All or Nothing Page #2

Synopsis: Penny's love for her partner, taxi-driver Phil, has run dry. He is a gentle, philosophical guy, and she works on the checkout at a supermarket. Their daughter Rachel cleans in a home for elderly people, and their son Rory is unemployed and aggressive. The joy has gone out of Phil's and Penny's life, but when an unexpected tragedy occurs, they are brought together to rediscover their love. All or Nothing is set on a London working-class housing estate over a long weekend, and also tells the stories of a range of Phil and Penny's neighbors, some of whom become involved in the family's lives, and all of whom experience an emotional journey.
Genre: Drama
Director(s): Mike Leigh
Production: MGM Distribution Company
  3 wins & 13 nominations.
 
IMDB:
7.6
Metacritic:
72
Rotten Tomatoes:
82%
R
Year:
2002
128 min
Website
426 Views


It's all you've got|to keep you warm at night.

I'll make you|some mashed potato.

I don't want mashed potato.|- Chips?

I'll have a few chips.

How many's a few?|- A few!

Two? Three?|- Funny. Shut up!

You going out tonight?|- Yeah.

Where you going?|- Out.

I been there.|- Have you?

Yeah. Gets a bit packed|though, don't it?

Yeah, it does.

Who you going out with?|Scarface?

Shut up! That's bang|out of order, that is.

Do you want this duvet cover|on your bed?

No, I don't.|What are you ironing that for?

Nobody irons duvet covers.

I do, if someone pays for it.

I'll iron anything|within reason.

I'll put a few chips on.|Two, wasn't it?

All right, Sam?

All right.

You locked out?

No.

Good. Is your mum in?

Yeah.

Evening, Jason.|- Yeah, all right.

She's ready for you.|- Is she?

Only took her two hours.

All right?|- All right.

How are you doing?|- Yeah, not bad.

Taking her out, are ya?

Yeah, of course.

Where you going, then?|- Down the pub.

That's nice.

Where you going?|- I dunno.

All right?|- Right. Come on.

All right, Donna?|- Yeah.

Can I come, too?|- No, you can't.

Why not?|- F*** off!

Have a nice time without me.

You off? Be good.

If you can't be good,|be careful.

F*** off.

What, I'm not allowed|to talk to her?

There's no need|to argue about it!

Shut up!

All right, Craig?

What you keep|f***ing looking at me for?

Don't f***ing look at me|or I'll slice you, you c*nt!

F***ing mug!

F***ing wanker.|Get your f***ing hands off me!

What are you doing, Dad?

Get off!|- Come on, shift over.

What are you looking for?

Money.

There ain't none down there.

Come on, get up.|- I'm telling you...

there ain't noth--Oh, sh*t!|- Give it to me.

No, that's mine.|Finder's keepers.

Don't mess about.|- No, f*** off!

I'll give you double tomorrow.|- No.

I ain't joking.

You can borrow it,|but you owe me a quid.

All right.|Come on, let go of it.

Ta.

Can I come in?|- Yeah.

All right?

Is that any good?

Yeah, it's all right.

Got any spare change?

I might have a bit.

Only it's my what's-its-name.|Gotta pay it tomorrow.

Yeah, of course.|- Don't want to leave you short.

No, it's all right.|- I'll get it.

Where's your purse?|- Downstairs.

In your coat?|- Yeah.

It's not much.|- It all helps.

You sure?|- Yeah.

What about your dinner money?

No, it's all right.|I still got a fiver.

I'll give it back to you.

Thanks, luv.

Good night.|- Night.

I should have|just got half a tank.

It's Friday tomorrow.

Yeah, I know.

I ain't had a very good week|this week.

Ain't you?

No.

Got any spare?

Yeah, I got a bit,|but it ain't ever spare, is it?

Can I borrow some?

I'll pay you back|at the weekend.

Why don't you get up|earlier in the mornings?

Drive people to work,|take them to the airport.

I know what you mean.

It's downstairs in me bag|in me bike basket.

Shall I take it out?|- No, bring it up.

All right.

I only need a tenner.

Ta.

Have you got any change?

Yeah, I got a bit.|Ain't much, though.

That should do it.

Do you want me to take that|downstairs for you?

No.

Give us a clue, then.

'Biblical son of Isaac,|five letters.'

Starting with a 'J.'

Jonah.|- Oh, yeah.

No, it ain't.

It's what's-his-name. Jacob.

Are you sure?|- Yeah.

It's a thousand pound prize.

Is it?

No, I ain't sure, then.

Give us another one.

No, I'm gonna go to sleep now.

Right.

I'll be up in a minute.

Night.|- Night.

Are you all right?|- Yeah.

You going downstairs for a bit?

Yeah.|- All right.

Morning, Harold.|- Morning.

You all right?

Sweatin' like a pig, ain't I?

Havin' a breather, Sid?

Ain't you hot, then?|- No.

You're lucky.

Are you working at the weekend?|- Yeah.

Just you and me then, innit?

You make sure you go to bed|early tonight, then, eh?

Mind your elbow, honey.

Looks good.

Hundred and fifty.

Hundred and eighty.

You said one-fifty.

Overnight service, Ron.

Sorry. Drive safe.

You was out of order yesterday,|you know that?

Well out of order.

Yeah?

From over the chip shop?|- Morning.

Deptford. Yeah, I know.

All right, Ron?|- Yeah.

He didn't let you down?|- No, he didn't.

Good.

All right, Nev?|I've got your rent.

That's...sixty.

So where's the rest?|- That's eight pound coins.

Bum ba hole.

Twelve in change.

Where you going with that?|- Sorry, Nev.

I told you already,|I don't deal in shekels.

Go to the bank, man.|Sick in my stomach.

Take two now|and I'll owe you a tenner.

lf you're gonna rent my radios,|show me some respect.

I'll drop it off later.

Give me proper money, man.

I'll phone you when the driver's|outside your house.

Am I being abusive?

Wait. Why you slam down|the phone for?

Boy, you got bad attitudes.

Thank you. Bye.

See ya.

Excuse me.

Thank you.|- You're welcome.

What?|- Nothing.

Got a problem?|- No, I ain't got a problem.

Ain't you?|- Why should I have a problem?

Did you have a good time|last night?

Yeah, I did, actually.

You sure?|- Yeah, I am sure.

Are you?|- Yeah.

That's good.|- Yeah, it's good.

Where did he take you?|- Never you mind.

Somewhere nice?|- It was, actually.

I reckon you got a bit|of a problem.

Like what?

Got a customer.

For f***'s sake.

Good morning.|- Good morning.

Just a Coke, please.

All right.

Just come from work?|- Yeah.

What have you been up to?

Not a lot. Just got up.

What do you have to do,|then, at work?

Cleaning.

You have to wipe down|the old grandads and that?

No. It's not my job.

Who does that, then?|- Carers.

It's disgusting.|Glad it's not my job.

It's better than working here.

Yeah, but at least|I've got a job.

F*** off.

What about when they die?

Well, just gotta|clear out their rooms.

How much you think|it's gonna be?

About fourteen, fifteen.

OK.

Is that all right?

Yeah.

What?|You think I ain't got it?

F*** it. I mean, what...

Is all the stuff that...

I mean, it all, you know.|Like, it was supposed to...

and he was gonna|bring round the...

just f***in'... |I just kept thinkin' too much.

I mean, I don't want to,|you know...

you seem like|a nice bloke. And...

A f***in' wanker, you know?

F***in'... what can you...

are we... round there,|they used to...

See that door there?|It used to open inwards.

Yeah?|- I should have...

should have done something else.

Did you go to bed early, then?

About ten-ish.

Ten-ish? That is early.

I'm starving.

Kettle's just boiled.|- I ain't on my break.

I can't remember the last time|I was in bed by 10:00.

About 1950, I should think.

Half-3:
00, sometimes.

And half an hour later|I'm pacing about.

Then I try again.

Nightmares.

Wake up sweating...

or freezing.

Make meself a cup of tea.

Drop off in the chair.

Here.

I'd give a year's wages|for a good night's sleep.

Thanks.

I'll bet you'll be up late|tonight, though...

with your boyfriend?|Saturday night.

I ain't got a boyfriend.|You know that.

What do you drink, lager?

Yeah.

Couple of pints will do me.

Fish 'n' chips.

Saturday night.

What are you doing?

What does it look|like I'm doing?

I don't know.|That's why I'm asking 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

    "All or Nothing" Scripts.com. STANDS4 LLC, 2024. Web. 24 Dec. 2024. <https://www.scripts.com/script/all_or_nothing_2512>.

    We need you!

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

    Watch the movie trailer

    All or Nothing

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is "exposition" in screenwriting?
    A The introduction of background information
    B The ending of the story
    C The climax of the story
    D The dialogue between characters