The Lost Language of Cranes Page #2

Synopsis: A young gay man comes out to his middle-class parents, which has repercussions for his father who has long since been trying to repress his own sexuality.
 
IMDB:
5.1
Year:
1991
87 min
48 Views


from my deep, dark past?

I haven't been

to a porno for years.

I-I'm sorry.

This is a mistake. I'm sorry.

Oh, no, no, no. Wait.

Someone in a porno cinema

gave you my number?

No. Er...

You sound upset, Bowen.

Owen. Owen, Owen. Not Bowen.

Well, can you describe this man

who gave you my number?

It was dark.

(Laughs) Of course.

Look, I am sorry.

This is a mistake. Erm...

What day was this?

Sunday.

Oh, my God. I do believe

I've solved our mystery.

You see, I gave my, erm,

my number to this actor...

Bob Dooley.

I'm an agent, you see.

To be perfectly honest,

I rather liked his looks.

But I really wouldn't

recommend Bob Dooley.

He's, er, such a closet case.

Of course, erm...

I understand.

Thank you. I'll say goodbye.

(Sighs)

Bowen.

(Suavely) Bowen?

Bowen.

Bowen.

(Chuckles) Bowen.

(Laughing)

Owen, what are you doing here?

Oh, hi. Working late.

You know.

Sure. You?

Oh, squash. Gave him a good beating.

Oh, I'm sure.

Ahh.

(Dryer whirring)

- Fancy a drink?

- No, thanks. I got to get home.

Got work to do.

Ah. Sure.

(Sighs)

I'll be seeing you, Owen.

Yeah. Oh, er, you know, erm...

don't forget...

about dinner.

Oh, yeah, right. Thanks, Owen.

Of course, nobody knew

that he actually made love to his dog

but, erm, being a poet,

he'd written reams

to the little creature

and then being Italian,

when he was on his deathbed,

he summoned a priest

and he confessed

saying, "I know nothing

closer to divinity

"than the taste of a dog's tongue."

(Laughter)

Of course, I think he rather screwed his chances

of receiving the last rites.

Oh. I've heard of building

an appetite for lunch

but this hill is going to kill me.

Come on, old girl.

Less of the old.

So, Derek, how is the new book?

- The new book?

- Yes. I'm afraid so.

That's why I'm here,

to do some publicity for it.

- I was practically raised reading your books.

- Really? Poor thing.

- Geoffrey, you got the copy?

- Of course.

- There you are. That's for you.

- Thank you.

- Remind me to sign it later.

- Thank you.

Well, Elliot, how's London treating you?

(Sighs)

Elliot never told me

that his parents had introduced you and Derek.

Mmm. Introduced us, nurtured us...

carried love notes...

even supported us for a while.

Letting us have the big house in the Hamptons

while Derek was writing The Frozen Field.

That was after Julia came into her inheritance

and began giving money to her artist friends.

Geoffrey, I hope you don't

mind me asking you this, but, erm...

how did Elliot's parents die?

Oh. Well...

not very extraordinary.

After a party in the Hamptons,

they were driving home,

someone was drunk but it was

never clear who or which car and...

after that, we were parents.

(Sighs)

Small boy without a home

and a will stipulating

that Derek and I should adopt him.

When we took Elliot to school

the first day to register him

I will never forget the look

on that woman's face

when she asked, "Father's name?"

And I said...

"Which one?"

(Laughs)

You know, I love being talked about

as if I weren't here.

Sorry, Elliot. Philip's just curious.

And it is quite a story.

We had such a house in the village.

People in and out all the time,

sleeping on the living room couch.

Never any shortage

of friends for Elliot.

So many things were easier in those days.

But Owen, you promised me.

Rose, I will. Next weekend.

- But you said that last weekend.

- I promise.

No, seriously, Owen.

We must start looking.

We've got less than three months.

Next weekend. I promise.

Why must you go out

every single Sunday?

Why must you? Why?

Rose, please. Don't do this.

- Sundays are the only day to myself.

- But just this once.

Three months, Owen.

Three months.

I'll see you this evening.

Sometimes I think

we'll end up on the streets.

One, two, three, fromage.

- (Click and whirr)

- There we are.

OK, my turn. You get in.

All right. (Clears throat)

And...

Geoffrey, don't be so silly. Please.

- And...

- (Click and whirr)

Good.

- It's been really good to see you both.

- I'm happy to find you looking so well.

- And to have met you, Philip.

- It's been a thrill for me.

Thank you.

I hope you don't mind,

but you did say to remind you.

- What was that?

- To sign your book.

Oh, yes. Of course. Of course.

Right, pen. Thank you.

Behave yourself.

Goodbye.

It was lovely.

See you again hopefully.

Here we are.

Thank you.

Nice to have seen you.

Be good, my dear.

Take care.

Mm-hm.

- Bye-bye.

- Bye-bye.

- It's been good.

- It's been nice.

- It's been a great day.

- Come on, come on, come on.

Bye.

"For Philip, if he wants it."

- Bye-bye.

' Bye.

Bye. Elliot.

I think there's trouble.

- Huh?

- Trouble.

( Techno)

Do you want a drink?

Just, erm, mineral water.

Not a beer?

Philip, hi.

- Hi, Robin.

- Where's Elliot?

He's over there.

Listen, we're, um...

we're a bit busy to chat now.

- What did you want?

- Er, Pils and a Perrier, please.

Well, call me soon.

Don't forget.

I just saw Robin.

Haven't seen him for ages.

Not since the last time

we came together.

- That's right.

- It's not so long ago.

I suppose not.

I'm gonna have a piss.

( Dance music)

I lost you.

I ran into some people.

You all right?

You wanna go home?

I don't know why we came

here in the first place.

Good night, fellas.

Thanks. That was a great day.

If you'd wanted to know about my parents

you could have asked me.

You didn't have to get it from Geoffrey.

I don't enjoy having my life

held up to public scrutiny.

- I didn't mean to hurt your feelings.

- Don't patronize me.

I don't know what you want. I mean...

You say I should've asked you instead of

Geoffrey but you won't even give me a chance.

I have the right to be private

about what I wish to be private about.

Elliot, I'm sorry.

I'm really sorry.

Look, I don't mean to throw

a hundred things at you at once

but... I'm having serious doubts

about this relationship.

Meaning what?

Your need is

frightening me, Philip.

Those nights we spend apart all the way

across London I can feel your anxiety.

Miles away, you were clinging.

You wouldn't let go.

I'm sorry that you think that.

I think that I really Love you

and I get very scared.

- Of what?

- Of having this conversation.

I've tried so hard to avoid it.

I thought that my loving you,

I thought that I could avoid it.

That's the problem.

You don't trust yourself

enough to trust us.

And it makes me wonder.

Is it really me you've been loving?

What do you mean?

I mean, sometimes it seems to me

that you don't even know me.

You haven't gotten to know me at all.

You haven't even tried.

Philip.

Philip, stop.

- What are you doing?

- I'm going home!

- Why?

- Don't!

How dare you say that to me?

I mean, it just isn't fair!

What's not fair?

Maybe I didn't see you.

Maybe I don't really know you.

But is that all my fault?

Whenever I try to ask you

anything, you just clam up

or you get angry

Rate this script:0.0 / 0 votes

Sean Mathias

Sean Gerard Mathias (born 14 March 1956) is a Welsh-born theatre director, film director, writer and actor, known for directing the film Bent and for directing highly acclaimed theatre productions in London, New York City, Cape Town, Los Angeles and Sydney. He has also had a notable professional partnership with actor and former partner Sir Ian McKellen since the late 1970s.He was included in the 2006 list of the 101 most influential gay and lesbian people in Britain in the Independent on Sunday's Pink List. Mathias is co-owner of The Grapes pub along with business partners Ian McKellen and Evgeny Lebedev, since September 2011. more…

All Sean Mathias scripts | Sean Mathias 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

    "The Lost Language of Cranes" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/the_lost_language_of_cranes_20745>.

    We need you!

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

    Watch the movie trailer

    The Lost Language of Cranes

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    Who directed the movie "Dunkirk"?
    A Christopher Nolan
    B Steven Spielberg
    C Martin Scorsese
    D Ridley Scott