· web viewjimmy hendrix’s purple haze is playing on the radio as mike drives. carol sits close...

HEAVY DUTY

By

Nicholas Niciphor

Copyright in the United States of America

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'HEAVY DUTY'

FADE IN:

EXT. ZUMA BEACH-DAY (HEAD CREDITS BEGIN)

A TEENAGE SURFER in a bright pair of baggies walks the nose as he shoots the curl of a perfectly formed wave. A stiff wind off the land whips the spray back over his head and away into a mist where the sunlight transforms it all into a magnificent rainbow, as:

‘MAY 1968, ZUMA BEACH, CALIFORNIA’ SUPERS OVER. Then,

INT. VW VAN-PARKING LOT-ZUMA BEACH-DAY

CLOSE ON the in-dash STEREO as the Anti-War anthem, 'FEEL LIKE I'M FIXIN' TO DIE BLUES' by COUNTRY JOE McDONALD blasts forth. We pull back ever farther, as

COUNTRY JOE (lyrics, sings)

Come on all you big strong men,

Uncle Sam needs your help again,

He's got himself in a terrible jam,

'way down yonder in Viet Nam,

So, put down your books,

and pick up a gun,

We're gonna have a whole lotta fun!

'Cause it's ONE-HUPPA-TWO-HUPPA-THREE,

What're we fightin' for??

Don't ask me, I don't give a Damn,

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My next stop is Viet Nam!

As the music continues, we move past the curtains to the bed in the back. There, CAROL LAWRENCE hugs MIKE MORAN in her arms and kisses him again. Hotter. With lips that suck clean to the soul and eyes so tender, so idealistic, so very strong. She's 20, and as pretty as she is intelligent.

CAROL LAWRENCE (breaks kiss)

When can I join you?

MIKE MORAN (between kisses)

Come with me, now ... Pack a bag...Don't pack a bag...Come as you are...

A BEAT. Carol looks at Mike and knows he's serious. He's always most serious when he's joking. At 21, brash, bright and boyishly handsome, Mike still has all the rough edges of youthful exuber-ance at play within him, but with a serious under current of compassion; a wisdom Carol feels in his eyes. A wisdom that tells her he's a very old soul.

MIKE (pressing)

We'll be in Vancouver in four days. Come with me ...

He's looking straight at her. Straight through her. She wants to be with him so badly she aches, but

CAROL

I can't. I have to finish the damned Semester.

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She presses her naked body against his as tightly as she can and buries her face into his chest, and starts to cry.

MIKE (holds her close)

We'll write. You'll join me soon as you can.

(brightens)

Hey, Canada's not the end of the earth. I'll find us a nice pretty place...

CAROL

The War can't last forever.

MIKE (sober)

Carol, even when it's over, I'll never be able to come home. I'm not just dodging the draft, I'm deserting. There's a huge difference.

CAROL

I know that.

She looks at him through her tears and examines him closely as if trying somehow to memorize every pore in his face. She tousles his hair even though it’s cut so very GI short, and

CAROL

How did you ever let this happen?

(then angry)

I hate your father!

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MIKE

It wasn't his idea; they drafted me.

(admits gently)

I was having such a good time, who cared about Viet Nam? That was somebody else’s problem. Suddenly, the Army jumps down my throat...

CAROL (cuts him off)

It's goes against everything I believe in!

MIKE

But, you still love me?

CAROL (nods)

... damnit all.

She suddenly seizes his lips. They kiss passionately, then

CAROL

Make love to me, Michael ...

SLOW DISSOLVE:

INT. MIKE'S VW VAN-PACIFIC COAST HIWAY-LATER DAY

Jimmy Hendrix’s PURPLE HAZE is playing on the radio as Mike drives. Carol sits close beside him. Mike is dressed in jeans and

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loose cotton shirts, but his short GI hair gives him away. He notices the red light of a Highway Patrol car flashing directly behind him and is immediately concerned. As he dutifully pulls over to the shoulder of the road, he catches Carol's fearful look with a weak smile..

SLOW DISSOLVE:

INT. STOCKAGE-U.S.ARMY FORT ORD-MONTHS LATER-DAWN

TWENTY YOUNG GIs, every one shaved bald as an egg, stand braced at rigid attention, ankles locked, boots centered on foot-squares painted white on the concrete floor. They face each other in two columns by their bunks and stare into deep space as a lean, mean Black SERGEANT stalks slowly down the aisle between them. He inspects each man sharply, as

MASTER SERGEANT (barks)

Your shirt’s filthy, Hutch! You a PIG?!

PRIVATE HUTCH (loud)

Yes, Sergeant!

PRIVATE MICHAEL MORAN stands rigidly. Compared with the exuberant surfer at Zuma Beach, Michael looks much older now. Ancient. Exhausted. As he waits for the tough young Sergeant to reach him, he stares straight ahead not really looking at the heavy steel bars over the tiny windows high up in the concrete wall. Not really looking at the hollow eyes of the skinny soldier staring vacantly past him. Michael is elsewhere as another VOICE drifts into his thoughts..

COURTS MARTIAL OFFICER (stern V.O.)

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It is the judgment of this Courts Martial that you are guilty of desertion as charged. And in accordance with the Uniform Code of Military Justice it is our decision that you should forfeit all pay and personal privileges and serve a period of not less than six months at hard labor in the post stockade. This time will not accrue against honorable service time. Do you have any questions, Private Moran?

PRIVATE MICHAEL MORAN (V.O.)

Yes, sir. Why don't you just discharge me?

COURTS MARTIAL OFFICER (V.O.)

Because, Private, if the United States Army discharged every soldier that went over the hill to avoid a war, we wouldn't have any Army.

MIKE (V.O.)

No, sir. And we wouldn't have any war.

COURTS MARTIAL OFFICER (V.O.)

Private Moran your sentence is for six months bad time. If you screw up in there we can transfer you to Leavenworth and make your stay a whole lot nastier. You had better change your attitude, soldier.

MIKE (mumbles aloud)

Fuck the Army...

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The stern Sergeant has nearly reached Mike; he overheard.

MASTER SERGEANT (descends on Mike)

Say what, Moran?!? You don't crack you face 'less I says you does!

MIKE (braces)

Yes, Sergeant!

MASTER SERGEANT

Who was you talkin' at?

MIKE

Nobody, Sergeant!

MASTER SERGEANT

Are you crazy, Moran?

MIKE

No, Sergeant!

MASTER SERGEANT (attacks)

Then you musta been talkin' at somebody ‘cause only crazies talk to their selves! Who was you talkin' at, Moran!? Or, was you talkin' under your breath at me? What'd you say!?

MIKE

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Nothing Sergeant!

The Master Sergeant snarls like a Wolf and leans in nose-to-nose to SHOUT close range.

MASTER SERGEANT

You’re lyin' at me, boy!

MIKE (louder)

No, Sergeant!

MASTER SERGEANT (screams in his face)

I hate liars!!

INT. HALL - SOLITARY CELL BLOCK - FORT ORD STOCKADE - DAY

A lanky redneck CORPORAL with a shiny chromium plated M.P. helmet, a super starched uniform, and spit-shined boots marches Mike briskly down this windowless hall. The floor and plain walls are concrete. Neon lights overhead. The only breaks in the walls are solid STEEL DOORS.

M. P. CORPORAL (drawls quick)

Hut, two, Hut, two, Hut, two, Hold it

right there, ass ho’.

Mike stops. The Honky Corporal uses double keys to open a steel door. Mike steps inside.

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M. P. CORPORAL (wicked)

See y'all in fifteen days. Enjoy yo’seff, naa.

MIKE (loud enough)

Fuck the Army.

M. P. CORPORAL (glares)

‘nother word outta you, you got Re Duced rations! Ya’ll wanna eat, ya’ll Shut up, unnerstan’??!!

A BEAT. Mike's eyes give the Hick a mirror he doesn't like. As the Corporal slams the steel and locks it, fast,

HEAD CREDITS END.

INT. SOLITARY CONFINEMENT CELL - FORT ORD STOCKADE -DAY

There's nothing for Mike to look at in this 6'x8'x8' plain concrete cell. One small barred window sits high up on the far wall above the commode. There’s a sink across from a steel cot and a bare mattress. Mike sits on the cot. Then, he lies down with a fist behind the back of his head for a pillow. He stares out the window, and thinks about Carol.

CAROL (V.O. letter)

Dearest Love, I'm writing you from Zuma today. I had to get to the beach; it's just too beautiful for Organic Chemistry. Temperature in the eighties. I'm lying watching half a dozen surfers catch waves. Like you, but not as good. The surf’s huge today. There's a storm in Baja. Oh, Michael, I think of you there in that prison, and, my heart breaks. I miss you so much. And, I’m so proud of you. You stood up to them. You were willing to take

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the chance, win or lose. I only wish to God you'd won...

EXT. MESS HALL-BY E.M. BARRACKS-FT.ORD-DAY

Moran is collecting garbage with OTHER PRISONERS whose white armbands safety-pinned to the sleeves of their unranked fatigues set them off from the HUNDRED COMBAT-ready GI's now running from the barracks facing them. As these GI s form a quick line-up into squads, Mike sees their duffle bags and M-16 rifles. As he eases an empty can down beside the REFUSE TRUCK, he watches them march away to Viet Nam while singing a cadence song together, as

CAROL (V.O.)

Dearest Michael, Your mother came over to see me, today. She’s terribly worried. She said you’ve sent back every letter she and your father have mailed you. Why, Michael? Why deny your family just because we don't agree with them? They don't condemn you. Your mother was very sad and she upset me, too. Maybe, you and your father can't communicate, but your mother loves you and you should write to her. Please Michael... Your father's being transferred to Guam...

As Mike watches the GI's go,

SLOW DISSOLVE TO:

EXT. 35TH. AVENUE – QUEENS, NEW YORK - LATE WINTER NIGHT

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It's bleak and cold. Wearing a class ‘A’ dress uniform, leaning against a piercing wind, Mike steps out onto the filthy sidewalk of a gray canyon lined with tenements. The elevated Subway pulls away from the station on the platform above as he checks the street signs for bearing and then hoists a huge duffle bag onto one shoulder. As he heads down the sidewalk Mike spots a torn poster on a light pole. It reads, "ANYONE HAVING WITNESSED THE MURDER OF KITTY GENOVESE..." etc. He isn't bothered. Still awestruck by his incredible luck, he can hardly believe it.

MIKE (marvels)

New York City... Man, oh man...

INT. ARMY PICTORIAL CENTER (A.P.C.)-GROUND FLOOR BY C.Q. - NIGHT

Private First Class ROBERT SCHNEIDER would very much rather remain aloof and intellectual and continue to read Terry Southern's 'CANDY', but he stashes it quickly under his butt and pretends to lose himself in the bank of black and white TV SURVELIANCE MONITORS that line the desk before him because the PANDEMONIUM is approaching and approaching fast. And, with it will come SERGEANT MAJOR SWAIN who must not catch him loafing!

A sudden SHOUT and the first GI’s stumbles into view down the open INTERIOR STAIRWELL beside him. Chubby, frumpy EARL 'PUD' POSNER, 20, and quick, wiry Hawaiian, DAVID ‘BANZAI’ YAMAGUCHI, 19, crash to a stop almost spilling their weighty load, a metal frame bed they are using like a stretcher to carry a fully loaded, metal wall locker.

EARL 'PUD' POSNER, PFC.(whines)

Hold it, Banzai! Shit, man, I'm gonna drop this fucking thing!

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Sweating, Posner struggles for a better grip as more PAIRS of GI's, all similarly loaded, stampede down the staircase at them.

DAVID 'BANZAI’ YAMAGUCHI

Come on, Pud, pick it up!

PUD (exhausted)

Wait a second...

Suddenly a razor sharp VOICE of AUTHORITY comes from above,

SERGEANT MAJOR SWAIN (V.O.)

Posner, you God damned cry baby! Pick that bunk up 'fore I feed you to it!

PUD (terrified, obeys)

Yes, Sergeant Major!

More GI's follow Posner and Yamaguchi down the stairs, as

INT. 2ND. FLOOR HALL BY STAIRWELL – A.P.C. - NIGHT

SERGEANT MAJOR RAYMOND SWAIN, 40, stands with hands on hips and jaw clamped air tight as he oversees the troops strip their barracks clean. His cold eyes betray not a glint of satisfaction. Tough, hard, straight like a spike, his every step toward the open barracks a solid hammer blow to the gleaming, polished linoleum floor, Sergeant Major Swain is the close-cropped absolute epitome of dedicated, self-disciplined Gung-Ho aggressive U.S. Army Combat

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Infantry Sergeant Major. His utterly self- confident glare speaks the absolute truth like life and death.

Only recently assigned to this sedentary, draftee-filled Signal Corps post, Swain clearly hates the place. As he watches these young punks rush past, heavily loaded with gear, his contempt for them is limitless.

SERGEANT MAJOR SWAIN

I said I wanted this stinking shithouse cleaned up. And, you will have it spotless, by God, every inch of it, if you got to use your tongues to lick it clean. You are going to learn to obey orders. You are going to learn to be soldiers.

(moves quickly to the barracks bay)

You men got ONE minute - sixty God damned seconds to clear outta here!

Six-stripe Black STAFF SERGEANT AMOS BEAUFORD, 43, an ineffectual barrel-chested boozer, joins Swain at the opening to the bay.

STAFF SERGEANT AMOS BEAUFORD

Yo heard the Sergeant Major; Move out!

With a sudden burst of frantic activity the DOZEN REMAINING GI's snatch everything and flee the bay for the staircase. BRIAN HEDISON, 19, a skinny, short, tow-headed, self-styled surfer flies past with six huge duffle bags dwarfing him, and a SKATEBOARD under one arm.

EXT. A.P.C.- QUEENS - NIGHT

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As Mike approaches this drab, two-story concrete U-shaped building which occupies half a square block of dingy dreary downtown Queens, his mood sobers. He removes a large tan manila folder from his duffle bag, and forces himself to enter.

INT. A. P. C. - STAIRS BY ENTRANCE DOORS - NIGHT

The entrance opens into the main stairwell. Half a flight up is the MAIN FLOOR where Bob Schneider sits by the open doors trying to fade into the C.Q. desk. One flight down is the basement where all the GI's are racing, on their way out to the paved REAR YARD of the fenced-in building.

The moment Mike steps inside, he’s forced to flatten against the wall to avoid being run down by Hedison as he barrels by.

SERGEANT MAJOR SWAIN (V.O.)

Thirty seconds left! The last man in the yard's got K.P. for a month..!

JACK ‘MOFO’ WILLIAMS, 19, an athletic, hip, bespectacled Oakland Black, and ELGIN ‘LORD’ DECKART, 20, a gaunt, bespectacled, preying-mantis-like White Texan, follow Hedison carrying a wall locker on top of a bed between them. Mike ducks just in time to keep from being decapitated, as

PFC.JACK ‘MOFO’ WILLIAMS (in passing)

Outta my way!

PFC.ELGIN ‘LORD' DECKART (fumbles the rear)

Slow down, dammit! Else, I'll drop it!

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MOFO

Drop it, Lord, an' it's yours...!

LORD

Aaah, Eat me, MoFo...

As they disappear below, Mike steps quickly off the stairs up onto the Entrance Floor. Feeling totally out of place, like an alien, he and Bob Schneider look at each other a Beat. Then,

MIKE

Private Michael Moran, reporting for duty.

Caught off guard, Schneider watches as Mike drops the duffle bag. Then,

PFC. BOB SCHNEIDER

Nobody told me what to do when a new man reports. Do you know what I'm suppose to do?

MIKE

(as men charge past)

No. What the hell's going on, here?

BOB (stands)

We had a pop inspection and the Sergeant Major didn't like what he found. Come on, you don't want to meet him tonight.

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Bob leads Mike quickly toward nearby office when Sergeant Major Swain strides out of the stairwell behind them.


Schneider!

BOB (startled, blurts)

Everything's OK, Sergeant Major!

Something about Schneider always irks Swain. Maybe, it's all of Schneider. Everything is a lot too casual. His smile, his salute, the way he wears his uniform, the way he talks. His hair!


The hell it is, Schneider. You were gonna get that hair cut yesterday!

BOB

I'll do it first thing in the morning, Sergeant Major!


Do it, or you got CQ for a month!

(hails Mike)

Who're you?

MIKE (stiffens)

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Private Michael Moran, reporting for duty, Sergeant Major.

Twenty-four years of military experience instantly weighs Mike and knows he's not straight from civilian life. Moran has military bearing.


Where's your personnel file?

MIKE (hands it over)

Here, Sergeant Major.

Swain glances at the information typed on its cover.

SERGEANT MAAJOR SWAIN (sees)

You're another Motion Camera man.

MIKE

Yes, Sergeant Major.

SERGEANT MAJOR SWAIN (looks at him)

You won't be here long. Six months, maybe. Then, it's Viet Nam.

(to Schneider)

Wait for the men to set up the barracks again, then, square him away for the night.

(to Mike)

In the morning report to me after chow and I'll give you orientation. Understand?

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MIKE


Keeping the personnel folder, Swain turns, and without a backward look and rushes away down the stairwell.

MIKE

Interesting guy.

BOB

You bet. Come on; he gets much more interesting.

He leads Mike quickly into the INFIRMARY just across the hall,

INT. INFIRMARY – A.P.C. - NIGHT

They stand by the window and look down at the two DOZEN hapless young GI's assembled in two rows under the bright stadium lights on the asphalt-covered yard. Bunks and wall lockers and everything these men own are set up in perfect military barracks order beside them. Harassed, exhausted, and miserable, they stand quietly in rigid formation patiently waiting for the boom to fall. They don't have long to wait, as Swain strides out to review them,

STAFF SERGEANT BEAUFORD (barks)

Atten SHUN!

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The GI's brace. Swain stops before them, hands-on-hips like Mussolini. For a pregnant moment he says nothing as he eyes each one of them scornfully.

MIKE (awed)

Jesus, is he always like this?

BOB (nods)

Ever since he got here; two months ago and a lifetime ago.

EXT. REAR YARD – A.P.C. - NIGHT

The yard doubles as parking lot for the post trucks and Jeeps and is surrounded by a twelve-foot high, cyclone fence. The men, all Privates, are terrified as Swain stalks along the front row. The first men he passes are 'LORD' DECKART, the cocky, dependently wealthy Lord Fauntleroy from Houston, and his bunkmate, bright, glib, Black, ‘MoFo’ WILLIAMS. Neither man dares move a muscle, as Swain’s lecture begins,

SERGEANT MAJOR SWAIN (disgusted)

I've served in this man's Army since nineteen forty-four. I’ve lived in more barracks and trained more combat ready GI's than you circle-jerks have shaken hands.

Swain moves on to BRIAN 'HANG ONE' HEDISON, the terrified little Idaho surfer and bunkmate JOE 'STUDS' VARICOIA, a would-be

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street-wise Jersey City punk whose fake smile dies a sudden death under the Sergeant Major's rapier gaze, as

SERGEANT MAJOR SWAIN (Cont.)

I've fought Three Wars, and I've survived in all the four corners of this Earth, but in all that time, in all them places, I have never soldiered with such a useless bunch of Gutless Wonders!

Swain eyes them all even as he moves on to usually cheerful, always friendly, Oahu born DAVID 'BANZAI’ YAMAGUCHI and his porky Bronx bunkmate EDWARD 'PUD' POSNER, the laziest whiner in the barracks, as

SERGEANT MAJOR SWAIN(warming, continues)

We have an I.G. Inspection in less than eight weeks! I've told you to prepare. To keep your barracks clean. But you don't wanna listen. You don't wanna keep your wall lockers straight! You don't wanna keep the floors buffed! You don't wanna GI your latrines!

Swain strides authoritatively beside ABRAHAM WEINGARTEN, 22, a stoic, quietly disillusioned former Rabbinical student from Sherman Oaks who sweats profusely as he trembles with fear. Weingarten's bunkmate, BILL 'GUNG HO' DYER, an obnoxious jock from Orange County with an H.R. Halderman flat-top and button-down brains to match, is the only guy who perversely seems to be enjoying this.

NOTE: (The second row of men are a lot like these Sad Sacks, but these men are the GI's we're concerned with.)

SERGEANT MAJOR SWAIN (continues)

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You men have no respect for yourselves, and no respect for the uniform you wear or the Corps you represent. You’re all Swine!

(to all, shouts)

Now, I'll tell you what; I ain't no pig farmer and this ain't no God damn pig pen! This is the U.S. Army, and you men are going to learn to be soldiers before your shit attitude gets you and everybody you War with killed!

Suddenly, a car loaded with DRUNKS at the curb alongside the fence interrupts to harangue Swain.

DRUNKS (shout, jeer)

That's tellin' 'em Sarge! Soo WEE!

Here, piggy-piggy!

Swain ignores the DRUNKS. Several of the men are distracted and smiling. Some, like Varicola and Yamaguchi are even daring to laugh. Swain sets his jaw, and the Drunks leave, as

SERGEANT MAJOR SWAIN (Shouts)

EYES FRONT!

(the men brace. Then, tougher)

Every one of you is going to Viet Nam! Just because you're Combat Camera men instead of Combat Infantry men, and you ain't gonna get issued a weapon to defend yourselves, don't be fools! You're gonna hump through that war just like every other combat arms GI! But, unlike them who’s maybe gotta fair chance of comin’ home, you are gonna die!

(now, the men are paying attention)

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Unless you shape up and get with the program; learn to take orders without questions, and became soldiers, not candy-assed slackers, I'm tellin' you, you’re comin’ home in a BOX!

Absolute Silence. He knows he's making an impression. After a BEAT,

SERGEANT MAJOR SWAIN (continues)

So, I'll tell you what; as long as you're gonna act like assholes, and you’re die like assholes, I may as well treat you like assholes.

(then)

Sergeant Beauford, take over.

Swain turns abruptly away and strides back towards the building. On the way, he GLANCES UP and catches Mike watching from the Infirmary window.

SERGEANT BEAUFORD (blusters)

Arright! Get yo stuff back upstairs an' have them barracks G.I. for 'nother inspection after formation inna mornin'! An’ you better do it right, you-all be doin' this again and again 'til Fo Ever! Move out!

INT. INFIRAARY – A. P. C. - NIGHT

Mike and Bob remain at the window watching the exhausted GI's move their things back into the building again.

23

MIKE

My father's an Air Force Colonel. I grew up surrounded by assholes like that. Don't ask me how I survived, I couldn't tell you.

Stubby Staff Sergeant SANTOS SANCHEZ, 40’s, the cheerful Puerto Rican cook, pauses behind them in the hall where they don’t notice him.

BOB

The Army isn't just a way of life to Swain, man. It's his religion.

STAFF SERGEANT SANTOS SANCHEZ

(smiles, interjects, thick Spanish accent)

Yeah. An' joo all be de 'Hopeless Sinners'.

They give him a look, as

EXT. FESTINESIS BAR - NEAR A. P. C. - QUEENS - LATER NIGHT

Festinesi's is the funky local neighborhood bar. It's drab unpretentious outside reflects it's atmosphere inside. Even on the dirty sidewalk, as Sergeant Major Swain approaches in uniform, the loud upbeat ITALIAN MUSIC from the bar carries over the street traffic. Swain enters,

INT. FESTINESI'S BAR - QUEENS - NIGHT

The moment Swain enters, FESTINESI, 50’s, the portly older Italian bartender smiles cheerfully from behind the crowded bar,

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FESTINESI (warmly)

Hey, Sergen' Major, Good to see you, tonight. What'll it be?

Swain smiles and sits at the crowded bar, back to the pool table where Two young Italians are playing. He eyes the crowd and pulls a Camel Cigarette. It’s lit suddenly from a watch offered by Festinesi, then,


A double Jack Daniels straight up.

He pulls out a wallet, but

FESTINESI

(stops him with a touch)

This’s on the house. I'm proud to have you here. That uniform give me hope, you know?

SERGEANT MAJOR SWAIN (touched)

I thank you, Mister Festinesi.

As Festinesi goes, Swain gets comfortable. He glances into the mirror behind all the bottles and notices an attractive slim blond woman, 35ish, who sits alone in the booth behind him. She glances over at him, and their eyes meet. It was brief, but enough for both to know.

FESTINESI (delivers)

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Good health to you, Sergean' Major.

SERGEANT MAJOR SWAIN (casual)

Thanks. You know that woman behind me in the booth there?

FESTINESI

(glances, leans closer)

A divorce. I don't know a lot. She come in here few times, sometimes leaves with somebody. Sometimes, no.

Festinesi goes to serve another customer. Swain glances and catches her again eyes again. His smoke between his lips, he takes his drink and crosses to her. She judges him. He looks solid to her. A warm rock.


Hi. Sitting here all by yourself. You

want to be lonely?

A longtime divorcee, ANNE WEEKS, knows being alone is the one fear she's not cool enough to hide. It's the fear that keeps her prowling bars and drinking too much. And, hoping.

ANNE WEEKS (smiles easy)

No, soldier. I hate being lonely.

Swain sits across, facing her. Her glass is empty.


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(signals Festinesi)

Can I get you another drink?

ANNE

A seven and seven, please. Very

little ice.

Swain orders, Festinesi goes.


My name's Ray Swain, what's yours?

ANNE

Anne Weeks. You're at the Pictorial Center?

SERGEANT MAJOR SWAIN (nods)

Pleased to meet you, Anne.

She looks at his uniform and wonders about all the patches. He can tell, she's a little drunk.

ANNE

All those stripes; I never

understood what they meant. What is it?

Good conduct or something?

SWAIN (straight)

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Something like that. It's my rank.

ANNE

(just as straight)

It tells the guys that work for you

what a bastard you are.

SWAIN (manages a smile)

Sometimes...

Her drink arrives and Festinesi disappears again.

ANNE

Where you from? And please don't say you're from "all over". Every G.I. I meet tells me that, and it's bullshit. Everybody's from somewhere.

SWAIN

I grew up in Michigan near the Great Lakes. You ever been there?

ANNE (crushes cigarette)

Never; I’m a New Yorker. It's too damned cold for me, here. When I go anywhere, it's South.

SWAIN

I know what you mean. One of these days I want to go stay someplace the weather suits the clothes I was born in.

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He thumbnail strikes a match and lights her smoke.

ANNE

Sounds like a plan. Where you have in mind?

SWAIN

Philippines, maybe. I was there, once.

ANNE

Yeah? When was that?

SWAIN

Long before you got born I went to fight the Second World War.

ANNE

(a sudden laugh, then)

That was nice ... nice way to give a girl a compliment.

SWAIN (means it)

You should laugh more. You're prettier when you laugh.

ANNE

Hey. Don't start the bullshit. Really. I don't need it.

29

SWAIN

I never bullshit.

ANNE (cooling fast)

Sure you do. So, stop it. I don't want to hear it anymore.

They sit in silence a Beat while something like "Memories are Made of This" by Dean Martin plays on the jukebox. Swain stands up suddenly.

SWAIN

Nice talkin' to you.

ANNE (surprised)

Where you going?

SWAIN

Back to the bar.

Suddenly, she can't let him leave. She stands quickly to join him.

ANNE

No, wait a minute...

(offers)

I'm sorry I was so bitchy. I didn't mean anything. Don't go. Please.

30

A Beat as Swain looks at her, then decides,

SWAIN

It's OK.

ANNE

Please, take me someplace else. I don't

want to stay here. I've been here too long.

SWAIN

Sure.

INT. BARRACKS BAY – A. P. C. - NIGHT

The men sleep. The bay is quiet. Everything is neat again. Standing wall lockers separate each pair of metal frame single cots, two men to each space, side-by-side along the walls of the bay where an uninterrupted line of louvered, uncovered windows let in the stark streetlamp light.

Mike lies awake on a far bunk, LISTENING to the RAIN splash against the window glass. He's smoking a cigarette, thinking of home. He can’t hear 'Pud' Posner who lies under covers across the aisle from him masturbates quietly in the dark. But, even if he could, Mike wouldn't pay attention.

Bob Schneider enters from the hall. He walks quickly to where Jack ‘MoFo’ Williams lies. Bob taps Williams gently,

31

BOB (hushed)

Hey, MoFo, you got C.Q. Wake up, man.

MOFO (wakes, bitches)

Yeah , OK... Muthaaa.. shee-it.

As Jack moves to dress and leave the bay, Bob steps over to the bunk by Mike's and starts to undress. He notices Mike isn't asleep.

BOB

Can't sleep?

MIKE

No way. How long you been here?

BOB

Four months.

MIKE

You get into the City much?

BOB (gets into bed)

Used to. Before Swain.

(explains)

It's the I.G. This post's never done well. We've had three Company Commanders in two years. The latest asshole, you'll meet him in the morning, Captain Taper. He's hot to

32

impress the brass. There's been a general restriction for four weeks, now. To prepare. That's what tonight was all about. So, no passes. We’re marooned here.

MIKE

Typical military bullshit.

BOB (recalls)

You should know. You grew up in it.

MIKE

Not in it. Around it. I hate the fucking military.

BOB

Brother, you sure ain't alone...

Mike lights another smoke.

INT. ANNE WEEKS' APARTMENT - NIGHT

There's a light on by the front door and another in the bathroom where the door stands open down the hall. Anne puts the key in the door and unlocking it, steps drunkenly in. Swain follows her and she shuts the door gently behind him. She pauses briefly to look in on her children asleep in the room across from the bathroom and then glances at Swain before leading him on into her bedroom. She shuts the door.

33

INT. MASTER BEDROOM - WEEKS' APARTMENT - NIGHT

She lets him take her into his arms and clutches him as he touches her. Their lips come together hungrily, almost brutally, like two animals in heat. He explores her, as she presses against him. He fumbles with her dress. She unzips it for him and it falls to her feet. He kisses down the nape of her neck and she unsnaps her bra for him and then tugs at his uniform shirt. Then gently, he stops. No pretence here.

SWAIN

Where's the toilette?

ANNE

Down the hall.

He kisses her hard once more, then steps away while she pulls the covers off the bed.

INT. BATHROOM - WEEKS' APARTMENT - NIGHT

Swain steps into the bathroom and pushes the door but does not close it shut behind him. He pees, and flushes before he's done. A moment later, he zips up and opens the door to return to Anne but the TWO LITTLE FACES who suddenly greet him in the hall stop him cold. They're not smiling, they're not frowning. They just look at him. Watching him. Bearing witness to him. Two little blond girls. Children. Innocent souls. Somehow, Swain feels ashamed in their presence. So he tucks his shirt in, and heads for the front door. He closes it behind him, as

INT. BARRACKS BAY – A. P. C. - EARLY MORNING

34

The overhead lights pop ON at the very instant REVILLE BLASTS FORTH from the public address loudspeaker system very effectively jarring even Mike Moran wide awake,

MIKE (grumbles)

Jesus, are we under attack?!

Bob is already up and pulling on fatigues.

BOB

You better haul ass. In one minute

we fall out for P.T.

MIKE (moving)

What's this, Basic Training?

SERGEANT BEAUFORD (enters)

ARRIGHT! Les' go! Les' get inna yard!

The Sergeant Major's waitin' on you!

MIKE (surprised)

That old man leads P.T.?

BOB (knows better)

There's nothin' old about Swain.

Except his brains.

35

EXT. REAR YARD- A.P.C.- QUEENS - EARLY MORNING

Swain stands in combat boots, fatigues, and 'T' shirt, hands on hips, rigid in the cold. He doesn't bat an eye as he watches the GI's pour from the barracks, out onto the fire escape stairs, and charge together down to form two rows in front of him. Quickly, the men space themselves. Mike beside Bob beside Deckart beside Yamaguchi, etc. Two rows of TWELVE men. Then, silence, and,

SERGEANT MAJOR SWAIN (eyes them)

Are you men ready for P.T.?

MEN (all together)


Doing everything they do but Better, and Faster, Swain leads them,


Alright, leaning rest position!

(they drop)

ONE, TWO, THREE, FOUR, FIVE, SIX! ... etc.

MEN

(all do push-tips)

ONE! TWO! THREE, FOURI FIVE,

SIX! etc.

They go fast as hell straight to ‘FIFTY!’ without a break, though (ad lib complaints) it seems to nearly kill some of them. Especially Posner. Then, the Sergeant Major jumps easily to his

36

feet, ramrod perfectly erect, and they follow his example. Then, without the briefest pause,


Form a single line behind Hedison.

(then)

Yamaguchi, open the gate.

Banzai breaks from the line, opens the gate, and


When I call cadence I want you men to sound like men when you respond! Double time!

Swain charges ahead leading the GI's down the residential sidewalk.


(picks up pace)

Left-Left-Left, Right, Left! etc.

MIKE

(to Schneider)

How long can he keep this pace up?

BOB

To hell and back.

37

Suddenly, Mike starts to get some respect for Sergeant Major Swain. When, just as suddenly, a tall, slim, well-dressed, auburn-haired gorgeous GIRL, steps from the apartment house directly across the street from the barracks and smack into his stunned consciousness.

MIKE

Hey, Bob, look.. across the street!

BOB (sees)

Oh, my God, I’m in love ... She must be new around here; I’ve never seen her before.

They turn a corner onto a busier SHOPPING DISTRICT STREET and lose sight of her. Ahead, Commuters lined up waiting at a Bus Stop watch them, as

SERGEANT MAJOR SWAIN (sings cadence)

I wanna be an Airborne Ranger,

I wanna live a life of danger.

Gotta go..!

MEN

All the way!


Gotta go!

MEN

All the way!

38


If I die in Combat Zone,

Box me up and ship me home!

Sound off!

MEN

One, Two.

SERGEANT MAJOR SM%IN

Sound off.

MEN

Three, Four.

SERGEANT MAJOR SWAIN (sings)

Bring-it-on-down.

MEN

(all together sing)

ONE-TWO-THREE-FOUR, ONE-TWO. THREE-FOUR!

The CIVILIANS on the sidewalk who wait for the buses are mostly middle-aged and hard working. They enjoy a healthy show of strength and the GI's pick this up and play to it. Their run is tough but in a macho way they make that work for them. And that's the whole idea. As Swain leads,

39

SLOW DISSOLVE TO:

EXT. STREET TO REAR YARD – A. P. C. - MORNING

Their earlier spirit is gone. The line of sweating, tired GI stragglers now stretches a full block long. Mike and Bob and Yamaguchi and ‘MoFo’ Jack are still out in front just behind the intrepid Sergeant Major.


Pick it up, now. FASTER, FASTER!! Come on, Sprint! FASTER, FASTER!!

Mike groans. Everyone’s complaining (ad lib), especially those at the rear of the line like Posner. But, they all obey. Swain leads into the yard, stops, and then icily watches the Stragglers arrive.

SERGEANT MAJOR SVULTN

(tough as nails)

Line up, let's go. You're wasting my time!

Dripping sweat, Mike and the rest of the men stretch arms and distance themselves evenly. Two uniform lines form quickly. They watch Swain as his hands go to his hips. He looks as sweaty as they do, only a lot meaner, and nowhere near as tired.

SERGEANT MAJOR SWAIN (disgusted)

Not one of you. Not one man in this whole lame unit is in good enough shape to last one week in Viet Nam!

(they watch him and drip

40

as he lets the hammer fall)

I am looking at a bunch of dead men!

(Silence. Shakes his head, then)

I don't know why I'm bothering to try and make soldiers out of you children. But, I will, or you'll die trying.

(eyes them slowly)

I am going to kick your lazy asses into shape if I've gotta break your necks to do it! Tomorrow, we will run twice as far as we did today.

(Beauford arrives

from the barracks)

Take over, Sergeant.

The men look stunned as they watch Swain turn and quickly disappear inside the barracks,

SERGEANT BEAUFORD

Arright! Has we got anyone for siccall?

‘PUD’ POSNER

Here, Sergeant.

SERGEANT BEAUFORD (knows better)

Shut up, Posner. Ain't nothin' wrong wit chew but ‘cept what's 'tween yo ears.

'PUD' POSNER (whines)

No, Sarge, I got asthma.

41

SERGEANT BEAUFORD

Shut yo assma, Posner. I don' wanna hear it.

(some laughter, then)

OK, break for chow.

As the men amble into the barracks, Yamaguchi and MoFo join Mike and Bob.

BANZAI

Ten miles a day, man. Before breakfast.

Even the God damn Airborne doesn't do that shit. Swain's out of his head.

MOFO

No, man, we are for bein' in this fuckin' army.

MIKE and BOB (agree)

I hear that. You got that right.

INT. COMMAND OFFICERS WASH ROOM – A.P.C. - MORNING

Swain enters wearing a pair of boxer briefs and carrying a towel and a kit bag. He stands at the sink and checks himself in the mirror. He looks exhausted. There’re dark, heavy bags around his eyes. He’s sweating profusely. He takes a few deep breaths but somehow they don't quench his need for air. He doesn't feel well. He's dizzy. Light headed. His heart is beating much too fast.

42

Quickly, he opens his kit bag and removes a small plastic vial. He snaps open the vial, pops a pill, and swallows it with a mouthful of water from the faucet.

Then, he stands there and balls a fist and holds his chest and waits for the pain to subside. And, hates himself for his weakness.

SEBGEANT MAJOR SWAIN

God damn it...

INT. MESS HALL - LATER MOPNING

This large, open dining area includes a kitchen at the far end. Tables, each with six chairs, fill the room. A cafeteria chow line blocks the kitchen from the dining area. FORTY GI's are moving through the line as MUZAK "Perfidia" plays over the P.A.

As the line moves past him, good-natured, cherubic little Puerto Rican Mess Sergeant SANCHEZ SINGS as he tends the dozens of eggs frying on the skillet,

MESS SERGEANT SANCHEZ

(heavy Spanish accent)

To joo, my 'art cries out Perfidia, ... etc.

Mike leads Bob into the chow line. They're showered and dressed in clean fatigues. Yamaguchi takes-a tray and makes room for Mike ahead of him.

BANZAI

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You just get in?

MIKE

Yeah, last night.

BOB

Just in time for all the madness.

BANZAI

David Yamaguchi. Everybody calls me ‘Banzai’.

MIKE

Mike Moran.

‘MoFo’ Williams and 'Lord' Deckart overhear as they join them.

‘MOFO’ WILLIAMS (introduces)

‘MoFo’ Williams, my man. A Bronx baby, born and raised. And, this miserable excuse for a Cowboy is my bunk mate; ‘Lord’ Deckart.

BOB

Everybody calls Deckart 'Lord'.

MIKE

Why's that?

44

MOFO

'Cause you're a dependently wealthy rich son of a bitch. Ain't that the truth, Lord? No malice intended.

‘LORD’ DECKART (good natured)

None received.

(to Mike)

If you ever get into a bind, I also loan money. At ten percent.

MOFO (warns)

Ten percent a week, man. Watch the Lord, the dude's a shylock.

LORD

Don't be bitter, brother. If you don't like my rates you can always go elsewhere.

MOFO

Yeah, where's that? You bought out all the competition.

LORD

You could always go to hell, MoFo. At least that's one place you'd be sure to pay your debts.

As the others laugh,

45

MOFO

Very fumy...

They pass Sergeant Sanchez and get more heavily accented "Perfidia" with their eggs. Then, they head for a table where Brian "Hang One" Hedison is just sitting down. They join him, and,

BRIAN 'HANG ONE' HEDISON (friendly)

Hi, you're the new guy. Name's Brian.

MIKE

Mike Moran.

HANG ONE

Where you from?

MIKE

California, mostly.

HANG ONE (perks)

Oh, yeah? You surf?

MIKE

Yeah, a little bit.

HANG ONE

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Bitchin'! Where? Wind an' Sea; The 'Boo,' Rincon? Huntington's a real boss place.

MIKE

Zuma, mostly.

HANG CNE

Yeah? Great. What board you use? Con',Hobie; Jacobs?

MIKE

I made my own.

HANG ONE

(super impressed)

uh huh... cool.

MIKE

So, what part of California you from?

HANG ONE

Excuse me...

Hang One quickly leaves to get another cup of coffee, as

BOB (explains)

Hang One's from Boise, Idaho. He's never been to the West Coast.

47

INT. COMMAND OFFICE – A. P. C. - MORNING

Hunched over the front desk frazzled, pale, toady CORPORAL KNAUER looks like he's pushing fifty though he just turned twenty-one. The pitifully wispy veneer of light brown hair that has been forced forward with Vaseline from the thatch behind his ears does a sad job of covering a prematurely bald pate. As he repeatedly shoves his G.I. spectacles back up onto the bridge of his oily nose, Cpl. KNAUER (the NAME PLAQUE on the desk tells us) pounds furiously away at his typewriter, trying desperately to finish copying a handwritten page.

Then, Swain strides in with Moran's personnel file in hand.

SERGEANT MAJOR SWAIN (barks)

You got that duty roster finished, yet? I want it posted.

Badly startled, Knauer leaps up from his chair, as

CORPORAL KNAUER (blurts)

Good morning, Sergeant Major! I'll have it ready right away!


(gives him a look)

You look awful this morning, Knauer.

CORPORAL KNAUER (not so sure)

I feel OK...

48

SARGEANT MAJOR SWAIN (decides)

You need more exercise. Tomorrow morning, you join us for P.T.

(then)

We got a new man last night; name’s Moran. When he reports, send him in.

CORPORAL KNAUER


(adds quickly)

Colonel Schwartz called and moved your Medical appointment up to eleven. He said to call if that wasn’t OK.

Swain doesn’t reply as he steps into the adjacent office and shuts the door.

INT. HALL - BY COMMAND OFFICE – MORNING

Weingarten is buffing the waxed linoleum floor with a large electric buffing machine as Mike passes on his way to the Command office. Weingarten is totally absorbed in his work; he does everything very seriously.

INT. COMMAND OFFICE - MORNING

Knauer looks up from banging on his typewriter as Mike steps in.

49

MIKE

Mike Moran, reporting for...

CORPORAL KNAUER (interrupts)

The Sergeant Major's expecting you.

(goes to Sergeant's door, as)

You from around here? You have a sister?

MIKE

No...

CORPORAL KNAUER

Too bad. I can do favors for guys with sisters.

Knauer knocks perfunctorily on the Sergeant Major's office door, then opens it so Mike can announce himself.

INT. SWAIN'S OFFICE - MORNING

Mike steps in; it’s a small room with a single gray metal desk. It doesn't look like Swain spends much time here. Small framed prints of dramatic heroic episodes in U.S. Army combat history; like the WW II crossing of the REMAGEN BRIDGE, the D-DAY LANDING, and CUSTER'S LAST STAND, line the walls. Swain doesn't look comfortable behind the desk.

Mike's Personnel folder is open in front of Swain and he's reading it silently. He doesn't look up as Mike braces, and

50

MIKE

Private Moran reporting for duty.

For a long moment Swain continues to read the file. Then, he looks up, stone cold directly at Mike.


Your father's an Air Force Colonel. What’d he think when his son became a deserter?

(when Mike just doesn't answer)

I asked you a question, soldier.

MIKE

Not much.


(nails him)

Not much what?

MIKE

(stiffens)

Not much, Sergeant Major.

A Beat as Swain eyes him. Then, pointedly,


What I don't understand, Moran. What I really don't get, is you've grown up around military. You know what we stand for. Why we're here. And, still you chose to desert in time of war.

51

What's the matter with you? Do you really want some other guy to have to do your job for you? Or, are you just a chicken shit punk afraid to get himself hurt?

(another Beat as he examines

Mike, who unintimidated, just

watches him. Then)

You don't have to answer that.

But, Mike wants to.

MIKE

I'm here, Sergeant Major. I spent six months in the stockade. And, I'm here, now.

A longer Beat as Swain studies Mike a moment. Then, he continues in a less confrontational tone, as


You've been assigned to the Army Pictorial Center for training as an Eighty-Four-C, twenty, motion picture cameraman. Cameramen from here are assigned to combat operations in Viet Nam. Over there, you'll join a regular combat infantry unit. You're stay here won't exceed six months and it'll probably be a lot less. While you're here, besides technical training, you will be responsible for regular duties at the barracks including C.Q., K.P. and general details. I don't have to tell you about the importance of the upcoming I.G. Inspection. You probably know there's a general restriction to post until the I.G.?

52

MIKE



Right.. Our Commanding Officer's name is Captain Wingate Taper. I'll introduce you.

(stands, then decides

he's got more to say)

Look, Moran, I don't condemn a man for his past. Do your job here, and that's all I care. But, you fuck up and I'll jump down your throat. There's nothing in the world I hate more than a man who shirks his responsibilities and leaves another to do his dirty work for him. You understand me?

MIKE


Swain knocks on an adjacent door, as

INT. CAPTAIN TAPER'S OFFICE – A. P. C. - DAY

Lanky and balding, dapper with a clipped RAF-style moustache, a West Point socialite as pompous as a poodle from one of New York's "finest" families, CAPTAIN WINGATE TAPER, 31, is a Momma's Boy who, even as he hears the knock on his door, is speaking on the telephone with her.

53

CAPTAIN WINGATE TAPER (complains)

I'm the last one in my class to go to Viet Nam, Mom. I just don't understand why I've been overlooked. Wait a minute...

(looks up, louder)

Yes?

SERGEANT MAJOR SWAIN (enters)

Excuse me, Sir.

CAPTAIN TAPER

One second, Sergeant Major.

(quickly, hushed)

I'll have to call you back, Mom... Luv you too.

He hangs up as Mike enters and braces with a salute. Swain leaves them alone and shuts the door. This office sports the national flag as well as the company standard behind an oak desk where a giant photograph of President L.B.J. is prominently displayed.

MIKE

Private Michael Moran reporting for duty, sir.

CAPTAIN TAPER

(returns a snappy salute, then)

At ease, soldier.

(hopeful)

54

You wouldn't happen to be one of the Grosse Point Morans, would you?

MIKE

No , sir ...

CAPTAIN TAPER

(smile wanes)

Pity ...

(then, quickly)

Right, Ok.. I'm sure Sergeant Major Swain told you the basics. I'll just clarify one very important fact; our function is to support the operation of our combat units at war in Viet Nam. We're with them one hundred percent!

(as Mike remains

silent, continues)

Right, Ok.. The Pic Center is a Top Security post. Leaves and passes are a rare privilege here. Just because you're temporarily in New York City, don't think you have the run of the place. To borrow an expression, I run a very "tight ship". There are a lot of loose women in this City. AWOL is a great temptation. Don't do it, understand?

MIKE

Yes, sir.

CAPTAIN TAPER (relieved)

Good.

(rises to dismiss Mike,

55

and glances out window)

Right, Ok.. I should remind you that when going to or from work you must use the yellow cross walk. Failure to do so during duty hours constitutes AWOL.

(points)

I watch it from here.

(stiffens, salutes smartly)

Welcome to the Army Pictorial Center, Private Moran.

MIKE (salutes)

Thank you, sir.

EXT. A. P. C. - ASTORIA STUDIOS - QUEENS, N.Y.C. - MORNING

Dressed in fatigues with their hands tucked into their jackets against a chilly wind, a dozen GI's file quickly between the yellow crosswalk lines from their drab barracks to the huge one block square PRODUCTION FACILITY across the street. As Mike joins them, he looks back from the middle of the street to see Taper standing at his window, watching.

INT. DOCTOR'S OFFICE - ST. ALBANS NAVAL HOSPITAL - QUEENS - DAY

Stripped to the waist, Swain sits on the edge of an examining table as the kindly old Medical Corps Colonel applies a sphygmomanometer to Swain's left forearm, and then pumps it tight. As the old Doctor watches the gauge, it indicates Swain's arterial blood pressure.

56

SERGEANT MAJOR SWAIN (worries)

How does it look, sir?

COLONEL SCHWARTZ

Stop worrying and it'll look better. Whatever it is.

(hasn't finished)

That's one of the sure causes of arterial sclerosis and high blood pressure; Stress. And diet. And lack of exercise. And God knows what else...

(done, looks directly at

Swain)

But, cigarette smoking ... Christ, I don't know how many times I've gotta tell you guys. Stop smoking and if you don't do anything else right you'll still be OK. Smoke. Choke. Croak. It's that simple, Sergeant.

SERGEANT MAJOR SWAIN (impatient)

I'm trying, sir. How does it look?

COLONEL SCHWARTZ

(removes sphygmomanometer)

Better. But, not good enough.


Well, if it's better, can you take me off the medical profile and help me get back to my old unit? Believe me, sir, I'd be a lot less stressful there.

57

COLONEL SCHWARTZ

You know I can't do that. You're still a very sick man. As a matter of fact, if your blood pressure doesn't come down a lot, and soon, I'll have to recommend more serious measures.

(as Swain buttons up)

Stop kidding yourself, you've had an attack of angina pectoris. A warning that saved you from a full blown coronary seizure that might have killed you. Now, you’re getting better, but your blood pressure’s still a lot higher than it should be.

(he scrawls a furiously fast

prescription)

You’re not healthy enough to be in a combat unit, Sergeant. Consider yourself damn lucky to be on active duty at all. Here... Fill this at the pharmacy and make another appointment with my secretary. I want to see you in four weeks.


Yes, Sir.

Then, before Swain can leave the office,

COLONEL SCHWARTZ

And stop smoking, damn it. That's an order.


Yes, sir.

59

INT. CLASSROOM - ARMY PICTORIAL CENTER - ASTORIA STUDIOS - DAY

Mike sits between Bob and Banzai in the darkened room full of GI’s from his barracks and watches quietly as the bloodiest possible footage of a platoon in firefight on a hill in the Central Viet Nam Highlands shows on the projection screen. Unlike anything American civilians ever saw on home TV this action footage is the real crying and dying thing. Raw and silent and almost uncut it plays as a 16 mm training film. Rough, tough, Tennessee country smart STAFF SERGEANT VERNON WALTERS, 40, narrates it unemotionally from beside the projector, as

STAFF SERGEANT VERNON WALTERS

Obviously, the enemy holds the high ground and has sucked these guys into a trap ... see there. Fire in from behind. That explosion was mortar. Now, they're really gonna open up on us, Fifty caliber stuff. Left over from the second war, probably.

See the Lieutenant? He's goin' for the Radio Man. Dollar to dime he don't make it.

(the camera is absolutely everywhere,

watching it all in frantic chunks)

There's the Lieutenant again. Watch him, now ... No way, man. Next case ... More mortar. Jesus Christ, they've still got the Medic. I think this footage won him a Silver Star... Look at that man go, and he don't even have the full use of his legs. OK, now the shit's really comin' in. You're gonna see an interesting thing here. Here ... Here it is...

A G.I. who is obviously bleeding to death rises like from the dead and charges up the hill, rifle blazing.

SERGEANT WALTERS (continued)

60

I mean, can you believe that guy? He ain't even alive ... probably so jacked up on deximilles and morphine.. You can expect to get all that shit as a part of your rations...

The raw footage ends abruptly. Walkers turns off the projector. Mike sits like the rest of the class in cold contemplative quiet. It takes a moment for Walkers to reach the front of the room. Posner flips the lights on,

SERGEANT WALKERS

(lights a Lucky Strike)

Anybody got any questions?

MIKE

What happened to the cameraman?

SERGEANT WALTERS

That was Jordan Davis.

(realizes Mike never knew him)

He won a Bronze Star and a Purple Heart for what you just saw. And, went on to serve with the Hundred and Seventy-Sixth Airborne.

BOB (to Mike)

Jordan was killed last month. They just shipped his camera back to repair.

PUD (concerned)

Hey, Sarge, how come we don't get assigned any weapons? It sure as hell doesn't seem fair.

61

SERGEANT WALTERS (wry)

Fair in the military, Posner, is different from fair in civilian life.

The whole room laughs hard at that painfully obvious statement. Then, as he lifts an Army drab, sturdy little 16mm Bell and Howell camera off the table beside him, Walters explains

SERGEANT WALTERS

Son, the reason you don't get No weapon is because your job ain't to kill the enemy. Your job is to record him. For the Army. For posterity. For the Home Front. Your job is to chronicle the war. To show Americans what we're doin’ over there.

BOB

Now, there's an excellent question. What the hell are we doing over there?

'Gung Ho' Dyer turns to give Bob a dirty look.

SERGEANT WALTERS (continues)

Anyway, you couldn't effectively carry a weapon and ammunition as well as all the camera gear you're assigned. Not unless you think you can pull a two hundred pound load on patrol. Besides,

62

Smashes Camera without mercy, BAMM!, on the table. Then, aims it at the class and presses the trigger. It WHIRRS flawlessly

SERGEANT WALTERS

If the bastards get close enough you can always beat 'em to death.

EXT. REAR YARD – A. P. C. - ANOTHER EARLY MORNING

While Swain waits hands-on-hips in the asphalt yard below, Mike leads the rest of the men in a dead run from the barracks out onto the fire escape stairs and down the stairs to line up in front of him, as

CAROL(V.O.)

Dear Michael, Sometimes it seems like only yesterday since I last saw you. And, held you and made love with you. And, at other times it's as if that was all years and years ago. Please, don't get me wrong. I'll never forget that I love you. It's only that so very much is happening every day of my life that it's hard to keep it all together.

Mike and the men line up and quickly space themselves. Swain leads them through four dozen fast and furious push ups, as,

CAROL (V.O. continues)

The Viet Nam Day Committee held a rally on campus yesterday. Tom Davidson, a friend from Sociology, and Moose, and me went. David Harris spoke for an hour about the bombing of Haiphong and the French Red Cross Hospital

63

that was destroyed. While he spoke, members of the Socialist Alliance to End the War passed out Xeroxed photographs of the napalmed victims and collected donations...

Mike and the men are sweating heavily, as


On your feet, men! Yamaguchi, open the gates. Line up behind Dyer.

CAROL (continues V.O.)

Then, Joan Baez arrived on stage. No one saw her, before. Suddenly, there she was standing on the stage with her guitar singing Bob Dylan's "BLOWIN' IN THE WIND’. Everyone joined in...

As Swain leads, Mike and the G.I.'s follow, and

SWAIN

(calls cadence)

Left-Left-gimme your left, Right-Left...

CAROL (continues V.O.)

There must have been five thousand of us all singing together, "The answer, my friend, is blowin' in the wind." Michael, it was the most moving experience of my life...

EXT. STREET - BY ARMY PICTORIAL CENTER - MORNING

64

Once again, the lovely AUBUIN-HAIFED YOUNG LADY steps from the apartment building across from the Pictorial Center. As she walks down the sidewalk toward the bus stop, all the GI's notice her. Especially, Mike and Bob.

BOB

Hey, look, there she is again!

MIKE

Go ask her out.

BOB (frustrated)

How the hell can I do that?

And so they leave her behind as they run, Run, RUN.

SERGEANT MAJOR SWAIN (sings cadence song)

I wanna be an Airborne Ranger

I wanna live a life of danger

Gotta go..!

MEN (reply)

All the way!

DISSOLVE TO:

65

INT. BARRACKS BAY - AR4Y PICTORIAI, CENTER - NIGHT

Some of the men, like Mike, are relaxing on their bunks. Some are polishing their brass while others are cleaning the latrine for the morning's inspection. As "Your Love keeps Lifting Me (Higher and Higher)", by Jackie Wilson, plays over somebody’s radio, MoFo Williams meticulously folds his laundry and SINGS along.

Mike puffs a cigarette and watches from his bunk across the aisle, as 'Hang One' gets a surfing lesson on his skateboard from Banzai.

‘BANZAI’ YAMAGUCHI (balances)

You have to keep your legs flexible and lean slightly forward all the time. Like skiing. Then, when you want to turn, just lean slightly into it. Same principal as surfing.

Yamaguchi steps off and 'Hang One' Hedison gets on. He pushes off and skates quickly down the central aisle, as

BANZAI

Lookin' good! Now, try to cut it in and out.

Hedison weaves back and forth until he suddenly kicks off.

BANZAI

Real good, 'Hang One'! You got it, brother.

HANG ONE (very pleased)

66

Yeah, man, it wasn’t hard at all.

VARICOLA

(sarcastic from latrine)

Yeah, man, you're ready for the East River.

Bored, Mike gets up and changes quickly into a pair of athletic shorts. 'Gung Ho' ambles from the latrine, notices him, and as the skateboarding continues,

‘GUNG HO' DYER (friendly)

Hi, we haven't met. I figure I should introduce myself before someone does it for me. I'm Bill Dyer.

MIKE (shakes hands)

Mike Moran.

GUNG HO

The guys call me 'Gung Ho’.

MIKE

Yeah, why's that?

LORD' DECKART (interjects)

Because, 'Gung Ho' volunteered for Viet Nam three times.

67

GUNG HO (explains)

Yeah. Once in Basic. Once again when I was in Advanced Training at Fort Hamilton. And then, the day I got here.

MIKE

(gives him a look)

Why would you do that?

GUNG HO (perfectly serious)

To help my country fight off the Communists.

LORD (adds)

Which is why he Enlisted.

MOFO

They're gonna land in Malibu next week, man. And boogaloo all the way to Jersey City. Tell it like it is, Gung Ho.

'GUNG HO'

(continues patiently)

If we don't stop them in Asia, someday we are going to have to fight them here.

(to 'Lord' and MoFo who HOOT

with laughter)

You won’t think it’ s so funny when they take everything you have away from you. Your homes, your cars, your girlfriends.

68

VARICOLA (calls from latrine)

Your boyfriends, Gung Ho, you faggot.

‘GUNG HO'

Fuck you, Varicola.

Whereupon Varicola promptly shoots him the "moon".

VARICIOLA (faggy)

Come and get it, sweetheart.

Mike joins the laughter, but 'Gung Ho’ Dyer just looks disgusted and sadly shakes his head as he leaves the bay.

GUNG HO

God help me. I'm living with barbarians...

INT. HALL BY COMMAND OFFICE – A. P. C. - NIGHT

Bob Schneider works an electric floor-buffer carefully back and forth from side to side down the narrow hall. He doesn't pay any attention to the men who use the central stairwell behind him on their way to the E.M. Club in the basement, but, when they are gone and he's sure he's alone, he stops the buffer and goes to the ARMY REGULATIONS manual, a GIANT BOOK larger than an unabridged dictionary, that rests on a shelf made specially for it by the Command office.

He quickly begins to flip through to the section on DISCHARGES. A cursory look at the list brings him from ‘Separation for

69

Convenience of the Government’, to ‘Dishonorable’, to ‘Separation for Unfitness or Unsuitability’. As Bob takes quick notes,

INT. ENLISTED MEN'S CLUB - BASEMENT – A. P. C. - NIGHT

Sergeants Sanchez and Beauford are hunched at the bar swapping lies (ad lib). Most of the young GI's are packed into the adjacent glassed-in T.V. room where they are swilling beer and watching 'The Sands of Iwo Jima’, starring John Wayne, (much irreverent AD LIBBING) when Mike enters for a quick look around for Bob. But not seeing him, Mike leaves.

INT. GYM - BASEMENT – A. P. C. - NIGHT

Mike steps in and finds Swain alone doing bench press repetitions with 300 lbs. He's a little surprised to see the Sergeant Major pumping so much iron, but he isn't bothered by his presence. It's a large and fancy gymnasium with every kind of weight machine plus boxing equipment. Thick canvass mats cover the floor and mirrors line the walls.

Mike sets his towel aside, takes a pair of training gloves off the rack and starts to tap out a rhythm, gentle at first then harder and Harder, on a peanut speed-bag mounted by the door. As Mike beats the bag, Swain sets the weights down and watches.

Mike smacks the little speed bag faster and faster. Impressed, Swain steps up from the press bench and joins Mike.


Where'd you learn to box?

MIKE

70

My father taught me. He was a Golden

Gloves champ ... Sergeant Major.


You want to spar? I haven't found a

decent partner since I've been here.

MIKE

(really wallops the bag around)

No, thanks...


Why not?

MINE

I don't want to hurt you...

Sergeant Major.

That comment cuts straight to the quick.


You know what, Moran? You're just a punk

G.I. brat with a shit attitude for authority.

He crosses quickly to a wall locker, removes two pairs of boxing gloves and tosses a pair at Mike who stops and catches them.

71

SERGEANT' MAJOR SWAIN

Put on the gloves and spar with me.

That's an order.

Mike can see Swain means business.

MIKE

OK.

Bob and Banzai step in from the hall.


Schneider, Yamaguchi give us a hand with the gloves.

BOB

Sure, Sergeant Major...

Amazed, Yamaguchi's eyes get real big even as he hurries to comply. He quickly laces Mike's gloves, as Bob helps Swain.


How old are you, Moran? I forgot.

MIKE

I'll be twenty-two in April, Sergeant Major.

72


Uh huh...

(eyes Mike)

I've been boxing for near twenty-five years.

There's nothing left to say. Both men are in their gloves. So, they touch gloves and immediately circle each other in the center of the gym. Eyes locked, they jab at each other. In awe, Bob stands back to watch as Yamaguchi darts out of the gym.

INT. ENIISTED MEN'S CLUB - BASEMENT – A. P. C. - NIGHT

Yamaguchi flies into the club like Paul Revere.

BANZAI (loud)

Hey, the Sergeant Major's duking it out with Moran!

Instantly, the entire Club full of men, including the T.V. room guys, deserts the place to follow Yamaguchi back inside the gym.

INT. GYM - BASEMENT - ARMY PICTORIAL CENTER - NIGHT

Mike and Swain are still just jabbing as the gym suddenly, but quietly, fills up with men. It's a little weird for them to have all this sudden company, but they continue to box until the entire post is standing around watching them.

Then, Mike decides to up the ante. He puts a jab through that stings. Then another. Clearly, Mike really wants to fight. Swain sends a few sharp jabs back and then they both get into it.

73

Jabbing, and dodging, they circle each other. But, still no serious pounding. Just a lot of flash, until Mike throws a hard one-two and connects on the jaw. Swain reels back and then comes back with a flurry of gut-busters and a punch that almost takes off an ear. As Mike ducks back to regroup, the men start to shout,

SERGEANT SANCHEZ

Geeve it to heem, Sarge!

And suddenly the bets (ad lib) fly!

SERGEANT BEAUFORD

Moran don't last three minutes!

‘LORD’ DECKART

What odds?

SERGEANT BEAUFORD

(pulls out wallet)

Two to one. I got all comers.

PUD

I got a stopwatch.

LORD

Ok, you're on. I'll hold the bets.

VARICOIA

74

Five on Moran!

SERGEANT BEAUFORD

Posner start yo watch!

MOFO

I’m in for ten on Moran!

LORD

Show me a ten spot, man, your credit’s a mess.

As the G I's (ad lib) give money to Lord to hold their bets, Posner calls the time (ad lib),

MOFO

(shames Lord)

Mo Fo, man! Who's always tyin' your ties for

inspection, huh?! A plague on you and all your cattle!

LORD (relents)

OK, ok, I’ll spot you ten on Moran.

Suddenly, the gym gets loud. "Nail him, Mike! " "Came on, Sarge! " etc. (ad lib) Posner checks his watch, as the punching gets a lot harder. Swain ducks in, nails Mike in the nose. It begins to bleed. Swain hits that tender spot another few times and it hurts Mike. Suddenly, Mike ducks a punch, swings and connects with a hard right uppercut that lifts Swain clean off his feet and drops him to the mat.

75

The surrounding GI's (ad lib) CHEER! Suddenly, Mike is their hero. Shaken, Swain looks stunned as he lies there. Mike grins. He can't help but feel strong with all his guys behind him. Cheering him!

But, Swain isn't hurt as bad as it seemed. He gets up, and punches back. Hard! Mike covers up as Swain attacks. The men are screaming for blood (ad lib). They hate Swain.

VARICOLA (cries)

Murder the bum, Mike!

Swain dodges Mike's punches with ease. If he was rattled before, he isn't now. Mike swings but can't connect. Swain makes him look foolish. Swain dances around him, just far enough and fast enough not to get hit. Just trying to disorient Mike enough to POW! Another PUNCH square in the nose and Mike hits the canvas like a sack of nails!

Now, only the other Sergeants are cheering Swain (ad lib) "Way to go, Sarge!" etc. The G.I.'s are all screaming for Mike to get up (ad lib). But, Mike is badly shaken.


(taunts him)

Get up, punk! Or, you gonna belly up!?

That makes Mike mad enough to stand. But, now he's wary. He avoids Swain's attack like Swain avoided his. He dodges and bobs and weaves and looks for an opening. Swain throws a hard right, Mike dodges it, and counter punches with a right to Swain’s jaw! Swain gives ground. Mike presses him for the advantage but Swain is faster than Mike ever thought he could be. He steps aside and nails Mike with a furiously fast rapid-fire combination of head

76

and body punches that send Mike staggering back to the far wall as the GI's part to let them through. Swain attacks!

Mike's gloves are up but he isn't protecting himself well. He's being badly beaten. But, somehow, as Swain continues to rain merciless blows upon him, Mike remains standing. The men are screaming "Come on, Mike! Mike! Mike! Mike!" (ad lib). But it's Swain's fight, now, all the way.

But, as hard as Swain hits him, Mike will not fall. His face is bruised. His nose is pouring blood. But, Mike won't fall.

Again and Again and AGAIN, Swain nails Mike point-blank in the guts. And Mike takes it until a coup-de-grace uppercut to the chin topples him over backwards and he hits the canvas flat out cold.

PUD

(stops his watch)

Two minutes and fifty-two seconds!

But the room is Silent. For just a beat no sound. No one moves as Mike lies there with Swain standing above him. Then, a lot of men go to Mike at once. Bob first. And Swain, too. They sit Mike up but he's awake already. They don't have to use salts.

BOB (concerned)

You OK, Mike?

MIKE (stubbornly)

Yeah.


77

(offers a hand up)

You did good; No hard feelings, huh?

Mike spurns Swain's hand and stands by himself. Bob pulls Mike's gloves off for him, as

MIKE

No sweat, Sergeant.

Then, Mike turns away and leads the quiet Exodus from the gym, leaving Swain and his hollow victory behind. Even Swain's friends, Beauford and Sanchez, won't congratulate him. Beauford just takes his money from 'Lord' and leaves.

INT. CCMMUNAL SHOWERS - LATRINE - BARRACKS BAY - LATER NIGHT

Hot water steam from a dozen shower nozzles fills the communal shower area where every G.I. in the Motion Picture Camera group stands nude soaping, relaxing, and bull shitting (ad lib) under the spray. They all feel great. High as hell off the fight. Mike struck blows for all of them, and they're proud.

Mike lets the water spray him full in the face a moment. Already, he looks a lot better than when he left the gym. Especially, with everyone congratulating him.

MOFO (enters)

You put up a great fight, man. Nobody in this place coulda done better.

MIKE

78

Thanks.

MOFO

Swain proved himself to be a true asshole tonight.

BOB

Like there was any doubt?

MOFO (continues)

He had you beat; he didn’t need to lay you out.

HANG ONE

You got in a lotta good punches, Mike.

Mike knows better, but he doesn't respond.

WEINGARTEN

It was a noble fight, Mike. Truly Homeric.

VARICOLA

'Homeric'? What the fuck's that mean, Weingarten? He fought a good fight but he got his ass kicked.

WEINGARIEN (forever patient)

That's what I said.

GUNG HO

79

Swain's a tough son of a bitch. I wouldn't take him on with a baseball bat.

MOFO

I hear that. The dude's a killer, man. He's 'Airborne' all the way back to the Wright Brothers.

Mike shares a laugh with the rest of the guys. And, it sure feels good. Then, because the acoustics are such that his voice echoes nicely, but mostly because he feels better tonight than in a long long time, Yamaguchi first begins to HUMM a familiar HAWAIIN song, and then,

BANZAI YAMAGUCHI

(sings Don Ho-style)

'Pearly shells,

by the Ocean’ ...

And then MoFo, Mike, and the rest of the guys join in,

ALL (sing)

Pearly Shells,

By the ocean...

BANZAI (sings)

Shining in the Sun,

ALL (sing)

Shining in the Sun,

80

BANZAI (sings)

Covering the shore,

ALL (sing)

Covering the Shore,

BANZAI (sings)

When I see them,

My heart breaks a little more,

Over all those little pearly shells.

ALL (sing)

When I see them,

My heart breaks a little more

Over all those little pearly shells.

Then, including Banzai, they all sing it from the top. Louder.

ALL TOGETHER (sing)

Pearly Shells,

By the Ocean,

Shining in the Sun,

covering the shore ... etc.

INT. SWAIN’S ROOM - DOWN THE HALL FROM THE BAY - BARRACKS - NIGHT

81

Swain lies on a plain bunk in this plain room and stares at the ceiling. He listens to the GI's singing and he doesn't bat an eye as he smokes his Camel. If he's happy with himself he sure doesn't look it.

INT. FIRST FLOOR HALL BY C.Q. DESK - NIGHT

Posner is seated at the desk ignoring the T.V. monitors and reading a MAD magazine when the plain black telephone startles him with a ring.

'PUD' POSNER (grabs receiver)

Private Posner, Army Pictorial Center.

(he listens, then quickly)

Yes, sir. Just a minute, sir.

INT. LATRINE - NIGHT

Beauford enters quickly and interrupts the singing.

SERGEANT BEAUFORD (in boxer shorts)

Moran! You got a long distance call at C.Q. Haul ass!

MIKE

Right, Sergeant.

Mike hurries out, grabs a towel and goes, as

VARICOLA

82

Hey, Sarge, I got this pimple right here.

He tries to I moon Beauford but the Sarge is already gone.

GUNG HO

The only pimple you got, Varicola's, the one between your ears.

INT. FIRST FLOOR HALL By C.Q. DESK - NIGHT

Mike has two towels wrapped around him, but he's still wet when he picks up the receiver.

MIKE

Hello?

(INTERCUT) INT. COMMAND OFFICE-OVERLOOKING AIRFIELD-NORTON AIR FORCE BASE- CALIFORNIA-NIGHT

LIEUTENANT COLONEL WILLIAM MORAN, 44, has a head full of close-cropped silver hair. Otherwise his body is in the same tough, easy-looking shape as his son's. As he stands there in his flight suit while a B-52 bomber takes off noisily down the runway past the window behind him, Colonel Moran looks and feels perfectly self confident. Even a little arrogant. That's his nature; 'Bad Bill' Moran is the quintessential outlaw rocket-jockey jet pilot of the Viet Nam War.

LT. COLONEL MORAN

Hi, son.

83

Mike’s startled; he certainly wasn’t expecting it to be his father.

MIKE

I thought you were in Guam, sir?

LT. COLONEL MORAN

Orders were changed. I'm flying out to

Thailand tonight to command the 388th

Attack Fighter wing, 469th Squadron out

of Korat. F-105's. Looks like I'm

back in the ballgame.

MIKE

Yes, sir. I'd say so.

LT. COLONEL MORAN

(to the point)

How are you making out, Michael? You haven't written us since you got there. Your mother's worried as hell about you.

MIKE (flippant)

There's nothing to worry about, sir. I'm in the U.S. Army, now. And the military takes care of its own, right? Even in the stockade I had three squares a day. Unless I was in solitary. Tell her I'm just as happy as a pig in shit.

LT. COLONEL MORAN

84

Shut up! The least you can do is give your mother a call once in awhile. She's the only mother you've got and she deserves a lot better than you're giving her. I understand if I don't hear from you, so you're not getting back at me. She cares! Get it!?

MIKE

Yes, Sir.

LT. COLONEL MORAN

OK...

Silence a long moment. Another B-52 takes off. Mike feels somewhat ashamed. Then,

LT. COLONEL MORAN (cooler)

I just called to say good-bye. And, ask you to do whatever you can to make life a little easier for your mother. Ok, I'll drop you a line when I can.

MIKE

Yes, sir. Kill a Commie for Christ, right?

LT. COLONEL MORAN (snaps)

Count on it.

(then)

You know, for my only son, you certainly have turned out to be one selfish asshole. I only hope that someday you can find something greater than yourself to believe in. I don't care what it is.

85

MIKE (sarcastic)

Right. Like Viet Nam. Now, there’s a righteous Cause.

LT. COLONEL MORAN

Like Anything! Any God damned thing just so its a little bigger than yourself!

(then, quickly)

OK. Look, I don't want to talk anymore. We've been through all this a hundred times. I've gotta go. Take care. I'll see you some day, I hope, when we can communicate like decent human beings again.

Before his father can hang up,

MIKE

Dad...

LT. COLONEL MORAN

Yeah?

MIKE

Good luck over there.

LT. COLONEL MORAN

86

(knows Mike’s sincere)

I'll do what I can. See you...

As Mike's father hangs up on him,

QUICK DISSOLVE TO:

EXT. SIDEWALK - QUEENS - MORNING

Mike runs with the rest of his GI buddies, as Swain leads the "JODY SONG",


I know a girl her name is Jill

She won't do it

But her sister will

Gotta go...

MEN (all together)

Alla way!


Gotta go!

MEN

Alla way!

87


SOUND OFF!

MEN

ONE - TWO.


SOUND OFF!

MEN

THREE - FOUR!


Sound off! Bring it on down...

MEN

ONE-TWO-THREE-FOUR-

ONE TWO-

THREE FOUR!

As they continue en-masse down the sidewalk, the mostly middle-aged BUSINESSMEN and WOMEN on their way to work, watch and enjoy the peculiar G.I. performance. These GI's are looking tougher now.


(sings his favorite)

I wanna be

88

An Airborne Ranger

I wanna live

A life of danger - Gotta go -

MEN

(together)

Alla way! Gotta go! Alla way!

They turn a corner onto a BUSY NEIGHBORHOOD SHOPPING STREET. Everywhere surprised Civilians dodge them and watch, amused as the GI's run by.


Stand up.

Hook up

Shuffle to the door

Jump right out

And count to four - GOTTA GO!

MEN



If that' shute

Don't open wide

Airborne Daddy's gonna

Get a wild ride -- GOTTA GO!

89

MEN


Swain begins the next verse, when Mike suddenly spots that pretty auburn-haired girl waiting in line at the BUS STOP, dead ahead.


If I die

In the combat zone

Box me up,

And, ship we home. - Sound off!

As the MEN answer "ONE, TWO" etc. in rhythm, Mike turns to Bob, points frantically,

MIKE

Look! There she is! It’s your chance! Say something to her!

Bob sees her. It's not possible to mistake her for anyone else. He wants to call out to her, but, as they approach her, she’s paying full attention to a coming Bus. As he passes her,

BOB

(calls desperately)

Hey! Hey, Miss! My name's Bob.

Bob Schneider! Hey, Miss!!

90

But, she turns to look at the Bus instead, as he runs past.

BOB (crushed)

She turned her back! She didn't even want to look at me.

And Mike feels just as bad, as "SOUND OFF" ends, and


I wanna go to VEE-ET-NAAM

I wanna kill the VEE-ET-CONG –

GOTTA GO!

The other MEN yell back "Alla way", but suddenly Mike impulsively begins to SHOUT,

MIKE

(rages, bitterly)

KILL! KILL!! KILL!!!

Bob picks up the chant and cries KILL! KILL!! KILL!!!, and then, so does MoFo, and Banzai! Suddenly, KILL!, KILL!!, KILL!!! explodes like a hang fire! All the men are yelling KILL!, KILL!!, KILL!!! in THUNDERING, UNISON! Swain’s voice is drowned out.

The surrounding Civilians look frightened. People turn and run!

Startled by the public reaction, Swain runs back along the line as he attempts to stop the men's macabre chant. But, they ignore him; he WON'T be heard! ‘KILL! KILL!! KILL!!! overwhelms his yelling as they charge on! Poor freaked Civilians scatter in every direction as the screaming horde of blood-thirsty GI's plows through their midst.

91

A bevy of little OLD LADIES queuing for the opening of an Italian Deli scurry frantically into the street.

A line of BUSINESSMEN, caught off-guard in the midst of crossing an intersection, take one look at the oncoming GI's and beat a hasty, disorganized retreat.

All the way, the GI's scream "KILL! KILL!! KILL!!!" as they race on down the street while Swain shouts furiously for them to stop.

As Mike runs, he watches the flipped-out Civilians and sees how ineffectual freaked-out Swain is, and he knows for once he's been triumphant. And in the midst of it all, he suddenly can’t help it, he can’t stifle himself; he has to laugh and Laugh, and LAUGH, at all the madness.

DISSOLVE TO:

EXT. REAR YARD – A. P. C. - QUEENS – MINUTES LATER, THAT MORNING

Posner and Knauer have to be helped in. But, finally they all stand in formation lines facing Swain. They are tired but they look happy and that just burns hell out of Swain.


ATTENTION!

They brace. He paces before them. He looks every one in the eyes; Yamaguchi, Schneider, Weingarten, Hedison, Deckart, Williams, Varicola, and Moran. ESPECIALLY MORAN, as,

92


You think you're funny. You get a kick out of terrorizing the Civilians. You think that makes you look smart. You think you're making fun of the Army by acting stupid. Well, you got another quess coming. You just made assholes outta yourselves again. That's all. You show nothing but disrespect for the uniforms you wear and the people you serve. You are soldiers in the army of the United States and whether you like it or not you are going to treat yourselves and the community you represent with RESPECT! Get down in the leaving rest!

(they all drop in unison)

Knock 'em out. Sound Off!

As Mike and the men do push ups,

MEN (all together)

ONE! TWO! THREE! FOUR! FIVE! etc.

SERGEANT MAJOR SWAIN (shouts)

I can't hear you. LOUDER!

MEN (shout)

TEN! ELEVEN! TWELVE! THIRTEEN! etc.

And on and on they push. Up and down. Up and down, on and on.

MEN

THIRTY-FIVE!

93


You are enjoying this, aren't you?

This is fun! Tell me it is.

MEN


SERGEANT MAJOR SVIIAJN

Good. Then, keep going.

On and on they push, shouting out the count (ad lib) "FIFTY-FIVE! Some of them are collapsing from exhaustion. Posner drops. Swain rushes over to him and kicks him hard in his ample rear end.


Get up lard ass!

POSNER (bleats)

I can't, Sergeant Major.


(kicks him again)

Get up cry baby! Get up!

Somehow, Posner does. As he joins the count it goes On and On, until,

94

MEN ( all together, shout)

Ninety-five! Ninety-six! Ninety-seven!

Ninety~eight! Ninety-nine! ONE-HUNDRED!


Hold it right there. Don't move.

They stop. But they remain with their asses in the air. Swain surveys the line. They look suitably exhausted. Even Moran. They wait and ache, until,

SERGEANT MAJOR SWAIN (lectures)

I'm going to say it just one more time. You are soldiers in the Amy of the United States of America. And, you are going to act like the soldiers you are or you are not going to survive this experience!

(looks to Beauford)

Take over, Sergeant.

Then, as Swain heads quickly for the barracks,

SERGEANT BEAUFORD

Arright! Get on yo feet!

Exhausted, Mike and the men stand, a lot less cocky than before.

EXT. STREET - IN FRONT OF A. P. C. - QUEENS – LATER, THAT MORNING

95

Mike and the other camera guys step out of the Barracks building and take the crosswalk towards the production facility. As usual, Captain Taper is there at his office window to watch. Suddenly, Hang One races out of the barracks to them,

HANG ONE (concerned)

Hey, Banzai's goin' to Viet Nam!

BOB (stung)

What?

Suddenly everyone is listening.

HANG ONE

The Sergeant Major just gave him his orders.

He's goin' T.D.Y. He's not even gonna get to

go home on leave.

WEINGARTEN

What's T.D.Y.?

BOB (explains)

Temporary Duty. You go for six months, then

you're supposed to come back here.

MOFO

Only it never happens that way. You stay.

MIKE

96

Where's he being assigned? What unit,

does he know?

HANG ONE

The First Air Cav, outta Quang Tri.

(as they all look stunned)

He's leaving tomorrow morning.

No one says another word as they enter the Production Facility.

INT. COMMAND OFFICE - ARMY PICIORIAL CENTER - DAY

Swain watches Yamaguchi sign for his pay.

CORPORAL KNAUER

Sign on the line.

(Banzai does; Knauer

pays him)

OK. Take care of yourself over there.

BANZAI

I'll see what I can do. Goodbye,

Sergeant Major.


(a little jealous)

You got the rest of the day off to pack

97

and get ready. Good luck, Yamaguchi.

They shake hands.

BANZAI

Thanks, Sergeant Major.

Then, Yamaguchi returns upstairs to pack, as

For a moment Swain doesn't move. He just stands there in his doorway and looks past Knauer where Yamaguchi walked out. Christ, how he'd like to do the same. Just walk out the door and go back to Viet Nam.

Knauer lights a Pall Mall off the butt he was smoking and bangs away again on his typewriter. He takes a deep drag, realizes something about what he just typed, and looks at Swain.

CORPORAL KNAUER

Sergeant Major, you know the Pic Center's anniversary party is just two days before

the I. G. gets here.


So?

CORPORAL KNAUER (shrugs)

That's cutting it awfully close.

When Swain doesn't look interested, he returns to his typewriter,

98


(suddenly decides)

Get me Sergeant Major Reece in Central

Personnel at the Pentagon.

INT. SWAIN'S OFFICE – A. P. C. – MOMENTS LATER, DAY

Swain sits at his desk. His phone rings and he lifts the receiver.


Sergeant Major Reece?

(INTERCUT) INT. CENTRAL ARMY PERSONNEL OFFICE - PENTAGON -- WASHINGTON D.C. - DAY

SERGEANT MAJOR ALVIN REECE, 50, is an Arkansas hillbilly farmer turned soldier even before Swain. He looks like a bulldog and is just as tough. But, because he's an old friend, he’s friendly.

SERGEANT MAJOR REECE

Hello, Ray. What can I do you for?


(almost casual)

How 'bout a transfer for starters?


99

Shit, you may as well be askin' for a virgin whore. You're on a Medical Profile, ain't you? That's why you're at that post.

SERGEANT MAJOR SWAIN (carefully)

Al, I don't belong here. I'm healthy as

hell ... There's not a God damn thing wrong

with me that a transfer outta this candy

assed post wouldn't cure. I'm a line

Sergeant and there's a war on. The Army

needs me where I can do what I do best.

And that sure as hell ain't behind a

desk in New York City. If you can't

get me sent into combat, help me get an

Infantry training assignment. Anything.

Anywhere outta, here. I never asked a

favor before.


(wants to help)

Shit, if I could figure a way, you know

I would. But, there ain't nothin' nobody

can do about a Medical Profile. Not unless

you got more than God on your side...

(remembers, looks thru papers)

100

Say, you got an I.G. comin' up?


Right. Next month. Whippin' this post into

shape's been a real bitch.


(finds note)

Shit, Ray, you might just have more than

God on your side.


What are you talking about?


Remember Lieutenant General Carver?


Sure. I kicked ass with him in Korea when he

was a Captain. We got along real good.


Well, the end of next month he's goin' to take over the lst Brigade of the Hundred and First Airborne Division, Republic of South Viet Nam. But, first, he's gonna be your I.G.

INT. CLASSROOM-A. P. C. PRODUCTION FACILITY - DAY

101

Sergeant Walters can see from the way Mike and the men file into the room, that they're feeling low. They take their seats and,

SERGEANT WALTERS

Good morning. I guess by now you all know

about the I.G. inspection next month.

(a collective GROAN and

ad lib Bitching, then)

Well, the CO's asked us to produce a little

film. Mostly compiled of scenes from old movies that’ve been made here. He wants it to show the I.G. what we do. Any volunteers?

(silence, nobody moves)

OK. So, who has some film editing experience?

(Posner, Deckart and Weingarten

raise their hands)

Weingarten, you're in charge; Deckart and Posner will assist you in assembling the footage. The rest of you just 'Volunteered' to gather up all twenty-seven years of film from the basement vaults and deliver it, as they need it, to their cutting room. Which will be on the fourth floor.

As another collective groan fills the room, Walkers smiles, contentedly.

QUICK DISSOLVE TO.

INT. GYM – A. P. C. BASEMENT – THAT AFTERNOON

102

Again and again and again, SWAIN SLAMS the SPEED BAG blow after hammer blow, his eyes locked, lost, unfocused, gone elsewhere with his consciousness, but his soul there kill, Kill, KILLING that bag for all the frustration built up inside him. As his sweat pours, he continues to murder the bag. Until, finally he's satisfied. He feels better. He feels stronger. He looks at himself in the mirrors on the wall. He may be forty, but he still looks powerful.

EXT. STREET BY FESTINESE'S BAR - QUEENS - NIGHT

TWO OLDER MEN enter the bar before Swain. In uniform as always, Swain follows them inside.

INT. FESTINESE'S BAR - QUEENS - NIGHT

Anne Weeks sits in the same booth Swain saw her in when met her. But, this time she's not alone. She has her back to the door and doesn't see Swain until he slides in directly across from her. Ignoring the self-styled dandy, middle-aged pompadour Italian who sits schmoosing with an arm around Anne, Swain addresses her,

SWAIN

Tell your friend to take a hike. I want to

talk to you alone.

The Italian nearly gags on his drink. Anne starts to reply something nasty but suddenly thinks better as she sees how Swain looks. Serious.

ANNE

Carlo, get a drink for me, will

103

you please?

CARLO (demands)

Who’s this guy think he is??

SWAIN

The lady said she wants a drink, Carlo.

CARLO (flares)

I don't have to listen to you!

ANNE (quickly)

Please, Carlo. I want to talk to

him. Please don't make a scene.

(she pats him once on the leg)

It's OK, he's a friend of mine.

Carlo glares at Swain (who isn't looking at him) and, fuming, abruptly crosses to the bar. When they're alone,

ANNE

(demands, hushed)

What the hell do you think you’re doing

coming in here, breaking in on me like this?! You're nothing to me. I don't even know you.

Festinese arrives with a big smile.

104

FESTINESE

Good to see you, Sergean' Major.

SWAIN

Same here. What are you drinking, Anne?

ANNE(means it)

Nothing with you.

SWAIN

Two Jack Daniels on the rocks, please.

Festinese goes.

ANNE (serious)

I don't want to drink with you. I don't even

like you. Can't you get that into your skin

head? I don't want anything to do with you.

SWAIN (looks at her)

I don't want to drink with you, either. That's

not what I came to see you for.

Anne knows just exactly what he means.

ANNE

Oh, Christ...

105

SWAIN

(shoots straight)

I just don't like going back to your place.

ANNE

(suddenly embarrassed)

I don't believe this...

SWAIN (knows)

Yes, you do.

Anne looks at him as if to say something to turn him off but she catches his eyes instead. And just like the first time she saw him in the mirror of the bar, Anne knows she wants him. She shakes her head and smiles as their drinks arrive,

EXT. ROOF – A. P. C. BARRACKS - NIGHT

They sit huddled in a little alcove formed by the sheet metal ducting of the air conditioning system; Mike, Bob, Banzai, MoFo, Hang One and Lord. They pass a quart bottle of Jack Daniels around as they watch Mike accept a joint from Banzai and wait their turn.

MIKE

(to Banzai)

Good weed...

He passes to Bob, and it goes on around the group, as

106

BANZAI

My brother grows it on Maui in his

back yard. Calls it "Maui Zowie"...

MOFO

We oughtta hide a greenhouse up here.

Grow some ourselves.

BOB

There's not the right kind of sunlight, here.

You'd have to get artificial lights.

LORD (tokes)

Psychedelic...

He passes to Hang One but he waves it away. He's losing a pal in the morning and he's clearly depressed.

HANG ONE

No thanks... It just brings me down.

MOFO

(takes the joint)

I hear they got great smoke in the Nam. The

kinda shit that'll knock an elephant to his

knees.

107

BANZAI

If they do, I’ll find it.

LORD

Send us some if you can. I'll foot the bill.

MOFO

(passes to Yamaguchi)

I'll tell you what I'd like to get from over there. A girl. Them Vietnamese women are foxy.

LORD

Hey, man, you come from here; this's your New

York City. You're surrounded with millions of the most beautiful women in America and you haven't done squat about it.

MOFO

Shee-it, who's had the chance?? MoFo, man, gimme

a fuckin' weekend pass and I get more ass than a public toilet seat in Grand Central Station!

(as they all laugh))

Shee-it...

HANG ONE (paranoid)

Shhh, keep your voices down.

108

Bob has been scanning the apartment houses across the street with a pair of Army issue ten-power binoculars.

LORD

Lemme see those binoculars.

BOB

There's nothing to look at.

LORD

Well, let me have 'em for a minute, anyway.

BOB

(hands them over)

OK. There's a fat Old lady on the second floor

over there running around in her girdle. See?

LORD

(as he peers about)

No, thanks.

MIKE

(to Yamaguchi)

Do you have a girlfriend?

BANZAI

Yeah. we're engaged ... Gettin' married

109

next June. After I’m out.

(digs a photo from his wallet)

Margo Shimasaki. We grew up together

She's also my best friend.

Even in the bad light Mike can see this girl is beautiful. She’s in a bikini standing by her surfboard on a Hawaiian beach. He whistles appreciatively.

MIKE

Woo, my man ! She's a definate fox!

YAMAGUCHI (smiles)

Yeah, and Margo's a better surfer than

I am, too.

Mike hands him back the photo. "Lord" has been scanning the available apartment windows to no avail.

HANG ONE

Let me take a look.

LORD

There's nothing to see.

Lord hands the binoculars to Hang One,

BANZAI

110

You have a girlfriend?

Mike

(tokes, passes to Bob)

I think so. Her name’s Carol.

He takes a photo from his wallet and they look at it. It's just a head shot of Carol.

BANZAI

Nice. She looks like a model.

MIKE

She's a sociology student at U.C.L.A.

That's where we met. She keeps

telling me she's coming to visit. But,

I haven't seen her yet. She's Quaker.

BANZAI

(gives him a look)

What’s she think of you being in the Army?

MIKE

(puts away her photo)

The same thing I think.

111

Suddenly HANG ONE's mouth drops open and he looks like he's just seen the Messiah. Eyes glued to the binoculars, he exclaims

HANG ONE

Holy shit, she's gonna take her clothes off!

BOB

Who?!

LORD

That old bag? Mercy Jesus..!

HANG ONE

No, man, this babe's beautiful!

Bob knows who he must mean and yanks the binoculars from Hang One.

BOB

Where is she?!

HANG ONE (points)

Over there, man! Third floor...

Bob looks, and (INTERCUT HIS BINOCULAR VIEW) sees his Auburn-haired heart throb. She stands in front of a mirror in her bedroom. A lace curtain is drawn across the window but it hardly hides the view. She's only wearing a bra and a slip. As he watches her combs out her lovely long hair, Bob groans.

MIKE

112

Is it her?

BOB(enthralled)

Yeah, it's her.

JACK

‘Her, Who’?? What girl you talkin' about?

MIKE

The girl with the auburn hair.

MOFO(means nothing to him)

Oh, that girl...

The auburn beauty puts her brush aside and casually steps out of her slip. She's only wearing a bra and panties. Scanty panties.

BOB (gasps)

Oh, my god...

MIKE

Come on, what's she doing? Describe it.

As he watches and describes (INTERCUT HER) Mike and the guys listen in rapt attention.

BOB

113

She just stepped out of her slip.

She only has a bra and panties on.

The bikini kind. And she's beautiful...

Long legs, tight body. Oh God... She's

going to the dresser. She's taking out

a nightie.

LORD

What color’s her panties?

BOB

(blow by blow, breathlessly)

Pink ... I think. She's unsnapping her

bra. She just set it on the dresser.

HANG ONE

Her tits? How’re her tits??

BOB

I can't see. She's got her back to ... oh, God.

They're gorgeous. She's absolutely perfect.

MOFO (presses)

Come on, what exactly do they look like?!

BOB (enthralled)

She's stepping out of her panties.

114

(the guys all groan)

She's got the most beautiful body

I've ever seen.

Nude, the Auburn Beauty stands there like she knows they’re watching.

BANZAI (impatient)

Specifies! What's she look like?

BOB (in love)

Like the Goddess of Love.

MIKE

You can do better than that.

As she slips on her shortie nightie,

BOB

She's slipping into her nightgown.

(a collective sad groan)

It's a short one ... She's going to get

into bed. She's pulling back the covers.

She just turned off the lights.

115

Badly smitten by love, Bob sets the binoculars slowly aside, as,

LORD (disappointed)

Shit.

MOFO

Man, that was the piss poorest blow-by-

blow I ever heard. You're fired!

HANG ONE (agrees)

You make a lousy Howard Cosell.

BOB

Hey, screw you guys.

He hands the binoculars back to 'Hang One' and sits down next to Mike again. He's too in-love to care about anything but meeting that girl.

MIKE

(looking around)

Who's Bogarting the joint?

BANZAI

(produces another)

Magic. Here's another one.

116

Yamaguchi fires it up and passes to Mike who tokes deep when Hang One swings the binoculars around, LOOKS (INTERCUT) down into the REAR YARD, and spots SWAIN ENTERING through the gateway by the back of the mess hall with ANNE. He doesn't need the binoculars.

HANG ONE (hushed)

Shit, look in the yard!

They LOOK at once and are highly entertained by Swain's soiree.

MOFO

Well, all right! The old MoFo's gonna knock one off.

MIKE

Where's he taking her?

LORD

Not up to his room. He'd never get past

the C.Q.

As they watch, Swain leads Ann quickly across the yard and into the Barracks. Moments later, a basement light is turned on.

BOB (knows)

The supply room!

117

‘BANZAI’ YAMAGUCHI

In the back where all the mattresses

are stored.

MOFO (chuckles)

You dirty old man..

HANG ONE

We could nail Swain's ass for this.

MIKE

We sure could.

BOB

How?

When suddenly there's a CLAMOUR of NOISE from the fire escape ladder at the back end of the roof and they all duck low. But, it's only Varicola.

VARICOLA

(calls, hushed)

Hey, you guys? Come on down; Beauford's takin' a head count!

And, so, reluctantly (hushed ad lib) they hurry back to the bay. Mike, the last One to climb down the fire ladder, is the only one to watch as that light in the Supply Room is turned off.

INT. BARRACKS BAY – A. P. C. – LATER THAT NIGHT

118

Mike seems to be the only one awake. The red glow of the fire exit sign above the doorway behind him is the only other light in the bay besides the flashlight he’s using to pen a letter by. He pauses a moment to silently reread what's been written.

MIKE (V.O.)

I've called you half a dozen times from the public phone at the Center, but it seems you're never home, anymore. It's not easy calling because we're not allowed to. If they catch me it's an Article 15 breach of security. Stockade time again.

Look, I miss you and since I haven't had a letter from you in a few weeks, I'm getting a little paranoid. I think about you all the time. I try not to, I don't think it's healthy to frustrate myself, but I can't help it. The times I've had with you are the happiest of my life. The best. The most real. I miss everything about you - Talking to you. Hearing you laugh. Holding you. Making love with you.

Sometimes I worry you've replaced me. But, then

I have to stop that because it brings me down.

I wish I had something funny to say. Something wonderful to tell you, like I'm coming home

tomorrow. But I don't. Nothing changes here, so all I can say is something you've heard so often you're probably sick of it by now. I love you, Carol...

Mike has to pause to check himself before he loses it and cries.

119

INT. BARRACKS BAY - ARMY PICIMIAL CENTER - MORNING

Mike is just tightening the blankets on his bunk when Sergeant Beauford enters and startles the entire bay-full of men who are all in the process of straightening their areas.

SERGEANT BEAUFORD

Arright! Inspec Shun time! Line up by yo foot lockers. Les' go! The Captains on his way.

MIKE

(looks at his mess)

Holy shit!

As they ALL try fast and furiously to throw their things into some kind of acceptable military order,

BOB (quickly)

You have an extra pair of skivvys?

Mike tosses Bob a pair already rolled. As Bob puts them into his foot locker,

BOB (worries)

Are they clean?

MIKE (offended)

What do you mean, "are they clean?"

But, it's too late to do anything about it now if they're not.

120

SERGEANT BEAUFORD

Atten shun!

The men all stand quickly beside their foot lockers at the edge of the linoleum central aisle and brace as Sergeant Major Swain leads Captain Taper (patent leather shoes with taps) into the bay. Mike and Bob share the bunk area last in line before the rear doors to the fire escape stairs. So, they get to watch, as,

Looking pressed and stiff and quite pleased with himself, Captain Taper stands in the center of the bay and smiles at the men as Swain silently evil-eyes them all.

CAPTAIN TAPER

At ease, men.

(they relax slightly)

Good morning.

(silence)

You all realize the importance of the coming I.G. Inspection. We need to look our best, both to reflect the pride we feel in our unit... aaah?

He forgot his train of thought.

BOB (hushed)

The shit gets deeper.

CAPTAIN TAPER (continues)

121

Right.. And, the respect we have for ourselves. That's why I'm here this morning to see how we're shaping up. Beyond that, I want to remind you all of the Army Pictorial Center's coming Anniversary Party. We haven't had leave or pass privileges now for a couple of months...

BOB (hushed)

Notice how he always uses 'we' like he’s us?

Swain spots Bob talking and flares but doesn't interrupt, as,

CAPTAIN TAPER (cont. tries wit)

Some of you are probably getting a little

horny...

(no response from the men)

But, these restrictions were ordered to help you focus attention on your duties here. Now, how we celebrate our Anniversary party; whether or not we have women guests, will depend on how well we maintain our level of preparedness for the Inspector General!

SERGEANT BEAUFORD

Atten shun!

Again the men brace. Then, Sgt. Beauford joins Captain Taper and Sergeant Major Swain at the first cubicle of two bunks where Posner stands alone. As Swain opens his wall locker to inspect Posner's hanging clothes, Taper looks the pudgy Sad Sack over.

122

CAPTAIN TAPER (stern)

What happened to your bunk mate, Private Posner?

PUD

Private Yamaguchi's in Viet Nam, sir.

CAPTAIN TAPER (forgot)

Oh, Right...

Swain has found something hateful. He yanks Posner's Class 'A' uniform out by the hanger and shoves it in Pud's face.

SERGEANT MAJOR SWAIN (demands)

What’s this filth doing on your Class A's Posner?

PUD (stammers)

I.. I'm sorry, Sergeant Major.


I can see how 'sorry' you are. You're sorry as hell, Posner!

Swain takes everything in Posner's locker and dumps it on the floor.


It's a stinking mess. Get it clean! All of it!

123

PUD (terrified)


Taper looks into poor sweating Posner's foot locker. He lifts out a rolled up pair of skivvys and immediately puts them to his nose for a dainty sniff. Even Swain double-takes this act.

CAPTAIN TAPER

(seriously, to Swain)

You never know, Sergeant Major, when they might try to sneak in an unserviceable pair.

SERGEANT MAJOR SWAIN (manages)

Yes, sir.

On to the next cubicle where Lord and MoFo wait rigidly. Swain goes for their wall lockers as Taper checks their uniform brass.

CAPTAIN TAPER (pleased)

You're looking strack, Williams. Very strack indeed.

MOFO

Thank you, sir.

CAPTAIN TAPER

Nice job on that belt buckle, soldier.

124

LORD

Yes, sir. Thank you, sir.

Their foot lockers, too, look good. And, after careful analysis, Swain finds their wall lockers OK, too. But, not their beds.


Who taught you how to make your bed?

MOFO (flustered)

My mother, Sergeant Major.


Well, your mother taught you wrong.

(he tears sheets and covers to floor)

This is a slack job. The corners are all wrong! They're not G.I. If you don't know how to do it right the first time, find out!

MOFO



Who polished this floor?

LORD (bleats)

125

I did.


It's a mess, Deckart. Do it again.

LORD


The next two are 'Hang One' and 'Gung Ho'. Hang One's foot locker looks bare.

CAPTAIN TAPER

What happened to your underwear, Hedison?

HANG ONE

It's all in the laundry, sir.


What's it doing in there?

HANG ONE (desperate)

It's ... dirty, Sergeant Major.


Well, get it clean and get it in your

foot locker! And, shine those boots.

They look like you shat on 'em.

126

HANG ONE (braces)


Captain Taper has been looking 'Gung Ho' Dyer over and hasn't been able to find anything wrong. Taper looks very pleased.

CAPTAIN TAPER

Nice work, Dyer. It's perfect.

You're a credit to the company.

GUNG HO (smug)

Thank you, sir.

Taper steps aside and let's Swain take his place. Swain looks Dyer over, and

SERGEANT. MAJOR SWAIN

How come you always look so much sharper

than everybody else, Dyer?

GUNG HO

I try harder, Sergeant Major.

SERGEANT MAJOR SWAIN (nails him)

Well, I think you try too hard. I think you're all for yourself, Dyer. And, I think you oughtta help some of the other guys once in

127

awhile since that's what I made you squad leader for.

GUNG HO (deflated)


Mike and Bob are the next in line and with one look around Swain hits them like a tornado.

SERREANT MAJOR SWAIN

What happened to you uniform, Moran? Did you sleep in it?

MIKE

No, Sergeant Major.


It's filthy.

(Mike looks to see where)

Stand at attention, soldier!

Mike braces. Taper is looking Bob over and shaking his head,

CAPTAIN TAPER

You're brass is awful, Schneider. Your boots look like you haven't shined them in weeks.

BOB (manages)

128

I'll do better, sir.


Look at this foot locker,

(makes a mess of it)

Nothing is folded right!

(dumps it)

Your foot locker's a disaster, Schneider.

Bob remains at attention. Swain looks at Moran and grabs his bedding in both fists.


Did you make this bunk this morning?

MIKE


Swain rips the bedding off his bunk and throws it on the floor,


Well, make it again and do it right!

Meanwhile Taper has found a few PLAYBOY MAGAZINES stacked on the top shelf of Mike's wall locker.

CAPTAIN TAPER (indignantly)

129

Where did you get these magazines, Moran?

MIKE

I borrowed them, sir.

CAPTAIN TAPER

From whom?

MIKE (lies)

I can't remember, sir.

CAPTAIN TAPER

uh huh...

(lets slide, but)

Well, I'm going to have to confiscate them.

We're not allowed to have pornography in the barracks.

MIKE

They're not pornography, sir.


(nearly jumps down his throat)

Shut up, Moran! If the Captain says they're pornography, that's what they are!

He turns to Moran’s wall locker and tips it over. Everything spills out onto the floor.

130


Your wall locker's out of regulation! Straighten it out! Straighten out all this crap and make it regulation! And when you're done you report to me. Both of you report to me!

MIKE AND BOB


He glares at both of them contemptuously, as

CAPTAIN TAPER

(addresses the men)

What we have here is a perfect example of

what can’t occur when our I.G. arrives.

You men are simply not prepared to be inspected. We must all be prepared. We must help each other get squared away. If we want to bring women to our Anniversary party we'll have to do better than this.

INT. GYM - BASEMENT - ARMY PICTORIAL CENTER BARRACKS - DAY

The door OPENS, Swain flips on the LIGHTS and steps in ahead of Mike and Bob. Swain moves into the center of the heavy exercise machines, weights, barbells, floor mats and boxing equipment as Mike and Bob, armed with cleaning paraphernalia, follow. One look and Mike knows it's going to be a hell of a place to clean.


131

I want this gym G.I. top to bottom, inside out until everything in it shines like the day it

was born. Is that clear?

MIKE AND BOB


Swain moves to leave but pauses to speak directly to Mike.


When you gonna 'learn, Moran, if you don't do your job somebody else is gonna have to get it done, or suffer for you. What makes you think you're so special? You're just a punk who thinks he can get off with somebody else's sweat. Well, you’re wrong. You're not gonna coast here, anymore. You're gonna pull your weight. All of it!

MIKE (flares)

Why are you on my case? I haven't done anything more or less than any of the other guys.


The hell, Moran! You've been trying to bust my balls. You had everybody screaming at the civilians. Since then I've been watching your don't-give-a-shit attitude rub off on the rest of the men. Well, it's gonna stop right now, 'cause I'm gonna shape you up! You're gonna learn how important it is to pull your weight or I'm gonna ride your ass 'til I find a way to get you back in the stockade. You're gonna

132

be a soldier, Goddamn, or I'm gonna get rid of you, understand?!

Mike doesn't answer, he just stares at Swain hatefully. But, Swain knows he's struck a cord. Swain slams the gym door hard behind him leaving Mike and Bob there alone. Silence. Then,

BOB (being practical)

I think we better clean the mats first.

Mike and Bob set down the cleaning paraphernalia and step over to a behemoth exercising machine center.

BOB

Let's move all the equipment over to one

side, so we can get at the mats.

They strain to move the heavy machine and have to rest half-way.

BOB (curious)

What did Swain mean about the stockade?

What were you in the stockade for?

MIKE

I deserted. I was in the stockade for six

months. Then they sent me here. This was

supposed to be light duty.

BOB (stung)

133

Jesus Christ-How did you ever get in the

army in the first place?

MIKE

I was having too good a time and almost flunked out of U.C.L.A. When I got my draft notice, I was on academic probation. I was going to fight it, but, my father's career Air Force and he talked me into going in. It was supposed to be the best thing for me. I knew better, but what the hell...

BOB (nods)

I can dig it; I fell in love with this girl and let my grades go all to hell.

MIKE

You should have married her and gotten

a deferment.

BOB

Yeah. But, she left me for another guy.

Story of my life. Come on...

They continue to struggle with the Behemoth exercise machine.

DISSOLVE TO:

134

INT. GYM - BASEMENT - LATER

Looking stern, Swain walks briskly along in front of one of the WAIL MIRRORS, and as he does, he runs a white gloved hand across the TOP EDGE of the glass. He stops at the end of the mirror and turns to Mike and Bob, who stand, tired, waiting in the center of the room for the verdict. Swain lifts his hand, and, of course, his glove is covered with FUNK.

SERGEANT MAJOR SWAIN(angrily)

What's this?

As they watch he crosses quickly to the WEIGHTS, stacked in random order by the bench press and immediately shoves the pile over.


They're out of order! I said I wanted

this place straight!

Swain goes to the rowing machine and touches the foot pads. They are dirty. In one swift move be tips the machine over. Then,


(glares at Mike)

You can't do a Goddamn thing right! I said I wanted this place clean and straight. Do it again!

Swain strides out and SLAMS the door behind him. Alone once more,

135

MIKE (bitterly)

I hate that man like I hate hell.

BOB (resigned)

I’m sure the feeling’s mutual. Come on...

They begin to clean the gym again, as

BOB

You know, I've only been downtown once since I got here. It's weird, the people here. Especially, the women. Here, if they find fault with you, you'd better duck. I was in uniform; that's the regulation, you go downtown in Class A's. I was on a subway. Two gorgeous chicks get on all dressed up. It was a Saturday night, so I smiled at the Blond and said, "Hello'. And you know what she did? She spit on me and called me a dirty mother-fucking baby killer...

CUT TO:


Every piece of equipment in the room looks in perfect order and polished to sparkle like a jewel. Again, Mike and Bob stand in the center of the gym as Swain makes inspection. They look more tired than anxious while they follow his every move.

Swain touches the top of the mirror but finds NO DIRT. He checks the Rowing Machine; it's clean. He looks at the weights. They're properly organized. He checks the SPEED BAG. Then, a wall mounted

136

ARM EXERCISER. They're clean, too. Swain steps back, and Mike and Bob think they have it made, until he looks down, kneels and lifts a corner of one of the MATS that cover the hard wood floor.

SERGEANT WOR. SWAIN

(glares at them)

The floor's filthy. Clean it.

(as they look stung)

Take everything off this floor and clean it!


Everything is in perfect order again. Mike and Bob are exhausted. They lie sprawled on the mat in the center of the gleaming gym when Swain suddenly opens the door and steps in.


What the hell are you doing down there?! Get up off the floor!

As they weakly obey,

BOB

The floor's clean, Sergeant Major.

Swain quickly checks the floor under a mat. It is clean. He looks at them again, especially Mike, and he can see the naked hostility. He decides to get tough. He looks around the room, searching for trouble again, and

137


This ain't the way the room was laid out

before. You changed it all around...

MIKE (protests)

We didn't change anything.

SERGEANT MAJOR SWAIN (thunders)

Are you calling me a liar, Moran?!? I said you changed the room around, so that's what you did!

(indicates the Behemoth,

the Rowing Machine,

and Weights, etc.)

That was there, that goes over there, the weights over here. This in the corner. Everything in this room is assbackwards!

(indicates)

I want everything on this side, back there. And everything on that side, over here. You understand? Now, get to it!

Swain glares at Mike and the blood drains from Mike's face.

INT. GYM - LATER

Every piece of exercise equipment that had been on one side of the room now stands in a corresponding place on the opposite side. A monumental task completed. Again, Swain bursts into the gym and steps to the center. Mike and Bob sit exhausted on the Behemoth,

138

and watch him without a word. This time they know what's coming. Swain looks expectedly disappointed.

SERGEANT MAJOR SWAIN (fakes surprise)

What is this? This isn't what I told you guys to do. Get up! Get over here!

(as they reluctantly obey)

You got it completely turned around! I said I wanted all this stuff, over there. And all those things, over here.

INT. GYM - LATER

As Swain steps into the room, somehow Mike and Bob get up off the giant exerciser. They are clearly too tired to be able to move the equipment again. They can hardly stand. One look at them and Swain feels victorious. Pleased, he looks around. Then


OK... From now on, you'll clean this place once a week, top to bottom just like you did tonight. (then, with a jerk of his head)

Hit the sack, it's after lights out.

Swain says nothing as Mike and Bob pass him on their way out. Completely exhausted it’s all they can do to lift one foot after

the other. Neither one of them even bothers to look at Swain.

INT. STAIRWELL - ARMY PICTORIAL CENTER BARRACKS - NIGHT

139

As Mike trudges up the stairs behind Bob, past where DUTY - HONOR - COUNTRY are painted between the steps,

MIKE (vows)

I'm going to nail that son of a bitch if it's the last thing I ever do.

BOB

It will be.

DISSOLVE TO:

EXT. REAR YARD – A. P. C. BARRACKS - MORNING

Swain stands hands on hips, lean and mean in the yard and watches the men race down the fire stairs to assemble quickly before him. A few moments later and they're spaced correctly. As usual, Mike stands in the first row beside Bob. Swain watches him a moment, but if Mike notices, be doesn't show it.


OK, into the leaning rest position.

They drop to the cement and he does too. Then,


Sound off! ONE..!

140

MEN

(as all push-up)

TWO! THREE! FOUR! FIVE!

SIX! etc.

As the MEN CONTINUE, SWAIN gets a sudden stab of pain in his left side. At first he tries to work through it. But, then he just can't. He rests on one knee, grits his teeth and holds his chest. It's like a gas pain but a lot sharper. For a few moments Mike and the men continue to push and count (ad lib). Then, some of them notice Swain.

MOFO

Hey, check Swain.

LORD

What's the matter with him.?

Suddenly the men stop doing push-ups to watch Swain, though no one dares move to help him. Then, Swain sees them watching him.


What're you looking at?? Keep goin!

So the men do as Swain struggles to his feet. Then, as he stands there, ashen, trying heroically to ignore the incredible pain, Beauford trots over from where he saw all from the Barracks, and

SERGEANT BEAUFORD (concerned)

You OK?

141

SERGEANT MAJOR SWAIN (manages)

Just ... something I ate.

SERGEANT BEAUFORD

Want me to take the run?

A BEAT. No, he doesn't, but he knows better.


Yeah.

Swain turns and forcing himself to stand tall, enters the Barracks, as,

SERGEANT BEAUFORD (takes command)

Arright. On yo' feet! Dyer, hold the gate.

INT. COMMAND BATHROOM - ARMY PICTORIAL CENTER BARRACKS - MORNING

Swain enters and goes to the sink with a vial of prescription pills in hand. He pops two with a mouth full of tap water. He takes a few deep breaths and looks at himself in the mirror. The pain is already abating. He looks drawn, he feels shaky. He lifts a hand from its grip on the sink and can't control its trembling. He runs the water again and cupping his hands bathes his face to soothe himself.

A moment later, he reaches to pull a clean towel down off the wall dispenser roll. But, when it won't pull down, he’s suddenly enraged!

142


God damn son of a bitch!

With a brutal show of strength, he rips the towel dispenser off the wall and hurls it across the room!

EXT. SIDEWALK - SHOPPING STREET NEAR A.P.C. - QUEENS - MORNING

Civilians are everywhere this morning as Beauford leads the men.

SERGEANT BEAUFORD (sings cadence)

I wanna be an Airborne Ranger

I wanna live a life of danger

Gotta go...!

MEN

Alla way!

SERGEANT BEAUFORD

Gotta go!

MEN

Alla way..! 'etc.

143

Once again, Mike, who runs beside Bob up at the head end of the men behind Beauford, spots the auburn-haired beauty. She’s trying to read the morning newspaper as she waits in line for a bus. She looks up when he calls to her.

MIKE

Good morning, gorgeous!

Flattered, she smiles. As they quickly PASS her by,

MIKE (excited)

Hey, Bob! You see that, man? She

smiled at me. She's OK. She isn't

gonna hate you just 'cause you're a

G.I. Go back, and get her number. Go on!

BOB (torn, fearful)

No. I can't do that. I...

MIKE

(nails him)

Man, it's now, or never! Put up or shut up.

She'll never get any closer.

Bob glances back and sees her bus coming. Suddenly he drops back through the column of men. He ducks into the entrance to a Deli a moment to let them all get ahead before he races back to the girl. He arrives just a moment before her bus does. He's rushed but he's desperate and just as sincere as he can be.

144

BOB

Excuse me, my name's Bob Schneider. I know you've never noticed me before but I've watched you for weeks every chance I've had, and you're the most beautiful girl I've ever seen. For all I know you're married, but I'm crazy about you.

ALLISON McLEOD

(startled, manages)

No. I'm not ... married.

BOB

(smiles,relieved)

What's your name?

ALLISON

Allison.

BOB

Allison, I've just had to meet you since the first moment I saw you. I know this’s weird but will you please come to the Pictorial Center's Anniversary party with me? Please...?

ALLISON

(without hesitation)

Sure.

145

BOB (amazed)

You will?? What's your phone number? I'll call you as soon as I can.

(realizes)

Damn, I've got nothing to write on.

ALLISON

I'm listed on Thirty-Fifth Avenue. Allison Mc Leod.

BOB

(breaks into a big

grin)

Thank you, Allison. Thanks a lot!

(turns, races off to join

the other men again, as)

I’ll call you! As soon as I can..! Bye,

Allison!

ALLISON

(still a bit bewildered)

Bye, Bob...

Allison steps on board the bus. The driver and passengers have all been watching her with Bob, listening in, waiting for them to finish. The entire busload CHEERS their romance (ad lib) even as the driver pulls away into traffic.

146

INT. STAIRWELL – A. P. C. PRODUCTION FACILITY – LATER, THAT DAY

While Mike and Bob sweat and struggle one step at a time with a heavy hand truck stacked to capacity with film cans full of old motion pictures, Bob feels so good he's bubbling over with joy.

MINE

I think you better be careful.

BOB

I can tell she likes me. I could

see it all over her.

MIKE

I'm glad for you. But, you don't know

her, yet. Don't expect the world.

BOB

I know as much as I need to know that

I'm in love.

MIKE (again)

You'd better be careful.

BOB

Man, I don't know how.

147

They reach the top of the stairs and wheel out into the hall.

INT. OFFICE FOURTH FLOOR – A.P.C. PRODUCTION FACILITY - DAY

They wheel the hand truck to a room where Weingarten and Posner sit hunched over a working moviola as Sergeant Walters watches.

SERGEANT WALTERS (looks up)

Just set 'em down anywhere.

(then)

They need a body in print quality

control.

MIKE AND BOB (simultaneously)

I'll do it.

SERGEANT WALTERS

Moran, report downstairs to Sergeant Levere.

INT. FILM LAB - PRODUCTION FACILITY – MINUTES LATER

The dim red glow of safelights makes it possible to find ones way through the maze of whirring machines and giant bubbling vats to where Mike sits in the dimness watching full-color silent images of Viet Nam combat as a projector hooked directly into the film coming off the blow dryer projects on a small screen across from him. Mike sits quietly and watches as the film clip ends.

148

After a section of numbered leader, different footage begins. The first image makes Mike sit up and pay close attention. It's ‘Banzai’. He's sitting on the rear of a tank with six filthy, combat exhausted GI’s. He looks at whoever's filming him and reaches to take back the camera. The name tag on his uniform makes it certain: ‘YAMAGUCHI’.

MIKE

Good God, Banzai...

The next shots are all Yamaguchi's P.O.V. The tank is headed down a slimy rain-soaked path into thick jungle. Another tank follows. Suddenly, they’re ambushed from all sides. The GI's scramble off the tank and duck for cover in the undergrowth. They return automatic weapons fire. A BLACK G.I. throws a grenade and is hit. As he falls two other GI’s are cut down. A MEDIC crawls to the wounded. Yamaguchi continues to record the event in frantic pieces as the GI's haul away their wounded and scramble to retreat.

The tank’s turret pivots; it fires a salvo. Yamaguchi is chasing the GI’s up the slippery path behind the second tank when a TERRIFIC EXPLOSION, probably a mortar round, lands almost on top of him! The explosion lifts the camera high up into the air before it drops again to wind itself out so the footage ends in the dirt.

Mike looks stunned. He can't move. He WATCHES as a second copy of the film clip, not more than thirty seconds long, repeats itself. And, then, stunned he realizes,

MIKE

Jesus Christ.. he's dead.

DISSOLVE TO:

149

INT. BAY - BARRACKS - ARMY PICTORIAL CENTER - NIGHT

The bay is quiet tonight. Every one of the men has learned of Yamaguchi's death and they all feel the loss. Some men are cleaning their areas and shining their boots, others just sit on their bunks, staring at the floor like Hang One who's taking it hard.

Mike is lying on his bunk finishing a cigarette and thinking about his fucked up life. He crushes the butt in a film can on the floor and stands. He's stripping his fatigues off when Bob joins him.

BOB

You going to take a shower?

MIKE

Yeah, what the hell...

BOB

Me, too. I feel like I’m covered with shit.

(as he strips)

I tried to call Allison today but the phone stole my dime. I'll sneak a call from one of the offices tomorrow before she forgets who I am.

MIKE

She won't forget you.

150

Mike grabs a towel from his wall locker and waits for Bob.

BOB (removes his boots)

Fuckin' Army ... Nothing works right.

(he pulls his pants off)

How long was Banzai in Viet Nam; three weeks?

MIKE

Not quite.

BOB

Jesus Christ...

(they head for the latrine)

You know, we got his camera back already? I heard it's in repair.

INT. CLASSROOM A. P. C. PRODUCTION FACILITY - ANOTHER DAY

Sergeant Walters is projecting a demonstration of night-shot, image-intensified footage. As he describes how it's done, the guys watch the eerie pale green and milky white l6mm film of GI's creeping through a moonless Vietnamese jungle, and are fascinated.

SEAGEANT WALTERS

This footage was shot in the dead of night under a thick canopy of jungle in the Central Highlands of Viet Nam with available light only. It was done with the aide of a "Starlight lens".

151

VARICOLA

Why's it all green like that, Sarge?

SERGEANT WALTERS

Because what you're seeing is a T.V. image that's been, in effect, re-shot by the motion picture film. It only picks up in green and white.

(explains)

The Starlight lens is an electronic image light-intensifying device. It uses a battery powered videcon T.V. tube which attaches to your camera like a normal lens. It weighs about four pounds including its battery pack. What it does is take the available ambient light from the moon and stars, and it electronically intensifies it. And then projects this intensified image onto the motion picture film one frame at a time.

BOB

How much light does there have to be for it to work?

SERGEANT WALTERS

Damn little. Almost nothing is enough.

Obviously,the uses for this in clandestine cinematography are incredible. I don't have to tell you it's a top secret device.

He shuts off the projector and takes a small case to a table at the head of the class. He opens the case as Mike and the Men crowd around.

152

SERGEANT WALTERS

This's it.

(he hefts it easily)

It's delicate. You can't be banging it around.

MIKE

Will we get a chance to train with it?

SERGEANT WALTERS

Yeah. I'll work out a schedule...

INT. MESS HALL - ARMY PICTORIAL CENTER BARRACKS - DAY

While 'Blue Moon' MUZAK plays via the P.A. system, jovial Mess Sergeant Sanchez sings along as he supervises the chow line.

SERGEANT SANCHEZ (sings)

'Blue Moon, joo saw me standeen alone,

Weed out a dream in my I ‘art, etc...

While Mike and Bob move through the line, MoFo, on K.P., serves them from a pan of peas and onions.

MOFO

(with each spoonful)

Peas be with you. Peas be with you, brother...

153

They take seats with Hang One, Weingarten, Pud and Varicola.

VARICOLA

How's the promo film cuttin'?

WEINGARTEN

Not bad. I think it’ll be interesting. There's a lot of World War Two stuff.

BOB

(to Mike, excited)

Allison was an English Major at N.Y.U. I asked her what her favorite book was and she said Stendahl's 'Scarlet and Black'. Can you believe it? That's my favorite, too.

MIKE (underwhelmed)

Wonderful ... look who's coming.

Swain approaches from the entrance across the room.

SERGEANT MAJOR SWAIN (to Mike and Bob)

You two report to me in my office after chow.

MIKE & BOB


154

INT. CAPTAIN TAPER'S OFFICE - BARRACKS - DAY

There's a knock and Taper looks up from reading a document.

CAPTAIN TAPER

Come in.

Swain opens the door and lets Mike and Bob step in before him. As they salute,


Privates Moran and Schneider reporting, Sir.

CAPTAIN TAPER (salutes, then)

At ease, men.

(lifts telexed document, explains)

Orders just came in. You're both on a levy

T.D.Y. to the One Hundred and First Airborne Infantry near Phu Bai in 'I' Corps. That's about forty-five kilometers north of Danang, R.V.N.

(neither man bats an eye, as)

I don't have to tell you men that we're proud of your reassignment and that we all know you'll do a creditable job, which will reflect the training you’ve had here at the A. P. C. Because this is a temporary duty assignment not to exceed six months, I'm not authorized to give you leaves home. And since you will be reporting there for duty on the tenth of this month, and your orders are to travel on the

155

eighth, you'll be here to stand I. G. with us on the seventh. Do you have any questions?

MIKE

Yes, sir. Can I call home?

CAPTAIN TAPER

Certainly. You may both use the phones in the Command Office for privacy. Anything else? OK ... The Sergeant major will get you a list of the things you'll need to take with you. Good luck.

Taper salutes and they salute him and then Swain leads them out.

INT. COMMAND OFFICE - ARMY PICTORIAL CENTER BARRACKS - DAY

They step into the office and close the door behind them. They're alone. Bob looks somewhat in shock. He and Mike go to different desk phones.

BOB

Jesus Christ, I knew I was next.

MIKE (far away)

Yeah...

Mike dials, it rings and rings and,

(INTERCUT) INT. CAROL LAWRENCE'S APARTMENT - WESTWOOD - MORNING

156

She's still wearing her bathrobe as she comes from the bedroom. She takes the phone; it’s on a long cord in the hall.

CAROL

Hello.

MIKE

(smiles, pleased)

Hey, girl. I finally caught you home.

CAROL

(happily surprised)

Michael! Hi, how are you?

MIKE

Ok. Where're you been? I tried calling and I couldn't ever get an answer. And I wrote you three letters last month, and you didn't write back.

CAROL

Michael, I did so write you. I wrote you last week, you just didn't get it, yet.

MIKE

Oh, yeah? Well, OK ... I'll forgive you this time.

CAROL (nervous laugh)

157

Thanks, that's big of you.

MIKE

(hits her straight)

I'm going to Viet Nam. I just got orders today.

CAROL (shocked)

Michael, you're not going to go??

MIKE

Carol, if I desert again and they catch me, you know, they can shoot me. They execute deserters during wartime.

CAROL

Michael, you can't go to Viet Nam! You're not serious are you?? I won't let you go! You don't want to go do you??

MIKE

Of course, I don't want to go...

CAROL

You still believe the war is wrong, don't you?

While she speaks a NUDE YOUNG MAN crosses from her bedroom into the bath behind her. She glances at him as he shuts the door.

MIKE

158

Yes, it's a crazy war.

CAROL

Then, you have no right to go. You have to leave and go to Canada. It' s not even very far from where you are.

MIKE

Just like the last time.

CAROL

No, not just like the last time. This time I'll see you really get there. How much time do you have 'til you leave?

MIKE

Today's the first. I leave on the eighth.

CAROL

Then, I'm coming out. I'll catch a plane, tonight.

MIKE (surprised)

What? How can you do that?

CAROL

I'll just do it, that's all. I'll make some calls before I leave. I'll have names of people who can help us there by the time I get

159

out. Michael, I always knew it would come to this, didn't you?

MIKE

I don't know...

CAROL (sure)

There's never been any other way. Not since you made that awful mistake. Christ, I still can't believe you're in the Army.

MIKE

Yeah ... Carol, when you get in, how will I reach you? How will I know where you are?

CAROL

Give me your number. I'll call and leave a message. They'll give it to you, won't they?

MIKE

Yeah. I'm not allowed to leave the post, so don't say anything.

CAROL (alarmed)

Then, how am I going to see you??

MIKE

Don't worry. I don't care what they allow here. I'll get to you.

160

CAROL (relieved)

OK... What’s your number?

MIKE

You still love me?

CAROL

What do you think?

MIKE

I want to hear you say it.

CAROL

Ok, you egotistical bastard; I love you.

MIKE (smiles)

Just thought I’d make sure.

CAROL

Now, what’s your number..?

DISSOLVE TO:

Mike dials again. The phone rings several times. Then..

MIKE

Hello, mom...

161

DISSOLVE TO:

INT. T.V. ROOM - ENLISTED MEN'S CLUB - BASEMENT – A.P.C. BARRACKS - NIGHT

Mike sits on a vinyl easy chair and nurses a bottle of beer as he watches that sexy Norwegian Blond sell Noxema medicated shave to the tune of David Rose's "The Stripper", ‘Take it off, Take it all off, with Noxema..’. As the men around Mike all howl (ad lib) their approval, MoFo pokes his head inside the door,

MOFO

Hey, Mike. Gotta a message for you.

Bob follows as Mike gets up and hurries out.

INT. ENLISTED MEN'S CLUB - BASETMENT – A. P. C. BARRACKS - NIGHT

MOFO

C.Q. just gotta call from 'Carol'. She said she’s stayin’ at the Plaza Hotel, 59th and 5th.

(adds)

If she's as pretty as she is rich, you got it made, my man.

MIKE (grins)

I've definitely got it made.

EXT. REAR YARD - ARMY PICTORIAL CENTER BARRACKS - QUEENS - NIGHT

162

Mike has changed into Civvies; old Levis, desert boots, a light blue long sleeved work shirt and a Levis MoFoet. He hurries down the fire stairs as noiselessly as possible with Bob right behind. Down in the yard they move quickly to the 12 ft. cyclone fence.

MIKE

Gimme a boost.

BOB (concerned)

You realize if they catch you, you're AWOL. They’ll have your ass...

MIKE

(uses the boost, climbs)

They've already got my ass ... But they'll never ... get ... my ... balls.

(he drops to the street)

Cover for me. I'll be back before daylight.

BOB (worries)

What the hell am I gonna tell the guys?

MIKE (trusting)

You'll figure something.. Adios...

Mike hurries away and disappears into the darkness.

EXT. PLAZA HOTEL - 59TH AT 5TH. - MANHATTAN - NIGHT

163

Mike hurries past the lit fountain in the plaza, hurries up the steps and enters this grand hotel.

INT. LOBBY - PLAZA HOIEL - MANHATTAN - NIGHT

Mike quickly crosses the opulent lobby to the Reception desk. A friendly Clerk eyes him. Except for the shorter than fashionable hair, Mike looks like any of dozens of the younger guests to him; dressed fashionably down.

INT. THIRD FLOOR - BY ROOM THREE FORTY - PLAZA HOTEL - NIGHT

Mike arrives at the door and knocks. Almost immediately Carol opens it, takes one look at him, and buries herself in his arms. They kiss. Then, Carol breaks. An OLDER COUPLE smile at them in-passing.

CAROL (pulls him in)

Get in here...

INT. CAROL’S ROOM - PLAZA HOTEL - NIGHT

They want each other desperately. Kissing becomes fondling, goes directly into tearing each other's clothes off. The only thing that slows them down are Mike’s shoes tied in knots.

164

MIKE

Baby, you don't know how much

I've missed you...

CAROL

Oh, yes I do...

Shoes gone, Mike sees Carol, who stands there with nothing but a smile, and suddenly they fly into King-size bed heaven together,

SLOW DISSOLVE TO:

(MONTAGE) INT. ROOM THREE-FORTY - PLAZA HOTEL - NIGHT

Desperate with passion, their lips come together. She takes him by a hand and places it on her breasts. His lips travel down the nape of her neck and across her chest. Then, down her tummy to where she's hot and wet and aching for him. He tastes her. She groans.

SLOW DISSOLVE TO:

LATER.

Mike lies nude on his back as Carol lies nude with her head on his chest. He lights a Pall Mall. Only the urgency has abated. All the emotions are still there.

165

CAROL

I'll call him tomorrow morning. Jovita set it up for me. She went to school with him at Columbia before she transferred out.

MIKE

Who does this ‘Jovita’ work for?

CAROL

An organization based in Canada; the Toronto Anti Draft League, or something. They've already helped a few hundred men escape into Canada.

MIKE

And then, what?

CAROL

Then they help you get jobs. There's a lot of work up there.

MIKE

For a cameraman? I’m not trained in anything else.

CAROL

For everybody ... You don't sound like you want to go.

MIKE

166

I don't want to desert to Canada, No...

CAROL

But, you'll do it.

MIKE

(no hesitation)

Yes, I'll do it.

(then)

You know, they'll pull another guy from the company and send him to replace me.

CAROL

Well, if he's unwilling, he can go to Canada, too. They have the choice. Everyone has a choice.

MIKE

It's not always that easy.

He crushes out his cigarette in a nearby ashtray. Then he scoots down to kiss her, and as he holds her,

MIKE

When will you join me?

CAROL

I don't know ... When I can. Over

the summer, I guess.

167

A Beat.

MIKE (senses)

Is there another guy?

CAROL

You mean am I serious about some-

body else? No, I'm not.

MIKE

What's his name?

CAROL

He's not important to me.

MIKE

Is it Tim? Or, Moose ?

CAROL

(laughs, nervous)

No, it's not Moose... His name

is Victor. Victor Channing. You

never met him.

(adds carefully)

He's not important to me. He's

just a friend.

168

MIKE

Do you sleep with him?

CAROL

That's none of your business.

MIKE

Well, is he any good?

She turns her back on him and lies there feeling hurt. And guilty.

CAROL

Christ, Michael, give me a break. I didn't go anywhere. I stayed in Westwood. You're the one who went into the Army and left town.

Mike watches her a long moment. Then, he touches her gently on the lower back and runs a finger up the soft skin along her spine to the nape of her neck. He leans over and kisses her there, just below the ear. And, he whispers,

MIKE

It's OK, I don't care. As long as you're mine.

She turns to him and kisses him on the lips again. And accepts him into her arms. And, into her body,

SLOW DISSOLVE TO:

169

EARLY MORNING.

Mike and Carol fell asleep in each others arms. The only light is hazy daylight that sneaks in around the edges of the thick drapes. When Carol slides in her sleep, gently away from him over onto her side of the bed her movement disturbs Mike enough that he cracks open his eyes. And then, very suddenly he's fully awake and looking at the light around the drapes, as

MIKE

Oh, Shit...!

He gets up and hurries to look out the window at the bad news. Cars are moving. There are people on the streets. Frantic, he pulls on his clothes, as

MIKE

Carol! I overslept! I've gotta get back to the base before they find me gone.

(she wakes with a start)

Arrange things with that guy ... and come to the Pictorial Center dressed for a party day after tomorrow night.

CAROL

What party? What time?

MIKE

(kisses her quickly)

170

Pictorial Center's Anniversary Party. At eight, day after tomorrow night. Gotta-go, all-a-way...!

He smooches her quickly, and darts for the door, as

CAROL

Bye, Michael... I love you!

EXT. ARMY PICTORIAL CENTER BARRACKS – LATER THAT MORNING

A TAXI pulls to the curb and almost before it stops Mike jumps out and charges into the Barracks.

INT. STAIRWELL - ARMY PICTORIAL CENTER BARRACKS - MORNING

Posner sits at the C.Q. desk. He looks astonished as he watches Mike charge by on his way upstairs. In passing,

MIKE (warns)

Turn me in, Pud, and you're an asshole.

INT. HALL BY BAY - BARRACKS - MORNING

Captain Taper and Sergeant Major Swain walk together down the hall. As Mike watches from the rear of the stairwell, he suddenly realizes,

MIKE (terrified)

171

A Pop-Inspection...!

The Captain leads Swain in to inspect the LATRINE and Mike takes his chance and dashes past them down the hall into the Bay.

INT. BAY - BARRACKS - MORNING

While the MEN watch from their cubicles where they are all still busy frantically trying to straight their things, Mike charges up the aisle, peeling his civilian clothes off as he goes. The moment he gets to his cubicle Bob is ready for him. As Mike strips off his shoes and Levis Bob takes them and puts them away for him and piecemeal hands Mike his uniform. They work in precision like a fine jeweled watch.

BOB

I've heard of cutting it close,

but, this’s ridiculous.

MIKE

Did anybody miss me last night?

BOB

No, you were lucky.

MIKE

How's my stuff? Any chance I'll pass?

BOB

If God's on your side, maybe.

172

As Mike is furiously tying his boots, Beauford enters from the latrine.

SERGEANT BEAUFORD

Arright! Stand by yo foot lockers.

(all obey, then)

Atten shun!

Taper and Swain enter and the inspection begins without fan fare. Since Posner is on C.Q., they go to MoFo and Lord, first. Swain checks their wall lockers, Taper sniffs their skivvys and looks at their brass, and after they get a clean bill of health (ad lib) it's quickly onto Hang One and ‘Gung Ho’ Dyer.


Your brass's lookin' good, Hedison.

CAPTAIN TAPER

(proud of him)

Just one word, Dyer, "Strack".

GUNG HO

Thank you, sir.

And, then to Mike and Bob. Swain checks their footlockers and finds nothing wrong. Taper checks their brass and looks into their wall lockers. Even their bunks look good.

CAPTAIN TAPER

173

Your bunks looks great, Moran.

Hardly looks slept in.

MIKE (smiles)

Yes, sir. Thank you, sir.

Even Swain nods a grudgingly positive word at them.


Better...

As they're away to the next cubicle, Mike looks at Bob with a wink of relief.

DISSOLVE TO.

EXT. BUSY STREET - QUEENS - NIGHT

It's raining. A CHECKER CAB fights its way into traffic and cruises with the flow. It turns down a street under the overhead railway.

INT. CHECKER CAB – QUEENS - NIGHT

While the OLD CABBIE expertly does his thing, Carol sits in the rear and watches the rain shower down on the drab gray apartment houses that line the street. It's a dirty depressing neighborhood on a dismal night, and though she doesn't want it to, it's atmosphere is bringing her down.

174

EXT. - ENTRANCE - ARMY PICTORIAL CENTER BARRACKS - NIGHT

Mike waits with several other GI's, including Bob. They’re all dressed alike in neatly pressed olive green Class "A's" and spit-shined shoes. Music, THE LETTER by The Box Tops plays over the P.A.

He watches as THREE TAXIS pull up to the curb outside. But, his hopes that Carol will be in one of them are dashed when Swain and Ann Weeks hurry through the rain from one as THREE YOUNG WOMEN step out of the other two. They all rush into the festively decorated entrance hung with colored streamers and banners proclaiming ‘27th. A.P.C. ANNIVERSARY’.

As Swain and Anne enter, Bob steps aside to let them through.

BOB

Good evening, Sergeant Major.


Evening, Schneider. The C.O. arrived yet?

BOB

Yes, he has.

‘GUNG HO’ DYER

The party's rollin' right along,

Sergeant Major. It's an open bar.

175

As Swain leads Ann downstairs somebody whistles at her but if Swain noticed, he didn’t care.

Mike spots Carol in a Checker Cab that stops the curb. As she steps out, he holds an umbrella to shield her.

MIKE (quick kiss)

Hi, baby.

CAROL (smiles)

Hi...

(they move quickly inside, as)

Good news. Everything's set.

MIKE

Tell me downstairs.

INT. ENLISTED MEN'S CLUB - BASEMENT – A.P.C. BARRACKS - NIGHT

Tinsel and red, white and blue streamers and Banners galore proclaiming "27 YEARS OF SERVICE" etc. drape across the dance floor where, on a raised stage at the far end, a multi-racial FIVE-PIECE BAND of College students, the KOPY KATS, plays a loud rendition of Junior Walker's "SHOTGUN". As Mike shows Carol in, he greets 'Hang One' and a few buddies (ad lib) on the way to a table with MoFo and his date, Dianne, 18, a gorgeous Black. The dance floor is jammed with couples. They nearly have to shout to communicate. Four drinks are already on the table.

MoFo and Mike introduce their dates to each other (ad lib). Then

176

MOFO

I got us all Seven and Seven's; first round’s on me.

(to Dianne)

Come on, Suger let's motivate...

MoFo and Dianne hit the dance floor and boogie hard, as

CAROL

I contacted Jovita's friend and met with him last night. His name is Haines Lyndley. We talked, and I'm convinced he knows what he's doing. If anybody can get you safely to Canada, he can.

MIKE

(sips his drink)

Great...

CAROL

He wants you to be ready to leave day after tomorrow morning. He's arranging everything. They'll pick you up by car and you'll drive direct. They'll even bring you a change of clothes so you won't have to stop anywhere. Just call me tomorrow afternoon and I'll tell you the exact time and place.

MIKE

Day after tomorrow morning is the I.G.

177

CAROL

What do you care?

MIKE (lies)

I don't.

CAROL (senses his lie)

Will you go?

MIKE

Absolutely.

CAROL (worries)

What's the matter?

MIKE (stands)

Nothing. Let's dance.

As they join the dancing, Swain sits drinking with Ann at the bar. Sergeant Sanchez and his pretty, hefty Puerto Rican Frau are drinking with them.

SERGEANT SANCHEZ (toasts)

To life, an' "Lifers". An' to de way de Army uss to be: A Brotherhood off Men! Ain' dat right, Sarge?

SERGEANT MAJOR SWAIN (agrees)

I hear you, Sergeant Sanchez.

178

They all drink, and then Swain leans Close to Ann


You want to dance?

ANN

(wants to, but)

Not to this...

Immediately Swain leaves the bar, and as the Band completes its number he makes his way to the bandstand where he addresses the SINGER.


How bout something slower? Anything, just so it's slower.

The Singer nods, and suddenly the Band starts (as a joke) "The Volga Boatman's Song". The GI’s start to ‘Booo!’ them when the Band switches into Ritchie Valens’, "OH, DONNA". Suddenly, the dance floor goes cheek to cheek, as

Back at the bar,


Will you dance with me, now?

179

ANN (pleased)

I’d love to.

They enter onto the floor and dance easily with each other. They're joined by the Sanchezs and Beauford and his gargantuan Black frau. But, as far as Swain and Ann are concerned, they dance alone. They only have eyes for each other.

ANN

You're a real twinkle toes.

SERGEANT MAJOR SWAIN (laughs)

I’m glad you think so.

ANN

I’m sure of it.


I can do other things a lot better.

ANN

I already know about them.


Not all of 'em.

ANN (smiles)

Oh? ... You’ll have to show me.

180

INT. ENTRANCE - BARRACKS - ARMY PICTORIAL CENTER - QUEENS - NIGHT

Bob is now waiting alone. He glances at his watch; it’s almost 9 O’clock. Bob is beginning to believe Allison's stood him up.

INT. ENLISTED MEN'S CLUB - BARRACKS - NIGHT

Carol sits with Mike and MoFo and Dianne as the Band plays The Rolling Stones' "SATISFACTION". She is clearly uncomfortable as all the men around them are all drunk and loud (ad lib). This scene isn't her style.

CAROL

(close to Mike)

Let’s get out of here; go back to the hotel.

MIKE

You know I can't do that. What's the matter?

CAROL (lies)

I ... it's just too loud.

MIKE

(sips his drink)

Sorry, nothing I can do about that.

181

Stone drunk Varicola stumbles into their table and spills beer on Carol. As she brushes it off her dress using a napkin, Varicola puts an arm palsey-walsy around Mike, and admires Carol.

VARICOIA

Hey, Mike, baby. Hey, you got the number one foxiest lady in the house, man. How do you do it? You ugly fucker ... Don' mean it, how are you, lady?

CAROL

(manages a smile)

Fine.

MIKE

Joe Varicola, meet Carol Lawrence.

VARICOLA

Hi, Carol. You from L.A.?

CAROL

Yes.

Suddenly he gets real, close. Close enough to reek beer at her.

VARICOLA

Hey-Hey. You know your old man's a killer. A fuckin' killer. He took on the Sergeant Major in a dukeout and laid his ass low. You shoulda seen it. It was somethin' else.

182

(to Mike)

You shoulda kicked his ass, Mike. I had twenty bucks on you...

As Varicola wanders off, Carol is about to suggest she do the same, when the Band finishes their song and Captain Taper steps onto the bandstand with a sweet little OLD LADY and takes the microphone. Raising a hand for quiet, Taper speaks into the mic.

CAPTAIN TAPER

Men ... I want to say a few words about us. But, first, I want to introduce you to the woman who made this all possible...

(points to himself)

Without her, I wouldn't be your CO. As a matter of fact, I wouldn’t exist at all! Gentlemen, this is my mother, Misses Irene Taper!

The men all applaud and cheer little Irene (ad lib).

MRS.IRENE TAPER

Thank you. I'm very proud of my son. He's a good boy. Always very clean.

A HUGE LAUGH from the men. Then, Taper takes back the mic. and holds up a hand to quiet them again.

CAPTAIN TAPER

OK...Well, I just want to say how proud I am to be your Commanding officer, on this, the twenty~seventh anniversary of the Army Pictorial Center. It's a real honor.

183

MoFo notices Swain sneaking out of the club with Ann Weeks in tow.

MOFO

(points Swain out to Mike)

There goes that 'nasty' man.

Suddenly Mike has an idea. He turns quickly to Carol.

MIKE

I'll be right back.

(to MoFo)

Come on...

CAROL (alarmed)

Where are you going?!

But Mike doesn't answer as he and MoFo move quietly out of the club after Swain, as

CAPTAIN TAPER (continues)

Whether they know we exist or not, we’re behind our men in Viet Nam one hundred percent. What we do here can directly effect the outcome of the war on the battlefield... etc.

INT. CORRIDOR - BASEMENT - BARRACKS - NIGHT

184

Swain and Ann are both juiced enough to be uninhibited as Mike and MoFo peer carefully around the bend where they spot the couple in a hot embrace. The GI’s duck quickly back out of view as Swain breaks the kiss to unlock and open the Supply Room door. Ann giggles nastily as they enter and Swain locks the door after them.

Mike and MoFo quickly look to be sure the Supply Rom door is closed, then,

MIKE

(takes charge, hushed)

The Supply Room windows on the yard side; do they have curtains on 'em?!

MOFO (hushed)

No.

MIKE (excited)

OK. We gotta work fast. Who's got the Starlight lense this week end?

MoFo’s eyes light up as he instantly understands the plan!

MOFO

Me and Hang One!

MIKE

Great! Get it back over here on a loaded camera in less than five minutes. Haul ass!

185

They take off like bats out of hell back down the corridor and up the stairs.

INT. SUPPLY ROOM - BASEMENT - BARRACKS – MINUTES LATER, NIGHT

In the dimly reflected neon that filters in from the yard lights through the row of narrow windows that borders the ceiling, Swain can be seen down on a pile of mattresses in the midst of an act of tender debauchery with his more than willing paramour, Ann Weeks. As they squirm and quiver away in the nearly nude, like two frenzied weasels in heat, they are totally oblivious to the THREE SHADOWS that flit past the windows above them.

EXT. REAR YARD - BY BASEMENT WINDOWS - BARRACKS - NIGHT

Mike and MoFo have a loaded 16mm camera with Starlight lens on a baby-legs tripod. Without a word, they position the camera and MoFo aims the big, light-intensifying lens through the basement window. He finds what he's seeking almost immediately.

MOFO (hushed, gasps)

Holy sheeeee-it!

MIKE (hushed)

Shoot, brother! Shoot!

P.O.V. MOFO: He fiddles with the focus a second, then zooms in and frames the green and white fornicators. The film runs ever so smoothly through the camera, as

MIKE

186

(anxious, hushed)

How’s it look!?

MOFO (awed, hushed)

Triple-X-Rated, my man.. Mercy!

And, the film grinds on and on and on.

INT. ENLISTED MEN’S CLUB - BASEMENT - BARRACKS - NIGHT

The party is still going strong as Mike enters without MoFo and hurries to rejoin Carol. She's been waiting, talking with Dianne and fending off drunken GI's since Mike left. He slides onto the chair beside her, and grins like the cat that ate the canary.

CAROL (demands)

Where the hell have you been?

MIKE

Want to dance?

CAROL (peeved)

No. I want to go back to the hotel.

I’ve been fighting off your heavy-

handed friends all night and I'm

tired of it. Real tired.

(she stands)

Good night, Dianne. It was nice

187

meeting you.

DIANNE

It was nice meeting you, Carol.

MIKE

(stands, to Dianne)

Don't go away, MoFo's coming back.

As they go out,

CAROL

What took you so long?

MIKE

A little monkey business.

They get to the door just a Swain and Ann do. Mike holds the door for them and grins HUGELY as Swain passes.


Thank you.

MIKE

(overly gracious)

The pleasure's all mine, Sergeant Major.

188

Then they hurry upstairs.

EXT. SIDEWAIX BY BARRACKS - WEENS - NIGHT

MIKE

I can't leave until after the I.G.

inspection.

CAROL (distressed)

Why? It’s all been arranged; you said you would.

MIKE

I know, but things have happened. I’m only talking about two days. It’s not that big a deal.

CAROL

It is a big deal! Haines is ready to go tomorrow morning. And, now you want to put it off two days?! I don’t understand you, Michael. Can’t you see that’s jeopardizing everything?? What is this I.G. thing that’s so important to you?

Her taxi arrives and pulls suddenly to the curb. He looks relieved and opens the door for her.

MIKE (to Cabbie)

Plaza Hotel; 59th and 5th.

189

(takes her into

his arms, quickly)

Look, I don’t expect you to understand but, go along with me. There’s something I’ve got to do. I can’t just split tomorrow. Not ‘til after the I.G. I have a commitment I can’t run out on. These guys need me, Ok? That’s the best I can put it.

CAROL

(reluctantly accepts)

Then, I guess that’s it. Ok..

They kiss again, once, hard on the lips. Then, she slides into the cab and he shuts the door. He leans in close so she can see him,

MIKE

I’ll call you tomorrow. I love you, Carol.

She manages a smile as the Cab pulls away..

INT. BAY – BARRACKS – NIGHT

Bob lies on his bunk curled to face the wall and appears to be asleep as Mike arrives. Around them, some of the men in the barracks are drunk, and some are (ad lib) noisy. But, most are asleep. Thinking Bob’s asleep, Mike tries to be quiet as he starts to undress. Then, Bob rolls over to face him.

190

BOB

How was the party?

MIKE (hushed)

OK. I got some incredible news, man! Swain's had it if this works out. We filmed him making it in the supply room with that woman of his. We used the Starlight lens and we filmed him bare assed naked humpin' away! Christ, I hope it comes out! I told you I was going to nail that son of a bitch...

BOB

(not enthusiastic)

Far out...

MIKE

(picks up the tone,

realizes)

I didn't see you and Allison at the party-

BOB

She never showed.

MIKE

(lies down, stunned)

You're kidding?

BOB

191

No. She stood me up. I guess she had a better offer.

A Beat. Mike knows this rejection hurts his buddy a lot.

MIKE

Wow. I never thought she'd do that. She seemed to like you. Maybe, something happened to her.

BOB

No. I watched 'til she closed the drapes. She's been home a few hours. She just went somewhere else, tonight, that’s all.

(then)

I'm an asshole. I've got to wake up and stop dreaming. I don’t have a dime’s worth of self-confidence and until I get some I'm always going to be wide open for this. I just wanted so hard to believe it was love at first sight for her like it was for me, that I didn't bother to ask. I didn't have the guts to ask her.

MIKE (carefully)

Sounds like you're awful hard on yourself. You should just take more time with the next girl, that's all. You're not always gonna be a G.I. It'll be a lot easier, then.

Bob feels so very low that he's having a hard time not to cry. As he chokes up, he rolls over again so Mike can't see his face.

BOB

192

Not for me.

Mike doesn't say anything because he feels as if he's had a part in his friend's pain. And he feels guilty.

DISSOLVE TO:

MONTAGE SEQUENCE:

INT. STAIRWELL BY ENTRANCE - BARRACKS - DAY

Hang One and Weingarten have just repainted DUTY - HONOR - COUNTRY in bright red, white and blue on the steps. Taper enters, and admires the work.

CAPTAIN TAPER

Nice, work, men. We’re strack, indeed!

EXT. BAY - BARRACKS - DAY

Varicola, MoFo and Lord are standing on boards hung by rope from the roof so they can wash the Bay windows. Beauford pokes his head out one of the open windows, and approves.

SERGEANT BEAUFORD

Arright...

INT. HALL BY COMAND OFFICE - BARRACKS - DAY

193

Gung Ho and Pud are furiously buffing opposite ends of the

linoleum floor as Taper enters off the stairwell and tiptoes gingerly down the gleaming way toward the command office.

CAPTAIN TAPER

Very strack, men. Very very strack!

INT. MESS HALL - BARRACKS - DAY

Pud and MoFo and Gung Ho have all the chairs in the dining area up on the tables and are busily mopping the floor. The stainless steel serving counter as well as all the stainless steel pots and pans have been washed and shined to look like a mirror in the sun. Sanchez looks upon the scene from the stove, and,

SERGEANT SANCHEZ (grins)

Iss a lookin' good, boys!

INT. GYM - BASEMENT - DAY

While Mike and Bob stand sweaty and exhausted by the door, Swain examines the exercise equipment for the ever so tiniest piece of funk. But, it's all gleaming. All clean. Everything sparkles like a jewel. Without a word he completes his inspection and turns to leave. As he passes them his one word is enough to make Bob, at least, smile relieved.


Ok.

194

MONTAGE ENDS:

DISSOLVE TO:

INT. LATRINE - BARRACKS BAY NIGHT

Mike and most of the men are hard at the task of cleaning and polishing everything in the latrine; the pipes and faucets, bowls and showers as well as the walls and windows. While Mike kneels under one sink, polishing pipes, Bob works half-heartedly nearby. He looks miserable.

MIKE

Chewing on it isn't gonna make it go away.

(Bob doesn't respond)

Forget her, Bob. She's not worth it.

Bob doesn't answer. Then, MoFo charges in looking frantic. He kneels by Mike.

MOFO

Bad news, man. The lab's down.

Something in the wash. I don't

'know what, but they gotta fix it

before they can process any more film.

MIKE (alarmed)

Shit! When did that happen?

MOFO

195

It happened before our stuff got in there. And we're lucky 'cause if it had been in the soup when the processor went out we would have lost it for sure.

MIKE

Son-of-a-bitch! When do they think they can get it fixed?

MOFO

They don't know. Maybe, tonight... Maybe not.

INT. FIRST FLOOR BY C.Q. DESK - BARRACKS - NIGHT

The telephone rings once and Weingarten answers it.

WEINGARTEN

Army Pictorial Center. Private Weingarten speaking.

(a Beat)

Yes ... Well, I'm not supposed to do that, but, OK. Wait a minute...

Weingarten hears someone in concerned conversation coming down the stairs. He looks and sees it's MoFo and Mike.

WEINGARTEN (hushed)

Hey, Mike, I was just gonna send for you.

(he holds up the receiver)

It's your girl.

196

MIKE (takes it)

Carol?

(INTERCUT) INT. CAROL’S ROOM - PLAZA HOTEL - NIGHT

CAROL (concerned)

Michael, why didn't you call? I expected you to call me. I waited all afternoon. I was worried sick.

MIKE

I'm sorry, Carol. I couldn't. They kept me busy all day. I was just going to try now.

(then, guarded)

I shouldn't do this. You'll have to talk fast.

CAROL

OK, at seven o'clock in the morning the day after tomorrow a green sixty-seven Ford will park across the street from the city side, the west side, of the rear yard of your building. Three people will be sitting in it. One will be me. One will be Haines Lyndley. And the driver. We'll wait for you until eight o'clock. One hour. So, you'll have plenty of time to get out. Just bring yourself, step into the rear yard and climb over the fence. Before the day's over you'll be a free man in Canada.

(then)

Is everything clear to you?

197

MIKE

Yeah, No problem.

(then)

How long will you stay with me?

CAROL

Just until we get to Montreal. After that I've got to fly back to L.A. Believe it nor not, I'm still in school.

MIKE (tries)

You don't think I could talk you into staying, do you? I might get kinda lonely up there; just me and the polar bears.

CAROL (laughs)

Oh, Michael ... It's a big city and there'll be lots of other Americans just like yourself. It won't be lonely at all. You'll see. It's a nice place.

MIKE

If you say so...

CAROL

I say so. I guess that's it. I'll see you day after tomorrow morning. And try to be closer to seven than eight. Don't make me worry, Michael, please?

198

MIKE

Count on it, I'll be on time.

CAROL (cheerful)

OK, see you then. Love you...

Carol hangs up first.

EXT. ENTRANCE - ARMY PICTORIAL CENTER BARRACKS - NEXT AFTERNOON

LIEUTENANT GENERAL SAMUEL CARVER, 50, is a tall, rough, tough, ramrod straight-backed disciplinarian with close-cropped salt-and-pepper hair and a very thin smile. When he steps out of the passenger's side of the military jeep that has little red flags with three five-pointed stars on each front fender, he does so sprightly. He's dressed in combat fatigues. One look and it's clear to the GIs watching from the second floor barracks windows that this man is all military. Totally strack Army.

CAPTAIN TAPER (salutes)

Good afternoon, General Carver. Welcome to the Pictorial Center.

LIEUTENANT GENERAL SAMUEL CARVER

(salutes)

Thank you, Captain Taper. It's good to be here.

SERGEANT MAJOR SWAIN (salutes)

Good afternoon, General.

199

GENERAL CARVER (salutes, grins)

Hello there, Sergeant.

(he and Swain shake hands)

It's good to see you, Swain. How’ve you been? You look terrific.


Thank you, sir; I feel great, sir. Anxious to be under your command again, sir.

GENERAL CARVER (aside, sincere)

I know that, Sarge. I'll see what I can do.

SERGEANT MAJOR SWAIN (heart felt)

Thank you, sir.

And then the three of them step inside the building together.

INT. BAY - BARRACKS - AFTERNOON

The men hurry back from the windows to stand in their areas. Their fatigues are pressed, their boots are shined so they look like patent leather, their brass positively sparkles and even the linoleum floor could be eaten off of without fear of germs. They stand by their cubicles. Mike looks for someone. Bob looks miserable.

200

MIKE (to MoFo)

Where the hell's Pud!? He said he'd be here an hour ago.

MOFO (worried)

I dunno, man. He must be with Weingarten.

MIKE

Shit!

MOFO

We can't do anything more, anyway. If it didn't get processed they won't be able to cut it in.

MIKE

I'd sure like to know one way or the other.

MOFO

Man, so would I.

Just then, Beauford steps into the Bay.

SERGEANT BEAUFORD

Arright. Stand by yo foot lockers. Les qo!

(as the men obey)

Atten shun!

201

Mike and Bob and the men brace as the General, Taper and Swain enter. They remain at attention, as Taper explains Posner's empty cubicle.

CAPTAIN TAPER

This soldier is working across the street at the Production Facility, General. He's editing a film about what we do here. We intend to screen it for you after the inspection.

They move on to Varicola who stands alone and rigid. General Carver just glances into his area and his eyes take in all he needs to see to know it's in perfect order.

GENERAL CARVER

Relax, soldier, you did good.

VARICOLA (beams)

Thank you, sir.

On to Dyer and Hang One where the General again just breezes through, and as Swain and Taper listen closely,

GENERAL CARVER (to Hang One)

How is the duty here, soldier? Are you being treated fairly?

HANG ONE (flustered)

Uh ... Yes, sir. I guess so, for the Army.

202

GENERAL CARVER

Well, isn't that what you're in, soldier?

HANG ONE(stiffens)

Yes, sir.

MoFo and Lord are the next in line. Again, one look and the General can see it's all in order. He moves on, as

GENERAL CARVER

Nice work, men.

The next area belongs to Mike and Bob. It looks just as pristine as the others. A quick glance around and General Carver steps to the window. He looks out a moment and then, to Mike.

GENERAL CARVER

Kind of strange being in the Army downtown New York, isn't it Moran?

MIKE

Yes, sir.

GENERAL CARVER

I hear you're going to Viet Nam. So am I. I was told your father' s over there, already. For better or for worse that's where we belong. We're military men and that's where our country's at war. Not here in New York City. Good luck, soldier.

203

MIKE

Thank you, sir.

The General and Swain and Captain Taper move on,

INT. LIBRARY FIRST FLOOR - BARRACKS – LATER THAT AFTERNOON

Mike and the men all file in. Each man stands at attention before the chair provided for him in one of three rows that face a large projection screen that hangs at the far end of the room. The projector sits on its raised table behind them. Mike and Bob stand in the row closest to the back of the room as MoFo darts in and joins them,

MOFO (hushed)

I just saw Weingarten in the hall.

MIKE (hushed)

Did he cut in our stuff?

MOFO (hushed)

I asked him and he just threw his hands in the air.

MIKE (hushed)

What does that mean?

MOFO (hushed)

204

How the hell should I know!?

Just then, General Carver enters the room with Taper and Swain. For an instant Swain catches Mike's glance, then,

SERGEANT BEAUFORD

Atten shun!

The men brace a little tighter. General Carver walks with Taper and Swain down the aisle between the rows of men and takes the seat the Captain indicates (ad lib) at the very front. Swain sits beside him. Taper remains standing.

Suddenly, Mike spots Pud and Weingarten enter with the film. They thread the projector close to him, but he can't talk or even make eye contact with them. Frustrated, Mike remains at attention, as

CAPTAIN TAPER

At ease, men. Take your seats.

(they all sit, then)

On behalf of the men of the Army Pictorial Center, I want to thank General Carver for taking the time to come here today.

(quips)

Even if it was to inspect us.

(little laughter)

It's an honor to have you, sir. We're a little known unit. Our work is done quietly behind the scenes, and there aren't many of us. But our work ultimately serves the same purpose as any other support group in the Armed Forces. We're here to back up our men in the Combat

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Arms, with whom some of us will serve. We provide training films, combat analysis films and films which will record the unfolding story of our men at war. I've asked the men here to produce a short film to show you, General Carver, more clearly what we do here. Are we ready, men?

PUD

Yes, sir.

As Taper takes his seat on the other side of the General, Weingarten dims the lights, and Posner starts the projector. One way or the other it's beyond Mike’s control, now.

MIKE (relaxes)

Well, I guess we'll just see...

The film opens with a standard A.P.C. logo and musical intro. An aerial view of the facility cuts into the Production Facility.

MATURE MALE NARRATOR (V.0.)

This is the Army Pictorial Center, located in the heart of Queens just across the East River from beautiful downtown Manhattan. Every year over two million feet of combat motion picture footage is processed and printed here. Every year over two hundred training films are made in these facilities. Films that help to train our men in Artillery

(intercuts clips of each activity)

in Tank maneuvers... in small arms handling ... and...

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Suddenly the SOUND cuts directly into "The Feel Like I'm Fixin' To Die Blues' by Country Joe and the Fish as Swain and Ann's bare-assed fuck-footage comes into full, clear, clean, and sharply focused X-RATED on screen life! And, even though it's green and white there's no mistaking who it is. The audience reaction is instant pandemonium. LAUGHTER, HOOTS and HOLLARS (ad lib) from the men, as Swain humps on film to the beat of the music!

COUNTRY JOE AND THE FISH (V.O. sing)

"Come on all of you big strong men

Uncle Sam needs your help again

He's got himself in a terrible jam

Away down yonder in Viet Nam..." etc.

Mike laughs harder than anyone! As the men all freak with hilarity, he and MoFo high-five triumphantly! Tears of joy roll down his cheeks as Mike watches Swain, the man he so despises, stand and face the confused General and Taper and rage helplessly,


Stop it! Turn it off!! Turn that damn thing off!!

Swain moves to stop the projector as Posner deserts it rather than face him. Mike moves to stop Swain from getting to it, when suddenly, in the midst of all the laughter and the ridicule, Swain falters mid-stride. For a moment he holds his left side, and looks around him helplessly at all the faces of the men who are mocking him. Then, like a tree cut from its roots, he topples to the floor!

A BEAT. No one moves to help Swain. Then, the General stands and pushes his way through the men towards Swain, as

GENERAL, CARVER

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Let me through! Shut that damn thing off!

Beauford pulls the projector's plug and it dies, as the General kneels beside the unconscious Swain.

GENERAL CARVER

(checks pulse, realizes)

He's alive. He's had a heart attack.

(orders)

Quick, somebody call an ambulance!

Taper goes to a wall phone and (ad lib) dials for an emergency ambulance.

Then, the room falls silent. In the absolute stillness, Mike looks at Swain lying there. Helpless. Sick. Dying. And, Mike doesn't feel the least bit of satisfaction, anymore.

Then, Beauford breaks the silence,

SERGEANT BEAUFORD

(shames them all)

Now, ain't you children proud of yoselves? You beat the only man in town.

SLOW DISSOLVE TO:

INT. BAY - BARRACKS - NIGHT

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Mike lies on his bunk, smoking a Pall Mall. Just staring at the ceiling. Thinking. Across from him, Bob is packing his gear, readying himself for the trip to Viet Nam. Around them all the men in the bay are quiet. No music. Little talking. They all feel ashamed. Bob looks the most depressed ever. He holds up a pair of boots. Not jungle type.

BOB

You think I should pack these or leave ‘em?

MIKE

Leave 'em. They'll issue us jungle boots over there.

BOB (continues to pack)

With my luck, I'll probably step on a land mine, anyway.

MIKE

You shouldn't talk like that.

BOB

Why not? I've made such a botch of my life, man. I don't deserve to live.

MIKE

Stop talking like that. You bring on those vibes by saying things like that.

BOB (means it)

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Self fulfilled prophesy ... But, I don't care. I really don't give a shit any more.

As Bob continues to pack, Mike butts his smoke in silence.

DISSOLVE TO:

INT. BAY BARRACKS - LATER NIGHT

Mike is sound asleep when Sergeant Beauford hurries down the bay to his cubicle and wakes him with a rough push on the shoulder.

SERGEANT BEAUFORD (genuinely concerned) Wake up, Moran. Wake up, yo got a long distance phone call. Foget getting’ dressed, Come on!

Mike wakes and steps out of bed. He hurries in his skivvys with Beauford back down the aisle.

INT. FIRST FLOOR HALL BY C.Q. DESK - NIGHT

Mike takes the phone from 'Lord' Deckart.

MIKE

Hello? Yes, mom...

(a beat)

Oh, my God...

(concerned, not anxious)

Are you all right, mom?

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(then)

And, Sarah and Dayle?

(then)

When will they ship him home?

(another pause)

I don't know. I have orders, you know. I'll have to see the C.O. in the morning. Are you all right?

(then, after a long pause)

OK...I'll call you then, mom...

Mike hangs up the phone. He looks stunned.

SERGEANT BEAUFORD (sincere)

I'm sorry about your father.

MIKE (dazed)

Thanks ... We never got along.

Without another word, he takes the stairs back up to the bay.

DISSOLVE TO:

INT. BAY - BARRACKS - LATER NIGHT

Mike is the only one awake. Again, he lies on his back on his bunk and smokes a Pall Mall. He stares at the ceiling. Only now he's crying. Silently. Privately. The tears travel down his cheeks and drop on his pillow, as

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DISSOLVE TO:

INT. BAY - BARRACKS - EARLY MORNING

Mike stands at the window behind his bunk and looks out at the dismal gray buildings and the deserted sidewalks. He watches a 1967 green Ford sedan turn the corner and park at the curb, across from him. Inside, he can see some people but he can't single Carol out. He just watches. Then, Reville sounds over the P.A.

DISSOLVE TO:

INT. CAPTAIN TAPER'S OFFICE - BARRACKS - MORNING

There's a knock on the door. From his desk,

CAPTAIN TAPER (calls)

Come in.

Mike opens the door, and, wearing pressed fatigues, crosses to the Captain where he salutes sharply.

MIKE

Private Moran reporting, sir.

CAPTAIN TAPER

(returns salute, then)

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At ease, Moran.

(sincerely)

I want you to know that I'm sorry about your father. We've lost a lot of our finest men in Viet Nam and your father was one of them. I know how you must feel.

(then)

As the sole surviving son of a family who has lost a man in war, you are no longer required to follow the T.D.Y. orders you have for Viet Nam today. I have the authority to cancel those orders and send somebody else. I want you to know I'm doing that right now so you can return home to your family as soon as possible.

MIKE

That won't be necessary, sir. I don't want you to change my orders.

CAPTAIN TAPER

I don't understand...

MIKE

I'll go to Viet Nam, sir. I'm ready. I don't want anyone else to have to go for me.

CAPTAIN TAPER (surprised)

Are you sure?

MIKE

Yes, sir. Very sure.

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A Beat as he looks at Mike to be sure. Then,

CAPTAIN TAPER (decides)

All right. If you're sure. Be out front at zero-eight hundred hours.

(they salute, then)

Good luck, Private Moran.

INT. BAY - BARRACKS - MORNING

Bob stands at the window by is bunk. Down on the street below he can see Allison McLeod as she steps from her apartment building and walks away down the sidewalk, past the green ’67 Ford, toward the bus stop on the next block.

MIKE (enters)

You ready? Let's go. Jeep's waiting.

He hoists his bags to his shoulders from where they were on the bed. Then he notices who Bob is watching.

MIKE (knows)

You're still in love with her, aren't you?

BOB (means it)

I'm still in love with all of them.

Suddenly, Mike knows what he must do and he points to the green Ford,

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MIKE

You see that car? Get in that car, it's waiting for you. It'll take you straight to Canada. You don't have to go to Viet Nam if you don't want to. It was sent for me, but I'm not gonna use it. You use it. Get outta here.

BOB (confused)

I ... what?

MIKE (forceful)

I told you! You don't have to go to Viet Nam if you'll get in that car. It's going to Canada. Now, get outta here. Before you can't anymore. They won't wait.

BOB (uncertain)

Are you... ?? .

MIKE

Yes! Hop the fence and GO! Get your ass outta here!

And, so Bob goes. Without another word he bolts from the bay.

EXT. REAR YARD - BARRACKS - MORNING

Bob dashes down the stairs to the yard. He flings himself at the cyclone fence and scales it. In a moment he's at the top , then over the barbed wire. He drops onto the sidewalk safely on the far

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side. He scrambles to his feet and darts to the green ‘67 Ford. He ducks inside it, as

EXT. STREET BY BARRACKS ENTRANCE - MORNING

Mike tosses his bags into the rear of the waiting Jeep and joins the GI DRIVER up front .

MIKE

Shift 'em.

GI DRIVER

(starts motor)

What about the other guy?

MIKE

His orders were changed . He's not comin'.

The Driver pulls a U-Turn , and as he takes Mike away Up 35th Avenue, they pass the green Ford on its way around the corner. But, Mike doesn't look at the Ford. He doesn't even notice it. As he continues on and on and on away into the City, his thoughts are already in another time, another place to come...

Then, this song plays over, just as it was sung by Yamaguchi and Bob and Mike and all the other GI’s that day in the shower together,

MEN

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'Pearly Shells,

By the ocean,

Shining in the Sun,

Covering the shore,

When I see them,

My heart breaks a little more,

Over all those little Pearly Shells...’

ROLL CREDITS:

FADE TO BLACK

-THE END -

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· web viewjimmy hendrix’s purple haze is playing on the radio as mike drives. carol sits close...

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