"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 ]

"AN OFFICER AND A GENTLEMAN"

by

Douglas Day Stewart

FINAL DRAFT

April 13, 1981



FADE IN:

EXT. MANILA AIRPORT - FULL SHOT - DAY

A Philippine Airlines passenger plane is arriving and touching
down.

ANGLE - THE PLANE

A 13-year old boy starts down the ramp, a suitcase in one
hand, an old photo-strip in the other. He studies the strip
closely as he searches the faces of the people greeting the
passengers.

CLOSE - THE PHOTO STRIP

A handsome sailor is necking with his girl in each of the
three shots.

CLOSE - THE BOY

looking around.

HIS EYES FALL ON A SAILOR

It's the same sailor from the photo strip, only about fifteen
years older. If he was in his early twenties then, now he's
in his mid-thirties. He's in the uniform of a 1st class Petty
Officer. He searches the faces of the descending passengers,
very uncertain and uncomfortable.

THE BOY AND THE SAILOR

come together very, very tentatively. The sailor, BYRON MAYO,
extends a hand to young ZACK.

BYRON
You, Zack?

ZACK
Yes, Sir.

BYRON
I'm Byron. Nice to meet you.
(awkwardly)
C'mon. Let's go get your luggage.

They head off together.

EXT. THE AIRPORT PARKING LOT - DAY

Byron and Zack step aboard one of the colorful jeepneys that
Manila is famous for. We MOVE WITH the jeepney as it leaves
the airport and starts down the highway toward Olongapo.

The boy is frightened but he's also excited by the strange,
super-chrome and ornately-decorated vehicle he's riding in.

They're not alone in the small bus. Ten or more Filipinos
ride with them, some in suits and ties, others in the rougher
attire of farmers. One old woman carries a big cage on her
lap with a squawking fluttering chicken in it.

BYRON
Take that coat off. This is the
Philippines.

He helps Zack out of his coat.

BYRON
(making conversation)
How was the flight? They take care
of you okay? Long way from Norfolk,
isn't it?

ZACK
Yes, sir.

BYRON
Listen, kid, I was sorry to hear
about your mom. That's pretty rough.
I would've returned your call a lot
sooner but I was out at sea...

ZACK
I been calling for four months.

BYRON
Well, that's how long I've been out
at sea.

EXT. THE ROAD TO OLONGAPO - DAY

The jeepney has only two passengers now, Byron and Zack. A
roadside sign reads: "U.S. NAVAL FACILITY, SUBIC BAY ... 12
miles."

EXT. THE HONKY-TONK SAILOR TOWN OF OLONGAPO - DAY

Known throughout the Seventh Fleet as the armpit of the
Orient, Olongapo is one, long rain-rutted street of gaudy
bars and rattan-walled whorehouses.

Countless jeepneys careen past with their silly fringe awnings
and chrome accoutrements, many filled with U.S. sailor boys
and officers on liberty.

Zack and Byron's jeepney ENTERS SHOT and stops in front of
the noisiest and raunchiest bar on the strip.

BYRON
This is it. This is where I live.

MOVING WITH ZACK AND BYRON

CAMERA FAVORS the boy as they head for the entrance of the
bar, Zack taking in the kinky street activity: "Beenie boys,"
small boned Filipino boys dressed up as exquisite young girls,
hustling tricks on the sidewalk while their sisters lounge
in the doorway of places like "California Dreamin'" and "The
Manhattan Club," in nipple-showing tank-tops, licking their
lips.

INT. THE RAUCOUS BAR - DAY

CAMERA CONTINUES MOVING with Zack and Byron as they cross
through the NOISY bar toward a stairwell at the back. Navy
enlisted men are making out openly with bar girls and Zack
even sees one little girl stick her hand right down the front
40 of a sailor boy's pants.

Byron glances at the boy, a little embarrassed by his digs.

Zack is staring at every girl he passes, nervous but a little
excited by it all, too.

BYRON
If I were in port more, I'd rent a
better place, but this works out
okay.

They start up the stairs.

INT. BYRON'S ROOM - DAY

They walk in and find two semi-naked prostitutes lying on
the bed. Zack's eyes are as big as silver dollars.

BYRON
I thought you girls were gonna do
some shopping.
(gives them money)
Tiki, Maria... I want you to meet my
son.

The girls giggle as they hurry into their clothes and leave.

Byron closes the door.

BYRON
This is it. This is where I live. I
suppose you could bunk over there
and you could go to school at the
base.

ZACK
Great.

BYRON
I'm not finished. I'll only be in
port one week a month and when I'm
here you'd never catch me playing
daddy with you 'cause it's not who I
am. Like I told you on the phone,
you I'd be better off in that state
school back in Virginia.

ZACK
I ain't never going back to that
school, sir.

BYRON
You got to kid. Let me spell it out
for you. This is a whorehouse. And I
happen to like my life the way it is
and nobody's gonna make me change.

ZACK
I don't care about that. I just ain't
going back. You don't want me? Okay.
I'll find me another place.

He opens the door and walks out.

MOVING WITH ZACK DOWN THE STAIRWELL

Byron appears on the landing above.

BYRON
Hey, come back.

Zack keeps moving.

BYRON
Come back here, kid!

ZACK
(turns)
What for?

BYRON
(grudgingly)
Okay, okay. You win.

ZACK
(brightens)
Thank you, sir!

BYRON
Stop calling me 'sir! I ain't no
officer. My name is Byron.

On the boy's happy expression we:

DISSOLVE TO:

INT. THE BAR - SEVERAL WEEKS LATER

Zack sits on the stairs watching a crazy scene taking place
on the long bar. A bunch of jet pilots off one of the carriers
are in town and they're playing a game of "chicken". Each
pilot must take a turn being pushed down the bar in a chair
on rollers. The winner is the guy who flies the farthest
without bailing out of his chair. The whores are rooting
them on and gambling money is being waved in the air. As
Tiki, one of Byron's girls, climbs the stairs, he catches
her hand and gestures questioningly in the direction of the
hotshot fliers.

TIKI
Hot shot jet jockeys. Maybe you grow
up like that, fly mach five, no jive.

The boy laughs. Then Byron comes out of his room, his sea
bag over his shoulder. He passes the kids some folding money.

BYRON
Here, kid. Put this in your shoe in
case you need it.

Zack hides the money.

QUICK SHOT - TWO FILIPINO BOYS ABOUT ZACK'S AGE

They see him hide the money in his shoe.

ANGLE - BYRON AND ZACK

Byron kisses his two mama-sans goodbye, shakes Zack's hand
and strides out of the bar.

DISSOLVE TO:

EXT. THE STREETS OF OLONGAPO - DAY

Zack is walking along the main drag, looking in the curio
stores, when the two Filipino boys approach him, smiling
innocently.

1ST FILIPINO BOY
Hey, palequero. You new in the P.I.?

ZACK
Yeah. I've been here a couple of
weeks.

2ND FILIPINO BOY
Wanna see some nice things, guy? We
could show you around. Nobody knows
this shithole like us.

The two boys laugh and Zack laughs, too, trusting them.

ZACK
Sure. I guess it's okay.

They start off together but as they reach a narrow alleyway,
the two boys shove Zack into it.

ZACK
Hey!

1ST FILIPINO BOY
Hey, big spender. Give us some money.

ZACK
I don't have any money.

1ST FILIPINO BOY
(furious)
Bullshit! Get it out!!

The first Filipino kicks Zack in the balls.

VARIOUS SHOTS OF THE FIGHT

Zack isn't a bad fighter but he's no match for either of the
Filipinos, especially the leader, who has a way of fighting
that is something to watch. He uses his feet. Waving the
other Filipino aside, he destroys the American with spinning
roundhouse kicks to his stomach and his face. Zack goes down
from a kick to the groin. Another kick to the head and he
loses consciousness. His two attackers bend over him to rifle
his pockets.

Finding the five dollar bill he's hidden in his shoe, they
run off down a dark alley, one of them nearly tripping over
a dead dog.

TIGHTEN ON ZACK

He stirs. His eyes open. He sits up, wincing from busted
ribs. Reality sits heavy on his youthful features.

DISSOLVE VERY SLOWLY TO:

EXT. THE NAVY HONKY-TONK AREA OF SEATTLE - DAY

A rough-looking young man rides his Triumph 750 Bonneville
through a Navy honky-tonk area in Seattle, Washington: NOISY
bars, a Seven Seas Locker Club, a credit jeweler, a pawn
shop.

The boy who took his licks in the Filipino back alley is now
a man in his mid-twenties. A long mane of jet-black hair. A
scuzzy beard. The same cold blue eyes. He wears jeans and
big, muddy boots. There's a tattoo of an eagle half-revealed
under the sleeve of his T-shirt.

EXT. A FLEA-BAG HOTEL - DAY

Zack Mayo drives up and climbs an outside stairway to a second-
story entrance.

INSIDE THE FLEA-BAG HOTEL - DAY

CAMERA MOVES WITH Zack down a dark corridor, past a succession
of rooms. A door is open, affording him a quick glimpse of a
woman and child, a sailor's uniform hanging on a chair nearby.

The sailor appears and closes the door in Zack's face. Zack
consults an old postcard he takes from his pocket and pauses
in front of a doorway. He knocks authoritatively and shouts:

ZACK
Shore Patrol! Shore Patrol! Open
up!!

A moment later the door opens and Byron stands there, fumbling
to cover his nudity with a little kimono. A naked prostitute
in her late teens watches from a rumpled bed.

ZACK
Hi, Byron.

BYRON
Zack, you little shit! You haven't
changed a bit!

ZACK
Neither have you, pard!

They come together in a macho embrace like old whoring
buddies.

BYRON
(to his girl)
Hey, honey, look at this! My son!
Isn't he beautiful?
(to Zack)
You should've called!

ZACK
You were out at sea! Hey, guess what?
I graduated. I got my degree.

BYRON
I thought you quit school. Last I
heard you were on your way to a
construction job or something down
in Brazil.

ZACK
Yeah, I made some money down there,
then I talked my way into another
college and I did it. I wasn't magna
cum laude but I did okay. You
should've seen me in my cap and gown.

BYRON
Why the fuck didn't you invite me? I
would've come.

Zack's expression sheds some doubt on that subject but Byron
chooses to ignore it. He turns to the prostitute.

BYRON
Get on the phone, honey. Call up
your friend... Gloria... Gloria big
tits. We're gonna celebrate! You
hear that? My son's graduated from
college!

CUT TO:

INT. BYRON'S APARTMENT - LATER THAT NIGHT

It's an orgy, all right. Father and son style. Zack and his
girl on the left half of the bed, Byron and his girl on the
right. Pumping away. Drinking and passing a wine bottle
around.

Candles burning in dishes flickering against the seedy walls
where the only decorations are monkeywood carvings Byron
brought back from the Philippines.

1ST PROSTITUTE
Are you guys really father and son?
You're putting us on, right?

BYRON
Right. We're putting you on. What
happened to that joint?

2ND PROSTITUTE
I think it went out.

BYRON
(pigeon English)
Ay, palequero.

ZACK
Ay, palequero. Never hochi in the
P.I.

BYRON
(laughs)
Wha-chu-say, palequero? Short time,
long time, only ten dolla.

Both men laugh and the girls start laughing, too.

DISSOLVE TO:

INT. BYRON'S APARTMENT - THE NEXT MORNING

Zack awakens and finds himself entangled in arms and legs
and soiled sheets. He carefully slips free and rises to his
feet on unsteady legs, his head pounding, his eyes blood-
red.

As he's pulling on his shorts, his eyes suddenly take in the
apartment and the lifestyle it represents: half-smoked joints
and cigarettes cascading out of makeshift ashtrays; empty
wine bottles; and three naked people, snoring, their bodies
draped over one another.

A look of profound disgust comes over Zack's face and he
turns away from the scene and heads into the bathroom.

INT. BYRON'S BATHROOM

Zack finds some aspirins and downs them with a glass of water.

Suddenly, Byron comes in, shoves him out of the way, and
pukes in the toilet. Zack stares at him in an intense way,
seeing more than the moment, seeing all the other times he's
played out this scene with this man.

BYRON
What're you looking at? Hand me that
towel.

Zack hands him the towel. Byron swigs some mouthwash, then
turns to his son.

BYRON
Hey, that was pretty great wasn't
it? Not as great as that night with
the three stewardesses in Manila...
but pretty fucking nice.

Zack says nothing but there's something on his mind.

BYRON
So what're you doing in Seattle?

ZACK
Get ready pard. This one's gonna
blow you away.

BYRON
Zackie, nothing you do will ever
surprise me, pard, not after some of
the shit you've pulled.

ZACK
I joined the Navy.

Byron's face drops and Zack laughs.

BYRON
You... in the Navy?

ZACK
That's right. I'm on my way over to
this officer school in Port Ranier.

BYRON
Why?

ZACK
To fly jets. To be the fastest
motherfucker in the world. You gotta
come and visit me. I'm only a couple
hours away.

BYRON
Who gave you this idea?

ZACK
Nobody. It just came to me.

Byron starts to laugh and Zack reddens slightly.

BYRON
I don't believe this! You... in the
Navy... an officer... that's like me
saying I'm running for fucking
president. Hey, man, look at you!
Hey, officers don't have tattoos!

He laughs until he practically chokes.

ZACK
Look, I Ill be seeing you, Pard.
Take care.

Zack leaves the bathroom and starts putting his clothes on.

BYRON
Don't be pissed. I'm on your side,
Pard. I just don't want you to do
something you'll regret. You gotta
give six years to the Navy if you
wanna fly... that's six years with
the most uptight assholes God put on
this earth. Officers aren't like you
and me, man. It's another breed.

ZACK
You afraid you'll have to salute me,
Chief?

BYRON
Fuck, no! Why would I care about
something as dumb as that?

ZACK
I don't know. That's just how it
sounded. Well, I'll see you.

He opens the door and walks out. Byron moves to the door.

BYRON
Hey, what did you want? A lot of
fatherly bullshit? A big pat on the
back?

ZACK
(turns, grins)
From you, pard? Never. Thanks for
the graduation present.

BYRON
Hey, Zackie -- don't go away mad.

EXT. AN AREA NEAR THE GATES OF PORT RANIER NAVAL AIR STATION -
DAY

Starting CLOSE on Zack's upper arm as he covers his eagle
tattoo with a band-aid. WIDEN as he drives through the gates
of the sprawling air station.

EXT. THE GATES OF THE AIR STATION - DAY

He drives through the gates and past the guard gate and
disappears into a stand of tall trees.

A sign by the road reads: "THROUGH THESE GATES PASS THE FUTURE

OF NAVAL AVIATION."

EXT. AN AIRFIELD (2ND UNIT)

He motors past a line of aircraft.

EXT. AN INTERSECTION

He stops to let a class of candidates run past in their
fatigues. CAMERA PANS as he crosses the intersection,
revealing a large parade ground where two classes of Aviation
Officer Candidates are drilling with rifles.

EXT. THE BASE ADMIN. BUILDING

Zack parks his motorcycle near the F-14 "Tomcat" jet fighter
plane that sits in front of the Admin. Building like a piece
of sculpture, and is directed by a Navy lieutenant to wait
with the other civilian types under a tree.

NEW ANGLE - THE ADMIN. BUILDING

A girl named CASEY SEEGER steps out of a rented car, kisses
her parents goodbye and, carrying a small suitcase, approaches
the same officer. She has the slim, athletic body of a runner
and a naturally pretty face without even the slightest hint
of makeup, and she finds most of the thirty boys under the
tree ogling her as she approaches.

FAVORING ZACK

He flirts with Casey as she joins them under the tree, and
she flirts back, taking a place near the five other girls.

Nearby, two other boys are eyeing Casey. The brain-looking
kid is TOPPER DANIELS. The tall Okie is SID WORLEY.

TOPPER
Why would a girl who looks like that
go into the military?

SID
Hey, this is the modern Navy.

STAFF SERGEANT EMIL FOLEY, USMC

strides smartly toward them and comes to a brisk, heel-
clapping halt in front of them, a cane tucked under his arm
like a swagger stick and the traditional "Smokey the Bear"
hat of the drill instructor on his head.

FOLEY
Fall in! Form a line, you slimey
worms! Heels on that chalk line!
Attin-hut!

The thirty-six civilians shuffle into a single line, ill-
concealed looks passing between them as though to say, "Get
a load of this character."

FOLEY
Now when I say "understand" I want
the whole group to say, "Yes, sir!"
Understand?

GROUP
(raggedly)
Yes, sir!

FOLEY
Louder!

GROUP
Yes, sir!!

FOLEY
I don't believe what I'm seeing!
Where've you been all your lives, at
an orgy? Listening to Mick Jagger
and bad mouthing your country, I'll
bet.

He strolls menacingly down the ranks, probing them, plumbing
them with his squinty little eyes. He pauses in front of
Perryman.

FOLEY
Stop eyeballing me, boy! You are not
worthy enough to look your superiors
in the eye. Use your peripheral
vision! Understand?!

GROUP
Yes, sir!

His voice shifts register, becoming almost human.

FOLEY
(a sudden grin)
I know why most of you are here.
We're not stupid. But before you get
to sell what we teach you over at
United Airlines, you gotta give the
Navy six years of your life, Sweet
Pea. Lot of things can happen in six
year. Another war could come up in
six years. If you're too peaceful a
person to dump napalm on an enemy
village where there might be women
and children, I'm gonna find that
out. Understand?

GROUP
Yes, sir!

He pauses in front of Sid, and smiles the friendliest of
smiles.

FOLEY
Hi, son.

SID
How're you doing, Sarge?

Foley's eyes become instantly crazed.

FOLEY
What did you call me?

SID
(taken aback)
Pardon?

FOLEY
What did you call me, boy?

SID
I called you Sarge.

FOLEY
Before that.

SID
I didn't call you anything before
that.

FOLEY
You said, 'How're you?' I am not a
'ewe,' boy! A ewe is a female sheep,
boy! Is that what you think I am,
boy?

SID
No.

FOLEY
No, sir!

SID
No, sir.

FOLEY
Lauder, Sweet Pea!

SID
No, sir!

FOLEY
Do you want to fuck me up the ass,
boy? Is that why you called me a
'ewe'? Are you a queer?

SID
No, sir.

FOLEY
Where are you from, boy?

SID
Oklahoma City, Oklahoma.

FOLEY
Only two things come out of Oklahoma,
steers and queers. Which one are
you, boy? I don't see any horns so
you must be a queer.

SID
No, sir.

FOLEY
Stop whispering, Sweet Pea, you're
giving me a hard on!

Zack starts to chuckle and Foley eyeballs him hard.

FOLEY
Are you laughing at me, dick-brain?

ZACK
No, sir!

Foley pushes his face close to Zack's and tries to stare him
down. Zack just stares back, totally unintimidated.

FOLEY
You'd better stop eyeballing me,
boy, or I'll rip your eyes out and
skull-fuck you to death!

Zack keeps a straight face.

FOLEY
What's your name, boy?

ZACK
Mayo, Zack Mayo, sir!

FOLEY
How did you slip into this program,
Mayo? I didn't know the Navy was so
hard up.
(noticing the band-
aid)
You got an injury there, Mayo?

ZACK
Not exactly, sir.

Foley suddenly tears the Band-Air off his arm, revealing the
eagle tattoo. Foley leans close to inspect it.

FOLEY
Where'd you get this, Mayo? This is
really wonder work.

ZACK
Subic Bay, sir. In the Philippines.

FOLEY
I thought I recognized the work.
(stares him in the
eye)
Be proud of those wings. They're the
only ones you're gonna leave here
with, Mayo-naise.

He moves on to one of the others, short, barrel-shaped DELLA-
SERRA.

Foley glances at the roster, then at Della-Serra.

FOLEY
Hmmmm... Emiliano Santos Della-Serra.
You a college boy, Della-Serra?

DELLA-SERRA
(proudly)
Yes, sir! I graduated with honors
from Texas Tech, sir! Math major,
sir!

FOLEY
You don't say. See this cane, Della-
Serra? See these little notches near
the handle? There's a notch for every
college puke like you, Della-Serra,
who I got to D.O.R. -- drop on request --
from this program. And the first one
I want to carve out of this class is
you, Emiliano.

Giving him an evil look, Foley turns away.

FOLEY
I expect to lose half of you before
I'm finished.

FOLEY
I will use every means at my disposal,
fair or unfair, to trip you up, expose
your weaknesses... as a potential
aviator... and as a human being. The
price at the other end is a flight
education worth one million dollars,
but first you have to get past me.
(shouts)
Lay your suitcases open for
inspection!

Zack and the others open their packs and suitcases on the
sidewalk. With his cane, Foley suddenly spears a pair of
lacy underwear in Casey Seeger's suitcase and dangles it
high in the air.

FOLEY
Seeger, are we going to have to watch
you run around in these for the next
thirteen weeks?

She reaches for them but he teases her and dangles them out
of reach.

FOLEY
Some girls will do almost anything
to get laid. Are you one of those
girls, Seeger? Did you put in for
AOCS to get gang-banged, Seeger?

Casey reddens and stares daggers at the man.

CASEY
Sir, you can yell at me if that's
what you're supposed to do, sir. But
you have no right to insult me, sir.

Foley pushes his nose right up to hers and screams:

FOLEY
I'll call you a beaver sandwich, if
I want to, until the day they
commission you an officer and a
gentleman and I have to call you
'sir'!

FOLEY
(beat)
My language offend you, Seeger? Well,
maybe the Navy's not for you 'cause
you'll hear far worse out in the
fleet?
(in the same breath)
You've got five seconds to put your
suitcases in order and prepare to
move out. Time's up. Attin-shut!
Left-humph! Fo-wud-harch!

The candidates fall all over themselves trying to follow his
orders.

CUT ABRUPTLY TO:

EXT. A LARGE PAPER MILL - THAT SAME DAY

Minutes before quitting time.

INT. THE MILL - DAY

PAULA POKRIFKI and LYNETTE POMEROY, two twenty one year olds,
are both looking at their watches as they wait for that magic
moment. Two older women are assisting them in the job of
stacking and tying brown paper bags, then returning the tied
stacks to the conveyor.

LYNETTE
Come on, guys. It's five o'clock.

PAULA
One more minute.

The conveyor finally shuts down and the four women join the
flow of workers heading for the exit.

EXT. THE MILL PARKING LOT - DAY

As Paula and Lynette are leaving, Paula calls out to a woman
just then getting into a beat-up old Toyota. In her youth
easily as pretty as her daughter, ESTER POKRIFKI is now a
tired, over-worked woman of 39, looking closer to 45.

PAULA
'Bye, Mom, see you later.
(beat)
C'mon, Lynette, before she asks when
I'll be home.

The girls hurry toward Lynette's old Falcon, Ester watching
with a mingling of emotions, from nostalgia to concern.

CUT TO:

INT. THE BASE BARBER SHOP - DAY

STARTING CLOSE ON shears as they cut a swath through a forest
of hair. In a matter of seconds, Della-Serra is converted
from a long-haired individualist into a cipher, balder than
a baby's butt. He leaves and one of the female candidates
sits down in the chair. Whack! Whack! The barber doesn't
shave her but he cuts her long hair very short.

EXT. THE BASE BARBER SHOP - DAY

Foley collars Della-Serra and turns to the line of candidates
waiting to get inside.

FOLEY
Now this is my idea of an ass bandit.
Wait 'til some of our local girls
get a look at you, scrotum head.

The class cracks up laughing, especially big Sid, standing
near the end of the line with Zack and Casey.

FOLEY
You think that's funny, Worley? Let
me tell you something. Not all the
obstacles that can trip you up are
on this base.
(strolling down the
line)
As long as there's been Navy base
here there's been what you might as
well call your Puget Sound Debs,
poor girls who come across the sound
on the ferry every weekend for only
one reason, to marry themselves a
Naval aviator.

Skeptical looks from the candidates.

CUT TO:

INT. LYNETTE'S FALCON - DAY

As they clear the gates of the National Paper Company Paula
reaches into the back seat for her makeup kit, positions it
on her lap, and adjusts the mirror. Off comes the scarf.

Out come the pin curls, one by one and she starts combing
out her hair. Their disco dresses, satiny and suggestive
even in their plastic cleaner's bags, are hanging from
separate hooks in the back.

FOLEY (V.O.)
Now a Puget Deb will tell you, 'Honey,
don't y'all worry 'bout no
contraceptives. I got that all taken
care of.' Well, don't you believe a
word of it, Sweet Pea...

EXT. THE ROAD TO THE FERRY - DAY

Paula is fleetingly naked as she pulls her emerald green
dress over her head.

FOLEY
...'cause a Puget Deb will do anything
and say anything to trap you... and
once she has you by the balls, child,
you might just find yourself with a
couple of income tax deductions you
didn't have when you came here.

EXT. FERRY - STARTING ON THE FALCON - DAY

It appears to be moving, because the scenery is moving by.

Lynette and Paula have traded places and now Lynette sits in
the passenger seat, pulling the pin curls out of her hair.

She finishes and quickly takes off her shirt and bra.

FOLEY
I know this all sounds silly to you,
especially in this so-called modern
age...

A guy in a car traveling alongside the Falcon is getting an
eyeful. Lynette sees him and gives him a dirty look.

FOLEY
...but you scuzzy college pukes had
better watch out, 'cause they're out
there. And you, Sweet Pea, are the
answer to their dreams.

We PULL BACK to reveal that the two cars are not on the
highway, but aboard an open ferry crossing the Puget Sound.

CUT TO:

INT. THE UNIFORM SUPPLY ROOM - DAY

CAMERA MOVES AHEAD of Zack, Sid and Casey. Navy enlisted men
behind the counter are handing out "Poopie Suits," "Chrome
Domes" and "Boonies" to the candidates as Foley looks on.
All the boys are bald. The girls have suffered a military
haircut as well, but have been mercifully allowed to keep a
few inches of coverage.

FOLEY
How do you like my Poopie Factory,
Seeger? You enter these doors and
individual with a look that's all
yours, a style, a way about you, a
personality... and you come out a
Poopie! That's sort of like what
happens to food. It goes in looking
all fancy and pretty.

Seeger grimaces.

SID
I knew those commercials were full
of shit.

CAMERA HOLDS on a recruiting poster on the wall.

INT. THE INDOC BARRACKS - DAY

The new Poopies come running in, carrying their suitcases
and uniform issue, Foley herding them like cattle up the
stairs.

FOLEY
This is where you live, children!
This is Poopie-ville! Girl Poopies
to the left, boy Poopies to the right!

INT. THE UPSTAIRS OF THE BARRACKS - QUICK SHOTS - DAY

The Poopies find their assigned room, the five girls in a
wing to the left of the stairwell, the thirty-one boys in
the wing to the right.

INT. ZACK'S ROOM - DAY

The names on the door are: "PERRYMAN, MAYO, WORLEY and
DANIELS." Zack is the first one through the door and he grabs
the upper bunk by the window. His roommates come in and share
a look as they see what he's done. LOUIS PERRYMAN is a no-
nonsense black, a few years older than the other, like Zack.

PERRYMAN
How do you figure that's your bunk?

ZACK
He said it's up to us and I got here
first, didn't I?

SID
Whatever you say, Mayonnaise.

FOLEY (O.S.)
Fall out on the lawn in five minutes,
in your Poopie suits!

Perryman and Topper select lower bunks and start stowing
their gear in their lockers. Sid takes the other top bunk.

ANGLE - THE LOCKERS

Perryman immediately tapes a photo of his family on the door
of his locker, wife and two young children, one a baby in
diapers.

TOPPER
You're a married man, huh, Perryman?

Perryman touches the photo affectionately.

PERRYMAN
Yeah. They're the main reason I'm
here.

TOPPER
(shakes his head)
I still can't believe I did this. A
three-point-eight average from
Amhearst and I signed up for this?

Perryman laughs. Both Zack and Sid are stowing their lockers
expertly. Zack glances questioningly at the big Okie.

SID
(in reply to his look)
I'm a service brat, pal. Same as
you.

Zack takes five new packs of cards from his suitcase and
hides them in his locker under his skivvies. Sid notices him
do it.

SID
Someday you'll have to tell me about
Subic.

Zack says nothing. Both boys start changing into their sloppy-
fitting Poopie suits.

SID
That Foley looks like he's been
through a war or two.

ZACK
I've seen better.

FOLEY
Fall out! Fall out!!

Zack, Sid and their roommates push out in their Poopie suits.

CUT TO:

EXT. THE BARRACKS BUILDING - DAY

The candidates line up outside, in their Poopie uniforms.
Sid lines up between Zack and Casey. For the moment, Foley
is nowhere to be seen, but a Navy lieutenant is talking to a
Navy captain in SHOT b.g.

SID
Think there's any truth to what he
was saying about those girls? Is
that still going on?

ZACK
Sure it is, Sweet Pea, but he
should've warned you 'scuzzy' female
types about the 'Puget Dudes.' They'll
tell you they're wearing a rubber
but they've bit a little hole in the
end.

CASEY
You're pretty funny, Mayo.

ZACK
Maybe we'll be roommates, Seeger,
and you'll find out how funny I really
am...

Foley suddenly appears.

FOLEY
Seeger, Mayo and Worley -- hit the
deck and give me fifty push-ups. On
the double!

The trio drops to the ground and starts doing push-ups.

ACROSS THE STREET - DAY

Lynette's Falcon drives up and the two girls start across
the street, carrying boxes of LP's.

ON SID, ZACK AND CASEY

They're about ten, eleven push-ups along when Casey starts
to fade. Foley's polished shoes ENTER SHOT and she looks up
at him sheepishly.

FOLEY
Looks like you need a little work on
your upper body strength, Seeger.

He leads her off to where the other candidates stand at
attention, leaving Zack and Sid alone, doing push-ups. They
eye Lynette and Paula as they walk past.

EXT. THE STEPS OF A NEARBY BUILDING - DAY

NELLIE RUFFERWALL, 50, the base social director, is chatting
with a young Naval officer as the two girls approach in their
sexy disco dresses. The officer flirts with both girls as he
walks off.

NELLIE
Paula, honey, Lynette... I hope you
didn't call all this way just to
bring me these nice records.

LYNETTE
(eyeing the retreating
officer)
No, ma'am. We planned on stopping at
the 'O' Club tonight, one way or the
other.

ANGLE - SID AND ZACK

About 30 push-ups in. Both are in terrific shape and have no
problem at all with the push-ups. They watch Paula and Lynette
talking with the matronly social director across the street.

SID
(whispers)
Look at that hot little blonde!

Zack is staring at Paula.

ANGLE - PAULA AND LYNETTE

They leave Nellie with the boxes of records and start down
the steps.

NELLIE
'Bye girls, and thank you again.
Blue Angels be in next month. You
want me to line you up with one,
just let me know.

The girls start back across the street, in the direction of
the Officers' Club.

LYNETTE
Far fucking out! I've been wanting
to meet one of the Blue Angels since
I can remember.

PAULA
Lynette, watch your mouth! Somebody
might overhear.

LYNETTE
Paula, look at the new Poopies.

PAULA
Yeah, I saw 'em. Poor guys.

LYNETTE
(calling to them)
See you in a month when you get
liberty!

PAULA
(calls)
Don't worry. It grows out about an
inch by them.

Laughing, they start into the Officers' Club.

NEW ANGLE - THE OFFICERS' CLUB ENTRANCE

A handsome young pilot named DONNY TARLTON, 29, is walking
out just as the girls are entering.

LYNETTE
(flirty)
Hi, Donny.

DONNY
Oh, hi, Lynette. Hey, Paula, haven't
seen you for a while. When're we
gonna go out?

PAULA
I already told you. I don't go out
with guys who've been dating a good
friend. See ya.

The girls go inside.

CUT TO:

EXT. THE LAWN IN FRONT OF THE CHOW HALL - DAY

Thirty-six chrome dome helmets fly into the air and land on
the lawn and then thirty-six starving Poopies rush into line
in front of the mess hall, at close-order attention, nose
touching the back of the head of the Poopie ahead of them in
line.

FOLEY
Count off!

They start the count off. When it gets to Perryman he screws
up and gives the wrong number. Foley descends on him.

FOLEY
Daydreaming about your wife and kids,
Perryman? You want to join 'em now?

PERRYMAN
No, sir!

FOLEY
Count off!! From the top.

This time somebody else fucks up.

INT. THE MESS HALL - VARIOUS SHOTS - DAY

The candidates wait in line with their trays held in both
hands directly in front of their faces, STOMACHS GROWLING so
loudly we can hear them. Sid whispers to Zack.

SID
(softly)
I'm so hungry I could die.

They go through the food line, staring longingly at the shit
on a shingle they're being served. Drooling.

They stand at attention at their table. Foley putting them
through a silly drill of slapping their arms together and
sinking, as a unit, slowly into their seats. Each time they
fail to do it together, Foley makes them start again. Steam
rises up from their trays, teasing them cruelly.

Finally, they get it right.

FOLEY
Okay! You got thirty-five seconds to
get that garbage in your belly, bus
your dishes, and get your asses out
of here.

They go at it like animals, stuffing their faces as fast as
they can, Zack the fastest eater of all. He finishes in no
time at all and busses his tray. He smiles smugly as he passes
Foley and the D.I. reacts.

CUT TO:

EXT. CROSS-COUNTRY COURSE - THE FIRST - DAY

Foley runs the candidates over the cross-country course with
rifles raised overhead. Sunlight filters through the dense
trees that overhang the narrow trail.

FOLEY
(jody-calling)
Flying low and feeling mean. Spot a
family by a stream. Pickle a pear
and hear'em scream. 'Cause napalm
sticks to kids.

EXT. CROSS-COUNTRY COURSE - NEAR THE LIGHTHOUSE - DAY

Foley runs his Poopies through the surf, past the old
lighthouse, CAMERA MOVING with Sid, Zack and Casey, near the
end of the group.

FOLEY
Eighteen kids in a free fire zone.
Books under arms, just walking on
home. Last kid walks home alone.
'Cause napalm sticks to kids.

Sid glances over his shoulder at Casey, running tiredly behind
him.

SID
Hey, Seeger, what're you doing in
this program?

CASEY
(testy)
What's the matter, Worley? Am I
threatening you?

Zack runs behind Seeger.

ZACK
Hey, baby, you could get sent to
war, get your ass shot down.

CASEY
Don't lose any sleep over it. I
wouldn't mind being the first woman
to fly a jet fighter in combat.

ZACK
Great. You can go in my place.

SID
(to Casey)
Are you really going for jets?

CASEY
Uh-huh. All the way.

SID
How about you, Mayo?

ZACK
Jets.

SID
I hate to tell you guys, but only
two out of every class make it into
jets. Which one of you is going with
me?

EXT. CROSS-COUNTRY COURSE - THE GUN EMPLACEMENTS - DAY

Foley stands at the entrance to a dark tunnel, watching the
candidates run past.

FOLEY
Here's my favorite one now. See if
it ain't your favorite, too.
(resuming)
Family of gooks sittin' in a ditch,
Baby sucking on her mama's tit. Dow
Chemical don't give a shit, that
napalm sticks to kids.

CAMERA PANS the last of the candidates through the tunnel.

ON THE OTHER SIDE OF THE TUNNEL

There's a huge, three-story gun emplacement bunker built in
1895, that now serves as a torture chamber for aviation
officer candidates.

The other D.I.'s from the program stand at different places
on the time-weathered stairs, waiting to assist Foley, their
canes propped behind them, truly cruel expressions on their
faces.

On cue from Foley, they begin to P.T. Zack's class into the
ground, running them up and down the stairs, shouting in
their tender ears until some members of the class actually
start passing out.

An ambulance is there with two enlisted attendants to carry
away the casualties.

Zack, Sid, Casey, Perryman and Topper are starting to show
the wear of the arduous "C" course, like the rest of their
class.

As they pass the "finish line" where Foley stands, they all
fall on their faces, and lie there, gasping for breath.

Suddenly, they're distracted by a disquieting sight.

EXT. OBSTACLE COURSE - DAY

An advanced class of officer candidates comes running past
the exhausted Poopies in smart-looking blue warm-up suits
with an insignia and the name "THRAXTON'S COBRAS" on the
front and nicknames on the back like: "HOOSIER FACE," "THE
BARBER," "ANIMAL HOUSE," "CHOW HOG," "BABY HUEY," AND "THE
PROFESSOR."

CAMERA PANS them to the obstacle course where Thraxton's
Cobras start eating up the course like child's play.

ANGLE - FOLEY AND HIS CLASS

Foley sneers down at his exhausted Poopies.

FOLEY
That's you in thirteen weeks, those
of you who survive. Don't you dare
look at them! You're not worthy enough
to look at them! Della-Serra, I saw
you eyeballing them!

Zack and the others can't take their eyes off the advanced
class. It's literally impossible to imagine ever being that
well-conditioned.

DISSOLVE TO:

INT. ZACK'S BARRACKS ROOM - NIGHT

CAMERA MOVES AROUND the room, past Perryman's snoring face,
past Sid, tossing fitfully, so exhausted he keeps mumbling,
"Yes, sir," over and over in his sleep... finally HOLDING ON
Zack, sleeping so lightly that the SOUND OF HISSING near at
hand causes his eyes to open, then harden with disgust at
what he's seeing.

Topper stands at the sink, pissing.

ZACK
What the fuck're you doing, Topper?

TOPPER
(mortified)
I'm afraid to go out there, Zack. I
know he'll catch me. He sleeps in
the head, you know.

ZACK
He doesn't sleep in the head, man.
He just says those things. Shit! I
just cleaned that sink this morning!

DISSOLVE TO:

INT. THE BARRACKS - DAY (SEVERAL WEEKS LATER)

Zack comes out of the head, Candidates Della-Serra and Marcus
on his heels. Zack wears a white T-shirt and the khaki pants
of the uniform they've been issued after "Poopie Week". His
shoes are spit-shined to perfection, his belt brassoed to a
lustrous shine, and his hair is now about an inch long. He
pats it back with his hands, primping.

DELLA-SERRA
Another week or two, you'll have
that ducktail back, Mayo.

He rubs Zack's head and Zack pulls away.

ZACK
Hey! I worked on it for thirty
minutes!

Zack snaps Della-Serra with his towel, spots a couple of
female candidates leaving the woman's head, looks around to
see if any's watching, and crosses by the stairwell toward
Seeger's room.

INT. SEEGER'S ROOM - DAY

Zack pushes the door open and stands there, grinning, as
Gonzales rushes into her uniform. Seeger just sits there on
her bunk, in her khaki pants and a bra, spit-shining her
boonies.

ZACK
Good morning, girls.

CASEY
Ever heard of knocking, mayo?

ZACK
Hey, did you hear? Sands and
Kantrowitz DORed last night.
(His killer grim)
Survival of the fittest.

CASEY
The whole world's a jungle, huh,
Mayo? Dog eat dog down to the last
one, right?

ZACK
You got it, Sweet Pea.
(eyeing her breasts)
Nice boonies, Seeger.

Casey smiles easily and Zack pushes off down the corridor.

ZACK WALKS INTO HIS ROOM

and finds his roommates rushing around in a frenzy, trying
to get squared away. Sid is working like a fool on his boots.

Perryman is brassoing his belt buckle, and Topper is folding
his underwear and T-shirts and then measuring them with a
ruler to be certain he has the correct dimensions, before
placing them in his locker.

TOPPER
Inspection's in five minutes, Mayo!
Give 'em to me.

ZACK
Where's your money?

Topper gives him a fiver. Totally unrushed, Zack gets up on
his bunk and starts prying a piece of fiberboard loose from
the ceiling.

PERRYMAN
You'd better hope Foley never finds
out about that, Mayo.

Zack pulls the piece of fiberboard free and reaches inside.

Slaving over his boonies, Sid looks up and sees Zack remove
from his stash a perfectly spitshined pair of boonies and
hand them down to Topper. Laboring over his belt buckle,
Perryman practically drools as he sees the glistening buckle
Zack suddenly holds up for him to see.

ZACK
Two bucks a buckle, Perryman. Look
at that shine! Boonies'll cost you
five.

PERRYMAN
Who's got two bucks? It's costing me
every penny they pay us just to keep
my old Lady and my kids in that motel.

SID
Who you got doing all that for you,
man? Some enlisted guy?

Not one to give away his secrets, Zack just smiles, and
replaces the boots and buckle in his stash.

PERRYMAN
Hey, man, is the piss-ass money you're
making off this worth the risk of
getting us all kicked out of here on
an honor violation?

ZACK
I don't notice anyone else
complaining.

CUT TO:

EXT. THE OBSTACLE COURSE - DAY

Foley is timing the class over the killer "o" course. While
most of his classmates are struggling to complete the course,
Zack is breezing through it. As he finished, he moves off by
himself, aloof, confident. Foley watches him closely. He's
the only one not rooting for his classmates.

ANGLE - THE TEN-FOOT WALL

Casey is having a terrible time getting over the wall. She
doesn't have the upper-body strength for it. Foley saunters
up and watches her futile efforts with a cockeyed little
smile.

FOLEY
I can tell you right now you're not
gonna make it, Seeger. First, I can't
graduate you unless you make it over
that wall. You gotta have muscles,
Seeger, if you want to fly my jets.

CASEY
I'll make it over the wall, sir!

FOLEY
Do you want to be a man, Seeger? Is
that why you're here?

CASEY
Sir, if it means getting all the
respect a man gets, then yes! I was
told I could find that in the modern
Navy, sir!

She takes another run at the wall but fails once more to
scale it. She sinks to the ground and bites her lip to keep
from crying. Still, tears well up in her eyes.

FOLEY
That's it! That's exactly what'll
beat you, Seeger... your mental
attitude as a person of the female
persuasion. Under all your bullshit,
you still think like a second class
citizen, Seeger. You could never
give orders to men.

INT. THE AERODYNAMICS CLASSROOM - DAY

Zack struggles to comprehend the mumbo-jumbo of higher physics
being demonstrated on the blackboard by the instructor, a
Navy Lieutenant. All the candidates are using slide rules to
work out the difficult problems.

QUICK CLOSE SHOTS reveal that most of the candidates have a
pretty fair facility with the slide rule, but Zack looks
like he's never had one in his hand until now.

EXT. THE BARRACKS - NIGHT

STARTING CLOSE ON a row of shined boots and a row of shined
buckles WE WIDEN to reveal an enlisted sailor and Zack,
scrutinizing the boots and buckles spread out on a Navy issue
blanket. Zack nods his satisfaction, hands over a wad of
currency, and carefully starts folding the edges of the
blanket around his booty as the sailor disappears into the
darkness. Then, as Zack lifts his Santa's sack of goodies
over his shoulder, and turns around to go, he stops suddenly.

INCLUDE SID

He stands there in the darkness, a big grin on his face.

SID
So that's how you do it.

Zack looks like a thief caught in the act.

ZACK
Hey, you gonna tell anybody about
this?

SID
(kidding him)
Not if you make it worth my while.
How about free boonies for the
duration?

Zack smiles, realizing his roommate is putting him on.

ZACK
How about you kiss my ass?

Sid laughs. Together, they head back toward the barracks
entrance.

DISSOLVE TO:

INT. THE OFFICERS CLUB - REGIMENTAL BALL - NIGHT

Zack and Sid are part of the line of stubble-haired AOCs in
dress white uniforms, watching the door like eagles as a
parade of Puget Debs come into the club, wearing satiny
formals and hopeful smiles.

Perryman walks past with his attractive black wife.

Casey enters in uniform, hand-in-hand with a handsome young
Lieutenant JG, her shortened hair brushed back nicely on the
sides. She smiles at Zack and he smiles back.

Topper approaches one of the girls coming through the door,
a short, dumpy little girl with jugs the size of watermelons,
and escorts her toward the ballroom.

Then Sid and Zack spot Paula and Lynette coming through the
door in clingy little formals, milky-white bosoms pushed up
high and little gold crosses dangling in the valley between.

SID
Look, Zack. It's them. Holy shit.
Look at that bodacious set of ta-
tas.

They approach the girls where they've stopped to chat with
Nellie Rufferwell.

SID
Mrs. Rufferwell, ma'am, think you
could introduce us to these attractive
young ladies...?

Sid immediately fixes his eyes on Lynette. Zack and Paula
size each other up as Nellie makes the introductions.

NELLIE
Officer Candidate Sid Worley, may I
present Miss Lynette Pomeroy. Miss
Paula Pokrifki, Officer Candidate
Zackary Mayo.
(beat)
Well, I hope you have a good time.

She slips off, leaving the foursome along.

ZACK
(rubbing his head)
You told us it would grow out an
inch.

SID
(aside, to Zack)
It's grown out more than an inch,
sweetheart.

Zack stifles a chuckle.

PAULA
That was you guys, huh?

LYNETTE
Come on. Let's go dance.

Sid offers her his arm and she takes it with a little smile.

Zack offers Paula his arm and she takes it, meeting his eyes
for an instant.

INT. THE OFFICERS CLUB - NIGHT

As they cross the dance floor. A shitty local band is PLAYING
embarrassingly loud.

LYNETTE
Is this you boys first night of
liberty since you got here?

SID
Yes, ma'am. Four long, hard weeks of
sacrifice for my country... for my
people... for you. But I survived.

ANGLE - THE REFRESHMENT TABLE

As Sid and Lynette dance, Zack and Paula have some punch at
the refreshment table.

ZACK
Hey, what kind of name is Pokrifki?

PAULA
Polish. What kind of name is Mayo?

ZACK
Italian. My mom was Irish. I got her
ears. But the rest is all wop.

PAULA
Where are you from, Mayo the Wop?

ZACK
Everywhere and nowhere, Paula the
Polack.

PAULA
Seriously.

ZACK
(straight-faced)
My father is a Rear Admiral in the
Seventh Fleet.

PAULA
Really?

ZACK
Yeah. We've lived all over the world.
Katmandu, Moscow, Nairobi.

PAULA
(impressed)
Really? I've never been out of
Washington except once when I visited
this aunt of mine over to Portland.
I mean, over at Portland. Ain't it
pathetic the way folks talk around
here?

She suddenly blushes.

PAULA
You're putting me on, aren't you? We
don't got no Navy bases in Moscow.

Zack just smiles.

PAULA
(returns his smile)
You got a girl?

ZACK
No, and I'm not looking for one
either.

Paula meets his eyes and flirts brazenly.

PAULA
Yeah, what are you looking for?

Zack just grins.

ZACK
I hear most of the girls who come to
these things are looking for a
husband.

PAULA
Not me.

ZACK
Yeah? Why're you here?

PAULA
To meet interesting people, improve
myself. You wouldn't believe the
losers we got over in Port Angeles.

ZACK
Do you go to school?

PAULA
No. I work for National Paper. It's
a good job. I make eight-twenty-three
an hour.
(beat)
When I get enough money saved, I
plan to go on to college.

The band surges into a slower ballad.

ANGLE - SID AND LYNETTE

As they dance to the slow music, they waste no time with
formalities and soon are pushing their bodies together and
rubbing in all the best places.

LYNETTE
You been through the Dilbert Dunker
yet?

SID
Cake walk. Both my dad and my brother
went through it and made it, so I
know I can.

LYNETTE
Is your brother a flyer?

SID
He was. He died.

LYNETTE
Vietnam?

SID
Yeah.

LYNETTE
I had a big brother who died over
there, too. He wasn't no flyer though.
He was just your basic Marine Corps
type. I was only twelve when it
happened, so I don't remember much
about him.

SID
(somberly)
I sure remember Tommy.
(beat)
Mind if we talked about something
else?

LYNETTE
(seductively)
We don't have to talk at all.

VARIOUS SHOTS - AROUND THE DANCE FLOOR

The horny AOCs from Zack's class are grinding and pushing
and falling into the gentle traps being set by the crafty
debs.

Topper buries his nose into the ample cleavage of his deb.

Della-Serra nibbles on the ear of his gangly partner. Casey
and her pilot twirl around the floor.

ANGLE - PAULA AND ZACK

As they move onto the dance floor, the handsome pilot, Donny
approaches PAULA.

DONNY
Hey, PAULA. How about a dance later
on.

PAULA
Well... I'm kinda with someone.

She continues on with Zack.

NEW ANGLE - PAULA AND ZACK

Paula puts her arms tight around his neck and nestles her
lips close to his ear.

PAULA
Think you'll make it all the way to
getting your wings?

ZACK
Who knows? Guys a lot smarter than
me are dropping out like flies.

PAULA
Just think 'I'm gonna do it!' Program
yourself. See yourself making it.
It'll happen. I know 'cause I just
read this article in Cosmo, and it
was about that very thing.

ZACK
You're a very pretty girl, Paula.

He kisses her once but as he starts to pull away she won't
let him and they french shamelessly for a long moment before
PAULA pulls away from him, breathing raggedly, her green
eyes flashing.

PAULA
Let's flee this pit stop, what do
you say?

CUT TO:

EXT. THE LIGHTHOUSE - NIGHT

The beacon sweeps past the empty Falcon and over the sandy
landscape as we hear:

SID (V.O.)
Something tells me you've been here
before.

LYNETTE (V.O.)
Now what on earth would give you an
idea like that?

START CLOSE ON LYNETTE'S BUTTONS

Sid's fingers pop a button in their urgency. Lynette's fingers
push his away and she undoes the buttons with ease.

SID
You're sure it's okay?

LYNETTE
Don't worry. I'll respect you
afterwards.

The dress disappears, leaving her torso uncovered. Sid's
face PUSHES INTO SHOT as he kisses his way down her neck
toward her tight little breasts.

SID
You're crazy, girl. You'll respect
me. That's great. But what I meant...

Lynette's face PUSHES INTO SHOT and she kisses him almost
roughly.

LYNETTE
I told you. I'm on the pill. Don't
worry, Sid. Just do it.

She pulls him down on top of her.

THE LIGHT FROM THE LIGHTHOUSE

sweeps past Zack and PAULA, already making love a distance
down the beach.

CUT TO:

INT. THE BARRACKS HEAD - NIGHT

The two friends crow about their conquests while they brush
their teeth in front of the long mirror.

SID
Could you believe those girls!

ZACK
'Nellie's Nymphos!'

SID
Jesus, that Lynette! I rode her hard
and put her up wet.

Zack shadowboxes with his reflection in the mirror.

ZACK
(clowning)
Look out, Foley! I'm ready to take
you on for another week!

They both laugh.

CUT TO:

INT. LYNETTE'S CAR - NIGHT

Lynette has the accelerator mashed to the floorboard. Paula
looks at her wristwatch.

PAULA
Hurry, Lynette. It's almost midnight.

LYNETTE
I got my foot on the floor.

EXT. THE FERRY PORT - NIGHT

The midnight ferry to Port Angeles is just about to pull out
when the Falcon comes SCREAMING around the corner and races
aboard.

EXT. FERRY - LONG SHOT - NIGHT

crossing the Sound.

INT. THE WHEELHOUSE OF THE FERRY - NIGHT

The two girls look out across the water. A curious little
smile crosses Paula's face and Lynette sees it.

LYNETTE
Well, it you're not gonna ask, then
I will. How was it?

PAULA
Great.

LYNETTE
Details, Pokrif. From what I saw he
had an incredible body.

PAULA
Yeah... Mmmm...

LYNETTE
What did he do? Did he do anything
that was different?

PAULA
Everything was different.

LYNETTE
But in what ways?

Paula looks at her friend as if acknowledging her presence
for the first time. A sense of privacy comes over her
suddenly.

LYNETTE
Did you... come?

Paula smiles. Lynette could die of envy. You sense she's
never known that pleasure.

PAULA
How did it go with you guys?

LYNETTE
Big Sid came in about two and a half
seconds, then had the nerve to ask,
'Did you make it, too, sweetheart?'

Said with a certain affection, albeit slightly jaded. Paula
laughs.

LYNETTE
(resuming softer)
...but I really like him, Paula. And
I know he's going to make it. He
comes from a family of pilots.

EXT. THE PORT ANGELES FERRY TERMINAL - NIGHT

The Falcon drives off and proceeds past a local hangout called
"Tim's" with a number of motorcycles parked out front. A
cluster of good old boys in jeans and T-shirts, lounging in
front of "Tim's," see the Falcon and WHISTLE at the girls.

Lynette gives them the finger.

INT. THE FALCON - NIGHT

Both Paula and Lynette respond to the whistles with looks of
disgust. Cinderella said it first: the worst part of being a
deb is the ride home.

PAULA
He ask you out for next weekend?

LYNETTE
No, but I told him I'd be at the
Town Tavern next Saturday night, and
he sounded like he might come.

PAULA
I told Zack about Saturday night,
too. The fifth week's supposed to be
the roughest. Come Wednesday, he'll
be wishing he took my number.

LYNETTE
You hope.

PAULA
He'll show. I'd bet my paycheck on
it.

EXT. PAULA'S HOUSE - NIGHT

A lower-middle class clapboard house sitting on blocks like
all the others on the crammed little street.

Built during the war as cheap housing for servicemen, the
box-like dwellings now serve Port Angeles' industrial blue
collar families, like Paula's.

The Falcon drives up and Paula gets out.

LYNETTE
See you at church in the morning.

Paula nods distractedly, her face reflecting genuine fear of
what awaits her inside the darkened house.

INT. PAULA'S HOUSE - NIGHT

Her key turns in the lock and the door opens. She tiptoes
across the small living room, but as she is passing a door
left slightly ajar, a voice inside the room calls out to
her, making her jump.

JOE (O.S.)
Paula, come in here, please.

INT. JOE AND ESTHER'S BEDROOM

JOE POKRIFKI is a tough, barely-literate Polack with enough
hair on his chest to compete with some apes. Ester lies in
bed beside him. Paula enters the darkened room and Joe
suddenly snaps on the light, bathing them all in its harsh,
almost police-room glare.

JOE
Come over here. I want to look at
you.

Paula stays near the door, scared.

PAULA
I know I'm late and I'm sorry, but
Mrs. Rufferwell asked us to help
with the cleanup and...

JOE
I said, come here!

She slowly approaches him, stopping about halfway.

PAULA
Daddy, I don't want to get into
anything with you tonight. I'm tired
and I...

JOE
What are you tired from?

ESTHER
Joe!

JOE
Come over here where I can see you.

She steps up to the bed and her father looks over her
clothing.

JOE
Look at the sand! Enough sand to
start your own beach!
(seeing something)
What's that wet place on your dress?

Paula is so mortified she could scream. Tears of rage flood
her eyes.

INT. AN ADJOINING BEDROOM

Paula's two sisters, ages 14 and 10, are awake in their bunks
and listening to the confrontation in the next room. The
empty lower bunk in the over-crammed room belongs to Paula.
There's a stack of Cosmopolitan magazines beside the bed and
fan magazine photos of John Travolta taped to the wall above
her pillow.

PAULA (O.S.)
I don't know what it is. It could be
anything.

JOE (O.S.)
But you knew right off what I was
talking about, didn't you, Paula!
Did you let that boy --

INT. JOE AND ESTER'S BEDROOM

Paula interrupts her father, enraged by his insinuations.
Her mother looks on, haunted by memories of her own.

PAULA
Don't you dare ask me that question.
I'm an adult and you got no right to
push your nose into my affairs like
that!

JOE
Well, as long as you live in this
house, young lady, you live by my
rules! You should be dating local
boys.

PAULA
Uh-uh! Not a chance! There's nobody
in this town doing anything with his
life, except what his father did,
which is nothing. If I can't have
more out of life than that, I'd rather
be dead!

JOE
Do you honestly think you'll find a
boy in that... that officer's school
who's serious about marriage?

PAULA
Yes I do!

JOE
Then you're dumber than I thought!
All you'll get from their kind is
pregnant!

For an instant, Esther's eyes and her husband's lock in
unresolved combat.

PAULA
Nothing like that's ever gonna happen.

To keep from sobbing in front of them, she turns and runs
out.

A terrible silence fills the room, the silence of two
miserable human beings condemned to live unhappily ever
after... because of one little mistake.

JOE
Esther, do you think she's using...
(has trouble saying
it)
...birth control?

ESTHER
Yes, Joe.

JOE
When did this happen?

ESTHER
A long time ago.

INT. PAULA'S BEDROOM

She changes into her pajamas and crawls into bed. She'd like
to cry but there isn't the privacy for it, so she holds it
all in. CAMERA PANS the faces of her sisters, both awake.

CUT TO:

EXT. CATHOLIC CHURCH IN PORT ANGELES - DAY

Joe Pokrifki parks his big, old Olds Cutlass and the four
Pokrifki women follow him toward the church in their prim
Sunday dresses.

Lynette and her three brothers climb down from the back of a
dented and primered pickup truck. Lynette's pained skeleton
of a mother gets out from behind the wheel and ushers her
brood toward the church. There's a shocking difference between
the debs who go over to the base on weekends and these primly-
dressed, almost tomboyishly unmade-up young girls.

As the two girls see each other, they exchange supportive
smiles.

CUT TO:

INT. THE OLD BLIMP HANGAR - DAY

Zack and his classmates look around apprehensively as they
enter the cavernous old hangar and take seats, along with
several other classes from the program, around a raised mat.

Suddenly, shockingly, a bank of lights directly over the mat
go on to illuminate Foley, dressed in a worn and faded pair
of black silk pajamas, legs akimbo and arms crossed at the
chest.

Zack elbows Sid.

ZACK
Look at Foley! Can you believe it!

SID
(frightened)
Shhhh...

Zack looks around and the faces of the others are similarly
disquieted by the sight. How do you describe the presence of
death in a room? But it's there. Foley brought it in with
him.

FOLEY
I'm the base martial arts instructor,
so those of you in on-eight must
desist in thinking of me as their
drill instructor for the next sixty
minutes.
(grins evilly)
Just think of me as... the enemy.
Incidentally, children, I am wearing
the uniform of a Viet Cong foot
soldier I killed in hand-to-hand
combat in Plei Me, Viet Nam... when
I was about your age. Maybe a little
younger.
(in the same breath)
May I please have a volunteer? How
'bout you, Daniels?

Topper rises to his feet, terrified, and Sid pats him on the
back.

SID
Go put him in the hospital, kid.

TOPPER
He can't touch me. That's the law.

Foley grins sadistically as he watches Topper climb up onto
the mat.

FOLEY
Hello, pussy. How bad do you want to
survive?

Topper stares at him, then stammers:

TOPPER
Sir, this Officer Candidate doesn't
understand what you're asking, sir.

FOLEY
Let me see if I can improve your
comprehension.

He leaps on Topper like a cat, grabbing the boy's throat
between his thumb and forefinger, seemingly intent upon
killing him but, in reality, scaring him more than actually
hurting him that much.

FOLEY
Do you want to survive bad enough to
stop me, pussy? Or are you relying
on my generosity, my love of humanity,
to stop me from killing you?!

Topper's eyes bug in horror.

TOPPER
Please... no... I can't breathe...

Foley just laughs.

SID AND PERRYMAN

jump to their feet to protest, but events are moving too
fast for them. Zack just sits there, almost amused.

TOPPER

finally starts fighting back. Convinced this maniac means to
kill him to make his point, he finally summons enough survival
instinct to wrestle Foley's hand from his throat. He sinks
to the floor of the ring and struggles to catch his breath.

TOPPER
You... had... no right! You can't...
touch... us! It's the... law!

This makes Foley laugh all the harder.

FOLEY
(mimicking him)
'Sir, this Officer Candidate doesn't
understand what you mean by survival.'
Now do you understand a little better,
pussy? Get out of my sight!

Topper hurries to comply, while Foley swaggers to the edge
of the mat, sits down and starts putting foam safety-kick
pads on his feet, really getting off on this.

FOLEY
You think I'm a little harsh on your
classmate? Wait 'til you get shot
down behind enemy lines and the only
thing between you and a POW camp is
what you assholes learned from me!
(beat)
Okay, worms. Now that I've got your
attention, we can begin.

FOLEY

demonstrates the basic karate kicks. Beyond black belt, he
has moves that ought to bear his name. Leaping, spinning
crescent kicks are his specialty, and he executes them like
a ballet master, awing everyone in the dank old hangar. Almost
everyone. Zack, cool. Zack, is unimpressed.

DISSOLVE TO:

INT. THE TOWN TAVERN - NIGHT

Zack and Sid sit in their white liberty uniforms at the long
bar, nursing beers, Sid anxiously watching the door for
Lynette, Zack busy flirting with an attractive WAITRESS. The
Town Tavern is a local hangout and there's a sense that a
number of the townies are watching the boys in white with
resentment.

ZACK
(to the Waitress)
Hey, baby... c'mere...

She slides up, smiling, giggling.

WAITRESS
Nice haircut.

ZACK
Kiss it, baby. Make it grow.

She laughs and kisses the top of his head.

ZACK
So, when do you get off?

She's about to reply when a burly BARTENDER approaches with
fresh beers for the boys. He gives the boys a surly look.

BARTENDER
Take care of the customers, Doreen.

Doreen gives Zack her best smile and grudgingly moves off
toward the locals around the pool table. The bartender puts
fresh beers in front of Sid and Zack.

BARTENDER
(surly)
That'll be two dollars.

The boys pay up and the bartender moves off.

SID
(facetiously)
Nice, hospitable folks they get around
here.
(glances at door)
I hope she comes.

ZACK
She'll come, pard. A rich socialite
Oakie like you oughta be a big catch
around these parts.

SID
Get off my case, Mayo. I didn't grow
up rich.

SEXY ENOUGH TO LIGHT FIRES, PAULA AND LYNETTE

cut a path like Sherman's army through the gawking local
losers clustered inside the door of the tavern, then glide
into Zack and Sid's arms and kiss them gluttonously for half
a minute. Some of the local boys watch it all with ill-
concealed jealousy.

ZACK
I think we're making some of the
locals jealous.

PAULA
Who cares?
(frenching him)
Mmmm. Now I remember. Mayo the Wop.
Gee, I'm glad you're here. I've been
looking forward to this all week.

ZACK
Me, too.

They kiss again.

SID
What would you girls like to do?
Want to stick around here for a little
or... or could I suggest another
plan...?

LYNETTE
Like pick up some booze and go to a
motel?

SID
Or we could do that yeah.

PAULA
I vote for the motel.

ZACK
My kinda group!

They start for the door, all four linking arms.

NEAR THE DOOR

One of the boys who was watching them, TROY, 25, jostles
into Zack, then pretends it was the other way around.

TROY
Hey, make way for the warmongers.

Zack and Sid spin around, surprised. Troy's a big, kid, a
dockworker probably, and he seems to tower over Zack.

ZACK
What did you call us?

TROY
I called you a warmonger. Ain't that
what you are?

Zack looks more amused by it all than threatened. He shakes
his head and starts out the door with his friends. Troy and
some of the other locals share a look, and follow.

EXT. "THE TOWN TAVERN" - NIGHT

Troy jobs out of the place and plants himself in front of
Zack.

TROY
Hey, let me ask you something.

ZACK
Yeah, what do you want to know?

SID
Let's get out of here Zack.

A circle is forming around Zack and Troy. Paula looks
frightened. Lynette looks turned on.

TROY
You come here for a couple of months --
you rich college boys -- struttin'
around in your ice cream suits like
you own the goddamn place -- fucking
our best women... Hey, who do you
think gets left holding the bag after
you're off flying around the world?

ZACK
Hey, pard, why don't you go back
inside and cool off.

He turns away from Troy and pushes out of the circle.

TROY
Hey, I'm not finished talking to
you, sailor boy!

He charges after Zack, and knocks his cap off.

VARIOUS SHOTS OF THE FIGHT

If you can call it a fight. Zack turns around and hits Troy
in the face with two very fast punches, a left and a right.

Before his assailant can recover, Zack delivers a strange,
roundhouse kind of kick that seems to come out of him in
slow motion, then gathers incredible speed, until it's
slamming with the force of a mule-kick into Troy's face.
Troy goes down gushing blood from flattened nostrils.

ZACK

looks around the other locals who clustered earlier around
their champion, but they're all staring at him, afraid.

Taking Paula by the hand, he leads the foursome away.

MOVING WITH ZACK, PAULA, LYNETTE AND SID

Zack stares straight ahead, lost in the world of his
adolescence. Paula just watches him, sensitive to the place
he's in.

LYNETTE
God! I've never seen anything like
that in my whole life! Did you see
that guy's nose?

ZACK
(snaps)
Lynette, just keep your mouth shut
until we get to the motel. Will you
do that for me, please.

LYNETTE
Well, excuse me for livin'!

Sid pushes her into the car.

CUT TO:

INT. ZACK'S ROOM AT THE TIDES INN MOTEL - NIGHT

Zack lies on the bed, aloof, brooding, and doing some serious
drinking from a pint bottle of rum. Paula watches from a
chair.

PAULA
Want a back rub? Might make you feel
better.

She climbs onto the bed and tries to position herself to rub
his back, but he pulls away.

ZACK
I shouldn't have done that. I
should've walked.

PAULA
He didn't give you much choice.

ZACK
There's always a choice.

PAULA
Where'd you learn to fight like that?

ZACK
(snaps)
I don't feel like talking, if you
don't mind.

PAULA
(angry)
Opening up just a little wouldn't
kill you, ya know.

She starts for the door. Zack barely even looks up.

ZACK
You want me to fuck you? Is that it?
Okay, come here. Take your clothes
off. Get into bed.

PAULA
(turns, angry)
Where's that coming from? I wouldn't
fuck now if my life depended on it!

ZACK
Forget it. Just get out of here.

Paula starts to leave, then turns back, furious.

PAULA
(explodes)
I don't know who you think you're
talking to! I ain't some whore you
brought here! I've been trying to be
your friend and you treat me like
shit!

ZACK
Be a friend. Leave.

PAULA
You got no manners and you never
tell the truth! You're nothin'
special. And if you ask me, you got
no chance at all of being an officer!

Zack rises from the bed and very slowly approaches her. Paula
almost flinches as he stops a few feet away. Then he leans
forward and kisses her as gently as he knows how. Very
tentatively, she responds.

DISSOLVE TO:

EXT. THE TIDES INN - NIGHT

Lynette leaves her room and knocks on Paula's door. Paula
comes out, zipping up her dress.

LYNETTE
(smiles)
A definite improvement.

They drive off.

DISSOLVE TO:

INT. ZACK'S ROOM AT THE TIDES INN - DAY

He wakes up and slowly focuses on Paula, cooking eggs and
bacon in the kitchenette.

ZACK
You stayed after all.

PAULA
Wrong. I've driven a hundred and
twenty miles, told a hundred and
twenty lies, and said a hundred and
twenty Hail Mary's since I saw you.
Hungry?

ZACK
I'm starving.

He jumps out of bed, pulls on some boxer shorts and sits
down at a small rickety table she has beautified with
wildflowers stuffed in a glass. Paula puts his steaming
breakfast before him and stands back to watch him attack it.
He looks up at her and finds her staring at him almost
wistfully.

ZACK
Paula, I never try to fool anybody
about who I am, what I want... so if
even in the back of your --

PAULA
I know who you are and what you want.

ZACK
What do you want, Paula? What do you
really want?

PAULA
To have a good time with you until
you have to go.

ZACK
That's it?

She nods and turns away, so he can't see her eyes and know
how much she's lying. Zack finishes off his eggs and bacon,
downs his coffee. As she comes over to refill his cup, he
unbuttons her blouse and starts playing with her nipples.

ZACK
Mmmm. Last night was fantastic.

She watches him with womanly eyes, aware of her own power.

PAULA
Zack, am I your fantasy?

Zack laughs.

PAULA
Zack, I dare you not to fall in love
with me. I ain't gonna get serious
with you, no way. But how can you
resist me? I'm like candy.

ZACK
You're better than candy.

PAULA
I'm serious. It's gonna be hard to
get enough.

He starts tickling her and she can't sustain her vamp role
any longer.

ZACK
Getting cocky, aren't you? Huh, you
little Polack? Getting feisty on me,
huh?

He takes her in his arms and they kiss. The moment turns
suddenly real and Zack finds himself pulling away, afraid of
the feelings that are churning his guts. Paula studies him a
moment.

PAULA
Zack, when you're through with a
girl, what do you do? Do you say
something or do you just... disappear?

ZACK
I've never had a girl.

Their eyes stay together for a long time.

ZACK
I forgot to thank you for breakfast.

PAULA
Any time, sailor.

CUT TO:

INT. THE LARGE INDOOR POOL ON THE BASE - DAY

Our CAMERA is the first to ride the Dilbert Dunker, and we
are suddenly shooting at high speed down a steep incline
inside a cage-like contraption, painted red. Wham! We hit
water at neck-wrenching speed and go under in a swirl of
bubbles!

Wait! What's happening? The goddamn cage is turning
somersaults! Which way is up? Which is way up?? A strange
looking alien in a wet suit and mask knifes TOWARD US. His
hands work to extricate us. We rush toward the promise of
light and air at the surface. We can hear our own tortured
breathing. Will we make it?

CANDIDATE DELLA-SERRA REACHES THE SURFACE

gasping for air. The DILBERT DUNKER INSTRUCTOR stands off to
the side, giving him a thumb's down.

INSTRUCTOR
Back in line. That was totally unsat,
Della-Serra!

Della-Serra clings to the side of the pool and vomits. He's
grateful to be alive.

ZACK WATCHES THEM RAISE THE DILBERT DUNKER

It finally comes to a rest high in the rafters of the
building, where he is to be the next to take the ride. Sid
and Seeger are right behind him, followed by Topper. He steps
into the cage and the Instructor makes sure he's buckled
snugly into the harness. Then Zack's eyes fall on:

FOLEY, STANDING POOL SIDE ZACK LOOKS AWAY FROM HIM AND GIVES
HIS THUMBS UP

and the Dunker takes him on its crazy ride, plummeting down
the tracks, blasting into the water, somersaulting...

UNDERWATER - ZACK

waits until the turning has stopped, studies the direction
his air bubbles are taking as he unfastens his harness, and
pulls himself down and out of the Dunker.

BACK ON THE SURFACE - ZACK

gets a thumbs up from the Instructor and grins. As he's
climbing out, he watches Sid take the big ride.

UNDERWATER - SID

almost loses his composure when the harness at first defies
his efforts to get it open. Then, he's free and surface-bound.

AS ZACK HELPS HIM

out of the pool, Sid's efforts at a cocky grin fails to hide
from his friend the fear he felt under there.

ZACK
You okay?

SID
Sure.

They turn to watch Casey.

STAY ON CASEY'S EXHILARATED FACE AS SHE PLUNGES

and watch her extricate herself as easily as Zack.

AS ZACK AND SID HELP HER OUT OF THE WATER

her eyes are wild with excitement.

CASEY
Think they'll let us do that again?
God, that was fun!

TOPPER CLIMBS INTO THE DILBERT DUNKER

He looks down at the pool far below. His three friends,
standing pool side, give him a thumbs up for encouragement,
but Topper is too frightened to acknowledge them. He turns
to the Instructor helping to fasten him inside the
contraption.

TOPPER
(scared shitless)
Does this thing hit with the same
impact as an actual plane?

INSTRUCTOR
This is nothing compared to a plane.
(beat)
Don't forget to watch the bubbles.

Topper nods and gives a thumbs up.

IN A PERCH ABOVE THE RAISED DUNKER

a young seaman apprentice flicks a switch and the Dunker
lurches down the tracks.

TOPPER SUCKS IN HIS BREATH, TERRIFIED

The impact of hitting the water is so jolting, it knocks his
wind out in a rush and he goes under already screaming that
silent little scream of the mind that drowning people hear.

Underwater, the Dunker turns him over and over, leaving him
upside-down. The silent scream is louder. Panic rides its
frequency as Topper tears at the lever that would release
him from the harness. He gets it open and pushes out of the
opening in the Dunker with all his might. He has forgotten
to watch for his air bubbles. Top is bottom and bottom is
top.

He smashes violently into the tiled floor of the pool, freaks
out, and swims straight up and into the jaws of the Dunker
again.

ZACK, SID, CASEY AND FOLEY

watch from pool side, concerned, as the diver goes down for
Topper.

UNDERWATER

The instant the diver is within grasp of the totally unstrung
boy, Topper grabs him in a dying man's grip that even the
brawny frogman is unable to break.

The diver hits him once, twice, but Topper clings to him
even tighter and, as they wrestle, the harness further snares
them both. The scream now becomes the scream of two drowning
men.

INTERCUT THE FACES OF THE ONLOOKERS

Seconds are ticking by, and it reflects on all the faces in
the huge room.

SUDDENLY FOLEY DIVES, FULLY CLOTHED, INTO THE POOL

His Smokey the Bear hat and cane stay at the surface as he
knifes down through the water toward the churning humanity
below.

UNDERWATER - FOLEY REACHES TOPPER AND THE DIVER

Both men are so hopelessly entangled in the parachute harness
and so close to losing consciousness that Foley has to move
very fast. His presence of mind is so total it's frightening.

With no wasted moves, he frees both men and pulls them toward
the surface.

AT THE SURFACE

The Instructor helps Foley get them laid out by the side of
the pool and while Foley works mouth-to-mouth on Topper, he
works on the diver. The diver is easily revived but Topper
required everything Foley has to offer. He might have died
in less expert hands but Foley is slowly pulling him through.

INTERCUT - ZACK, SID, PERRYMAN, SEEGER AND OTHERS

watching Foley's efforts to revive their compatriot.

FINALLY, FOLEY STEPS AWAY FROM TOPPER

and nods to the room of onlookers that he'll be all right.

CUT TO:

INT. THE BARRACKS ROOM - DAY

CAMERA MOVES DOWN the row of lockers. Sid's is a study in
neatness, every pair of skivvies folded identically and
measured with a ruler, which is exactly what he's doing at
the moment. Perryman's problem is his belt buckle, which he
is frantically trying to shine before Foley gets there. Zack
stands casually by his locker, buffing his fingernails, his
shoes and buckle shined to perfection, as always.

CAMERA HOLDS on the fourth locker, the one that belonged to
Topper Daniels. The door to the locker is open and it's empty.

PERRYMAN
I'll never get it polished in time.
Give me a buckle, Zack.

ZACK
I can't risk it.

PERRYMAN
You'd make it. He's just getting to
the girls. Come on, Zack. I gotta
see my family, man. I couldn't take
it if he keeps me here over the
weekend.

ZACK
Sorry, pard. Wouldn't want you to
get an honor violation.

Sid gives him a dirty look but Zack ignores it. The SOUND OF
HARSH FOOTSTEPS approaching and the three candidates snap to
rigid attention by their lockers.

Foley walks in and starts inspecting Perryman. Sweat runs
down the black's face in rivers. Foley moves on to Sid, checks
out his locker, then turns to Zack.

FOLEY
In every class there's a guy who
thinks he's smarter than me. In this
class, it's you, isn't it, Mayonnaise?

He brings his cane up suddenly, like a majorette's baton,
and with one poke knocks the piece of fiberboard out of it's
place in the ceiling, allowing two pairs of shined boonies,
a half-dozen freshly-brassoed belt buckles, and a little
black book recording the monies owed him, to rain down.

FOLEY
Report to my office in five minutes!

Foley turns and strides out. Zack meets his roommates' eyes
for an instant, knowing he's finished. Perryman doesn't look
too sad about it. He whispers in Zack's ear as he walks past,
enroute to the door.

PERRYMAN
Couldn't happen to a nicer guy.

Zack stares daggers at him.

INT. FOLEY'S OFFICE IN THE BARRACKS - DAY

Foley is doing paperwork at his desk as Zack approaches and
knocks on the door.

FOLEY
Come in, Mayo.

Zack enters and stands at attention in front of Foley's desk.

He knows it's all over.

FOLEY
I want your D.O.R.

ZACK
No, sir. You can kick me out, but
I'm not quitting.

FOLEY
Get into your fatigues, Mayo. Before
the weekend's out, you'll quit.

Zack salutes, makes a smart turn, and marches out.

CUT TO:

EXT. THE BEACH - DAY

Foley is putting Zack through hell. With his heavy rifle
raised overhead and a full pack on his back, he runs through
the wet sand at the beach, to the cadence of his D.I.'s jody
call. Foley runs with him a vulture waiting for the
inevitable.

FOLEY
(jody-calling)
Casey Jones was a son of a bitch.
Drove his train in a thirty-foot
ditch. Came on out with his dick in
his hand. Said, 'Listen, ladies, I'm
one helluva man. I went to his room
and lined up a hundred. Swore up and
down he'd
(beat)
Having fun, Mayonnaise?

Zack is dying under his heavy helmet, but he says nothing.

EXT. THE GUN EMPLACEMENTS - LATER THAT DAY (NOON)

Foley is running him up and down the weathered old steps,
the hot sun beating down on him like a firey fist.

FOLEY
Look over there, Mayo. She stayed to
do that instead of going on liberty.

Zack follows his gaze to the Obstacle Course where Seeger is
struggling to pull herself over the ten-foot wall, with the
same results as last time.

FOLEY
She may not make it through the
program, but she's got more heart
and more character than you'll ever
have. I've seen your college record.
I've never heard of most of those
schools. Tell me something, Mayo.
Did you buy that degree?

ZACK
No, sir! It was the hardest thing I
ever did, sir! Until this.

FOLEY
That's a lie, Mayo. You've gone
through a lot worse, haven't you?

Zack shoots him a quick look, wondering how much he knows.

FOLEY
Stop eyeballing me, mister! I've
looked through your file and done a
little checking, and I know it all.
I know about your mother. I know
your old man's an alcoholic and a
whore chaser.
(beat)
Life sure has dealt you some shitty
cards! Hasn't it, Mayo?

ZACK
I'm doing okay, sir.

FOLEY
No you're not. You're failing the
big one, baby, and I don't just mean
in here. I mean in life. I've watched
you, Mayo, and you don't mesh. You
grab-ass and joke around but you
don't make friends, not the way the
others do.

Zack says nothing but Foley's getting to him in ways nobody
has in years, if ever.

FOLEY
Want to know why I'm not an officer,
Mayo? Because I have a servile
mentality from growing up poor...
from always being the kid on the
windy side of the baker's window.
That's your problem, Mayo. That's
why you don't mesh. Because deep
down in that bitter little heart of
yours, you know these other boys and
girls are better than you.

EXT. THE LIGHTHOUSE - NIGHT

Foley is putting Mayo through his rifle drills, in the
sweeping light from the old tower. Zack's jaw is set with
determination but Foley won't let up.

FOLEY
Shoulder arms! Port arms! Parade
rest!
(Etc. Etc.)

EXT. THE GUN EMPLACEMENT - THE NEXT DAY

Zack lies prone at the top of the bunker, his feet about six
inches off the ground, Foley standing over him, smiling.

FOLEY
Hey, what do you say we call off
this little charade of yours over a
couple of beers at Trader Jon's...?
Come on, man. You're about as close
to being officer material as me.

ZACK
Sir, this candidate believes he'll
make a good officer, sir!

FOLEY
No way, Mayo. You don't give a shit
about anybody but yourself and every
single one of your classmates knows
it. Think they'd trust you behind
the controls of a plane they have to
fly in? Hey, man, I figure you for
the kind of guy who'd zip off one
day in my F-14 and sell it to the
Cubans.

ZACK
Sir, that's not true! I love my
country!

FOLEY
(laughs)
Sell it to the Air Force, Mayo!

Foley puts his lips close to Zack's ear and whispers:

FOLEY
Let's get down to it. Why would a
slick little hustler like you sign
up for this kind of abuse?

Zack's legs are shaking wildly with the effort to keep them
aloft.

ZACK
I want to fly, sir!

FOLEY
That's no reason. Everybody wants to
fly. My grandmother wants to fly.
You going after a job with one of
the airlines?

ZACK
I want to fly jets, sir!

FOLEY
Why? Because you can do it alone?

ZACK
No, sir!

FOLEY
What is it, the kicks? Is that it?

ZACK
I don't want to do something anybody
can do.

FOLEY
Pity you don't have the character.

ZACK
That's not true, sir! I've changed a
lot since I've been here! And I'm
gonna make it, sir!

FOLEY
Not a fucking chance, asshole!

Zack bolts up suddenly, meeting his eyes.

ZACK
(defiantly)
I got nothing else to fall back on.
Sir! This is it for me... and I'm
gonna do it!

Foley studies him with squinty eyes.

FOLEY
All right, Mayo. Get on your feet.

Both men get up and start walking back toward the base.

MOVING WITH THEM

Suddenly they both see a sailboat tacking past, no more than
fifty yards off shore.

THEIR POV - THE SAILBOAT

There are three people in the boat, two girls and a boy
wearing a sack over his head. All three wave in their
direction. On cue, they turn around, drop their drawers, and
give a three-way B.A. They pull their pants back up and turn
around to yell at Zack. The girls are obviously Paula and
Lynette. The boy with the sack over his head just has to be
Sid.

SID
(disguising his voice)
Don't give up the ship, Mayo!

PAULA
Hang in there, Zack!

LYNETTE
Damn the torpedoes and remember the
Tides Inn Motel!

They're all three laughing so hard they nearly capsize.

ANGLE - ZACK AND FOLEY

The drill instructor is amused but trying not to show it.

FOLEY
Mayo, are those your friends?

ZACK
Yes, sir!

FOLEY
Maybe there's hope for you yet.

DISSOLVE TO:

INT. THE BARRACKS - DAY

Zack is on his hands and knees, scrubbing the floor, when
Sid, Perryman and some of the others return from liberty.

PERRYMAN
(still angry)
I see you didn't DOR, Mayo.

ZACK
Hey, Sid, thanks.

PERRYMAN WALKS INTO THEIR ROOM

and stops as he sees the peace offering on his bed: his boots,
shined to perfection, and two gleaming belt buckles. Sid
comes in a second later and they share a look.

DISSOLVE TO:

INT. THE BARRACKS ROOM - THAT NIGHT

All three candidates lie awake in their bunks.

ZACK
Hey, you guys still awake?

SID
Yeah.

A grunt from Perryman.

ZACK
Hey, do you guys ever... feel like
you don't belong here...?

PERRYMAN
Yeah. All week long.

SID
What's the matter, Sweet Pea. Foley
finally starting to get to you?

ZACK
Naw.

PERRYMAN
You know what he was running on me
all last week? He told me I wasn't
officer material because I think
black and I'd never get comfortable
giving orders to whites.

SID
Yeah? He's been telling me I'm not
officer material because I'm not
inner-directed. He thinks I'm here
for my folks... and for my brother.

ZACK
That isn't true, is it?

SID
A little.

Zack shakes his head, impressed.

ZACK
How about that prick! He told me he
wasn't officer material because he
grew up poor like me.

PERRYMAN
He said he grew up poor?

ZACK
The kid on the windy side of the
baker's window. That's how he put
it.

PERRYMAN
Foley's not poor. Buddy of mine in
oh-four told me he's the son of a
rich doctor down in Louisiana.

SID
Oh yeah? Friend of mine in oh-two
told me he comes from a long line of
Baptist ministers from Georgia.

All three candidates crack up.

ZACK
How about that prick!

DISSOLVE TO:

INT. ZACK AND PAULA'S ROOM AT THE TIDES INN - DAY

They are making love. When it's over, they lie there for a
long time in one another's arms, flagrantly satisfied, and
still joined.

ZACK
That was great.

PAULA
It sure was.

They share a little smile of satisfaction. They chuckle. The
longer they stay together, like that, the more painfully
intimate the moment becomes.

PAULA
Want me to get a towel?

ZACK
I'll get it if you want.

PAULA
I don't want you to move.

ZACK
I don't want to move. But somebody
has to move sometime. Eventually.

PAULA
They found them like that, shriveled
up from weeks without food or water...

Zack laughs and the connection is nearly broken. Suddenly,
Zack just takes her face in his hands and kisses her in a
most loving way.

ZACK
All week I kept thinking about you
guys in that sailboat.

He laughs.

PAULA
We were pretty drunk.

Paula takes his officer-style cap and puts it on.

PAULA
You know, sometimes I wish I was one
of those girls they're letting in
the flight program these days. God,
I'd love to fly.

ZACK
What's stopping you?

Paula seems to consider it for a moment, then she shakes her
head. It's a fantasy, that's all, far removed from the
realities of her life.

PAULA
I don't care what the magazines say...
it's just not as easy being a girl,
especially from a Catholic family.
You don't know the junk I grew up
listening to, 'bout the way women
are supposed to think and act.

ZACK
That's no excuse for not going after
what you want.

PAULA
Who says I'm not going after what I
want? My mother's thirty-nine years
old and she still works in that
factory. Every time I see her, I
know exactly what I don't want.

They share a stretch of silence, Zack retreating into himself,
his eyes somehow far away.

ZACK
(after a silence)
My old lady swallowed a bottle of
pills one day while I was at school.

PAULA
God.

ZACK
The thing that really got to me...
she didn't leave a note. Nothing.
I've always hated her for that.

PAULA
Does it still hurt?

ZACK
Naw. You're alone in this world no
matter what kinda folks or background
you had. Nothing hurts, pard, once
you got that one down.

Paula studies him a long moment.

PAULA
I bet most people believe you when
you feed 'em that line.

He looks at her and smiles, then she kisses him.

EXT. THE AIR SHOW - DAY

Six jets fly DIRECTLY AT US, jolting our senses.

ON INTERCOM

The program consists of six aircraft performing a sequence
of maneuvers in one of three different components: a diamond
of four aircraft, two solo aircraft that oppose each other
along the line of flight, and all six aircraft in a delta
formation.

CAMERA PANS ZACK AND PAULA

as they enter and move toward the bleachers where Sid and
Lynette are already seated. Zack suddenly stops and scans
the bleachers, looking for somebody.

ZACK
I'm sorry. I can't sit with you.

PAULA
I understand. Maybe we'll see each
other after the show...

ANGLE - BYRON MAYO

He sits in the bleachers about ten rows higher than Lynette,
Sid and Paula. Zack slides into the seat beside him.

ZACK
How're you doing, pard?

Byron's eyes are on Paula.

BYRON
Who's that?

ZACK
Nobody. Just a girl I've been making
it with the last couple of weekends.

BYRON
Great ass.

ZACK
Yeah, I sort of thought so myself.

BYRON
Better watch out for that kind,
Zackie. You know what they call 'em,
don't ya?

ZACK
Yeah, I know.

BYRON
Back east in Newport, Rhode Island,
they call 'em the Fall River Debs.
In Pensacola, the Mobile Debs. In
Norfolk --

ZACK
That what she was... a Norfolk Deb?

BYRON
Who?
(realizing)
Aw shit, Zackie, let's not get off
on your mother again, please.

ZACK
(testy)
What if I want to talk about her,
pard? What then? You know, that's
all I've ever heard from you, since
I was a kid... you never want to
talk about that, man, and it's
important.

BYRON
There's nothing to talk about. Two
goddamn times I made it with your
old lady. We barely even talked.

The JETS ROAR close overhead and Zack has to raise his voice
to be heard.

ZACK
That's not how she told it. She said
you wrote her every week you were
away.

BYRON
I wrote. Not every week...

ZACK
She said you told her in every letter
how much you loved her, how you wanted
to marry her, have children with
her...

BYRON
I never said any of that!

ZACK
I found them, pard, and read them
myself, right after she did it!

BYRON
(beat)
Okay, I wrote those things... and
yeah, I had big thoughts of getting
together with your mom... but when
she hit me with being pregnant, I
saw who she was. I'd had quiff lay
that shit on me before!

ZACK
(suddenly livid)
What did you call her? What did I
hear you call her, you son of a bitch?

Both men rise angrily to their feet, but a split second later
the Angels are making another pass over the stands and
everyone is standing and applauding, making their argument
less public.

ZACK
(screaming above the
noise)
She loved you, you bastard! And she
believed you when you said you loved
her! She never gave up thinking you'd
come back
(beat)
Don't you ever talk about her like
that again or I'll kill you, Byron!

Zack pushes toward the exit, shaking with anger.

ANGLE - PAULA

watching him and suddenly rising to follow.

EXT. THE PARKING LOT AT THE AIR SHOW - DAY

Zack is halfway to his parked motorcycle when Paula suddenly
appears, running after him.

PAULA
Zack, wait.

He keeps walking but she overtakes him.

PAULA
What's the matter?

ZACK
Nothing. Go back to the show, Paula.

PAULA
I've seen all that a hundred times.

ZACK
(snaps)
Hey, will you just leave me alone?

Paula stops, hurt. Zack keeps on walking toward his bike.

PAULA
(angrily)
Yeah, I'll leave you alone! How about
forever? That long enough for you?

She stomps off in the opposite direction.

MOVING WITH PAULA

She fights her tears but they well up in her eyes anyway.
The SOUND of Zack STARTING HIS MOTORCYCLE, then he comes
rumbling up beside her, smiling apologetically. Paula won't
even look at him. She just keeps walking. So he motors around
in front of her again, blocking her path. She tries to go
around him but again he cuts her off.

ZACK
(suddenly)
Hey, isn't it about time you had me
over for Sunday dinner?

Paula looks at him like he's crazy.

ZACK
Come on. Invite me. All day the idea
of a family Sunday dinner's been
coming into my head. Since you're
the only one I know around here with
family...

PAULA
Zack, I don't know if I want to do
that...

At that moment, Sid and Lynette come walking up from the
show.

LYNETTE
C'mon, Paula. We'd better get back.

Paula starts off with her friend.

ZACK
Hey, what about Sunday dinner? When're
you gonna let me know?

PAULA
(turns to him)
When I'm good and ready.

She gets into the Falcon with Lynette and they drive off.

NEW ANGLE - SID AND ZACK

Zack revs his motorcycle.

SID
What's a matter, Sweet Pea? We'll
have a little fuss?

Sid gets on behind him and they drive off.

CUT TO:

EXT. ABOARD THE FERRY - DAY

Paula and Lynette leave the wheelhouse, carrying cups of
coffee, and we TRACK with them to the back of the ferry.

LYNETTE
You serious about having him over?

PAULA
I haven't made up my mind.

CAMERA HOLDS as they reach the fantail and look back at the
lights of Port Ranier.

LYNETTE
Paula, how far would you go to catch
Zack?

PAULA
What do you mean?

LYNETTE
You know what I mean. Would you...
let yourself get pregnant?

PAULA
No way... Would you?

LYNETTE
I never used to think I'd do something
like that, but now I'm not so sure.
You ask me, nine weeks just ain't
long enough to get a guy to fall in
love with you.

PAULA
That don't justify trying to trap a
boy by getting pregnant, Lynette!
Nothing justifies that. I can't
believe you're even thinking like
that. I mean, that's really backward.

LYNETTE
No more backward, if you ask me,
than the way these hotshot assholes
fuck us, then ditch us.
(beat)
Don't you ever feel used, Paula?
Don't you ever feel like if this is
all you get for your trouble then
the sonofabitch ought to be paying
for it...?

PAULA
No. I never feel like that.

LYNETTE
I do.

INT. THE POKRIFKI KITCHEN - DAY

As mother and daughter prepare the Sunday meal, Ester finds
herself studying her daughter almost as if she were seeing
herself as a girl, in Paula.

ESTHER
You look real pretty, darling. I'm
sure everything'll go just fine.

PAULA
Mom, I don't want to be a fool. I
like him a whole lot but...

ESTHER
Honey, you can only be yourself. If
that isn't enough for Zack...

Both women move to the window as they hear his MOTORCYCLE
APPROACH. Zack motors up, and starts for the door, a bouquet
of flowers in his hand, his white liberty uniform almost
sparkling in the bright sunshine. Esther's eyes become soft,
almost limpid.

ESTHER
(a young girl again)
He's very handsome.

Paula looks at her for a moment, then leaves the kitchen.

INT. THE POKRIFKI LIVING ROOM

Joe Pokrifki is watching Zack from the living room window,
threatened to his core. The DOORBELL RINGS and Paula moves
past him to answer it. Seeing the expression on her father's
face, she stops.

PAULA
Daddy, please be nice to him.

Joe just stares at her. The DOORBELL RINGS AGAIN and she
opens the door.

EXT. THE HOUSE - DAY

Zack stands there with the flowers in his hand, smiling
eagerly.

ZACK
Hi.

PAULA
Are those for me?

ZACK
No, they're for your mom.

INT. POKRIFKI DINING ROOM - DAY

The flowers he brought are in a vase on the table. Esther is
serving out helpings of stew. As she serves Zack, she meets
his eyes and smiles an almost flirtatious smile.

ESTHER
Thanks again for the flowers, Zack.

ZACK
My pleasure, Mrs. Pokrifki.

Across the table from Zack, Joe is staring their way in a
most hostile manner.

ESTHER
How many more weeks before you
graduate, Zack?

ZACK
Just three, ma'am.

Again, a flirtatious look. Joe sees it. And so does Paula.

To compound matters, Paula's little sisters are also flirting
with Zack, and Joe Pokrifki is taking it all as a threat to
his castle, an outright attack on his manhood.

Finally, Zack can handle his stares no longer. He smiles his
most disarming smile and meets the man's gaze.

ZACK
Sir, excuse me, but why're you looking
at me like that?

JOE
Looking at you?

ESTHER
He doesn't mean anything by it, Zack.
Do you, Joe?

JOE
I don't mean anything by it.

ZACK
Great dinner! Mrs. Pokrifki.
Absolutely the best meal I've had in
a long, long time.

Esther is staring at him with faraway eyes, and her answer
comes as though on a time-delay.

ESTHER
(beat)
Oh... yes... thank you, Zack.

Embarrassed to the point of tears, Paula rises to her feet.

PAULA
Come on, Zack. Let's go for a walk.

Zack rises and follows her out.

EXT. THE POKRIFKI HOUSE - DAY

As they leave the house and start down the street, Paula
starts to cry and Zack puts his arm around her shoulders.

PAULA
I'm so embarrassed. I knew I shouldn't
have brought you here.

ZACK
No, it's okay. It was a great free
meal. Everybody was so uptight I
felt sorry for you.

PAULA
That's okay. I'm used to it.

They walk in silence for awhile.

PAULA
So, after you graduate you go on to
basic flight, right? Is that in
Pensacola?

ZACK
Yeah, then if I get jets, it's on to
Beeville, Texas.

More silence. Paula words her next question very carefully.

PAULA
Zack, do you ever think about what
it'd be like to have kids... a family.

ZACK
(lying)
No. Is that what you want?

PAULA
Some day. When I'm sure I can do a
better job of it than my folks.

ZACK
What would you do differently?

PAULA
For a start, I wouldn't marry a man
I wasn't in love with.

ZACK
Why'd your mom marry that guy if she
didn't love him?

PAULA
Because my real father wouldn't marry
her.

ZACK
Your real father?

Paula takes her wallet out of the hip pocket of her jeans
and hands him a weathered old photo.

PAULA
Yeah... him.

INSERT - THE OLD PHOTO

is of a handsome young flight candidate in uniform, with a
stylish little moustache and dark bedroom eyes.

BACK TO SCENE

Zack looks up from the photo, shaken.

ZACK
Your real father was an Officer
candidate like me?

PAULA
Twenty-two years ago.

ZACK
No wonder he was looking at me like
that.

Paula watches him closely. Zack checks his wristwatch.

ZACK
Uh-oh. Time to get back to the wars.

He kisses her perhaps a little too quickly and starts toward
his parked motorcycle.

PAULA
Call me during the week if you get
the chance.

ZACK
I'll try, but this week we go into
survival training, so I can't make
any promises.
(lamely)
Well, thanks again for dinner. Thank
your mom again for me, will you?

PAULA
Sure.
(beat)
Zack, I hope you know I didn't have
to show you that picture.

ZACK
I know that.

With a smile that almost quells her concern, he drives off.

Paula watches him until he disappears.

EXT. TREE-LINED ROAD TO THE BASE - DAY

SHOOTING THROUGH the passenger window, PAST Sid and Lynette
making out hot and heavy, TO Zack as he drives up on his
motorcycle.

SID
See ya, sweetheart.

He gets out and get on behind Zack.

CAMERA MOVES WITH SID AND ZACK

as they drive to the base.

SID
I kid you not, Mayo, I am in love.
We must've set a new indoor record
today. You want to know how many
times we did it?

ZACK
(sharply)
You'd better get smart, man. It's
time to walk away.

SID
What? You've gotta be kidding!

ZACK
Remember what Foley said? His little
warning? Those are the girls he was
talking about. They're out to marry
us any way they can.

SID
I don't believe that. They're just
having a good time, same as us.

ZACK
That's what they want you to think,
but I saw where she lived, what is
she's trying to get away from.
(urgently)
Just take my word for it, pard. Break
it off now. Do it this week.

EXT. THE SURVIVAL COURSE - DAY

Zack, Sid, Casey, Perryman and Della-Serra are struggling to
erect a shelter in the driving downpour, using a parachute
and logs they've cut. It's a hokey little tepee at best but
they crowd inside it as THUNDER and lightning herald a blast
of monsoon-like rainfall. The shelter collapses on top of
them.

INSIDE THE TENT - NIGHT (LATER)

The five candidates are sitting around inside the tent,
listening to the rain, Zack slightly aloof and pensive.

CASEY
I don't know about you guys but I'm
starving.

CUT TO:

A HELICOPTER SHOT OF ELGIN AIR FORCE BASE

In the hinterlands beyond the Navy base is an Air Force base
with vast acreage of swamplands and tundra. A big truck comes
bouncing along a windy little road into the undergrowth. The
truck stops and the candidates from Zack's class file out
the back of it while Foley comes around from the passenger
seat to address them.

FOLEY
Okay, worms. This is it. Can you
pussies live through three days
without food or water in the
wilderness? This is where we thin
our ranks the "natural" way, children.
Incidentally, those little twigs you
see floating in those mud puddles
aren't twigs. They're water moccasins.

GROUND LEVEL SHOTS

reveal that he's right. Lethal-looking snakes slither and
glide over the surface of the swamp waters.

THE FACES OF THE CANDIDATES

reflect what you'd expect. Fear. Even Zack looks wary of the
ordeal ahead.

MONTAGE OF SHOTS

captures the humor of the next three days of survival
training. The candidates are a sorry spectacle the first day
and a half, trying to catch snakes with forked sticks, trying
to rub wood together to start a fire, throwing up from eating
the wrong berries, but generally clowning around, not taking
it too seriously. Then, as hunger sets in, a change comes
over them. They set up a big tent for shelter, get a nice
fire going, and prepare a serviceable meal from carefully
selected roots, berries and tree bark, and strips of fried
water moccasins. On the third day they plot a path through
the wilderness and finally emerge onto a highway where Foley
waits with the truck. The candidates send up a weary cheer
and embrace each other as if they'd just pulled off an escape
from a POW camp.

CUT TO:

INSIDE THE SCOTT PAPER COMPANY

Paula is on the line, sorting colors, while Lynette talks on
a payphone on the other side of the cavernous room. The noise
of the processors and conveyors is terrible, but her coworker,
Bunny, 38, a faded, jaded deb if there ever was one, calls
to her above the din:

BUNNY
You and Lynette still seeing those
flight candidates over to Pensacola?

PAULA
Why? What makes you think we wouldn't
be?

BUNNY
I don't know... Friday... three forty
in the afternoon and not a word out
of you about where you're going,
what you're doing over the weekend...

Paula says nothing. She glances over at Lynette again,
hopefully. Bunny takes it all in, the consummate deb.

BUNNY
Comes a time right after they get
through survival training when they
start to think they can make it
without you. Suddenly they stop
calling. Suddenly they own the goddamn
world.
(beat)
He hasn't called you by now, Paula,
he ain't gonna call.

PAULA
You just keep your mouth shut, Bunny.
You don't know so much!

BUNNY
May they all crash and burn.

INTERCUT LYNETTE AND SID

He's at the barracks pay phone.

LYNETTE
Sid Worley, I think you're ashamed
of me.

SID
Ashamed? No -- I love you, Lynette.
I mean that. After I leave them,
I'll meet you at the motel, okay?

LYNETTE
If you won't take me to dinner with
your parents, I won't meet you at
the motel.

SID
Lynette, I told you already, it won't
work.

LYNETTE
Then, I'll see you around.

She hangs up.

THE FACES OF WOMEN WHO WORK AT THE OTHER CONVEYORS

turn to watch Lynette as she returns to her place on the
tissue line. There's a saying that Mobile Debs never die,
they just go on working for Scott.

The way some of the women watch her and shake their heads a
little, suggests that it might have some basis in truth.

LYNETTE RESUMES HER PLACE ON THE LINE

and struggles to come up with a perky grin, but then it sits
on her face like it belongs to someone else.

LYNETTE
Well, so much for that.

She has tears in her eyes.

PAULA
Lynette, did he say anything about
Zack?

Lynette shakes her head, no.

PAULA
Cover for me while I make a call.

She moves off suddenly, toward the phone.

AT THAT MOMENT, ZACK AND SID ARE LEAVING THE BARRACKS

The Officer of the Deck comes out of the building a few
seconds later.

O.O.D.
Hey, Mayo. There's someone named
Paula on the phone.

ZACK
(beat)
Tell her I already split.

PAULA PUTS DOWN THE PHONE

and returns to the line. All the old debs watch her.

INT. THE HOLIDAY INN DINING ROOM - DAY

STARTING ON Zack, eating at Mach Five. THEN INCLUDE Sid and
his parents, TOM and BETTY WORLEY, two of the world's
straightest human beings, stiffly WASPish in spite of their
down-home Oklahoma drawls, people with so much moral fiber
it shines humorless through everything they say or do.

SID
Zack's only a tenth of a second off
the all-time obstacle course record.
He's bound to break it soon.

BETTY
That's wonderful, Zack.

ZACK
Your son is the one reason I'm still
in the program, Mrs. Worley. He's
pulled me through every exam.

TOM
You guys are lucky you didn't go
through the program when I did. They
used to start that Dilbert Dunker
twice as high as they do now.

ZACK
(mouth full of food)
That's really interesting, sir.

TOM
And you couldn't just quit like you
can now. When I went through it...
and when my oldest boy went through
it... if you bilged out you were
sent into the fleet as a swabby.
(suddenly)
Sid, how come you haven't written
Susan in over three weeks?

Sid looks stricken. He glances at Zack, sees his quizzical
expression, and looks away.

SID
We haven't had time to write anybody.

BETTY
Zack, is my son involved with a local
girl?

ZACK
No, ma'am. All he ever talks about
is, us, Susan.

CUT TO:

EXT. THE WATERFRONT - NIGHT

CAMERA MOVES with Sid and Zack as they make their way toward
the LOUD ROCK MUSIC coming out of the legendary "TRADER
JON'S."

SID
Thanks for covering for me.

ZACK
No problem, but who's Susan?

SID
My girl back home. We're supposed to
get married after I get my wings.
She was Tommy's girl. They were
engaged to be married before he died.
(beat)
I should've told you about her. I
don't know why I didn't, except I
didn't want you to think I was a
shit for making it with Lynette.

ZACK
I'm not your folks, man. You love
this... Susan?

SID
She's the sweetest person I've ever
known. Loves kids. Works with
handicapped kids every afternoon at
the church. Everybody loves her.

ZACK
I didn't ask you all that, Sweet
Pea. I asked if you loved her.

SID
(distracted)
Listen, I'm not going to go to that
little reunion party. I'm meeting
Lynette at the motel.
(a sheepish grin)
Best head in fifty-two states. After
three days of survival training, how
could I resist?

Zack rubs his buddy's bristle-brush of hair, affectionately.

ZACK
You should've done what I did. A
clean break.

SID
Lynette told me it really tore her
up when you didn't call this week.

For an instant, Zack's mind seems to be on Paula, but he
pushes her out fast.

ZACK
There's women for you, pard. They
tell you they're in it for the laughs,
but it's always a fucking lie.
(a loud whoop)
Look out, Trader Jon's, I'm in the
mood for some fun!

He mock salutes Sid and disappears into T.J.'s.

INT. TRADER JON'S - NIGHT

STARTING ON THE PHOTOS of The Blue Angels that crowd the
walls... a lithe, young stripper DANCES INTO FRAME. Hanging
from a net overhead are countless model airplanes.

Seeger, Della-Serra, Perryman and Zack are at the bar, drinks
raised in toast.

ZACK
Hey, guys -- we did it. We survived!

They clink glasses. As the others sip their beers, Zack downs
a double shot of tequila and pushes his glass toward the
grizzly-looking bartender, old TRADER JON himself.

ZACK
Give me another double Tequila.

His shipmates share a look. Seeger's attention then shifts
to the dancer. What a body she has. Perfect little coffee
cup breasts. A bottom that tightens and relaxes like a fist
as she dances to the loud, rock music.

CASEY
(watching the dancer)
Not bad.

DELLA-SERRA
So women turn you on, huh, Seeger? I
always thought you were a dyke.

CASEY
Cool it, Emiliano. I don't find it
funny.

CAMERA MOVES with the dancer, away from the group and we:

TIME CUT TO:

SHORT TIME LATER

Zack is hoisting a chair with shells onto the bar top.

ZACK
(smashed)
Lemme show you little game called
"Crash and Burn".

He climbs up on the bar and sits down in the chair. The
Olongapo Kid.

ZACK
Listen up, dick-brains! This is how
we separate the jet jockeys from the
helo-boys. Guy who flies the farthest
without crashing and burning... he's
hot shit!

Seeger, Perryman and Della-Serra glance nervously around the
place. Nobody thinks it's that funny, especially Trader Jon.

DELLA-SERRA
Come on, Mayo! You're gonna get our
asses in trouble, man!

PERRYMAN
Get down from there, before they
call the shore patrol.

ZACK
Come on! Give me a push! Never hochi
in the P.I. you see jet-jockey so
hot like me!

TRADER JON
Hey, buddy, cool it.

Seeger approaches Zack.

CASEY
Zack, we've got to go.

ZACK
Just trying to have fun. That fucking
prison is really starting to get to
me. C'mon, Seeger. Gimme a push.
(beat)
Fuck you guys! I'll do it myself!

He pushes off with his feet and the chair glides down the
bar, knocking over glasses and beer bottles. The chair and
its rider topple over the bar and Zack goes sprawling onto a
table, laughing like a looney.

TRADER JON
Okay, that's it!

Seeger quickly turns to her cohorts.

CASEY
You guys take care of Trader Jon
while I get him out of here.

Perryman and Della-Serra nod and head off to deal with the
man while she goes to Zack.

CASEY
C'mon, Zack. We've got to get out of
here!

He allows her to lead him toward the exit.

EXT. TRADER JON'S - NIGHT

Casey pushes him into the backseat of a taxi, but Zack grabs
her by the hand and tries to pull her inside.

ZACK
C'mon, Seeger. Let's go to the Tides
Inn Motel.

He pulls her close and kisses her on the lips, but she gently
pulls away.

CASEY
You're cute, Mayo, but you don't
want me. And to tell you the truth,
I don't want you.
(a quick kiss)
See you back at the base.

She gives the driver a fiver and the taxi drives off.

CUT TO:

INT. SID AND LYNETTE'S ROOM AT THE TIDES INN - NIGHT

Sid lies in bed, staring up at the ceiling. WIDEN to include
Lynette, just starting to get dressed beside the bed.

SID
By the way, shouldn't you have had a
period by now?

LYNETTE
I'm a little late, that's all.

SID
How late?

LYNETTE
What difference does it make? If
anything was to happen, which I'm
sure it isn't, it would be my
responsibility.

SID
Exactly how late are you, Lynette?

LYNETTE
(playing him)
What do you care? Suppose I was
pregnant. Just suppose it. You don't
think I'd try to make you do anything
you don't want to, do you?

SID
No. But that's not the only issue
here, sweetheart. There's a lot more
to it than that.

She's like an expert fisherman, working her catch, easing it
in so deftly it never feels the hook.

LYNETTE
What other issue is there, Sid?

SID
My responsibility as its father, for
one. I mean, if I've made you
pregnant, I'd want to... do the right
thing.

Lynette waits hopefully.

SID
...I'd want to pay for the abortion...
I'd want to be with you through the
whole thing... by your side.
(beat)
So how late are you, Lynette?

LYNETTE
(cold)
Let's just wait and see what happens.

She finishes dressing and leaves.

CUT TO:

INT. THE BARRACKS SHOWER - NIGHT

Zack sits in the shower, the water blasting down on his head.

Sid bursts in.

SID
Zack? God, I'm glad I found you. I
need to talk to you, buddy.

Zack is a zombie. He groans and gestures Sid off.

ZACK
Talk to me in the morning. I feel
like shit.

SID
But it can't wait.

He presses close to the shower, so preoccupied he doesn't
even notice the water spattering his uniform.

SID
Guess fucking what! Lynette's missed
her period. What am I gonna do, Zack?
What can I tell my folks?

What on God's green earth do I say to Susan.

ZACK
Calm down, Sweet Pea. She seen a
doctor?

SID
No, but she's gotta be at least a
month late.

ZACK
Doesn't mean shit. Get her to a
doctor. You can't do anything until
you hear what he says. Make the
appointment yourself.

CUT TO:

INT. THE LEARNING CENTER - DAY

The class is taking a critical multiple choice exam. Zack
struggles against his basic instinct to cheat off of Casey's
paper. He's still slower than most of the others but he's
doing okay. It's Sid who's slipping under. His mind is so
far away he hasn't even bothered to write his name at the
top of the exam paper.

CUT TO:

INT. THE BARRACKS - LATER THAT DAY

The class, down to a scrappy 23 survivors, comes running in
after the exam, Foley right on their heels.

FOLEY
Fall out on the lawn in five minutes!
This is your last shot at the 101
Course... Mayo... Seeger... Della-
Serra...

As the rest of the class goes bounding up the stairwell. Sid
rushes up to the O.O.D.

SID
Sir, request permission to make an
emergency phone call, sir!

The O.O.D. nods and Sid starts feeding quarter into the
payphone on the wall. Zack hangs back, concerned.

FOLEY
Move it, Mayo!

Zack glares at Foley and runs up the stairs.

CUT TO:

EXT. THE OBSTACLE COURSE - VARIOUS SHOTS - DAY

STARTING TIGHT on Seeger's face as Foley starts her.

FOLEY
Go!

He starts several of the others AD LIB. Then it's Zack's
turn.

FOLEY
Go!

Zack takes off across the course with a gleam in his eye. He
wants that record. Zack dances through the innertubes, hand
over hands the parallel bars, and churns his way through a
stretch of knee-deep sand, his classmates cheering him on,
wanting the record, too, wanting to leave their mark.

They all wear warmups similar to the ones worn by the crack
squad they saw in the early days of training, except that
their shirts are gold and their pants are blue.

On the front of their shirts is an insignia and the words:

"FOLEY'S FIRE EATERS." Their nicknames have been printed
boldly on the back: "MAYONNAISE," "B. SANDWICH," "THE MARRIED
MAN," "THE WILD WOP," (DELLA-SERRA), "GODZILLA." "WHAT ME
WORRY?," ETC. Across the back of Foley's all red warmup suit
are these words: "YOU'RE PISSING ME OFF, BOY!"

As Zack passes his slower classmates, they add their shouts
of encouragement to the cheering from the sidelines. "Do it,
Mayo!" "Put our name up there, Mayonnaise!" "You can do it!"

Zack shimmies up a rope, yanks his body over the low hurdles,
crawls on his back under the low horizontal bars, scampers
up the angled beam, leaps the moat... and is approaching the
wall full tilt when he sees Seeger up ahead, struggling as
usual to get over it.

ZACK
(calling)
Come on, Seeger! Let's go over it
together!

He makes it in one leap but she falls back to the ground,
beaten. Zack pauses at the top of the wall and looks down at
her.

Foley watches from the distance.

Zack drops back down beside Seeger. She has tears of
frustration in her eyes.

She's not going to make it and the realization that she's
come this far only to fail is crushing her.

CASEY
Go on, Zack! Go for the record!

ZACK
Fuck the record. Now you listen to
me and do exactly what I tell you.
(he draws a line with
his foot)
Start back ten yards and take off
from here. Not here... or there...
but right here!
(the total officer)
No excuses, Seeger! You are going to
plant those legs here and then you're
going to yank yourself over that
wall because you have to! You want
jets? Then do it, goddamnit!

Seeger nods, almost mesmerized by his decisive tone of voice,
his sudden emergence as a leader. She starts running, takes
off exactly on the mark, and struggles to the top of the
wall.

She drops down on the other side and Zack joins her, smiling

FOLEY STOPS HIS WATCH

and shakes his head. He can live without that record.

ZACK AND CASEY

As they finish the course, they stop and hug each other.
Then something catches Zack's eye that chases the good
feelings away.

ZACK'S POV

Big Sid is trudging slowly toward the 101 Course in his
warmup, his nickname: "LOVERBOY" somehow ironic, especially
in this moment. Sid sees Zack looking his way and signals
the news to him by putting his arms into a baby-cradling
position and rocking the imaginary off-spring from side to
side.

CUT TO:

INSIDE THE MESS HALL - DAY

Zack and Sid are in line, getting their food.

SID
It's a big religious thing with her
and she won't even discuss it.

ZACK
But she expects you to marry her?

SID
She said it was up to me. If I don't,
she'll go off and have the baby on
her own somewhere.

At the mention of the word "baby" nearby classmates perk
their ears up.

ZACK
So what's the problem? Girls do that
all the time.

SID
I can't let her go off and have the
kid by herself and not do anything.
If it's my kid, too, then I've got a
responsibility, don't I?

ZACK
Not if she won't even talk about an
abortion.

SID
But it would still be my kid. That's
the point.

ZACK
Do you know that for sure?

SID
It's mine.

They leave the food line and start toward the tables.

ZACK
Okay, but what if it's like Foley
said and she got knocked up, to trap
you -- is it still your
responsibility?

SID
No matter how it happened, if she
goes ahead and has it" Zack, there'll
be a child in the world that's mine --
and I couldn't go through life knowing
that and not knowing its name or
where it lived.

ZACK
Jesus Christ, Sid! Is everything
your responsibility?

ANGLE A TABLE

Sid and Zack sit down with their classmates and start eating.

ZACK
Your brother getting killed instead
of you... Isn't that why you promised
to marry this Susan? Isn't that why
you do everything, man? Out of some
bullshit code of ethics you inherited
from your family?

Foley can be seen at the Instructors' table, IN SHOT

BACKGROUND, watching them, but Sid and Zack are oblivious to
their audience.

SID
(angrily)
Maybe it's all bullshit to you, but
that's now how I was raised. I believe
we have a responsibility to the people
in our lives -- that that's the only
thing that separates us from the
goddamn animals!
(beat)
I'm not like you, Mayo. I can't just
shit on people and then sleep like a
baby all night!

The words sting and Zack flares back at his friend.

ZACK
You got a responsibility to you first,
pard -- and if you can't handle that,
you've got bigger problems than
getting a girl pregnant!

They stare at each other a long time, but no more words come.

DISSOLVE TO:

INT. THE ALTITUDE CHAMBER - DAY

Wearing full oxygen masks, Zack and Sid are part of a group
of six candidates playing pat-a-cake at simulated altitudes
inside the claustrophobic-small decompression chamber. An
INSTRUCTOR is explaining the test over an intercom, from
outside the windowed chamber.

INSTRUCTOR
Now everybody take off your masks
but continue the same exercise. The
purpose is to show you the effects
of altitude on the motor skills when
you've been cut off from your oxygen.

Slowly their reactions begin to deteriorate. At first Sid
seems amused by his and Zack's fumbling to slap hands. Then
as a SHINING SOUND mounts into a crazy place, he begins to
panic.

SID
(suddenly, calling)
Stop this thing! I said stop it!

Everyone looks at him strangely. Sid lurches like a drunk to
his feet and tries to move toward the door. He trips over
himself and falls, then stays there with his hands on his
ears and his body curled into a fetal position.

SID
I want out! Let me out! Please! Let
me out!

Zack extricates himself from his harness like a man with
eight thumbs condemned on top of it to move in slow motion.
He weaves, drops to his knees by Sid, and awkwardly tries to
enclose him in his arms.

ZACK
Sid, it's okay. Don't be afraid.

The WHINING STOPS as they start to back off on the pressure
inside the chamber, but they can't do it too fast. Slowly
Sid comes to his senses, and his eyes focus on Zack.

ZACK
Sid, what happened?

SID
I don't know... I felt like... like
I was suffocating... Christ, Zack...
I was so scared... so godddamn
scared...

Tears are running down Sid's face.

ZACK
Hey, man, don't cry... not in front
of the instructors.

Zack looks around at the faces, all staring back in judgement,
not just the instructors. By now, the candidates know the
symptoms of a DOR as well as anybody.

The door to the chamber slams open and Foley is standing
there, grim-faced.

CUT TO:

EXT. THE PARADE GROUND - DAY

Zack is on morning "colors" duty. He and one of the lesser-
known candidates are raising the flag, a bugler standing
nearby, blowing "morning colors". Zack suddenly sees something
that chills him.

Sid and Foley stand in front of the Admin. Building, Foley
saluting the flag, Sid just standing there arms at his sides,
shoulders slumped.

As the bugler finishes, Zack turns to his classmate.

ZACK
I gotta do something.

He breaks into a run.

TRACK WITH ZACK

as he runs toward Foley and Sid and walks with them toward
the water.

ZACK
(to Foley)
You didn't kick him out...? Wait,
didn't he tell you what he's been
going through?

FOLEY
It doesn't matter what he's going
through. That's the whole purpose of
this zoo. What matters is he freaked
out for some reason at twenty-five
thousand feet and that can't ever
happen again.

ZACK
But you don't understand. There's
this girl he's gotten pregnant and
she's putting him through hell, sir.

SID
He's right, Zack. It doesn't matter.

ZACK
Just like that it's all over? With
less than two weeks to go, you're
out?

FOLEY
It can still happen to you, too,
Mayo.

Foley marches off like a windup toy.

ZACK
(furious)
Come back here, motherfucker!

Foley spins around, his eyes sparkling wildly.

FOLEY
What did you call me, Mayo?

SID
Zack, don't!

ZACK
I thought the D.I.'s were supposed
to help you in this place! What kind
of human being are you?

FOLEY
Stop eyeballing me, Mayo, or you're
out!

SID
Please, Zack -- go back to the
barracks!

ZACK
I don't get it! He's the best
candidate in our class! Ask anyone!
The best student! The best leader!
The best friend to everybody! Couldn't
you bend your goddamn standards just
a little?

SID
Zack, it wasn't him! He didn't ask
me to D.O.R. I came to him on my
own.
(beat)
I'm glad it's over, Zack. I really
mean that. He was right. I wasn't
doing this for me.

He feels his tears coming up so he runs off suddenly across
the parade ground.

ZACK
Sid, wait! Where're you going?

Sid keeps running. Zack turns back to Foley and they stare
at each other a long moment before Zack bitterly salutes
him.

ZACK
With your permission, sir.

Foley returns the salute and watches Zack walk off toward
the barracks.

CUT TO:

EXT. PAULA'S HOUSE - DAY

Zack drives up on his motorcycle. Esther is in the yard,
gardening.

ZACK
Is Paula here?

Paula suddenly appears on the porch, dressed in a simple
cotton dress, her hair un-coiffed, none of her Deb makeup.

ZACK
I'm looking for Sid.

PAULA
So?

ZACK
Paula, he DORed and nobody's seen
him.

PAULA
Why'd he do it?

ZACK
Hey! You know goddamn well what
happened so let's not play any games,
okay?

PAULA
I'm not playing any games! Go look
at Lynette's!

ZACK
I don't know where that is.

Paula slowly moves to him and gets on the motorcycle behind
him. They speed off, Esther watching them go.

EXT. LYNETTE'S HOUSE - DAY

She sits on the porch of the old home she was born in, her
hair up in curlers, doing her nails. The National Paper mill
sends up pillars of smoke on the horizon. A taxi drives up
and Sid steps out, in a sport coat and tie.

SID
Hi, babe. Come on. I've got a couple
of things I want to tell you.

LYNETTE
What're you doing out of uniform,
Sid? You don't want to get in trouble.

SID
Forget that. Come on. Got a little
surprise...

LYNETTE
I can't go like this. Can't you wait
a few minutes 'til I'm ready?

SID
No way. I'm so happy I'm about to
bust. Here, honey. This is for you.
It cost me my whole savings, but I
said what the fuck.

He hands her a little box. She opens it and finds an
engagement ring. She looks up at him, happily.

LYNETTE
Sid! Oh, it's beautiful! You mean...

SID
That's right. Let's get married,
Lynette. Let's find a justice of the
peace and just do it!

Lynette tries the ring on.

LYNETTE
(euphoric)
Let's go tell Paula! God, I wonder
where we'll be stationed first. I
hope it'll be Hawaii. I've always
wanted to go to Hawaii.

SID
We're not gonna be stationed anywhere,
baby. I DORed.

LYNETTE
(shaken)
You what?

SID
I had to, baby... I'm no aviator. I
was faking it, like I was with
everything else in my life... up
'til right now.

LYNETTE
But... but what would we do? Where
would we go?

SID
Oklahoma. I can get my old job back
at JC Penney's. In a couple of years,
I'll be floor manager. Oh, you're
gonna love Oklahoma, Lynette. You
and mama'll get along just great. Of
course, money will be a little tight
for a while, but we'll make it.

LYNETTE
(suddenly)
Sid, there's no baby.

SID
What?

LYNETTE
I'm not pregnant. I got my period
this morning. There's no baby, Sid.

SID
Well, I'll be goddamned.

Sid stares at her disbelievingly, but she's telling the truth,
at least partly. There is no baby.

SID
(a big smile)
What do you say we get married anyway?
I love you, Lynette. I'm in love
with you... and I didn't realize it
until right this second... but I've
never been happier in my life than I
have been the last seven weekends,
never more relaxed... more loved for
just who I am...
(beat)
Marry me, Lynette. I love you.

Lynette looks off at the factory, then back at Sid.

LYNETTE
I'm sorry, Sid, but I don't want to
marry you. I like you a lot and we
had ourselves some real nice times,
that's for sure... but I thought you
understood. I want to marry a pilot,
Sid. I want to live part of my life
overseas... the wife of an aviator,
Sid.
(bitterly)
Damn you! Goddamn you! Nobody DORs
after eleven weeks! Nobody!

She throws the engagement ring at him and runs toward the
house. Numb to his core, Sid slowly retrieves the ring and
gets into her car. He starts it and drives off.

LYNETTE
Hey! Come back with my car!

EXT. A DIRT ROAD - DAY

Lynette's Falcon takes a sudden turn. A split-second later,
Zack and Paula speed past in the opposite direction, missing
him.

EXT. LYNETTE'S HOUSE - DAY

Zack and Paula drive up and move toward the front door.

PAULA
Lynette??

INT. LYNETTE'S HOUSE - DAY

They find her in the kitchen, sitting at the table, smoking
a cigarette.

PAULA
Lynette, where's Sid?

LYNETTE
Already come and gone. Can you believe
it? He DORed in the twelfth week.
How can you win?

Zack grabs her by the shoulders and forces her to meet his
eyes.

ZACK
What did you tell him about the baby?

LYNETTE
That there isn't one, as of today. I
had my period.
(beat)
I couldn't believe it. He still wanted
to marry me.

ZACK
And you turned him down??

LYNETTE
Of course. I don't want no Okie from
Muscogee. I can get that right here
in Port Angeles.

Zack starts shaking her angrily.

ZACK
You little bitch! How could you? Was
there ever a baby, Lynette? That's
all I want to know! Did you make up
that baby, Lynette? Did you??

LYNETTE
(caught)
Of course there was a baby. I'd never
lie about something like that. Would
I, Paula?

She looks at Paula for support but she seems to be wondering
the same things herself, and offers none. Zack abruptly pushes
out of the room, leaving the two girls alone.

PAULA
Lynette, did you make up that baby
or didn't you?

Lynette's silence is answer enough. Paula suddenly slaps her
across the face with all her might.

PAULA
God help you, Lynette!

LYNETTE
You're no better than me, Paula!
You're just the same!

PAULA
No! That's not true!

She runs from the room.

EXT. LYNETTE'S HOUSE - DAY

Zack is getting on his motorcycle as she emerges from the
house.

PAULA
I'd like to come with you.

ZACK
Why?

PAULA
Because he's my friend, too.

She gets on and he doesn't try to stop her. PAN as they drive
off.

CUT TO:

INT./EXT. THE TIDES INN - DAY

Carrying a pint bottle of bourbon, Sid weaves his way into
the office. He smiles a quirky smile for the WOMAN behind
the counter as he hands her some money and she gives him his
key.

As he turns away from the counter, the woman calls after
him.

WOMAN
Hey, is this yours?

She holds up the engagement ring he bought for Lynette. Sid
smiles, takes it from her.

SID
Ever seen this one?

He pops the ring in his mouth and swallows it as the woman
looks on, speechless. Sid weaves out.

WE'RE TIGHT ON SID'S FACE

as he trudges up the steps to the second floor of units. We
stay with him until he reaches his room and walks in, slamming
the door behind him to close the world out.

WE STAY LIKE THAT, OUTSIDE HIS DOOR

The SOUND of the TV going on, loud. Some game show. The
passage of about twenty seconds. Then the SOUND of Zack's
MOTORCYCLE approaching, stopping.

ZACK (O.S.)
He's here. She said he just came in.

The SOUND of FOOTSTEPS ascending to the second floor, running
toward us. Zack PUSHES INTO SHOT and knocks on the door.

ZACK
Sid, it's Zack. Open up.

No reply, then from inside some SOUNDS are heard, a CHAIR
FALLING, a sudden, dull SNAPPING NOISE, abrupt and final.

Zack throw his weight against the door and it splinters open.

ZACK
Sid?

Then he looks up and pales.

ZACK
Oh, God...

Paula steps into the doorway and utters a little gasp as she
sees what poor Sid had done to himself.

INT. THE ROOM - DAY

The big Okie hangs by his necktie from a cluster of exposed
drainage pipes in a corner of the ceiling.

ZACK'S FACE IS STRETCHED WITH PAIN

Tears flood his eyes. He shakes his head in disbelief.

ZACK
Oh, God... why? Why, Sid?

Zack cuts him down and cradles his friend's body in his arms.

ZACK
You stupid, fucking Okie! Why'd you
do it! Why didn't you talk to me
first? Why didn't you even try??

Paula watches from the door.

DISSOLVE TO:

EXT. THE TIDES INN - LATER THAT DAY

The last of the police cars and the one Shore Patrol sedan
from the base are pulling out of the Tides Inn lot, behind
the ambulance that carries Sid's body. Paula stands on the
upstairs landing.

PAULA
Please stop it. None of that's true.
Goddamnit, I love you. I loved you
ever since I met you.

ZACK
Come on, Paula! You were looking for
a ticket out of here and you didn't
care who it was, any more than you
cared with the last class of
candidates you and Lynette fucked
your way through, looking for a
husband! Or the class before that!

PAULA
Yeah. You got the whole story just
right.

ZACK
Beware of the Puget Debs -- and we
all laughed, especially him.

PAULA
I'm not a Puget Deb. I hate that
goddamn term!

ZACK
I bet you do!

PAULA
However you got it figured, I didn't
kill Sid and Lynette didn't kill
him! He killed himself!

ZACK
That's brilliant.

PAULA
Maybe not, but it is the truth. And
Zack, you didn't kill him either.

He goes out the door. Paula can see him drive off on his
motorcycle.

EXT. THE BARRACKS - LATER THAT DAY

As Foley calls muster.

FOLEY
Mayo.

He takes notice of Zack's absence, unsurprised, before pushing
on the next name on the list.

FOLEY
Meyers.

Zack suddenly drives up on his motorcycle and walks toward
the group, unshaven, tie askew, uniform totally wrinkled,
eyes as red as sores.

FOLEY
Mayo, the rest of your class knows
about candidate Worley, and we're
all sorry.

ZACK
Sir, this officer candidate requests
permission to speak to you in private.

FOLEY
I'm busy, Mayo. It'll have to wait.

ZACK
It's important, sir!

FOLEY
Mayo, you didn't hear me -- I said I
I'm busy! And so are you! Go get
cleaned up!

ZACK
Aw screw it...

He starts to walk into the barracks.

FOLEY
(suddenly)
Martial arts demonstration in the
old blimp hangar in five minutes!
Mayo, you're my volunteer!

Zack stops in his tracks and turns to face his antagonist.

He'll wait around for this.

CUT TO:

INT. THE MUSTY OLD HANGAR - DAY

Foley is up in the ring in his VC pajamas, watching them
take do their seats. Zack is the last to walk in.

FOLEY
What're you waiting for, Mayo? Get
your scuzzy ass up here.

ZACK
Yes, sir!

He climbs up into the ring with Foley.

FOLEY
Put these on.

He hands Zack a set of safety-punch gloves and safety-kick
foot pads. Zack sits on the canvas and puts them on. Foley
already wears his.

FOLEY
I'll start with some basic kicks.
You try to copy me.

Zack gets to his feet and squares off opposite Foley.

MOST OF ZACK'S CLASSMATES

know about the incident in town with the locals, and the
word spreads quickly to the others in excited whispers. They
share a common dream, these twenty-one survivors, to see
Foley broken and humbled.

THE MARTIAL ARTS DEMONSTRATION - A SERIES OF SHOTS

Foley demonstrates a simple side kick, the heel of his foot
slamming hard against Zack's jaw. As in the previous
demonstration, Foley isn't afraid of inflecting a little
punishment along with his instruction. He's unprepared,
however, for the skill and and speed with which Zack returns
a version of that kick, the heel of his foot hitting Foley
so solidly it rocks him back a couple of steps before he can
catch his balance.

Foley grins, a rivulet of blood running down his chin.

FOLEY
Looky-looky what we got. That's pretty
cute, Mayo.

Foley executes a crescent kick, his specialty, and bloodies
Zack's mouth. Zack returns a crescent kick that knocks the
Marine right on his ass.

FOLEY
You're good.

ZACK
Get on your feet and find out how
good, sir.

Before Zack can get set, Foley seizes the offensive and starts
backing him across the ring with a series of fast kicks.

Momentarily trapped in the corner, Zack ducks a punch, slips
under a crescent kick, and hits his man three times in the
face with his foam-padded knuckles, then follows with a kick
to the mid-section that makes the Marine sink to his knees
with a silly expression on his face.

Suddenly unafraid of Foley, the class rises to its feet and
cheers Zack on.

Ad-LIBS of "Get him, Zack!" "No mercy!" "Remember what he
did to us!" Quieter mumblings of "Kill the motherfucker."

Foley gets to his feet. Zack drops him instantly with a
jumpspinning back kick.

Foley gets up again and manages to stay up for a short time
but it's a pathetic mismatch and Zack can land solidly at
will with hands and feet. Finally, with a spinning outside
crescent kick that awes his classmates, Zack flattens him
again. Foley just lies there, obviously spent.

Zack offers him a hand. Foley looks up at him helplessly,
shakes his head in defeat, and reaches out to accept his
help.

Then, with shocking suddenness, Foley coils his knees to his
chest, yanks Zack toward him, and -- at the same time --
unleashes a kick straight to Zack's chin. Zack crumples to
the canvas and lies there, barely conscious. Foley rises to
his feet.

FOLEY
Oldest trick in the book. Now, is
there anything you want to tell me,
Mayo?

Zack shakes his head, no. Foley bows to him formally, then
to the rest of the class, and marches like God's Warrior Son
from the old hangar.

Zack watches his classmates file out, leaving him alone in
the cavernous hanger.

DISSOLVE TO:

INT. THE BARRACKS - NIGHT

Zack comes in by himself.

INT. ZACK'S ROOM - NIGHT

Perryman looks up from his Navigation book as his only
surviving roommate enters. Zack looks at the two stripped
bunks, the empty lockers... then he stares at his own locker
for a long time, trying to make up his mind.

Then Perryman gets up, puts a reassuring hand on his shoulder,
just for an instant, and goes back to his studies. Finding
some coins in his locker, Zack leaves the room.

INT. THE BARRACKS PAYPHONE - NIGHT

Zack throws some money in to satisfy the operator.

ZACK
(into phone)
Byron, it's me. You doing anything
weekend after next?
(beat)
Yeah... it's graduation.

DISSOLVE TO:

GRADUATION MORNING ON THE BASE - DAY

The sun is just rising and sending its colors across the
big, wide lawn where the graduation ceremony will soon take
place.

Four enlisted men are positioning risers and folding chairs.

CUT TO:

INT. PAULA'S BEDROOM - DAY

Paula gets up to the SOUND of her alarm. She hurries to turn
it off so as not to awaken her sisters. The time is 6:30 in
the morning. Time to go to work. Grudgingly, she relinquishes
the warmth of the bed, and trudges toward the bathroom in
her pajamas.

EXT. PAULA'S HOUSE - DAY

Paula gets into Bunny's Toyota and the carpool drives on.

EXT. THE NATIONAL PAPER MILL - DAY

As Paula is punching in, Lynette, waiting in line behind
her, whispers:

LYNETTE
What do you think of the new
mechanics?

Paula glances off at the two boys Lynette is flirting with,
father back in the line. Both could be her father's sons.

Candidates for apehood.

Paula has a faraway look on her face as she pulls her card
from the clock.

PAULA
Today's graduation. I hope he made
it.

CUT TO:

EXT. THE PARADE GROUND - DAY

Zack and his classmates are passing in review before the
Commanding Officer and his staff (including Foley), seated
on the risers, and the large gathering of family and friends
seated on the folding chairs. The base marching band, a
phalanx to the left of the rises, is in fine and rousing
form.

As Zack and Casey and Perryman and the others pass CAMERA,
they do a precise EYES-RIGHT.

BYRON IS APPLAUDING LOUDER THAN ANYBODY

It's a proud moment for the reluctant father and he's not
above letting the stiffer-looking parents around him know
how he feels about having a son made it into the officer
ranks.

ZACK SEE HIS FATHER

and smiles.

SECONDS LATER, THE CAMERA IS PANNING THE FACE OF THE
GRADUATES.

standing at attention on their risers, reciting their
commissioning oath.

THE GRADUATES
I do solemnly swear that I will
support and defend the Constitution
of the United States of America
against all enemies foreign and
domestic...

Find Casey's proud face, Perryman's, Della-Serra's, Marcus'...

THE GRADUATES
...that I will bear true faith and
allegiance to the same, that I take
this obligation freely without any
mental reservation or purpose of
evasion...

CAMERA HOLDS ON Zack's face, his eyes moist, his voice rich
with emotion.

ZACK
(with his classmates)
...that I will well and faithfully
discharge the duties of the office
on which I am about to enter. So
help me God.

MINUTES LATER, THE NEWLY-COMMISSIONED OFFICERS HAVE BROKEN
RANKS

and are embracing their families and friends on the lawn.

Byron finds Zack and the two men stare at one another warily,
before warmth floods their faces and they come together in
an embrace. Zack pulls a folded document from his breast
pocket.

ZACK
Look -- my orders to Pensacola for
basic flight training... then it's
on to jets!

Byron quickly glances at the orders and pounds Zack on the
back.

BYRON
I knew you'd make it!
(beat)
Where's your girl? Didn't she come?

ZACK
Naw. That's over with.

Byron almost looks sad to hear it.

BYRON
Zackie, I'm so proud of you. Get
ready, 'cause I'm gonna give you
your first salute and you'll owe me
a silver dollar. That's the tradition,
you know.

He starts to bring his hand up to salute his son but Zack
grabs his wrist to stop him.

ZACK
(gently)
No offense, Byron, but my first one's
gonna come from... him.

He looks over at:

FOLEY, IN DRESS BLUES

He cane propped characteristically behind him, the newer
notches clearly recognizable from the ones that predate this
class, he watches them approach... one after the other, each
of his worms, his scuzzes, his college pukes... and he renders
to them, as is the tradition, their first salute. In return,
they hand him a silver dollar.

Perryman pays up, then Casey approaches him.

FOLEY
(saluting)
Congratulations Ensign Seeger, sir!

CASEY
Thank you, sir. I mean, Sergeant.

She gives him a silver dollar and hurries off to rejoin her
family.

ZACK APPROACHES FOLEY

and the Marine salutes him briskly, his heels clapping
together like a flamenco dancer's.

FOLEY
Congratulations, Ensign Mayo, sir!

ZACK
I'll never forget you as long as I
live, Sergeant.

FOLEY
I know.

ZACK
Well, goodbye.

Zack gives him a silver dollar and Foley pockets it and snaps
off another brisk salute.

FOLEY
See you in the fleet, sir!

ZACK
Yeah. See you in the fleet, Sarge.
And thank you.

Foley just grins as Zack answers his salute.

CUT TO:

EXT. THE BASE - DAY

MOVING WITH ZACK ON HIS MOTORCYCLE. He still wears his dress
whites and his gear is packed in a Navy seabag strapped to
the back, as he drives away from the barracks, waving farewell
to some of his classmates. As he rumbles past the parade
ground, he sees Foley addressing a spanking new class of
candidates, still in civvies, still sporting hair.

FOLEY
I don't believe what I'm seeing!
Look at all that hair! All those
lard bellies from junk food and pot!
Where you been all your lives, at an
orgy? Listening to Mick Jagger and
bad mouthing your country, I bet.

The new class cracks up, laughing, as Zack motors past, headed
for the gates. It's hard to believe only thirteen weeks have
elapsed since he heard those words for the first time. Seems
more like a lifetime.

EXT. THE GATES OF THE NAVAL AIR STATION - DAY

Zack drives out and disappears down the road.

SLOW DISSOLVE TO:

INT. THE NATIONAL PAPER KILL - DAY

Paula is at work on the line. The sweat of a long day stings
her eyes as it stings the eyes of her fellow workers. Poor
Paula. It's not hard to imagine her in a few years as Bunny.

Hell, Lynette's already there. Old debs never die...

THE WOMEN ON THE PAPER TOWEL LINE NEAR THE DOOR

are the first to see him enter.

ESTHER POKRIFKI

stops her work as she sees the flash of gold on a Naval
shoulder board.

THE WOMEN ON THE NAPKIN LINE

send up a buzz of gossipy excitement as he strides past them.

So clean. So handsome. So perfect. Every deb's fantasy.

HE WEARS THE DRESS WHITE UNIFORM WITH ENSIGN GOLD

and he wears it proudly as he strides through their ranks,
toward the girl who is only now stopping to watch him
approach.

PAULA CAN'T BELIEVE IT

Almost as she might have dreamed it long ago as a little
girl, she watches him take her face in his hands and kiss
her in such a romantic way that it's unlikely the women at
National Paper, or any of us, will ever forget that kiss.

LYNETTE AND BUNNY WATCH THAT KISS

with a mingling of happiness and painful, desperate longing,
on their faces.

ESTHER POKRIFKI

is the second happiest Deb in the room.

THE OTHER AGING DEBS IN THE HUGE FACTORY

stop their work to watch. A few even applaud.

ZACK SUDDENLY LIFTS PAULA IN HIS ARMS

and with their eyes still touching, he carries her toward
the door.

LYNETTE'S FACE

reveals all the jealousy that accompanies the happiness she
is feeling for her friend. She's never leaving this place
and she knows it.

LYNETTE
Way to go, Paula! Way to go!

She adds her applause and half the factory is clapping and
cheering by the time the officer and his girl reach the
doorway.

EXT. THE NATIONAL PAPER MILL - DAY

Zack carries Paula out into the sunshine and kisses her again.

She's like candy, all right, and he'll never get enough.
PULL BACK INTO HELICOPTER SHOT that dwarfs them far below
us, and...

FADE OUT.

THE END

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