Secrets & Lies Page #5

Synopsis: Cynthia lives in London with her sullen street-sweeper daughter. Her brother has been successful with his photographer's business and now lives nearby in a more upmarket house. But Cynthia hasn't even been invited round there after a year. So, all round, she feels rather lonely and isolated. Meanwhile, in another part of town, Hortense, adopted at birth but now grown up, starts to try and trace her mother.
Genre: Drama
Director(s): Mike Leigh
Production: Twentieth Century Fox Home Entertainment
  Nominated for 5 Oscars. Another 33 wins & 41 nominations.
 
IMDB:
8.0
Metacritic:
91
Rotten Tomatoes:
95%
R
Year:
1996
136 min
3,426 Views


- "take you, Darren...

- "to be my husband,

- "to be my husband...

- "to have and to hold...

- "to have and to hold...

- "from this day forward,

- "from this day forward...

- "for better or for worse,

- for better or for worse..."

For richer..."

Darren and Zoe have given

their consent...

and made their marriage vows

to each other.

They have declared their marriage

by joining of hands...

and by the giving

and receiving of rings.

I therefore proclaim...

that they are

husband and wife.

Ain't you seein' him

tonight then?

I'm havin' an early night.

- Keep me company?

- I've got a hangover.

You should stop in

more often.

You are lookin' after yourself with him,

ain't you, sweetheart?

- What you mean?

- You know, taking care.

I don't want to ask you

nothing personal, darling...

but are you taking the pill?

That is personal.

- Why don't you bring him 'round?

- Leave it out.

I'd like to meet him.

I wouldn't know him...

- if he stood up in me soup.

- Don't hold your breath.

You don't want to leave it up to him,

darling. Men are all the same.

- Mum!

- I hope he uses a what's-name...

- Condoms.

- Mind your own business.

They can leak.

You want to be careful.

You're jealous, ain't ya?

Where is he tonight anyway?

- I don't know.

- Most likely out giving somebody else one.

That's how I got caught with you...

runnin' out of the pill.

- You could have a coil fitted.

- Change the record!

Dr. Mulholland,

make an appointment.

- You'd suit the sponge.

- Keep your voice down!

I got a Dutch cap floatin' around

somewhere upstairs. You could have that.

Run it under the tap. A bit of

talcum powder. Where you goin'?

I don't have to listen to this!

Sweetheart!

Roxanne!

Sweetheart, darlin',

I'm only trying to help you.

- Leave me alone.

- I'm your mother.

- Get out of my room!

- It don't matter if you have a little baby.

- I'll look after it.

- I ain't gettin' pregnant!

- I'll give up me job.

- It's nothing to do with you!

Yes, it bloody is! I'm not havin' you

droppin' it at my door!

- Jesus Christ!

- I'm sorry, darling! I didn't mean...

Shut up!

You make me sick, you stupid b*tch!

- Hello?

- I'm sorry to trouble you...

but I'm trying to locate...

a Cynthia Purley.

Yes?

Is that Cynthia Purley?

- Yes.

- Cynthia Rose Purley?

- Yes.

- Of 76 Quilter Street?

Yes. What is it

you want, darlin'?

Hello?

Did you want Roxanne?

She's gone out.

- No.

- She ain't in any trouble, is she?

- No, it's about Elizabeth.

- Elizabeth? Elizabeth who?

Elizabeth Purley.

Oh, oh, she's dead.

- No, she isn't.

- She is, darlin'. I should know.

I should know.

Look, sweetheart, she's me mother.

She went in 1961.

No, I mean

baby Elizabeth Purley.

Baby Eliz...

Who is this?

She was born

on the 23rd of July, 1968.

At... Sorry about this.

At... Yeah.

At the Haven...

Wells Grange Avenue, Sutton, Surrey.

Look, I'm sorry. I know this

must be a shock to you.

L-Listen, darling,

what is it you want?

- I'm really sorry.

- You mustn't come 'round here, sweetheart.

- I didn't want to upset you.

- You mustn't do that.

And you mustn't

phone neither.

I just needed to know.

Yes, but you can't

come 'round here.

No one knows about you, see?

- Right.

- Promise me you won't

come 'round. Promise me.

Look, I've got your address. If I wanted

to come 'round, I'd have done it already.

I'm sorry, sweetheart.

I'm a little bit upset.

- Promise me you won't come 'round.

- All right, I promise.

Thank you.

Thank you.

Um...

Can I meet you somewhere?

No, I shouldn't

think so, darlin'.

See, I've got lots of, um... I've got

lots of questions I want to ask you.

Yeah, well, I gotta go now.

Please.

What's your name anyway, eh?

- Hortense.

- Hortense?

Yeah.

- Hortense what?

- Cumberbatch.

"Clumberbunch"?

That's a funny name, isn't it?

Yeah, I suppose it is.

You own a phone?

Yeah. Uh, do you want

to take my number down?

Oh, I don't think

I've got a pencil.

I'll wait.

I got one.

Uh, it's 0171...

Sorry... 6194840.

Yeah, ta-ta.

Hello? Hello?

Do you want to

meet me or not then?

- Oh, hello.

- Yes or no. It's up to you.

Oh, yeah.

Of course I want to meet you.

Well, then...

Are you sure about this?

- I mean, if you're not sure...

- Where do you want to meet me?

Well, where would

you like to meet?

I don't know, anywhere.

- Not here though.

- No, of course not.

Uh, what about

outside Holborn tube station?

Holborn.

When?

What are you doing

this Saturday coming?

Nothing. I'm never

bloody doing anything.

- Saturday then.

- What time?

- 7:
30?

- Half past 7:
00.

Now, listen, you mustn't phone me

here again. Do you understand me?

Otherwise I won't

come and meet ya.

Now, I'll see you on Saturday.

Hello?

Don't even know

what you look like.

- Hello, sweetheart.

- What's for tea?

- Got you a bit of steak. Little treat for ya.

- What for?

- Ain't you havin' none?

- I'll just fry meself an egg.

- Do you want a beer?

- We ain't got none.

- I got you some.

- Oh, did you?

- You going out?

- No, I'm stayin' in.

I'm gonna have

a few early nights...

I've decided.

- Excuse me.

- What is it, sweetheart?

Are you Cynthia?

- Yeah. How'd you know?

- Hello. I'm Hortense.

What you talking about?

Hortense Cumberbatch.

I spoke to you on the telephone.

- Well, that was you?

- Yeah.

Oh, no.

No, sweetheart.

No, darlin'. You been ringin'

the wrong person.

- Cynthia Purley.

- Where'd you get my name from anyway?

It's on my birth certificate.

What you talkin' about,

your birth certificate?

- It can't be.

- It's got your name and your address on it.

There.

No, that's all wrong, darlin'. They've made

a mistake down in the offices.

You want to get down there,

get that sorted.

- That's someone havin' a joke.

- I don't think so.

Let me have a look at that.

I'm ever so sorry, sweetheart.

That must be a bit

of a disappointment for you.

Look, I really think

you ought to see these documents.

Why, what is it?

Why don't we, uh, go somewhere

and have a sit-down?

No, I think

I better be going, darlin'.

Look, you've come

all this way. Please.

Let's... Let's go

and have a cup of tea or something.

There's places down there.

Come on.

I hope you find your mum,

sweetheart.

You keep lookin'.

Go on.

No, thanks.

I don't smoke.

Nor should ya.

My daughter smokes

like a chimney.

- You got a daughter?

- Yeah.

I ain't never

been in here before.

They shouldn't go raisin'

your hopes like that. It ain't fair.

Is this your signature?

This is stupid.

I don't understand it.

I mean, I can't be

your mother, can I?

- Why not?

- Well, look at me.

- What?

- Listen, I don't mean nothing by it, darlin'...

but I ain't never

been with a black man in my life.

No disrespect nor nothing.

I'd have remembered,

wouldn't I?

Oh, bloody hell.

Oh, Jesus Christ Almighty!

I'm sorry, sweetheart.

I'm so ashamed.

You shouldn't be ashamed.

I can't look at you.

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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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