Suffragette Page #10

Synopsis: Suffragette is a 2015 British historical period drama film about women's suffrage in the United Kingdom, directed by Sarah Gavron and written by Abi Morgan. The film stars Carey Mulligan, Helena Bonham Carter, Brendan Gleeson, Anne-Marie Duff, Ben Whishaw, and Meryl Streep.
Production: Focus Features
  16 wins & 15 nominations.
 
IMDB:
6.9
Metacritic:
67
Rotten Tomatoes:
72%
PG-13
Year:
2015
106 min
$7,189,725
Website
7,466 Views


VIOLET (CONT’D)

And God shall wipe away all their

tears; there shall be no more

death, neither sorrow, nor crying.

Neither shall there be any more

pain:
for the former things are

passed away.

MAUD nods, sobering, wiping away the last of her tears.

VIOLET kisses her on the forehead and passes her hand over

the bed, springs pushing through the fabric.

VIOLET (CONT’D)

(shouting out)

Two and four a week and a bed of

bleedin’ nails!

SUDDENLY the bed collapses to the floor. VIOLET SCREECHES.

Even MAUD laughs.

VIOLET (CONT’D)

Sweet dreams Maudy!

EXT.POLICE STATION.BETHNAL GREEN.1913.

The slice of traffic - the police station ahead.

INT. OFFICE.POLICE STATION.BETHNAL GREEN.1913.

BENEDICT clearly in a fury, facing off STEED and BURRILL as

WALSOP and others look on.

WALSOP:

So, Mrs Pankhurst briefly out of

hiding. Gentlemen this is a

deliberate escalation that the

government will not accept. Who

knows what they will do next.

STEED:

They have been given orders to be

ready. The East London branch in

particular is to mobilise.

WALSOP:

Should we be taking these threats

seriously?

BENEDICT:

I would not underestimate the

threat. Neither would the Prime

Minister.

STEED:

If it’s to be tackled, we need to

get closer in. I hope to track down

those still open to persuasion and

have them infiltrate and inform on

the others. We’ve identified

weaknesses in the ranks. We’re

hoping one of them will break.

STEED pulls out a file of photographs that include MAUD,

EMILY, EDITH and VIOLET.

STEED (CONT’D)

So I’m going to release these to

the press.

EXT. BACKSTREET/TENEMENT.BETHNAL GREEN. LONDON.1913.EVENING.

MRS COLEMAN hurries up behind MAUD, a sneer caught across her

face.

MRS COLEMAN:

Here, Maud, you seen yourself?

Hands MAUD a newspaper with her photograph printed alongside

EDITH, VIOLET and EMILY.

MRS COLEMAN (CONT’D)

Shame of it.

INT. WASHING/IRONING ROOM. LAUNDRY. BETHNAL GREEN. 1913. DAY.

MAUD pulling on her apron, aware of the gazes of other

WORKERS walking across the floor to her station. A cluster of

MALE LAUNDRY WORKERS whispering to SONNY, who turns, pushing

a trolley away.

On MAUD, at her station ignoring TAYLOR on the approach. He

lays the newspaper down on an ironing press next to her,

silently turning the pages-

TAYLOR:

Mrs Pankhurst’s undesirables. It’s

not a bad photograph, though.

On MAUD, looking at TAYLOR and seeing the newspaper with the

surveillance photos.

TAYLOR (CONT’D)

(close to)

I might cut it out. Put it on my

wall.

On MAUD, steely.

TAYLOR (CONT’D)

(close to)

I want you out, Maud.

TAYLOR creeps his hand around MAUD’s back, leaning into her

ear, his breath warm against her neck, one hand flat on the

ironing press.

TAYLOR (CONT’D)

(close to)

After everything I done for you.

CLOSE on MAUD, angry until-

MAUD:

(close to)

And how I’ve paid for it...

AND AT ONCE, MAUD reaches for a scalding iron, slamming it

down. It lands hard on TAYLOR’s hand-

The HISS of STEAM-

TAYLOR’s blood curdling scream, echoing across the laundry

hall. MAUD looks back at SONNY and hurries out, clocking the

shocked stares of the other MALE LAUNDRY WORKERS, their

contempt palpable. One LAUNDRY WORKER goes to TAYLOR’s aid.

MALE LAUNDRY WORKER

(shouting at onlookers)

What you looking at?

MALE LAUNDRY WORKER OS

Call the police! Don’t let her go.

INT. WASHING/IRONING ROOM. LAUNDRY. BETHNAL GREEN. 1913. DAY.

MAUD hides in the shadows, in shock.

INT. CORRIDOR/TAYLOR’S OFFICE.LAUNDRY.BETHNAL GREEN.1913.

DAY.

MAUD seated alone in a corridor outside TAYLOR’s office,

clearly in shock at what she’s done. TAYLOR being interviewed

by two LOCAL UNIFORMED POLICE OFFICERS. STEED exits the room

and calmly sits down next to her. He stares straight ahead,

as if in innocent conversation with MAUD.

STEED:

You’ll walk free. Out of here

today. In return - you will help

me.

MAUD wavers, turns to look at him, sobering.

STEED (CONT’D)

There is information that you will

pass to me... Anything you know,

anything you hear, even if it’s

only a snippet or a piece of

conversation, it is of interest.

MAUD stares dead ahead.

STEED (CONT’D)

Look at me.

MAUD meets his eye with conviction.

MAUD:

He deserved it. If I told you-

STEED:

Do you really think anyone listens

to girls like you? That anyone

cares? They don’t. You’re nothing

in the world. I grew up with girls

like you. People who sacrificed

life for revenge and a cause. I

know you. And so do they. They know

how to draw on girls like you.

Girls without money, without

prospects that want things to be

better. They primp and they preen

and they fluff you and tell you

that you are the foot soldiers of

the cause. But you’re only fodder

for a battle that none of you can

win. I am offering you a lifeline.

STEED slides a business card out of his wallet and presses it

into her hand. MAUD, forced to take the card, clenches it

reluctantly in her hand.

STEED (CONT’D)

Take it.

(close to)

Before it is too late.

INT. MAUD’S ROOM.BEDSIT. BETHNAL GREEN. 1913. NIGHT.

MAUD takes in the tiny details of one of GEORGE’S DRAWINGS.

EXT. BACKSTREET/TENEMENT.BETHNAL GREEN. LONDON. 1913. DAY.

GEORGE dawdles behind SONNY, dragging a stick along the wall.

SONNY:

Come on, George.

No response.

SONNY (CONT’D)

George! You’re scuffing your shoes.

What’s the matter with you? What

would your mother say?

GEORGE bows his head in shame. SONNY gets down to his level.

SONNY (CONT’D (CONT’D)

(exasperated)

What am I going to do with you?

EXT. DISUSED CHURCH. BETHNAL GREEN. 1913. NIGHT.

On MAUD waiting by the church, drawing on a cigarette,

staring into space.

EDITH:

(with surprise)

Maud-

EDITH, VIOLET hurrying up towards her, along the path-

EDITH (CONT’D)

We thought you wouldn’t come today.

EDITH’s eyes darting about her, sinking her hands in her

pocket to retrieve a set of keys. They pass through the gate.

VIOLET:

March on.

INT. DISUSED CHURCH. BETHNAL GREEN. 1913. NIGHT.

SQUEALS of LAUGHTER and MURMURS of DELIGHT-

MAUD sits slightly apart from the group, drained of colour.

WOMEN including VIOLET and a COUPLE OF OTHER WOMEN forage

through a huge basket of clothes. The ACTRESSES’ FRANCHISE

LEAGUE stamped on the side of it. Violet hands MAUD a warm

coat.

Ta.

MAUD:

VIOLET:

Next time get his left hand and

all.

MAUD:

(cutting her off)

It was an accident.

On VIOLET, quizzical. She nods, concedes.

EDITH:

Now ladies. I ask you to remain

vigilant when coming and going. We

know we are being watched but

hopefully they will not expect to

find us here. I recognise the

militant path may not be for all of

you but, well, all I ask is for you

to make your decision now. Anyone

who doesn’t want to stay may leave.

I need only those who can give

their full commitment. There will

be no judgement.

Rate this script:3.0 / 2 votes

Abi Morgan

Abi Morgan (born 1968) is a British playwright and screenwriter known for her works for television, such as Sex Traffic and The Hour, and the films Brick Lane, The Iron Lady, Shame and Suffragette. more…

All Abi Morgan scripts | Abi Morgan Scripts

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    "Suffragette" Scripts.com. STANDS4 LLC, 2025. Web. 19 Jan. 2025. <https://www.scripts.com/script/suffragette_580>.

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