Secrets & Lies Page #8

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
3,719 Views


Blue.

My brother's doin'

a party for her.

That's nice. It takes

the strain off you.

Yeah, well. There is that.

- Shame YOU ain't comin'.

- Ah.

Meet your new family.

- Oh, sweetheart!

- What?

I nearly forgot!

Happy birthday

for Sunday. It's...

Oh, you shouldn't have bothered.

It ain't nothing much.

Aw.

Aw, thank you.

Don't start crying.

Perhaps I should ask him.

- What?

- If I can take someone.

I don't know.

It's a family thing.

You're family, ain't ya?

I'm proud of you.

Listen, Maurice, sweetheart -

I wanted to ask you a favour.

'Oh, yeah? What's that, then? [/]

You know the party Sunday?

'Barbecue. Yeah.'

Yeah. Can I bring a mate?

Sweetheart?

Hello?

Is it a bloke?

'Course it ain't a bloke! '

Chance'd be a fine thing!

'Who is it, then? '

Just someone at work.

We've been out a few times.

I was meant to have seen her

Sunday only I forgot.

'Ls that all right? '

I suppose so.

What d'you mean, you suppose so?

No, it'll be fine.

I'll have to

check it out, though.

Who with?

Listen, if I don't phone back,

bring her, all right?

I don't wanna upset nobody.

'No, don't worry.'

Are you sure, then?

Yeah, yeah, no problem.

'OK, then, sweetheart.

'Lookin' forward to it.'

Say hello to Roxanne for me.

'Yeah.'

Tada, then.

'Bye.'

Listen, I spoke

to my little brother today

and he says it's all right.

D'you wanna come?

Ooh, I dunno.

I told him you was me mate.

I'd still feel a bit awkward.

'Don't be daft.

You'll be with ME, won't ya? '

It wouldn't feel right.

I thought you wanted to come.

Yeah.

'Of course, if you've

changed your mind... '

- I was lookin' forward to it.

- Oh, I know.

- What d'you think, then?

- All right, I'll come.

You're comin'?

'Yeah.'

Listen, I'll give you

a ring later in the week

and give you the address.

OK, then.

'OK. Tada, then.'

Bye-bye.

Jesus!

You should've just said yes.

Makin' me look like a... Oh!

I can hardly say no now.

That's up to you.

We don't know anything

about this person.

Some new mate. They've

been out a few times.

Two hysterical nutters.

I'm glad she's got a friend.

I'm gonna have a great time(!)

Thought I'd ask Jane as well.

Anybody else you want to invite?

We've only got

four garden chairs!

Oh, give us two

of them painkillers.

There you go.

D'you fancy some fish and chips?

Don't be sarcastic.

I wasn't. Sorry.

Cheers, mate.

[Knocking]

There's a bell here.

Don't. I've just done

the knocker.

All right.

Hello there.

Hello, sweetheart.

You got here in one piece?

Long time no see.

Yes. Thank you.

Hello, birthday girl.

All right, Monica?

- Look at you.

- This is Paul.

- Hello, Paul.

- How d'you do?

[Monica] Nice to meet you.

There's Maurice.

Now come away in.

- Hi, Jane.

- Hello, Monica.

This is Jane. Maurice just

picked her up from the station.

[Cynthia] Here he is!

Hello, sweetheart.

Hiya.

[Roxanne] All right, Maurice?

I got you that.

- You didn't have to do that.

- It's all right.

This is Paul. Maurice.

All right, mate.

Ain't you got one for me?

'Course I have. Hello, darlin'.

Don't kill him.

You've landed on your feet

here, ain't ya?

This is Jane,

my lovely assistant.

- I talked to you on the phone?

- Yeah.

- Can I take your coats?

- Yes.

Drink? Red, white,

rose, beer?

- I'll have white.

- Beer.

Thanks a lot.

- Cynth?

- White, please.

- Jane?

- Rose.

Okey-doke.

- Where's the friend?

- I've no idea.

You got an ashtray, darlin'?

There's one on the coffee table.

I didn't think

you'd have given up.

One of the few

pleasures in life.

- These are very bright.

- Don't you like 'em?

I'll just put them in a vase.

- What's that there for?

- We like it.

Oi, don't laugh.

It's stupid.

[Maurice] One of my early works.

Miserable little git.

[Roxanne] You was

f***in' around.

Oi, mind your language.

- How's work, then?

- It's all right, yeah.

- Still enjoying it?

- Yeah.

- When you goin' to college?

- Shut up.

- You're goin' to college.

- I ain't.

- You got a good brain.

- Don't wanna use it.

- Suit yourself.

- I will.

Paul's a scaffolder.

Yeah, your mum said.

Bet that's hard work.

It can be, mate.

- Especially in the winter.

- That's right.

I wanted to give it

a Mediterranean feel.

It's a lovely kitchen.

- And this is... Oops!

- A big lavatory.

The downstairs toilet.

Handy if you're in the garden.

It's really convenient.

I think the peach tones

make it quite tranquil.

Yeah.

So you know where it is

if you need it.

Now... Excuse me, Jane.

This is the garage.

I thought it was a cupboard!

- Is that a new car?

- Yes, that's my car.

What was wrong

with your other one?

Nothing.

I'll show you upstairs.

We'll start with this.

Oh.

There's the tank.

Where I keep towels

and bedlinen.

Your airing cupboard.

Mm. Not very capacious.

This is Maurice's bathroom.

It's green. Matches your tank.

These all new carpets,

are they, sweetheart?

Oh, yes.

And this is the master bedroom.

It's more like the bridal suite!

It's beautiful!

I've always wanted

a four-poster.

I can see Maurice

thrashing about in there(!)

It is a king-size.

It's out of a fairy tale.

- Bet this cost a bob or two.

- It wasn't cheap.

And here's another lavatory.

That bathroom's mine.

The en-suite.

You've got one each?

Nice, ain't it, Jane?

It's like a hotel.

Don't want to

trip over each other.

Oh, you've got

everything, Monica.

- So where's this friend?

- He's here.

- No. Your mum's.

- What you talkin' about?

She asked if she could

bring a friend from work.

- First I've heard.

- Is it?

- She never mentioned it?

- No.

Peculiar.

That must be who

she's been goin' out with.

She's a dark horse, ain't she?

- Hello.

- No, I'm sorry...

I'm a friend of Cynthia's.

Yes. Yes, of course.

Hello, sweetheart!

- Hello.

- I thought you were, uh...

Come on in.

That's me mate, Hortense.

Hi.

That's me brother's wife.

Pleased to meet you.

- Monica.

- Hello, Monica.

Come on out the back,

meet me brother.

OK.

Can I take your coat...?

- Hortense.

- Hortense.

- Hortense.

- Thank you.

This is me little

brother, Maurice.

Pleased to meet you, Maurice.

Ain't that little.

That's Hortense.

- Hortense.

- Yeah, that's right.

And this is

me daughter, Roxanne.

Oh, happy birthday.

Oh, you didn't have to

do that, sweetheart.

It's OK.

- That's Paul, her intended.

- He ain't me intended.

And this is, um...

- Jane.

- Maurice's assistant.

- Hi.

- Very nice to meet you.

That's nice, innit?

- Drink? Red, white, rose?

- White, please.

Thanks. That's really nice.

You're welcome.

- We'll have it later.

- No, don't waste it.

I've got some to have

with the cake.

We thought you'd got lost.

I took a few wrong turns.

- In a minicab?

- She's got a car.

- Thanks.

- There you go.

Who wants a top up?

- I'll have one.

- Not for me.

Would you like

a crisp, Hortense?

No, I'm fine. Thanks.

I only met Paul for

the first time today, Hortense.

- He's a scaffolder.

Rate this script:0.0 / 0 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…

All Mike Leigh scripts | Mike Leigh Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Secrets & Lies" Scripts.com. STANDS4 LLC, 2025. Web. 19 Jan. 2025. <https://www.scripts.com/script/secrets_%2526_lies_17721>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Secrets & Lies

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "O.S." stand for in a screenplay?
    A Opening Scene
    B Off Screen
    C On Stage
    D Original Sound