh, don't be stupid. Come on.

- I'm really nervous.

He'll be dead chuffed

we've come all this way.

I don't know what to say to him.

- His nan was all right, wasn't she?

- Oh, yeah. She was lovely.

- I bet he's right spoilt.

- Oh, bloody hell.

- This f***ing bag keeps falling of me shoulder!

- Give it to me, for f***'s sake!

You're such a moaner, you.

It's great to be by the sea, eh?

- It is, actually, isn't it?

- All this fresh air.

- Yeah. It's wild.

- Huh?

- A bit of ozone.

- Yeah.

Ricky!

Hiya.

What are you doing up here?

- We came to see you.

- See if you was all right.

I'm, uh, fine, like, uh, tip-top...

so you don't need to give a toss.

- Have you heard from college?

- F*** 'em!

What about your stuff?

That's not very hospitable, is it?

No. He doesn't seem very happy

to see us at all.

- Don't be like that.

- We were worried about you.

- Come, uh, to have a laugh, have you? Take the piss?

- No.

Oh, yeah. Seven hours in a coach

for a laugh. We're not that desperate.

Come to, uh, lead us on

a bit more, have you?

You've upset her now.

You're not the only one who's upset.

Well, all right. That's why we've

come up here, 'cause we care about you.

Well, uh, f*** off back

where you come from!

- Well, f*** you and all!

- Well, f*** you!

Well, I'm sorry we bothered!

F*** you! F*** ya!

- Come on.

- F*** off!

F*** ya!

Nosy parker!

It's not fair, is it?

No.

I should've got his number.

I shouldn't think he's got a mobile home,

let alone a mobile phone.

Joke.

- What time is it?

- It's just gone quarter past.

Which platform is it, I wonder.

Don't know. It's it Platform 3?

Let's have a look.

- Oh, no. That's it, isn't it?

- Oh, yeah. That's this one.

Yeah. That's right.

I don't mind saying hello at stations,

but I don't like saying good-bye.

I don't like stations.

I like trains though.

- It was really great seeing you.

- Yeah, and you.

- I'll come again soon.

- Well, wait till you're invited.

- Got you a little present, actually.

- You haven't.

- Yes, I have.

- You didn't have to.

I know, but...

You got to ask me a question first.

What about?

A very important question

about your life.

Okay. Uh...

And you gotta say,

"Ms. Mills, Ms. Mills" twice.

Oh, no.

Okay.

Ms. Mills, Ms. Mills...

will I find true happiness soon?

Ta-da!

"Pang." Load of rubbish.

Always was.

Thank you.

It's a very special present.

- See ya.

- Bye.

Ta-ra.

Let's not leave it

six years this time.

No, I won't!

Hey, Hannah, do you think there'll be

any more coincidences on the train?

I don't know. Maybe you'll

meet the man of your dreams.

Rate this script:1.0 / 2 votes

Mike Leigh

Mike Leigh (born 20 February 1943) is an English writer and director of film and theatre. He studied at the Royal Academy of Dramatic Art (RADA) before honing his directing skills at East 15 Acting School and further at the Camberwell School of Art and the Central School of Art and Design. He began as a theatre director and playwright in the mid-1960s. In the 1970s and 1980s his career moved between theatre work and making films for BBC Television, many of which were characterised by a gritty "kitchen sink realism" style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997), the Gilbert and Sullivan biographical film Topsy-Turvy (1999), and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993), for which he won the Best Director Award at Cannes, the Oscar-nominated, BAFTA and Palme d'Or-winning drama Secrets & Lies (1996), the Golden Lion winning working-class drama Vera Drake (2004), and the Palme d'Or nominated biopic Mr. Turner (2014). Some of his notable stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy, and Abigail's Party.Leigh is known for his lengthy rehearsal and improvisation techniques with actors to build characters and narrative for his films. His purpose is to capture reality and present "emotional, subjective, intuitive, instinctive, vulnerable films." His aesthetic has been compared to the sensibility of the Japanese director Yasujirō Ozu. His films and stage plays, according to critic Michael Coveney, "comprise a distinctive, homogenous body of work which stands comparison with anyone's in the British theatre and cinema over the same period." Coveney further noted Leigh's role in helping to create stars – Liz Smith in Hard Labour, Alison Steadman in Abigail's Party, Brenda Blethyn in Grown-Ups, Antony Sher in Goose-Pimples, Gary Oldman and Tim Roth in Meantime, Jane Horrocks in Life is Sweet, David Thewlis in Naked—and remarked that the list of actors who have worked with him over the years—including Paul Jesson, Phil Daniels, Lindsay Duncan, Lesley Sharp, Kathy Burke, Stephen Rea, Julie Walters – "comprises an impressive, almost representative, nucleus of outstanding British acting talent." Ian Buruma, writing in The New York Review of Books in January 1994, noted: "It is hard to get on a London bus or listen to the people at the next table in a cafeteria without thinking of Mike Leigh. Like other wholly original artists, he has staked out his own territory. Leigh's London is as distinctive as Fellini's Rome or Ozu's Tokyo." more…

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Submitted on August 05, 2018

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