Stop-Loss Page #5

Synopsis: Decorated Iraq war hero Sgt. Brandon King makes a celebrated return to his small Texas hometown following his tour of duty. He tries to resume the life he left behind. Then, against Brandon's will, the Army orders him back to duty in Iraq, which upends his world. The conflict tests everything he believes in: the bond of family, the loyalty of friendship, the limits of love and the value of honor.
Genre: Drama, War
Director(s): Kimberly Peirce
Production: Paramount Pictures
  2 wins & 5 nominations.
 
IMDB:
6.5
Metacritic:
61
Rotten Tomatoes:
65%
R
Year:
2008
112 min
$10,796,776
Website
276 Views


and I can't take it no more.

Here's the number.

Take it.

Keep it. I got it memorized.

Another way out of this,

I would have done it.

Good luck.

Y'all hurry up, now.

You feeling all right? Yeah?

Here, let me see about you.

Oh, f***!

You told him where we were.

He's come to take me home.

I'll leave you my car, okay?

Thanks a lot.

Hey, baby.

Good morning.

Morning.

God damn, soldier.

What happened to you?

What you gonna tell Boot?

You walked into a f***ing door?

I ain't telling Boot sh*t.

Yeah, you are.

I'm here to take you back.

You ain't taking me anywhere.

Okay, tough guy.

Let me lay it out for you.

Boot said if I get you back on base

in the next 14 hours,

all charges are dropped, no stockade.

I don't need you

making deals with Boot for me.

Hey!

You don't know what I've been through

to scrape the sh*t off of your shoes.

You ought to be thanking me.

You steal my Jeep

and you run off with my girl.

That ain't how it happened.

You know that. I was trying to help him.

And that's what I'm trying to do.

This is a straight deal from Boot.

- It's what's best for him.

- What's best for me?

What's best for you, Steve?

Showing up here in your Class A's.

What kind of deal did you make

with Boot? Huh?

You took him up

on sniper school, didn't you?

God damn!

You re-enlisted?

- How could you do this?

- How could you run off with Brandon

- for three f***ing days and not call me?

- We don't call you

and you re-enlist?

That's bullshit! And you know it.

How could I not?

Michelle, it got real clear to me

that this, this is safe.

It's safe?

And when are we

getting married, Steve?

When I get back from my next tour.

When you get back?

You've been saying that to me

for five f***ing years.

It's clear you've made your decision.

This is good for me.

I got a future in this.

This is something

that I can be proud of.

Did you really see me

selling cars for Rainey?

Get out of here.

Look, I'm sorry. Hold on. Please?

- Don't.

- Please come here.

Don't.

- Please, just...

- Don't. Get out of here!

F***er, get out.

I said get out!

F***!

Did that really just f***ing happen?

F***ing motherf***er!

That was f***ed up.

What did you expect?

God damn it.

How did everything get so f***ed up?

- You, Tommy, now Michelle?

- What's wrong with Tommy?

He's too messed up, man.

I can't get through to him like you can.

He just won't listen to me.

Look, come on.

Come on. We'll go and we'll knock out

another tour, and we'll come home.

Another tour?

You're always talking

about how snakebit this war is,

how they won't let us fight it

the way we need to win it.

Now you want to go back?

That makes no f***ing sense.

Like this makes any f***ing sense?

This isn't who we are, man.

Man, look, we didn't get

through all this sh*t together

just for you to end up

like one of these AWOL shitbags.

We ain't like these guys.

We're soldiers.

We stand for something, man.

We're from Texas.

All right. Stow the Boot talk, man.

You let him talk you into going back?

That's fine. You got a right to be stupid.

Well, f*** you, man!

I did what I had to do

for the time I had to do it,

and I ain't gonna do it anymore.

You can take that back to Boot.

You're the only person

who thinks you're getting out of this!

Boot called the Senator.

He knows what you're up to.

You're AWOL, Brandon.

No senator is gonna help you.

You're done!

Steve, you know

what they're doing is wrong.

I'm not going back.

I'm fighting this thing.

Hey!

Watch your six.

Sergeant King,

I've told you several times already,

the Senator cannot see you.

Ma'am, I'm a decorated soldier.

Now, a Purple Heart and a Bronze Star

got to mean something.

I understand.

But you're a fugitive.

No U.S. official, no government official

is gonna help a soldier on the run.

Go back to your base

before you get arrested.

Tequila.

You know, it's happy hour.

You can get two for one.

Well, lucky me. Double, double.

Can I join you?

The way I see it,

Steve's married to the Army.

It's everything to him.

I can't go another year

without having him touch my face.

I can't be a military wife.

I just ain't that strong.

Well, Michelle,

you know, life is very long, and...

- Brandon.

...you're very young.

Shut up and drink.

- Yes, ma'am.

- We're both f***ed.

Same again.

All right, men. You all straighten up

and walk sober, all right?

Yes, sir.

Sergeant Shriver, the man in charge.

What are you doing

with a f***ing bottle, man?

You ain't even supposed to be drinking.

Come on, man. What are you...

Where are you going?

Over to Jeanie's.

Jeanie don't want you, dummy.

That's what a restraining order means.

Come on, Tommy.

You can stay at my house, man.

I'm gonna make it better.

Swear to God.

Just propose again.

We'll get married again.

Only thing you proposing is

to get locked up, man.

Let's get out of here.

Let's get out of here.

All right. Come on, man.

You know I ain't gonna

let you go over there. Let's go.

You talking about Jeanie?

You can't even manage

your own woman.

No, I didn't mean it like that, Steve.

Steve.

- No, seriously. No, come on.

- Tommy. Tommy!

I'm sorry.

Steve, come on. I'm sorry.

I smell a woman, and it ain't a nurse.

Then who?

Hola, Private Rodriguez.

Sergeant King!

My first visitor.

You found me.

I did.

And who?

Michelle.

Hey, Rico.

Sergeant Shriver's Michelle.

Sunny blonde hair, green eyes.

Steve showed us your picture

a million times.

Sergeant King came to see me

with his best friend's girl!

- It's a long story.

- Yes, sir, I bet it is.

Sit, man. I got time.

- Good to see you.

- It's good to see you.

- How's my mother?

- She's good. She's missing you.

Yeah. And my brothers?

They're getting big. Growing up.

- They strong?

- Seem to be.

Taking after their brother.

- Not as handsome.

- Close.

I'll let you guys talk.

- All right.

- Thanks for coming to see me.

She sounds cute.

- How're you feeling?

- Feeling good, sir.

- Just as comfy as a Humvee.

- You think?

I wouldn't have thought, but...

They taking good care of you?

First-class treatment, Sarge.

Good. So I don't have

to talk to anybody?

- No, sir.

- All right.

Nice break.

Thank you.

- That's impressive.

- Sloppy.

- What can I say?

- You're in, though.

- Come on.

- I think she's a butter face.

- Yeah?

- She's hot, but her face.

- But does she give a good bath?

- She's got some soft hands.

Well, there you go. That's what matters.

I haven't felt anything else,

but that'll change.

- Soon as I get the rest of this.

- All right.

Man, I had this thing,

like a dream, all right?

You were at the bottom

of a swimming pool,

and I dove in to try to save you.

But I couldn't.

It's okay, man.

You did save me.

I'm right here.

And seeing stuff, man?

Here, at night?

Sounds like a f***ing horror movie.

Guys screaming, nightmares...

Sarge, we got out just in time.

I mean, Haji's new bombs...

Rate this script:0.0 / 0 votes

Mark Richard

Mark Richard is an American short story writer, novelist, screenwriter, and poet. He is the author of two award-winning short story collections, The Ice at the Bottom of the World and Charity, a bestselling novel, Fishboy, and House of Prayer No. 2: A Writer's Journey Home. more…

All Mark Richard scripts | Mark Richard Scripts

0 fans

Submitted on August 05, 2018

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

    "Stop-Loss" Scripts.com. STANDS4 LLC, 2024. Web. 6 Jul 2024. <https://www.scripts.com/script/stop-loss_18924>.

    We need you!

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

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is a "character arc"?
    A The backstory of a character
    B The dialogue of a character
    C The physical description of a character
    D The transformation or inner journey of a character