All or Nothing Page #4

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


You've had a shave, have you?

Yeah. Razor.

Trying to look nice|for someone, are you?

Nah.

Why? Don't you fancy no one?

What's that?

What?

What you looking at?

Is that real gold?

Yeah. Of course.

What?

What's that, a kiss?|- Nah.

What was it, then?

Bad breath, ain't you?

Ain't you never kissed|no one before?

All right.

Don't f***ing touch.

I can touch you...

but you can't touch me,|all right?

Like that, do you?

Yeah?

F*** off!

You don't know.|- What? What don't I know?

You're sick.|You're a f***ing pervert.

Six pound, please.

F***.

You all right?

I ain't got it, mate.

You ain't got nothing?

Look...

I'm really, really,|really truly sorry...

but I ain't got a bean.

Go on, then. Piss off.

Life's too short.

I'm free.

Penny.

What are you doing?

You was asleep.

Yeah. I know I was asleep.

It's 3:
00 in the morning.|- It ain't, is it?

It's five past.

Are you stiff?|- Yeah.

Did you have a good time?|- No, if you must know.

Rory's back, then?|I was waiting up for him.

I got your money.|You gave me a tenner.

Didn't have a bad night,|as it happens.

Makes a change.

And the rest came to L4.20...

No. 21. No. Well, 26.

Not now, Phil.

Right. I'll put it|on the sideboard.

Morning.

You all right?

What's the time?

It's just gone half-eight.|You're a bit late this morning.

Sorry, Rachel.

That's all right.|I'll go and do Bill first.

Just give me a minute.|- OK.

I couldn't wear|me pajamas last night...

laid there stark naked.

Morning, Martha.

Morning.

What about you, eh?

It weren't that hot.

Well, I was.

What you sitting there for?

I forgot me key.|- You been crying?

What's the matter?|What's that on your face?

Someone hit you?

Donna.

I put the kettle on.|Now, what's going on?

Has he hit ya?|He has, ain't he?

Donna?|- We had a fight.

A real right or a pretend fight?

It ain't funny.|- I ain't joking.

He's a big bloke. You're only|a little skinny thing.

I ain't skinny.

Who's he think he is,|the bleedin' bully?

What'd he hit you for, anyway?

I pushed him.

You pushed him, so he hit you?|- Yeah.

Nice. Better not show his face|around here again.

Ain't none of your business.|- It is my business.

It ain't!|- I knew he was no good.

You never give him a chance.|- Never give him a chance?

You never gave|yourself a chance.

You've only known him|a couple of months.

Yeah, and how long|did you know my dad?

I don't know.|About five minutes.

Yeah. So shut up.

Do you love him?

I don't think you should|see him no more. He's trouble.

Ain't as easy as that.

What's that supposed to mean?|- Nothing.

Anyway, leave me alone.|I can deal with it meself.

You ain't pregnant, are you?

Oh, Donna...

I thought you was on the pill.|- I am on the pill.

Don't you take it no more?|- Yeah.

What? Weekends only?

Been to the doctor's?|- Yeah.

How far gone are ya?|- Two months.

Two months.

You tell him you're pregnant,|so he hit you.

It weren't like that.|- No? What was it like?

Dunno.

I thought you had more sense.|- F*** off!

Don't get the hump,|you silly cow.

Does your face hurt?|- Yeah.

I'll make you a cup of tea.

Want some sugar?|- Yeah.

How was work today?

It was all right.

That was sh*t.

Rory.|- What?

There's no need|to talk like that.

F*** off.

Rory, will you stop|being rude to me, please?

For f***'s sake,|what is your problem?

I only said|I didn't like my dinner!

I can't do nothing without you|having a go at me!

You do my f***ing head in!|Why don't you f*** off?

Take no notice.

What do you want?|- Is Donna there, please?

No, she ain't.|- I know she's f***ing there!

I'll sort it out!|- So what's going on?

If you ever touch my door again,|I'll phone the police.

F*** off!|- Who you talking to?

I ain't talking to you!|- Leave it, Mum!

No, I bleedin' won't!|- Keep out of it.

It's got f*** all|to do with you!

Ain't it? Look what|you've done to her face.

She's f***ing asking for it,|ain't she?

You coward!

F*** off! She's coming|round my house, right...

threatening to tell|me mum something.

Tell your mum|that she's pregnant?

What?

What did you tell her for?|- 'Cause she's me mum!

Get out of my house.|- Get your f***ing hands off me!

Don't touch her!

F*** you. I don't even|wanna be here.

What you doin' here, then?

She texted me.|'Come over here,' so here I am.

Did you text him?|- Yeah.

So what's this big thing, Donna?

What's the great secret?

She ain't got nothing|to say to you.

Typical Donna, ain't it?|I'll tell you what.

You're twisted in the head.|F***ing mental!

Leave her alone!|- I'll tell you what.

She's the worst f***ing shag|I've had in my life.

She said the same about you!

I had her in your bed and all,|you c*nt! F***ing mug!

Bloody hell, Donna.

You don't half pick 'em.

Dumped you, has she?|- F*** off!

Where are you going?

I'm f***ing getting out|of here, ain't I?

Can I come?

What's the matter?|Don't you like me?

How are you feeling?

All right.

You're better off|without him, you know.

I know.

Bastard.

Gonna keep the baby?

Dunno.

You wanna have an abortion?|- No.

You want something to eat?

You're eatin' for two now.|- Shut up.

I'll make you two chips.|- Ho ho.

Suit yourself.

When's your first|hospital appointment?

I dunno.

You want me to come with you?

If you want.

No fun going on your own.

I know.

Let's get this off.

All right. Easy, easy.

What about Donna?

What are you f***ing|thinking about her for?

I ain't thinking about her.|Come on.

What did you say it for, then?

She's gonna be pissed off,|ain't she?

Right,|I'm f***ing telling you.

Don't mention|her name again, yeah?

Why not?

F***ing bullocks.|I'm serious.

Get out the f***ing car.

I'll f***ing drive home|and leave you here.

Is that what you f***ing want?

F***ing hell.

You're a f***ing nightmare,|ain't you?

Yeah.

All right?

I was married once, you know.

Was you?|- Yeah. Four months.

B*tch.

And she was a nurse.

You get used to it.

What are you doing after work?

You wanna go for a stroll|in the park?

We could go back to my flat.|It's nice and cool up there.

Only gets the sun|in the mornings.

Sit on the bed.

Watch a video.

What do you think, eh?

What's up?

Have I said something?

No.

Rachel,|when you got a moment...

you couldn't have a look|in Bertha's room?

She did a bit of number twos|on the carpet again.

I cleaned most of it up.|Just needs a bit of a mop.

All right?

You're on your own, ain't you?

So?

You know the center of London,|the West End?

Yeah.

You have been there?

Oh, yeah.

Ah, bon.

It will be much traffic?

You might be lucky.|Have you got an appointment?

I must go to the opera.|'Don Giovanni.'

It will take how long?

It's unpredictable, isn't it?

You should be all right.

Come on, babe. There you go.

All right, Michelle?|- Hello, Maureen.

I brought your little shirts.

Right. I thought|you was comin' after tea.

No.

Right. Do you want the money now?|- Yeah, it ain't free.

All right, Ange?

All right, Maureen?|Not at work today?

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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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