Another Year Page #3

Synopsis: A married couple who have managed to remain blissfully happy into their autumn years, are surrounded over the course of the four seasons of one average year by friends, colleagues, and family who all seem to suffer some degree of unhappiness.
Genre: Comedy, Drama
Director(s): Mike Leigh
Production: Sony Classics
  Nominated for 1 Oscar. Another 22 wins & 53 nominations.
 
IMDB:
7.3
Metacritic:
80
Rotten Tomatoes:
92%
PG-13
Year:
2010
129 min
$3,200,000
Website
567 Views


But when you've got your car, Mary,

you'll be able to go wherever you want,

- very reasonably.

- Exactly, Tom.

That's exactly why I'm getting it.

You see, I like just taking off

and escaping, don't I, Gerri?

Hm.

I feel like I'm being somebody else.

- Really? Who's that, then?

GERRI:
Tom!

I like to get on the train...

But, you see,

the car is cheaper than the train, isn't it?

GERRI:

Not environmentally.

Oh, what you mean...?

(bangs feet on floor)

(laughs)

Those are my carbon footprints, Gerri.

- Yes, I know.

- (giggles drunkenly)

Financially, cars are cheaper.

That's why there's no incentive to go by train.

Well, what about the airlines?

No government wants to increase

the duty on aviation fuel.

No.

And this government

won't invest in the railways,

so anything we do is a piss in the ocean.

Absolutely.

And then there's the big corporations,

who keep their lights on all night

in empty office blocks.

We're all expected to do our bit with eco bulbs.

I know.

Should I stop recycling, then, Gerri?

- No.

TOM:
You've got to set an example.

- Yeah.

- Plant a few tomatoes.

And courgettes.

I am very environmentally friendly, actually.

- Are you?

- Yeah.

I don't fly.

I don't live in a house

that's more than I need.

I don't cook.

- Other people cook for you, though.

- Who?

You get takeaways, don't you?

That doesn't count.

Everybody gets takeaways.

You've built whole motorways, Tom.

How environmentally friendly is that?

Exactly!

More cars! More cars!

At least I'm buying an old car.

- Recycled.

- Yeah.

Yet we're constantly told that

the measure of a thriving economy

is the sale of new cars.

Yes, but, Tom...

...if I buy a new car...

...that's another car.

You're absolutely right, Mary.

And would you like some coffee?

No, thank you.

I'd like my usual.

Are you all right, Gerri?

Yes, Mary, I'm fine.

How are you?

I'm happy.

Good.

I just wanted to say...

...that if you ever need to share anything...

...l'm here for you.

I'm a very good listener.

Thank you, Mary, but I'm fine.

Yeah, I know.

It's very kind of you, Mary.

Oh, Gerri.

Everybody needs someone to talk to,

don't they?

Yes, Mary, they do.

Oh, well, onwards and upwards.

You'd better stay the night.

No. No.

Well, I think you should.

All right, Gerri, you're the boss.

We'll find you a T-shirt again.

Will you?

I've found you a toothbrush.

I sometimes wonder what he's doing.

If he thinks about me. I bet he does.

GERRI:

How old was he?

He'll be 64 now.

TOM:
64?

Blimey, he's older than me.

- Almost a pensioner.

TOM:
He'll be past it now, Mary.

- Give us your hand.

- Oh, no, Tom.

He was lovely.

Well, we all grow old.

Oh, no, but he was very, very, sexy, Gerri.

Do you know what I mean?

TOM:

Too much information.

I bet he regrets it deep down.

I hope he does.

He was my big love...

...but he was married.

Well, what can you do, Tom?

You can't walk around

with a label saying,

"Don't fall in love with me,

I'm married," can you?

Some people wear a ring.

He didn't.

But he wasn't a bad person.

He loved me.

Sounds to me

like he was a duplicitous sh*t.

GERRI:

Tom?

Do you think it was my fault, Tom?

No, I don't, Mary.

Honest.

It takes two to tango.

Oh, so you think it was my fault, Gerri?

- I didn't say that.

- No, I know you didn't, really.

I blame my big heart.

Well, we all have to make choices,

don't we?

Why do I always get it wrong, Gerri?

I mean, look what happened

when I got divorced from that sh*t.

I let him palm me off with 5,000...

nothing pounds

and what am I left with now?

Sod all.

I'm living in a poky rented flat when

I should have my own home at my age.

It's not fair.

Bastard.

My goodness.

Hm?

- She gets worse.

- I know. Desperate.

I feel a bit guilty.

What?

Well, you know.

No.

No. You're right.

I don't think I really enjoyed history at school.

Didn't you?

Maybe I did.

It's just that the older you get,

the more relevant it seems.

Hm.

To state the bleeding obvious.

We'll be part of history soon.

Exactly.

- Aha!

- Aha!

What are you doing riding

on the pavement, young man?

I'm breaking the law, officer.

- 'Ey up.

- Hiya.

- How long did it take?

- About an hour.

- Are you knackered?

- I'm ready for bed.

- Late night?

- Hangover.

- Do you want a hand?

- Yes, please.

- I'll stick this away.

- All right.

Oh, he's back. That was quick, Tom.

- Didn't you get the manure?

TOM:
Compost.

- Here's Joe!

- Hi, Mary.

Hello, Joe, what a surprise.

- Are you all right?

- I'm great. How are you?

- Oh, continental! He's all sweaty.

- I've been riding all morning.

Have you? I like your hat.

- Aha!

- Aha!

Ah, that's right.

Never forget to kiss your mum.

- I never do.

- No, you're a good boy, aren't you?

- Yeah.

- I remember when you were this big.

You were a naughty boy.

- I still am from time to time.

- Oh, really?

- I like your coat.

- Oh, thank you.

I think I'm a bit overdressed for

a Sunday morning. What do you think?

- Is that what you wore in bed?

- I slept in your bed. Is that all right?

- As long as you cleaned the sheets.

- No, I didn't. Is that a problem?

- We'll have to wait and see.

- Oh, right.

Oh, sorry, Tom. I'm in your way.

All of these strong men.

- Look at his muscles.

GERRI:
That's why we had him.

All right, well, I'm off, then.

- You want a lift to the station?

- It's all right.

- Are you sure?

- I'll be fine. I could do with a walk.

Yeah.

- Sorry about... you know...

- It's OK.

TOM:
It was good to see you.

- Oh, thank you, Tom.

Are you all right?

Yeah, you know.

Had a bit of a wild night, Joe.

Well, I'd best be off.

Oh, thanks for saving me that breakfast.

It was really delicious.

- You're very welcome, Mary.

- Yeah.

It's lovely to see you, Joe.

I'll see you soon, I hope.

JOE:
See you soon.

- Yeah, hopefully.

Well, have a lovely day together, all of you.

- Right. Ta-ta, then.

- Yeah, OK. Bye.

- See you on Tuesday, Gerri.

- Bye, Mary. Take care.

Bye.

- Bye Joe.

JOE:
Bye.

- Bye.

- Bye.

There you go.

- Delicious.

- Present for you.

Matt's getting married.

Oh, Mathew!

Oh, is he? Matt with the guitar?

No, that's Paul.

Oh, Matt, yeah.

That's great.

- Have you met the lady in question?

- Certainly have.

- Is she worthy of him?

- No, they hate each other.

You mean, is he worthy of her?

Oh, beg your pardon, Mrs Pankhurst.

Where's the stag do this time?

Buenos Aires?

- No, Dublin.

- Ooh, lovely.

Another capital city brought to its knees.

Well, we'll try and leave it as we find it.

- When are you going?

- July. The wedding's August.

Lovely. I'll make some tea.

So, when's it going to be your turn?

A week on Wednesday?

- Oh, you didn't say.

JOE:
I didn't want to spoil the surprise.

- I knew.

- Oh, no, I haven't bought a hat.

Any news?

Nobody...?

No, still quiet on that front.

What?

Sorry, love. Excuse me.

(knocking on door)

Who's that a-knocking on my door?

Rate this script:3.0 / 1 vote

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

    "Another Year" Scripts.com. STANDS4 LLC, 2024. Web. 20 Dec. 2024. <https://www.scripts.com/script/another_year_2966>.

    We need you!

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

    Watch the movie trailer

    Another Year

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    Who directed "Jurassic Park"?
    A Peter Jackson
    B Ridley Scott
    C James Cameron
    D Steven Spielberg