Ryan's Daughter Page #5

Synopsis: World War I seems far away from Ireland's Dingle peninsula when Rosy Ryan Shaughnessy goes horseback riding on the beach with the young English officer. There was a magnetic attraction between them the day he was the only customer in her father's pub and Rosy was tending bar for the first time since her marriage to the village schoolmaster. Then one stormy night some Irish revolutionaries expecting a shipment of guns arrive at Ryan's pub. Is it Rosy who betrays them to the British? Will Shaugnessy take Father Collin's advice? Is the pivotal role that of the village idiot who is mute?
Genre: Drama, Romance
Director(s): David Lean
Production: MGM Home Entertainment
  Won 2 Oscars. Another 7 wins & 21 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
47%
GP
Year:
1970
206 min
984 Views


Tom...

if it's to be done in

daylight, it's to be done quick.

So we must have some

fellows, say a dozen...

good, strong fellows, and

that's where you come in.

- What if it don't break away?

- Exactly.

Then we'll wait one

hour and go without it.

One hour, Tom...

and 12 strong men.

That's all I'm asking.

Can you do it?

I could rout out a dozen, yes.

- Do you want them now?

- Not at all.

The later they know

we're here, the better.

You let them lie till nearer morning.

Can you find us something to

eat? It's gonna be a long night.

Paddy, Tom.

Take the Constable his breakfast.

Jesus and Mary, what a night.

Now, do not make one sound, Constable.

Right. You.

Fat guts, get the handcuffs.

- Where are they?

- In the cupboard.

Turn around.

- I'm acting under duress.

- Shut up.

Put them on him.

Open your mouth, Constable.

Is that a telephone line?

Cut it.

Oh, God.

Why have you done this to me?

Hello?

This is Ryan.

- Did you cut the wire?

- I did.

You're doing well, Tom.

- Where's the Constable?

- In the cellar.

We can put a bullet

in him if you like.

Constable... No!

- Then get your men.

- Aye, Commandant.

Right.

They've gone!

Busted loose!

It's no good, Commandant!

Why don't you get up

out of it while you can?

Tim!

- Hey, are you Tim O'Leary?

- Yes, son, yes.

Father, what the hell

have you done this for?

I didn't, they did!

Well, do you know what you're doing?

- Do you know what we've come for?

- Aye.

- Have you got it?

- Well, look.

- T'will be on the slabs.

- Where?

The slabs!

Tim!

Come on.

Yes, Kathy?

- Aren't you coming to the beach, sir?

- The beach?

Everyone's at the beach.

- And why is everyone at the beach?

- I don't know, sir. I think it's a wreck.

A wreck?

Now, that's enough, Tom. You're

not as young as you used to be.

Aye, come on!

Oh, God.

Pull!

Right, up you get. You, too,

Father. Up. Keep it going.

That's right, darling.

That's right.

Hey!

Dynamite.

What are you doing here?

- Why shouldn't I be?

- Why?

Thank you, ma'am.

You know, we made speeches

about these people...

but, by God...

Thanks. You're a man!

Come on, then!

One!

Two!

Three!

Sean?

- I must take a chance.

- Aye.

Good luck.

Thank you. Get down, please.

- Sergeant?

- Sir.

You, here. You.

No. No trouble now,

for your own sakes.

O'Leary.

That thing could kill

a lot of people, Major.

Sir?

No.

Go on. Run, Tim!

Run, Tim.

Make it, Tim. Come on!

- Run.

- O'Leary!

Sir.

- No!

- No!

- Murderer!

- Don't shoot.

What's wrong with the bastard?

Boo!

Shoot that slut, Shaughnessy.

Careful, man.

My God, they're a well-matched pair.

All right, sir?

- Got a cigarette?

- Yes, sir.

Is there anything you want?

Cigarette.

- Anything else?

- Yes.

Get out of my country.

God bless you, Tim O'Leary!

What are they going to

do with them boys, Father?

They'll hang them, dear.

They'll hang them.

Bastard!

Bastard!

Get out!

You're very kind to me today.

Am I?

Yes. Why?

Am I not usually kind to you?

Yes, you are. Always.

Charles, do you know or not?

I know.

- Since when?

- The beginning.

Don't lower your head, Rose.

Why didn't you speak?

I should have, shouldn't I?

I don't know.

It was easier not to, I suppose.

I didn't want to know, you know.

And then I thought, if I let you

burn it out, the pair of you...

you'd perhaps come back to me.

Charles?

Charles?

Mr. Shaughnessy has been called

away, so I'm taking class.

What's the first lesson today, Danny?

- Danny?

- My father says not to speak to you, miss.

- It's right then, he's not here?

- No.

I don't know where he is.

- You mean he's gone off?

- Yes.

When?

Last night.

You had a row?

I wasn't here.

Where were you?

Oh, I see.

There's nothing I can do tonight,

I'll find him in the morning.

- If he turns up, you'll tell me.

- Father?

You'd better take his clothes.

His clothes?

He was in bed?

Yes.

You left his bed and went to...

Rose.

Oh, Rose.

Come on, this isn't a picnic.

All right, Corp, but

there's nothing here.

He's got something there, sir.

Padre.

Good morning, padre.

I'm sorry, but what is

it you have there, please?

A man's clothes.

I see.

- And where are you taking them, Father?

- To the man.

Come on, padre. I don't

suppose you mean any harm...

but after the other day, we've

got to be careful. What man?

A man whose wife went off two

nights back with her fancy fellow.

And a man I've been looking

for since dawn today.

- A man- -

Excuse me, sir.

A man who must be half out of his mind

to have gone off as he did, barefoot.

That's right. Charles Shaughnessy.

I think we're finished here, sir.

Very well.

- Hello, Charles.

- Hello, Father.

I've brought your clothes.

Thanks, Father. I was

wondering how I should get home.

- And something to drink.

- Thanks.

- Yourself?

- Aye, I will.

- You seem all right, man.

- Aye, more or less.

Well, I'll get dressed now.

Michael.

He'll be after catching

a few flounders.

So, what have you been

doing down here, Charles?

Oh, thinking.

About Rosy?

About myself, mostly.

Thanks for the clothes. You're

a man in a million, Father Hugh.

The children haven't come today, then?

No.

Rose, I have something

to say to you. Come in.

Sit down, will you?

Rose, I thought I could stand by and

let you two burn it out, like I said.

But I find I can't.

I'm not sure I ought to have

tried, but anyway, I can't.

So I'm going to leave you.

- Very well.

- Sit still a minute, Rose.

What about you? You and him?

- Nothing.

- What do you mean, nothing?

It's over.

Was that because I

went and stayed away?

No.

It's over.

- Have you told him?

- No.

He doesn't know, then?

Yes, he knows.

How?

He must.

You're as close as that, are you?

We were, yes.

Rose, you must tell me the truth.

Do you think you're

ever gonna forget him?

Of course not.

He'd be like a ghost about the place.

Rose, am I right?

Yes, you're right.

It's busted, Charles.

I busted it.

Now, have you thought what to do?

- No.

- Well, I have.

I don't think either of us can

stay in this village any longer.

No.

It's time I moved on anyway. And

you were never worse suited here.

I've reckoned up, I've

got about 200 pounds.

Take all this, without the

gramophone, fetch another 50.

We'll split it down the middle.

I can't do it.

We're not enemies, Rose.

Stop that! There's to be none of that.

But why must it be Rosy?

Because she was

fornicating with the fellow.

So, you're back, are you?

What is this? What do you want?

- Not you.

- Well, then get out.

- Go on, get out.

- Shut up, Shaughnessy.

We're waiting for her.

You.

You've been tried and found

guilty. You're the informer.

- What?

- Busting at the seams with innocence.

Joe, for God's sake, don't

hurt her, Joe. Don't hurt her.

If she was a man, Mr.

Ryan, she'd be shot.

- What is this?

- Listen, numbskull.

Someone that morning

went up to the camp...

and betrayed Tim O'Leary.

Rate this script:0.0 / 0 votes

Robert Bolt

British left-wing playwright best known for his screenplay for the 1962 epic Lawrence of Arabia directed by David Lean. more…

All Robert Bolt scripts | Robert Bolt 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

    "Ryan's Daughter" Scripts.com. STANDS4 LLC, 2024. Web. 23 Nov. 2024. <https://www.scripts.com/script/ryan's_daughter_17286>.

    We need you!

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

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    Which film won the Academy Award for Best Picture in 2018?
    A Moonlight
    B The Shape of Water
    C La La Land
    D Green Book