Full Metal Jacket Page #13

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:

Goddamn it!

Goddamn it! Okay, cease fire!

He's there!

Adlibs of "Cease fire!"

80 SNIPER P.O.V.--DAY

DOC JAY, Seen over the sights of the SNIPER's

AK-47,

drags EIGHTBALL toward cover.

81 EXT. THE SQUARE--DAY

The

SNIPER fires. DOC JAY is hit and falls next to

EIGHTBALL.

The squad

opens fire again.

COWBOY:

Hold your fire! Hold your

fire!!! Cease fire!

You can't see the sniper! Save the ammo!

Nobody fire till I tell you! Nobody!

ANIMAL MOTHER:

What

the f*** do we do now, Cowboy?

COWBOY:

Gimme that

f***ing radio.

DONLON scuttles over with the radio.

COWBOY:

(into radio)

Murph? This is Cowboy. Over.

MURPHY:

(o.s.)

This is Murphy. Over.

COWBOY:

Murph, we're in some deep sh*t. I got two men

down. What's the story

on that f***ing tank?

Over.

MURPHY:

(o.s.)

Sorry, Cowboy. No luck so far with the tank.

Will advise. Over.

COWBOY:

Roger. Out.

(muttering to himself)

Numbnut

bastards!

(to the squad)

Okay, listen up!

T.H.E. ROCK

Listen up!

COWBOY:

Can't afford to wait

for the tank. I think

they're gonna hit us any minute. When they

do we won't have time to pull out. We gotta do

it now. Let's get

ready to move.

No one moves or says anything.

T.H.E. ROCK

Get ready to pull out!

ANIMAL MOTHER:

Wait a minute!

Hold it! Hold it! Nobody's

pulling out! There's only one f***ing

sniper

out there!

COWBOY:

Back off, Mother! I'm

calling the plays! I say

we're pulling out!

ANIMAL:

MOTHER:

Yeah, well, what about Doc Jay and Eightball?

COWBOY:

I know it's a shitty thing to do, but we can't

refuse to

accept the situation.

ANIMAL MOTHER:

Yeah, well, we're

not leaving Doc Jay and

Eightball out there!

COWBOY:

Doc Jay and Eightball are wasted! You know

that!

ANIMAL:

MOTHER:

Bullshit! Come on, you guys! We gotta go

bring'em back!

Let's go get 'em! Let's do it!

COWBOY:

Stand down,

Mother! That's a direct order!

ANIMAL MOTHER:

F*** you,

Cowboy! F*** all you a**holes!

ANIMAL MOTHER jumps over the wall and

runs

screaming and firing his M-60.

The squad fires to cover him,

blasting chunks of

mortar and concrete from the buildings.

ANIMAL MOTHER:

(screaming)

F***ing son-of-a-b*tch! You

motherf***er!

Aaagh! Whooo!

ANIMAL MOTHER reaches the buildings

and drops

down against a shattered wall. He calls across the

open

street.

ANIMAL MOTHER:

Doc! Doc! Doc! Where's the

sniper?

DOC JAY tries to speak.

ANIMAL MOTHER:

Doc,

where's the sniper?

Barely able to move, DOC JAY tries to point in the

direction of the SNIPER.

Suddenly he and EIGHTBALL are riddled by a

burst

of automatic fire from the SNIPER, Killing them

instantly.

ANIMAL MOTHER's eyes widen in horror.

ANIMAL MOTHER:

(under his breath)

Sh*t!

ANIMAL MOTHER gets to his feet and edges

forward to

the corner of the building.

He carefully looks around the

corner across the

square at the black building, from where he thinks

the shots were fired.

BANG!

A shot from the SNIPER ricochets off

the wall a few

inches from his head.

He ducks back around the

corner, breathing hard.

ANIMAL MOTHER looks around and carefully works

his way to a safer spot behind another building.

He shouts to the

squad.

ANIMAL MOTHER:

Hey, Cowboy!

COWBOY:

Yeah!

ANIMAL MOTHER:

Doc Jay and Eightball are wasted!

There's

only one sniper, nothing else. Move up the

squad!

You're clear up to here! Come on!

COWBOY isn't sure what to do.

COWBOY:

(mutters)

Son-of-a-b*tch.

The squad look to

him.

He takes a couple of thoughtful breaths and decides

to go.

COWBOY:

Okay, listen up!

No-Doze, Stutten, Donlon, Rock--you

come

with me, we'll take a look! The rest of you

stay put and

cover our ass! We may be

coming back in a big hurry!

JOKER:

I'm going with you.

RAFTERMAN:

I'm coming,

too.

COWBOY:

Okay.

(To the others)

You

all set?

Adlibs "Yeah!"

COWBOY:

Let's move out!

T.H.E. ROCK

Let's do it!

The five men clamber over the wall and

dash

across the broken ground to the smouldering

cluster of

buildings.

When they reach ANIMAL MOTHER he leads them

to a street

off the square where they duck down

against a shattered building.

They catch their breath and move forward to the

next building, where

they crouch down against

the wall.

ANIMAL MOTHER:

(pointing)

Cowboy .. . top of the black building,

around the

corner.

COWBOY cautiously moves to the corner of the

building and

studies the strange-looking black

building which commands the square.

Then. he ducks back around the corner, more

uncertain than ever what

they should do.

COWBOY:

Donlon ... give me that radio.

COWBOY moves to DONLON to take the radio.

Facing away from the black

building, COWBOY does

not notice that from the place he has moved to he

can be seen. by the SNIPER through a jagged hole in

the building.

SNIPER P.O.V. OF COWBOY

The SNIPER's P.O.V. --COWBOY's upper body is

just

visible through the hole in the building.

84 EXT. SQUARE--DUSK

COWBOY:

Murphy, this is Cowboy. Over!

A gunshot reverberates.

In slow-motion COWBOY falls.

JOKER:

Cowboy!

ANIMAL:

MOTHER starts firing his M-60.

RAFTERMAN:

(shouting)

Holy sh*t! The sniper's got a clean shot

through the

hole in the wall.

Much yelling, shouting and confusion as the men

realize where the shot came from.

JOKER:

(shouting)

Get him! Get him the f*** outta here!!

COWBOY is

carried behind the building.

All talk at once.

JOKER:

Easy! Easy!

DONLON:

Get him on his back.

Adlibs.

COWBOY:

(weakly)

Oh, I don't believe this sh*t.

Adlibs, fumbling for bandages, etc.

JOKER:

Shut up!

You'll be all right, Cowboy.

T.H.E. ROCK

Take it easy,

Cowboy.

Four pairs of hands doing things.

COWBOY:

(moaning)

Uhhh, that son-of-a-b*tch!

JOKER:

You're

gonna be all right.

T.H.E. ROCK

You're going home, man.

You're going home.

DONLON:

Easy, man. Easy. Easy.

COWBOY:

Ohhhh, don't sh*t me, JOKER! Don't sh*t me!

JOKER:

I wouldn't sh*t you, man. You're my favorite

turd.

COWBOY begins to lose consciousness.

JOKER:

Cowboy...

DONLON:

Hang on, man. Hang on!

COWBOY:

(coughs)

I ... I can hack it.

T.H.E. ROCK

You can

hack it.

COWBOY:

I can. I-I...

COWBOY spits up some

blood and dies in JOKER's

arms.

JOKER bends down and hugs COWBOY.

Nobody moves.

Then, one by one, they slowly get to their feet.

JOKER:

is the last to get up.

They stand looking at the body.

ANIMAL:

MOTHER leaves two men to continue firing

at the SNIPER, and he scuttles

around the corner to

the group around COWBOY's body.

He looks at

COWBOY and then at JOKER.

ANIMAL MOTHER:

Let's go get

some payback.

JOKER looks up slowly.

JOKER:

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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