All or Nothing Page #6

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


Make yourselves at home.|Get comfy.

Is he gonna be all right?|- He'll be fine.

We've run some tests, X-ray,|checked his blood...

Ain't he had a heart attack?|- Well, yes and no.

What do you mean?

He's had a kind of heart attack.

In your heart,|you've got four chambers...

divided by a big wall|of muscle, OK?

And Rory's got a problem|with this muscle.

He ain't never had nothing|like that before.

That's the thing, you see.

He's probably had it|since he was a baby...

but it's only just|come to light.

I can't believe all this.

I know. We think|that's what must be wrong...

but the consultant's got to have|a look at him tomorrow.

What's going to happen?

Good news is he should|be home within a week.

But the thing|with this condition...

is that it won't just go away...

and we can't actually|cure it as such.

Can't you?|- No. Afraid not.

We're gonna have|to put Rory on medication.

How long for?

Probably for the rest|of his life.

That don't seem right.

Not to worry.|Lots of people take pills...

every day of their lives and|they're none the worse for it.

Rory will just pop in...

see a cardiologist|every six months...

and everything should be cool.

He's through|the worst of it now.

He's only little.

He's been a good lad.|- Yeah, he is a good lad.

Does he smoke?

No.

Yeah, he does a bit.

F*** off.

Rory! Sorry, Doctor.

Once Rory's decided|whether he smokes or not...

he can give it up.

The same goes for burgers and|chips and fry-ups and crisps.

All that crap, eh, Rory?

The sooner you get rid of them,|the better it'll be for you.

Hello?|- Phil, it's me.

Where the bloody hell|have you been?

What's up?

I've been trying|to get hold of you since 5:00.

Your phone is off,|your radio's off.

Neville can't get hold of you.|Nobody can get hold of you.

What's going on?|Where are you?

I'm on the A2.

Rory's had a heart attack.

Phil!

What?

We're up at the hospital.|South London General.

What do you mean,|'heart attack'?

What do you mean,|'What do I mean, heart attack'?

Is he all right?|- No, he ain't all right!

He ain't dead, is he?

Of course he ain't dead.|Where are you?

I'm just coming up to|that big Chinese supermarket.

The one on the roundabout|down by the...

Phil, for f***'s sake!

Just hurry up and get here!

Pen? Hello?

It's funny. I'm starving,|but I can't eat this.

Got a bleedin' headache.

-Do you want a bit?|-No. Ta.

Is he gonna be all right?|- Yeah. He's in good hands.

Hear that baby?

Yeah.

Look at you.

Come here.

Shift up.

Are you scared?

We'll be all right.

Here...what if it's a boy?

Forget about it.

How can I forget about it?

I'll f***ing kill him.

Yeah.

You gonna phone the police, Dad?

No.|- Why not?

I'll do it in the morning.|- Do it now.

No.

I'll phone 'em.|- Leave it.

Give us that bit of paper.

Dad!

What?

That bloke's gonna get away|with it, isn't he?

It's none of|your f***ing business.

You phone Penny yet?

You ain't, have you?

You don't give a sh*t, do you?|You're useless.

You're both f***ing useless.|I'm going out.

What?

Oh, God.

F***ing hell,|what have you done?

Why'd you do that?

It's all right.|I love you and all.

Don't love you, all right?|I don't even like you.

You need to get that seen to.

Need to go to hospital,|all right?

It's not funny. It's not funny!

Not... I'm sorry.

I'm sorry.

Excuse me.

Can I help you?

That's my boy.

Can you tell me|his name, please?

Rory Bassett.

OK, Mr. Bassett, in you go.

Right.

It's only two by a bedside.

OK. Sorry.

There's only allowed two|by the bed.

I'll wait outside, then.

Don't be stupid.|You've only just got here.

No, it's all right.

Get yourself a cup of tea.

I'll just wait outside.

All right?|- Yeah.

He's asleep now.|- Is he?

Has he had an operation?|- No.

I got lost downstairs.

Bloke said, 'Go upstairs...'.

All right, Phil,|you're here now, ain't you?

What happened?

Well, he collapsed.

Maureen was with him|when I come up here.

He's got to take pills|for the rest of his life.

You never know what's|going to happen, do you?

It's wossername...fait accompli.

He might win|the lottery tomorrow.

It's kismet, isn't it?

What are you talking about?

Where have you been?

Out and about, you know.

Where?

Been a long run, then...

You're supposed to be|a taxi, Phil.

What are you doing|with your radio switched off?

And your mobile... what's|the point of having them...

if we can't get hold of you|when we need you?

I know what you mean.|- It's pathetic!

Leave it out, Mum.

Stop having a go at him.

Rory...

I ain't havin' a go at him.

It's all right.

You all right, Dad?

All right, mate?

You been in the wars, ain't you?

D'you wanna go on holiday?

What?

We'll go away...|when he's better.

Yeah? Four of us?

Yeah?

Disneyworld?

What?

It is past 10:
00.

I don't want to leave him.

I know, but the night staff|will take good care of him.

Rory, gotta go home now.

Be back in the morning.|- All right.

All right, mate.

I love you, Rory.

Gotta go home now.

Is he asleep?|- Yeah, nearly.

He'll be all right.

Havin' a cup of tea?|- Yeah. Do you want one?

No, I'll have hot chocolate.

Do you want a beer?|- No.

I wish I could have stayed|the night up there with him.

Well, they'll have|drugged him up...

knocked him out until morning.|Wouldn't they, Rach?

Yeah.

First thing, then,|run you up there.

You don't have to do that.|- I won't hang about.

I'll come in, say hello,|make sure he's all right...

then get straight on the radio,|start work as soon as I can.

He'll be surprised,|won't he? Neville.

He's a bit... wossername...|unpredictable, isn't he?

He might not have me.

There's a lot of blokes|work mornings regular.

I might pick up|some airport runs.

If he says no,|I'll try somewhere else.

I don't want to talk|about it now, Phil.

No, I mean it.|I'm gonna do it.

I'm determined to do it.

Got to get started, get saving.

Shouldn't take long.|I'll work seven days a week.

Start early, finish late.|Do nights, weekends...

Phil, Rory's in hospital.

Yeah. Sorry.

But I made him a promise,|and I'm gonna keep it.

What promise?

About going on holiday.|- Phil!

They do these deals, don't they?|Disneyworld...

these two nurses I picked up|was telling me about it.

They do these all-in packages.

Wossername--fly/drive.|Florida, innit?

Phil, it ain't about|goin' on holiday.

It's about gettin' by|week in, week out.

It ain't a game!

Just 'cause you suddenly got|some bee in your bonnet...

about gettin' up in the mornings|and goin' to work...

when you've been lying in bed for|years till God knows what time!

And we're all supposed|to be grateful...

because you decided to do|what normal people do.

I get up in the mornings.|Rachel gets up in the mornings.

You make me sick.

Doctor was asking about you.

About your heart and stuff.|Your family.

If anyone in your family's|had a heart attack.

There was your Uncle Dougie,|weren't there?

Me Nan had one and all.

Oh, yeah.

Me mum's mum.|- Forgot about that.

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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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