Full Metal Jacket Page #8

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
871,711 Views


an

officer. Which?

JOKER:

Whichever you say.

LOCKHART:

Grunts like reading about dead officers.

JOKER:

Okay, an officer. How about a general?

A few laughs.

LOCKHART:

Joker, maybe you'd like our guys to read the

paper and

feel bad. I mean, in case you didn't

know it, this is not a

particularly popular war.

Now, it is our job to report the news that

these why-are-we-here civilian newsmen

ignore.

JOKER:

Sir, maybe you should go out on some ops

yourself. I'm sure you

could find a lot more

blood trails and drag marks.

Some laughs.

LOCKHART:

JOKER, I've had my ass in the grass. Can't say

I liked

it much. Lots of bugs and too

dangerous. As it happens, my present

duties

keep me where I belong. In the rear with the

gear.

DISSOLVE TO:

55 EXT. DA NANG BASE--DUSK

Rows of hootches. In the

distance, fireworks.

JOKER:

(voiceover)

Tet.

The Year of the Monkey. Vietnamese

Lunar New Year's Eve. Down in

Dogpatch, the

gooks are shooting off fireworks to celebrate.

DISSOLVE TO:

56 INT. HOOTCH--NIGHT

JOKER, RAFTERMAN, PAYBACK and the

others are in

their bunks, reading, lazing, smoking grass. JOKER

is

writing in a notebook.

JOKER:

(yawns and

stretches)

I am f***ing bored to death, man. I gotta get

back

in the sh*t. I ain't heard a shot fired in

anger in weeks.

PAYBACK:

Joker's so tough he'd eat the boogers out of a

dead

man's nose ... then ask for seconds.

Some laughs.

JOKER:

(John Wayne voice)

Listen up, pilgrim. A day without blood is like

a day without sunshine.

PAYBACK:

Shi-i--i-t! Joker

thinks the bad bush is

between old mama-san's legs.

Some laughs.

PAYBACK:

He's never been in the sh*t. It's hard to talk

about

it, man. It's like on Hastings.

CHILI:

Aw, you weren't

on Operation Hastings,

Payback. You weren't even in country.

PAYBACK:

Eat sh*t and die, you f***ing SpanishAmerican!

You

f***ing poge! I was there,

man. I was in the sh*t with the grunts.

JOKER:

(John Wayne voice)

Don't listen to any of

Payback's bullshit,

Rafterman. Sometimes he thinks he's John

Wayne.

PAYBACK:

You listen to Joker, new guy. He knows

ti ti.

Very little. You know he's never been in the

sh*t,'cause

he ain't got the stare.

RAFTERMAN:

The stare?

PAYBACK:

The thousand-yard stare. A marine gets it

after he's

been in the sh*t for too long. It's like

... it's like you've really

seen beyond. I got it.

All field marines got it. And you'll have it

too.

RAFTERMAN:

I will?

STORK:

Hey,

Payback. How do you stop five black

dudes from raping a white chick?

PAYBACK:

F*** you, Stork.

STORK:

Throw'em a

basketball.

Laughter.

They are startled by the dull boom of mortar

shells

outside.

DAVE:

Incoming.

PAYBACK:

Oh, sh*t!

CHILI:

They're outgoing.

DAVE:

That ain't outgoing!

Some closer explosions, much louder.

CHILI:

That ain't outgoing!

DAVE:

Now what I just

say?

The men grab their helmets, flak jackets and

weapons and run

outside.

RAFTERMAN:

Joker, is this for real?

JOKER:

Yes, it is, Rafterman.

57 EXT. DA NANG BASE--NIGHT

Men

running everywhere. Sirens. A mortar round

lands in the distance, then

others nearer. Fires

are breaking out.

58 INT. BUNKER--NIGHT

JOKER:

loads an M-60 machine gun, then hunches

down watching the main gate of

the perimeter.

JOKER:

Hey, I hope they're just f***ing

with us. I

ain't ready for this sh*t.

STORK:

Amen.

The sound ofa truck approaching.

The marines get set.

The truch

smashes though the gates.

The marines open fire.

The truck is hit

by a hail of automatic fire; it

explodes and starts burning.

N.V.A.

troops follow the truck through the gate.

The attackers are cut down

by a withering fire

from the marines.

The attack peters out.

People yell, "Cease fire."

The firing trails off:

DISSOLVE TO:

59

EXT. DA NANG BASE--DAWN

JOKER and RAFTERMAN walk through the wreckage

of the night's battle.

Prisoners are led past.

LOCKHART:

(voice over)

The enemy has very deceitfully taken

advantage of

the Tet ceasefire to launch an

offensive all over the country. So

far, we've

had it pretty easy here. But we seem to be

the

exception.

60 INT. SEA-TIGER OFFICE--DAWN

Dirty and still in. their

combat gear, JOKER,

RAFTERMAN, PAYBACK and the other correspondents

are slumped in, their chairs around the table.

LOCKHART:

(walking)

Charlie has hit every major military target

in

Vietnam, and hit 'em hard. In Saigon, the

United States Embassy has

been overrun by

suicide squads. Khe Sahn is standing by to

be

overrun. We also have reports that a division

of N.V.A. has

occupied all of the city of

Hue south of the Perfume River. In

strategic

terms, Charlie's cut the country in

half... the

civilian press are about to wet

their pants and we've heard even

Cronkite's

going to say the war is now unwinnable.

In other

words, it's a huge sh*t sandwich,

and we're all gonna have to take a

bite.

Long, serious pause.

JOKER:

Sir ... does this

mean that Ann-Margret's not

coming?

Laughter.

LOCKHART:

(pissed off)

Joker.... I want you to get

straight up to Phu

Bai. Captain January will need all his people.

JOKER:

Yes, sir.

LOCKHART:

And Joker, you will take

off that damn button.

How's it gonna look if you get killed wearing

a peace symbol?

RAFTERMAN:

Sir? Permission to go with

Joker?

LOCKHART:

Permission granted.

RAFTERMAN:

Thank you, sir.

JOKER:

Sir, permission

not to take Rafterman with

me?

LOCKHART:

You still

here? Vanish, Joker, most ricky-tick,

and take Rafterman with you.

You're

responsible for him.

61 EXT. HELICOPTER SHOTS--DAWN

A:

military helicopter flies past a huge sun.

62 INT. AERIAL

HELICOPTER--DUSK

JOKER Sits looking out the door.

RAFTERMAN is

frightened and airsick.

The DOORGUNNER laughs and yells as he fires

his

M-60 machine gun.

We see Vietnamese below running and falling.

DOORGUNNER:

Get some ... get some ... get some ... get

some ...

yeah ... yeah ... get some ... get

some.

After a while the

DOORGUNNER stops firing and

grins at JOKER.

DOORGUNNER:

(shouting to be heard)

Anyone who runs is a V.C. Anyone who

stands still is a well-disciplined V.C.

(laughs)

You

guys oughtta do a story about me

sometime.

JOKER:

Why should we do a story about you?

DOORGUNNER:

'Cause

I'm so f***ing good! That ain't no

sh*t neither. I've done got me

one hundred

and fifty-seven dead gooks killed. And fifty

water

buffaloes, too. Them're all certified.

RAFTERMAN gags.

JOKER:

Any women or children?

DOORGUNNER:

Sometimes.

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…

All Stanley Kubrick scripts | Stanley Kubrick Scripts

4 fans

Submitted by acronimous on March 29, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Full Metal Jacket" Scripts.com. STANDS4 LLC, 2024. Web. 25 Nov. 2024. <https://www.scripts.com/script/full_metal_jacket_70>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Full Metal Jacket

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the primary purpose of the inciting incident in a screenplay?
    A To provide background information
    B To introduce the main characte
    C To set the story in motion and disrupt the protagonist's life
    D To establish the setting