"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"APOCALYPSE NOW"

"REDUX"

an original screenplay

by

John Milius and Francis Ford Coppola

Narration written by

Michael Herr (uncredited)

FINAL DRAFT



FADE IN:

EXT. A SIMPLE IMAGE OF TREES - DAY

Coconut trees being VIEWED through the veil of time or a
dream. Occasionally colored smoke wafts through the FRAME,
yellow and then violet. MUSIC begins quietly, suggestive of
1968-69. Perhaps "The End" by the Doors.

Now MOVING through the FRAME are skids of helicopters, not
that we could make them out as that though; rather, hard
shapes that glide by at random. Then a phantom helicopter in
FULL VIEW floats by the trees -- suddenly without warning,
the jungle BURSTS into a bright red-orange glob of napalm
flame.

The VIEW MOVES ACROSS the burning trees as the smoke ghostly
helicopters come and go.

DISSOLVE TO:

INT. SAIGON HOTEL - DAY

A CLOSE SHOT, upside down of the stubble-covered face of a
young man. His EYES OPEN... this is B.L. WILLARD. Intense
and dissipated. The CAMERA MOVES around to a side view as he
continues to look up at a ROTATING FAN on the ceiling.

EXT. IMAGES OF HELICOPTERS - DAY

They continue to fly slowly, peacefully across the burning
jungle. The colored smoke comes and goes. Morrison continues
with "The End".

INT. SAIGON HOTEL - DAY

The CAMERA MOVES slowly across the room... and we SEE WILLARD,
a young army captain. He looks out the window to the busy
Saigon street.

WILLARD (V.O.)
Saigon... shit. I'm only in Saigon.
Every time, I think I'm gonna wake
up back in the jungle.

He moves back to the bed, lies down. He's unshaven, exhausted,
probably drunk. We SEE alcohol bottles, photos, documents
scattered on the table.

WILLARD (V.O.)
When I was home after my first tour,
it was worse. I'd wake up and there'd
be nothing. I hardly said a word to
my wife until I said yes to a divorce.
When I was here, I wanted to be there.
When I was there... all I could think
of was getting back into the jungle.
I'm here a week now. Waiting for a
mission. Getting softer. Every minute
I stay in this room, I get weaker.
And every minute Charlie squats in
the bush... he gets stronger. Each
time I looked around... the walls
moved in a little tighter.

He's up now, naked, going into a frenzy, drinking, doing
some sort of martial arts, eventually collapsing onto the
floor.

FADE OUT:

FADE IN:

INT. SAIGON HOTEL - STAIRWAY - DAY

Two extremely sharp army men walk up the stairs to Willard's
room, a SERGEANT and a PRIVATE.

WILLARD (V.O.)
Everyone gets everything he wants. I
wanted a mission. And for my sins,
they gave me one. Brought it up to
me like room service.

They knock on the door. A second knock.

SERGEANT
Captain Willard, are you in there?

WILLARD
Yeah I'm coming.

The army men wait for him.

WILLARD (V.O.)
It was a real choice mission. And
when it was over, I'd never want
another.

Willard unlocks the door and opens it. The men react to his
condition.

WILLARD
What do you want?

SERGEANT
Are you all right, Captain?

WILLARD
What's it look like?

Willard turns back into the room, sits on the bed. The
Sergeant follows him.

SERGEANT
Are you Captain Willard? 505th
Battalion? 173rd Air-Borne? Assigned
to SOG?

Willard looks over at the Private by the door.

WILLARD
Hey, buddy, you gonna shut the door?

The private enters the room, closing the door behind him.

SERGEANT
We have orders to escort you to the
airfield.

WILLARD
What are the charges? What did I do?

SERGEANT
There's no charges, Captain.

The sergeant opens the letter he has been holding.

SERGEANT
You have orders to report to Com-Sec
Intelligence at Nah Trang.

He holds up the letter in front of Willard's face so he can
see it. We see the word 'RESTRICTED' across the top.

WILLARD
I see.

SERGEANT
All right?

WILLARD
Nah Trang, for me?

SERGEANT
That's right.

The sergeant folds the letter back and puts it back in the
envelope. Willard doesn't move.

SERGEANT
Come on, Captain, you still have a
few hours to get cleaned up.

WILLARD
I'm not feeling too good.

He lays his head on the pillow and closes his eyes.

SERGEANT
Captain?
(to private)
Dave, come here and give me a hand.
We've got a dead one.

The two of them move over to Willard and pick him up.

SERGEANT
Come on Captain, Let's go take a
shower.

WILLARD
Don't be an ass.

SERGEANT
(to private)
Get hold of him good. We're going to
take a shower, Captain.

They drag him into the shower, and turn on the cold water.

SERGEANT
Stand under this, Captain.

Willard shudders and yells as they begin to clean him up.

EXT. MILITARY COMPOUND - DAY

A darkly painted Huey lands in a guarded military compound
somewhere in Nah Trang. The two enlisted men jump out of the
helicopter, leading Willard, who seems in much better shape.
As he gets out he sees a platoon of new men drilling in the
hot hazy sun. They are clean and pale.

MEN
(chanting)
I wanna go to Vietnam. I wanna kill
a Vietcong --

WILLARD (V.O.)
I was going to the worst place in
the world, and I didn't even know it
yet. Weeks away and hundreds of miles
up river that snaked through the war
like a circuit cable... plugged
straight into Kurtz.

He follows the escort across the fields as the platoon drills.

WILLARD (V.O.)
It was no accident that I got to be
the caretaker of Colonel Walter E.
Kurtz's memory, any more that being
back in Saigon was an accident. There
was no way to tell his story without
telling my own. And if his story is
really a confession, then so is mine.

They approach a civilian-type luxury trailer. It is surrounded
by concertina wire, and its windows have grenade protection,
but it still seems out of place in this austere military
base.

CLOSER ON WILLARD

He stands before the door for a moment, as the M.P.s guarding
the trailer check his papers.

INT. TRAILER - DAY

Cool and comfortable, furnished like home. Pictures on the
walls, certificates, photos of Presidents Kennedy, Johnson
and Nixon and other mementos decorating the room.

A small table is covered with linen and place settings for
three.

Willard enters. He salutes, and the COLONEL salutes him
back.

COLONEL
(to Willard)
Captain. Good. Come on in.

WILLARD
Thank you, sir.

COLONEL
Stand at ease.

Willard notices somebody O.S. and reacts.

WILLARD
General.

The General crosses over to a cabinet and picks up a pack of
cigarettes, as the CAMERA REVEALS a CIVILIAN; probably with
the Department of Defense, sitting at the bar, and a GENERAL
sitting on a sofa.

The colonel turns and offers Willard a cigarette from the
pack.

COLONEL
(to Willard)
Do you want a cigarette?

WILLARD
No thank you, sir.

COLONEL
(indicating civilian)
Captain, have you ever seen this
gentleman before?

WILLARD
No, sir. Not personally.

COLONEL
You've worked a lot on your own,
haven't you, Captain?

WILLARD
Yes, sir, I have.

COLONEL
Your report specifies intelligence,
counter-intelligence with Com-Sec, I
Corps.

WILLARD
I'm not presently disposed to discuss
those operations, sir.

There is a pause as the colonel lights his cigarette, then
moves to the sofa. He bends down and picks up a dossier,
looks at it.

COLONEL
Did you not work for the CIA in I
Corps?

WILLARD
(pause)
No, sir.

COLONEL
Did you not assassinate a government
tax collector... Quang Tri province
June 18, 1968?

Willard doesn't answer.

COLONEL
Captain?

WILLARD
Sir, I am unaware of any such activity
or operation, nor would I be disposed
to discuss an operation, if it did
in fact exist, sir.

A pause. Willard is tired and confused and hung over, but he
is handling himself well. The general rises.

GENERAL
I thought we'd have a bit of lunch
while we talked. I hope you brought
a good appetite, Captain.

Willard gets up and moves towards the dining table with the
general and the civilian. They sit down.

GENERAL
I noticed that you have a bad hand
there. Are you wounded?

WILLARD
Had a little fishing accident on R
and R, sir.

GENERAL
Fishing on R and R?

WILLARD
Yes, sir.

GENERAL
But you're feeling fit? You're ready
for duty?

WILLARD
Yes, General. Very much so, sir.

The food is being passed around.

GENERAL
Well, let's see what we have here.
Roast beef, and usually it's not
bad.
(to civilian)
Try some, Jerry. Pass it around. To
save a little time, we might pass
both ways.
(to Willard)
Captain, I don't know how you feel
about this shrimp, but if you eat
it, you'll never have to prove your
courage in any other way.

The colonel, who is not eating with them, walks to the table,
holding a small photo.

COLONEL
(to Willard)
Captain, you've heard of Captain
Walter E. Kurtz?

He shows the photo to Willard.

INSERT THE PHOTO

It's an eight-by-ten black-and-white portrait of an army
officer wearing a beret.

WILLARD
Yes, sir. I've heard the name.

The Colonel accidentally drops the dossier. Papers, photos,
etc., scatter all over the floor. He stoops down to pick
them up.

COLONEL
Jesus... Operations officer, Fifth
Special Forces.

GENERAL
Luke, would you play that tape, for
the captain, please?
(to Willard)
Listen to it carefully, Captain.

The Colonel moves to a tape recorder and turns it on.

MALE VOICE (ON TAPE) (V.O.)
"October 9, 04:30 hours, Sector Peter,
Victor, King."

GENERAL
These were monitored out of Cambodia.
It's been verified as Colonel Kurtz's
voice.

All the men, including Willard, listen in wonder.

KURTZ (ON TAPE) (V.O.)
"I watched a small snail, crawling
on the edge of a straight razor.
That's my dream. It's my nightmare.
Crawling, slithering, along the edge
of a straight razor, and surviving."

MALE VOICE (ON TAPE) (V.O.)
"Transmission 11, received '68,
December 30, 05:00 hours, Sector
King, Zulu, King".

KURTZ (ON TAPE) (V.O.)
"But we must kill them. We must
incinerate them. Pig after pig. Cow
after cow. Village after village.
Army after army. And they call me an
assassin. What do you call it, when
the assassins accuse the assassin?
They lie. They lie and we have to be
merciful, for those who lie. Those
nabobs. I hate them. I really hate
them."

The TAPE is TURNED OFF.

GENERAL
Walter Kurtz was one of the most
outstanding officers this country's
ever produced. He was brilliant. He
was outstanding in every way. And he
was a good man, too. A humanitarian
man. A man of wit and humor. He joined
the Special Forces, and after that,
his ideas, methods, became... unsound.
Unsound.

COLONEL
Now he's crossed into Cambodia with
this Montagnard army of his, that
worship the man like a god, and follow
him every order, however ridiculous.
Well, I have some other shocking
news to tell you. Colonel Kurtz was
about to be arrested for murder.

WILLARD
I don't follow sir. Murdered who?

COLONEL
Kurtz had ordered the execution of
some Vietnamese intelligence agents.
Men he believed were double agents.
So he took matters into his own hands.

GENERAL
Well, you see, Willard, in this war,
things get confused out there. Power,
ideals, the old morality, and
practical military necessity. But
out there with these natives, it
must be a temptation to be God.
Because the rational and the
irrational, between good and evil.
And good does not always triumph.
Sometimes, the dark side overcomes
what Lincoln called the better angels
of our nature. Every man has got a
breaking point. You have and I have
them. Walter Kurtz has reached his.
And, very obviously, he has gone
insane.

Willard looks from the colonel to the general to the civilian.
They are intensely interested in his response, which they
want to be "yes."

WILLARD
(carefully)
Yes, sir. Very much so, sir. Obviously
insane.

The three men pull back, satisfied.

COLONEL
Your mission is to proceed up the
Nung River in a navy patrol boat,
pick up Colonel Kurtz's path at Nu
Mung Ba, follow it, learn what you
can along the way. When you find the
colonel, infiltrate his team by
whatever means available, and
terminate the colonel's command.

WILLARD
(to General)
Terminate... the colonel?

GENERAL
He's out there operating without any
decent restraint, totally beyond the
pale of any acceptable human conduct.
And he is still on the field
commanding troops.

CIVILIAN
Terminate with extreme prejudice.

The civilian hands Willard a cigarette, and lights it for
him.

COLONEL
You understand, Captain, that this
mission does not exist, nor will it
ever exist.

CLOSE ON WILLARD

Smoking the cigarette, thinking about the mission.

CUT TO:

EXT. THE MEKONG DELTA - DUSK

A HUEY helicopter flying over the mountains moves over rice
paddies, the Mekong River, MOVING CLOSER until we view a
dock area.

WILLARD (V.O.)
How many people had I already killed?
There were those six that I knew
about for sure... close enough to
blow their last breath in my face.
But this time it was an American,
and an officer. That wasn't supposed
to make any difference to me, but it
did.

We SEE a small patrol boat. It moves away from the dock, out
into the delta.

WILLARD (V.O.)
Shit. Charging a man with murder in
this place was like handing out
speeding tickets at the Indy 500. I
took the mission. What the hell else
was I gonna do? But I really didn't
know what I'd do when I found him.

EXT. PBR - DAY

We are CLOSE ON THE BOAT, the PBR. Willard is lying on the
deck, his eyes closed.

WILLARD (V.O.)
I was being ferried down the coast
in a navy PBR, a type of plastic
patrol boat, pretty common sight on
the rivers. They said it was a good
way to pick up information, and move
without drawing a lot of attention.
That was okay. I needed the air and
the time. Only problem was, I wouldn't
be alone.

Willard awakens to see a young black crewman squatting in
front of him, brushing his teeth.

WILLARD (V.O.)
The crew were mostly just kids. Rock
'n' rollers with one foot in their
graves.
(to Clean)
How old are you?

CLEAN
Seventeen.

VIEW ON CHEF, lanky, with a mustache.

WILLARD (V.O.)
The machinist, the one they called
Chef, was from New Orleans. He was
wrapped too tight for Vietnam.
Probably too tight for New Orleans.

VIEW ON LANCE, blonde, handsome, laid-back surfer type. He
is sunning himself with a reflector.

WILLARD (V.O.)
Lance, from the forward 50's, was a
famous surfer from the beaches south
of L.A. To look at him, you wouldn't
believe he's ever fired a weapon in
his life.

VIEW ON CLEAN, the young black man brushing his teeth.

WILLARD (V.O.)
Mr. Clean was from some South Bronx
shit-hole, and I think the light and
the space of Vietnam really put the
zap on his head.

VIEW ON THE CHIEF, an older black man. He is at the helm,
studying a map of the delta.

WILLARD (V.O.)
Then there was Phillips, Chief. It
might have been my mission, but it
sure as shit was the Chief's boat.

PHILLIPS
(to Willard)
There's about two points where we
can draw enough water to get into
the Nung River. They're both hot,
belong to Charlie.

WILLARD
Don't worry about it.

He takes out a pack of cigarettes and offers one to the Chief.

CHIEF
Don't smoke. You know, I've pulled a
few special Ops in here. About six
months ago, I took a man who was
going past the bridge at Do Lung. He
was regular army, too. I heard he
shot himself in the head.

Willard lights his cigarette as the boat continues to move
out into the ocean.

EXT. RIVER - THE PBR - DAY

Willard is sitting, smoking a cigarette, and looking down at
a large pouch. He opens the flap and WE SEE there are several
dossiers inside. He opens one, thumbing through the material.
WE SEE the personal letters, photographs, reports, files-the
entire case history of Colonel Walter E. Kurtz.

WILLARD (V.O.)
At first, I thought they handed me
the wrong dossier. I couldn't believe
they wanted this man dead. Third-
generation West Point, top of his
class... Korea, Airborne, about a
thousand decorations, etc., etc. I'd
head his voice on the tape and it
really put the hook in me, but I
couldn't connect up that voice with
this man. Like they said, he had an
impressive career. Maybe too
impressive. I mean, perfect. He was
being groomed for one of the top
slots in the corporation. General,
chief of staff, anything. In 1964,
he returned from a tour with Advisory
Command in Vietnam, and things started
to slip. His report to the Joint
Chiefs of Staff and Lyndon Johnson
was restricted. Seems they didn't
dig what he had to tell them. During
the next few months, he made three
requests... for transfer to Airborne
training, Fort Benning, Georgia...
and was finally accepted. Airborne?
He was thirty-eight years old. Why
the fuck would he do that? 1966...
joins Special Forces, returns to
Vietnam.

Suddenly we HEAR a sound, a distant EXPLOSION. The crew all
stop whatever they are doing, look out beyond the shore and
the green jungled hills. There is a distant ROLLING NOISE,
like interrupted thunder. The buffeting and noise continue.

CHEF
What's that?

WILLARD
Arc light.

LANCE
What's up?

WILLARD
B-52 strike.

CHEF
What's that?

WILLARD
Arc light!

CHEF
I hate that. Every time I hear that,
something terrible happens.

CLEAN
Charlie don't never see them or hear
them, man.

LANCE
There they are!

He points up to the sky.

EXT. SKY - FULL SHOT - DAY

Way up -- past any clouds and barely discernible we SEE the
black silhouettes of four B-52 bombers, their vapor trails
streaming white against the dark blue sky.

CLEAN
Concussion'll suck the air out of
your damn lungs.

CHEF
Something terrible is going to happen.

CLEAN
Smoke! Secondary burning.

FULL SHOT-COASTLINE

Black smoke rises from the jungle.

CHIEF
Hueys over there. Lots of Hueys.

WILLARD
Let's have a look Chief.

The Chief hands Willard the field glasses. He looks through
them out at the burning coastline.

WILLARD (V.O.)
It was the Air-Cav, First of the
Ninth.
(to Chief)
That's them.

All the crew move to battle positions, get their flak jackets,
helmets, etc.

WILLARD (V.O.)
Our escorts to the mouth of Nung
River. But they were supposed to be
waiting for us another thirty
kilometers ahead. Well, Air Mobile.
Those boys just couldn't stay put.

The PBR moves to the beach through a chaos of other boats,
low-flying helicopters, and soldiers rushing by onshore.

EXT. BEACH AND VILLAGE - DAY

A vast field of devastation, smashed and burning huts,
shattered sampans and bodies washing around in the surf.
Willard jumps off the boat, Clean and Lance fall in behind
him, they head ashore.

WILLARD (V.O.)
First of the Ninth was an old cavalry
division that had cashed in its horses
for choppers, and gone tear-assni'
around Nam looking for shit. They'd
given Charlie a few surprises in
their time here. What they were
mopping up now hadn't even happened
yet an hour ago.

They make their way across the beach, weapons in hand.
Explosions go off around them; there is smoke everywhere.
Suddenly they are stopped by a VOICE.

VOICE (O.S.)
Go on, keep going. It's for
television. Don't look at the camera.

Willard and the two who are following stop incredulously,
their M16s still in hand.

VOICE (O.S.)
Go on, go on, keep going. Don't look
at the camera.

REVERSE ANGLE OF WHAT THEY SEE

A NEWS TEAM, dressed in fatigues and combat dress. A director,
cameraman, and soundman; the director keeps waving them by.

DIRECTOR
(to Troops)
Just go by like you're fighting.
Don't look at the camera. It's for
television. Just go through. Just go
by. Keep on going.

Willard, Lance, and Clean run by, staring into the camera
the entire time.

They make their way toward the village under siege. Willard
stops to talk with a SERGEANT, as a medevac helicopter takes
off in the background. The Hueys and Loches in the sky drown
out most of their conversation.

CLOSE ON WILLARD

Looking up as the Hueys sweep in low.

WILLARD
Where Can I find the CO?

SERGEANT
That's the colonel coming down!

He points to a particular Huey in the sky, and moves to a
clear spot by a large bomb crater. He takes out a smoke bomb
and pulls the pin and lays it down in the clearing, as it
spews out orange smoke.

WILLARD
(to his men)
CO's on that chopper.

Willard moves back to Lance and Clean, they all kneel, trying
to avoid the propeller wash, as they look up.

FULL VIEW

The helicopter is heavily laden with machine guns, etc., as
it lands in the middle of the clearing.

A tall, strong-looking man jumps out of the helicopter.
This is COLONEL WILLIAM KILGORE. He puts on his Air-Cav hat,
then stands to his full immense height and with his hands on
his hips, surveys the field of battle.

KILGORE
Lieutenant, bomb that tree line back
about a hundred yards. Give me some
room to breath.

LIEUTENANT
Yes, sir!

Kilgore starts walking, then turns and shouts to the
LIEUTENANT.

KILGORE
Bring me my body cards!

LIEUTENANT
Yes, sir!

The Lieutenant moves back to the helicopter and Kilgore
continues forward toward a besieged village. A CAPTAIN from
tank division comes running down the street, stops in front
of Kilgore.

CAPTAIN
I'm the Fourth Tank commander. I've
got five tanks broken down.

KILGORE
All right with the tanks. It's all
right, Captain.

The captain turns and exits, as the sergeant walks up leading
Willard, Lance, and Clean.

WILLARD
Captain Willard.

They exchange salutes. Willard takes out a set of orders and
hands them to him.

WILLARD
I carry priority papers from Com-Sec
Intelligence, II Corps! I understand
Nah Trang has briefed you on the
requirements of my mission.

KILGORE
What mission? I haven't heard from
Nah Trang.

Kilgore hands the orders to the major, who has joined him.
He looks at them and shakes his head "no."

WILLARD
Sir, you're supposed to escort us
into the Nung!

The major hands the orders back to Willard. By this time the
lieutenant has run back in from the helicopter with the deck
of playing cards. He hands them to Kilgore.

KILGORE
We'll see what we can do about that!
Just stay out of my way till this is
done, Captain!

Kilgore cracks the plastic wrapping sharply, takes the deck
of new cards and fans them. Then he strides past willard and
his two young crewmen with no further acknowledgement-the
others follow.

He moves through the shell-pocked field of devastation,
soldiers gathering around him. As he comes to each V.C.
corpse, he drops a card on it, carefully picking out which
card he uses.

KILGORE
(to himself)
All right, let's see what we have.
Two of spades. Three of spades. Four
of diamonds, six of clubs... there
isn't one worth a jack in the whole
bunch. Four of diamonds...

He crosses on down the street, distributing his cards on top
of the dead V.C. corpses.

Willard, Lance, and Clean have been following Kilgore. Willard
bends down and picks up one of the cards from a dead V.C.

LANCE
Hey, Captain, what's that?

WILLARD
Death cards.

LANCE
What?

WILLARD
Death cards. Lets Charlie know who
did this.

MOVING SHOT OF KILGORE

As he moves through the corpses, selecting a card and flipping
it on a body, or putting it behind an ear.

KILGORE
(to a shell-shocked
G.I)
Cheep up, son.

As they pass by a well, two G.I.s jump out of it.

G.I.
Fire in the hole!

They all hit the deck, as a tremendous explosion comes out
of the well.

Kilgore, his lieutenant, and major stop in back of a large
gathering of villagers. They are standing around a G.I. and
ARVN Interpreter, listening to them.

SOLDIER (OVER P.A.)
This is an area that's controlled by
the Vietcong and North Vietnamese!
We are here to help you! We are here
to extend a welcome hand to those of
you who would like to return to the
arms of the South Vietnamese
government.

A line of villagers are throwing all their belongs on top of
a large APC parked by the road, and filing into the carrier.
Kilgore stops and watches the G.I.s help them, then he moves
over and looks at the inside, where the villagers are crowded
together, waiting and scared.

KILGORE
(to woman)
Get in! Hurry up!
(to soldier)
Move it out!

SOLDIER (OVER P.A.)
This is an area that is controlled
by the Vietcong and North
Vietnamese...

Kilgore turns and continues down the burning street with his
group. He comes upon a wounded V.C., groaning. The man has
tied a wash bowl over his belly and is groaning for water.
Kilgore turns to a soldier.

KILGORE
What's this?

SOLDIER (OVER P.A.)
This man's hurt pretty bad, sir.
About the only thing holding his
guts in, sir, is that pot lid.

KILGORE
(to ARVN soldier)
Yeah? What does he have to say?

ARVN SOLDIER
This soldier is dirty V.C. He wants
water. He can drink paddy water.

KILGORE
Get out of here! Give me that canteen.

He pushes the ARVN soldier away, turns, and then gets a
canteen full of water from the lieutenant.

KILGORE
Any man who's brave enough the fight --
(to ARVN soldier)
Get outta here! I'll kick you fucking
ass! Any man brave enough to fight
with his guts strapped on him can
drink from my canteen any day.

He stoops down -- starts to quench the prisoner's thirst
from his canteen. A soldier rushes up to him.

SOLDIER
Colonel, I think one of those sailors
is Lance Johnson, the surfer.

KILGORE
Where? Here? You sure?

The solder points at Lance.

SERGEANT
Down there.

Kilgore rises, hands the canteen back, and moves over to
Willard and his crew. Looks at Lance.

KILGORE
What's your name, sailor?

LANCE
(salutes)
Gunner's Mate Third Class L. Johnson,
sir.

KILGORE
Lance Johnson the surfer?

LANCE
Yes, sir.

Kilgore smiles, sticks out his hand.

KILGORE
Well, it's an honor to meet you Lance.
I've admired your nose riding for
years. Your cutback, too. I think
you have the best cutback there is.

LANCE
Thank you, Sir.

KILGORE
You can cut out the "sir" crap, Lance.
I'm Bill Kilgore. I'm a goofy foot.

Kilgore leads Lance off to meet some other soldiers. Willard's
entire top-priority mission has been out in the background.

KILGORE
(making introductions)
I want you to meet some guys. This
is Mike from San Diego. Johnny from
Malibu. We're pretty solid surfers.
None of us are anywhere near your
class, though.

MIKE
No way.

Lance shakes their hands. Kilgore moves on, the group follow
him.

KILGORE
We do a lot of surfing around here,
Lance. I like to finish operations
early, fly down to Yung Tau for the
evening glass. Been riding since you
got here?

LANCE
No way. I haven't surfed since I
been here.

They stop to see Catholic Mass going on in the middle of a
graveyard. Many helicopters continue to hover overhead.
Willard looks around him, looks at the Mass being held, as
the Priest continues his alter on a gravestone in the midst
of the bombing and evacuations.

EXT. AREA BY DESTROYED VILLAGE - NIGHT

The area is illuminated by large cans filled with sand and
jet fuel, bonfires, and the burning village in the background.
There are maybe fifteen to twenty helicopters secured against
the wind, in orderly patterns. Men are grouped around the
fires, eating steaks, hot dogs, hamburgers, drinking beer.
It has the bizarre resemblance of some sort of barbarian
beach party.

WILLARD (V.O.)
Kilgore had a pretty good day for
himself. They choppered in the T-
bones and the beer... and turned the
L.Z. into a beach party. The more
they tried to make it like home, the
more they made everybody miss it.

Kilgore is seated at the fire with some of his men, strumming
a guitar and singing.

KILGORE
(to the Chief)
Make my meat rare. Rare but not cold.

WILLARD (V.O.)
Well, he wasn't a bad officer, I
guess. He loved his boys, and you
felt safe with him. We was one of
those guys that had a weird light
around him. You just knew he wasn't
going to get so much of a scratch
here.

Kilgore looks at Willard, who more or less sits by himself.

KILGORE
What happened to your mission,
Captain? Nah Trang forget all about
you?

He laughs. Willard gets up, carrying the map he's patiently
been holding. He lays it down in front of Kilgore; squats
and points.

WILLARD
Sir, two places we can get into the
river. Here and here. It's a pretty
wide delta, but these are the only
two spots I'm really sure of.

KILGORE
That village you're pointing at is
kind of hairy, Willard.

WILLARD
What do you mean "Hairy", sir?

KILGORE
It's hairy. Got some pretty heavy
ordinance. I've lost a few recon
ships in there now and again.

The Chief comes over, leans in to take a look at the map.

KILGORE
What's the name of that goddamn
village, Vin Drin Dop or Lop? Damn
gook names all sound the same.
(to one of the surfer
soldiers)
Mike, you know anything about this
point at Vin Drin Dop?

MIKE
That's a fantastic peak.

KILGORE
Peak?

MIKE
About six foot. It's an outstanding
peak. It's got both the long right
and left side, with a bowl section
that's unbelievable. It's just tube
city.

Kilgore considers this.

KILGORE
Well, why didn't you tell me that
before? A good peak. There aren't
any good peaks in this whole shitty
country. It's all goddamn beach break.

MIKE
It's really hairy in there, sir.
That's where we lost McDonald. They
shot the hell out of us there. That's
Charlie's point.

Willard sees his chance, jumps in.

CHIEF
We may not be able to get the boat
in. The draft at the mouth of that
river may be too shallow.

The colonel rises, looks at Willard.

KILGORE
We'll pick your boat up and put it
down like a baby, right where you
want it. This is the First of the
Ninth, Air-Cav, son. Air mobile! I
can take that point and hold it just
as long as I like, and you can get
any place up that river that suits
you, young Captain. Hell, a six-foot
peak! All right. Take a gunship back
to division.
(to Lance)
Lance, go with Mike and let him pick
out a board for you. And bring me my
Yater Spoon, the eight-six.

Mike reacts, doubtful.

KILGORE
What is it, soldier?

MIKE
It's pretty hairy in there. It's
Charlie's Point.

Kilgore looks at him, exasperated.

KILGORE
Charlie don't surf!

CUT TO:

EXT. HELICOPTER FIELD OUTSIDE DESTROYED VILLAGE - DAY

It is the next morning. The helicopters, pilots, and men are
ready for battle. The helicopters slowly start up, as the
soldiers scurry to their various positions.

We FOLLOW Kilgore and his group, including Willard, the Chief,
Clean, Lance, etc., as they walk across the field. They all
get into a helicopter, except Kilgore. He takes off his hat,
reaches in, and pulls out his helmet, puts it on.

ANGLE ON OUR CREW

Seated in their helicopter, looking out.

CHEF
Jesus, Clean, you ain't believe this.
Look.

WHAT THEY SEE:

The PBR being airlifted up by the helicopter.

CLEAN
Hey! They're picking up the boat!

BACK TO KILGORE'S HELICOPTER

Kilgore picks up some gloves and starts to put them on as he
crosses to the gunner by the helicopter.

KILGORE
(to soldier)
How you feeling, Jimmy?

SOLDIER
Like a mean motherfucker, sir!

KILGORE
(to bugler)
All right, son, let 'er rip.

The bugler begins to play as Kilgore climbs into the
helicopter.

EXTREME FULL SHOT

THE HELICOPTER takes off, rotors spinning, gas turbines
belching fire from their jet pipes, sand and dust as twenty
helicopters RISE.

NOISE ROAR OVER CAMERA. The helicopters deploy into a
formation.

NEW VIEWS - HELICOPTERS

They move THROUGH THE FAME, almost a dance of dragonflies.

INT. COMMAND COPTER - MED.SHOT - KILGORE, WILLARD, OTHERS -
DAY

Willard looks ahead, Kilgore sits near the door. Below, they
see the jungle whisk by and are suddenly over the ocean, low
and fast.

MONTAGE - CLOSE SHOTS OF ROCKET PODS WITH MINI-GUNS

In their bizarre-looking mounts as well as the men-young,
anticipating, holding their rifles, looking down.

CLOSE ON WILLARD - HIS POV

Looking out from the side door. The various troop ships moving
by. The men waiting, sitting on the floor, sitting on their
helmets, looking back at him.

FULL VIEW OF THE HELICOPTERS

They are magnificent in the sky as they split into two
columns.

INSIDE HELICOPTER

Kilgore cranes his neck and leans out to watch the waves,
then turns back to Lance.

KILGORE
I never have got used to a light
board. I can't get used to one. I'm
used to a heavy board.

LANCE
I know, it's a real drag.

KILGORE
You prefer a heavy or light board?

LANCE
Heavier.

KILGORE
Really?

LANCE
Yeah.

KILGORE
I thought young guys like lighter
boards.

LANCE
Can't ride the nose on those things.

The pilot alerts the colonel.

PILOT
(to Kilgore)
Duke Six, this is Eagle Thrust Seven.
We've got it spotted.

KILGORE
Eagle Thrust, put on heading two-
seven-zero, assume attack formation.

PILOT
That's a Roger, Big Duke. We're going
in hot. Here we go.

KILGORE
(to Lance)
We'll come in low out of the rising
sun, and about a mile out, we'll put
on the music.

LANCE
Music?

KILGORE
Yeah, I use Wagner. Scares the hell
ot of the slopes. My boys love it.

LANCE
(to Willard)
Hey, they're gonna play music!

INT. PBR CREW'S COPTER - DAY

As they near the destination, several of the soldiers take
off their helmets and sit on them. The PBR crew reacts with
surprise.

CHEF
How come all you guys sit on your
helmet?

SOLDIER
So we don't get our balls blown off.

Chef laughs, looks around. Then he takes off his own helmet
and sits on it.

INT. COMMAND COPTER - DAY

VIEW ON KILGORE

KILGORE
(to Pilot)
Eagle Thrust, put on psy war op.
Make it loud. This is a Romeo Fox
Trot. Shall we dance?

A HAND switches on the tape deck. MUSIC COMES UP, Wagner's
"Ride of the Valkyrie", blaring through the external speakers
of the choppers, as they make their decent into enemy
territory.

EXT. THE COMMAND HELICOPTER - DAY

With enormous twelve-driver loudspeakers BLASTING out the
music.

INT. PBR CREW'S COPTER - DAY

Out crew is silent, nervous.

EXT. COPTERS - DAY

We SEE the bombs and surfboard attached to the bottom of the
helicopters.

EXT. VIETCONG VILLAGE - FULL-SHOT - DAY

Typical quiet Vietnamese coastal village, rather large, built
along the beach and trees with rice paddies behind. Sampans
are pulled into a cove where the are being unloaded. We SEE
different aspects of the life of the village, the people
working there.

MEDIUM SHOT - SCHOOLYARD

A teacher and little girl come out into the courtyard, quickly
followed by other students pouring from the schoolhouse in
the background. A North Vietnamese soldier runs in to the
teacher, who then turns back to the children. The soldier
waves to the children to get out of the area.

CLOSER ON THE TEACHER

gathering children together. Peasants run through as the
teacher starts the children running out. One small boy
remains, an older girl runs back to get him and run after
the others.

Soon the village is buzzing with activity. Trenches are used
to pass weapons and ammunitions, young V.C. -- both men and
women. N.V.A. regulars rush along the trenches to take their
positions.

NEW VIEW - N.V.A. AND V.C.

rushing along the trenches and taking the camouflage covering
off a large automatic antiaircraft weapon.

EXT. THE SKY - NEW VIEW - DAY

Moving behind an assault column of helicopters.

INT. COMMAND COPTER - DAY

Kilgore monitoring the transmission.

CLOSE VIEW ON WILLARD

watching the spectacle.

CLOSE VIEW ON KILGORE

calm and very effective. Seems almost like an astronaut.
Willard looks down at this incredible battle.

WILLARD'S POV - AERIAL VIEW - THE VILLAGE

The village under attack. The invincible cavalry charges in,
hurling all its fearful weaponry, blasting out the Wagner.

INT. POV BEHIND PILOT - DAY

PILOT
(to Kilgore)
We've spotted a large weapon down
below. We're gonna go down and check
it out.

The helicopter shakes as we SEE the smoke of the rocket shoot
ahead of us.

REVERSE ANGLE

A Vietnamese house goes up in flames.

MEDIUM CLOSE UP - GUN SHIP

sweeping down, its mini-guns FIRING. V.C. scatter.

INT. COMMAND COPTER - DAY

KILGORE
Outstanding, Red Team.
(to Pilot)
Get you a case of beer for that one.

COPTER'S POV ON SQUARE - HIGH ANGLE

Watching Vietnamese loading ammunition into an old CitroŽn
car. The copter circles over them.

PILOT #1
We're over the village right now. I
think I see a vehicle down in the
courtyard. I'm gonna check it out.

KILGORE
Well done, Hawks. Well done. Want
some twenty-Mike-Mike-Vulcan right
along those tree-lines. Ripple the
shit out of them.

PILOT #2
Got a vehicle on the bridge, fifty
caliber on-board. He's moving across
to resupply weapon.

KILGORE
Big Duke Six. Clear the area. I'm
coming down myself.
(to himself)
Don't these people ever give up?

VIEW - THE COMMAND COPTER

It circles the area. Gunships hit the CitroŽn that's trying
to cross the bridge. The car bursts into flame and the
ammunition is EXPLODED.

LANCE
(to Kilgore)
Nice shoot, Bill!

The copter suddenly lurches over to the right. The ship is
jostled around badly. There are some flames and smoke and it
looks as though the copter has been seriously hit. There is
confusion and we realize that the bullets have hit a box of
flares which have gone off inside the copter.

KILGORE
(to soldiers)
Un-ass that shit and get it out of
here! It's just a flare, it's alright,
it's just a flare. Everybody all
right? Lance, you all right?

LANCE
I'm fine!

EXT. VILLAGE - COPTERS LANDING - DAY

A small group of copters come down and land, kicking up clouds
of dust. Soldiers start to jump off, run for cover, as shells
hit the ground. All jump out except for one YOUNG SOLDIER.

YOUNG SOLDIER
I'm not going! I'm not going! I'm
not going!

Another soldier comes back, grabs him by the arm, and pulls
him out of the copter.

NEW VIEW - AMERICANS ON THE GROUND

proceed in driving to the V.C from the village, firing into
houses. One soldier fires his rifle into a row of storage
jars in front of a house. They explode. A black soldier so
thrown by the blast.

SOLDIER (OVER RADIO)
We got some secondaries down there
in the plaza.

SOLDIER #2 (OVER RADIO)
Hold onto your positions.

SOLDIER (OVER RADIO)
Duke Six, Duke Six. We've got wounded
down there.

VIEW ON THE COURTYARD

Soldiers huddle around the severely wounded black G.I., who
is screaming out. The RT man is frantically calling for a
medevac as two Vietnamese elders babble on for their lives,
explaining that they didn't know the booby trap was near
their house.

MEDIC
Get a stretcher over here!

WOUNDED SOLDIER
Please, God, help me!

MEDIC
Let's give him some morphine.

SOLDIER (OVER RADIO)
Zero-three-seven-seven-four-two.

MEDIC
Where's that duster?

INT. COMMAND COPTER - DAY

Kilgore looking out the door as he flies from the river down
over the courtyard.

KILGORE
(into radio)
I want my wounded out of there and
in the hospital in fifteen minutes.
I want my men out.

COPTER'S POV OF COURTYARD

SOLDIER (OVER RADIO)
Somebody stand tight there with Big
Duke.

SOLDIER #2 (OVER RADIO)
This is Ten-Ten, we're going to be
in there and get out.

EXT. THE COURTYARD - DAY

As a medevac helicopter comes down landing by the smoke.
They carry the wounded G.I. into the helicopter.

Frantic Americans push the two older Vietnamese into the
medevac ship for questioning. A YOUNG VIETNAMESE WOMAN
suddenly rushes out from one of the buildings, making a fuss
about the older Vietnamese. Then she throws her coolie hat
into the open helicopter door.

SOLDIER
She's got a grenade! She's got a
grenade!

EXT. HELICOPTER - HIGH VIEW - DAY

Helicopter BLOWS into flames. Men rush out on fire. They
frantically try to out themselves out.

INT. COMMAND COPTER - DAY

Looking down on the burning helicopter.

PILOT
They blew the shit out of it.

KILGORE
Fucking savages.

CO-PILOT
Holy Christ, she's a SAP. I'm gonna
get that dink bitch. Get over there,
Johnny. Put the right skid right up
her ass.

MEDIUM VIEW - THE GROUND

It swerves down. We can SEE the disaster as well as the three
Vietnamese running away. It ROARS down, the machine gunner
FIRING.

VIEW ON THE GROUND

The Vietnamese are mowed down.

OVER-THE-SHOULDER SHOT OF THE TREES BELOW THE COPTER

Shells are fired from the grove of trees at the copter.

PILOT (OVER RADIO)
We gotta get some air up in these
trees. It's goddamn eat-up with the
enemy down there.

The LOH swerves past the tree line taking sniper FIRE and
finally a dead-on HIT. It swerves around in circles, black
smoke coming from it, cascading toward the ground.

Copters fire at the bridge. Smoke and debris fly upward.
Geysers of water almost obscure it. The bridge is destroyed,
the village burns in the background.

INT. COMMAND COPTER - DAY

Kilgore turns to look at Lance.

KILGORE
What do you think?

LANCE
It's really exciting, man.

KILGORE
No, no! The waves!

LANCE
Oh, right.

KILGORE
Look at that, breaks both ways. Watch.
Look! Good six-foot swells!

EXT. BEACH - DAY

Kilgore's copter kicks up a cloud of dust as it sets down.
Kilgore pop's out, followed by Lance and other officers and
strides across the beach looking out toward the sea.

SOLDIER (O.S.)
Incoming!

They all dive except Kilgore; he's watching a big set. The
shell EXPLODES in the water about a hundred yards away,
sending up a geyser of spray. Kilgore is unmoved. The others
get up and join him.

MAJOR
This L.Z. is still pretty hot, sir.
Maybe you ought to surf somewhere
else.

KILGORE
What do you know about surfing, Major?
You're from goddamn New Jersey!

He whistles Mike and Johnny over, who look like they're ready
to hit the dirt again as explosions go off around them.

KILGORE
I wanna see how rideable that stuff
is. Go change.

MIKE
It's till pretty hairy out there,
sir.

KILGORE
You wanna surf, soldier?

They nod "yes" meekly.

KILGORE
That's good son, because you either
surf or fight. That clear?

They turn and leave. Kilgore grabs an M16 from one of the
guards-they all think he's going to shoot the surfers or
someone-they run back uneasy.

KILGORE
One get going. I'll cover for them.
(to others)
And bring a board Lance.

He cocks the weapon-Lance looks around uneasily.

WILLARD
(to Lance)
We can't do shit till the boat gets
here.

KILGORE
Lance, I bet you can't wait to get
out there.

LANCE
What?

KILGORE
(gesturing to ocean)
See how they break both ways? One
guy can break right, one left,
simultaneous. What do you think of
that?

LANCE
Bill, I think we ought to wait for
the tide to come up.

He starts away.

KILGORE
Lance, come here. Look.

SOLDIER (O.S.)
Incoming!

A shell screams over-they all hit the dirt except Kilgore.
It explodes, throwing sand through the air. Kilgore leans
down yelling over the noise.

KILGORE
The tide doesn't come in for six
hours! You wanna wait here for six
hours?

ANGLE ON THE PBR

in the sky, being dropped by the helicopter onto the water.

MEDIUM SHOT - SURF - THE TWO SURFERS

out on the water on their boards, trying to surf.

KILGORE (O.S.)
(through megaphone)
Okay, fellas, quit hiding. Let's go,
dickheads, take off.

ANGLE ON KILGORE, HOLDING A MEGAPHONE

watching the surfers. JETS SCREAM overhead, FIRING CANNONS.
Helicopters wheel by carrying out wounded.

WILLARD
Goddamnit! Don't you think it's a
little risky for R and R?

KILGORE
If I say it's safe to surf this beach
Captain, it's safe to surf this beach!
I mean, I'm not afraid to surf this
place! I'll surf this fucking place!

He rips off his shirt and scarf.

KILGORE
(to soldier)
Give me that R-T, soldier.
(into radio)
Dove Four, this is Big Duke Six.
Goddamnit, I want that tree line
bombed!

BOMBER PILOT (OVER RADIO)
Big Duke Six, Roger. Dove One-Three,
stand by.

KILGORE (O.S.)
(into radio)
Bomb them into the stone age, son.

He throws the R-T back to the soldier. We SEE from among the
Vietnamese prisoners being herded, a woman running, covered
with blood, carrying a bloody baby. She is trying to offer
it up to the colonel, but a soldier is dutifully trying to
keep away from him.

SOLDIER
No, ma'am, no!

KILGORE
Let me take care of this now.
(indicates soldier's
rifle)
Get that out of here!

Kilgore intercedes, pushing the soldier's rifle away.

KILGORE
(to woman)
Come here, now. All right. Sorry,
you can't go!

He takes the wounded baby in his hands, tenderly, and calls
a soldier over.

KILGORE
Jimmy!

ANGLE ON "LOC" SPOTTER PLANE IN THE SKY

LOC (OVER RADIO)
Hawk One-Two, Dove One-Three. They
need some napalm down there. Can you
put it there?

FIGHTER PILOT (OVER RADIO)
Right, One-Three. We're fixed to
fuck with them.

LOC (OVER RADIO)
Trying to suppress some mortar fire
off the tree line down there.

FIGHTER PILOT (OVER RADIO)
Roger. Here we come.

LOC (OVER RADIO)
Good. Give it all you got and bring
in all your ships. Wing abreast.

KILGORE
(to Jimmy)
Tell them to get my chopper, get
back to the hospital.

He hands the baby to the soldier. Woman protests.

KILGORE
No, no. You've got to go with him.
Go! Go!
(to soldier)
Get it out of here! And tell my guys
I want my board!

LOC (OVER RADIO)
Big Duke Six, this is Dove One-Three.
The jets are inbound now. They got
about thirty seconds to bomb station.
Get your people back. This is gonna
be a big one.

Kilgore returns to Lance, who is cowering in a foxhole with
Willard.

KILGORE
Don't worry. We'll have this place
cleaned up in a jiffy, son. Give me
those shorts.

He turns to his aide, who hands him a pair of Air-Cav trunks.

KILGORE
(to Lance)
These are from the Air-Cav, a present
from me and the boys. I wanna see
you do your stuff out there.

Jets break the trees, we HEAR the EXPLOSIONS of 20mm CANNONS,
and then the entire tree line ERUPTS INTO FIRE with an immense
amount of napalm.

Kilgore stands there, hands on hips, looking at the burning
jungle in the distance.

KILGORE
You smell that? Do you smell that?

LANCE
What?

KILGORE
(pointing to trees)
Napalm, son. Nothing else in the
world smells like that.
(crouches down)
I love the smell of napalm in the
morning. You know, one time we had a
hill bombed for twelve hours... and
when it was all over, I walked up.
We didn't find one of them, not one
stinking dink body. The smell, you
know that gasoline smell? The whole
hill -- smelled like -- victory.

He looks of nostalgically. A shell comes in and HITS in the
background. Willard and the soldiers react; Kilgore ignores
it.

KILGORE
Someday this war's gonna end.

A tremendous sadness enveloping him. The he stands up and
walks off. Willard turns and looks toward him. He understands
what the colonel is saying to him.

ANGLE - KILGORE - WALKING OUT TOWARD THE SURF

Suddenly he senses something. He stops, lifts his hand-then
licks his fingers and puts then in the air.

KILGORE
(to Lance)
Lance! The wind! The Wind! It's
blowing onshore! It's gonna blow
this place out. It's gonna ruin it!

Sure enough, there is a rushing breeze that increases.

LANCE
Not cool!

KILGORE
It's the goddamn napalm, that's what's
doing it!

WILLARD
I'm really sorry, Colonel, but I'm
afraid that does it. The kid's got a
reputation. You can't expect him to
surf those sloppy waves.

KILGORE
I understand what you're saying.

LANCE
Yeah, I'm an artist, Bill. I couldn't
surf that crap.

MEDIUM VIEW - KILGORE, WILLARD, LANCE

Willard calmly goes about picking up Lance's clothes as
Kilgore apologizes to Lance for the conditions.

KILGORE
Look, I apologize. It's not my fault.
The waves are getting blown out by
the napalm. It's the bombs causing a
vortex with the wind.

LANCE
I accept your apology.

KILGORE
Hang around just twenty minutes.

WILLARD
Some other time, Bill.

KILGORE
Just twenty minutes!

Willard grabs Lance and walks him away from Kilgore.

LANCE
I'm an artist!

WILLARD
(to Lance)
Keep walking.

Kilgore takes the megaphone.

KILGORE
(into megaphone to
surfers)
Let's give it a try, guys. One goes
left and one goes right.
(to Lance)
Look, Lance...

Lance and Willard keep walking, fast.

WILLARD
You through surfing? Wanna say good-
bye to the colonel?

LANCE
No!

WILLARD
You sure?

LANCE
Yeah!

WILLARD
Then let's get the fuck out of here!

Kilgore is left frantic on the beach with his megaphone.

KILGORE
(calling to them)
Lance, it's the fucking napalm! Just
wait twenty minutes! Fuck!

Willard and Lance run like hell toward the PBR in the
distance. In his frustration, Kilgore throws the megaphone
in the air and wanders off.

AT THE PBR

The crew help Willard and Lance climb onto the boat. Suddenly
Willard sees something and stops. In a pile of equipment
that the Hueys left are two surfboards. Willard looks at
them.

WILLARD
(to PBR)
Don't leave without me!

CLEAN
Where the fuck are you going?

He runs to the copter where Kilgore's surfboard is attached.

WILLARD
Incoming!

All the soldiers at the copter duck and during that moment,
Willard snatches the colonel's surfboard. A soldier tries to
stop him.

SOLDIER
That's the colonel's surfboard!

WILLARD
Get the fuck off me! It's mine!

He rushes back to the boat, handing the board up to Clean,
and scampers aboard. Clean stuffs the board in the stern.
The boat turns, ENGINES RUNNING HARD AND ROARS OFF toward
the deeper water of the river.

MEDIUM CLOSE SHOT - WILLARD

On the bow: laughing, exhausted, feeling satisfied with
himself.

EXT. VILLAGE - DAY

The PBR passes the burned-out village, through the destroyed
bridge, and heads out toward the river.

EXT. PBR - DAY

The crew relaxing. Clean sits down next to Chef, who is
rolling a joint.

CLEAN
Chef, light up, man. Come on, let's
get high.

CHEF
(to Lance)
Wanna smoke?

CLEAN
Light up.

WILLARD (V.O.)
Someday this war's gonna end. That'd
be just fine with the boys on the
boat. They weren't looking for
anything more than a way home.

CHEF
Captain?

Chef offers the joint to Willard. He waves it off.

WILLARD (V.O.)
Trouble is, I'd been back there...
and I knew that it just didn't exist
anymore.

LANCE
(to group)
Buddha time.

The crew shares the joint.

CLEAN
All right. That's grass. That's shit.

Willard pours himself a drink from a bottle.

WILLARD (V.O.)
If that's how Kilgore fought the
war... I began to wonder what they
really had against Kurtz. It wasn't
just insanity and murder. There was
enough of that to go around for
everybody.

EXT. RIVER - FULL SHOT - THE BOAT - DUSK

It is parked, hidden under some trees along the riverbank.

CHEF (O.S.)
I'm not here... I'm walking through
the jungle gathering mangos, and I
meet Raquel Welch. I can male nice
mango cream pudding. You know, kind
of spread it around on us...

Chef is lying on his back, his eyes closed. Lance is standing
on the riverbank next to the PBR. He is taking a leak. He
finishes, then turns and squats next to a blue bucket and
starts washing his Air-Cav trunks.

CHEF
...See, she's into mangoes, too.
She's like one limb above me. We're
both in the jungle here, nude.

We HEAR a helicopter coming toward the vicinity of the boat.
The wind begins to hit the trees and boat.

CLEAN
(to Chief)
Hey, Chief? Here comes that colonel
guy again.

The SOUND of the helicopter gets closer... and an
indistinguishable language on a loudspeaker. Lance gathers
his bucket and soap and jumps up on the PBR.

KILGORE (OVER P.A.)
"I will not harm or hurt you. Just
give me back the board, Lance. It
was a good board and I like it. You
know how hard it is to find a board
that you like."

The helicopter drones on into the distance -- the same speech
starts again farther off -- finally the noise ceases.

CHEF
Determined motherfucker, ain't he?
Cock-sucker!

Willard snaps off a salute at the passing copter. It
disappears into the distance.

CLEAN
Jesus Christ. That guy's too fucking
much, man.

LANCE
Do you think he would've shot us?

WILLARD
He would've shot us on the beach, or
if he saw me taking his board.

CLEAN
(singing)
Let's go surfing now, Everybody's
learning how...

LANCE
Let's get this board out of my turret.

CLEAN
Sucker.

LANCE
Come on, how am I gonna shoot him
the next time he comes around?

WILLARD
Hey, Chef, make some room back there
for the board.

They stow the board in the back of the boat, hiding it.

CHIEF
I wonder if that's the same chopper.

WILLARD
Hell, he's probably got them all
over the river with that recording.
We'll have to hold up here till dark,
Chief.
(to Lance)
Don't worry Lance, he won't follow
us too far.

LANCE
What makes you say that?

WILLARD
You think that Cav colonel wants
everyone up river to know we stole
his board?

LANCE
I didn't steal it!

Willard laughs, lights up a cigarette.

CHIEF
Captain? Just how far up this river
are we going?

WILLARD
That's classified, Chief. I can't
tell you. We're going up pretty far.

CLEAN
Is it gonna be hairy?

WILLARD
I don't know, kid. Yeah, probably.

CHIEF
You like it like that, Captain? When
it's hot, hairy?

WILLARD
Fuck.
(a beat)
Maybe you'll get a chance to know
what the fuck you are in some factory
in Ohio.

Chef steps forward with a plastic bucket.

CHEF
Hey, Chief, I'm gonna go get those
mangoes now, okay?

CHIEF
Take somebody with you.

WILLARD
I'll go with him.

He turns and follows Chef off the PBR. They climb up the
bank, away from the boat, into the jungle.

EXT. JUNGLE - MEDIUM VIEW - DUSK

Chef and Willard cautiously walk through the dark underbrush.
We SEE fragments of them, LOSE then occasionally, and just
MOVE through the jungle. WE HEAR this conversation throughout:

WILLARD
Chef?

CHEF
Yes, sir.

WILLARD
How come they call you that?

CHEF
Call me what, sir?

WILLARD
Chef. 'Cause you like mangoes and
stuff?

CHEF
No, sir. I'm a real chef. I'm a
saucier.

WILLARD
Saucier?

CHEF
Yes, sir. See, I come from New
Orleans. I was raised to be a saucier.
A great saucier.

WILLARD
What's a saucier?

CHEF
We specialize in sauces. Gotta be a
mango tree here somewhere... Then, I
was supposed to go to Paris, to the
Escoffier School. But then I got
orders for my physical.

As they move deeper into the jungle.

CHEF
Well, I joined the navy. Heard they
had better food. Cook school, that
did it.

WILLARD
Oh, yeah? How's that?

Chef puts down his bucket and rifle, takes a leak. Willard
takes a few steps farther in the jungle and then sits by him
on a log.

CHEF
You don't wanna hear about that.
They lined us up in front of a hundred
yards of prime rib. All of us, you
know, looking at it? Magnificent.
Magnifique. Next thing, they're
throwing the meat into these big
cauldrons.

Willard has heard something in the jungle during this
explanation. He becomes alert.

CHEF
All of it. Boiling it. I looked
inside, man, it was turning grey. I
couldn't fucking believe that one!
That's when I applied for radioman's
school, but they --

Chef looks up, seeing Willard standing a distance away, poised
with his rifle. Willard signals to him to come cautiously.
He motions to Chef to move with him, each covering the other.
They walk a few yards from where they have heard something
move.

CHEF
What is it? Charlie?

MEDIUM SHOT - PANNING - WILLARD

moving through the jungle cautiously, he is comfortable in
this environment. He signals and directs his way very
expertly, giving silent instructions to Chef on how to move
with him.

They seem to have the intruder localized and proceed very
quietly toward where he is.

MEDIUM SHOT - THE ELEPHANT GRASS - WILLARD AND CHEF

Suddenly the grass folds almost to Willard, and a huge TIGER
leaps out at them, snarling magnificently. They fire wildly,
emptying their clips.

CHEF
It's a motherfucking tiger! It's a
tiger, man! A tiger!

He turns and bolts through the jungle, as scared as a man
can be.

CHEF
Motherfucking tiger!

Willard backs out of the clearing, covering the bushes and
runs, scared out of his head as well. They fire their M16s
indiscriminately running back to the boat, screaming.

FULL SHOT - THE BOAT

The crew is armed. They've heard the screaming. Lance has
the twin fifties pointed into the jungle. Chef comes screaming
out of the brush. Throws his rifle in the boat and dives
headfirst after it.

CHIEF
Battle stations. Lance, up front.
Get on your sixty, Clean.

CHEF
Fucking tiger!

CLEAN
Let's go!

CHEF
Chief, you were right. Never get out
of the fucking boat!

CHIEF
Clean, bring that 60 forward.

CHEF
Never get out of the boat! I gotta
remember! Gotta remember! Never get
out of the boat!

CHIEF
How many is it?

CHEF
A fucking tiger!

CLEAN
What?

CHEF
Tiger!

CHIEF
Tiger?

CHEF
(going berserk)
I'm done with this goddamn fucking
shit! You can kiss my ass on the
county square, because I'm fucking
bugging out! I don't fucking need
it! I didn't get on the goddamn A
train for this kind of shit! All I
wanted to do is fucking cook! I just
wanted to learn to fucking cook,
man!

The others try to calm him down.

LANCE
You're all right. You're all right.

CHEF
All right. It's gonna be all right.
It's gonna be all right. Never get
out of the boat. 'Bye, tiger! 'Bye
tiger!

The boat pulls away as he continues ranting about the tiger.

CLOSE ON WILLARD

Looking back into the jungle.

WILLARD (V.O.)
Never get out of the boat. Absolutely
goddamn right. Unless you were going
all the way.

EXT. RIVER - THE PBR - NIGHT

The PBR moves down the dark, silent river through the night.

WILLARD (V.O.)
Kurtz got off the boat. He split
from the whole fucking program. How
did that happen? What did he see
here that first tour?

Willard lights a cigarette and holds a flashlight as he looks
at the dossier. As he speaks we see CLOSE SHOTS on the
newspaper articles, letters, and photos.

WILLARD (V.O.)
Thirty-eight fucking years old. If
you joined the green berets, there
was no way you'd ever get above
colonel. Kurtz knew what he was giving
up. The more I read and began to
understand, the more I admired him.
His family and friends couldn't
understand it. And they couldn't
talk him out of it. He had to apply
three times, and he put up with a
ton of shit, but when he threatened
to resign, they gave it to him. The
next youngest guy in his class was
half his age. They must've thought
he was some far-out man humping it
over the course. I did it when I was
nineteen, it damn near wasted me. A
tough motherfucker. He finished it.
He could've gone for general, but he
went for himself instead.

MEDIUM VIEW - OF THE PBR

gliding up the river. Chef is sitting in the back of the
boat, writing a letter. He is using a flashlight to see by,
as he reads to himself outloud as he writes.

CHEF
(writing letter)
Dear Eva. Today was really a new
one. Almost got eaten by a fucking
tiger. Really un-fucking believable,
you know? We're taking this guy,
Captain Willard, up river, but he
hasn't told us yet where we're taking
him...

Clean is at the helm, singing to himself, the Chief is
sleeping. Willard looks at an article about Kurtz in a
magazine.

WILLARD (V.O.)
October, 1967. On special assignment,
Kontoom Province, Two-Corps... Kurtz
staged Operation Archangel with
combined local forces. Rated a major
success. He received no official
clearance. He just thought it up and
did it. What balls. They were going
to nail his ass to the floorboards
for that one. But after the press
got a hold of it, they promoted him
to full colonel instead. Oh, man,
the bullshit piled up so fast in
Vietnam, you needed wings to stay
above it.

Suddenly, from around a bend, the boat is illuminated by a
strange artificial light. Lance and Chief are awakened.
Willard reacts as he looks out toward the light. It becomes
brighter and brighter as they move closer.

WHAT THEY SEE:

EXT. HAU PHAT - FULL VIEW - NIGHT

The PBR goes by the base, tents, oil drums, sandbagged
bunkers, etc., but the biggest surprise of all is a huge
oval STAGE built in the water, lit by banks of lights.
Preparations for some sort of show are in progress.

They all react, incredulous, as the PBR pulls into the bay
and up to the dock.

CLEAN
This sure enough is a bizarre sight
in the middle of all this shit.

CHIEF
(to Willard)
Expecting us this time?

WILLARD
Damned if I know.

It looks like an amusement park, with strings of lights,
etc.

CHEF
Jesus Christ...

EXT. SUPPLY DOCK AREA - NIGHT

The supply docks of this base. Tents, oil drums, sandbagged
bunkers, helicopters, tanks, guns, and men. As they walk,
Chef and Clean stop a moment and look at a group of
motorcycles. The dock is crowded with all kinds of goods,
freezers, refrigerators, etc., all the nonessentials for
fighting a war.

CLEAN
Hau Phat. You ever been up here
before, Chef?

CHEF
I bet you could score up here.

CLEAN
Yo, man, check out the bikes, man.
Yamaha, Suzuki.

CHEF
That's a good one.

CLEAN
Yeah, Sukiyaki.

Willard moves on, Chef and Clean catch up with him.

CLEAN
This must be the guy.

WILLARD
Right over there.

Willard and the men approach a harried SERGEANT at a
requisition desk, filling out papers, answering questions,
shouting out orders to the frenetic activity around him.
There are soldiers scurrying back and forth, loading and
unloading supplies. They constantly interrupt the sergeant
with their questions.

Chef and Clean stop in front of the sergeant.

CLEAN
Three drums of diesel fuel, PBR-
Five...

SERGEANT
Move! We have one hour, that's all!
(to Clean)
What do you want?

CHEF
Can I get some Panama Red?

SERGEANT
Panama Red? Yeah, I'll get you Panama
Red.

CLEAN
Sergeant.

SERGEANT
Destination?

CLEAN
I don't have a destination.

SERGEANT
You can't get a goddamn thing without
a destination.

Willard steps in.

WILLARD
Sergeant.

SERGEANT
I need a destination. I can't do a
goddamn thing about it.

WILLARD
Hey, Sarge, these guys are with me.
Destination classified. I carry
priority papers from Com-Sec
Intelligence, II Corps.

SERGEANT
Listen, sir, it's a real big night --
(to another soldier)
Eight dollars for that camera --

With unexpected rage, Willard suddenly reaches up and grabs
the Sergeant by the collar, pulling him down across a table,
really frightening him. Everybody is quite surprised.

WILLARD
Just give them some fuel.

SERGEANT
You got it.

Willard lets go of the sergeant, almost embarrassed for the
show of temper. The sergeant goes back behind his desk and
starts signing papers.

SERGEANT
Listen, Captain... I'm really sorry
about tonight. It's really bad around
here. Just take this over to the man
at the supply desk and you got it.

He tears off a requisition and hands it to one of the trio.

SERGEANT
(to crew)
Listen, would you guys like some
press box seats for the show? You
want those? The show, man, out here.
The bunnies.

LANCE
The Playboy bunnies?

The sergeant finally leaves the trio, grabs a bottle of
cognac, and moves to Willard. Hands him the bottle.

SERGEANT
Hey, listen, Captain... on the house.
No hard feelings.

Willard looks down at the bottle in his hand and then up at
the stage.

DISSOLVE TO:

The SOUND of ENGINES is heard. A HUEY and TWO LOCHES descend
from the clouds. The Loches hover and circle, while the Huey
descends onto the platform stage. There is a large black-and-
white PLAYBOY INSIGNIA painted on the nose.

EXT. STAGE - FULL SHOT - NIGHT

The entire area around the stage and right up to the barbed
wire is mobbed with hundreds of seething American men. Some
of these boys have just gotten here, others have been in the
jungle for months. It's the Vietnam military version of a
happening. Guys from all walks of life, from the cities,
guys with flowers in their hair and peace signs around their
necks, other guys with their short-time sticks and war
medallions around their necks. Black G.I.s congregate together
with their clenched-fist black power medallions. There are
signs and posters and graffiti everywhere. Some guys have
guitars, everyone seems to have a camera. Rummaging, sitting,
waiting expectantly, before the enormous stage, which is
protected by rings of concertina wire, a moat, and M.P.s
every three feet at riot control positions. Many joints and
pipes are being passed around. Snapshots are being taken. It
has a strong resemblance to a love-in or even Woodstock.
Except that they're all in various degrees of combat fatigues,
and they're all men.

CHEF, CLEAN, LANCE, WILLARD AND THE CHIEF move down an aisle
to their seats. It is through WILLARD'S EYES that we see
this spectacle, bad every so often we will see an enthusiastic
Lance, Chef, and Clean. The Chief remains noncommittal, and
somewhat bored. To the others, it's a wonder of wonders.

Over by the dock, behind the chain-link fence, there is a
group of VIETNAMESE who have gathered to watch the show.
They have brought rice, food, etc. They will watch and react
throughout, along with the American soldiers who are standing
guard in front of them.

VIEW ON THE STAGE

The Playboy copter descends onto the stage. The door of the
Huey slides open and TWO YOUNG GREEN BERETS step out with
their M16s to varied CATCALLS. When this abates, a young and
extremely well-dressed man emerges. He is the epitome of the
Hollywood agent. He's informal, high-strung, and good at
what he does. His presence causes some stirring and occasional
shouts of "ripoff" from the men. He gets a microphone from
the stage, then walks to the front and addresses the men.

AGENT
How you doing out there?
(beat and reaction)
I said how you doing out there?
(beat and reaction)
Wanna say hello to you from all of
us up here, to all of you out there,
who work so goddamn hard on Operation
Brute Force. Hello, all you
Paratroopers out there! And the
Marines! And the Sailors! We wanna
let you know that we're proud of
you, 'cause we know how tough and
how hard it's been! Yeah! And to
prove it, we're gonna give you some
entertainment we know you're gonna
like!

The band starts its rock 'n' roll amp, playing the Creedence
Clearwater Revival rendition of "Suzy Q".

AGENT
Miss August, Miss Sandra Beatty!
Miss Nay, Miss Terri Tersay! And the
Playmate of the year, Miss Carrie
Foster!

Two very beautiful PLAYMATES in exotic, brief costumes come
out of the helicopter. They are TERRI and SANDRA, and they
start swaying to the music.

SANDRA
Hello, out there!

The two playmates jump down and dance to the front of the
stage. The G.I.s go crazy and the girls dance their erotic
dance. In the meantime. The two Green Berets at the helicopter
help out the PLAYMATE OF THE YEAR, CARRIE FOSTER.

The Berets carry the Playmate out on their rifles to the
center of the stage, and put here down. She dances forward
and joins the other two girls and the front. Carrie is dressed
in a Western outfit. They all dance to "Suzy Q".

VIEW OF THE CROWD

Appropriately, they go wild.

MARINE
I'm here, baby! I'm here!

LANCE
(to Terri)
You fucking bitch!

MEDIUM CLOSE SHOT - THE AGENT

Looking at little worried.

ANGLE ON WILLARD AND THE CHIEF

watching the spectacle. Willard takes a drink from the bottle
that was given to him by the supply sergeant.

HIS POV

The three Playmates going through all their gyrations.

MEDIUM CLOSE SHOT - WILLARD

Reacting, shaking his head. Chef, Lance, and Clean all think
it's fantastic.

VIEW ON THE CROWD

Audience continues to react as the three Playmates sway and
hump. Fights are breaking out. Some of the G.I.s pull out
centerfolds of the three girls from under their uniforms.

MARINE
Sign my centerfold!

He leaps madly, climbing up on the stage. Other guys start
to follow him. The M.P.s try to stop them but to no avail.
Before you know it, a mba is storming the stage.

VIEW ON AGENT

Knows the show is over.

AGENT
(to Pilot)
Start her up.
(to M.P.s)
Get the girls! Let's go!
(to crowd)
So long!

The Playmates are helped back into the helicopter. The rotors
whine and the Huey lifts off just as the first of the
enthusiast mob reaches it. The agent sets off a smoke bomb
to disperse the crowd. Some guys are even hanging onto the
skids of the helicopter. They finally let go and fall into
the water below, as the helicopter flies away.

WILLARD (V.O.)
Charlie didn't get much U.S.O. He
was dug in too deep or moving too
fast. His idea of great R and R was
cold rice, and a little rat meat. He
had only two ways home-death, or
victory.

DISSOLVE TO:

EXT. HAU PHAT - DAY

As the PBR pulls away from the Hau Phat area, Willard looks
back at the clean-up operations, a helicopter hovers over
the littered area, shirtless men sweep and mop up the stage,
burn trash; others dismantle the floating lights.

WILLARD (V.O.)
No wonder Kurtz put a weed up
Command's ass. The war was being run
by a bunch of four-star clowns, who
were gonna end up giving the whole
circus away.

EXT. PBR - DAY

Chief is steering the boat. Chef is looking at a Playboy
magazine centerfold of Terri.

CHEF
You know, man, that was far fucking
out. I collected every picture of
her since she was Miss December.
(showing Clean the
centerfold)
Hey, Clean, look at that. She was
here, man! I even wrote to the cunt.
She didn't write me back.

CLEAN
You can get really hung up on these
broads, like that cat in the delta.

CHEF
Yeah. What cat?

As Clean talks, Chef tears the centerfold out of his Playboy,
then kneels down by the bulkhead in back of the wheel. He
tapes the centerfold onto the bulkhead.

CLEAN
The one that went up for murder? He
was an army Sergeant. This cat, he
really dug his Playboy, man.

As he continues, Lance moves to the back of the boat and
starts unwrapping the plastic from his new water skis.

CLEAN
I mean, this cat, when the thing
arrived, he was there to meet it,
man!

CHEF
(indicating photo)
Look at these beautiful fucking jugs,
man!

CLEAN
Anyway, he was working ARVN patrols,
had one of them cocky gook asshole
lieutenants, and one day the gook
took his magazine and wouldn't give
it back! Cat said "Gimme my magazine
back!" Good said, "You shut up. I
have you court-martialed", you know?

CHEF
Typical fucking ARVN, man.

CLEAN
The gook went too far.

CHIEF
Chef, take the wheel.

Chef takes the wheel of the boat as the Chief moves back and
starts brushing his teeth. Lance continues to unwrap his
skis.

CLEAN
Sticking pinholes and mutilating the
centerfold and shit like that. And
the sergeant said, "You better not
do that to her. You leave your shitty
little gook hands off of that girl!"
Gook say, "Fuck you!" In Vietnamese,
right? Sergeant, man, he just couldn't
handle it no more. He just picked up
his iron --

He picks up an M16 rifle to demonstrate.

CLEAN
-- flipped it to rock 'n' roll and
boom! Gave that little zero a long
burst straight through the Playboy
mag. It blew his ass clear out off
the dock. There wasn't no more
lieutenant that day. That was it for
his ass.

CHEF
They burn him for it?

CLEAN
The sergeant? Yeah, man. They stuck
his ass in the L.B.J. It's too bad
he didn't get no medals or nothing.

He puts the rifle back in the rack. Disappears down the hole
of the ship. They all shake their heads at the cruel injustice
of life.

CHEF
Fucking ARVN, man. They should've
killed the fuck. Should've given
that fucker a Silver Star. Bummer
for the gook, though, ain't it?

EXT. RIVER - THE PBR - DAY

We HEAR a radio station playing. Willard is seated looking
through the dossier, documents from the C.I.A.

RADIO HOST (OVER RADIO)
Good morning, Vietnam. I'm Army
Specialist Zack Johnson on A.M.N.V.
It's about eighty-two degrees in
downtown Saigon right now, also very
humid...

Clean is standing on the front of the boat, he has a small
transistor radio in his hand.

RADIO HOST (OVER RADIO)
...and we have an important message
for all G.I.s who are living offbase
from the mayor of Saigon. He's like
you to hand the laundry up indoors,
instead of the windowsills. The major
wants you to keep Saigon beautiful.
And now, here's another blast from
the past going out to Big Sam, who's
all alone out there with the First
Battalion, 35th Infantry, and
dedicated by the Fire Team and their
groovy C.O. The Rolling Stones,
"Satisfaction."

The music comes on, Clean starts dancing, keeping time to
"Satisfaction." The others cheer him.

CHEF
Work out, Clean! Get down, bubba!
(to Lance)
Hang on, Lance!

We SEE that Lance is water-skiing behind the PBR, waving to
the guys.

CLEAN
(dancing)
Can you dig it, man? Can you dig it?
(to Chef)
I see you're right on target.
(to group)
Work out! Yeah! Yeah!

The boat passes a Vietnamese fishing boat, capsizing it in
its wake.

VIEW ON WILLARD

He's found himself in a corner in the boat. He looks to the
front where Clean is moving and dancing to the MUSIC, to the
rear where Lance is water-skiing, and looks down to his
dossier, with its odd assortment of photographs, reports,
and letters.

WILLARD (V.O.)
"Commitment and Counterinsurgency"
by Walter E. Kurtz. "As long as our
officers and troops perform tours of
duty limited to one year, they will
remain dilettantes in war, and
tourists in Vietnam. As long as cold
beer, hot food, rock 'n' roll, and
all the other amenities remain
expected norm, our conduct of the
war will only gain impotence. We
need fewer men, and better. If they
were committed, this war could be
won with a fourth of our present
force."

FULL SHOT - THE PBR CREW

The Chief is at the helm. He takes off his sunglasses and
looks straight ahead, reacting.

HIS POV:

Two PBR's coming straight at them. The lead PBR is headed on
a collision course.

CLEAN
Shit. Chicken time. You ain't
shittin', bro. They're motherfuckers.

LANCE
Who is that? What's going on?

All are looking forward. The Chief grabs the loud-hailer.

CHIEF
(over loud-hailer)
Is that you, Lazzaro?

CHEF
(to Chief)
Don't chicken out.

The lead PBR keeps coming on in a game of "chicken," the
rock music blaring from its speakers. Then it swerves at the
last possible moment and fishtails past. One of its CREWMEN
moons our crew. Lance, Chef, and Clean shout back and give
them the finger.

LOUDSPEAKER
Chicken!

The other PBR fishtails past also, causing a lot of turbulence
in the water. The crew gives our boys the finger, then one
of them throws a SMOKE BOMB. It lands on the canopy.

The smoke bomb spews out its YELLOW SMOKE, and suddenly the
canopy catches on fire.

CHIEF
Fire on the canopy!

Chef grabs a fire extinguisher and tries to snuff the fire
out.

CHEF
I got it! Get out of there!

Chief keeps roaring down the river as the others continue to
fight the fire. Finally they get it out. Willard stands there,
dumbfounded, and reacting, as we:

DISSOLVE TO:

EXT. RIVER - THE PBR - DAY

The PBR continues down the river. Lance gives a handful of
palm leaves to Chef, who is sitting up on top of the canvas
roof, trying to patch up the hole that was caused by the
fire. Clean has a pair of drumsticks and is beating out a
drum rhythm, really getting into it.

Willard studies the dossier; some photos and Vietnamese I.D.
cards.

WILLARD (V.O.)
Late summer, autumn 1968. Kurtz's
patrol into the highlands is coming
under frequent bush. The camp started
falling apart. November. Kurtz orders
assassinations of three Vietnamese
men and one woman. Two of the men
were colonels in the South Vietnamese
Army. Enemy activity in his old sector
dropped off to nothing. Guess he
must have hit the right four people.

INSERT - BLACK & WHITE PHOTO OF THE GENERAL

GENERAL (O.S.)
(to Willard)
He joined the Special Forces, and
after that he...

BACK TO WILLARD

WILLARD (V.O.)
The army tried one last time to bring
him back into the fold. And if he'd
pulled over, it would have been
forgotten.

GENERAL (V.O.)
...unsound.

WILLARD (V.O.)
But he kept going. And he kept winning
it his way.

GENERAL (V.O.)
(to Willard)
...with this Montagnard army of his.

WILLARD (V.O.)
And they called me in.

GENERAL (V.O.)
(to Willard)
...like a god, and follow every order,
however ridiculous.

WILLARD (V.O.)
They lost him. He was gone. Nothing
but rumors and random intelligence,
mostly from captured V.C. The V.C.
knew his name by now, and they were
scared of him. He and his men were
playing hit and run all the way into
Cambodia.

Clean's drum rhythm is annoying Willard. He puts a map back
into his dossier, rises, and looks at Clean, pissed, then
looks to the Chief.

CHIEF
Clean.

Clean stops drumming, moves away.

WILLARD
(to Chief)
How long has that kid been on this
boat?

CHIEF
Seven months.

WILLARD
He's really specializing in busting
my balls.

CHIEF
Very possibly, Captain, he thinks
the same of you.

Willard moves over to Chief.

WILLARD
Oh, yeah? What do you think, Chief?

ANGLE ON CLEAN

Clean gives Willard the finger behind his back.

CHIEF
I don't think. My orders say I'm not
supposed to know where I'm taking
this boat, so I don't. But one look
at you and I know it's gonna be hot,
wherever it is.

Willard comes into the cabin, looks at the Chief.

WILLARD
We're going up river, about seventy-
five clicks about the Do Lung bridge.

The Chief reacts, figuring it out almost immediately.

CHIEF
That's Cambodia, Captain.

WILLARD
That's classified. We're not supposed
to be in Cambodia, but that's where
I'm going. You just get me close to
my destination, and I'll cut you
loose.

CHIEF
All right, Captain.

DISSOLVE TO:

EXT. RIVER - THE PBR - DAY

The PBR moves down the river. Willard is studying the dossier,
holding a LETTER from Kurtz to his son.

WILLARD (V.O.)
(reading letter)
"Dear Son. I'm afraid that both you
and your mother will have worried at
not hearing from me during the past
weeks, but my situation here has
become a difficult one. I have been
officially accused of murder by the
army. The alleged victims were four
Vietnamese double agents. We spent
months uncovering then and
accumulating evidence. When absolute
proof was completed, we acted. We
acted like soldiers. The charges are
unjustified. They are, in fact, and
under the circumstances of this
conflict, quite completely insane."

The boat moves past some DEAD AMERICAN PILOTS. Their bodies
are lying in the water, on the bank, and in the trees, all
torn apart and bloody. There is smoke and debris all around.

WILLARD (V.O.)
(continuing reading
letter)
"In a war, there are many moments
for compassion and tender action.
There are many moments for ruthless
action. What is often called ruthless,
but may, in many circumstances, be
only clarity. Seeing clearly what
there is to be done, and doing it
directly, quickly, awake.

They come upon a burning helicopter, which has crashed in
one of the trees on the shore. This explains the dead American
bodies. The Chief picks up the radio phone, calling to
headquarters.

CHIEF (OVER TAPE)
Request-dust off. Three, maybe four
KIAs.

WILLARD (V.O.)
(continuing reading
letter)
"I will trust you tell your mother
what you choose about this letter.
As for the charges against me, I am
unconcerned. I am beyond their timid,
lying morality, and so I am beyond
caring. You have all my faith. Your
loving father.

CLOSE ON A SHADOWY PHOTO OF KURTZ

The caption "Photo believed to be Col. W. E. Kurtz."

DISSOLVE TO:

EXT. RIVER OUTPOST - DAY

It is a tremendous, tropical rainfall. The PBR pulls in toward
an American outpost that is being used as a forward medical
evacuation center. Various helicopter pads are seen but only
one helicopter -- the one painted with the Playboy bunny
logo that brought the girls to Hau Phat. The whole area is a
mess with mud and debris and looks deserted.

WILLARD
(reacting)
Jesus.

CHIEF
No wonder I couldn't get them on the
radio.

WILLARD
What a dump.

Several soldiers in raincoats come out from a tent as the
PBR pulls up.

SOLDIER
Hi there!

WILLARD
How you doing?

SOLDIER
That's a nice little boat you got
there. Never seen one up here before.

CHIEF
We called in a request for a medevac.
You guys didn't receive it?

SOLDIER
Medevac? No.

CHIEF
We passed a downed Huey with some
KIAs.

SOLDIER
On your way here?

CHIEF
Yeah.

SOLDIER
(incredulous)
You going up this river?

CHIEF
Way up.

SOLDIER
Way up river? Forget it.

CHIEF
Why?

SOLDIER
We wanna send some people down river.
Just forget it.

They turn around and start to go back to their tents.

CHEF
(to Willard)
What the fuck was that?

CHIEF
(calling out)
We'll be back in a couple of days.

The soldier looks at him as though he must be crazy.

SOLDIER
Yeah, right, you'll be back.

They return to the tent. Willard steps off the PBR.

WILLARD
Chief?

CHIEF
Yeah, Captain.

WILLARD
See what you can do with that engine.
I'm gonna have a look around. And
don't leave without me.

He walks up the muddy bank and through the deserted camp.
Half of it is blown down. The whole installation has the
look of a ghost town. TWO SOLDIERS approach, huddled in their
ponchos.

WILLARD
Hey, solder, where's your C.O.?

SOLDIER
Don't ask me, man.

Willard wanders around the desolate place. Other soldiers
pass.

WILLARD
Hey, guys, where's your C.O.?

SOLDIER
He stepped on a land mine about two
months ago. Got all blown to hell.

WILLARD
Who's in charge here?

SOLDIER
Charge? I don't know man. I'm just
the night man. Just doing what I'm
told. I'm just a working girl.

He just giggles and turns off walking into the mud and rain.

WILLARD
(to other soldier)
What about you, fella?

The other soldier turns around smiling idiotically, and making
animal noises. He stumbles off after his friend.

EXT. PBR - BY THE RIVER - DAY

Lance, Chef, and Clean are sitting on the dock surrounded by
enormous pile of clothes, boots, all sorts of brand new junk,
seemingly abandoned. Chief remains with the boat. Clean is
working on Lance's M16.

CLEAN
Lance, man, I'm telling you it's
gonna jam. You mark my words.

LANCE
Get off my back!

Lance, in an unexplainable fit of temper, turns to Clean,
jumping on him and pulling him into the mud. Chef, seeing a
brawl, jumps into it as well. All wrestle in the mud.

BACK TO WILLARD

He hears a voice.

AGENT
Hey, you! Come here!

Willard turns to see the Hollywood agent from the Hau Phat
show under the flap of a large tent, hiding from the rain,
waving Willard to come over.

His clothes are the same he wore at the Hau Phat show but
wet and dirty. He motions Willard over to him.

AGENT
Come here. Is that your boat? Come
on inside.

WILLARD
What do you want?

AGENT
Come on inside, I want to talk to
you. Come on. Get out of the rain.

BACK TO THE CREW IN THE MUD

Rolling around fighting, slapping mud on each other. It's as
though there is a lingering madness that infects anyone who
visits this place.

CHIEF
Come on, cut the shit. Come on.

BACK TO WILLARD AND THE AGENT

AGENT
How you doing, Captain? I want you
to meet some people.

CUT TO:

CREW AT THE PBR, STILL FIGHTING IN THE MUD

Willard approaches the group. He looks down at them as they
sprawl in the mud.

WILLARD
Hey, guys. Hey, fellas. Guys?

They don't respond, but continue their wild free-for-all in
the junk and mud.

WILLARD
I just made a deal with people from
Hau Phat. I negotiated two barrels
of fuel for a couple of hours with
the bunnies.

They stop fighting instantly. Willard walks toward the boat.
The group of them run after him.

CHEF
You shittin' me?

WILLARD
No, I'm not.
(to crew)
Grab a couple of barrels and get up
to that big tent. Come on!

VIEW ON THE CHIEF

He is not jubilant about this news.

CHIEF
Captain. You're giving away fuel for
a Playmate of the month?

WILLARD
No. Playmate of the Year, Chief.
(he takes a drink
from a bottle)

CHIEF
Captain, we get in a fire fight and
run out of fuel, I want you to tell
me how she was.

WILLARD
I made a deal for all of us, Chief.
How about you?

CHIEF
You got some mamas in there?

WILLARD
Some what?

CHIEF
(laughing)
Forget it, Captain. I'll stay with
the boat.

Chief moves to the engine, with Lance's M16.

LANCE
Hey, Captain, give me a hand!

Willard helps Lance with the fuel drum, and they exit, leaving
Chief alone on the boat.

EXT. PLAYBOY HELICOPTER - RAIN - DAY

It is still raining. The PLAYBOY HELICOPTER is parked by the
river. Our VIEW MOVES CLOSER, and we can make out two figures
in the front seat.

CHEF (O.S.)
You know, I got every one of your
pictures...

INT. PLAYBOY HELICOPTER - RAIN - DAY

It is Chef and Terri. He has on his rain gear and is
struggling to get it off. Terri is holding a white BIRD in
her hands and there are TWO MORE perched on their back seat.

CHEF
I got the centerfold, the Playmate's
Review, the Playmate of the Year
runoff. I even got the calendar.
Hey, oiseau! How come you got a bird?

TERRI
I used to be the bird girl at Busch
Gardens.

CHEF
Busch Gardens?

TERRI
Yeah, I used to train birds there.

He reacts as he rises, struggling to get off his rain pants.

CHEF
You are Miss December, aren't you?

TERRI
Miss May.

EXT. HOSPITAL UNIT - RAIN - DAY

Lance and Carrie are inside one of the hospital musk units.
She is lying back on one of the beds, and Lance is trying to
pull her boots off. Carrie's portfolio and pictures are spread
around the bed with some of her fan mail.

CARRIE
Is it coming?

BACK TO CHEF AND CARRIE

CHEF
Miss December has black hair.

TERRI
It's over there.

She points to the back-seat of the Huey, to a black wig on a
stand. Chef reacts as he looks at it. She is still preoccupied
with the bird.

TERRI
He's not one of my regular birds.
(to bird)
Come on, baby. Snatch your cracker.
Come here.

BACK TO LANCE AND CARRIE

Lance is kneeling next to Carrie, starting to make his move.
He opens her blouse, exposing her breasts.

CARRIE
Being Playmate of the Year is the
loneliest experience I can imagine.
It's like you try to express your
feelings to someone, and show them
your heart...

BACK TO CHEF AND TERRI

CHEF
Yeah, I'd love to see your bird act,
but would you mind just putting this --
would you just mind putting this wig
on for me, please?

He picks up the wig from the stand. Terri turns and moves
back to the rear seat.

BACK TO LANCE AND CARRIE

He moves to her makeup case.

CARRIE
...and there's this glass wall between
you, this invisible glass, and they
can see your mouth moving.

BACK TO CHEF AND TERRI

She is seated next to him in the back-seat of the helicopter.
He puts the black wig on her.

TERRI
I used to train birds for at least
two years at Busch Gardens.

CHEF
This was cascading over your shoulder.
(her blouse)
This was open here.

BACK TO LANCE AND CARRIE

Lance is putting barrettes in her hair.

CARRIE
...but they can't hear what you're
saying.

BACK TO TERRI AND CHEF

He has opened her blouse and is trying to position her.

TERRI
...I used to train then to stand on
their head, fly upside down, and
ride little bicycles...

CHEF
Your right hand was over there...

Suddenly Clean appears at the back window of the helicopter,
carrying an open black umbrella to shield himself from the
rain. He bangs on the window.

CLEAN
Hey, Chef!

CHEF
Get out of there, man!

Clean continues to pound on the side of the helicopter.
Chef reacts on the inside.

CHEF
Later! Later! Give me fifteen minutes.

BACK TO LANCE AND CARRIE

Lance puts some of the green makeup on Carrie.

CARRIE
You can never really make them hear
what you're trying to say...

BACK TO CHEF AND TERRI

Trying to position her.

CHEF
You were kind of bending. Yeah, your
ass was just kind of...

By this time Clean has climbed up on the roof of the
helicopter, he leans over and looks in at Chef and Terri
through the front window, banging on it with his umbrella.

CHEF
Hey man, fuck off! Fifteen minutes!

BACK TO LANCE AND CARRIE

He is lying her back on the bed.

CARRIE
That's why I tried so desperately to
show somebody that I had some talent.

BACK TO CHEF AND TERRI

Chef fixes her shirt.

TERRI
Little baby Macaws. Have you ever
seen a baby Macaw? They're beautiful.

Clean is now looking in through the window of the door.
They react to him.

CHEF
(to Clean)
Come on, man, take off!

CLEAN
I got my rights, man!

BACK TO LANCE AND CARRIE

He puts more makeup on her, as she continues to talk.

CARRIE
They make you do things that you
don't want to do. Like this picture
here.

She opens the portfolio that she has been hanging on to. We
SEE a picture of her in the nude. Lance looks at it and
reacts. Then she resumes talking.

CARRIE
I started feeling repulsed with
myself...

BACK TO CHEF AND TERRI

CHEF
You were just kind of bending forward,
you ass kind of out.

TERRI
I love training birds...

CHEF
That's it.

TERRI
...I really do.

Chef finally has her posed perfectly.

CHEF
That's it! Viola! Beautiful.

We realize that he was trying to get her to pose exactly as
she was in the centerfold of the Playmate of the Year he
taped up on the PBR.

CHEF
You know, I can't believe it. Me, J.
Hicks. I can't believe I'm really
here, you know.

BACK TO LANCE AND CARRIE

He is caressing her face.

CARRIE
...Maybe I'm unfit to have a
relationship with a beautiful,
innocent boy.

BACK TO CHEF AND TERRI

CHEF
Just think, if it hadn't been for
the Vietnam War, I'd never would've
met you, Miss December.

TERRI
Miss May.

BACK TO LANCE AND CARRIE

CARRIE
I wish I could find just one person
that could share my point of view.

BACK TO CHEF AND TERRI

They look at each other for a beat, then they both come
unglued. He starts stripping the clothes off her, laying her
back on the seat, kissing her breasts, etc.

TERRI
You kiss like a bird! Oh, God! Kiss
me!

CHEF
I love birds!

BACK TO LANCE AND CARRIE

Clean appears at the window. He looks in at them. Carrie
turns and sees him, she jumps from the bed, panicked, and
moves over by a couple of metal COFFIN containers. Clean
bursts into the room as Carrie knocks one of the coffins
over. The lid pops open, revealing a NAKED DEAD SOLDIER
inside, full of bullet holes. Carrie screams.

BACK TO CHEF AND TERRI

Making passionate, enthusiastic love.

TERRI
Like a bird! Take me like a bird!
Fly baby! What are you doing?

CHEF
I can fly like an eagle!

TERRI
Like an eagle, baby! Cock it to me!
Oh, you drive me crazy!

BACK TO CARRIE, LANCE AND CLEAN

Clean is gone. Lance is sitting next to Carrie, comforting
her. She is still distraught over seeing the dead body.

CARRIE
Lance, that was somebody's son...
Lance, there were things that they
made me do, that I didn't want to
do. But they said, "Pull the ribbons
between your legs," and I didn't
want to do it. But they said that
was what was expected of me, that
what people wanted to see.

Lance reacts, then kisses her. He starts taking off her
blouse. Clean appears at the broken window behind them. He
sticks his head in and looks down at them, watching, waiting
for his turn. Carrie breaks the embrace and looks up at Clean.

CARRIE
Who are you?

CLEAN
I'm next, ma'am.

Carrie reacts as we --

CUT TO:

EXT. RIVER - PBR - DAY

The crew are all on the PBR. Clean is at the back attempting
to shave. Chef is sitting in back busy cooking up one of his
specialties on top of the engine, giving Clean a hard time
about the girls. The Chief is at the helm, a little sore at
what's happening to his crew.

CHEF
(to Clean)
Well, I didn't know you never got no
pussy!

CLEAN
Shut the fuck up!

CHEF
Sure sorry about that. If I had known,
I would have taken you to New Orleans.
Teach you some of the moves.

CHIEF
Lay off, Chef!

Willard studies the shadowy photo of Kurtz we saw earlier,
as Chef teases Clean in the background.

CHEF
Cherry boy, Cherry boy.

CLEAN
You're fucking dumb!

CHEF
We'll go to New Orleans. I'll get
you fixed up, you prick.

CHIEF
Lay off, Chef.

CLEAN
You're the only prick I see around
here. If I wanna play with a prick,
I'll play with my own.

CHEF
You wouldn't know what to do with
it!

VIEW ON LANCE

Ignoring all this. He is painting his face with brown and
green camouflage greasepaint. It is quite ornate-almost
psychedelic. He holds a compact in his hand.

CHIEF
Chef, I said lay off! Knock it off!
Give him a break! What do you think
I said? And give your jaws a rest.
And this ain't the army! You are a
sailor. So get out of that frizzly
army-looking shirt and stop smoking
that dope, you hear me?

He looks back to Lance.

CHIEF
Lance, what's with all the green
paint?

LANCE
Camouflage.

CHIEF
How's that?

LANCE
So they can't see you. They're
everywhere. Chief.

The Chief reacts... what the hell can he say.

CHIEF
Uh-huh. I want you to stay awake up
there, man. You got a job to do.

DISSOLVE TO:

EXT. THE PBR - DAY

The Chief steers the PBR up river and around a bend. He sees
something ahead, shouts to the crew.

CHIEF
Sampan off the port bow. Sampan off
the port bow. Let's take a look.

POV VIEW

A SAMPAN, heading down-river, riding low in the water.

BACK TO PBR CREW

Everybody on the crew has reacted, as the Chief continues to
bark orders.

CHIEF
Lance, bring them in. Clean, on the
60. Chef, get a 16. Clean, get on
that 60!

Lance jumps up from his hammock, grabs his M16. Clean shuts
off his radio, jumps up and moves to the M60 machine gun.

By this time Willard has moved up next to the Chief, wondering
what the hell is going on.

WILLARD
What's up, Chief?

CHIEF
A junk boat, Captain. We're gonna
take a routine check.

WILLARD
Let's forget routine now, and let
them go.

CHIEF
These boats are running supplies in
this delta, Captain. I'm gonna take
a look.

WILLARD
Chief, my mission's got priority
here. Hell, you wouldn't even be in
this part of the river, if it wasn't
for me.

CHIEF
Until we reach your destination,
Captain, you're just on for the ride.

Willard realizes that this is a ploy by the Chief to establish
his authority. Nothing is going to stop him.

ANOTHER ANGLE-TO INCLUDE SAMPAN AND PBR

The PBR slides alongside the sampan. THREE NERVOUS VIETNAMESE
MEN and ONE YOUNG WOMAN look up from the baskets of rice,
mangoes, fish, etc.

CHIEF
All right, come on, let's bring it
over. Look in that forward hooch.
Bring the people out of there.

By this time the third man has crossed forward and joined
the others.

CHEF
Hurry up, motherfuckers! Move it!
Can couc!

They hand their ID cards to Chef.

CHIEF
Keep your eyes open, Clean.

CLEAN
(on the machine gun)
I got you Chief.

Willard just sits down, resigned to this show of the Chief's
authority.

Chef looks at them and nods his approval. He hands them to
Chief.

CHIEF
Board it and search it.

CHEF
There ain't nothing on it, Chief.

CHIEF
Board it and search it.

CHEF
Just baskets and ducks. Bananas.
There ain't nothing on it.

CHIEF
Go on it and search it.

CHEF
Just a goat. Some fish. Bunch of
fucking vegetables.

The Chief finally gets pissed off, he turns and screams at
Chef:

CHIEF
Get on that boat!

CHEF
There's nothing on it, man!

CHIEF
Get on that boat!

Chef starts down into the Vietnamese sampan. He is really
pissed off. He shoves the Vietnamese men out of the way.

CHEF
(to man)
Move it, asshole.

The Chief watches as Chef goes through the routine of
examining the sampan and what it carries. He is very nervous
as he looks in all the baskets.

CHEF
Pigs! Mangoes! What's in the rice
bag? Fucking rice!

CHIEF
Well, look in there, Chef!

CHEF
Fucking fish! More coconuts. Rice.
Here's rice.

CHIEF
What's in that vegetable basket?

Chef moves deeper into the sampan. He looks at the Vietnamese
girl that is sitting on a yellow can.

CHEF
(to girl)
Can couc! Come on! Get out of there.

He grabs her and finally pulls her out of the interior of
the cabin. He moves it and starts looking around.

CHIEF
Check that vegetable basket.

CHEF
All right!

One of the Vietnamese men starts to protest.

CLEAN
Shut up, slope!

CHEF
There ain't nothing in here.

CHIEF
What's in the boxes? Look in that
tin can. That rusty can.

CHEF
Just fucking rice, that's all! There
ain't nothing in it!

CHIEF
Check that yellow can. She was sitting
on it. What's in it?

Chef starts for it. All of a sudden, the girl moves. Clean
opens up with the M60. She is blown apart, falling back on
the deck.

In an instant, THEY ALL OPEN FIRE. One of the Vietnamese men
is blown apart into the water, and the others are gunned
down in their tracks.

All of them continue to fire their rifles and guns wildly,
yelling obscenities. Willard has his .45 out but does not
shoot.

CLEAN
Motherfuckers!

CHEF
(weeping)
Let's kill them all!

LANCE
Fucking cocksucker motherfuckers!

Finally the Chief calls out to them.

CHIEF
Hold it! Hold it!

They all stop firing, but Chef, Lance, and Clean are mumbling
hysterically.

CHEF
Let's kill all the assholes!

CHIEF
Chef, hold it! Hold it!

CHEF
(hysterically)
...why not?

CHIEF
Clean?

CLEAN
I'm good.

CHIEF
You okay, Lance?

LANCE
Shit! Fuck!

CHIEF
Chef?

Chef has moved to the yellow can that the Vietnamese girl
was sitting on. He opens the lid and checks what she had
hidden.

CHEF
Look what she was hiding. She what
she was running for?

He reaches inside of the can, and pulls out a PUPPY. They
all react.

CHEF
A fucking puppy! A puppy.

LANCE
Gimme that dog! Gimme that dog!

CHEF
No, you're not gonna get it!

LANCE
Give me the fucking dog, asshole!

Lance grabs the dog from him, kicking Chef back. Chef throws
a mango at him.

CHEF
Fuck you! Fucking mango, too! You
want that?

The Vietnamese girl, still alive and bleeding, moves behind
Chef.

CHIEF
Chef, she's moving behind you. She's
alive. Check her out.

Chef turns and bends down to her.

CHEF
Come on, Clean, goddamnit, give me a
hand!

Clean jumps down into the sampan. He and Chef pick up the
girl and carry her to the edge of the boat.

CHEF
She's not dead. She's moving.
(to group)
Let's take it easy. Take it easy.
Slow down and take it easy.

CLEAN
Bring her up.

CHIEF
Is she breathing, Chef?

CHEF
She's hurt. She's bleeding.

CHIEF
Bring her onboard. We're taking her
to an ARVN.

ANOTHER ANGLE ON TO INCLUDE WILLARD

Willard looks at the girl and then to Chief.

WILLARD
What are you talking about?

CHIEF
We're taking her to some friendlies.
She's wounded, she's not dead.

Willard hold his .45. Looks down at Chef and the girl.

WILLARD
Get out of there, Chef.

CHIEF
The book says, Captain --

Before anybody can react, Willard aims and SHOOTS THE GIRL
DEAD with his .45. She falls dead in Chef's arms.

CHEF
Fuck you. Fuck them.

Willard turns and looks at the Chief.

WILLARD
I told you not to stop. Now let's
go.

FADE OUT:

FADE IN:

EXT. THE RIVER - PBR - EVENING

The boat moves up the river.

WILLARD (V.O.)
It was a way we had over here of
living with ourselves. We'd cut them
in half with a machine gun, and give
them a Band-Aid. It was a lie. And
the more I saw of them, the more I
hated liars. Those boys were never
gonna look at me the same way again,
but I felt like I knew one or two
things about Kurtz, that weren't in
the dossier.

EXT. DO LUNG BRIDGE - THE PBR - RIVER - NIGHT

The boat edges in toward a wrecked bridge in the distance.
Along the banks are sandbagged fortifications with the U.S.
soldiers. There is a bright fire burning uncontrolled in the
distance -- in fact there are several-flame and sparks from
welding on the bridge momentarily light up the night. There
is sporadic gunfire at O.S. snipers, and flares arc through
the sky above the bridge.

WILLARD (V.O.)
Do Lung bridge was the last army
outpost on the Nung River. Beyond it
there was only Kurtz.

ANGLE FORWARD - LANCE AND CHEF

CHEF
Hey, Lance, what do you think?

LANCE
It's beautiful.

CHEF
What's the matter with you? You're
acting kind of weird?

LANCE
You know that last tab of acid I was
saving?

CHEF
Yeah.

LANCE
I dropped it.

CHEF
You dropped acid? Far out.

ANOTHER ANGLE

The Chief powers the boat forward, as Willard and Clean watch
in awe.

Everywhere are wrecked boats, parts of jeeps sticking out of
the water-a smashed helicopter on the banks. The bridge is
in a state of siege. Mortars and rockets arc through the
night indiscriminately and rip through the nearby jungle.
Light automatic WEAPON FIRE is HEAD occasionally. The entire
scene is lit by Parachute flares.

As the PBR edges forward, SOLDIERS run up through the water,
trying to get aboard. One soldier is carrying some luggage
and an M16. He splashes into the water, in a mad dash for
freedom.

SOLDIER
Take me home! Goddamn you!

CHIEF
Get away from this boat.

SOLDIER #2
You'll get what you deserve!

He and the others are left behind as the PBR continues
forward. Willard sees a young LIEUTENANT kneeling on a
platform that juts out into the water. He is holding a small
strobe light, trying to signal the PBR down. He is holding a
large mail bag and a pouch in the other hand.

Willard motions toward the shore. The Chief turns the boat
towards the Lieutenant.

CARLSON
Is there a Captain Willard on board?
Captain Willard?

WILLARD
Yeah! Who's that?

As the boat crosses to a stop, Lance swings the spotlight
onto the Lieutenant.

CARLSON
Lieutenant Carlson, sir.
(to Lance)
Get that light off me!

Lance swings the light off him, as Willard squats down on
the bow of the boat.

CARLSON
I was sent here from Nah Trang with
these three days ago, sir. Expected
you here a little sooner.

He hands Willard a plastic bag with maximum security markings.
Willard takes it -- also a mail pouch.

CARLSON
This is mail for the boat. You don't
know how happy this makes me, sir.

WILLARD
Why?

CARLSON
Now I can get out of here, if I can
find a way.

He turns and splashes off into the darkness. Then stops and
looks back.

CARLSON
You're in the asshole of the world,
Captain!

He salutes, then turns and moves away. Willard hops off the
side of the boat into the mud, moving up toward the shore.

CHIEF
Captain, where you going?

WILLARD
To see if I can find some fuel and
get some information. Pick me up on
the other side of the bridge.

CHIEF
(to his men)
Somebody go with him.
(to Chef)
Chef.

Chef doesn't move, not wanting to go. No one budges, then
Lance volunteers.

LANCE
I'll go. I want to go.

He picks up the puppy and an M16, then jumps over the side
onto the shore.

EXT. SHORE - NIGHT

As Willard and Lance walk across an open area, they are lit
by the battle in the background. Lance looks up and around
the embankment and along a barbed wire on the edge of the
road. SHELLS SCREAM overhead. Lance just stands looking down
on the phantasmagoric strings of lights, the smoke, the fires.

Willard jumps down into a trench. We SEE a SOLDIER crouched,
holding his buddy, who is crying uncontrollably.

WILLARD
Where can I find the C.O.?

SOLDIER
You came right to it, son of a bitch!

WILLARD
Lance! Get down here!

Lance is still reacting to the pyrotechnics around him. He
turns and jumps down into the trench.

WILLARD
You still got a commanding officer
here?

SOLDIER
Beverly Hills.

WILLARD
What?

SOLDIER
Right up the road there's a concrete
bunker called Beverly Hills. Where
the fuck else do you think it would
be?

Willard turns and moves away from the two soldiers. Lance
follows.

The CAMERA FOLLOWS them as they proceed down the long trench.
They pass a group of black G.I.s. Suddenly Willard trips
over a body, and falls right into a mud puddle. The body
stirs.

SOLDIER
You stepped in my face!

LANCE
We thought you were dead.

SOLDIER
Well, you thought wrong, damnit!

They come to another gun emplacement, where two BACK SOLDIERS
are at a fifty-caliber machine gun. The GUNNERS blast away
into the night, walking and swearing at Vietcong. The SPOTTER
is feeding the bullets into the gun. Psychedelic guitar music
plays on a portable radio.

GUNNER
(to enemy)
I told you to stop fucking with me!
You think you're so bad, huh, nigga?

Willard watches for a while, then shouts over to him.

WILLARD
What are you shooting at, soldier?

GUNNER
Gooks! What the fuck do you think
I'm shooting at?
(turns and sees it's
an officer)
I'm sorry, sir. There are gooks out
there by the wire. But I think I
killed them all.

SPOTTER
You ain't shot shit! Listen!

The enemy's yelling continues.

GUNNER
Oh, shit, he's trying to call his
friends. Send up a flare.

The spotter reaches over and picks up a flare pistol, and
fires a FLARE into the air. The gunner starts blasting away
again,

GUNNER
You think you so bad, nigga? You
think you so bad?

He stops firing. The yelling continues.

SPOTTER
They're all dead, stupid. There's
one still alive underneath them
bodies.

WILLARD
Who's the commanding officer here?

GUNNER
Ain't you?
(to enemy)
You think you so bad? I got something
for your ass! I got something for
you now!

Lance climbs up on top of the sandbags with the puppy and
looks at the pyrotechnics. Explosions go off all around him...
space city.

SPOTTER
There's nothing but bodies, man!

GUNNER
(to spotter)
Go get the Roach, man. Go get the
Roach, nigga!

The spotter moves down the trench, to where a tall lanky
black soldier wearing all sorts of beads and trinkets leans
against the ditch, sleeping.

SPOTTER
(calling out)
Roach! Roach!

THE ROACH gets up somewhat annoyed, but very cool, and
saunters up toward the machine gun. Willard looks over and
sees Lance up on top of the sandbags.

WILLARD
Lance!

Lance climbs down back into the trench. The Roach and spotter
move back to the machine gun, where the gunner waits. The
Roach turns off the radio, sits down, and listens.

SPOTTER
Do you hear them? Well, bust them!

VIETCONG (O.S.)
Hey, G.I., fuck you!

GUNNER
You hear him out there on the wire,
man?

ROACH
Yeah.

VIETCONG (O.S.)
Fuck you, you G.I.

GUNNER
You need a flare?

ROACH
No.
(listens)
He's close, man. He's real close.

VIETCONG (O.S.)
G.I., fuck you!

The Roach opens the breech of his shotgun-like weapon, plunks
a big slug into it. He snaps it closed, then turns and wraps
the strap around his arm. He points the weapon up into the
air listens to the YELLING, calculating, then fires. The
grenade whistles off into the night. There is a sharp
EXPLOSION that cuts off the scream. Then the thud of bodies.

ROACH
Motherfucker.

WILLARD
Hey, soldier. Do you know who's in
command here?

ROACH
Yeah.

He turns and walks away.

CUT TO:

FULL SHOT - PBR - BRIDGE - NIGHT

The PBR stands in the shadows. Chef, the Chief, and Clean
are waiting for Willard and Lance. SHELLS WHISTLE BY and
CRASH in the distance as the welding continues on the bridge.

Clean looks up and sees a direct hit on the bridge. TWO
SOLDIERS ate blown off some of the towers and into the water.

CLEAN
Holy shit! Yo, Chief, two guys just
got blown off that bridge,

CHIEF
You hang on, man. You're gonna be
okay.

Clean turns and moves to the bow, where Chef is kneeling by
the mail bag.

CLEAN
What's that?

CHEF
Mail, man!

CHIEF
Later on the mail! Watch them trees.

Willard and Lance climb back onto the boat, loaded down with
supplies. They move down into the PBR.

WILLARD
There's no diesel fuel, but I picked
up some ammo. Let's move out.

CHIEF
Did you find the C.O., Captain?

WILLARD
There's no fucking C.O. here. Let's
just get going.

CHIEF
Which way, Captain?

WILLARD
You know which way, Chief.

He takes off his shirt, then his T-shirt.

CHEF
You're on your own, Captain. Still
want to go on? Like this bridge. We
build it every night, Charlie blows
it right back up again, just so the
generals can say the road's open.
Think about it... who cares?

WILLARD
Just get us up river!

CHIEF
Chef. On the bow.
(to Clean)
Stand by, Clean.

FULL VIEW - THE PBR - NIGHT

The men on the bridge continue to weld with their torches as
the PBR backs up, then the Chief pulls away from the bridge.
They all look back in the distance, the hills flash with
charges, there is a fiery glow, the concussion of heavy
explosions, as the BRIDGE BLOWS.

DISSOLVE TO:

EXT. THE PBR - DAY

It is the next morning. The PBR continues on its journey up
river. Chef distributes mail from the mail bag.

CHEF
Shit, you got another one, Clean!

CLEAN
No shit. Wait a minute. Is that it?

CHEF
That's it for you. Lance? Mr. L.B.
Johnson, there you go.

Lance takes the letter.

LANCE
Far out, man! All right, I been
waiting for this one.

CHEF
(to all)
I got another one. I got a box from
Eva.

LANCE
(reading)
"Lance, I'm fine. Sue and I went
tripping in Disneyland. Sue skinned
her knee.

CHEF
Man, I'm gonna get back to Antoine's.

LANCE
(to letter)
How could I fucking forget, man?
Beautiful!
(reading)
"There could never be a place like
Disneyland, or could there? Let me
know."
(looking around)
Jim, it's here. It really is here.

Willard has opened the Top Secret pouch and is reading the
letter inside:

WILLARD (V.O.)
(reading)
"There has been a new development
regarding your mission, which we
must one communicate to you. Months
ago, a man was ordered on a mission,
which was identical to yours. We
have reason to believe that he is
now operating with Colonel Kurtz.
Saigon was carrying him MIA for his
family's sake, but they assumed he
was dead. Then they intercepted a
letter he tried to send to his wife."

INSERT - CLOSE ON THE COPY OF THE LETTER

"Find someone else. Forget it. I'm never coming back."

WILLARD (V.O.)
Captain Richard Colby. He was with
Kurtz.

LANCE
(to himself)
Disneyland. Fuck, man, this is better
than Disneyland.

CHEF
(reading newspaper)
"...Charles Miller Manson ordered
the slaughter of all in the home
anyway, as a symbol of protest."
That's really weird, ain't it?

Lance has taken some SMOKE BOMBS and is popping them open.
COLORED SMOKE begins to pour out.

LANCE
Purple Haze! Look!

CHIEF
Lance, put that smoke away.

CLEAN
I got a tape from my mom.

Lance is playing with the smoking flares.

LANCE
Chief, rainbow reality, man. Get a
good whiff.

CHEF
Eva can't picture me in Vietnam. She
pictures me at home, having a beer,
watching TV.

The colored smoke is getting in everybody's eyes. The whole
boat is enveloped.

CLEAN
Hey, Lance, man!

LANCE
(to himself)
Hot potato! Hot potato

CHEF
Eve's not sure she can have a
relationship with me. Here I am,
thirteen thousand fucking miles away,
trying to keep a relationship with
my ass.

Clean's tape from his mom is PLAYING.

CLEAN'S MOTHER (INTO RECORDER)
"...and that's much more that I can
say for some of your friends. If
this tape is any good, I will have
Dad and the family send you a tape
of their own.

SUDDENLY streams of TRACERS whip out of the jungle at them,
other bullets smash and ricochet off the deck; glass shatters,
everybody jumps to their battle stations.

Lance jumps into the turret of the twin fifties and starts
blasting away at the jungle. The Chief tries to power the
PBR out of the ambush. Clean jumps up behind the M60 machine
gun and starts firing. Willard uses his M16.

Everything is confusion, yelling, gunfire, the thud of bullets
ripping into the PBR fiberglass hull. Lance's guns return
fire. He screams obscenities as he vents an almost superhuman
violence.

MED. CLOSE SHOT - LANCE - FIRING HIS GUNS

Turning in the turret; bullets smash and explode around him.
Nobody quite knows where the fire is coming from.

VIEW ON THE CHIEF

The Chief steers and accelerates erratically, trying to dodge
the fire fight.

VIEW ON CLEAN FIRING HIS GUN

Firing the M60... suddenly it jams. As he rises up behind
the shield he is riddled by machine gun fire. The bullets
blast into his throat, chest, stomach... he falls to the
deck.

Nobody has seen that he is down yet. They keep firing their
guns into the jungle. The Chief throttles forward, the boat
surges ahead and slams across the river. It is all over
quickly.

The Chief turns and sees that Clean has been hit and is down
on the deck.

CHIEF
Chef! Take care of Clean! Captain,
Clean's hit! He's hit!

Lance climbs out of the gun turret and looks around for the
little puppy.

LANCE
Where'd the dog go? Where's the dog?
We gotta go back and get the dog!

Chef crawls to Clean and turns him over. Sees that he is
dead.

CHEF
Clean! Hey! Bubber, you can't die!
You fucker! Hey, bubber!

CLEAN'S MOTHER (INTO RECORDER)
"I'll have a lot of grandchildren to
love and spoil, and then when your
wife gets them back, she's be mad
with me. Even Aunt Jessie and Mama
will come to celebrate your coming
home. Granny and Dad are trying to
get enough money to get you a car.
But don't tell them, because that's
our secret. Anyhow..."

Clean lying dead, flat on his back. Chief turns him over and
holds his wrist to try and take his pulse.

CLEAN'S MOTHER (INTO RECORDER)
"...do the right thing, stay out of
the way of the bullets, and bring
your hiney home ask in one piece...
'cause we love you very much. Love,
Mom."

Chief is holding Clean's hand and crying.

DISSOLVE TO:

EXT. RIVER - PBR - DAY

The boat under power, moving through fog. They pass downed
jets, wreckage, burning fires. Willard is sitting on the
bow, looking out into the distance as though he sees
something.

WILLARD
(motions to Chief)
Hold on. Throw me the glasses.

He looks through the binoculars.

WILLARD'S P.O.V. - WRECKED FRENCH PLANTATION - DAY

In the distance, we can make out a PLANTATION. The dock has
been devastated by years of fighting. There is a heavy FOG
or MIST everywhere. Up on the hill above the dock sits a
large house; it does not look heavily damaged.

EXT. RIVER - THE PBR - DAY

Willard picks up his M16 and moves to the front of the boat.
Chief has also seen the wrecked plantation.

CHIEF
Lance. Get the 16 on the bow.
(to Chef)
Chef, on the 60.

The Chief pulls the PBR slowly up to the wrecked dock. Willard
jumps off with his M16 in hand and cautiously looks around.

He walks into a wrecked barn. He comes out of the side and
makes his way back to Chef and Lance, who are standing on
the dock.

CHIEF
Lance, cover the Captain.

Suddenly from out of the fog... FRENCH VOICES shout out.

LAFAVRE
You are surrounded. Return. Drop
your weapons.

CHEF
(in French)
Don't shoot! Don't shoot!
(to Lance and others)
They're French.
(n French, to soldiers)
I am dropping my weapon!

Chef and Lance start to put down their M16s, the Chief shouts
out furiously from the boat.

CHIEF
Chef! Pick up that weapon! Pick it
up! Stand fast!

Chef continues to shout to the French.

CHEF
We are Americans! We are friends.

LAFAVRE
Drop your weapons!

As Willard walks down the dock, French soldiers appear out
of the fog, totally surrounding them. Willard stops in front
of them, realizing there is no way out, and raises his rifle
in surrender.

CHIEF
(to Lance and Chef)
All right, you men. Put down your
weapons.

They all drop their weapons. More soldiers step out.

CHEF
(in French)
We are Americans. We are friends. We
are friends.

We SEE more French and Cambodian soldiers as they step out
of the fog onto the dock. They move forward cautiously. It
is strange. It is like meeting up with a group of soldiers
from the French Indo-Chinese War. It's as though they've
stepped into 1954. The soldiers are still wearing parts of
the red berets of their particular unit that fought against
the Viet Minh. There are also Vietnamese who serve the French
and who fought with the French. They all bear older automatic
weapons and suspicion in their eyes.

Another Frenchman joins the group. This is obviously the
patriarch of the family. HUBERT DEMARAIS is about fifty,
with a dignity and strength about him. He and Willard look
at each other.

WILLARD
We lost one of our men.

DEMARAIS
We French always pay respect to the
dead of our allies. You're all
welcome.
(pause)
My name is Hubert DeMarais. This is
my family's plantation. It has been
such for seventy years, and it will
be such until we are all dead.

DISSOLVE TO:

EXT. GRAVEYARD - DOLLY SHOT - DAY

The group is assembled. There is a platoon of Cambodian
soldiers standing by an open grave, SERGEANT LAFAVRE in front
of them.

LAFAVRE
To my command! Attention! Weapons on
the shoulder! Present weapons!

The platoon present their weapons, as Clean's body is carried
toward the grave. The bugler brings the bugle up to his lips
and plays "Taps."

Willard looks up and sees something on the balcony of the
house.

HIS P.O.V:

A young WOMAN, dressed in white, is on the balcony. She has
been watching the ceremony. She turns back into the house.

The Chief bends down and picks up the tattered American flag,
which is on Clean's body. Lance places Clean's tape recorder
on the body. The body is lowered into the grave.

CHIEF
(to Willard)
Captain, accept the flag of Tyrone
Miller, on behalf of a grateful
nation.

He hands the folded flag to Willard.

INT. DINING ROOM - GROUP - NIGHT

We SEE the DeMarais interior. They have set up a table for
the crew, and with some of their own enlisted men. The table
is headed by Sergeant LaFavre, who is already seriously into
the wine.

A waiter comes to the table and stops next to Chef. He is
holding a plate full of chicken, etc. Chef's face lights up
as he regards the wonderful European-style food.

CHEF
This food is really wonderful, isn't
it? The wine, the sauces. I can't
believe it. Can I speak with the
chef?

LAFAVRE
The chef speaks only Vietnamese.

CHEF
No kidding. He cooks like this and
he can't even speak French?
(to Lance)
Hey, Lance, the chef's a slope.

Lance has been loading up on food from the waiter's plate.
As the waiter moves away from him, Lance reaches across the
table for the bread and accidentally knocks over a glass.

CHIEF
Hey, Lance...

Lance realizes he is eating like an animal, sits back down.

The VIEW MOVES ALONG THE TABLE AND REVEALS that on a higher
level there is a more elaborate table set, where the DeMarais
family is dining with Willard.

Willard is sitting next to DeMarais, who is at the head of
the table. Christian, ANNE-MARIE, and old blind UNCLE,
Claudine, the TUTOR, and Philippe are all seated, listening
to one of the grandchildren, who is reciting a poem. The
other grandchildren stand nearby listening.

The child stumbles through the poem.

DEMARAIS
(in French)
You still need to study with Mr.
Robert. Let's go. Not too bad. Go to
bed everyone now.

The children kiss their parents good night, and run out of
the room. DeMarais turns to Willard.

DEMARAIS
This is Baudelaire. It is a very
cruel poem for children, but they
need it, because life sometime is
very cruel.

He reaches behind him and picks up a plaque, hands it to
Willard.

DEMARAIS
As you can see. Attack repelled by
the family.

PHILIPPE
Just for this war

DEMARAIS
(pointing to the plaque)
Vietcong, fifty-eight. North
Vietnamese, twelve. South Vietnamese,
eleven.

WILLARD
Americans, six?

DEMARAIS
Yes, well, there were perhaps
mistakes.

Willard hands the plaque back to DeMarais, who hands if off
to Philippe.

ANOTHER ANGLE TO INCLUDE ROXANNE

The young woman we saw earlier, ROXANNE, has come down the
stairs and moves into the dining Room. DeMarais looks up and
sees her.

DEMARAIS
(in French)
Roxanne, you were curious to see
these Americans, weren't you?

ROXANNE
(in French)
No, I was only hungry.

She stops in front of an empty chair next to Philippe.
Willard rises to greet her.

DEMARAIS
May I present Captain Willard, he is
of a Paratroop regiment. Madame
Sarrault.

She smiles and indicates for Willard to sit down.

ROXANNE
Captain.

She sits down. There is an uneasy silence. She laughs
slightly.

ROXANNE
(in French)
"An angel passes..."

DeMarais reacts.

DEMARAIS
(in French)
"...Let's butcher it!" Do you remember
this story in Paris, when the baron
said, "Let's cut the angel?"

ROXANNE
(in French)
I don't think that is the subject
tonight.

DEMARAIS
I'm sorry, Captain. It was just a
little story. And people starving
during the war. They are all around
the table, and there was a silence,
somebody say "An angel is passing
by." So somebody say "Let's eat it!"
(laughs)

WILLARD
How long can you possibly stay here?

DEMARAIS
We stay forever.

WILLARD
No, no, I mean, why don't you go
back home to France?

DEMARAIS
This is our home, Captain.

WILLARD
Sooner or later, you're --

DEMARAIS
No!

Roxanne interrupts, saying something to him in French. He
silences her.

DEMARAIS
(to Willard)
You don't understand our mentality!
The French officer mentality! At
first, we lose in Second World War.
I don't say that you Americans win,
but we lose.

CLAUDINE
Oh, Papa.

DeMarais is starting to get heated up.

DEMARAIS
When I speak, you shut up!
(to Willard)
In Dine Bien Phu, we lose! In Algeria,
we lose! In Indochina, we lose. But
here, we don't lose! This piece of
earth, we keep it! We will never
lose it! Never!

The OLD BLIND UNCLE at the other end of the table speaks, as
Claudine cuts his food for him and feeds him.

OLD UNCLE
And now you take French place, and
the Viet Minh fight you. And what
can you do? Nothing. Absolutely
nothing.

DEMARAIS
The Vietnamese are very intelligent.
You never know what they think. The
Russian ones who help them, "Come
and give us their money, we are all
Communists. Chinese, come and give
us guns. We're all brothers." They
hate the Chinese! Maybe they hate
the American less that the Russian
and the Chinese. If tomorrow the
Vietnamese are Communists, they will
be Vietnamese Communists. And this
is something that you will never
understand, you American.

OLD UNCLE
I don't know. Maybe in the future we
can make something with the Viet
Minh.

PHILIPPE
Don't you understand? The V.C. say,
"Go away! Go away!" That's finish
for all the white people in Indochina.
If you're French, American, that's
all the same. "Go!" They want to
forget you. Look, Captain --

He rises from the table.

DEMARAIS
Come on, Philippe. It's enough now.

Philippe goes and picks up an egg from the basket, returns
to the table.

PHILIPPE
Look, this is the truth...

He breaks the egg in his hand, the contents dribble out.

PHILIPPE
An egg, the white leaves, but the
yellow stays!

He turns and walks away.

DEMARAIS
(in French)
Come on, stay with us. What's going
on?

PHILIPPE
(calling back)
They don't want to face the truth.

He points to the dining room, turns and exits, LaFavre,
playing his accordion, walks toward the dining room.

CHRISTIAN
When I was in Saigon, I spoke to an
American politician, and he explained
it very well. He said, "Look,
Yesterday it was Korea, today Vietnam,
tomorrow Thailand, the Philippines,
then maybe Europe."

LaFavre enters, playing the accordion.

CHRISTIAN
Come on, why not Europe? Look what
happened in Czechoslovakia recently.
And even before the Second World
War, the Americans knew exactly what
was going on! They don't want that
shit to take over!
(to LaFavre, who is
playing the accordion)
LaFavre! LaFavre, stop it!

LAFAVRE
All you white people are shit.

CHRISTIAN
They are fighting. Fighting for
freedom.

LAFAVRE
Freedom? Bullshit. French bullshit.
American bullshit.
(to all)
Dine Bien Phu, that's serious! All
soldier know they are already dead.
(to Willard)
You know anything about Dine Bien
Phu?

WILLARD
Yeah, I know.

DEMARAIS
No, you don't. Not really.

TUTOR
A milliary mistake.

DEMARAIS
A mistake? A voluntary mistake!
Voluntary!

LAFAVRE
All the soldiers knew, we knew we
would be dead.

DEMARAIS
The generals and the colonels believe
it's impossible for the Viets to get
the cannon up there in the mountain.
But they do. Then they wait for the
rain to come. When it comes, no
airplane can fly there, and our
paratroopers jump at ninety meters!
I mean, you know, ninety meters!
Seventy meters! That's crazy! Nobody
in the world can do that! And they
only do that to be dead with their
friends.

LaFavre starts playing "The Star Spangled Banner!

DEMARAIS
The French Army sacrificed. Sacrificed
by politicians safe at home. They
put the army in an impossible
situation where they couldn't win!

TUTOR
You exaggerate.

DEMARAIS
The students are marching in Paris,
protesting, demonstrating. They stab
the soldiers in their back! The
soldier would open a grenade, it
wouldn't work. A piece of paper would
fall, "Union of the French Woman."
"We are all for the Viets." Traitors!
Communist traitors at home!

LAFAVRE
Dine Bien Phu, okay. The French is
shit. No one care. No one want to --

CHRISTIAN
You are bothering me, LaFavre!
(to Willard)
Why don't you Americans learn from
us, from our mistakes? My God, with
your army, your strength, your
power... you could win if you wanted
to!

As LaFavre leaves, he falls down some steps that lead out of
the dining room.

DEMARAIS
(in French; to
Christian)
Be kind and help this poor LaFavre
who fell, please.

CHRISTIAN
(to Willard)
You can win!

He rises and goes to help the sergeant. As they leave, his
wife Anne-Marie sits there nervously, then rises, excusing
herself.

OLD UNCLE
You know, I'm sure we can make
something here. I'm sure about it,
you know? I never do something wrong
to the people here.

TUTOR
That's right, but the Communists at
home have never been traitors.

DEMARAIS
No, never traitors. For me, Mendes-
France was a Communist.

TUTOR
Mendes-France was a Socialist.

DEMARAIS
He was Communist! That's it!

They get into an argument in French. The others look at each
other, at Willard, as the argument continues.

TUTOR
Socialist.

DEMARAIS
How do you want the government to
win when it is Communist?

TUTOR
Communists have always worked for
peace wherever they are.

DEMARAIS
They killed the French Army, which
was the strongest. Destroyed because
of who? The Communists.

TUTOR
The army damaged itself by its
attitude toward the people here.

DEMARAIS
And why do you think that it did
that? Because it understood it had
been sacrificed by the Communist
government.

TUTOR
Socialist.

DEMARAIS
Communist.

TUTOR
Captain, good night.

The tutor gets up and starts to walk out... gives Demarais
one more shot.

TUTOR
(to DeMarais)
Mendes-France was a Socialist.

He leaves.

OLD UNCLE
We can stay. I know we can stay. You
know, we always helped the people,
we work with the people.

The old man continues babbling, as Claudine helps him up.

CLAUDINE
Come on, we are leaving.

OLD UNCLE
So we can be friends, we are agreed.

The exit, Claudine consoling him. Now only Roxanne, Willard,
and DeMarais are at the table.

DEMARAIS
See, Captain, when my grandfather
and my uncle's father came here,
there was nothing. Nothing. The
Vietnamese were nothing. So we worked
hard, very hard, and brought the
rubber from Brazil, and then plant
it here. We took the Vietnamese,
work with them, make something,
something out of nothing. So when
you ask me why we want to stay here,
Captain, we want to stay here because
it's ours, it belongs to us. It keeps
out family together. We fight for
that! While you Americans, you are
fighting for the biggest nothing in
history. I'm sorry Captain. I will
see if your men needs any help to
repair your boat, so that you can go
on with your war. Good night, Roxanne.

He rises from the table and moves out of the room. Willard
and Roxanne are left alone at the table.

ROXANNE
I apologize for my family, Captain.
We have all lost much here. Hubert-
his wife and two sons. And I have
lost a husband.

WILLARD
I understand.

ROXANNE
You are tired of the war. I can see
it in your face. It was the same in
the eyes of the soldiers of our war.
We called them "Les Soldat Perdus."
The Lost Soldiers
(a beat)
If you like we can have some cognac.

She rises and moves to the living room.

WILLARD
No, I have to see about my men and...

Roxanne stops at the bottom of the stairs. She turns to look
at him.

ROXANNE
The war will still be here tomorrow.

WILLARD
Yeah, I guess you're right.

He rises and walks down into the living room. Roxanne moves
toward a table full of liquor bottles.

ROXANNE
I noticed you had no wine at dinner.

She begins to pour cognac into a glass.

WILLARD
No, I don't drink wine. I do like
cognac, but I don't want any now,
thank you.

ROXANNE
Well, then I must drink alone then.

She picks up her glass of cognac, and walks by Willard out
onto the terrace. Stops and looks back at him.

ROXANNE
Will you go back after the war to
America?

WILLARD
No.

ROXANNE
Then you're like us, your home is
here.

She walks farther out onto the terrace, sits down on a sofa,
with her back to the river below. Willard follows her and
stands next to her at the railing. We can SEE men working on
the PBR down below at the dock.

ROXANNE
Do you know why you can never step
into the same river twice?

WILLARD
Yeah. Because it's always moving.

DISSOLVE TO:

INT. ROXANNE'S BEDROOM - NIGHT

Our VIEW starts CLOSE ON Roxanne's hands. She is holding a
long opium pipe. In the other hand she holds a long tamper
with some opium on the end. She handles it expertly over a
small lamp with open flame, heating it, then putting the
bead of opium into the pipe.

ROXANNE
I used to prepare a pipe for my
husband. It was morphine he took for
the wounds he suffered in his heart.

She looks over at Willard. They are both lying on her bed,
next to each other.

ROXANNE
He would rage and he would cry, my
lost soldier. And I said to him,
"There are two of you, don't you
see? One that kills and one that
loves." And he said to me, "I don't
know whether I am animal or a god."
But you are both.

She offers him the pipe, he takes it and inhales the smoke
from the opium, gives it back to her. She smokes also.

ROXANNE
You want more?

He shakes his head.

ROXANNE
All that matters is that you are
alive. You are alive, Captain. That's
the truth.

She gets up from the bed, unties one of the strings of the
bed canopy, and takes off her robe, revealing her naked body.
She walks around the bed, untying the other strings. She
approaches him. He reaches up to her.

ROXANNE
There are two of you, don't you see?
One that kills... and one that loves.

DISSOLVE TO:

EXT. RIVER - PBR - DAY

Mist swells up around the river as the boat moves into an
obscure FOG. Willard is up front on the bow, trying to see
what's ahead. The Chief is at the helm.

ED. CLOSE SHOT - THE CHIEF

We catch a glimpse of him, even though we are in the fog, he
can't see a thing. Finally he shuts down the engine and they
coast.

CHIEF
Can't see nothing. We're stopping.

Willard jumps up and moves to the Chief.

WILLARD
You're not authorized to stop this
boat, Chief.

CHIEF
I said I can't see a thing, Captain!
I'm stopping this boat! I ain't
risking no more lives!

WILLARD
I'm in command here, goddamnit. You'll
do what I say!

CHIEF
(to Chef)
You see anything, Chef?

Chef is at the back of the boat behind the M50. He searches
the banks.

CHEF
Why don't they fucking attack, man?

ANGLE ON LANCE

His head back, wailing eerily.

CHEF
Watch it over there, Chief. Got a
stump.

CHIEF
Lance, on the fifties.

ANGLE ON THE PBR

We catch glimpses through the moving FOG, all of the men on
the PBR, at their guns, searching the shoreline.

WILLARD (V.O.)
He was close. He was real close. I
couldn't see him yet, but I could
feel him, as if the boat were being
sucked up river and the water was
flowing back into the jungle. Whatever
was going to happen, it wasn't going
to be the way they called it back in
Nah Trang.

SUDDENLY the air is filled with arrows, an avalanche of arrows
in the sky. They come down clattering on the deck. Chef opens
fire.

WILLARD
Arrows!

CHIEF
Fire! Chef, open fire! Fire! Lance!
Fire!

ANOTHER ANGLE - ARROWS

Arrows everywhere, primitive spears flung expertly.

ANGEL ON LANCE

In the front turret, arrows whiz around him. He turns, smiles,
picks one up, looks at it, breaks it in half.

ANGLE ON THE CHEF

Frightened, but almost heroic, firing his weapon and shouting
obscenities at the weird, dancing heathens attacking him.
Arrows fall harmlessly around him.

HIGH ANGLE - THE SKY

Thousands of arrows in the sky come clattering down on the
deck by the Chief.

ANGLE TO GO WITH WILLARD

Amazed... immediately he knows they're harmless, done more
to frighten than to injure. But still, he's never seen
anything like this in all his time in Vietnam, and he knows
in his gut that it is still another message from Kurtz. He
moves to Chef, tries to make him stop firing.

WILLARD
Chef! Chef, it's okay! Quit firing!
They're just little arrows. Cut it
out! Quiet! Chief, tell them to hold
their fire! They're just little
sticks! They're trying to scare us!

The Chief picks up his M16 and turns to Willard wildly.

CHIEF
You got us in this mess, and now you
can't get us out, because you don't
know where the hell you're going, do
you?
(no answer)
Do you? You son of a bitch! You
bastard!

The Chief leaves the wheel of the PBR and steps up on the
deck with his M16.

WILLARD
(to Lance)
Lance, get the wheel!

Lance moves to take over the wheel, as Chief starts firing
his M16 madly.

CHIEF
You savages! Come and get it, you
son of a bitches!

He drops the M16, moves to the M60 machine gun and starts
firing madly again.

Suddenly the Chief stops short, puzzled, a small droplet of
blood lines his mouth. He coughs up a mouthful of blood,
then looks down. The head of a SPEAR has gone through his
chest. He looks up at Willard.

CHIEF
A spear?

He remains looking directly into Willard's eyes, then starts
to fall. Willard catches him, and is pulled down to the deck
by the weight of the Chief's body. The Chief looks up at him
and suddenly reaches his hands for Willard's throat, trying
to pull Willard down on top of the spearhead, trying to skewer
him, and pull him along with him to death. A beat as they
struggle, then suddenly the Chief DIES.

EXT. RIVER - THE PBR - DAY

Lance is putting camouflage paint on the Chief.

Willard has jumped off the boat with all of his gear. Chef
looks down at him.

WILLARD
My mission is to make it up to
Cambodia. There's a Green Beret
colonel up there who's gone insane,
and I'm supposed to kill him.

CHEF
That's fucking typical! Shit! Fucking
Vietnam mission! I'm short and we
gotta go up there so you can kill
one of our own guys? That's fucking
great! That's just fucking great,
man! Shit! That's fucking crazy! I
thought you were going to blow up a
bridge, or some fucking railroad
tracks, or something!

Lance has pulled the Chief's body into the river, and jumped
in himself. Willard and Chef watches him, as he tries to
bury Chief's body in the water.

Willard turns to leave.

WILLARD
That's all right.

CHEF
No, wait. We'll go together. On the
boat. We'll go with you. We'll go
out there. But on the boat, okay?

Lance gently floats Chief off downstream. We SEE the Chief's
body slowly disappear.

EXT. RIVER - PBR - NIGHT

The PBR moves up-river. The shore is lit up with burning
torches and a large wooden structure in flames. We SEE the
faces of the remaining crew, as they take in this sight.

DISSOLVE TO:

EXT. RIVER - THE PBR - DAY

The boat passes rows of skulls, flaming torches, men impaled
on poles, etc.

WILLARD (V.O.)
Part of me was afraid of what I would
find, and what I would do when I got
there. I knew the risks. Or imagined
I knew. But the thing I felt the
most, much stringer than fear, was
the desire to confront him.

Lance is at the back of the boat, moving in a slow-motion
Tai Chi.

DISSOLVE TO:

EXT. RIVER - PBR - DAY

The PBR is slowly moving TOWARD CAMERA. Lance and Willard
are standing on the bow of the boat. Chef is at the helm.
The men stare forward in amazement. Willard has the binoculars
around his neck. He brings them up to his eyes and looks.

WILLARD
(to Chef)
Just keep moving.
(to Lance)
Lance, keep your hands away from the
guns.

OUR VIEW MOVES slowly behind them and we SEE that they see.

Hundreds of Montagnard natives, body and faces painted white,
of the most savage nature, but there is a purity about them.
Men and boys stand passively on canoes side by side, blocking
the river.

There are also hundreds of other NATIVES lining the shore on
both sides, dressed in most ornate and primitive manner, in
feathers, parts of birds and animals. Fires and dead bodies
are everywhere.

OUR VIEW MOVES

Behind the PBR, closer and closer to this fantastic human
wall blocking them. The natives accept the PBR, allowing it
to pass into them with a sort of inevitability.

VIEW ON WILLARD, LANCE AND CHEF

Reacting as they pass through the natives on canoes, then
look up toward the bask.

WHAT THEY SEE:

The temple. A magnificent fortified encampment built around
the ruins of a former Cambodian civilization.

NEW ANGLE - FULL VIEW BEHIND THE PBR AS IT PROCEEDS

The scale of this thing is enormous. Great enigmatic Cambodian
faces carved out of stone from thousands of years ago. The
fortress reaches out across the river where part of its ruins
still stand on the opposite side nod on a small island. It's
as though the river flowed into the great rams of the sphinx-
like temple. Aligning the fortifications are concertina wire,
automatic weapons emplacements. There is even wreckage of
Hueys as armed machine gun nests. It is a strange combination
of the very modern and the very primitive. In this
installation, WE SEE LIVING families, fires, nomadic
dwellings, several HUNDRED of the most primitive MOTAGNARDS
that ever existed. Some carry spears, occasionally other
emerge from the jungle, scurrying around with the activity
that the arrival of a stranger brings. The air is heavy with
the weight of hundreds of AUTOMATIC WEAPONS. A think greasy
smoke hangs from fires that burn and around the fort. Fresh
shell craters indicate a recent battle. Near the dock, and
everywhere else, there are tangled piles of corpses, half-
submerged in the water, piles of bodies of the dead.

As the PBR moves up, a HEAD suddenly is thrust into VIEW.
The heads is that of a particularly wild, long-haired, stubble-
faced MAN. He has three or four camera bodies around his
neck; a large bag stuffed with lenses and film. He is dressed
in rags and tatters. He shouts out.

PHOTOGRAPHER
It's all right! It's all right! It's
been approved!

The PBR moves slowly toward the steps, as the man continues
to shout out.

CHEF
I ain't coming in there! Them bastards
attacked us!

PHOTOGRAPHER
Zap 'em with your siren, man. Zap
'em with your siren.

Chef BLOWS THE SIREN on the PBR. The Natives react, never
having heard one before; they scatter in all directions,
running away scared.

The photographer moves down onto the landing, directing the
boat.

PHOTOGRAPHER
There's mines over there! Mines over
there, too! And watch out, those
goddamn monkeys bit you, I tell you.

The PBR crew are exhausted, staring at him through their mud-
and-blood splattered faces.

PHOTOGRAPHER
Move it in right toward me.

He jumps onboard the boat and immediately advances towards
Lance. He shakes his hand, moves to the others, and shakes
their hands as well.

PHOTOGRAPHER
I'm an American. An American civilian.
Hi, Yanks. Hi. American. American
civilian. It's all right.
(to Chef)
And you got the cigarettes, and what's
what I've been dreaming of.

Chef flips him a packet of cigarettes.

WILLARD
(or photographer)
Who are you?

PHOTOGRAPHER
Who are you? I'm a photojournalist.
I've covered the war since '64. I've
been in Loas, Cambodia, 'Nam...
(looking around the
boat)
I'll tell you one thing. This boat
is a mess, man.

WILLARD
(gestures to natives)
Who are all these people?

PHOTOGRAPHER
They think you've come to take him
away. I hope that isn't true.

WILLARD
Take who away?

PHOTOGRAPHER
(gestures to temple)
Him! Colonel Kurtz! These are all
his children, man, as far as you can
see. Hell, man, out here, we are all
his children.

WILLARD
Could we talk to Colonel Kurtz?

PHOTOGRAPHER
Hey, man, you don't talk to the
Colonel. Well, you listen to him.

Willard steps off the boat onto the steps. He turns and looks
back at the Photographer.

PHOTOGRAPHER
The man's enlarged my mind. He's a
poet-warrior in a classic sense. I
mean, sometimes he'll -- well, you
say hello to him, right? And he'll
just walk right by you and he won't
even notice you. And then suddenly
he'll grab you and he'll throw you
in a corner and he'll say "Do you
know that the 'if' is the middle
word in 'life'? If you can keep your
head when all about you are losing
theirs and blaming it on you. If you
can trust yourself when all men doubt
you." I'm a little man, I'm a little
man. He's a great man.
(a beat)
"I should have been a pair of ragged
claws scuttling across floors of
silent seas."

Willard, incredulous, turns away to Lance.

WILLARD
Stay with the boat.

PHOTOGRAPHER
Don't go without me, okay. I want to
get a picture.

Willard and Chef start up the steps. The Photographer walks
with them, taking photographs.

TRACKING SHOT

They reach the top of the steps. Gradually the natives and
savages show themselves -- fierce and frightening, jungle
fighters, mostly Montagnard. They wear only loincloths and
bandoleers of ammunition. Their bodies are painted in strange
patterns. Death and parts of bodies are everywhere.

PHOTOGRAPHER
He can be terrible, and he can be
mean, and he can be right. He's
fighting the war. He's a great man.
I mean, I wish I had words you know?
I wish I had words. I could tell you
something like, the other day he
wanted to kill me.

WILLARD
Why did he want to kill you?

They come to a stop.

PHOTOGRAPHER
Because I took his picture. He said,
"If you take my picture again, I'm
going to kill you." And he meant it.
See, just lay cool, lay cool. Lay
back, dig it.

They start walking forward again, as the photographer
continues.

PHOTOGRAPHER
He gets friendly again, he really
does. But you don't judge the colonel.
You don't judge the colonel like
ordinary men.

ANGLE ON WILLARD

looking carefully as he moves forward

MOVING POV

More natives and savages. Interspersed among them are a few
taller men with paler skins, with the remnants of army
insignia on them.

ANGLE ON WILLARD

reacting, as he moves forward. Chef is frightened, as he
follows Willard.

ANOTHER ANGLE

They move closer and closer to the temple. The photographer
runs up ahead of Willard and stops in front of the man with
paler skins... these are remnants of the Green Beret "A"
Team.

PHOTOGRAPHER
Okay, watch it now! These are
Americans! Americans!
(to Willard)
You can feel the vibe of this place.
Let me take a picture. Hey, could
you hold it? Hello? Could you hold
it for a minute?

The photographer starts clicking away with a Nikon, as Willard
moves toward what once must have been an American. He wears
only a shotgun cartridge and striker pants. His face is
darkened from dirt, battle smoke, matted mud and grease.

Willard stops and looks at him.

WILLARD
Colby?

Colby is silent. Then he and the other Berets, woman,
children, etc., slowly part, making way for Willard. Willard
slowly moves through the group and looks.

WHAT HE SEES

The stone steps of the temple. Resting on the steps are
freshly screed heads, blood washing down from them. They sit
decorating the entrance to the temple like so many gruesome
pumpkins.

PHOTOGRAPHER
The heads. You're looking at the
heads. Sometimes he goes too far,
and he's the first one to admit it.

Chef, behind Willard, looks at the heads.

CHEF
He's gone crazy.

PHOTOGRAPHER
Wrong! Wrong! If you could have heard
the man just two days ago, if you
could've heard him then. God. You
were gonna call him crazy?

CHEF
Fucking A.

WILLARD
I just want to talk to him.

PHOTOGRAPHER
Well, man, he's gone away. He
disappeared out in the jungle with
his people.

He continues forward. The others follow.

WILLARD
I'll wait for him.

PHOTOGRAPHER
He feels comfortable with his people.
He forgets himself with his people.
He forgets himself.

CHEF
Captain, maybe we should wait back
at the boat.

WILLARD
(turns back to him)
Okay, Chef, we'll go back to the
boat for a while.

CHEF
Yeah. Stay with Lance.

EXT. KURTZ COMPOUND - DUSK

A stone head with palm leaves hanging over it.

EXT. PBR - DUSK

Lance is squatting at the bow of the boat holding a spear,
sticking it into the water, probably trying to spear a fish.

A GROUP OF NATIVES are gathered by the steps of the dock.
One of the natives climbs the tree next to the dock and cuts
loose a dead body. It falls into the river with a splash.

Chef sits next to Willard in the cabin.

CHEF
This colonel guy, he's wacko, man.
He's worse than crazy, he's evil!
That's what the man's got set up
here, man! It's fucking pagan
idolatry! Look around you! Shit,
he's loco.

Willard is putting on his tiger shirt.

WILLARD
Then you'll help me?

CHEF
Fucking A, I'll help you. I'll do
anything to get out of this joint!
We could blow all them assholes away!

CAMERA PANS the savages onshore, who have gathered around
them, watching them. We SEE a sign written in a wild hand
with white spray paint on a wall: "OUR MOTTO: APOCALYPSE
NOW!"

CHEF
They're so fucking spaced out, they
wouldn't even know it. I ain't afraid
of all them fucking skulls and altars
and shit! I used to think that if I
died in an evil place, then my soul
wouldn't make it to heaven. But now...
fuck. I don't care where it goes, as
long as it ain't here. So what do
you want to do? I'll kill the fuck.

WILLARD
(picks up the map)
No, no. I'm gonna need you to wait
here, Chef. I'll go up with Lance
and scrounge around, check the place
out, see if I can find the colonel,
okay?

CHEF
But what do you want me to do? Damnit.

Willard picks up a field radio and hands it to Chef, Chef
looks at it.

WILLARD
Here, you take the radio, and if I
don't get back by 22:00 hours, you
call in the air strike.

Chef stares at him.

CHEF
Air strike?

WILLARD
The code is "Almighty," coordinates
zero-nine-two-six-four-seven-one-
two. It's all in there.

He hands the map to Chef.

EXT. KURTZ COMPOUND - DAY

Willard and Lance walk through the temple grounds in the
rain. Willard is gradually surrounded by more and more native
soldiers.

WILLARD (V.O.)
Everything I saw told me that Kurtz
had gone insane. The place was full
of bodies. North Vietnamese, Vietcong,
Cambodians... If I was still alive,
it was because he wanted me that
way.

The soldiers close in on him, pick him up, and turn him upside
down, rolling him in the mud.

LOW ANGLE ON LANCE

He is slowly walking among passing natives. He is oblivious
to what is happening to Willard.

MED. SHOT - WILLARD

Being turned in mud by the natives.

DISSOLVE TO:

INT. KURTZ HEADQUARTERS - DAY

Willard, hands tied behind his back, is guided down a long
corridor, followed by two Montagnards, both armed.

WILLARD (V.O.)
It smelled like slow death in there.
Malaria and nightmares. This was the
end of the river, all right.

They turn into the main room. The natives indicate for Willard
to kneel down on the floor. The CAMERA MOVES, REVEALING KURTZ
lying in shadow on a bed. We will SEE him only in darkness
and shadow throughout the scene.

KURTZ
Where you from, Willard?

WILLARD
I'm from Ohio, sir.

KURTZ
Were you born there?

WILLARD
Yes, sir.

KURTZ
Whereabouts?

WILLARD
Toledo, sir.

KURTZ
How far are you from the river?

WILLARD
The Ohio River, sir? About two
hundred miles.

KURTZ
I went down that river once when I
was a kid. There's a place in the
river, I can't remember... must have
been a gardenia plantation, or a
flower plantation at one time. It's
all wild and overgrown now. But for
about five miles, you'd think that
heaven just fell on the earth, in
the form of gardenias.

Kurtz reaches down and picks up a bowl full of water. He
splashes water on his face and head.

KURTZ
Have you ever considered, any real
freedoms? Freedoms from the opinions
of others. Even the opinions of
yourself. Did they say why, Willard?
Why they wanted to terminate my
command?

WILLARD
I was sent on a classified mission,
sir.

KURTZ
Its no longer classified, is it.
What did they tell you?

WILLARD
They told me, that you had gone...
totally insane. And that your methods
were unsound.

KURTZ
Are my methods unsound?

WILLARD
I don't see any method at all, sir.

KURTZ
I expected someone like you. What
did you expect? Are you an assassin?

WILLARD
I'm a soldier.

We finally SEE KURTZ'S FACE.

KURTZ
You're neither. You're an errand
boy, sent by grocery clerks, to
collect a bill.

EXT. KURTZ COMPOUND - TRAIL UP FROM RIVER - DAY

The photographer hurries down the trail past villagers and
soldiers toward the compound, and up the hill that leads
toward the TIGER CAGES in front of the Monkey Temple. He
spots a jug full of water, with a ladle in it.

AT TIGER CAGES - TO GO WITH PHOTOGRAPHER

The photographer moves to Willard who is in a tiger cage.
Willard is in pretty bad shape, weak and thirsty. The
photographer stops in front of him. He holds the ladle for
Willard to drink from.

PHOTOGRAPHER
Why? Why would a nice guy like you
want to kill a genius? Feeling pretty
good, huh? Why? Do you know that the
man really likes you?

He puts a cigarette in Willard's mouth.

PHOTOGRAPHER
He likes you. He really likes you.
But he's got something in mind for
you. Aren't you curious about that?
I'm curious. I'm very curious. Are
you curious?

The photographer walks around Willard's cage.

PHOTOGRAPHER
There's something happening out here,
man. You know something, man? I know
something you that you don't know.
That's right, Jack. The man is clear
in his mind, but his soul is mad.
Oh, yeah. He's dying, I think. He
hates all this. He hates it! But the
man's a... He reads poetry out loud,
all right? And a voice... he likes
you 'cause you're still alive. He's
got plans for you. No, I'm not gonna
help you. You're gonna help him,
man. You're gonna help him. I mean,
what are they gonna sat when he's
gone? 'Cause he dies when it dies,
when it dies, he dies! What are they
gonna say about him? He was a kind
man? He was a wise man? He has plans?
He has wisdom? Bullshit, man! Am I
gonna be the one that's gonna set
them straight? Look at me! Wrong!
(points to Willard)
You!

EXT. PBR - RAIN - DAY

Chef is sleeping on-deck in the rain, under a tarp.

CHEF
(to himself)
Almost eight hours. I'm asleep. I'm
asleep and dreaming I'm on this shitty
boat. Fuck. Has it been eight hours?

He lifts the tap off, gets up, and goes to the cabin.

HIGH ANGLE ON PBR

It is raining

CHEF (O.S.)
(into radio)
Hello, Almighty. Almighty. This is
PBR Street Gang. Radio check, over.

MALE VOICE (OVER RADIO)
PBR Street Gang, this is Almighty
standing by, over.

EXT. KURTZ COMPOUND - NIGHT

CLOSE ON KURTZ'S BOOTS

Walking on wet ground.

ANGLE ON WILLARD IN TIGER CAGE

covered with mud, tied up and wet from rain. He slowly looks
up.

KURTZ IS STANDING OVER HIM. He is dressed in the black pajamas
of the Vietcong. His face is made up in green-and-black
camouflage paint. He disappears behind Willard, then reappears
and drops something into Willard's lap. Willard looks down
and sees CHEF'S SEVERED HEAD in his lap.

Willard screams and struggles to jostle it out of his lap.
It finally falls out.

CLOSE ON CHEF'S HEAD

in the mud

CLOSE ON WILLARD

Moaning,

WILLARD
Oh, Christ!

DISSOLVE TO:

INT. CONEX CONTAINER - DAY

Willard is passed out, lying on the floor of a metal CONEX
CONTAINER. It is hot. Some CHILDREN are peeking in at him.

The two front doors of the container are opened. Light floods
in. Kurtz is standing there with the children. He holds a
bunch of magazine articles.

He sits down on a dirt step, surrounded by children.

He looks down at a magazine article and begins to read it to
Willard.

KURTZ
(reading)
"Time magazine. The weekly news
magazine. September 22, 1967, volume
ninety, number twelve. The War on
the Horizon. The American people may
find it hard to believe that the
U.S. is winning the war in Vietnam.
Nevertheless, one of the most
exhaustive inquiries into the status
of the conflict yet compiled, offers
considerable evidence that the weight
of U.S. power, two and a half years
after the big buildup began, is
beginning to make itself felt. White
House officials maintain the impact
of that strength may bring the enemy
to the point where he could simply
be unable to continue fighting."
(to Willard)
Is this familiar?

Willard reacts.

KURTZ
(reading)
"Because Lyndon Johnson fears that
the U.S. public is in no mood to
accept its optimistic conclusions,
he may never permit the report to be
released in full. Even so, he is
sufficiently impressed with the
findings, and sufficiently anxious
to make their conclusions known, to
permit experts who have been working
on it to talk about it in general
terms." No date, Time Magazine. "Sir
Robert Thompson, who led the victory
over the Communists guerrillas in
Malay, and who is now a RAND
Corporation consultant, recently
returned to Vietnam to sound out the
situation for President Nixon. He
told the president last week that
things felt much better, and smelled
much better over there."

He looks over at Willard.

KURTZ
(to Willard)
How do they smell to you, soldier?

Willard doesn't answer. Kurtz rises. The children are laughing
and giggling. Kurtz drops the magazine articles in Willard's
lap.

KURTZ
You'll be free. You'll be under guard.
Read these at your leisure. Don't
lose them. Don't try to escape, you'll
be shot. We can talk of these things
later.

Kurtz turns and exits, closing one of the doors, leaving the
other open. Willard watches him go. The children stay, looking
at him, laughing and giggling. Willard slowly and painfully
pulls himself to his feet. He stands there a moment looking
at the children, then collapses to the floor.

DISSOLVE TO:

EXT. KURTZ COMPOUND - HIGH ANGLE - DAY

The river and temple.

DISSOLVE TO:

INT. KURTZ COMPOUND - DAY

An unconscious Willard is being carried by some native
soldiers. They lay him gently on the floor of the temple.
Ladle water into his mouth, try to feed him rice. He turns
his head.

WHAT HE SEES

Kurtz, in the shadows.

DISSOLVE TO:

WILLARD, HIS DELIRIUM

NATIVE EATING BOWL OF RICE IN CORRIDOR

DISSOLVE TO:

KURTZ CATCHING A FLY

DISSOLVE TO:

STONE STATUES

KURTZ
(reading)
"We are the hollow men and the stuffed
men together filled with straw. Alas
dried voices, when whisper together
quiet and meaningless wind in dried
rats' feet over broken glass our dry
cellar."

DISSOLVE TO:

WILLARD AND THE PHOTOGRAPHER

In Kurtz's chamber. Willard is lying on a bed of sandbags.
The photographer is next to him. They are both listening to
Kurtz read the poem.

PHOTOGRAPHER
He's really out there.

ANGLE ON KURTZ

seated on a small chest next to his bed. He is reading from
a small book. It is "The Hollow Man" by T.S. Eliot.

KURTZ
(reading)
"Shape without form, shade without
color, force, gesture without motion;"

PHOTOGRAPHER
Do you know what the man's saying?
Do you?

KURTZ
(reading)
"Those who have crossed direct
eyes..."

PHOTOGRAPHER
This is dialectics. It's very simple
dialectics. It's one through nine,
no maybes, no supposes, no fractions.
You can't travel in space. You can't
go out into space, without like, you
know, with fractions. What are you
gonna land on? One quarter? Three-
eighths? What are you gonna do when
you go from here to Venus? That's
dialectic physics, okay? Dialectic
logic is, there's only love and hate.
You either love somebody, or you
hate them.

Kurtz throws a bunch of bananas at the photographer.

KURTZ
Mutt! You mutt!

PHOTOGRAPHER
This is the way the fucking world
lives. Look at this fucking shit
we're in, man! Not with a bang,
Whimper. And with a whimper I'm
fucking splitting, Jack.

Photographer rises and exits down the corridor leaving Willard
alone. Kurtz looks at him.

DISSOLVE TO:

INT. KURTZ QUARTERS - DAY

Willard is at a table containing Kurtz's belongings. He looks
at his uniform, military decorations, photographs of Kurtz's
family, a bible, and other books lying on the table.

WILLARD (V.O.)
On the river, I thought that the
minute I looked at him, I'd know
what to do. But it didn't happen. I
was in there with him for days. Not
under guard. I was free. But he knew
I wasn't going anywhere. He knew
more about what I was going to do at
I did. If the generals back in Nah
Trang could see what I saw, would
they still want me to kill him? More
than ever, probably. And what would
his people back home want, if they
ever learned just how far from them
he'd really gone. He broke from them,
and then he broke from himself. I'd
never seen a man so broken up and
ripped apart.

ANGLE ON DOORWAY

Kurtz enters in the darkness.

KURTZ
I've seem horrors. Horrors that you've
seen. But you have no right to call
me a murderer. You have a right to
kill me. You have a right to do that.
But you have no right to judge me.

CLOSE-UP ON KURTZ

Eating a piece of fruit.

KURTZ
It's impossible for words to describe
what is necessary to those who do
not know what horror means. Horror.
Horror has a face. And you must make
a friend of horror. Horror and moral
terror are your friends. If they are
not, then they are enemies to be
feared. They are truly enemies.

ANOTHER ANGLE

Colby is standing in the rear doorway of the main temple,
going through a Tai Chi routine. Willard sits in front of
him, looking at Kurtz, listening to him as he talks from the
bed. A native WOMAN is there, listening as well.

KURTZ
I remember when I was with Special
Forces. Seems a thousand centuries
ago. We went into a camp to inoculate
some children. We'd left the camp
after we had inoculated the children
for polio. And this old man came
running after us, and he was crying.
He couldn't say. We went back there,
and they had come and hacked off
every inoculated arm. They they were,
in a pile. A pile of little arms.
And, I remember, I cried, I wept
like some grandmother. I wanted to
tear my teeth out. I didn't know
what I wanted to do. And I want to
remember it. I never want to forget
it. I never want to forget it. And
then I realized, like I was shot,
like I was shot with a diamond bullet
through my forehead. And I thought,
My God, the genius of that! The
genius. The will to do that. Perfect,
genuine, complete, crystalline, pure.
And then I realized, they were
stronger than we. Because they could
stand it. These were not monsters.
These were men, strained cadres.
These men who fought with their
hearts, who have families, who have
children, who are filled with love...
that they had the strength, the
strength to do that. If I had ten
divisions of those men, then our
troubles here would be over very
quickly. You have to have men who
are moral, and at the same time, who
are able to utilize their primordial
instincts to kill without feeling,
without passion. Without judgment.
Without Judgment. Because it's
judgment that defeats us.

CLOSE ON WILLARD

He slowly raises his hand and examines it.

KURTZ
I worry that my son might not
understand what I've tried to be.
And if I were to be killed, Willard,
I would want someone to go to my
home and tell my son everything...

DISSOLVE TO:

ANGLE ON KURTZ

Standing in the doorway of the temple. We SEE a WATER BUFFALO
in the foreground, walking down the steps.

EXT. TEMPLE - CEREMONIAL GROUNDS - NIGHT

NATIVES are conducting a ceremony. They are dancing and
singing around the WATER BUFFALO. A priest is chanting.

KURTZ (V.O.)
Everything I did. Everything you
saw. Because there's nothing I detest
more than the stench of lies. And if
you understand me, Willard, you will
do this for me.

Lance is sitting with the natives, painted and dressed like
one of them. A line of natives with spears dance toward the
water buffalo. Others are sitting and singing in the
background.

EXT. THE PBR - NIGHT

It has been deserted except for monkeys crawling on it.

MALE VOICE (OVER RADIO)
PBR Street Gang, this is Almighty
standing by, over. PBR Street Gang,
this is Almighty standing by. How do
you copy?

CLOSE ON WILLARD

On the boat, lying on his back. He rolls over.

WILLARD (V.O.)
They were gonna make me a major for
this, and I wasn't even in their
fucking army anymore. Everybody wanted
me to do it. Him most of all. I felt
like he was up there, waiting for me
to take his pain away. He just wanted
to go out like a soldier.

He gets up and emerges out of darkness.

WILLARD (V.O.)
Standing up. Not even like some poor,
wasted rag-assed renegade. Even the
jungle wanted him dead. And that's
who he really who he took his orders
from, anyway.

EXT. TEMPLE - NIGHT

ANGLE ON LANCE

smearing the water buffalo with blood that he pours from a
pitcher along its neck, in preparation for the ceremony.

MIST OVER WATER

A small bubble rises to the surface, then another. Suddenly
but quietly, water and mud pour off revealing Willard,
emerging slowly, head first, as if he was growing out of the
water.

WATER BUFFALO

Its head being tied to a stake.

KURTZ

Silhouetted in the doorway of the temple. He enters the
temple.

WILLARD

Sits crouched holding a machete as natives dance in the
background. He rises slowly and then runs off.

INT. INSIDE THE TEMPLE - NIGHT

Willard works his way toward the interior of the temple. He
appears behind a guard, pouts his hand over the warriors
mouth, brings up the machete, and pulls him back into the
dark shadows.

INTERCUT THE FOLLOWING ACTION WITH WATER BUFFALO CEREMONY

Kurtz is sitting and talking into a tape recorder. Willard
slowly moves forward, quietly sneaking toward Kurtz as he
speaks.

KURTZ ()
We train young men to drop fire on
people, but their commanders won't
allow them to write "fuck" on their
airplanes because it's obscene.

Willard steps behind Kurtz, raising the machete. Kurtz turns.
Willard brings the knife down and starts hacking away at
Kurtz, hitting him first on the shoulder, then all over.

NATIVES

Simultaneously slashing a knife into the back of the water
buffalo.

KURTZ

Falls to the floor.

WATER BUFFALO

Falling to the ground as natives swing knives into its back.

WILLARD

Staring at Kurtz.

CLOSE ON KURTZ

Lying on the ground.

KURTZ
The horror... the horror.

He dies.

CLOSE ON WILLARD

hands on his face, reacting to what he's done.

DISSOLVE TO:

NATIVES AND LANCE

Around dead water buffalo, carving it up.

DISSOLVE TO:

WILLARD

stands at the temple entrance. He looks at the natives
outside. He walks over to Kurtz's desk. Flips through Kurtz's
manuscript and stops. We SEE handwriting on the pages: "Drop
the Bomb, Exterminate them all."

EXT. FRONT OF TEMPLE - NIGHT

The natives are all gathered in front of the temple, looking
at Willard as he moves forward holding the machete and Kurtz's
books. The entire village is there, about a THOUSAND NATIVES
in all. They realize that Willard is now their leader and
pay homage to him by kneeling or sitting down.

Willard slowly walks down the steps, throwing down the
machete. The natives rise and throw down their weapons in
imitation as he walks through them. He moves to LANCE, who
is in the midst of all the natives. Willard looks at him,
then takes him by the hand and pulls him away with him through
the rest of the natives.

DISSOLVE TO:

EXT. PBR - RAIN - NIGHT

The PBR pulls way from the shore. Willard is at the helm of
the boat. Lance is squatting by the spotlight.

MALE VOICE (OVER RADIO)
Calling PBR Street Gang. PBR Street
Gang, this is Almighty. Do you read
me? Over. PBR Street Gang, this is
Almighty.

Willard turns off the radio.

The PBR moves along the river, away from the flaming
shoreline.

CLOSE ON WILLARD

KURTZ (O.S.)
The horror... the horror.

DISSOLVE TO:

THE GREAT STONE FACE OF THE TEMPLE

FADE OUT:

THE END

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