Full Metal Jacket Page #12

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
869,773 Views


COWBOY:

Face outboard and take cover! Do it!

DOC JAY scurries up to CRAZY EARL, who is

unconscious and gives him

mouth-to-mouth

resuscitation.

COWBOY scrambles up to them. He looks

at CRAZY

EARL. Then JOKER runs in.

DOC JAY:

(stops for a second)

He aidt gonna make it.

COWBOY:

(to himself)

Sh*t.

COWBOY doesn't know, what to do. Then he

fumbles

for his field radio.

COWBOY:

Hotel One Actual,

this is Cowboy!

DOC JAY continues the mouth-to-mouth.

COWBOY:

Hotel One Actual, this is Cowboy!

MURPHY:

(o.s.)

Hotel One. Over

COWBOY:

Murph, this is

Cowboy. Craze is hit. Booby

trap.

MURPHY:

(o.s.)

Roger. Understand. Wait One.

COWBOY looks around edgily.

MURPHY:

(o.s.)

You're senior N.C.O. You take charge and

continue on with the patrol. Call in at the

next checkpoint. Over.

COWBOY:

Roger. Out.

COWBOY stares at the radio. He looks scared.

He

turns to JOKER.

COWBOY:

I'm squad leader.

JOKER:

punches him reassuringly in the arm.

JOKER:

I'll follow

you anywhere, scumbag.

DOC JAY stops working over CRAZY EARL and

slowly

looks up.

DOC JAY:

He's dead.

The three men

stare at the body.

76 EXT. BURNING FALLEN BUILDING--DAY

The squad

moves past a burning five-storey

building that has collapsed and is

lying on its side.

DISSOLVE TO:

77 EXT. LOW CONCRETE WALL--DAY

EIGHTBALL, on point, studies a map as he walks.

Then he slours to a

stop and signals to halt the

squad.

The squad stops ancl crouches

down in the rubble.

EIGHTBALL gestures for COWBOY to move up.

EIGHTBALL:

(quietly)

Cowboy!

COWBOY moves up and they

kneel behind a low

concrete wall.

COWBOY:

What's up?

EIGHTBALL:

I think we made a mistake at the last

checkpoint.

He shows COWBOY the map.

EIGHTBALL:

Here ... see what

you think. I think we're

here and we should be here.

COWBOY:

studies the map.

COWBOY:

We're here?

EIGHTBALL:

Yeah.

COWBOY:

We should be here?

EIGHTBALL:

Yeah ...yeah ... that's right.

COWBOY is confused and

scared.

He checks his compass. Then he peers over the wall

through

his binoculars.

COWBOY looks back nervously at the squacl strung

out

behind him.

COWBOY:

F*** ... What do you think?

EIGHTBALL:

Well, I think we should change direction.

EIGHTBALL:

doesn't sound like he really knows what

to do either.

COWBOY knows

he has to make a decision.

COWBOY:

Okay. We'll change

direction.

COWBOY motions to the squad to come up. They

rattle up

and take positions behind the low wall.

JOKER:

What's

up?

COWBOY:

Changing direction.

JOKER:

What, are we lost?

COWBOY:

Joker, shut the f*** up!

COWBOY:

(to squad)

Okay! Listen up! Can you hear me?

Adlibs of "Yeah!"

COWBOY:

Okay, we're changing

direction. We're heading

over that way.

COWBOY points over the

wall to some ruined

buildings across an open space to their Left.

COWBOY:

Eightball's gonna go out and see if he can

find a way

through.

EIGHTBALL shrugs, apprehensiuely.

COWBOY:

Got it?

Adlibs of "Yeah!"

COWBOY:

Eightball ... let's

dance.

EIGHTBALL slowly gets to his Knees and peers

over the wall.

EIGHTBALL:

Put a n*gger behind the trigger.

78 EXT. RUINED STREET

HUE--DAY

EIGHTBALL climbs over the low wall and moves

cautiously out

into the open, heading for the

damaged buildings.

The squad covers

him.

EIGHTBALL reaches the buildings and stops to

study the

smoke-filled square.

79 SNIPER P.O.V. -- DAY

P.O.V. from a concealed

position on the second

floor of a building on the square, an AK-47

rifle is

slowly raised and aimed at EIGHTBALL.

EIGHTBALL turns back

to wave the rest of the

squad up.

BANG!

The SNIPER fires.

EIGHTBALL is hit in the leg.

Seen in slow motion, EIGHTBALL twists and

crumples to the ground.

The LUSTHOG SQUAD fires blindly, wildly, at

every

door and window in the direction of the shot.

COWBOY:

Okay, cease fire! Cease fire, goddamn it!

Some of the squad keep

firing.

COWBOY:

Cool it, goddamn it! Cool it! Cease

fire!

AdLibs of "Cease fire!"

The firing stutters to a stop.

COWBOY:

Okay, listen up! Did anybody see a sniper?

Did anybody

see anything?

T.H.E. ROCK

(down the line)

Did anybody see a sniper?

DOC JAY:

No!

DONLON:

Nothing!

RAFTERMAN:

Negative!

T.H.E. ROCK

Nothing!

Adlibs of "No!"

COWBOY:

Okay, then save your ammo! Nobody fire till I

tell you!

Seen, in

slow, motion, the SNIPER fires again and hits

EIGHTBALL in the arm. He

screams in pain.

The squad opens fire at buildings facing them.

COWBOY:

No, no! Cease fire! Cease fire! Animal, cease

fire!

Keeping low, DONLON comes up and hands COWBOY

the radio.

DONLON:

Cowboy, it's Sergeant Murphy.

COWBOY:

(into radio)

This is Cowboy. Over.

MURPHY:

(o.s.)

This is Murphy. What is your present

position? Over.

COWBOY:

Murph, we're receiving enemy sniper fire.

Eightball is

down. Our position is about half

a klick north of checkpoint four.

Believe possible

strong enemy force occupying buildings

in

front of us. Request immediate tank

support. Over.

MURPHY:

(o.s.)

Roger. Understand. I'll see what I can do.

Over.

COWBOY:

Roger. Over and out.

COWBOY:

(to Donlon)

Stay close.

DONLON:

Got it.

COWBOY:

thinks hard for a few seconds.

COWBOY:

(to squad)

Okay, listen up! I think we're being set up

for an ambush. I think

there may be strong

enemy forces in those buildings over there.

I've requested tank support. We're gonna sit

tight until it comes,

but keep your eyes open.

If they decide to hit us, we'll have to

pull

back fast.

The SNIPER fires, wounding EIGHTBALL again, this

time in the foot. He shrieks in agony.

Again the squad opens fire.

COWBOY:

Goddamn it! Hold! Cease your fire, Mother!

Cease your

f***ing fire!

The firing stops.

DOC JAY:

Cowboy!

COWBOY:

What?

DOC JAY:

We can't leave him out there!

COWBOY:

We're not leaving him! We'll get him when the

tank comes

up.

DOC JAY:

He's hit three f***ing times! He can't wait

that long!

COWBOY:

I've seen this before! That sniper's

just trying

to suck us in one at a time!

The SNIPER fires and

hits EIGHTBALL in the thigh.

His cries echo across the open space

ground.

ANIMAL MOTHER fires madly.

COWBOY:

(shouting)

Goddamn it! No!

The squad continues firing.

COWBOY:

Goddamn it, cease fire!

The firing trails off:

ANIMAL MOTHER:

He's out there alone!

COWBOY:

Cease

fire!

The firing stops.

DOC JAY:

Man, f*** this, f***

this sh*t! I'm going out to

bring him in!

COWBOY:

No! You stay the f*** down!

DOC JAY:

Cover me!

DOC:

JAY jumps over the wall and, ducking low, zigzags

across the open

ground.

The squad fires to cover him.

DOC JAY gets there safely and

momentarily drops out

of sight.

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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