From Here to Eternity Page #6

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WARDEN:

I got carbons of those back at the

office. So it won't be much work to

fix them up.

Warden's control has begun to affect Karen's now. She is

losing her poise.

29.

KAREN:

That's what I like about you,

Sergeant. You have confidence. It's

also what I dislike about you.

WARDEN:

It's not confidence. It's honesty.

KAREN:

Honesty? How did you acquire such

an old-fashioned virtue?

WARDEN:

I figgered out one day it was the

shortest distance between two

points.

KAREN:

Well, he's clever as well as

virile.

WARDEN:

No -- it's just that I hate to see

a beautiful woman goin all to

waste.

He moves close to Karen, is on the verge of embracing her.

Greatly tempted but greatly disturbed, she turns away. During

next she pours herself a drink, the bottle shaking in her

hand. Her tone is no longer brittle. It is bitter.

KAREN:

Waste, did you say? Now that's a

subject I might tell you something

about. There's we. And then there's

waste. Positive and negative. The

negative is sometimes more

interesting... more evil. For

example -- what about the house

without a child? Tell me your

thoughts, Sergeant.

WARDEN:

You're going to cry.

KAREN:

Not if I can help it.

WARDEN:

Please don't cry... I can't stand

to see somebody cry.

30.

Karen turns to face him as he picks up his raincoat, is about

to put it on.

KAREN:

What are you doing?

WARDEN:

I'm leaving. Isn't that what you

want?

KAREN:

(slowly)

I don't know, Sergeant. To be

honest, I don't know.

They stare squarely at each other, both puzzled and a little

afraid of their emotions. This is something neither had

counted on.

WARDEN:

I know a beach near Diamond Head.

Nobody ever goes there. The cars on

the highway pass above and they

never know it's there. You feel

like you used to feel when you were

a kid, hiding by yourself in a

cave, watching the others hunting

you.

Karen turns, goes to the sink, puts the whisky bottle back in

the cabinet.

KAREN:

Maybe... why not?

WARDEN:

How about Payday?

Karen is trying hard to regain her glassy composure. She is

unsmiling again.

KAREN:

You don't have to spend money on

me, Sergeant.

WARDEN:

I just like to have some on me when

I take out a woman. Can you get

away?

KAREN:

Maybe.

31.

Warden grins as he puts on his raincoat. He goes to the door

to the pantry, pauses there.

WARDEN:

I'll be in Kuhio Park. Say, nine

o'clock. Payday.

Karen leans back against the sink, watches him go out to the

pantry. A moment later the sound of the door is heard as he

leaves the house. She turns on the faucet, starts to rinse,

the glasses they have used. Suddenly she turns the faucet on

full force, watches it pound into the sink.

FADE OUT.

FADE IN:

EXT. QUADRANGLE - DAY

MEDIUM SHOT HOLMES GALOVITCH THORNHILL WILSON DHOM HENDERSON

The men are grouped around Holmes. He is pressing hard to

pretend equanimity. The Sergeants appear somewhat baffled but

determined.

HOLMES:

-- this man Prewitt’s been here

over a month now. I expected you

mend have him around before this.

HENDERSON:

We've been runnin him pretty hard.

But he don't faze.

HOLMES:

Maybe he needs a good dose of The

Treatment.

The men react to the phrase; The Treatment is obviously

reserved for very special, intractable cases. They consider

it silently for a moment or two.

GALOVITCH:

A double dose needs him to be

given.

THORNHILL:

(nods)

The Treatment’ll bring that puppy

boy around...

HOLMES:

You understand. I don't want

any rough stuff.

(MORE)

32.

HOLMES(cont'd)

But we all know good athletes make

good leaders. And good leaders -

The music of the forthcoming MONTAGE drowns Holmes' words as

he continues.

DISSOLVE TO:

EFFECT MONTAGE:

The MONTAGE consists of a continuous stream of SUPERIMPOSURES

depicting Prew's growing humiliation and exhaustion at the

hands of the non-corns. Mingling with the background shots

are VARIOUS ANGLES of CLOSEUPS of Prew. As the speed of the

sequence increases, the stubborn smile on his face gives way

to hurt, bitterness, anger... Over shots we occasionally hear

stray shouts of the non-corns as they belabor Prew, but for

the most part these and other dialogue are obliterated by

MUSIC. The MONTAGE can be selected and created from the

following:

FLASHES ADDITIONAL ANGLES OF PRECEDING TRAINING SEQUENCES

FLASHES ADDITIONAL TRAINING SITUATIONS -- E.G. FIRING RANGE,

PATROL EXERCISES, GRENADE PRACTICE (IF NEEDED)

in all of which Prew excels.

FLASHES GALOVITCH WILSON DHOM THORNHILL HENDERSON

riding Prew, mocking him, grinning at him, thumbing him to

the track, etc. FEATURED is Galovitch, who takes particular

Joy in baiting Prew.

FLASHES PREW:

running around track, staggering despite a tremendous effort

not to show his fatigue.

OBSTACLE COURSE:

with the platoon going through, crouched low, live ammunition

spattering around them. Prew, nearest camera, is lower than

any man in the line. Over shot we hear a snatch of Wilson's

Voice yelling at Prew to get lower.

CLOSE FLASH WILSON AND PREW

Wilson bawling Prew out, thumbing him to one side of obstacle

course.

FLASHES PREW:

chinning himself on bar setup near obstacle course; he is

near physical exhaustion.

OBSTACLE COURSE PREW

going through alone, on his belly in deep mud.

.

CLOSEUP PREW (CULMINATION OF SUPERIMPOSED CLOSEUPS AND END OF

MONTAGE)

33.

coming HEAD-ON into camera as he bellies through the mud of

the obstacle course. Snatch of mingled voices of non-coms

yelling "Keep it downs", “Get that nose in the mud!”, etc.

Prew is utterly spent. His face drops into the mud, which

splatters up, obscuring the screen.

DISSOLVE TO:

INT. KITCHEN - DAY

CLOSE SHOT SWIRLING DISHWATER IN SINK

MEDIUM SHOT PREW

bent over the sink, scraping, washing and rinsing cooking

pans and mixing basins. He hangs the soap bucket on the hot

faucet and turns it on full force. As he does, PRIVATE

WILLARD, a fat, whining cook, dumps an additional huge pile

of pans before him. Prew looks at them ruefully. Willard says

something to him with a "hustle up" gesture. The faucet

drowns the words.

MEDIUM SHOT ANOTHER PART OF KITCHEN PREW AT SINK IN B.G.

Men are working in the steady, helpless motion of the KP.

Waiters swing in and out of the entrances leading to the mess

halls, carrying large trays.

MEDIUM CLOSE SHOT SERGEANT STARK

The Mesa Sergeant, a tall, gaunt man, surveys the scene

possessively. Maggio, Dining Room Orderly today, wearing a

soiled white coat, flashes by to the mess hall, almost

dropping his loaded tray in his haste.

MEDIUM SHOT PRIVATE TREADWELL

A slow, lazy, heavy man, peeling potatoes. There is a large

kettle filled with dirty water in front of him in which the

potatoes are floating. Treadwell stabs at one with a long

fork, misses it. He stabs again, almost in slow motion,

misses again. He sees Stark glowering over him.

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