英语剧本《现代启示录》
时间:2007-10-27 21:59:48来源: 作者:
Apocalypse Now (1979)
by Francis Ford Coppola.
Original screenplay by John Milius.
Inspired by Joseph Conrad's "Heart of Darkness".
December 3, 1975.
by Francis Ford Coppola.
Original screenplay by John Milius.
Inspired by Joseph Conrad's "Heart of Darkness".
December 3, 1975.
This is an early version of the screenplay. It's quite
different from the final version but very interesting
anyway. It includes f ex The French plantation
scene, which was actually filmed, but later cut
from the movie.
1 PRIMEVAL SWAMP - EARLY DAWN
It is very early in the dawn - blue light filters through
the jungle and across a foul swamp. A mist clings to the
trees. This could be the jungle of a million years ago.
Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to
the tepid water. A small bubble rises to the surface;
then another. Suddenly, but quietly, a form begins to
emerge; a helmet. Water and mud pour off revealing a set
of beady eyes just above the mud. Printed on a helmet,
in a psychedelic hand, are the words: "Gook Killer."
The head emerges revealing that the tough-looking soldier
beneath has exceptionally long hair and beard; he has no
shirt on, only bandoliers of ammunition - his body is
painted in an odd camouflage pattern. He looks to the
right; he looks to the left; he looks INTO CAMERA, and
slowly sinks back into the swamp, disapperaring completely.
Our VIEW HOLDS, We begin to HEAR natural, though
unrecognizable JUNGLE SOUNDS, far off in the distance.
We PAN TO REVEAL a clump of logs half submerged in the
swamp; and part of what seems to be a Falstaff beer can
in the mud. A hand reaches out, and the beer can disappears.
As we TILT UP, we NOTICE that the log is hollow
and houses the rear of a M-60 machine gun, hand painted
in a paisley design.
Now the VIEW MOVES AWAY, ACROSS the ancient growth, PAST
the glimmer of what seems to be another soldier hiding in
ambush, wearing an exotic hat made from birds and bushes.
ACROSS to a dark trail where the legs of those in black
pajamas move silently across our ever TIGHTENING VIEW.
Their feet, boots and sandals leave no impression; make
no sound. A slight flicker of light reveals a pair of
eyes in the foliage across the path, waiting and watching.
The VIEW PUSHES ALONG WITH the Vietnamese, MOVING FASTER
AND FASTER WITH them, until suddenly, directly in front
about ten feet away, an enormous AMERICAN clad in rags
and bushes and holding a 12 gauge automatic shotgun
casually at his side, steps in front of them. He smiles
laconically, and BLASTS OUT FIVE SHOTS that rip THROUGH
US. By the second shot, the whole jungle blazes out
with AUTOMATIC FIRE.
Out VIEW TURNS as the men around us are thrown and torn,
screaming and scattering into the jungle. More AMERICANS
appear; unexplainably, out of the growth. It is now that
we fully SEE the bizarre manner in which they are dressed.
Some wear helmets, others wear strange hats made from
feathers and parts of animals. Some of them have long
savage-looking hair; other crew-cut or completely shaved;
they wear bandoliers, flak jackets, shorts and little else.
They wear Montagnard sandals or no shoes at all, and their
bodies and faces are painted in bizarre camouflage patterns.
They appear one with the jungle and mist, FIRING INTO US
as they move.
The soldier we saw earlier emerges from the swamp, dripping
mud, his MACHINE GUN BLASTING FIRE.
We begin to move quickly with one Vietnamese, breathlessly
running for his life; we MOVE INTO the jungle with him,
only to be impaled on a large spear of a smiling AMERICAN
painted and wearing feathers like an Indian. OUR VIEW
FALLS WITH him to the ground, STARING UPWARDS, as FLAME
and EXPLODING MUD scatter above us. Men scream and die
around us. The screams amid the GUNFIRE and EXPLOSIONS
are piercing and terrible, as though the jungle itself is
frightened.
An AMERICAN wearing a jungle hat with a large Peace Sign
on it, wearing war paint, bends TOWARD US, reaching down
TOWARD US with a large knife, preparing to scalp the
dead.
OUR VIEW MOVES AWAY, along with the running sandals of a
Vietnamese soldier, MOVING FASTER AND FASTER, only to be
stopped by still another of the savage-looking AMERICANS
with primitive ornamentation, wearing only a loin-cloth
and green beret. He opens his flame-thrower directly ON US
and the NVA soldier and we are incinerated in flame,
bright psychedelic orange-red flame. Outrageous, loud,
electric ROCK MUSIC OVERWHELMS the SOUNDTRACK :
MAIN TITLE : APOCALYPSE NOW
2 TITLE SEQUENCE
The CREDIT TITLES proceed as the FLANE CONSUME US,
growing more intense, brighter, more vivid, purifying;
transforming into an intense white heat that we can barely
look at, like the sun itself.
Then it EXPLODES, breking apart, and shattering once
again. It begins to cool, as the TITLES CONTINUE. It
is as though WE ARE MOVING through the white center of
cooling flame, forming a spinning web, and becoming more
distant. The TITLES CONTINUE.
We are MOVING TOWARD planetary nebulae; MOVING through the
stars; MOVING closer to the Earth. We can BARELY HEAR the
MUSIC now.
We MOVE CLOSER to the earth; beautiful, covered in clouds,
as though SEEN from a satellite. The TITLES CONTINUE.
We are MOVING CLOSER to the earth; through the soft clouds,
close enough that we can MAKE OUT the Western Hemisphere;
CLOSER to North America; CLOSER, to America, then California;
Los Angeles, STILL CLOSER to the odd, finger-like
shapes of :
3 EXT. MARINA DEL REY
The VIEW finally SETTLES ON a partically luxury cabin
cruiser harbored at a particular dock late in the day.
It is large, pleasure boat: The people are relaxing in
bathing suits and towels and robes. They are drinking
cocktails, and snapping pictures. The boat belongs to the
head of a large American Corporation, and this is his
party. This man, CHARLIE, is sitting, his shirt off to
catch some of the late sun. Others have their faces
smeared with white suntan oil that reminds us of war
paint. Charlie is going on and on :
CHARLIE
... It's crazy -- sugar is up to
200 dollars a ton -- sugar !
LAWYER
What about oil ?
CHARLIE
Food, oil --look, let me show you
something. This is the economy of
the United States in two years --
He takes a newspaper, draws a circle.
CHARLIE
(continuing)
This is West Germany.
(he draws another,
bigger circle)
This is Japan.
(another , bigger)
This is Italy.
(a dot)
This is Iran.
(a very big circle)
And this is Saudi Arabia... In
two years ?
(a gigantic circle)
Do you understand ?
ACCOUNTANT
What's to prevent it ?
CHARLIE
Maybe nothing. But I'll tell you,
I didn't build a two-billion-dollar
company in the last twenty years
by doing nothing. We can protect
our interests.
(pause, for a drink)
We are still the most powerful
nation in the world. Militarily.
He leans to his associates, in a half-whisper.
CHARLIE
(continuing)
You know bodyguard; he was a
captain in Viet Nam. You talk to
him, except he won't talk. This
kind of man can kill you with his
pinky. A nice quiet fella, though.
The VIEW BEGINS TO PULL AWAY from this group.
CHARLIE
(continuing)
Carries a attache case at all
times. You know what's in it ?
(another sip)
An Ingram Machine pistol.
Gradually, Charlie's voice softens as we MOVE AWAY, and a
NEW VOICE, the voice of someone thinking, COMES IN OVER it :
CHARLIE WILLARD (V.O.)
I don't tahe chances, and Bullshit. You can kill
neither should this country. with the ridge of your
If we're strong, we should hand to the throat; you
protect our interests, and can crush a skull with
we should have the respect your knee... but you
of the world, even if it can't kill anybody with
takes another war. your pinky.
The VIEW MOVE ALONG the guests of this small party :
Pictures being taken, some people are swimming. It is the
good life. Now WILLARD'S VOICE TRACK DOMINATES.
WILLARD (V.O.)
The attache case has been empty
for three years, but it makes him
safe to think there's a machine
pistol in it.
I don't like automatic weapons.
They jam.
I saw a friend of mine get
ripped open because he flicked his
M-16 to automatic, and it jammed.
How much money did the contractors
make on the M-16 ?
Our VIEW IS MOVING through the people on the boat; some
reading, flirting, drinking.
WILLARD (V.O.)
(continuing)
He likes to hear stories about Nam.
I tell him I can't; they're not
cleared. The truth is he wouldn't
understand.
We can now SEE A MAN with his BACK TO US, looking the
opposite way. An attache case resting near to him. We
MOVE CLOSER.
WILLARD (V.O.)
(continuing)
There's no way I can tell them...
what really happened over there.
I wouldn't've believed it if
someone'd told me.
We are now RESTING on his back. Occasionally, he sips
from a beer, but we cannot see his face.
WILLARD (V.O.)
(continuing)
There was only one part that
mattered -- for me, anyway. I
don't even know if I remember
all of it. I can't remember
how it ended, exactly -- because
when it ended I was insane.
DISSOLVE TO :
4 EXT. A STREET IN SAIGON - DAY
A Saigon boom street in late 1968. There are bars and
shops for servicemen; the rickshaws, the motorbikes.
Our VIEW MOVES TOWARD one particular officer; B.L.
WILLARD , in uniform, a Captain of the Airborne, followed
by four or five Vietnamese kids trying to shine his
shoes and sell him things.
WILLARD (V.O.)
But I know how it started
for me -- I was on R. and R.
in Saigon; my first time south
of the DMZ in three months. I
wasn't sure, but I thought this
guy was following me.
Willard looks back.
5 HIS VIEW
an American CIVILIAN.
6 MED. VIEW
Willard ducks into a bar.
7 INT. THE SAIGON BAR - DAY
Not much in this place -- a bar, linoleum flooring, a few
tables and chairs, and a juke box. The lounge is fairly
crowded. Willard takes off his cap and walks quietly
past the soldiers at the bar. Some of them, catching
sight of his ribbons, stop talking as he moves by.
An INFANTRY CAPTAIN enters the bar, buys a couple of
drinks and approaches Willard's table.
CAPTAIN
How about a drink ?
WILLARD
Sure, thanks.
He sits down at the table with the drinks.
CAPTAIN
Winning the war by yourself.
WILLARD
(he calls for the waiter)
Part.
CAPTAIN
Which part is that ?
WILLARD
My part.
(TO THE WAITER)
Beer, with ice and water.
CAPTAIN
That's good gin.
WILLARD
I'm sure it is, but I had hepatitis.
CAPTAIN
Delta ?
WILLARD
No.
CAPTAIN
North ?
WILLARD
Yeah. Way north.
CAPTAIN
What unit were you with ?
WILLARD
None.
CAPTAIN
Rangers, eh?
WILLARD
Sort of.
The JUKE BOX starts BLARING. Annoyed , Willard looks over
his shoulder.
CAPTAIN
Were you Longe Range Recon --
WILLARD
No -- I worked too far north for
LRRP.
He reaches into his shirt pocket for a cigarette, and the
Captain leans over the table to light it for him. Willard
notices the CIVILIAN on the street has glanced in the bar,
then enters and sits down at a table by the doorway.
CAPTAIN
That's quite an array of ribbons...
WILLARD
Let's talk about you.
CAPTAIN
I was an FO for the 25th.
WILLARD
Tracks ?
CAPTAIN
Yeah.
WILLARD
Fat. That's real fat.
CAPTAIN
Sometimes.
WILLARD
At least you always have enough
water. How many gallons does
each one of those damn things
carry ?
CAPTAIN
Thirty -- sometimes fifty.
WILLARD
You know, I can remember once,
getting back below the DMZ -- and
the first Americans we ran into
were a track squadron. I just
couldn't believe how much water
they had. We'd been chewing
bamboo shoots for almost a week,
and before that, for two weeks,
we'd been drinking anything --
rain water, river shit, stuff
right out of the paddies. And
there were these guys standing
by their trucks spilling water
all over. I could've killed them.
(solemnly)
I swear to God I would have, too,
if ...
CAPTAIN
I didn't know we had units up
there in North Vietnam.
WILLARD
We do.
CAPTAIN
How long were you up there ?
WILLARD
A long time.
CAPTAIN
A year ? Waiter another beer.
WILLARD
I go up on missions. Listen
Captain, buy me all the beer
you want, but you better tell
that asshole over there you're
not going to find out anymore
about me.
Willard glances over his shoulder and indicates the
Civilian. The Civilian is given a sign by the Captain.
He rises and comes over to the bar.
WILLARD
(continuing)
What do you want ?
CIVILIAN
(indicating the Army jeep)
If you're B.L. Willard, 4th Recon
Group, we'd like you to come with
us.
WILLARD
Whose orders ?
CAPTAIN
Headquarters 11 Corps -- 405th
A.S.A Battalion -- S-2 --
Com-Sec -- Intelligence --
Nha Trang.
WILLARD
Who are you ?
CIVILIAN
The agency.
Willard looks at the Civilian a moment, and then walks
roght out toward the jeep without saying another word.
The Civilian follows.
8 EXT. HELICOPTER - DUSK
A darkly painted "HUEY" ROARS over low paddies and jungle
before emerging onto an open plain. It crosses a barbed
wire and sand-bagged perimeter and lands in a heavily
fortified, concealed compound.
WILLARD (V.O.)
They took me to some place outside
Nha Trang... Intelligence Headquarters
for all operations in South East Asia.
I'd worked for Intelligence before --
Armed men jump from the Huey -- among them Willard. A
large camouflaged cover is moved, revealing an underground
corridor -- they enter.
9 FULL SHOT - UNDERGROUND PLOTTING ROOM
A door swings wide -- Willard steps through and comes to
attention, blocking the view of the room. A strange
reddish light pervades. The room is covered with plastic
maps and filled with smoke.
The whole place has been hewn out of the ground itself
and there is a sense of the cut-back jungle growth slowly
reclaiming it.
WILLARD
Captain B.L. Willard, G-4 Headquarters,
reporting as ordered, sir.
COLONEL (O.S.)
Okay, Willard, sit down.
Willard sits in a chair that is set in a center of a
bare concrete floor. Across from him, around steel desks
and tables sit several men. The nearest one, a COLONEL
puts his cigar out on the bottom of his shoe -- behind
him sits a MAJOR and a seedy-looking CIVILIAN.
COLONEL
Have you ever seen this officer
before, Captain Willard ?
He points to the Major.
WILLARD
No, sir.
COLONEL
This gentleman or myself ?
WILLARD
No, sir.
COLONEL
I believe on your last job you
executed a tax collector in Kontum,
is that right ?
WILLARD
I am not presently disposed to
discuss that, sir.
MAJOR
Very good.
He turns to the Colonel and nods his approval. The
Colonel gets up and goes to a large plastic map.
COLONEL
You know much about about Special Forces;
Green Berets, Captain ?
WILLARD
I've worked with them on occasions
and I saw the movie , sir.
The officer smiles at this.
COLONEL
Then you can appreciate Command's
concern over their -- shall we say
'erratic' methods of operation.
(pause)
I have never favored elite units,
Captain, including your paratroopers
or whatever. Just because a man
jumps out of an airplane or wears
a silly hat doesn't give him any
priviliges in my book -- not in
this man's army.
MAJOR
We didn't need 'em in Korea --
no sir, give me an Ohio farm boy
and an M-1 Garand, none of this
fancy crap -- no sir.
CIVILIAN
(stopping him)
Major.
COLONEL
We have Special Forces A
detachments all along the
Cambodian border. Two here and
another one here -- twelve or
fourteen Americans -- pretty
much on their own; they train
and motivate Montagnard natives;
pick their own operations. If
they need something, they call
for it, and get it within
reason. What we're concerned
with is here.
10 CLOSE VIEW - ON THE MAP
COLONEL
The A detachment at Nu Mung Ba.
It was originally a larger base,
built up along the river in an
old Cambodian fortress.
The area has been relatively
quiet for the past two years --
but --
11 MED VIEW
COLONEL
... Captain, we know something's
going on up there -- Major --
The Major looks at some papers in front of him.
MAJOR
Communications naturally dwindled
with the lack of V.C. activity,
this is routine, expected ... but
six months ago communication
virtually stopped.
COLONEL
About the same time -- large numbers
of Montagnards of the M'Nong descent
began leaving the area -- this in
itself is not unusual since these
people have fought with the Rhade
Tribe that lived in the area for
centuries. But what is unusual is
that we began to find Rhade refugees
too -- in the same sampans as the
M'Nongs. These people aren't afraid
of V.C. They've put up with war
for twenty years -- but something
is driving them out.
MAJOR
We communicate with the base
infrequently. What they call for
are air strikes, immediate --
always at night. And we don't
know what or who the air strikes
are called on.
WILLARD
Who ?
MAJOR
You see, no one has really gone
into this area and come back alive.
WILLARD
Why me ?
MAJOR
Walter Kurtz, Lieutenant Colonel,
Special Forces. We understand
you knew him.
He puts Kurtz' dossier in Willard's hand.
WILLARD
Yeah.
COLONEL
He's commanding the detachment
at Nu Mung Ba.
The Colonel gets up and walks over to a tape recorder,
flicks it on. The recording is first STATIC -- the
AIR CONTROLLER then asks for more information on target
coordinates -- it all sounds very routine, military.
Then a frantic VOICE comes on, talking slurred, like
someone dumb, except very fast.
VOICE (ON TAPE)
Up 2 -- 0 -- give it to me quick --
Mark flare -- affirmative damn --
Immediate receive -- hearing
automatic weapons fire man ...
GUNFIRE is HEARD and a lower, slower VOICE in background.
SECOND VOICE
Blue Delta five
This Big Rhine -- three
Need that ordinance immediately
Goddamn give it to me immediate
Christ -- Big Rhino --
Blue God -- Delta damn -- goddamn.
A heavy BURST of AUTOMATIC WEAPONS FIRE -- INSANE LAUGHTER
-- STATIC, and faintly, very faintly we HEAR HARD ROCK
MUSIC -- more STATIC -- suddenly a low, clear VOICE
peaceful and serene, almost tasting the words.
THIRD VOICE
This is Big Rhino six -- Blue Delta.
MAJOR
That's Colonel Kurtz.
KURTZ (V.O.)
I want that napalm dropped in the
trees -- spread it among the
branches.
We'll give you a flare -- an
orange one -- bright orange.
(STATIC)
We'd also like some white phosporous,
Blue Delta. White phosporous, give
it to me.
STATIC interrupts -- the Major turns the machine off.
WILLARD
I only met Kurtz once.
CIVILIAN
Would he remember you ?
WILLARD
Maybe.
COLONEL
What was your impression of him ?
Willard shrugs.
CIVILIAN
You didn't like him.
WILLARD
Anyone got a cigarette.
The Major offers him one; they wait as he lights up, thinks.
WILLARD
(continuing)
I thought he was a lame.
COLONEL
A lame ?
WILLARD
This is years ago, before he
joined Special Forces, I guess.
We had an argument.
COLONEL
About what ?
WILLARD
I don't know. He was a lame,
that's all.
COLONEL
But why ?
WILLARD
He couldn't get through a
sentence without all these
big words; about why we kill.
COLONEL
Well, he's killing now.
WILLARD
Maybe.
CIVILIAN
What does that mean ?
WILLARD
Maybe it's not Kurtz. I don't
believe he's capable of that.
I just don't believe it.
COLONEL
It's got to be Kurtz.
CIVILIAN
The point is that Kurtz or
somebody attacked a South
Vietnamese Ranger Platoon three
days ago. Last week a Recon
helicopter was lost in the area --
another took heavy damage --
direct fire from their base
camp.
WILLARD
Our Recon flight ?
CIVILIAN
Ours.
WILLARD
Touchy.
CIVILIAN
You can see, of course, the
implications, if any of this --
even rumours leaked out.
WILLARD
You want me to clean it up --
simple and quiet.
CIVILIAN
Exactly -- you'll go up the
Nung River in a Navy P.B.R. --
appear at Nu Mung Ba as if by
accident, re-establish your
acquintance with Colonel Kurtz,
find out what's happened -- and
why. Then terminate his command.
WILLARD
Terminate ?
CIVILIAN
Terminate with extreme prejudice.
12 FULL VIEW - ON THE DELTA
A waterway leading out to the ocean -- it is broken and
divided into hundreds of channels, islands, water farms.
A Navy patrol boat (P.B.R.) is waiting by a dock area.
This is small, light craft, very fast, and heavily
armed. Its men stand at attention in a small and simple
military ceremony. Willard approaches them in battle-
dress: Tiger suit, full field pack, forty-five, helmet,
M-16. The boat commander salutes Willard.
13 MED. VIEW
We hear the introductions faintly, UNDER Willard's VOICE.
WILLARD (V.O.)
I met the P.B.R. crew; they were
pretty much all kids, except for
Phillips, the Chief -- Gunner's
Mate Third Class L. Johnson --
Lance Johnson; Gunner's Mate
Third Class J. Hicks -- The Chef --
Radio Operator Second Class T.
Miller; they called him Mr. Clean.
WILLARD
Chief, try to keep out of where
we're going -- Why we're goin' and
what's gonna be the big surprise.
CHIEF
All right with me, I used to drive
a taxi.
WILLARD
Let's go.
The Chief nods. They all break formation and jump aboard
and otherwise go about their work.
The twin diesels kick up -- and t he boat moves away from
the dock. The Chef jumps aboard; Lance mans the forward
twin fifty-caliber machine guns -- they wave to the guards
on the dock and move away into the complexity that leads
to the ocean.
DISSOLVE TO :
14 FULL VIEW - STORMY SEA
The boat slams through the heavy sea ; hurtling off the
top of a wave and crashing full into the trough of another.
15 MED. SHOT - BOAT COCKPIT - WILLARD AND CHIEF
Willard holds on to whatever he can -- he looks very pale.
Water crashes over the bow and drenches everyone. The
Chief mans the wheel and the ENGINES WHINE. Lance climbs
back from his position. He looks at Willard, who just
stares ahead into space, swallowing.
DISSOLVE TO :
16 LONG SHOT - BOAT DUSK
The dusk is spectacular through the broken storm clouds --
the sea is calm again.
DISSOLVE TO :
17 VIEW ON THE BOAT - PROCEEDING UP THE COAST
The Chief is at the helm -- Willard approaches him.
CHIEF
The Delta closes off to us about
ten miles out of Hau Fat. We'll
be able to pick up some supplies --
bit I think there are only two
points we can draw enough water
to get into the Nung River. It's
all Charlie's turf from there on
out.
WILLARD
We're gonna have some help to
get in the river. You know
these waters, Chief ?
CHIEF
'Bout six months ago I took a man
up to Lo Mung Bridge. He was
regular Army too. Shot himself
in the head. I brought his body
back down.
WILLARD
Shot himself. What for ?
CHIEF
Beats me -- the sun was too much
for him, or the mud. Who knows ?
Pause, looking at Willard.
18 CLOSE SHOT - ON WILLARD
Suddenly, his attention is diverted -- there is a slow
buffeting, as if the air around them is being sucked out
and replaced quickly. The boat shakes slightly. There
is a distant ROLLING NOISE like interrupted thunder. All
the men have stopped whatever they're doing -- stand up
and look out toward the shore and the green jungle hills
beyond. The buffeting and NOISE CONTINUES -- they all
stand silently -- suddenly it stops.
WILLARD
Arch light.
CHEF
I hate that -- Every time I hear
that noise something terrible
happens.
CHIEF
Anybody see some smoke ?
CLEAN
Too far inland.
LANCE
There they are.
He points up to the sky.
19 FULL SHOT - ON THE SKY
Way up -- past any clouds and barely discernible, we SEE
the black silhouttes of four B-52 bombers, their vapor
trails streaming white against the dark blue sky.
CLEAN
Charlie don't ever hear 'em. Not
till it's too late -- don't have
to hit you neither, concussion'll
do it for a quarter mile or better.
Burst your ears -- suck the air
outta your lungs.
20 FULL SHOT - BOAT - CREW
They are looking up. Willard sits down, unconcerned.
He takes out the dossier given him by ComSec. He
flips through the letters and other documents.
WILLARD (V.O.)
The dossier on A detachment had
letters from Kurtz' wife and the
wives and families of his men.
All asking where to send future
mail, understanding the necessery
silence due to the nature of
their work -- None of the men had
written home in half a year.
Occasionally, in the b.g., we FEEL the terrifying buffeting
of the distant B-52 BOMBING.
21 CLOSE - ON WILLARD
studying, examining a report.
22 MONTAGE - PICTURES OF KURTZ
Kurtz' face evolves through the various stages of his
career as represented in the pictures in the dossier,
as Willard reads :
WILLARD (V.O.)
Lieutenant Kurtz has shown a
dedicated and well-disciplined
spirit. He is a fine officer,
combining military efficiency --
with a broad background in the
Humanities, the Arts and Sciences ...
Another picture of Kurtz in Germany, standing next to the
161st Petroleum Supply Group sign.
WILLARD (V.O.)
(continuing)
... He views his military career
as the dedication of his talents
to bringing our values and way of
life to those darker, less
fortunate areas in the world.
A SHOT of Kurtz at jump school.
WILLARD (V.O.)
(continuing)
... I feel Captain Kurtz' request
for Special Forces training is
highly unusual in regard to his
past humanitarian concerns, and
his somewhat liberal politics,
though I can see no reason to
deny it.
A CLOSE SHOT of Kurtz with Green Beret on in the Vietnam
jungle. His face is blank and vacant.
WILLARD (V.O.)
(continuing)
... We feel Major Kurtz' need to
bring a sense of Western culture
to the backward peoples of these
areas will be of use in
accordance with our 'Vietnamization'
programs ...
MOVE IN TO Kurtz' empty eyes until the photograph is just
a BLURRED MASS OF DOTS.
DISSOLVE TO :
23 EXT. HAU FAT - AN ADVANCE STAGING AREA
WILLARD (V.O.)
One day later we came to an
advanced staging area along the
coast. This was our last chance
to pick up supplies before
approaching the mouth of the
Nung River.
The VIEW OF THE COASTLINE leading up along the long load-
ing docks at Hau Fat, an advance staging area for opera-
tions "Brute Force" and "Mailed Fist."
Everywhere are tents -- oil drums -- sandbagged bunkers --
helicopters -- tanks -- guns -- men. Nobody builds
advanced staging areas like the Americans.
As the P.B.R. approaches the docking area, Lance notices
something.
LANCE
Hey.
They look as a Chris-craft speeds by pulling a fancy water-
skier who waves as he slaloms by. The men just look at
one another.
24 VIEW ON THE DOCK
The P.B.R. pulls in -- the men scan the busy surroundings.
CHIEF
Lance -- I want you to go with the
Captain an' get three extra drums
of fuel and maybe scrounge some
more 50 caliber.
LANCE
Yeah -- look at those uniforms.
25 FULL SHOT - PARADE GROUNDS - TROOPS
A platoon drills in the hot, lazy sun; they are clean and
pale, in contrast to Lance and the others, just off the
airplane.
CHIEF
Poor bastards, have a long year
to go.
The troops turn and march TOWARD US with six weeks of
Advanced Infantry Training to back them up.
26 FULL SHOT - DOCK - P.B.R. - CREW
They are tying up at the dock -- a young SERGEANT is fill-
ing cut papers concerning them and talking with Willard.
SERGEANT
I don't know anything about these
papers, sir.
WILLARD
They're in order -- it's perfectly
clean -- just check with ComSec-
Intel like I said.
SERGEANT
Well, you know I don't have the
priority to do that, sir. It
says here not to contact Com-Sec-
Int. Who's your commanding
officer ?
WILLARD
Right now -- I am.
SERGEANT
Well who the hell verifies that ?
WILLARD
I do.
He signs it quickly, leaving the Sergeant totally confused.
CHIEF
No shit -- what's all the activity
for around here ?
SERGEANT
The show --
WILLARD
What show ?
SERGEANT
Big show in the parade grounds
this noon -- some boss stuff --
WILLARD
This -- Bob Hope or the like --
SERGEANT
No sir, I think -- this'll be a
little bit different --
CHIEF
Where's it gonna be ?
He points --
27 FULL SHOT - PARADE GROUNDS - PEDESTAL
A large, well-built pedestal has been erected -- this is
surrounded by a deep moat filled with punji stakes and
garnished with concertina wire. It is empty --
DISSOLVE TO :
28 FULL SHOT - PARADE GROUNDS - TROOPS
The entire area around the pedestal and right up to the
wire is mobbed with seething American fighting men. Some
of these boys have just gotten here -- others have been in
the jungle for months. All have one thing in common, to
see and if possible grab an American girl. Their need far
surpasses that of the run-of-the-mill rapist, pervert,
or child-molester. To counter their need of course are
the moat, punji stakes and barbed wire -- but implementing
this are seven "riot control positions" equipped with the
lastest in teargas launchers, attack-trained German shep-
herds and assorted psychological warfare aides. Even so
armed, the great mass of wild men are right up to the wire.
29 FORWARD AREA
jammed in the crowd
CHEF
It's really too much -- I mean
I've collected every picture of
her since she was Miss December.
CLEAN
Yeah -- you can really get hung
up on them like the cat in the
Delta.
CHIEF
What cat ?
CLEAN
One that went up for murder -- he
was an Army Sergeant.
CHIEF
I never heard about that.
CLEAN
Yeah -- he really dug his Playboy
mag, man -- I mean like he was there
when it arrived -- He just knew.
CHEF
So what happened ?
CLEAN
He was working A.R.V.N. patrols
and had one a them little cocky
gook asshole Lieutenants -- anyhow,
the Lieutenant took his new Playboy
one day, sat on the end of the dock,
and wouldn't give it back.
CHEF
Yeah -- typical A.R.V.N.
CLEAN
Then went too far -- he sat
there and starts mutilating the
centerfold. Poking pins in her an'
all that. Sergeant says, don't do
her like that. You leave your
shitty little hands off that girl.
Gook Lieutenant says Fuck you in
Vietnamese -- Sergeant says, don't
do that again. You'll wish you
hadn't. Then he stood up, flicked
his iron to rock and roll and gave
the little zero a long burst
through the Playboy mag. Man, it
blew him clean off the dock --
Hell, just the magazine was floatin'
there all full of holes.
CHIEF
They nail him for it bad ?
CLEAN
He's in the L.B.J. -- didn't
give him no medals or nothing --
In the b.g., we begin to HEAR a SWELL of TWO THOUSAND
MALE VOICES; the ENGINES of four helicopters approaching.
All heads turn skywards while one descends onto the
pedestal kicking up a lot of dust and general resentment.
On the nose amd doors of the black Huey are painted large
Playboy rabbits. Finally the blades are trimmed and a
strange silence descends over the men. The door of the
copter slides partially open -- two young Green Berets
step out with M-16's to varied catcalls. When this
abates a young, extremelly well-dressed man emerges. He
is the epitome of a Hollywood AGENT. Hair is combed
impeccably and free of dandruff -- clothes are formal
but hip -- shoes are shined -- Quite some dude -- his
presence causes some stirring but seems to strangely
quiet the man.
He walks over to the microphone.
AGENT
I'd like to say hello from all of
us up here, to all of you out there.
All of you who've worked so hard
during Operation Brute Force --
Paratroopers -- Infantry -- Airmen
-- Medics -- Marines -- and Sailors.
And I want you to know that we feel
proud of you and know how hard your
job is. To prove it -- we've brought
some entertainment we think you're
gonna like: The Playmate of the Year
and her two runners up !
He pulls open the door and three unbelieveably beautiful
sex playmates in fringed go-go outfits leap out and start
dancing to the Creedence Clearwater Revival singing
"Suzy Q."
30 MONTAGE ON THE GIRLS AND MEN
VARIOUS SHOTS as the girls dance in an incredibly erotic
manner -- smiling.
The faces of the G.I.'s pass -- their jaws drop -- some
look almost horrified. Chef is hypnotized -- Mr. Clean
cries. Chief mouths unspoken obscenities with sentimental
tenderness.
Others grab the air in front of them. With each movement
their need increases by the square.
31 FULL SHOT - PEDESTAL - GIRLS - MEN
They crush forward starting to scream -- men fall on the
wire -- the guards in the "riot control positions" forget
-- the attack dogs are trampled. The mob as one surges
forward onto the wire. Men scream and fall into the moat,
which is filling up fast. The Agent sees this all as he
has seen it before. He casually pulls the pin of a smoke
grenade; the girls retreat into the copter -- he follows,
then the two Green Berets. The ROTARS WHINE -- the black
Playboy Huey lifts off just as the first crazed men reach
it. They grab frantically for the wheels, but miss. The
Huey wheels up into the blue sky, leaving them all below.
Such are the ways of war.
CUT TO:
32 EXT. FULL VIEW - DAY
The P.B.R. moving further up the primitive coastline.
There are few signs of civilization; no villages, no
boats -- just the overwhelming presence of the jungle.
WILLARD (V.O.)
Two days out of Hau Fat, there was
nothing but us and the coastline.
I felt like I had set off for
the center of the earth...
Suddenly, Chief looks out, ahead.
CHIEF
Smoke !
WILLARD
Where ?
They all turn. Chief points up the coast.
33 FULL SHOT - THE COASTLINE
A thick train of black smoke rises from the green jungle.
WILLARD
Black smoke ... secondary burning.
The Chief grabs field glasses.
CHIEF
Yeah -- fishing village --
helicopters over there. Hueys,
lots of 'em.
WILLARD
First Air Cavalry. They're the
ones gonna get us into the River.
34 FULL SHOT - THE BEACH AND VILLAGE
A vast field of devastation -- smashed and smoking palm
trees -- deep, ragged craters -- gutted and burning huts
-- shattered sampans and bodies washing around in the
surf.
35 MED. SHOT - BEACH - WILLARD AND CREW
They wade through the water to the beach where they are
met by a heavily armed group of men.
Overhead jets swoop by FIRING ROCKETS, the NOISE drowning
out Willard's attempt at conversation with some of the men.
We can't hear any of the talk, but we notice that the
Sergeant turns up to a particular Huey, and points to it.
36 FULL SHOT - HELICOPTERS
Three Hueys swoop in low -- they are heavily laden with
machine guns -- rockets and loudspeakers. The two out-
side copters hover, while the center copter lands, raising
a lot of dust. It cuts its rotors and the other copters
pull up and off to the side. Two armed soldiers jump
from the doors and stand with guns ready. Then a tall,
strong looking man emerges. He wears a well-cut and
neatly-stretched tiger suit. It is COLONEL WILLIAM KILGORE
-- tough looking, well-tanned, with a black mustache.
He crouches over, holding his hat in the rotor wash. It
is no ordinary hat but a L.A. Dodgers baseball hat. He
walks out, and then stards to his full immense height and
with his hands on his hips he surveys the field of battle.
His eyes are obscured by mirror-fronted sunglasses.
KILGORE
(bellowing)
Lieutenant: Bomb that tree line
back about a hundred yards -- give
me some room to breathe.
A Lieutenant and radio man nod and rush off.
37 CLOSE VIEW ON WILLARD
He was not quite prepared for this.
38 VIEW ON KILGORE
turning to his GUARDS
KILGORE
Bring me some cards.
GUARD
Sir ?
KILGORE
Body cards, you damn fool --
cards !
The soldier rushes over and hands him two brand new
packages of playing cards wrapped in plastic. Two other
soldiers get out of the copter and walk over. They are
well-tanned and carry no weapons. They seem more casual
about the Colonel than anyone else. The Sergeant walks
up, leading Willard, the Chief and Lance.
WILLARD
(formally)
Captain B-L. Willard, sir -- 4th
Recon Group -- I carry priority
papers from Com-Sec Intelligence
11 Corp -- I believe you understand
the nature of my mission.
KILGORE
(not looking up)
Yeah -- Na Trang told me to
expect you -- we'll see what we
can do. Just stay out of my way
till this is done, Captain.
He cracks the plastic wrapping sharply -- takes out the
deck of new cards and fans them. The Colonel strides
right past Willard with no further acknowledgement. The
others follow,
39 TRACKING VIEW
The Colonel walks through the shell-pocked field of
devastation. Soldiers gather around smiling; as Kilgore
comes to each V.C. corpse he drops a playing card on
it -- carefully picking out which card he uses.
KILGORE
(to himself)
Six a spades -- eight a hearts --
Isn't one worth a Jack in this
whole place.
The Colonel goes on about this business.
40 TRACKING ON KILGORE
moving through the corpses, dropping the cards.
On of the two tanned soldiers rushes up and whispers
something to him. He stops.
KILGORE
What ? Here. You sure?
The soldier points to Lance, who immediately puts down
the card he was holding. Kilgore strides over to the
young man, who almost instinctively moves closer t
Willard.
KILGORE
(continuing)
What's your name, sailor ?
LANCE
Gunner's Mate, Third Class --
L. Johnson, sir.
KILGORE
Lance Johnson? The surfer?
LANCE
That's right, sir.
Kilgore smiles -- sticks out his hand.
KILGORE
It's an honor to meet you Lance.
I've admired your nose-riding for
years -- I like your cutback, too.
I think you have the best cutback
there is.
LANCE
Thank you, sir.
KILGORE
You can cut out the sir, Lance --
I'm Bill kilgore -- I'm a goofy
foot.
41 VIEW ON WILLARD
His entire, top priority mission has been put in the
background.
KILGORE (O.S.)
This is Mike from San Diego and
Johnny from Malibu -- they're good
solid surfers -- none of us are
anywhere near your class, though.
Lance blushes, sort of mumbling thanks.
WILLARD
My orders are from Com-Sec
Intel -- B.L. Willard, 4th Recon --
KILGORE
Just hold up a second, Captain --
I'll get to you soon enough --
We've got things to do here.
Willard eats it, for now. Kilgore puts his hand on
Lance's shoulder, and continues flipping the cards in-
discriminately on the bodies as they talk.
KILGORE
(continuing)
... we do a lot of surfing around
here. Like to finish up operations
early and fly down to Vung Tau for
the evening glass. Have you ever
surfed the point at Vung Tau? I
liked the beach breaks around Na
Trang a lot -- good lefts.
He passes a twisted gun emplacement with about five
bodies -- sprinkles cards all over them.
KILGORE
(continuing)
... we keep three boards in my
Command Huey at all times. You
never can tell when you're gonna
run into something good. I got a
guy in Cam Rau Bay that can predict
a swell two days in advance. We
try to work it in.
He stops at a particularly wild-looking Viet Cong who
has died with his mouth agape -- staring wild-eyed in
horror at the sky. Kilgore pauses.
KILGORE
(continuing; to himself)
Hell, that's an Ace if I ever saw
one.
He puts the card in the gaping mouth.
42 CLOSE VIEW OVER THE VIET CONG
We SEE the Colonel and the others walk off -- the dead
Viet Cong and card are in the immediate f.g. The card
has the shield of the CAV printed bautifully, and above
it the motto: DEATH FROM ABOVE.
KILGORE
Where've you been riding, Lance?
LANCE
I haven't surfed since I got here.
KILGORE
That's terrible -- we'll change
that -- I'd like to see you work --
I've always liked your cutback;
got a hell of a left turn, too.
DISSOLVE TO :
43 EXT. THE HELICOPTER - MED. SHOT
Willard is sitting with Kilgore on acouple of chairs by
a table set up in front of the command copter.
Everywhere we SEE armed men, sandbags, barbed wire, oil
drums etc. Hueys are constantly ROARING over. ARTILLERY
BOOMS in the far distance. Kilgore looks at the map.
KILGORE
Why the hell you wanna go up
to Nu Mung Ba for?
WILLARD
I got bored in Saigon.
KILGORE
What's the furthest you been
in?
WILLARD
Haiphong.
KILGORE
Haiphong? Shit, you jump in ?
WILLARD
No. Walked.
KILGORE
What'd you do for supplies?
WILLARD
(he shrugs)
Mercenaries -- agents, traitors --
they put out caches.
KILGORE
Can you trust them?
WILLARD
No. They put out two or three
for every one I needed. When
you get to the one you'll use,
you just stake it out. If
something feels wrong, you just
pass it up. On one mission, I
had to pass up three and ended
up living on rats and chocolate
bars.
KILGORE
Nu Mung Ba. Last I heard, Walter
Kurtz commanded a Green Beret
detachment at Nu Mung Ba.
WILLARD
When did you hear?
KILGORE
'Bout a year ago? Is Kurtz
still alive?
WILLARD
Who knows.
KILGORE
Seems to me he got himself
fragged. i heard some grunt
rolled a grenade in his tent.
Maybe a rumor. Helluva man --
remarkable officer. Walter
Kurtz woulda been a General
some day. General of the Army.
Shit, Head of the Joint Chiefs
of Staff. Did you knew Kurtz?
WILLARD
I met him.
KILGORE
Don't you agree?
WILLARD
He musta changed !
(pointing to the map)
I got to get into the Nung
River, here or here.
KILGORE
That village you're pointing at
is kinda hairy.
WILLARD
Hairy ?
KILGORE
I mean it's hairy -- they got some
pretty heavy ordnance, boy --
I've lost a few recon ships in
there now and again.
WILLARD
So? I heard you had a good bunch
of killers here.
KILGORE
And I don't intend to get some of
them chewed up just to get your
tub put in the mouth of the
goddman Nung River. You say you
don't know Kurtz?
WILLARD
I met him.
KILGORE
You talk like him. I don't
mind taking casualties,
Captain, but I like to keep
my ratio ten to one in this
unit -- ten Cong to one.
WILLARD
You'll find enough Cong up there.
KILGORE
What about this point here?
He puts his finger on the map.
KILGORE
(continuing)
What's the name of that goddamn
village -- Vin Drin Dop or Lop; damn gook
names all sound the same.
He motions to one of his surfers.
KILGORE
(continuing)
Mike, you know anything about
the point at Vin Drip Drop?
MIKE
Boss left.
KILGORE
What do you mean?
MIKE
It's really long left slide,
breaks on the short side of the
point -- catches a south swell.
LANCE
Nice.
Willard looks at Lance -- then at Kilgore.
KILGORE
Why the hell didn't you tell me
about that place -- a good left.
(to Willard)
There aren't any good left slides
in this whole, shitty country.
It's all goddamn beach break.
MIKE
It's hairy ,though. That's
where we lost McDonnel -- they
shot the hell out of us. It's
Charlie's point.
KILGORE
How big it is?
MIKE
Six to eight feet.
Kilgore gazes out across the parked helicopters.
KILGORE
(to himself)
A six-foot left.
Willard nudges Lance -- who gets the idea.
LANCE
Boss. What's the wind like.
MIKE
Light off shore -- really hollow.
WILLARD
We could go in tomorrow at dawn
-- there's always off-shore wind
in the morning.
CHIEF
The draft of that river might be
too shallow on the point.
KILGORE
Hell, we'll pick your boat up and
lay it down like a baby, right
where you want it. This is the
Cav boy -- airmobile. I can
take that point and hold it as
long as I like -- and you can
get anywhere you want up that
river that suits you, Captain.
Hell, a six foot left.
(he turns to an advisor)
You take a gunship back to division
-- Mike, take Lance with you -- let
him pick out a board, and bring me
my Yater Spoon -- the eight six.
TOM
I don't know, sir -- it's -- it's --
KILGORE
(hard)
What is it?
TOM
Well, I mean it's hairy in there
-- it's Charlie's point.
Kilgore turns and looks to Willard, exasperated.
WILLARD
Charlie don't surf.
44 FULL SHOT - HELICOPTERS - DAWN
What seems like hundreds of Hueys standing, their rotors
churning a great wind -- Inside, the men of the 1st
Cavalry Airmobile -- toughest unit in Vietnam.
Kilgore's helicopter is being loaded with ammunition and
has surfboards strapped underneath.
45 MED. VIEW
Kilgore strides up to the side door, dressed for battle.
He looks out, around. He turns to his door GUNNER.
KILGORE
How do you feel, boy?
GUNNER
Like a mean motherfucker, sir.
He turns to his R.T. man.
KILGORE
Let's go.
46 FULL VIEW
Helicopter rotors build up speed -- gas turbines
belching fire from their jet pipes -- dust flying
as fifty helicopters rise; ROAR OVER CAMERA and
deploy into attack formation.
47 NEW VIEW
Helicopters moving THROUGH the FRAME: almost a dance of
dragonflies.
48 INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARD,
OTHERS
Willard looks ahead -- Kilgore sits near the door.
Below they see the jungle whisk by and they are
suddenly over the ocean, low and fast.
49 MONTAGE
CLOSE SHOTS of rocket pods -- mini-guns in bizarre
looking mounts.
CLOSE SHOTS of the three surfboards strapped below the
command helicopter, next to the fearsome weaponry.
And finally, CLOSE SHOTS of the men -- nervous, excited
very few of them really scared -- they fondle their
rifles, grenade launchers, anti-personnel grenades,
claymore mines; plastic explosives cord; flame-throwers;
M-60 machine guns; expandable rocket launchers; mortars
and bayonets.
50 INT. COMMAND COPTER
Kilgore cranes his neck and almost leans out to watch
the waves -- then he sits back relaxed.
KILGORE
(to Willard)
We'll come in low out of the rising
sun -- We'll put on the music about
a mile out.
WILLARD
Music?
KILGORE
Yeah. Classical stuff -- scares
the hell out of the slopes -- the
boys love it.
51 MED. SHOT
POV behind the PILOT and CO-PILOT -- the ocean rushes
below.
PILOT
Big Duke six to Eagle Thrust --
turn on coordinates 1-0 -- niner,
assume attack formation.
The helicopter banks into a tight turn and bears
toward the coast.
RADIO (V.O.)
Eagle Thrust formation target
2800 yards -- begin psch-war
operations.
52 CLOSE SHOT - LOUDSPEAKERS
The ocean rushes below as suddenly the LOUDSPEAKERS
BLARE out Wagner's "Ride of the Valkyries."
53 FULL SHOT - HELICOPTERS
From the water we SEE the massive grouping of Hueys -- gun-
ships -- troop carriers -- medevac and recon -- ROAR over
low in battle formation BLARING out "Ride of the Valkyries."
54 INT. HELICOPTER - MED. SHOT -CREW
POV behind pilot --
PILOT
700 -- 600 yards -- 500 --
Commence firing.
The whole copter shakes.
55 EXT. VIET CONG FISHING VILLAGE - FULL SHOT
A Vietnamese coastal fishing village built along the
beach and palm trees -- with rice paddies behind. This
village commands a delta where ocean and river merge.
Sampans are pulled into a cover where they are being
unloaded. We SEE bunkers with N.V.A. regulars ambling
about.
Suddenly we HEAR the distant MUSIC -- Everyone stops;
they stare out to see. Men scream orders -- women run
from huts bearing ammunition and rifles -- Everywhere
there is activity to prepare for the defense of the
village.
Camouflage is removed from anti-aircraft emplacements.
People feverishly unlimber weapons of all types and run
to tunnels and trenches.
The MUSIC GROWS LOUDER with the FAINT SOUND of ROTORS
56 EXT. THE HELICOPTER FORMATION - AERIAL VIEW
coming directly at us; WAGNER BLARING.
57 HIGH ANGLE
looking down through the helicopters as they approach
the village.
58 INT. HELICOPTER - MED. SHOT - CREW
POV behind pilot
PILOT
700 yards -- 600 -- 500 --
commence firing.
The whole copter shakes.
59 EXT. HELICOPTERS - MONTAGE
We SEE rockets ROAR from pods -- MACHINE GUNS RATTLE --
grenade launchers POUND away -- and MINI-GUNS pour
streams of lead and tracers with the SOUND of a DIESEL
HORN.
60 FULL SHOT - HELICOPTERS
POV behind lead gunship. They ROAR in over the beach
streaming FIRE from doors, pods and nose -- The ground
is alive with smoke and fire -- a hut EXPLODES. The
leads ship banks sharply up over the trees -- men run
below SHOOTING back.
61 MED. SHOT - ANTI-AIRCRAFT EMPLACEMENT
EXPLOSIONS crash around -- the MUSIC and SOUND of the
COPTERS almost drown them out. The gunner FIRES
frantically -- COPTERS are ROARING over -- GUNFIRE
rips around. The gunner is blown away.
62 MED. CLOSE ON WILLARD
as the ship he is in swoops down, its MACHINE GUNS
FIRING into the village.
63 MED. SHOT - SWOOPING COPTER
The Pilot leans out and SHOOTS a charging V.C. in the
head with his .38, then ducks back in.
CO-PILOT
We're down, Eagle Thrust -- we're
hit. We got a hot L.Z. here.
BULLETS RIP through the plexiglass. The Pilot FIRES
back.
CO-PILOT
(continuing)
Hell of a hot L.Z. Need immediate
air strike on the tree line, Eagle
Thrust.
64 INT. COMMAND COPTER - MED. SHOT - WILLARD, KILGORE,
OTHERS
Kilgore has R.T. equipment -- he leans out near the
door gunner.
KILGORE
Big Duke Six to Hell's Angels Four
-- bring it in on along tree line
and huts.
RADIO (V.O.)
Hell's Angels Four to Big Duke
Six -- we'll need green smoke --
suggest you have the FAC mark it.
KILGORE
Haven't got time, Hell's Angels --
lay it right up the tree line.
65 FULL SHOT - JET SQUADRON
Four F-4H Phantoms peel off and streak toward the
coast.
66 INT. COMMAND COPTER - VIEW ON WILLARD AND KILGORE
KILGORE
Fucking savages.
WILLARD
Who?
KILGORE
The enemy. Who else?
67 HELICOPTER'S POV - THE JETS
The jets streak by below laying in huge gobs of orange
napalm along the trees.
KILGORE (O.S.)
(on radio)
Very good, Hell's Angels -- suggest
you follow with cannon fire.
68 INT. COMMAND COPTER - MED. SHOT
They circle the battle.
RADIO (V.O.)
This is Baker Delta Four --
Captain hit bad -- need dust-off.
Receiving heavy automatic weapons
fire from huts about thirty yards
to our left.
KILGORE
Big Duke Six to Baker Delta Four
-- hold -- we're right over you.
He turns to door gunner.
KILGORE
(continuing)
Right along the doors, boy.
The gunner FIRES leaning out --
KILGORE
(continuing)
Fine... fine... little higher.
Through the roof; yeah, that's
good.
He leans back in.
KILGORE
(continuing)
Didn't anybody bring me any
bombs, grenades, claymores or
anything?
LIEUTENANT
You didn't tell me to, sir.
KILGORE
(grumbling)
You shoulda known.
Suddenly, BULLETS SMASH through the copter -- Plexiglass
SHATTERS; the copter vibrates and turns sharply. Kilgore
is thrown down where he hangs on.
KILGORE
(continuing)
Sonuvabitch -- anybody hurt?
WILLARD
Automatic weapons flashes along
those trees -- probably eleven
millimeter guns and AK-47's.
KILGORE
The trees, eh...
He grabs the R.T.
KILGORE
(continuing)
Eagle Thrust Four -- Big Duke
Six. Join me in sparaying some
trees.
RADIO (V.O.)
Affirmative, Big Duke Six -- We're
even got some rockets left.
KILGORE
Take her in low, Lieutenant.
69 FULL SHOT - THE TREES, HELICOPTERS
The two helicopters swoop up out of the smoke and blast
the trees with ROCKETS, MACHINE GUNS and GRENADE LAUNCHERS.
Other copters join -- The V.C. break and run through
the rice paddies in the f.g. -- BULLETS EXPLODING around
them -- they scream and fall FIRING back.
70 INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARD
Kilgore looks out as three V.C. break and run through
the rice paddies -- the helicopter turns and follows
them -- the door gunner swings out and BLASTS two of
them into the mud. He takes a bead on the third.
KILGORE
Hold it, boy.
He puts his arms across the sights -- the gunner swings
back inside.
KILGORE
(continuing)
Take her up to 300 feet,
Lieutenant.
They rise above the paddy -- the man below runs for
all he's worth. Kilgore motions to the door gunner who
steps aside. Kilgore buckles himself into the gunner's
harness.
KILGORE
(continuing)
Rifle.
A hand passes him a M-16.
KILGORE
(continuing; hard)
My rifle, soldier.
There is some fumbling and then a hand passes him a 300
Weatherby Magnum with a zebra wood stock -- mother of pearl
inlays and a variable power scope. Kilgore takes it and
opens the bolt.
71 VIEW ON WILLARD
Amazed at these proceedings.
72 VIEW ON KILGORE
as he loads the rifle with huge cartridges. He gets
into the sling and slams the bolt shut.
73 MOVING POV. ON THE V.C.
He is running hard, but starting to sink into the mud.
The Huey DRONES overhead, its huge shadow behind him
on the mud. He turns and FIRES with a pistol.
74 INT. COPTER - MED. SHOT - KILGORE, WILLARD
Kilgore leans out; pulls the gun in tight -- takes
careful aim and the Cong is BLASTED flat into the paddy.
Kilgore leans back, opens the bolt, ejecting the spent
cartridge out the door. He hands Weatherby back
into the copter.
75 VIEW ON WILLARD
The gaudy rifle passed by him.
SOLDIER (O.S.)
That's 27, sir.
WILLARD
Anyone got a card?
Somebody hands Willard the deck. He takes a card and
flips it out of the copter, never lifting his gaze from
Kilgore.
DISSOLVE TO :
76 FULL SHOT - BATTLEFIELD - THE CAV, V.C.
Americans run through the hooches FIRING and throwing
GRENADES. Helicopters swoop overhead -- JETS ROAR by
-- Uniformed N.V.A. regulars burst from a tunnel en-
trance and charge the Americans. The SHOOTING is at
point blank range -- automatic, as the V.C. are cut
down.
77 INT. COMMAND COPTER - KILGORE, WILLARD, LANCE, ETC.
Kilgore leans out carefully, looking over the battle-
field. He has the R.T.
He leans back, deliberately avoiding Willard to speak
to Lance.
KILGORE
The L.Z.'s cooling off fast --
we'll move in another company
an' then we'll own it.
(he laughs to himself)
Charlie's point.
He looks out toward the ocean.
KILGORE
(continuing)
Good swell.
LANCE
What, sir?
KILGORE
I said it's a good swell -- hell
of a good swell 'bout six feet.
Let's get a look at it.
Lance looks at Willard and then agrees.
78 FULL SHOT - COPTER, SURF
The pilots are used to this -- they bank sharply
and swoop in on the lineup of waves, coming in low
over the point and streaking down a long, lined-up
green wall as if surfing it. They tip up over and up
at the last minute as the wave breaks.
DISSOLVE TO :
79 FULL SHOT - BEACH HUTS, SOLDIERS
Americans line up blindfolded Viet Cong and N.V.A.
regular troops outside a burning hut. GUNFIRE is
DISTANT and sporadic -- an occasional MORTAR round
SCREAMS in. A soldier yells in Vietnamese in a
southern accent and the prisoners are marched away.
Other soldiers are already setting up heavy weapons
emplacements -- 50 cal machine guns etc. Three
Hueys ROAR in, fanning the smoke with their wind.
The center one, the command ship, lands. JETS SCREAM
over and the two gunships pull up at 200 feet. Another
Huey zooms in low and lands behind the Colonel's. The
doors open, guards jump out, check the situation, and
out steps Kilgore and Lance. From the other copter
are more guards, Kilgore's surfers and others of the
P.B.R. crew. Willard follows.
80 FULL SHOT - THE POINT
They stride out across the debris-strewn beach. Kilgore
stands majestically on the point watching the waves. A
SHELL SCREAMS overhead.
SOLDIER
Incoming !
They all dive, except Kilgore. He is watching a big set
-- the SHELL EXPLODES in the water about a hundred yards
away, sending up a huge geyser of spray. Kilgore is
unmoved.
KILGORE
Look at that.
They look.
LANCE
This L.Z. is still pretty hot,
sir, maybe we oughta stand
somewhere else.
Kilgore pays him no mention.
WILLARD
I'm waiting for the fucking boat,
Colonel.
KILGORE
(without looking)
It'll get here, soldier.
He turns to Mike and Johnny who have their faces in the
sand.
KILGORE
(continuing)
Change.
MIKE
Wh -- what?
KILGORE
Change -- get out there -- I
want'a see if it's ridable --
change.
MIKE
It's still pretty hairy, sir.
KILGORE
(bellowing)
You want'a surf, soldier?
He nods yes meakly.
KILGORE
(continuing)
That's good, boy, because it's
either surf or fight.
They turn and hurry off -- Kilgore grabs an M-1 from
one of the guards. They all think he's going to
shoot the surfers or someone. They move back uneasy.
KILGORE
(continuing)
I'm gonna cover for 'em -- that's
all.
He cocks thye weapon. Lance looks around uneasily. The
Colonel walks over.
KILGORE
(continuing)
You think that section on the
point is ridable, Lance?
LANCE
I think we ought to wait for
the tide to come in.
A SHELL SCREAMS OVER -- they all hit the dirt except
for Kilgore. It EXPLODES throwing sand through the
air. Kilgore leans down yelling over the NOISE.
KILGORE
Doesn't happen for six hours.
Lance looks up at him terrified, holding onto
his helmet.
KILGORE
(continuing)
The tide -- doesn't come in for
six hours.
DISSOLVE TO :
81 FULL SHOT - SURF - MIKE AND JOHNNY
They walk through shallows carrying brightly
colored boards. They look very scared. JETS SCREAM
overhead, FIRING CANNONS. Helicopters wheel by
carrying out wounded.
They wear olive drab surfing trunks with the Cav's
shield on the left leg. The same shield is emblazoned
on the boards along the word "Airmobile". They edge
into the water and paddle through the mild shorebreak.
82 FULL SHOT - THE POINT - SURFERS
They paddle up the point in the calm channel -- the
beautiful waves breaking beyond them.
83 CLOSE SHOT ON JOHNNY, MIKE
They paddle on their stomachs, keeping low -- breathing
hard and constantly looking around scared out of their
minds.
84 MED. SHOT - KILGORE AND LANCE
Kilgore looks at them with his field glasses. Lance
kind of sits below taking cover in a shell hole.
KILGORE
They far enough?
LANCE
Sure -- fine --
Kilgore turns and takes a giant electric megaphone from
a waiting lackey.
KILGORE
(through megaphone)
That's far enough -- pick one
up and come on in --
85 FULL SHOT - THE POINT, SURFERS
They line themselves up on the point. A good set is
building. Mike turns strokes into it -- takes off
-- drops to the bottom and turns -- trims up into a
tight section -- everything right except he keeps looking
around frantically.
86 CLOSE SHOT ON LANCE AND KILGORE
Another SHELL SCREAMS over and EXPLODES down the beach.
Lance looks over at Willard.
LANCE
(to himself)
Maybe he'll get tubed.
WILLARD
What?
LANCE
Maybe he'll get inside the tube --
where -- where they can't see him.
A SERIES of SHELLS ROAR in.
WILLARD
Incoming !
Lance ducks -- puts his hands over his head. The SHELLS
SCREAM over Kilgore and out towards the point. Kilgore
looks through his glasses -- two EXPLOSIONS in the water
are HEARD.
KILGORE
Son of a bitch.
Lance looks up and out toward the point in horror.
87 FULL SHOT - THE POINT
Two surfboards float in the channel bobbing up and down
on the waves.
88 MED. SHOT - LANCE AND KILGORE
LANCE
(to himself)
The tragedy of this war is a
dead surfer.
Willard looks over, beginning to think Lance is crazy,
too.
WILLARD
What's that?
LANCE
Just something I read in the
Free Press.
KILGORE
They just missed a good set --
the chicken shits !
Lance looks up.
89 FULL SHOT - THE POINT , SURFERS
They come up near their boards and climb on -- smoke
hangs over the water.
KILGORE (O.S.)
(megaphone)
Try it again, you little bastards.
90 BACK TO SCENE
He turns to Willard.
KILGORE
(continuing)
I'm not afraid to surf this place.
I'll surf this place.
91 CLOSE SHOT ON KILGORE
He turns, glowering to his lackeys.
KILGORE
Bring that R.T., soldier.
He grabs it.
KILGORE
(continuing)
Big Duke Six to Hell's Angels --
Goddamit, I want that treeline
bombed -- yeah -- napalm --
gimme some napalm -- son of a
bitch -- yeah, I'll take H.Z.
or C.B.U.'s if you got any of
them -- just bomb 'em into the
Stone Age, boy.
He throws the R.T. back to a soldier -- another SALVO
WHISTLES over -- everyone drops.
KILGORE
(continuing; to himself)
Son of a bitch.
As the SHELLS EXPLODES on the beach behind him, KIlgore
raises his M-16 and EMPTIES it full automatic in the
general direction of the trees. He mumbles a few un-
intelligible swear words and jams a new clip into his
rifle turning to Lance --
KILGORE
(continuing)
We'll have this place cleaned up
and ready for us in a jiffy, boy.
Don't you worry.
He FIRES another clip as the JETS SCREAM overhead.
92 FULL SHOT - RIVER - COPTERS
A sky-crane without pod descends slowly toward us --
The P.B.R. hangs below it.
The Chief, mr. Clean and Chef stand watching this sight
alomg with other soldiers. A man guides the descending
copter till the boat settles carefully in the shallows.
The Chief and others leap aboard; unshackle the hoists
-- load on ammunition and fuel. The battle is still
going on around them. They all look up as a wadge
of PHANTOMS streak over low and peel off one by one to
begin their bombing run.
93 FULL SHOT - PHANTOMS - MONTAGE
Phantoms RAKE the trees with 20 mm CANNONS -- FIRE five
inch ROCKETS in salvo -- "Bull Pup" MISSILES -- drop
H.E. (high explosives) and C.B.U's (Cluster Bomb Units)
and finally an immense amount of NAPALM.
94 FULL SHOT ON THE P.B.R.
The Chief is at the helm --the engine starts; Clean
and Chef work feverishly, ducking for cover every-so-
often when an EXPLOSION hits nearby. The boat begins
to back out of the shallows. The EXPLOSIONS of NAPALM
are reflected on their faces; the ROAR of the FIRE drowns
out almost everything.
CHIEF
Forget that extra drum -- it's
too damn hot.
CLEAN
Clear on starboard -- Where's
Lance an' the Captain?
CHIEF
I saw that Colonel's Huey on the
point --
Two HELICOPTERS SCREAM over FIRING ROCKETS.
CHIEF
(continuing)
Let's just get outta here.
95 FULL SHOT - THE POINT - KILGORE, WILLARD , LANCE,
OTHERS
Kilgore watches the waves with his field glasses --
smoke drifts over.
Lance crouches below. Willard is up looking off in another
direction. SHELLS SCREAM over, but even their noise is
drowned out by the fierce SHRIEK of the PHANTOMS and the
deafening BLAST of HIGH EXPLOSIVES. Willard stares at the
tree line where it comes down to the river. The JETS are
making a hell of the tree line; a hell of fire and bust-
ling steam thet nothing could live in. Willard's glance
goes further downriver through the black smoke and there
merging in the river -- small and vulnerable, is his boat.
WILLARD
(to Lance)
Look. There it is; the boat.
Lance looks over -- a tremendous relief on his face. But
still there remains the threat of Kilgore, standing stark
against the sky. Willard silently motions Lance toward
the boat.
LANCE
(whispers)
He'll kill us.
WILLARD
He can't kill us.
(realizing as he says it)
We're on his side.
Kilgore FIRES another clip at the tree line, and then
strides back without looking at them.
KILGORE
(almost to himself)
You smell that.
(louder)
You smell that?
LANCE
What?
KILGORE
Napalm, boy -- nothing else in
the world smells like that --
They reflect the glow from the burning trees.
KILGORE
(continuing; nostalgically)
I love the smell of napalm in
the morning.
One time we had a hill bombed
for 12 hours. I walked up it
when it was all over; we didn't
find one of 'em ... not one
stinking gook body. They
slipped out in the night -- but
the smell -- that gasoline smell
-- the whole hill -- it smelled
like ...
(pause)
victory...
He looks off nostalgically.
WILLARD
You know, some day this war's
gonna end..
KILGORE
(sadly)
Yes, I know.
Suddenly he senses something -- he stops -- lifts his
hand -- then frantically licks his fingers and puts
them up in the air.
KILGORE
(continuing)
The wind --
LANCE
What?
Sure enough there is a rushing breeze that increases.
KILGORE
(rising maniacally)
Feel it -- it's the wind -- it's
blowing on shore -- It's on shore !
He leans down and practically grabs Lance.
KILGORE
(continuing; screaming)
It's gonna blow this place out.
It's gonna ruin it ...
WILLARD
The kid can't ride sloppy waves.
They turn and stare out to sea.
96 FULL SHOT - THE POINT - SURFERS
The wind has changed. Instead of blowing spray back
over the waves and hollowing them out, this strange
wind is causing white caps and cross chop.. reducing
the swell to slop. Mike and Johnny lay low on their
boards, overjoyed.
WILLARD (O.S.)
The kid can't stand sloppy waves.
97 MED. SHOT - THE BEACH - LANCE, KILGORE, WILLARD
WILLARD
You don't expect this kid to
ride that crap, do you? He's
a goddamn artist, he needs
something to work with...
Slapping Lance on the shoulder.
LANCE
Yeah, I'm an artist, goddamit !
KILGORE
(apologetically)
Yeah -- yeah, I can understand
how you feel.
He turns toward the trees.
KILGORE
(continuing)
It's the napalm -- it's causing
the wind -- ruining my perfect
left.
He staggers off toward the trees followed by his
guards and other lackeys.
KILGORE
(continuing; mumbling)
The napalm -- ruin -- napalm
my perfect left -- my perfect
left point break -- napalm --
Lance motions with his eyes to Willard.
98 FULL SHOT ON THE P.B.R.
The P.B.R. along the river shallows -- The Chief and
crew waiting and yelling.
99 MED. VIEW ON WILLARD AND LANCE
WILLARD
Are you finished surfing?
LANCE
Yeah... thanks.
WILLARD
Want to say goodbye to the
Colonel?
LANCE
Nah.
WILLARD
Then let's get the hell out of
here.
They break and run like hell toward the boat in the
distance. OUR VIEW TRACKS with them. They are
cheered by the crew -- suddenly, Willard sees some-
thing and stops... Lance continuing. In a pile of
equipment that the Hueys have left are two surfboards
-- Willard looks at them.
LANCE
No -- no, Captain.
WILLARD
Which one's the Colonel's?
LANCE
The Yater -- the clear one
with the thin stringer.
Willard glances over to it with determination. There
is still MORTAR FIRE coming in between him and the
board. Suddenly, Willard makes a run for it.
CHIEF (O.S.)
Incoming ! Incoming -- son of
a bitch.
The ROUNDS bracket the P.B.R. and line up the beach
toward Willard. He stands there and doesn't move, the
surfboard under his arm. The shells kick up sand.
Lance has dropped. Fragments whistle by, one rips
a chunk of foam and fibreglass from the rain of the
board.
WILLARD
(calm)
This one , Lance?
LANCE
Yeah, Jesus Christ !
Once again, Willard takes off fast as hell with the
board under his arm. Lance follows toward the boat,
through the water. Willard hands the board up to Mr.
Clean, and they both scamper abroad, exhausted and
relieved.
CLEAN
What'd you that for?
WILLARD
When I was a kid I, never had
a Yater spoon.
Mr. Clean stuffs the board in the stern 50 Cal. mount.
The boat turns -- ENGINES RUNNING HARD and ROARS OFF
toward the deeper water of the river -- the board
clearly visible on the stern.
DISSOLVE TO :
100 FULL SHOT ON THE RIVER - P.B.R
The P.B.R. ROARS BY going down the river at full speed.
It is swerving and zig-zagging to avoid potential enemy
fire.
101 MED. SHOT ON THE CREW
They all are in full battle positions -- their twin
fifty Cal. guns turning; warily covering the jungled
banks. The Chief is at helm -- Willard crouches
against some armor plate, huddled with his M-16 ready.
Chef is behind him at the radio. Lance leans back
from his forward turret.
LANCE
(yelling)
Maybe we better stay in under
the trees till dark -- we got
his Yater.
WILLARD
He didn't look like he'd take
that sitting down.
They all look up into the sky -- expecting the worst.
WILLARD
(continuing)
Let's put some distance between
us and Charlie.
The Chief nods.
CHIEF
Lance ---
LANCE
Yeah.
CHIEF
Why don't you roll us a big
joint? I think the Captain'd
like that.
They all look at Willard uneasily. After a suspensful
pause, Willard smiles:
WILLARD
Take one a mine --
He fishes into his breast pocket -- pulls out a huge
cigar-sized joint. They all smile -- Willard lights
up.
DISSOLVE TO :
102 FULL SHOT - THE P.B.R.
It zig-zags away from us down the river at high speed.
DISSOLVE TO :
103 FULL SHOT - THE TREES, BOAT, CREW - NIGHT
The boat is hidden under some trees along the river
bank. The men wait tensely listening --
LANCE
You hear it again?
WILLARD
No -- I don't think so. But
it'll be back. They were
circling. It'll be back.
LANCE
You think he'd of shot us?
WILLARD
When?
LANCE
Any time -- us -- Americans.
Lance looks over at Willard.
WILLARD
I don't think he'd of shot us on
the beach but -- he'd of shot us
if he saw me taking the board --
LANCE
A Yater spoon is hard to get --
especially here.
WILLARD
He's a man who knows what he
wants -- he does know what he wants.
CHEF
Can I go get those mangos now?
CHIEF
I'll go with you in a while --
judt hold tight awhile --
LANCE
Captain -- that was all true
about the rats and chocolate
and stuff?
WILLARD
Sure.
LANCE
And you could just tell when
the supplies were booby trapped?
WILLARD
It's a feeling you get in the
jungle. When you get good, you
can find a track and tell not
only how many they are, but
their morale, how far they're
going, whether they're near
their camp, the weapons they're
carrying.
CLEAN
How can you tell their weapons..
an' how far they're going?
Willard smiles.
WILLARD
Mostly from the imprints when they
put them down to rest. their morale
from the way they drag their feet,
or the joints that may be lying
around. If they're near a base
camp, they wouldn't be conserving
food; they'll be throwing it away
half-eaten. If the branches aren't
broken, their weapons are slung.
But all this is just technique..
There's a feeling you get after a
while, that's what's important.
I was going through a village once.
I was looking for a certain party.
I took off my boots, and walked
into each hut. It was midnight.
I went into three like that and
suddenly I realized I'd gone into
each hut the same way -- standing
up -- so the next one I went in on
my belly. An RPD burst took out
the door a bit above my head.
(he shrugs)
Things like that.
A pause, and then suddenly his attention is diverted --
They all are silent -- It is pitch dark -- we HEAR the
distant SOUND of ROTOR-BLADES and indistinguishable
language on a loudspeaker -- The talk stops -- the
ROTORS grow LOUDER until almost overhead.
KILGORE (V.O.)
(over a loudspeaker)
I'm not gonna hurt or harm you,
boy -- I just want the board
back -- You can understand --
It was one of my best -- You
know how hard it is to get a
board you like, boy. I'm not
gonna hurt or harm you --
Just leave it where I can find
it --
The HELICOPTER DRONES on into the night -- the same
speech starts again further off -- Finally the noise
ceases.
CLEAN
Jesus -- that guy's too damn
much.
CHIEF
I wonder if that was the same
copter.
WILLARD
He's probably got 'em all over
the river with that recording.
We better move now while it's
dark.
Chef steps forward with a plastic basket.
CHIEF
Yeah, Chef -- go ahead -- take
Lance with you --
WILLARD
I'll go with him --
They all look at him.
WILLARD
(continuing)
I wanta get my feet on solid land
once in awhile --
He grabs an M-16 and follows Chef over the side.
104 MED. SHOT - THE JUNGLE - CHEF, WILLARD - NIGHT
They cautiously walk through the underbrush.
WILLARD
Chef.
CHEF
Yes, sir --
WILLARD
Why they call you that?
CHEF
Call me what, sir?
WILLARD
Chef -- is that 'cause you like
mangoes an' stuff?
CHEF
No, sir -- I'm a real chef, sir
-- I'm a sauciere --
WILLARD
A sauciere --
CHEF
That's right, sir -- I come from
New Orleans -- I was raised to
be a sauciere.. a great sauciere.
We specialize in sauces; my whole
family. It's what we do. I was
supposed to go to Paris and study
at the Escoffier School; I was
saving the money. They called
me for my physical so I figured
the Navy had better food.
WILLARD
What are you doing out here?
CHEF
Cook school -- that did it.
WILLARD
How?
CHEF
They lined us all up in front of
a hundred yards of prime rib --
magnificent meat, beautifully
marbled.. Then they started
throwing it in these big
cauldrons, all of it -- boiling.
I looked in, an' it was turning
gray. I couldn't stand it. I
went into radio school.
They move into a slight clearing.
WILLARD
(whispering)
-- quiet --
Chef crouches close -- redies his M-16. Willard ges-
tures that he heard something; he points.
105 MED. SHOT - DIFFERENT ANGLE
PAN SLOWLY over jungle -- END REVEALING Willard and Chef.
WILLARD
(silent)
There...
He points -- motions Chef to move away -- they cover
the spot. A few yards from them they hear something
move. It is obviously no small jungle creature. They
walk toward a patch of black elephant grass; their guns
at the ready. They look at each other. Willard is
cold, methodical, doing something he knows well. There
is a noise again -- some of the growth rustles. He
and Chef move a distance apart, and join in stalking
the probable V.C. Willard directs the Chef with hand
gestures, and bird and cricket sounds. They move
stealthily, closing the apex of their triangle on the
hunted. The two men drop low into the elephant grass,
and remain motionless. Then Willard makes the cricket
noise, and they move closer. Willard's left hand edges
out along the M-16's far end, so that he only has to
point the finger of that hand and he will hit what he
wants. He makes another command and they rush the
trapped enemy.
106 MED. SHOT - THE ELEPHANT GRASS - WILLARD AND CHEF
Suddenly there is a RUSHING SOUND -- The grass folds
down quickly toward them -- willard plants his feet and
from the hip lets go FULL AUTOMATIC. The Chef retreats
FIRING short BURSTS into the grass -- the grass folds
almost to Willard -- then a huge tiger leaps out at
them; snarling magnificently. They FIRE wildly,
emptying their clips.
CHEF
It's a motherfucking tiger --
goddamn...
He turns and bolts through the jungle, as scared as a
man can be.
CHEF
(continuing; screaming)
Goddamn -- Jesus Christ tiger --
motherfucking tiger -- ohhhhhhhhh --
Willard jams another clip in his gun and backs out of
the clearing, covering the bushes and runs, scared
out of his head as well.
107 FULL SHOT - THE BOAT - THE CREW
They all are armed -- Lance has the twin 50's pointed into
the jungle. Chef comes screaming out of the brush, throws
his rifle into the boat and dives headfirst after it.
CHEF
(hysterical)
Ohhhh -- tiger ! Oh goddamn !
It's a tiger ! Jesus Christ !
Goddamn, a tiger ! Ohhhhhhhh.
The Chief tries to grab him; takes his gun away, but is
unable to take a hold of the Chef, as he slithers around
the boat, trying to find safety. willard follows from the
jungle -- The Chef is moaning and stares off into the night.
LANCE
What's this tiger shit?
WILLARD
No shit... I think I shot the
hell out of him.
LANCE
You think?
WILLARD
I wasn't looking.. I was running.
CLEAN
Was a big tiger -- no shit?
WILLARD
Who stopped to measure him -- let's
get the hell out of here.
CHEF
A motherfucking tiger -- I could've
been killed.
The ENGINE ROARS to life -- the P.B.R. pulls away with great
speed.
CHIEF
You forgot the mangoes, didn't
you?
CHEF
Mangoes? There as a fucking
tiger in the woods -- I could've
been eaten alive. I'm never
going into that jungle again.
I gotta remember never get out of
the boat; never get outta the boat.
They move off; swallowed by the darkness. The JUNGLE
NOISES remain, as OUR VIEW BEGINS a MOVE INTO the jungle.
WILLARD (V.O.)
He was right, the Chef -- never
go into the jungle, unless you're
ready to go all the way.
DISSOLVE TO :
108 EXT. THE BOAT IN MARINA DEL RAY - NIGHT
Willard, thinking, his BACK TO US. Suddenly, he turns
around, and we SEE his face.
WILLARD (V.O.)
What was in the jungle? What was
there, waiting for me?
He lights the cigarette; the light of his match illuminating
his face momentarily. There is something different about
him; a maturity, a cool inner peace.
WILLARD (V.O.)
(continuing)
... Kurtz was in there. Or was he;
was it Kurtz? He was just a name
to me now; I couldn't remember a
face, a voice -- he just didn't
add up to me. all his liberal
bullshit about the end of savagery
-- and the role of our culture,
our way of life...
Willard looks toward the group of people on the boat --
there is still some MUSIC. They talk and drink and laugh.
WILLARD (V.O.)
(continuing)
Our way of life -- I really
started to look forward to
meeting Kurtz again.
DISSOLVE TO :
109 WATERWAY - MOVING FORWARD - DAY
We HEAR:
RADIO
-- must remember that we owe
our thanks for these to the
wonderful services of the U.S.O.
-- here's another oldie -- this
one dedicated...
110 VIEW ON CHEF
by himself on the P.B.R.; he has wiped mud under his
eyes to kill the glare; it is incredibly hot. He is
barechested, wearing a hat made of a banana palm.
RADIO
... to the fire team at An Khe
from their groovy C.O. Fred the
Head --
111 VIEW ON THE GROUP
RADIO
The Rolling Stones and "Satisfaction..."
CHEF
Outa sight.
The SONG BLARES ON -- they all dig it.
PAN TO Willard, sitting alone in the rear, reading from
his file on Kurtz. We REVEAL Lance in the b.g., water-
skiing behind the P.B.R., slaloming back and forth on
his single ski to the MUSIC -- jumping the wake occasion-
ally.
112 NEW VIEW - ON THE P.B.R.
Lance waterskiing to "Satisfaction."
113 VIEW ON CLEAN
alert, at the rear of the boat -- his M-16 ready, just
in case.
114 VIEW ON WILLARD
_Willard opens a letter from the packet.
We can SEE it is a private correspondence -- feminine
writing on the envelope.
WILLARD (V.O.)
The dossier of A Dtachment
contained letters from the families
and wives of Kurtz' men There
were letters from Kurtz' wife as
well.
115 CLOSE SHOT - ON THE LETTER
It is addressed to Colonel Walter Kurtz -- in the corner
is the return addess of Mrs. Colonel Walter Kurtz --
Willard's hand fushes through the packet and comes up
with apicture of a very attractive, thirty-five year
old American Beauty... She is classically American.
116 CLOSE SHOT - ON WILLARD
looking at the picture -- puts it back, then opens the
letter, straightens it.
WILLARD (V.O.)
Dearest Walt -- I have to confess
something. I know how you feel
about this, but I had to ask Bob
to find out what he could -- I
just couldn't stand it anymore,
not knowing where you are, whether
you're alive or dead. I'm sorry
Walt, I'm sorry I said that. Bob
didn't tell me anything -- he said
he couldn't -- I can't stand it
anymore, Walt -- I just can't
stand it.
Willard looks out at the jungle.
Deep imppenetrable jungle -- dark and primeval forests
pass by. The Rolling Stones CHANT on in the b.g.
WILLARD (V.O.)
(continuing)
I have to take the kids to school
every morning now -- carpools just
never work out.
Jeff came home with a black eye
on Tuesday but said he won anyway.
He wouldn't tell me what the fight
was about. Jeff keeps asking
where you are -- he has maps of
Viet Nam in his room now. He
misses you very much. I can't
take this much longer, Walt. I
love you and I just can't stand
it.
117 CLOSE ON WILLARD
He folds the letter up, files through some others quickly
and gets to a peculiar envelope stamped Top Secret with
a stenciled date on it. It is also noted that this was
the last correspondence to leave Nu Mung Ba. It is
addressed to Kurtz' wife. He opens the letter -- it is
written in a scrawled savage hand to no one in partic-
ular. It reads:
Sell the house
Sell the car
Sell the kids
Find someone else
Forget it
I'm never coming back
Forget it --
He folds up the letter.
118 CLOSE SHOT - WILLARD
He looks out at the ominous jungled mountains.
DISSOLVE TO :
119 FULL SHOT - P.B.R. - RIVER OUTPOST - RAIN
The P.B.R. pulls in towards an American outpost that is
being used as a forward medical evacuation center.
Various helicopters pads are SEEN, but only one heli-
copter -- the H-34 painted with Playboy rabbits that
brought the girls to Hau Fat. Several soldiers in rain-
coats come out the dock as the P.B.R. pulls up.
120 MED. SHOT - WILLARD, SOLDIERS
Willard looks into some empty tents -- looks around the
dreary muddy camp. Two soldiers pass.
WILLARD
Soldier -- where''s your C.O.?
SOLDIER
Stepped on a booby trap, sir --
got blown all to hell --
WILLARD
Well , who's in command here?
SOLDIER
I don't know -- don't have any
idea -- I'm just the night man --
He turns and walks off babbling incoherently --
WILLARD
What about you, soldier?
The soldier he was talking to turns around smiling
idiotically and making animal noises. He stumbles off
after his friend.
121 MED. SHOT - DIFFERENT ANGLE - WILLARD
He looks around disgustedly
VOICE (O.S.)
(whispering)
Captain --
Willard turns around looking for where the voice came
from.
VOICE (O.S.)
(continuing)
Over here, Captain --
He turns to see the Hollywood Agent under the flap of a
large tent so that he won't get wet. He wears the same
clothes as before, but is much dirtier. He motions
Willard into the tent.
122 INT. TENT - MED. SHOT - WILLARD, AGENT
They duck inside -- it is dark and damp.
On cots around astove sit the three playmates and the
pilot. The nearest one, CATHY, a blonde, picks leeches
out of her feet. The other two, TERRI and LYNDA, play
cards with the helicopter pilot. Willard looks over
the situation.
AGENT
You came in on that boat, didn't
you?
WILLARD
Yeah --
AGENT
Where are you headed?
WILLARD
What's it matter? Get to the
point.
AGENT
Look -- you know the girls --
Thta's Terri -- she was playmate
of --
WILLARD
Yeah, I caught your show at Hau
Fat.
They all look over.
AGENT
Oh -- I see -- Well, girls, this
is Captain -- eh --
WILLARD
Captain Willard -- go ahead.
AGENT
Look -- we got in a little trouble
-- they rudely took our helicopter
for MedEvac work on this -- uh
Operation Brute Force -- They just
brought it back this morning.
WILLARD
Yeah.
AGENT
Well I mean like they also took
our fuel -- We've been here two
days.
WILLARD
Dreadful.
AGENT
Look -- the girls could get
killed -- we're not supposed to
be this close combat, I mean
real combat.
WILLARD
Well --
AGENT
We could use some fuel -- just a
half drum -- just enough to get
us out a here.
WILLARD
We need all our fuel.
He turns and starts to leave.
AGENT
But, Captain, think what these
girls have done for the boys --
think of how they've risked --
Willard is almost out of the tent.
TERRI
Captain --
He turns around.
TERRI
(continuing)
It's really rough here -- Captain
-- we're just not built for it --
The Pilot laughs.
PILOT
That's rich --
TERRI
Do us a favor -- I'd do one for
you -- if I could --
Willard just stares at her -- even though she's in jeans
and field jacket she is something to see -- The Agent
takes Willard aside -- Terri goes back to the others.
AGENT
Look -- you know who that is,
Captain -- you know what she's
saying -- you'll never see stuff
that good outside of a magazine
for the rest of your life.
WILLARD
I'm not that fond of blondes --
maybe I like brunettes --
AGENT
Take your pick -- they all like
you -- I can tell --
WILLARD
I like all of them --
AGENT
Good -- like I said, take your
pick.
WILLARD
I said I like all of them.
AGENT
Now just a second -- I'm doing
you a favor, buddy -- what're you
trying to pull?
Willard turns to leave again.
WILLARD
We need all our fuel anyway.
AGENT
Wait -- wait -- don't get up tight
-- what I meant was we'd need a
whole drum for that --
WILLARD
Sit down -- we'll talk about it.
Willard sits down on a metal chair -- motions the Agent
to do likewise.
AGENT
What's there to talk about -- this
whole thing disgusts me.
WILLARD
My men --
AGENT
What !
WILLARD
That's what there is to talk
about -- my man -- I take a good
care of my men --
The girls are trying to pretend they're not listening --
the helicopter Pilot is cackling to himself.
AGENT
You're out of your skull --
WILLARD
We have a lot of pride in our
unit --
AGENT
How far do you think you can
push -- what kind of people do
you think --
WILLARD
Esprit de corps --
AGENT
No -- absolutely not --
WILLARD
One for all -- all for one --
AGENT
You can keep your fucking fuel --
Willard gets up.
WILLARD
You make some of your closest
friends in the army -- war has a
way of bringing men together.
AGENT
Get out --
WILLARD
Men of all races -- nationalities --
He gets up and starts out.
AGENT
Two drums --
Willard turns around slowly.
AGENT
(continuing)
Two whole drums --
WILLARD
We can use some fifty caliber and
a 16 too --
AGENT
I don't know what you're talking
about -- Get fucked --
WILLARD
I will -- I assure you that --
You got a fifty on that H-34 --
leave the ammo in boxes -- I'll
get my men to bring the first drum
with 'em --
He turns to go under the tent flap.
WILLARD
(continuing)
Have the girls freshen up a bit --
comb their hair -- put on
something -- you know what I mean --
He leaves.
123 FULL SHOT - P.B.R. - CREW
They are all working on patching the boat and cleaning
it up in general. Mr. Clean sits in f.g., cleaning an M-16.
CLEAN
You keep this thing in this
condition an' it's gonna jam,
Lance -- mark my words.
LANCE
Why don't you go pet the water
buffaloes -- get off my back.
Behins them on the beach stand several water buffaloes
eating mud or whatever they do. They are painted jungle
brown and green camouflage with grey bottoms -- on their
sides the words have been stenciled in black:
1 Each --
Buffalo, Water B-1A
U.S. Army No. 15239
Willard walks through them down to the boat.
CHIEF
Careful, Captain, they've been
known to charge.
WILLARD
All right I got a little surprise
for you --
They all look up.
WILLARD
(continuing)
I've arranged with those people
we saw at Hau Fat to give us some
50 caliber in trade for a couple
a drums of fuel --
CHEF
No shit.
WILLARD
Chef -- since you're such a fan
of Miss December's I think you
should be detailed with Lance and
Clean to take the first drum up
there.
CHEF
I don't believe you --
CHIEF
What're you trying to say, Captain --
WILLARD
You'll see soon enough -- get going,
sailor --
CHIEF
No shit -- hot damn --
124 INT. TENT - MED. SHOT - LYNDA, CHEF
He has followed her into the tent awe-struck -- she
casuallu starts unbuttoning her fatigue jacket and taking
off her pants. he just stands there, his arms at his
sides.
CHEF
I've got every one of your
pictures -- I've got the
centerfold -- the Playmate's
review -- the Playmate of the
Year run-off -- everything, even
the calender --
LYNDA
Well, get undressed and let's
get it over with --
CHEF
I can't believe it -- I'd a
never even got to see you if it
wasn't for this war --
She lies down on the cot in only her panties.
CHEF
(continuing)
You wouldn't mind -- uh kinda
draping that jacket over you
sort of the way you were in the
calender, would you?
LYNDA
Come on -- cut this crap -- I
gotta get back to Saigon --
CHEF
Just let me look awhile -- I just
don't believe --
CUT TO:
125 INT. TENT - CLOSE SHOT - LANCE, CATHY
They have just finished making love. cathy looks very
pleased. Lance finishes tying his boots -- she draws on
his back. He gets up -- starts to leave.
LANCE
Well -- uh thanks -- see you around.
CATHY
Yeah.
He leaves -- she pulls herself up and starts combing her
hair -- Mr. Clean walks in.
CATHY
(continuing)
Who are you?
CLEAN
I'm next --
She shrugs.
DISSOLVE TO :
126 INT. TENT - MED. SHOT - WILLARD, TERRI
He finishes tying on his boots -- pulls on his jacket --
his gun belt and picks up his M-16. She looks up at him --
WILLARD
Ma'am -- I'd like to thank you for
what you an' all your friends have
done for us -- I want you to know
that me an' the men appreciate
you coming all this way -- riskin'
your lives -- living uncomfortably
an' doing all you can to entertain
us. I want you to know personally,
Miss, that for the past few minutes
you have made me feel at home.
She picks up a shoe to throw at him. he turns, exits f.g.
WILLARD
(continuing)
Just wanted to say that, ma'am.
The SHOE CLANGS off his helmet.
CUT TO:
127 EXT. THE P.B.R. APPROACHING DO LUNG BRIDGE - FULL SHOT -
NIGHT
The boat edges in toward the wrecked bridge in the
distance. Along the banks are sandbagged fortificvations
with U.S. soldiers in them. There is a bright fire
burning uncontrolled in the distance; the sparks and white
light from welding on the bridge momentarily lights up the
night.
WILLARD (V.O.)
Two days and nights later, we
approach the Do Lung Bridge.
128 VIEW ON THE FACES OF THE P.B.R. CREW
watching. Everywhere are wrecked boats -- parts of trunks
sticking out of the water -- smashed helicopters on the
banks. The bridge is in a state of siege. Mortars and
rockets arc through the night indiscriminately and rip
through the nearby jungle. Soldiers are everywhere --
scurrying from trenches, carrying materials for the bridge
or tending to the wounded, the maimed and the dead. Light
automatic WEAPON FIRE is HEARD occasionally. The P.B.R.
edges in under the span of the old bridge. Soldiers run
up through the water. They are obscured in the darkness.
SOLDIER
I gotta get out a here -- I'll pay
-- I got money.
CHIEF
Get away from this boat.
WILLARD
Who's your C.O., soldier?
The Soldier ducks back and runs away.
SOLDIER
Fuck you, you'll get what's coming
to you.
Other men approach the boat. A young LIEUTENANT steps
forward.
LIEUTENANT
Captain Willard?
WILLARD
That's me.
LIEUTENANT
Captain Willard -- we got these
from Nha Thrang two days ago --
they expected you here then --
He hands up a plastic bag, maximum security markings,
Willard takes it.
LIEUTENANT
(continuing)
You don't know how happy that makes
me, sir.
WILLARD
Why?
LIEUTENANT
Now I can get out a here -- if
I can find a way out.
WILLARD
We'll be needing some supplies
and fuel -- do you know anybody
who can give me a hand?
LIEUTENANT
I'd just clear out as soon as I
could if I were you, sir. They're
gonna start working on the bridge
with torches again. Charlie will
start throwing it in hard --
WILLARD
What is this bridge?
LIEUTENANT
It's of strategic importance for
keeping the highway into Bat Shan
open -- the generals don't like to
admit that Bat Shan is surrounded.
He points to the men getting ready to work.
LIEUTENANT
(continuing)
Every night we build it and by
0800 they've blown it up -- it
and a lot of good men -- But the
generals like to say the road is
open -- ha ! Nobody uses that
road except Charlie.
He turns and splashes off into the darkness.
LIEUTENANT
(continuing)
This is the cesspool of hell.
SOLDIER (O.S.)
Incoming.
SHELLS WHISTLE OVER and CRASH into the bridge -- MEN SCREAM
in the distance -- the EXPLOSIONS are thunderous.
CHIEF
(yelling)
All right -- Lance, go with the
Captain an' see what you can
scrounge --
Willard climbs out with Lance.
CHIEF
(continuing; to Willard)
Better make it fast, sir -- we
don't really need much anyway.
Willard nods and they scurry off the bank under the
bridge.
129 MED. SHOT - WILLARD, LANCE
They dash up the embankment and along the barbed wire
on the edge of the road. SHELLS SCREAM overhead, they
don't know where to run.
VOICE
Straight ahead, son of a bitch.
They dive towards the voice.
130 CLOSE SHOT - TRENCH
They dive in, a SOLDIER is crounched in f.g. holding his
buddy who is crying uncontrollably.
SOLDIER
You came right to it, son of
a bitch --
WILLARD
Son of a bitch, sir.
The Soldier doesn't respond.
WILLARD
(continuing)
Where's your chief supply officer?
SOLDIER
Beverly Hills --
WILLARD
What?
SOLDIER
Straight up the road -- a concrete
bunker -- Beverly Hills -- where
else you think he'd be?
WILLARD
C'mon --
There is an apparent lull and they dash out along the
road. Suddenly to their right an M-60 STARTS OPENING UP
from a sandbagged emplacement.
SOLDIER (O.S.)
Get your asses down, buddy.
They drop and crawl to the slit trench and run up to the
emplacement. Several SOLDIERS man a M-60. One has a
sniper rifle -- another tries to spot for the Gunner.
Willard and Lance edge up along the trench. Willard
trips.
VOICE
Watch your feet, asshole --
Willard looks down.
VOICE
(continuing)
You stepped on my face.
LANCE
We thought you were dead.
VOICE
The whole world loves a smart ass.
They move ahead more carefully. The Gunner BLASTS away
into the night, there is a pile of brass cases about three
feet high next to him. Finally he stops swearing to
himself.
WILLARD
What're you shooting at, soldier?
GUNNER
Gooks.
He turns and sees it's an officer.
GUNNER
(continuing)
I'm sorry, sir.
WILLARD
It's all right, sergeant -- what's
out there?
GUNNER
They were tryin' to cut through
the wire -- I got 'em all I think.
OTHER SOLDIER
Oh yeah -- listen.
There is a low moaning SCREAM from out in the wire -- it
stops for aminute then continues hideously.
GUNNER
He's trying to call his friends --
send up a flare.
The Spotter does, it arcs up, then bathes them in eerie
light. The Gunner FIRES a long BURST.
SPOTTER
Those are all dead, stupid, he's
obviously underneath 'em --
They think about this as the flare goes out. The SCREAMING
gets more intense.
GUNNER
Wake up the Roach.
The Spotter moves down to where a tall lanky SOLDIER is
leaned up against the trench. He kicks him hard several
times. Roach wakes and just looks up. On his helmet are
the words: "GOD BLESS DOW."
ROACH
Yeah, man.
SPOTTER
Slope in the wire -- hear him.
He listens, he does, he nods.
SPOTTER
(continuing)
Bust him.
Roach gets up somewhat annoyed but very cool. He saunters
up the machine gun dragging his M-79 which has paisley
designs all over it.
GUNNER
Hear him?
ROACH
Sure , yeah.
GUNNER
You need a flare --
ROACH
No, it's cool.
He opens the breech of his shotgun-like weapon and plunks
the big slug into it. He snaps it closed then rests it
across his forearm over the trench -- he listens to the
SCREAM, calculating.
ROACH
(continuing)
He's close -- real close.
He adjusts his sights so that the gun is aimed high into
the air. He listens again then FIRES. The GRENADE
WHISTLES off into the night. There is a sharp EXPLOSION
that cuts off the scream. Then the THUD of bodies or
pieces of bodies coming down around them.
ROACH
(continuing)
Muhhh Fuhhh ...
He staggers back down the trench to go to sleep.
131 FULL SHOT - P.B.R. - BRIDGE - CLEAN, CHEF
They stand in the shallows waiting for Willard and Lance.
Clean is nervous, he constantly checks his M-16. SHELLS
WHISTLE by and CRASH in the distance.
CHEF
Geez, I wish they'd hurry.
A SOLDIER comes up on his way with some others to start
building the bridge.
SOLDIER
Hey, buddy, that boat still runs,
eh?
CLEAN
Yeah, it still runs.
SOLDIER
Do me a favor buddy, please.
CLEAN
What is it?
He takes out a handful of crumpled envelopes.
SOLDIER
Send these out when you get back
to the world.
He puts them in Clean's hand.
SOLDIER
(continuing)
It's to everyone I really knew --
the first girl I screwed -- my
brother -- best friend -- I wanted
to tell 'em how much I enjoyed
knowing 'em -- it's been a great
twenty years. I gotta let 'em
know.
CLEAN
What're you askin' me for -- put
'em in the first helicopter comes
in tomorrow.
SOLDIER
Nobody comes in here.
He points up at the mountain ridges.
SOLDIER
(continuing)
The N.V.A. 312th -- over there
the 307th -- on that hill we
counted fourteen different guns
in one minute -- they got rockets
mortars, snipers in those trees,
there's a million of those shitty
little bastards out there -- we're
all gonna die.
He grabs Clean and looks at him with a maniacal urgency.
SOLDIER
(continuing)
I'm gonna be dead.
Clean takes the letters.
SOLDIER
(continuing)
You got a chance in that boat --
by morning you could be five miles
down the river.
CLEAN
We ain't goin' down the river.
The Soldier looks at him as if he is joking.
CLEAN
(continuing)
What's up river from here anyhow --
The Soldier doesn't answer, just stares dumbfounded.
SOLDIER
Spooky.
CLEAN
Charlie?
SOLDIER
No, it'd be spooky without the war
-- give 'em back.
He takes the letters and leaves, somewhat disappointed and
disgusted. Willard and Lance come back down the beach
carrying some belts of ammunition and a couple of extra
M-16's.
CHIEF
Wow, you must a found the C.O., eh?
WILLARD
We found some bodies -- let's get
out a here.
132 FULL SHOT - DIFFERENT ANGLE - P.B.R.
They edge through the shallows as the men light up their
welding torches to start work on the pontoon bridge --
then pull away and accelerate fast.
133 MED. SHOT - THE P.B.R. CREW
The Chief is at the helm -- they all look back in the
distance where the bridge was -- the hills flash with
artillery discharges -- there is a fiery glow from the
bridge area and the CONCUSSION of heavy EXPLOSIONS.
DISSOLVE TO :
134 EXT. FULL SHOT - P.B.R. - CREW - RAIN
The boat moves uneasily upriver, through this tropical
downpour. Mr. Clean is in thef.g., oiling and cleaning
his 50-cal, his M-11 and M-79 -- the rest of the crew are
forward, taking shelter from the rain under the canvas
canopy. Clean works methodically under an umbrella he was
set up by leaning the surfboard against gun mount.
135 EXT. THE RUSHING RIVER - NEW VIEW - RAIN
The river is moving fast against them. all manner of de-
bris; tree trunks, sweeping by the P.B.R.
CHIEF
(to Willard)
I can't see a fucking thing.
There is a loud CRACKING SOUND, as one of the pieces of
tree- trunk whacks the hull, and bounces off. Willard
climbs forward, and looks down.
CHIEF
(continuing)
We hit a big enough one this
hull will shatter like a Corvette.
Fucking plastic boat.
Willard practically hangs off forward with a long pole,
warding off the big debris moving toward the P.B.R. Clean
joins him, helping.
WILLARD
(shouting to Chief)
What about ducking into one of
those tributaries till this river
slows down?
CHIEF
Who knows what's up there?
WILLARD
Can't be any worse than this.
What do you think?
CHIEF
I think this river wants to take
us home fast. I'm practically
goin' in reverse.
Willard points his pole in the direction of the mouth
of a tributary.
WILLARD
Well, get in there.
CHIEF
This whole area is lousy with
V.C. -- We don't stand a chance.
Lemme turn around and we'll be
in Hau Fat in six minutes.
There is a really loud WHACK against the hull. willard
really mad, throws the pole at the Chief, who ducks.
WILLARD
Get in there !
CHIEF
This is my crew and my fucking
boat, and I'm the responsible
party.
WILLARD
Get in there now or I'll bury
you in this river.
It's clear that Willard will kill the Chief if he doesn't
do as he says.
CHIEF
(finally relents,
turns the helm)
You're fucking crazy. You're
going to get us all killed.
The P.B.R. navigates through the rush and into the mouth
of the tributary.
DISSOLVE TO :
136 EXT. THE TRIBUTARY - P.B.R. - RAIN
Rain is pouring down, but the P.B.R. is slowed down to a
snail's pace by Hyacinths, literally across the
waterway.
Willard, Chef and Clean in the water, cutting through
them with machetes.
137 VIEW ON LANCE
having climbed to the highest point of the cockpit.
LANCE
It breaks through in about
twenty feet.
138 VIEW ON WILLARD
cutting through. he looks to Chef, who has stopped cut-
ting, and is staring into the jungle.
WILLARD
What do you see?
CHEF
I don't know.
He looks out -- the jungle at this point is very dark
and high -- totally impenetrable.
WILLARD
Keep cutting.
They work feverishly, knowing something is wrong.
139 VIEW ON CHEF
cutting with all he's got.
CHEF
I know it sounds stupid, but I
feel like the goddamn jungle's
watching us.
WILLARD
Probably is.
CHEF
Whatdoya think it thinks.
WILLARD
That we're dumber than we look.
Chef stops again, looks hard, trying to penetrate the
darkness and from the very depth of it -- the darkness of
it, comes a stream of tracers, lazily arching out at them.
It whips between them -- the SOUND FOLLOWING much later.
Other BULLETS SMASH through and ricochet off the deck
fittings. GLASS SHATTERS, and a huge hunk of paint is
removed from the armor shield by a 20 mm cannon.
CHIEF
Lance -- 'bout twenty meters
starboard.
Lance leaps down to his position. Willard, Clean and Chef
cut feverishly, as the trapped boat struggles to get free.
CHEF
There in the trees !
Everything is confusion -- yelling -- GUNFIRE -- the THUD
of heavy BULLETS ripping inti the P.B.R.'s fibreglass hull.
140 VIEW ON LANCE
Lance's twin guns return the FIRE. The Chief moves to one
of the heavy guns and joins Lance in returning the FIRE.
141 VIEW ON THE MEN IN THE WATER
pushing, cutting. Bullets SMASH and EXPLODE around.
Clean climbs onto the boat, and leaps onto a gun emplace-
ment.
142 MED. VIEW
Nobody really knows where the erratic fire is coming from.
CHIEF
(back at the helm)
Elevate Lance, in the tree. No,
I saw another.
CHEF
Thirty meters up, Lance; I saw
the fucking flash.
Lance grits his teeth, FIRING --
143 CLOSE SHOT ON CLEAN
144 POV BEHIND CLEAN
He BLASTS short bursts of tracers into the jungle, cutting
it to salad. Suddenly more tracers from another direction
-- Clean swings around -- BULLETS smash against his shield
and rip chunks from the surfboard. He BLASTS a long heavy
burst at the jungle -- trees crumble.
CLEAN
I'm ripping 'em, man, son-of-a-
bitch, it's jammed, oh God,
it's jammed.
Clean is riddled by MACHINE GUN FIRE.
Chief runs to Mr. Clean -- it is obvious that he is dead.
He looks angrily to Willard.
Willard and Chef are practically through. Willard leaps
up, as Chef finishes the last strokes. He moves toward
the cockpit.
WILLARD
Throw me that ordnance.
Chef throws him an M-79 and several shells -- Willard
opens it, jams a huge projectile and pulls himself over
the edge of the cockpit.
WILLARD
(continuing)
Give me some kind a field a fire --
BULLETS rip by.
CHEF
(exhausted)
We're through.
He climbs aboard and collapses.
CHEF
(continuing)
Oh, God --
LANCE
(FIRING)
I ain't finished ! I ain't finished !
WILLARD
Bring that bow ordnance into
those trees.
He jams his gun up as he sees a flash and FIRES -- there
is a low POP and a WHISTLE as the GRENADE arches into the
jungle.
145 POV. - BEHIND THEM
He FIRES another burst as the GRENADE EXPLODES brightly.
There is another POP and WHISTLE , another BLAST. A large
tree falls, just as the craft speeds up through the thin-
ning growth. We HEAR strange SCREAMING from the trees and
jungle, hideous MOANS and terror-filled CRIES.
146 CLOSE SHOT ON THE CHIEF
He jams the throttle forward -- the boat surges ahead.
Willard FIRES another GRENADE from his M-79.
147 FULL SHOT ON THE P.B.R.
The boat slams through the hyacinth growth, moving through
the river, FIRING BACK at unseen enemy in the jungle.
DISSOLVE TO :
148 FULL VIEW ON THE P.B.R. - TWILIGHT
The boat moves ahead at half speed through a wide, flat
area in the river.
149 MED. VIEW
The men sit around, exhausted, brutalized, wounded.
They look like animals, but they are relaxed, be-
cause they know they're too far from the banks to
be shot at.
They smoke pot and eat silently. Lance smokes a
joint and looks at his gun. Splotches of paint
have been blown away from the armor shield -- pieces
of deck are ripped and ragged around the mount.
The boat is a floating wreck.
Clean's body is being prepared in a plastic sack
by Chief. All of the men are silent.
Chef comes up from below; he has been wounded in the
shoulder.
CHEF
There's some bad holes, man,
and the cracks -- water's coming
through the cracks. Food's shot
to hell.
WILLARD
How much is left?
CHEF
Less than half -- sure is a
mess down there.
Chief has been silent by the body of Clean in a plastic
sack.
WILLARD
And the grass?
CHEF
Still got a lot of that stuff
from Nha Trang. But we're
running low on the other.
Chief pushes Clean's body into the river.
150 VIEW ON WILLARD
He notices something in the distance.
151 WILLARD'S POV
A light.
152 MED. VIEW
Willard stands up, pointing up the river.
WILLARD
Hey.
They all look over.
WILLARD
(continuing)
That's a light down there --
CHEF
Yeah, it is.
CHIEF
What the hell is it?
WILLARD
In the middle of the jungle --
a goddamn light.
153 FULL SHOT - THE P.B.R. - THE TWILIGHT
The P.B.R. approaches the distant light -- which seems
to be on the dock of an overgrown plantation building.
154 VIEW ON WILLARD, CHIEF
straining to see; he uses field glasses.
155 POV - THROUGH THE GLASSES
Seems to be some figures standing on the dock. The
figures pull back behind some drums.
156 BACK TO SCENE
WILLARD
Watch it !
They duck as SHOTS RING OUT from the dock, stitching the
water across the P.B.R.'s bow. The crew crouches, guns
trained on the dock as the boat still approaches.
WILLARD
(continuing)
They're not Cong.
CHIEF
(over the loud-hailer)
We're Americans.
Another BURST, closer.
CHEF
Maybe you shouldn't say we're
Americans?
Willard stares at the dock and building, trying to figure
it out.
WILLARD
Chef, try your French.
Chief hands the loud-hailer to Chef, who shrugs and shouts:
CHEF
Nous sommes Americains --
Silence.
CHEF
(continuing)
Nous ne voulon pas vous agresser.
157 VIEW ON WILLARD
He looks through the glasses.
158 POV THROUGH THE GLASSES
Gradually, a small group appears from behind the drums
on the dock.
WILLARD (O.S.)
French Nationals -- they may not
be too friendly, though.
159 BACK TO SCENE
We drift closer to the dock. The Chef starts enjoying
speaking French.
CHEF
Nous sommes Americains -- nous
sommes des amis --
There is silence as the boat drifts closer. Then:
FRENCHMAN
(shouting out)
Vous parlez Francais comme une vache
espanole.
CHEF
(to himself)
I thought it was pretty good,
myself.
CHIEF
What'd he say?
CHEF
Said I speak French like a
Spanish cow.
FRENCHMAN (O.S.)
Laisser tomber vos armes --
CHEF
Put the guns straight up -- stand
away from the mounts.
WILLARD
Do it.
They do.
FRENCHMAN (O.S.)
Vous pouvez approcher mais
doucement --
CHEF
Take her in slow.
160 FULL SHOT - DIFFERENT ANGLE - DOCK
The men on the dock move forward, cautiously. They are
a young man, PHILIPPE, about 25, strong and handsome, save
for a scar down on the side of his face and through his left
eye, which is covered by a patch. He is dressed in a
tiger suit and the red beret of the French colonial para-
troops. Also of the red beret are HENRY LeFEVRE, a bear-
ded, dark-looking man of 35, and TRAN VAN KAC, a middle-
aged half-breed slave. They all bear automatic weapons
and suspicious in their eyes. As the boat pulls up to the
dock, another Frenchman joins the group, obviously the
head man, GASTON De MARAIS, about fifty, small and deli-
cate, with a strength about him.
PHILIPPE
Hands on the heads.
CHIEF
I can't steer with my goddamn
feet.
CHEF
Hey, they speak American.
GASTON
Who is the commanding officer?
CHIEF
I --
WILLARD
I am -- I'm Captain B.L. Willard.
This is Chief Warrant Officer
Phillips -- it's his boat. We
were shot up bad downriver and
need repairs and food -- we can
pay you in gold.
GASTON
Philippe --
Philippe moves to another position -- Kac grabs the rope
from the deck and ties it to the dock.
LANCE
I'll help you with --
PHILIPPE
Do not move --
Gaston looks at the skyward pointed twin fifties admiringly.
GASTON
Fifty calibers, eh, Captain --
WILLARD
As I said, we can pay you in
gold.
GASTON
Entirely unnecessary, Captain.
He puts down his gun -- the others do likewise --
GASTON
We share a common enemy -- you
are our guests.
(he steps back)
I am Gaston de marais -- this is
my family's plantation. It has
been such for 121 years. It will
be such after I die.
This is my son, Philippe -- he
has fought in Algeria and held
the rank of Captain. And Henry
LeFevre -- a sergeant; he was
at Dien Bien Phu. My personal
servant, Tran Van Kac ---
Then he motions to the trees. A young man in a tiger suit
and three women come forward from different positions --
all wear bush clothing and bear weapons.
GASTON
(continuing)
My youngest son -- Christian --
161 CLOSE SHOT - CHRISTIAN
He carries an M-60 machine gun in his hand -- a belt of
ammunition trailing off behind him.
GASTON
Christian's wife -- Ann-Marie --
A tall girl, goodlooking, but severe -- she carries an
M-16.
GASTON
(continuing)
And my youngest daughter --
Claudine.
162 CLOSE ON CLAUDINE
an attractive girl about eighteen. She wears a red
paratrooper beret and a well-fitted bush suit. She carries
an M-79 grenade launcher and plenty of ammunition.
163 FULL VIEW - P.B.R. - CREW, GASTON, OTHERS
They stand there, exhausted and amazed. Philippe yell