Full Metal Jacket Page #11

Synopsis: Stanley Kubrick's take on the Vietnam War follows smart-aleck Private Davis (Matthew Modine), quickly christened "Joker" by his foul-mouthed drill sergeant (R. Lee Ermey), and pudgy Private Lawrence (Vincent D'Onofrio), nicknamed "Gomer Pyle," as they endure the rigors of basic training. Though Pyle takes a frightening detour, Joker graduates to the Marine Corps and is sent to Vietnam as a journalist, covering -- and eventually participating in -- the bloody Battle of Hué.
Genre: Action, Biography
Original Story by: Steven Spielburg
Production: Warner Bros.
  Nominated for 1 Oscar. Another 7 wins & 11 nominations.
 
IMDB:
8.3
Metacritic:
76
Rotten Tomatoes:
93%
R
Year:
2022
116 min
869,772 Views


REPORTER:

Turnover.

CAMERAMAN:

Rolling.

REPORTER:

Hue City interviews. Roll thirty-four.

ANIMAL MOTHER:

Well ... like, like you see, you know, it's a

major city, so we have

to assault with, uh ...

tanks. So, they send us in first squad ...

to

make sure that there are no little Vietnamese

waiting with,

like, B-40 rockets that blow the

tanks away. So we clear it out and

we roll the

tanks in and ... basically, blow the place to

hell.

(chuckles)

COWBOY:

When we're in Hue ... when we're in

Hue City

... it's like a war. You know like what I

thought

about a war, what I thought a war

was, was supposed to be. There's

the enemy,

kill 'em.

RAFTERMAN:

Well, I don't think

there's any question about

it. I mean we're the best. I mean all

that

bullshit about the Air Cav ... When the sh*t

really hits

the fan, who do they call? They call

Mother Green and her killing

machine!

CRAZY EARL:

Do I think America belongs in

Vietnam? Um

... I don't know. I belong in Vietnam. I'll tell

you that.

DOC JAY:

Can I quote L.B.J.?

REPORTER:

Sure.

DOC JAY:

(imitating L.B.J.)

"I will not send American boys eight or ten

thousand miles around

the world to do a job

that Asian boys oughtta be doin' for

themselves."

EIGHTBALL:

Personally, I think, uh ... they

don't really

want to be involved in this war. I mean ...

they

sort of took away our freedom and gave it

to the, to the gookers,

you know. But they

don't want it. They'd rather be alive than free,

I guess. Poor dumb bastards.

COWBOY:

Well, the ones I'm

... I'm fighting at are some

pretty bad boys. I'm not real keen on

... some

of these fellows that are . . . supposed to be on

our

side. I keep meeting'em coming the other

way. Yeah.

DONLON:

I mean, we're getting killed for these people

and they

don't even appreciate it. They think

it's a big joke.

ANIMAL MOTHER:

Well, if you ask me, uh, we're shooting the

wrong

gooks.

RAFTERMAN:

Well, it depends on the situation. I

mean,

I'm--I'm here to take combat photos. But if

the sh*t gets

too thick, I mean, I'll go to the

rifle.

ANIMAL MOTHER:

What do I think about America's involvement

in the war? Well, I

think we should win.

COWBOY:

I hate Vietnam. There's not

one horse in this

whole country. They don't have one horse in

Vietnam. There's something basically wrong

with that.

(laughs)

ANIMAL MOTHER:

Well, if they'd send us more

guys and maybe

bomb the hell out of the North, they might,

uh,

they might give up.

JOKER:

I wanted to see exotic

Vietnam, the jewel of

Southeast Asia. I wanted to meet interesting

and stimulating people of an ancient culture

and ... kill them. I

wanted to be the first kid

on my block to get a confirmed kill.

73

EXT. WRECKED MOVIE THEATER--DAY

The marines are seated outside the

theater on rows

of broken movie seats.

A motor-scooter, driven by a

young ARVN soldier

with a pretty teenage Vietnamese HOOKER sitting

behind him, and pulls up in front of the LUSTHOG

SQUAD.

The girl

gets off slowly, swinging her hips as she

walks.

Adlibs, hoots anal

hollers.

COWBOY:

Ten-hut!

More hoots and hollers.

COWBOY:

Good morning, little schoolgirl. I'm a little

schoolboy,

too.

Adlibs and laughter.

COWBOY:

What you got there,

chief!

The girl stands facing them, hands on hips.

ARVN:

PIMP:

Do you want number one fuckee?

Adlibs and laughter.

COWBOY:

Hey, any of you boys want number one

fuckee?

Adlibs.

JOKER:

Oh, I'm so horny. I can't even get a piece of

hand.

DONLON:

Hey! Hey! Me want suckee.

ARVN PIMP:

Suckee,

fuckee, smoke cigarette in the

p*ssy, she give you everything you

want. Long

time.

Laughter.

COWBOY:

Everything

you want! All right! How much

there, chief!

ARVN PIMP:

Fifteen dolla each.

Adlibs:
"Nooooooo!"

COWBOY:

Number ten. Fifteen dolla beaucoup money.

Laughter.

COWBOY:

Five dolla each.

ARVN PIMP:

Come on. She

love you good. Boom-boom long

time. Ten dolla.

COWBOY:

Five dolla.

ARVN PIMP:

No. Ten dolla.

COWBOY:

Be glad to trade you some ARVN rifles. Never

been fired

and only dropped once.

Laughter and derisive adlibs.

ARVN:

PIMP:

(angry)

Okay, five dolla. You give me.

Adlibs.

COWBOY:

Okay, okay!

EIGHTBALL, a black grunt, walks up to the

girl.

EIGHTBALL:

Let's get mounted.

HOOKER:

(speaks in Vietnamese)

ARVN PIMP:

(argues in

Vietnamese)

EIGHTBALL:

Something wrong there, chief?

ARVN PIMP:

She says, uh, no boom-boom with soul

brotha.

EIGHTBALL:

Hey, what the mother f***?

ARVN PIMP:

She

say soul brotha too boo-coo. Too boo-coo.

EIGHTBALL:

Hey, what is this, man?

COWBOY:

(breaiting up)

I think what he's trying to tell you is that

you black boys pack too

much meat.

Laughter.

ARVN PIMP:

Too boo-coo. Too

boo-coo.

EIGHTBALL:

Oh, shi-i-i-t! (laughs) This

baby-san looks

like she could suck the chrome off a trailer

hitch.

Laughter.

ARVN PIMP:

She say too boo-coo. Too

boo-coo.

EIGHTBALL:

Uh, excuse me, ma'am. Now what we

have

here, little yellow sister, is a magnificent...

(takes out his dick)

. . specimen of pure Alabama blacksnake.

But it ain't too goddamn boo-coo.

The girl looks at it.

Hoots and

catcalls.

TEENAGE HOOKER:

Okay. Okay. Emjee.

More

hoots.

COWBOY:

(mimicking Vietnamese word)

Okay! Okay! Emjee! Emjee!

Adlibs of "Emjee."

EIGHTBALL starts to

lead her away.

EIGHTBALL:

All right! This is my boogie!

COWBOY:

Hey, we need a batting order.

ANIMAL MOTHER grabs the

girl's arm, EIGHTBALL

holds on to the other one.

ANIMAL:

MOTHER:

I'm going first.

EIGHTBALL:

Hey, now back

off, white bread. Don't get

between a dog and his meat.

ANIMAL:

MOTHER slaps EIGHTBALL on the wrist like

he's a naughty boy and pushes

the girl into the

movie theater.

ANIMAL MOTHER:

(jokingly)

All f***ing n*ggers must f***ing hang.

Adlibs of "F***

you!" and laughter.

ANIMAL MOTHER:

Hey, hey! I won't be

long. I'll skip the

foreplay.

FADE IN:

74 EXT. HUE CITY

RUINS--DAY

The LUSTHOG SQUAD on patrol moves slowly in

single file,

fifteen yards apart, through the ruined,

smouldering city.

JOKER:

(voiceouer)

Intelligence passed the word down that

during

the night the N.V.A. had pulled out of our

area to

positions across the Perfume River.

Our squad is sent on patrol to

check out the

report.

75 INT. BOMBED FACTORY--DAY

The patrol

moves carefully through the gutted shell

of a building. The clink of

their gear as they walk

sounds loud in the unnatural silence.

CRAZY:

EARL stops to pick up a child's stuffed toy.

BANG!

The toy triggs a

booby trap, blasting CRAZY EARL

across the room.

The squad dives for

couer.

Rate this script:3.0 / 12 votes

Stanley Kubrick

Stanley Kubrick was born in Manhattan, New York City, to Sadie Gertrude (Perveler) and Jacob Leonard Kubrick, a physician. His family were Jewish immigrants (from Austria, Romania, and Russia). Stanley was considered intelligent, despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's father sent him in 1940 to Pasadena, California, to stay with his uncle, Martin Perveler. Returning to the Bronx in 1941 for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an important device for Kubrick in later years, often as a tool for dealing with recalcitrant actors, but also as an artistic motif in his films. more…

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Submitted by acronimous on March 29, 2016

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