Another Year Page #5

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


I'll tell you what.

I'll stay in the pubs, you do the walking.

Bugger that, you're carrying the bags.

(chuckles)

How about it?

Serious, we'll go in the autumn.

What are we going to do with you, then,

eh?

You can't go on like this, that's for sure.

So, is it every man for himself

or are we having teams?

Teams.

If I might make so bold, I would suggest

that the best plays with the worst, Jack.

- Good idea.

- In other words, you're with Ken.

- Thanks.

- It's me and you, Ken.

- Is there anything on it?

- Bottle of wine.

You're on.

- Are you ready?

- Yeah. Yeah, go on.

- It's you!

- Ah, right!

- Shall I kick off?

- You take the honour.

So, this father and son team.

- The double Hepple.

- Yes, take on these unknown mavericks.

- That's us, Ken.

- Good luck, Tom.

And good luck to you, Mo.

Can I just say what a great pleasure it is

to be playing with you once again?

Yep, yeah. Watch and learn, Ken.

There's wine on it.

Right.

Off we go.

- At-choo!

- I knew it!

- I knew you were going to do that!

- Ha, ha, ha!

All my life I've had to put up

with this nonsense from you

and I'm not going to have it any longer!

JOE:

Don't scare the wildlife, Ken.

TOM:

How many times a night do you go?

I lose count.

JACK:

You gotta get it sorted out, Ken.

TOM:

Yeah.

- Oh, what a beauty.

- Lovely.

Good shot, partner?

- Oh, sorry. Good shot, Jack.

- Thank you.

- Are you all right?

- Yeah.

- You want it out, Joe?

- Yep.

TOM:

Good luck, partner.

JOE:

It's all down to this.

(Ken coughs)

JOE:

Looks good.

ALL:

Oh!

TOM:

Ho, ho, ho, ho!

TOM:
My partner.

JOE:
Oh, yes.

(knocks on door)

Gerri!

- Tom!

- Here she is.

- Hello, Mary.

- Sorry I'm so late.

- What happened?

- It's taken me three hours to get here.

I left home at two. I had to ask

a policeman in the end, I got so lost.

- You got lost?

- Yeah, I'm really sorry.

- You've been here loads of times.

- I know.

- You know the way.

- Yeah, but I came in my car, Gerri.

- Oh, God!

- What's happened?

Oh, I'm so stupid.

Why do I always spoil everything?

- I wanted it to be a surprise.

- You've bought a car?

- Yeah!

- God help us.

I got it ever so cheap.

I was really chuffed with myself

because they wanted 700,

but I offered 600, but we settled at 650.

They were a nice couple of guys.

I think they were brothers.

- One of them had a gold tooth.

- Did he?

Yeah. But, they wanted cash.

So I had to go to the cash point on

Wednesday and Thursday and Friday.

So, I couldn't collect it till after work on Friday.

But they rang on Friday morning

to find out what time I was going

to go round with the money.

And had I sorted out the insurance?

Well, that hadn't even crossed my mind!

So, I spent the whole of my lunch break

on Friday sorting that out

and it was really expensive

because I haven't driven since 1984.

But I didn't tell you on Thursday, Gerri,

because I knew I was coming here today

and I wanted to surprise you all.

It is a surprise.

Shall I take that from you?

- Yeah, thanks, Tom.

- Thank you.

Oh, Tom, sorry.

- Can I have a little glass, please?

- Sure?

You shouldn't drive if you're drinking.

I know, Gerri, but you're allowed

a couple of glasses, aren't you, Tanya?

- Small ones.

- Yeah, yeah. Is that all right, Tom?

Yeah.

- Hi, Gerri.

- Hi.

- I'm really sorry.

- Oh, don't be daft.

- Hi, Tanya.

- Hello.

Oh, we really miss you at work,

don't we, Gerri?

- Sweetheart.

- When are you back off maternity leave?

- Give us a chance. (laughs)

- Oh, yeah.

- Hi, Joe.

- Hi.

- Oh, it's really lovely to see you.

- You too.

- Hi, Ken. Are you all right?

- Yeah.

- Come and sit down, Mary.

- Have a seat, Mary.

- Is anyone sitting here?

- No.

- No.

- Oh, this is lovely. Hiya, Jack.

I thought you were going to miss me out, Mary.

Oh, sorry. Where's Janey?

She's a bit under the weather

this afternoon.

Oh, sorry to hear that. Oh, I'm starving.

Oh, the baby!

- Oh, yeah, the baby.

- I'm sorry, Tanya.

- That's all right.

- Oh, hello, little Isaac.

Say hello. Don't mind the funny lady.

Oh, I'm sorry, I didn't recognise him.

Oh, he's asleep.

Oh, hasn't he grown?

He's got ever so big.

- They do that.

- Here you are.

- Oh, thanks, Tom.

- I'll give him to you.

- Where do you want him?

- Oh, that's better.

Are you OK?

We've saved you some food, Mary.

- I hope it's still warm.

- Oh, thanks, Gerri. That will be fine.

- I'll do you some fresh, if you like.

- Oh, no, don't worry about me.

- So you didn't get arrested, Mary?

- No, I didn't, Joe.

He was very kind to me, actually.

What CC is your car?

- What do you mean?

- How big's the engine?

Oh, I don't know.

It's about this big, I think.

(laughter)

- What's so funny?

GERRI:
Don't be cruel.

TOM:
He means, how powerful is it, Mary?

How many cubic centimetres?

- Oh.

- You should know that.

On the back there's numbers,

like 1.6 or 1.9.

Oh, yeah, I know, yeah.

Well, that's boys' stuff, isn't it?

- It's not important.

- No, Tanya.

I think I'm gonna have a cigarette

before I eat this.

- I'll get out your way.

- Shall we take Isaac over there?

Oh, well, I thought you wouldn't mind

cos we're outside.

- We don't, Mary. You carry on.

- You're all right.

- You're all right.

TANYA:
It's OK. I fancy a swing.

(laughs)

- Have one of these, Mary.

- It's all right. I've got my own, thank you.

- Here.

- Oh...

Thanks.

I'll have a smoke with you.

Well, I don't really smoke, normally.

I just have the occasional one or two.

How are you doing?

Yeah, I'm really well, thanks, Ken.

Still on your own, are you?

Yeah, I am and I like it like that, you know.

You're like me.

He's good.

He's great.

- He's a hungry bugger.

- Is he?

Just like his dad.

Is he a good dad?

Yeah.

Is he a nappy changer?

Ish.

I expect you're too capable.

- Oh, I am.

- Like Gerri was.

Like Gerri was what?

- Mind your own business.

- We're talking about you, not to you.

Hey, thanks for popping round on Friday.

Janey really appreciated it.

- How is she?

- Not good.

No.

It's exhausting all the time, just getting up

and down the stairs, knocks her out.

I noticed.

She could do with losing a few pounds,

but she's not getting any exercise, so...

- How are you doing?

- Oh, I'm all right.

We stay cheerful, you know?

We don't let things get us down.

That's the spirit.

No, it's all right, Ken. I can pour my own wine,

thank you very much.

Sorry.

Look at the food in this fridge.

I haven't got anything in mine.

I'll see you later, all right?

Here she comes.

- Can I come in the middle?

- Of course you can.

Never come between a mother and her son.

Oh, this is my second one, Gerri.

- Are you sure?

- Yeah, and then that's it.

This could be the making of you, Mary.

Yeah.

I think so, Gerri.

I mean, just driving here today,

I felt like a whole person.

- Did you?

- Yeah, a free spirit.

I mean, even though the journey

was a complete nightmare,

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 played the character "Wolverine" in the "X-Men" series?
    A Robert Downey Jr.
    B Ryan Reynolds
    C Chris Hemsworth
    D Hugh Jackman