All or Nothing Page #3

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
416 Views


I ain't allowed|to touch you no more?

I ain't saying that.|Get off.

Give us some of that.|- You got your own there.

I don't want one of me own.

Come on!|- No.

For f***'s sake.

Don't pinch me.|- Don't hit me.

Right, and another thing.

Don't you dare phone me|at half-11:00 at night.

I texted you.|You never phoned me back.

F*** that.|No, I'm out with the boys.

You're showing me up.|Making a right mug of me.

That's your problem.|- I was gonna get back to you.

Was ya?|- Course I f***ing was.

Just relax.|- You relax.

Oh, f***.

So what are we doing?|We going out or what?

Stayin' in.

We're stayin' in, yeah?|That's nice, innit?

Get off!

Come here.|- No.

F***ing come here!|- No. I don't want to.

You love it, don't you?|- What?

I swear to God, you are|the biggest cock teaser...

I've ever met in my life.

F*** off.|I ain't a cock teaser.

Where'd you get that bruise?|- You done it.

Good.

Does it hurt?|- No.

F***ing hurts.|- No.

What are you doing?|- Nothing.

What's the matter?|- I'm all right.

You don't like the way|I'm doing it to you?

Yeah.

Stop playing about, Donna.|- I ain't playing about.

Just lie down.|- I don't wanna lie down.

Just lie the f*** down!

I don't wanna f***in'|lie down with you.

What? You don't|want to do it no more?

I ain't saying that.

No. Just tell me,|you don't wanna do it no more.

F*** this.|- Where you going?

I'm getting out of here.|I don't need this.

Do you know what I mean?|I make the effort.

I drive all the way round here,|nearly two miles, right?

We're gettin' it on on the bed,|sweet, lovely?

You go cold on me.|You blow all hot and cold...

like some f***ing tap.

Do you know|how that makes me feel?

Terrific, lovely.|Thanks very much.

I can go somewhere else,|Donna, right?

I'll go down the pub with|the boys, yeah? Right?

I don't give a f***.

F***ing end of!

F***ing little b*tch.

I don't want you to go.|- Well, I'm going, ain't I?

I want to talk to you.|- What do you want to talk about?

I don't want to talk.|I wanna shag!

I do want to talk!|I want to tell you something.

And what do you want|to tell me, for f***'s sake?

I'm pregnant.|- What?

Say that again?

I'm pregnant.

No, you ain't pregnant.|You're on the pill.

I know I'm on the pill,|but I'm having a baby.

Bollocks.

It's yours.

No. You're having|a f***ing laugh.

It's not very funny, is it?

How do you know?

How do I know I'm pregnant?

Yeah, how do you know|you're pregnant?

I went up the doctor's.|- When?

Two weeks ago.|- Two weeks?

You've f***ing known|for two weeks...

and you didn't bother|to tell me?

I haven't seen you|for two weeks, have I?

Bollocks!|You seen me on Thursday!

And when I do,|you're always shouting at me!

F***ing hell, Donna!

For f***'s sake.

All right, Carol?

What?

What's that look for?

What look?

You give us a f***ing look.

No, I ain't.|- Yeah, you did.

You getting the hump again?

I ain't got the hump.|- Don't get stroppy with me.

I ain't getting|stroppy with you.

Ain't ya?|- No.

I'm your mate.|We're all mates, ain't we?

Yeah.|- There you are. See?

Don't take|no f***ing notice of me.

I ain't taking no notice of you.

You've been a good friend|to me, Maureen.

Yeah, I have.

I love you.|- I love you, too, Carol.

Do you?|- Yeah.

It's all right, Carol.

Penny.

Pretty girl.

Your turn.

Do you love me?

Yeah.

I'll bet you stopped|taking the pill on purpose.

Of course I never.

That's exactly what you'd do|just to f***ing keep me.

You think so?|- Swear on your mum's grave!

She ain't dead yet.|- I mean it, right?

If I ever found out|you did that to me...

I'll f***ing kill you, you slag!

Go on, then. Kill me!|- Oh, f***.

Listen to me. This doesn't|have to be a big thing.

It is a big thing.|- No, it ain't, Donna.

This happens all the time|to people.

All you've gotta do|is get rid of it, yeah?

I ain't a wanker.|I'll give you a bit of money...

and I'll even come along|and sort it with you.

That's nice of you.|- It's done and dusted, then.

Just like that.

Simple.|- Simple.

I mean it, right?

If you keep it,|I'm f***ing walking.

You want to stay with me,|you f***ing get rid of it.

And that's it, is it?

What do you want|to have a kid for?

How are you gonna feed it?|Support it?

I don't want to be a dad, Donna.

I ain't up to it! I don't|even want to be with you!

F*** off!|- Yeah.

I been thinking about it|for a couple of months now...

thinking about|chucking it all in.

All we ever do|is f***ing argue, innit?

Isn't that the truth?

It's doing my f***ing head in.

You know when I went|up to Newcastle...

with Cookie and the boys?|We was in a club.

I pulled the best little bit|of p*ssy ever in the toilet.

F*** off!|- Don't you dare!

She had a lovely pair of tits,|tight ass...

and I'll tell you what,|she gave me...

the best f***ing blow job|I've ever had in my life...

ten times better|than you could ever give it.

Are you gonna|start crying now, are you?

I'm not crying.

No. Go on. Cry.|Let's see you well up.

F*** off!

You lumber me with a kid,|I'll make your life sh*t!

You already do!|- I'll bury you, you c*nt!

F***in' mug!

Thanks.

Cheers, girls.

Take this off.|- In a minute.

Has it got sleeves?

No, it's sleeveless.|- Take it off.

It's nice, isn't it?

Did you get it|out of the catalogue?

I got the cardigan|out of the catalogue.

I got the top at the market.|They don't match. They're odd.

Sexy girl.|Don't she look sexy?

You gonna have a sing?

I'll get up in a bit.|I've gotta laugh later.

You got a good voice?

F***ing sight better than her.

Dolly Parton, me.

You gonna have a sing?|- No. It's too embarrassing.

How long you been|married, Penny?

I ain't married.

Ain't you?|- No, she ain't.

Why ain't you?

I dunno. Never asked me.

Don't matter, does it?|- No. I ain't bothered.

What a c*nt.|- Oh, that's nice.

I wouldn't want to get married|in a church anyway.

I got married in a church.|It was lovely.

It was the best day|of my f***ing life.

My little Ronnie.

Sweetheart.

F***ing hell.

Don't touch it.|It's gonna make it worse.

No. Leave it 'cause|it's right on your nipple.

It's my f***ing nipple.

Leave it. I'm not kidding.|- I'm not touching your nipple.

Ladies and gentlemen, give a big|welcome to our next singer.

Put your hands together|for Maureen.

Come on down, Maureen.|- Blimey, my turn.

Don't know when|I've been so blue

Don't know|what's come over you

You found someone new

And don't it make|my brown eyes blue?

I'll be fine

When you are gone

I'll just cry

The whole night long

Say it isn't true

And don't it make|my brown eyes blue?

Tell me no secrets

Tell me no lies

Give me no reasons

Give me alibis

Tell me you love me|and don't say good-bye

Say anything

But don't say good-bye

Carol.

Mind her arms.|- Gonna take her home?

Sit down.|It's all right. I've got her.

Come on.

Come on, Carol.|You've gotta walk.

What are you doing?|Waiting for someone?

What's that?

What?|- That.

I cut myself shaving.|- Did you?

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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…

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Submitted on August 05, 2018

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