The Sapphires Page #2

Synopsis: 1968 was the year that changed the world. And for four young Aboriginal sisters from a remote mission this is the year that would change their lives forever. Around the globe, there was protest and revolution in the streets. Indigenous Australians finally secured the right to vote. There were drugs and the shock of a brutal assassination. And there was Vietnam. The sisters, Cynthia, Gail, Julie and Kay are discovered by Dave, a talent scout with a kind heart, very little rhythm but a great knowledge of soul music. Billed as Australia's answer to 'The Supremes', Dave secures the sisters their first true gig, and flies them to Vietnam to sing for the American troops. Based on a true story, THE SAPPHIRES is a triumphant celebration of youthful emotion, family and music.
Director(s): Wayne Blair
Production: The Weinstein Company
  26 wins & 25 nominations.
 
IMDB:
7.1
Metacritic:
67
Rotten Tomatoes:
91%
PG-13
Year:
2012
103 min
$2,400,000
Website
10,285 Views


Come on. Remember?

I'm the man who made you feel

like a girl of 50 again.

Are you gonna make me fetch my rifle?

Hey, where are you going?

I've got something to show you.

Oi! Read this, will you?

Will you just leave me alone?

I think you've caused me enough trouble today.

- I don't know how to read.

- Julie, what are you doing?

"Singers and dancers wanted"

"to perform for the American troops

in Vietnam."

And it says

there's good conditions too.

I thought you didn't know how to

read. - Where'd you get this?

Of course I know

how to read, goatface.

- Then why are you showing me that?

- You need a job, don't you?

We're offering you one.

Playing for us in Vietnam.

Yeah, OK. Where's Vietnam?

Hey, Julie, the only place

you're going is home on the bus.

You want to go perform in Vietnam?

What are you going to do?

A corroboree'?

Why not'? We're the best girl group

you'll ever see.

You're the best Aboriginal

girl group I've ever...

you're the only

Aboriginal girl group I've ever seen.

But trust me, girls, singing in

Vietnam'? It's not for you.

Who are you to say

what we can and can't do'?

You're right, I'm sorry.

The years have been unkind.

I'm sure you'll do much better.

Good luck.

Comora... comoral...

Good luck, ladies.

No petrol?

Hey, this is alright!

OK.

Let's... Just for fun,

let's say that you do go to Vietnam.

What would you sing?

Because this may have escaped

your notice, but you're black.

And you're singing

country and western music.

It's just wrong.

Well, what do you think

we should sing?

The other 10% is soul.

Soul music.

Otis Redding, Sam Cooke,

that kind of stuff.

- We don't sing that type of stuff.

- We like Charley Pride.

No, not country. Soul!

Not...

Just... boom, boom, boom!

J' Give me

some of that sweet soul music! J'

Ladies and gentlemen,

let me introduce you to

the Godfather of Soul, Mr James Brown!

That kind of thing.

If you want to perform

for the brothers in Vietnam,

you've got to give them soul.

What would this duppy

whitefella know about soul music?

Hey!

I might be a little pale on the outside,

but my blood runs Negro, woman.

What, the bits

that don't have whisky in them?

I'm not the one up there

playing songs about cowboys.

I like cowboys.

From what I saw,

you could barely play at all.

Ooh.

Give me the number.

You'd better hold your ears,

because you're about

to see this Black Panther roar.

J' I was brought up

on a side street.

J' I learned how to love... J'

He's a bit silly in the head,

I reckon?

J" I was educated from good stock.

- J' When I start loving... J"

- Yeah, no, that sounds good.

J" I can't stop.

J' I'm a soul man.

J' I'm a soul man.

When Dave Lovelace calls,

people listen.

And this 'duppy' just got us

an audition next week in Melbourne.

Us?

Without me, there's no you.

You're gonna to have

to talk to Mum, now?

Happy to talk to Mum.

Alright. Let's go steal some petrol.

J' I'm talking about.

J' A soul man.

J' I'm a soul man.

J' Soul man.

J' Soul man... J'

Don't you fellas

ever read the newspapers?

Vietnam? There's a war in Vietnam!

It's true.

They're having some problems

over there at the minute,

but I'd imagine that the girls would

be miles away from any of the fighting.

And there'd be armed guards, of course.

Marines whose sole task

it would be to watch over the girls.

And who's watching over the

Marines? - Mum, just listen to him.

He's got us an audition in

Melbourne.

- Well, who is he'? I don't know him!

- He works at the pub in town.

- Not anymore.

- Julie's right.

I have managed to secure the girls

an audition in Melbourne.

When someone

with my musical pedigree calls

"and says, Hey, Lovelace here."

"Hey, Dave, how's it going?" "Good."

You know, we small talk 'cause

we're comfortable with each other.

But then I say,

"Hey, I've got a group."

"Bring them down, Dave.

We want to see 'em."

You're gonna manage them, are ya?

And mould them.

And shape them.

What about our jobs?

Our jobs are gammin.

OK, Gail,

the two things to remember here...

there's the money...

and there's the Soul Man.

Nah. No way.

If you think I'm gonna let you girls

gallivant around Melbourne,

up to no good...

Mum.

Maybe he's right.

Maybe this is the chance of a lifetime.

What's wrong with your life now'?

Being treated like dogs by the gubs

in town every single day.

That's not the life I was born for.

- I'm destined for fame.

- We can stay at Uncle Ed's.

Move over, Aretha.

Stand back, Wilson Pickett.

Pack your bags, Supremes,

because there are some new cats in town.

And those cats go by the name

of the Crunjuaberry Currants.

The Cunner... Cummarendens.

The... We're going to have to

think about your name.

Get up, you moron.

Mum.

I suppose Gail and Cynthia can go.

But Julie stays here. She's too young.

That's stupid!

Everyone knows

they're nothing without me.

- Julie, that's enough now.

- You've got a child.

And you're no more

than a child yourself.

I know I've got a child. That's why

I want to make something of myself.

- Get out of my face, four eyes.

- Hold on, hold on.

Julie's the key.

Julie's the one with the voice.

- Yeah, I am.

- You are not.

You should ask Kay.

Who's Kay?

Kay's their cousin.

She lives down in Melbourne somewhere,

but I wouldn't know where.

I do.

What? Since when?

Long enough.

Kay and them girls used to sing

together once upon a time.

Time that girl came back to us,

anyway.

Dave?

Step into my office, will you?

Go on, then.

Yep.

So, Mr Soul Man...

you reckon you're the real thing,

do you?

Probably not.

Your daughters are the real thing, though.

You a murderer?

No, sir.

I was an entertainments officer

on a cruise ship.

Not anymore, though.

No.

I had some problems.

You know, you can always tell where

a fish has been by cutting open its guts.

But you've gotta have

the right knife for it.

Always like to keep my blade

really sharp.

I will lay down my life before

I let any harm befall those girls.

You'd better.

Don't worry about Julie.

She's a prize catch?

- Isn't she, though?

- Mmm.

And, ladies, this design

fits... stacks beautifully in the fridge or the pantry.

- Coffee, anyone?

- Yes, please.

It makes great lunchboxes

and things like that.

Come on.

Kay? Are you in there?

Howdy!

Gail.

Cynthia.

You should have let me know.

What do you want?

If it's money, I can't.

Kay? Are you alright?

Won't be a moment.

Are we coming in, or what?

It's not really convenient

at the moment.

I've guests.

Yeah. We make you shame, do we?

Jeez, you haven't changed one bit,

have you'?

Still talking like some upper-class

gub and we're your personal slaves.

I don't know what you mean.

Gubba.

It means 'white person'.

- I think you'd better go.

- Kay?

Can I help you?

No.

- Kay, do you know these people?

- I'll handle this.

Kay, we're going to Haysia.

- What?

- Where?

Haysia!

- Thailand.

Rate this script:5.0 / 1 vote

Keith Thompson

All Keith Thompson scripts | Keith Thompson 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

    "The Sapphires" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/the_sapphires_17453>.

    We need you!

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

    Watch the movie trailer

    The Sapphires

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is "on the nose" dialogue?
    A Dialogue that is humorous and witty
    B Dialogue that is subtle and nuanced
    C Dialogue that is poetic and abstract
    D Dialogue that states the obvious or tells what can be shown