Vera Drake Page #5

Synopsis: Vera Drake is a selfless woman who is completely devoted to, and loved by, her working class family. She spends her days doting on them and caring for her sick neighbor and elderly mother. However, she also secretly visits women and helps them induce miscarriages for unwanted pregnancies. While the practice itself was illegal in 1950s England, Vera sees herself as simply helping women in need, and always does so with a smile and kind words of encouragement. When the authorities finally find her out, Vera's world and family life rapidly unravel.
Genre: Crime, Drama
Director(s): Mike Leigh
Production: New Line Cinema
  Nominated for 3 Oscars. Another 40 wins & 40 nominations.
 
IMDB:
7.7
Metacritic:
83
Rotten Tomatoes:
92%
R
Year:
2004
125 min
$3,627,889
Website
622 Views


just like Pamela's.

Mrs. Barnes,

these people must be stopped.

You're going to have

to inform the police.

I ain't talking to them.

Sister Coombes.

Righty-oh. They're ready for you

in theater, Mr. Walsh.

Thank you,

Sister.

Mrs. Barnes, if you don't inform

the police, I'm going to have to.

Unfortunately, it's my

legal obligation to do so.

Excuse me.

- Excuse me, nurse.

- Yes, sir?

We're police officers.

We're looking for Sister Coombes.

Oh yes, sir,

just follow me.

Sister,

it's police.

Good evening, sister.

I'm Detective Inspector Webster,

- this is D.S. Vickers...

- Good evening.

Oh,

good evening.

We was sitting by

the side of the road,

there was bodies everywhere...

stink, petrol...

I'd had enough.

I couldn't do nothing.

Couldn't run away,

couldn't cry,

couldn't feel nothing...

I just sat there.

And all of a sudden,

there was this old girl...

staggering past us,

muttering in French.

Guess what she was

carrying under her arm?

- What?

- A pair of old mirrors.

You ain't told me

that before.

We've got a lot

to be thankful for.

- Yes, we have.

- I have.

For one thing, you ain't turned out

nothing like your mother.

She can't help it.

Did you ever ask her who

your dad was in the end?

No.

If I'd have been 11

and not 12 when Mom died,

I'd have had to go

in an orphanage, like Frank.

I know. You went

straight out to work.

I had to fend

for meself, didn't I?

- Still. It did you no harm.

- Ah, well.

- Look at everything you got now.

- Yes.

I'm a lucky man.

You telephoned

for an ambulance this afternoon,

- is that right?

- Yes.

Now, why did

you do that?

She was having

a miscarriage, weren't she?

- A miscarriage.

- Yes.

Mr. Walsh has told us that somebody

came round to your house

to perform an operation

on your daughter.

Well, there you are,

Mr. Walsh just told you.

Doctors know everything.

Why don't you ask him?

I want to hear it

from you, Mrs. Barnes.

He's the one what phoned you.

I never phoned you.

It ain't got nothing

to do with me.

Keep your voice down,

Mrs. Barnes.

Who was it that performed

this operation?

A woman.

- Do you know her name?

- No.

How did you get in touch

with this woman?

I don't know.

You just ask about.

- Who did you ask?

- People at work.

Where do you work,

Mrs. Barnes?

Allied Laundries...

Clerkenwell Road.

- Who did you talk to at work?

- What does it matter now?

Your daughter's

just nearly died, Mrs. Barnes.

It would be

in your best interests.

You do realize

this is a criminal matter.

All right.

- Vera.

- Vera?

- Vera Drake.

- That's who you talked to at work?

No, sir, she's the one what come

round. She's the one what done it.

Vera Drake is the person

that performed the operation

on your daughter?

- Yes.

- So you do know her name.

Yes.

Had you met her

before?

We both worked

in a laundry in 1931.

- Have you seen her since then?

- No.

- Do you know where she lives?

- No.

What does she look like,

Mrs. Barnes?

Um, small... small hands.

I ain't going to get

- in to trouble for this, am I?

- It's a bit of a coincidence, isn't it?

Somebody you haven't

seen for years

just suddenly turns up

on your doorstep.

Well, I ain't lying!

You're twisting my words.

That's not fair!

- It's all right, dear.

I'm not suggesting

you are lying, Mrs. Barnes.

I'm just trying to get

to the bottom of things.

- There you are, Sid. Grab here.

- Coming in.

That's better.

Where we always have it.

- Gives us more room, don't it?

- Oh, yes.

Got the Christmas cloth.

We want it to look nice,

don't we, Mom?

- Yes?

- Good afternoon.

Are you Mrs. Lillian Clark?

- Why, who wants to know?

- D.I. Webster, metropolitan police.

There we are!

- Hello! Hello, Joyce!

- All right, Stan?

- Just catching my breath.

- Hello, Joyce!

Oh, doesn't she look lovely?

- All right, my darling.

- Hello, dear.

- Hello, Auntie Joyce. How are you?

- Hello, Sidney.

- Look at the inside of this!

- How are you doing, Uncle Frank?

- All right, Sid.

- Ain't seen you for ages.

You look like a film star.

Congratulations, Ethel,

it's lovely news.

- Do you like it?

- Yes, I do!

- I sewed the lining in myself.

- Did you?

- It's leopard print.

- Leopard print.

Come on, you make

yourself comfortable...

Blimey, look at that, eh?

Here, I hope you left

your rifle at home, Auntie Joyce!

Do you know

Mrs. Edna McKenzie?

What if I do?

Just give us a straight

answer, please.

I might.

Are you familiar with

the standard tearooms

- on the Holloway Road, Mrs. Clark?

- Yes.

- Were you there last Wednesday?

- I can't remember.

You're really not helping

yourself, Mrs. Clark.

What's this

all about, anyway?

Do you know

Vera Drake?

Quite a grocery shop

you've got here, love.

It's for the old people...

for Christmas.

How much you charging

for a bag of tea?

Did you take two guineas off

Jessica Barnes last Wednesday?

I don't know what

you're talking about.

I think you do, Mrs. Clark.

Nice living you're making

for yourself.

Have you got a little bit

of lipstick on, Ethel?

Don't she look lovely

in that top and all?

Did you knit that yourself?

No, we got that from the market,

didn't we?

How's the house coming along,

Uncle Frank?

I've been keeping

Frank busy, ain't I, Frank?

Been up a ladder

the best part of six months.

- The neighbors have just got a tv.

- Have they?

- In the front room.

- Have you seen it?

- Only through the window.

- You'll have to get one now, Frank.

- That's next on my list.

- Dear though, ain't they?

- Only 36.00.

- 36.00.

- A bit steep, that.

- They must have a few bob.

Oh yes. Got lovely color

and all, ain't they, Frank?

- V-8 pilot.

- He's doing rather shifty at the job.

I was hoping for a little spin

round the block.

You can see it out

the window.

Oh, that ain't

the same thing, is it?

Will it be all right

out there, Frank?

- I've already told you.

- It'll be fine.

Of course it will.

Well, you can't

be sure, can you?

There he is!

Let him in, Ethel.

Talk of the devil... the man himself.

- Hello. Come on in.

- That you, Reg?

Yeah, Reg,

in you come.

- Here he is.

- Afternoon.

Hi, hi. How's your

luck, pal?

Reg, this is

my brother Frank.

- Pleased to meet you, Reg.

- How do you do?

- Congratulations.

- And his wife Joyce.

- Hello, Reg.

- How do you do?

Here, take your coat off.

We can eat now. I'm starving.

Didn't hold everybody up,

did I?

Oh, don't be so silly.

Go on, sit yourselves down.

- Where do you want me to sit?

- Looks smart, don't he?

- Yeah, he does.

- You sit there, Reg.

- Here, Uncle Frank. You're next to me.

- Well, don't make trouble.

- Now come on, everyone. Tuck in.

- Fill your boats.

Ethel, thank you.

- This is nice.

- Aw.

Ayup. Ayup.

Here's to

Ethel and Reg.

Welcome to

the family, Reg.

And all the very best

to the both of you. Cheers.

- Cheers.

- To the happy couple.

- Here's to you.

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

    "Vera Drake" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/vera_drake_22787>.

    We need you!

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

    Watch the movie trailer

    Vera Drake

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the "midpoint" in screenwriting?
    A The end of the screenplay
    B The halfway point where the story shifts direction
    C The climax of the screenplay
    D The beginning of the screenplay