Whisky Galore Page #3

Synopsis: Scottish islanders try to plunder cases of whisky from a stranded ship.
 
IMDB:
5.6
Metacritic:
42
TV-14
Year:
2016
98 min
376 Views


Aye but there's still some fog outside

Donald, we've known each other for many years.

Aye, we have that.

Will you not take them away?

If you fail us now you'll not have

a friend in the whole of Todday

- The ship might sink!

- With all that whisky!

Tell them to go aboard.

I will sail in half an hour

Good man, Donald.

Twelve o'clock already.

She may have gone down by now!

Twelve o clock!

Aye. What of it?

It's the morning of the sabbath

The sabbath!

What's the matter?

It is the sabbath.

We could not be breaking the sabbath.

Well stone the crows!

50,000 cases of whisky.

Ah well... we better be getting to the church.

- Extraordinary, my dear! Quite extraordinary!

- what is it dear?

It appears the crew has abandoned the ship.

The coastguard says the salvage people won't touch her.

Why?

Too risky if you please!

Meanwhile she's lying out there unguarded.

Should it be guarded dear?

She has a very valuable cargo onboard

Several thousand cases of whisky.

Anything might happen - you can't trust these people.

It's Sunday Paul.

No-one in Todday would break the sabbath

Yes darling, but the sabbath ends at midnight.

No darling, there's only one thing for it.

The Home Guard must accept the responsibility.

Hello? Hello!

Those Macroon girls are impossible.

- Paul

- Darling, I'm trying to telephone.

If the salvage people won't touch it,

would it be so terrible if the people here did

get a few bottles?

I mean, if it's all going down

to the bottom of the sea...

That's a very dangerous line of argument!

Once people take the law into their own hands

it's anarchy! Anarchy!

Who is that?

Is that you Mrs Campbell? May I speak to George?

Oh! It's you, Mr Waggett!

No, you cannot speak to George!

The telephone was not given to Man

for him to mock the sabbath with it.

But mother, it might have been something important!

Then it can keep 'til the morning!

I do not approve of the use of that instrument

on this day.

Oh but mother we must move with the times.

Satan has made you very glib, my son.

What times will there be to move with in Eternity?

Now you are being ridiculous.

Don't you ridiculous me!

Go to your room, George Campbell.

There'll be no church for you in Snorvaig today!

Well that was a terrible long sermon the minister gave us!

And all about the Flood!

I was nearly walking out in the middle

to see if she was still afloat!

Well, Joseph, the sabbath is a long long day

right enough.

Yes Mr. Waggett?

Captain Waggett if you don't mind.

I want to speak to your son, George.

George is in his bedroom.

Oh! Not ill I hope.

He's locked in his bedroom with his bible

and some bread and cheese

he'll not be let out until tomorrow morning.

I never heard anything so preposterous!

Have you never heard of the Fourth Commandment?

- remember the Sabb...

- you need not repeat it. I learned the Commandment

years ago.

More shame to you then, that

you should lead my son away from righteousness!

Mrs Campbell, at this very moment,

our troops are fighting in North Africa.

The Germans don't stop fighting on Sunday

so how can we?

What the Germans do, Mr Waggett,

is on their own conscience

and Todday is not in North Africa.

So there's no need to bring the heathens into it.

I've been told there are cannibals in Africa

but no-one is going to persuade my son

to eat human flesh

No-one is asking your son to eat human flesh!

Not yet!

I insist on speaking to George himself

You can go down on your bended knees

and I'll not let you speak to George

I shall certainly not do that!

They don't seem to realise at Headquarters

what I'm up against here.

What would my colonel say if you knew that my second in command had been locked in his bedroom by his mother?

What with all the excitement Mr. Macroon,

I haven't had the chance of having a word with you yet.

It's about Peggy and me.

We want to get married.

I'm hoping you are going to say yes.

So we can fix a date.

Marriage is a serious step.

We better be talking about it in the morning.

Of course I know it's a bit sudden.

After me only being here a couple of days.

It's getting late, Sergeant.

It's a big subject to be talking about tonight.

Now who can that be?

Oh good evening, I'm sorry to break in on you like this.

Not at all, Mr Waggett, not at all.

Come in. You're welcome.

I wish I could offer you a dram,

but I've nothing but lemonade

Very kind of you. It was you that I've really come to see.

Lemonade?

It's a bit of an emergency and I'd like to put you in the picture

So perhaps we could have a few words.

Thank you.

- You won't be taking lemonade Sergeant?

- No, thank you.

Slainte... you know

Aye, you've got the Gaelic fine

Well if you've got business together

I'll be going.

It's about this wreck.

It's a very heavy responsibility for me.

For you, sir? I don't see how it affects the Home Guard, sir.

I mean to say, a wreck's right outside our beat, sir.

The cargo might be tampered with.

I wouldn't be at all surprised if it was, sir.

Which, don't forget, is robbing the revenue.

Well, I suppose it is if you put it that way, sir.

I don't think the colonel is going to thank you for starting in to protect the revenue.

I feel it's my duty to stop... looting.

Well I don't believe, sir, that the Home Guard

nor anybody else can stop them.

You mean I can't trust my men.

I wouldn't trust a brigade of guards

to look after that ship, sir!

Exactly! So it's up to you and me.

You and me, sir?

I had hoped Mr Campbell would have been able

to help us, but he's not available.

I intend to mount a guard on that wreck.

You will take the midnight watch.

I shall relieve you at 0400 hours.

- Very good sir.

- Those are my orders.

- Sir.

- Good night, Mr Macroon.

- Good night, Mr Waggett.

Well that's torn it.

Did you ever hear tell of a Reitach, Sergeant?

A what?

It's an old custom we in the Highlands

When I man wants to marry himself he must ask

the girl's father for her hand at the Reitach

Oh. It's a great set-up.

Everybody comes.

You mean me and Peggy ought to have one?

Oh Aye. And you'll always have a seven

gallon jar of whisky.

Now look here Mr Macroon!

This is blackmail!

You can't have a wedding without a Reitach,

and you can't have a Reitach without the whisky.

But if you do catch anyone taking the whisky, what will you do to them?

Catch any of them? Oh I don't think anything will happen.

Once they know there's a guard,

they won't try anything.

You know what to do.

Have you not got it wound up yet, son?

- Are the boats ready?

- Aye

- We'll take them round to Seal Bay

and wait behind the headland

What about the Sergeant?

The Biffer will give us a signal from the clifftop when the coast is clear. Come on.

Oh I don't like it at all at all.

The Sergeant is as nice as fellow as anyone could meet.

Aye, he's a real gentleman.

Do you remember the way he was telling us to creep up

behind your enemy?

Aye! The Panther Crawl!

But he's no enemy of ours.

Rate this script:0.0 / 0 votes

Peter McDougall

Peter McDougall (born 1947, Greenock, Scotland) is a Scottish television playwright whose major success was in the 1970s. McDougall claims to have had very little schooling and to rarely read books, He began his working life at the age of fourteen in the shipyards of Greater Glasgow and Greenock with future comedian and actor Billy Connolly. Depressed by the harsh conditions and unfulfilled by the menial work, he left Scotland and moved to London, where he worked as a house-painter. It was while painting Colin Welland's house that McDougall impressed the actor and writer when relating tales of being the drum major in the Orange walk as a teenager. He was advised to try writing a television play about this and the result was Just Another Saturday, which McDougall wrote in secret and hid even from his first wife, a teacher nearly a decade his senior. Once completed, the script was sent to the BBC Play for Today team, who were enormously impressed but rejected the play because of the sensitive subject matter. McDougall was however asked to try again, and wrote a more intimate piece Just your Luck (1972) based on his sister's wedding, again exploring the sectarian divide in its story of a Protestant girl who finds herself pregnant by a Catholic boy. The play caused a furore in Scotland, many people appalled by its portrayal of the people's earthiness and prejudice. However, there was much positive praise too, one viewer even going so far as to say it was "the most exciting debut since Look Back in Anger." At that point, the director John Mackenzie began enquiring after the script of Just Another Saturday and managed to get the play into production, only to then find the piece banned after the head of the Glasgow police said that the script would cause "bloodshed on the streets in the making and in the showing". After a year Mackenzie managed to persuade the Head of BBC Television Alasdair Milne to press ahead with the play, although some scenes were eventually filmed in Edinburgh to minimise controversy. The finished film, the script of which was barely changed from the first draft, won massive acclaim on its first transmission in 1975, gained several repeats, and won its author the Prix Italia. McDougall followed this success up with a short kitchen comedy for BBC2, A Wily Couple (1976), part of the Centre Play series and another Play for Today, The Elephants' Graveyard (1976). During this time McDougall got the opportunity to work with talented and influential producers such as Graeme Macdonald, who later became overall Head Of Drama at the BBC in the 1980s. Several other television projects ensued, including an aborted sitcom, until McDougall and Mackenzie collaborated again on their final Play for Today, Just a Boys' Game (1979). Starring blues singer Frankie Miller this was the story of Greenock razor gangs and specifically of one man's life of alcohol and violence over a twenty-four-hour period. His most violent piece, Just A Boy's Game the film was also notable for supporting performances from a then unknown Gregor Fisher, Ken Hutchison, comedian Hector Nicol and Jean Taylor Smith. Martin Scorsese has since stated that the bar room brawl scene and its bleak moody atmosphere made the film the Scottish equivalent of Mean Streets. McDougall also wrote the BBC supernatural drama Tarry-Dan Tarry-Dan Scarey Old Spooky Man set in Cornwall about a troubled teenager experiencing dreams of an ancient family curse. Only broadcast once in May 1978 and directed by John Reardon. Mackenzie and McDougall's last collaboration was on the STV film A Sense of Freedom (also 1979), based on the autobiography of Glaswegian gangster Jimmy Boyle, detailing his crimes and subsequent reform. McDougall's subsequent plays Shoot For The Sun (1986), a bleak BBC drama starring Jimmy Nail and Brian Cox about Edinburgh's heroin problem, and Down Where The Buffalo Go (1988) starring Harvey Keitel, and Down Among The Big Boys (1993) did not meet with as significant critical acclaim. However he has remained good friends since with Keitel, who played the lead in Down Where The Buffalo Go. Keitel was caught wearing a “Get Me Peter” T-shirt during the filming of Down Where the Buffalo Go in a declaration of disillusionment with the director Ian Knox, and his bond with McDougall.In 1994, McDougall was caught remarking upon the appointment of BBC's new Head of Drama, future Last King Of Scotland producer Andrea Calderwood, that the BBC should never had given the job to a "wee lassie". The two later made up and Calderwood was later invited round McDougall's for dinner, with Billy Connolly and Brian Cox present.McDougall was assaulted in Glasgow's West End in 1995, with an assailant brandishing a knife whilst walking home with his son. He was stabbed above the eye and taken to the Western Infirmary, where his wounds required more than 20 stitches. more…

All Peter McDougall scripts | Peter McDougall 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

    "Whisky Galore" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/whisky_galore_23364>.

    We need you!

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

    Watch the movie trailer

    Whisky Galore

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is "subtext" in screenwriting?
    A The underlying meaning behind the dialogue
    B The visual elements of the scene
    C The background music
    D The literal meaning of the dialogue