Sleeping Dogs Page #3

Synopsis: Recluse Smith (Sam Neill) is drawn into a revolutionary struggle between guerillas and right-wingers in New Zealand. Implicated in a murder and framed as a revolutionary conspirator, Smith tries to maintain an attitude of non-violence while caught between warring factions.
Director(s): Roger Donaldson
Production: Grindstone Media
  1 nomination.
 
IMDB:
6.6
NOT RATED
Year:
1977
107 min
Website
702 Views


(Thud)

That. Undo that.

- Look, I'm a respectable married man.

- I know.

I'm a tad crook.

(Both laugh)

Do you know how long it had been?

How long?

I'd say about six months.

Last week, more like it.

It might be more like eight months,

actually.

- I don't think so.

- I'd almost forgotten what it was like.

It's not good for a jack, you know.

- What?

- It shrinks.

- (He grunts)

- This one seems to have grown again.

(Knock at door)

(Burton) Barry?

What the hell does he want?

- What do you want?

- That one-nighter's just arrived.

- You've signed them in, haven't you?

- He's asking for you, Barry.

Come on, get out of...

Sorry.

What the hell are you doing here?

Get out!

All right.

Don't get your balls in a twist.

I'll see you over in my unit.

Who was that?

Don't know why I'm wasting

my beer on you.

Where's Gloria?

She's fine. I'm seeing her tomorrow.

- She's here?

- Not far away.

Where are the kids?

They're staying with some friends.

We see them when we can.

Does Gloria know I'm here?

Yes.

You know, Bullen, every time I see you,

my life gets a little more stuffed up.

- Jesus! You piss me off!

- All right, settle down. Calm down, OK?

I didn't come here to fight with you.

Let's just have a drink

and agree that it's a mess.

A lot of stories going round about you.

Living on an island arsenal,

blowing up a police station.

Escaping from the Specials.

Got your picture up in every post office

in the country.

Quite a revolutionary.

Yeah, the revolution's going

to have to get along without me.

Sitting out here on your ass

doesn't mean you're free of it.

- How do you mean?

- You don't know, do you?

This is a safe house.

What?

There are members of the resistance

moving around the country all the time.

This is one safe house

and you're running it, mate.

You're a guerrilla.

- You, you right-wing prick.

- Yeah, me and a few thousand others.

In ten days' time,

a contact is coming through here.

He'll stay three nights.

You tell him to go to safe house seven.

Where the hell do you think

you're going?

- You repeat that after me.

- Piss off!

Smith, I'm serious!

- He can't stay here. We're full up.

- You listen to me!

Don't you give me orders, Bullen!

We're full. No room for your Boy Scout.

You've really got yourself set up,

haven't you?

Even the little bit of crumpet

on the side.

Don't you talk to me

about getting a bit on the side.

- Piss off!

- You watch what you're doing!

Oh!

Aaah!

Now go and drown, you useless bastard!

( Dramatic music)

Hi. Are you the manager?

Er, no, I'm afraid he's out.

Look, em...

We're taking over this motel

for our quarters.

Well, I'm afraid that's impossible.

We have a party of tourists...

That's us. If you've got trouble

with units, my men will double up,

but I'll need one of my own.

I'll take that one right there. All right?

- Er...

- Thank you.

OK, boys, we're home!

(Sergeant) OK, you heard the man!

Over here, boys!

(Alarm bell rings)

Come on, you guys!

Get out here! Where are you?

Fall in! Fall in!

Look alive! What's the matter with you?

All right, you guys,

when that bell goes,

you get your asses out here

and fall in in full combat gear

or I'll have your asses for breakfast!

You hear me?

Dismiss!

(Chirping)

Hey, you guys! Wait for me!

Whoo!

Aw, man! That's cold!

Why don't you play polo with them, Barry?

- I don't know the rules!

- There's only one rule - win.

(Laughing)

Come on! Come on!

Tonight at exactly one o'clock,

you press that button.

- Right.

- One o'clock.

Then get the hell out of here.

You know the Carter place? Go there.

We'll contact you.

I won't do it.

Do I have to take you down to the bloody

morgue and show you Elsie's body?

Here.

Take this.

- No.

- Take it!

All right, we'll leave it lying around

here, let your Army mates find it.

- I won't kill people.

- Nobody's asking you to.

Just push that damn button!

Maybe they'll get us first.

Just like they got Elsie. Right there.

Point blank, so she knew it was coming.

Great soldiers, your mates.

One o'clock.

(Door slams)

(Sighs)

(Banging on door)

(Mary) Barry? Barry, are you in there?

(Willoughby)

Barry, are you in there, Barry?

(Mary) Barry?

(Banging continues)

(Willoughby)

Hey, it's us, Barry. Open up.

You got some fluff in there, boy, huh?

Open up. We've got a little drink.

What do you say? Oh, hey, you are here.

You got something in here?

How about a drink, buddy?

Sorry, I was asleep. Look...

Look, I don't feel too good. I...

- I had that much to drink last night.

- That's OK. You need the hair of the dog.

(Laughs) How do you like it?

Straight, or a little water in it?

I... I don't care.

Well, I'll just put water

in all of them, what the hell.

There you go.

- That's good Scotch. Here you go, baby.

- No, I like gin.

Take it. All right, there you go.

Gin? Oh, I got gin. Sit tight.

Drink up, buddy.

I'll be right back.

I've got some gin over in my place.

He's all right. He just wants a party.

What's wrong?

Nothing.

Hey...

Come on. Take off that long face.

Mm?

- What's wrong? You shrunk again?

- Christ's sake! Just leave me alone!

Oh, go to hell, then!

The party's started! We've got music,

we've got gin for the lady.

We've got funny hats.

We're going to have a party.

There's a hat for you, and a hat for you.

And a hat for me...

(Mumbling)

I want to play you one of these tapes

I've carried a long time.

This is a collector's item.

( Country music)

Yeah. Ain't that sweet?

I've got love...

- I got love

- ' I've got love '

- ' Love you... '

- Love you, baby... la la la la...

- Here's your gin, Mary.

- Thank you.

Please let your love...

Oh, that's great. I sure got

some good memories about that one.

Hey, come on. Come and have a dance.

Oh, nuts.

You on some kind of downer, buddy?

You done dope or something?

I'll dance with you, honey. Come on.

Now you come

Yes, you come

To set me free

My whole li-i-ife

I've had trouble on my mind

Now at last...

I carried that music all over 'Nam.

That's got some of the best memories

I ever had in my life.

Darling, I ache...

Oh, wow.

I sure have had

some good dances to this music.

Hold me closer

Darling, thrill me

Once again...

Don't you ever have nightmares?

What?

I said don't you ever have nightmares?

Nightmares? What's he talkin' about?

I mean, don't... don't you ever worry

about killing the wrong man?

Oh, man, lighten up, will you?

- Come on, Barry.

- Oh, wow, goddammit!

- (Music stops)

- I want to know.

How does it feel?

It feels damn good! Does that make you

happy? Is that what you want to hear?

Well, it seems to make you happy.

I want to tell you something.

It was your government that asked us

over here to help solve some problem.

I'm beginning to get the idea

that you feel sorry for these guerrillas.

Well, I don't. Anybody that would blow up

six old ladies in a washroom,

I ain't got no sympathy for them.

Or shoot a little boy off his bicycle.

Rate this script:0.0 / 0 votes

Ian Mune

Ian Barry Mune (born 1941) is a New Zealand character actor, director, and screenwriter. His screen acting career spans four decades and more than 50 roles. His work as a director includes hit comedy Came a Hot Friday, an adaptation of classic New Zealand play The End of the Golden Weather, and What Becomes of the Broken Hearted?, the sequel to Once Were Warriors. Mune was born in Auckland, and educated at Wesley College in the same city. In the 1991 New Year Honours he was appointed an Officer of the Order of the British Empire for services to the theatre and film industry. He was married to the writer Josie Mune until her death in 2015. more…

All Ian Mune scripts | Ian Mune 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

    "Sleeping Dogs" Scripts.com. STANDS4 LLC, 2024. Web. 27 Dec. 2024. <https://www.scripts.com/script/sleeping_dogs_18291>.

    We need you!

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

    Watch the movie trailer

    Sleeping Dogs

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of a "tagline"?
    A The opening line of a screenplay
    B A character’s catchphrase
    C The final line of dialogue
    D A catchy phrase used for marketing