A P O C A L Y P S E   N O WOriginal screenplay by John Milius.Inspired by Joseph Conrad's "HEART OF DARKNESS".This draft by Francis Ford Coppola.December 3, 1975.1  PRIMEVAL SWAMP - EARLY DAWNIt is very early in the dawn - blue light filters through the jungle and across a foul swamp. A mist clings to the trees. This could be the jungle of a million years ago.Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to the tepid water. A small bubble rises to the surface;then another. Suddenly, but quietly, a form begins to emerge; a helmet. Water and mud pour off revealing a set of beady eyes just above the mud. Printed on a helmet, in a psychedelic  hand, are the words: "Gook Killer." The head emerges revealing that the tough-looking soldier beneath has  exceptionally long hair and beard; he has no shirt on, only bandoliers of ammunition - his body ispainted in an odd camouflage pattern. He looks to the right; he looks to the left; he looks INTO CAMERA, andslowly sinks back into the swamp, disapperaring completely.Our VIEW HOLDS, We begin to HEAR natural, though unrecognizable JUNGLE SOUNDS, far off in the distance.We PAN TO REVEAL a clump of logs half submerged in theswamp; and part of what seems to be a Falstaff beer canin the mud. A hand reaches out, and the beer can disappears.As we TILT UP, we NOTICE that the log is hollow and houses the rear of a M-60 machine gun, hand paintedin a paisley design.Now the VIEW MOVES AWAY, ACROSS the ancient growth, PASTthe glimmer of what seems to be another soldier hiding inambush, wearing an exotic hat made from birds and bushes.ACROSS to a dark trail where the legs of those in blackpajamas move silently across our ever TIGHTENING VIEW.Their feet, boots and sandals leave no impression; makeno sound. A slight flicker of light reveals a pair ofeyes in the foliage across the path, waiting and watching.The VIEW PUSHES ALONG WITH the Vietnamese, MOVING FASTERAND FASTER WITH them, until suddenly, directly in frontabout ten feet away, an enormous AMERICAN clad in ragsand bushes and holding a 12 gauge automatic shotguncasually at his side, steps in front of them. He smileslaconically, and BLASTS OUT FIVE SHOTS that rip THROUGHUS. By the second shot, the whole jungle blazes out with AUTOMATIC FIRE.Out VIEW TURNS as the men around us are thrown and torn,screaming and scattering into the jungle. More AMERICANSappear; unexplainably, out of the growth. It is now thatwe fully SEE the bizarre manner in which they are dressed.Some wear helmets, others wear strange hats made fromfeathers and parts of animals. Some of them have longsavage-looking hair; other crew-cut or completely shaved;they wear bandoliers, flak jackets, shorts and little else.They wear Montagnard sandals or no shoes at all, and theirbodies and faces are painted in bizarre camouflage patterns.They appear one with the jungle and mist, FIRING INTO USas they move.The soldier we saw earlier emerges from the swamp, drippingmud, his MACHINE GUN BLASTING FIRE.We begin to move quickly with one Vietnamese, breathlesslyrunning for his life; we MOVE INTO the jungle with him,only to be impaled on a large spear of a smiling AMERICANpainted and wearing feathers like an Indian. OUR VIEWFALLS WITH him to the ground, STARING UPWARDS, as FLAMEand EXPLODING MUD scatter above us. Men scream and diearound us. The screams amid the GUNFIRE and EXPLOSIONSare piercing and terrible, as though the jungle itself isfrightened.An AMERICAN wearing a jungle hat with a large Peace Signon it, wearing war paint, bends TOWARD US, reaching downTOWARD US with a large knife, preparing to scalp thedead.OUR VIEW MOVES AWAY, along with the running sandals of aVietnamese soldier, MOVING FASTER AND FASTER, only to bestopped by still another of the savage-looking AMERICANSwith primitive ornamentation, wearing only a loin-clothand green beret. He opens his flame-thrower directly ON USand the NVA soldier and we are incinerated in flame,bright psychedelic orange-red flame. Outrageous, loud,electric ROCK MUSIC OVERWHELMS the SOUNDTRACK :MAIN TITLE : APOCALYPSE NOW2  TITLE SEQUENCEThe CREDIT TITLES proceed as the FLANE CONSUME US, growing more intense, brighter, more vivid, purifying;transforming into an intense white heat that we can barelylook at, like the sun itself.Then it EXPLODES, breking apart, and shattering onceagain. It begins to cool, as the TITLES CONTINUE. Itis as though WE ARE MOVING through the white center ofcooling flame, forming a spinning web, and becoming moredistant. The TITLES CONTINUE.We are MOVING TOWARD planetary nebulae; MOVING through thestars; MOVING closer to the Earth. We can BARELY HEAR theMUSIC  now.We MOVE CLOSER to the earth; beautiful, covered in clouds,as though SEEN from a satellite. The TITLES CONTINUE.We are MOVING CLOSER to the earth; through the soft clouds,close enough that we can MAKE OUT the Western Hemisphere;CLOSER to North America; CLOSER, to America, then California;Los Angeles, STILL CLOSER to the odd, finger-likeshapes of :3  EXT. MARINA DEL REYThe VIEW finally SETTLES ON a partically luxury cabincruiser harbored at a particular dock late in the day.It is large, pleasure boat: The people are relaxing inbathing suits and towels and robes. They are drinkingcocktails, and snapping pictures. The boat belongs to thehead of a large American Corporation, and this is hisparty. This man, CHARLIE, is sitting, his shirt off tocatch some of the late sun. Others have their facessmeared with white suntan oil that reminds us of warpaint. Charlie is going on and on :CHARLIE... It's crazy -- sugar is up to200 dollars a ton -- sugar !LAWYERWhat about oil ?CHARLIEFood, oil --look, let me show yousomething. This is the economy ofthe United States in two years --He takes a newspaper, draws a circle.CHARLIE(continuing)This is West Germany.(he draws another, bigger circle)This is Japan.(another , bigger)This is Italy.(a dot)This is Iran.(a very big circle)And this is Saudi Arabia... Intwo years ?(a gigantic circle)Do you understand ?ACCOUNTANTWhat's to prevent it ?CHARLIEMaybe nothing. But I'll tell you,I didn't build a two-billion-dollarcompany in the last twenty yearsby doing nothing. We can protectour interests.(pause, for a drink)We are still the most powerfulnation in the world. Militarily.He leans to his associates, in a half-whisper.CHARLIE(continuing)You know bodyguard; he was acaptain in Viet Nam. You talk tohim, except he won't talk. Thiskind of man can kill you with hispinky. A nice quiet fella, though.The VIEW BEGINS TO PULL AWAY from this group.CHARLIE(continuing)Carries a attache case at alltimes. You know what's in it ?(another sip)An Ingram Machine pistol.Gradually, Charlie's voice softens as we MOVE AWAY, and aNEW VOICE, the voice of someone thinking, COMES IN OVER it :CHARLIEWILLARD (V.O.)I don't tahe chances, andBullshit. You can killneither should this country.with the ridge of yourIf we're strong, we shouldhand to the throat; youprotect our interests, andcan crush a skull withwe should have the respectyour knee... but youof the world, even if itcan't kill anybody withtakes another war.your pinky.The VIEW MOVE ALONG the guests of this small party :Pictures being taken, some people are swimming. It is thegood life. Now WILLARD'S VOICE TRACK DOMINATES.WILLARD (V.O.)The attache case has been emptyfor three years, but it makes himsafe to think there's a machinepistol in it.I don't like automatic weapons.They jam.I saw a friend of mine getripped open because he flicked hisM-16 to automatic, and it jammed.How much money did the contractorsmake on the M-16 ?Our VIEW IS MOVING through the people on the boat; somereading, flirting, drinking.WILLARD (V.O.)(continuing)He likes to hear stories about Nam.I tell him I can't; they're notcleared. The truth is he wouldn'tunderstand.We can now SEE A MAN with his BACK TO US, looking theopposite way. An attache case resting near to him. WeMOVE CLOSER.WILLARD (V.O.)(continuing)There's no way I can tell them...what really happened over there.I wouldn't've believed it ifsomeone'd told me.We are now RESTING on his back. Occasionally, he sipsfrom a beer, but we cannot see his face.WILLARD (V.O.)(continuing)There was only one part thatmattered -- for me, anyway. Idon't even know if I rememberall of it. I can't rememberhow it ended, exactly -- becausewhen it ended I was insane.DISSOLVE TO :4  EXT. A STREET IN SAIGON - DAYA Saigon boom street in late 1968. There are bars andshops for servicemen; the rickshaws, the motorbikes.Our VIEW MOVES TOWARD one particular officer; B.L.WILLARD , in uniform, a Captain of the Airborne, followedby four or five Vietnamese kids trying to shine hisshoes and sell him things.WILLARD (V.O.)But I know how it startedfor me -- I was on R. and R.in Saigon; my first time southof the DMZ in three months. Iwasn't sure, but I thought thisguy was following me.Willard looks back.5  HIS VIEWan American CIVILIAN.6  MED. VIEWWillard ducks into a bar.7  INT. THE SAIGON BAR - DAYNot much in this place -- a bar, linoleum flooring, a fewtables and chairs, and a juke box. The lounge is fairlycrowded. Willard takes off his cap and walks quietlypast the soldiers at the bar. Some of them, catchingsight of his ribbons, stop talking as he moves by.An INFANTRY CAPTAIN enters the bar, buys a couple ofdrinks and approaches Willard's table.CAPTAINHow about a drink ?WILLARDSure, thanks.He sits down at the table with the drinks.CAPTAINWinning the war by yourself.WILLARD(he calls for the waiter)Part.CAPTAINWhich part is that ?WILLARDMy part.(TO THE WAITER)Beer, with ice and water.CAPTAINThat's good gin.WILLARDI'm sure it is, but I had hepatitis.CAPTAINDelta ?WILLARDNo.CAPTAINNorth ?WILLARDYeah. Way north.CAPTAINWhat unit were you with ?WILLARDNone.CAPTAINRangers, eh?WILLARDSort of.The JUKE BOX starts BLARING. Annoyed , Willard looks overhis shoulder.CAPTAINWere you Longe Range Recon --WILLARDNo -- I worked too far north forLRRP.He reaches into his shirt pocket for a cigarette, and theCaptain leans over the table to light it for him. Willardnotices the CIVILIAN on the street has glanced in the bar,then enters and sits down at a table by the doorway.CAPTAINThat's quite an array of ribbons...WILLARDLet's talk about you.CAPTAINI was an FO for the 25th.WILLARDTracks ?CAPTAINYeah.WILLARDFat. That's real fat.CAPTAINSometimes.WILLARDAt least you always have enoughwater. How many gallons doeseach one of those damn thingscarry ?CAPTAINThirty -- sometimes fifty.WILLARDYou know, I can remember once,getting back below the DMZ -- andthe first Americans we ran intowere a track squadron. I justcouldn't believe how much waterthey had. We'd been chewingbamboo shoots for almost a week,and before that, for two weeks,we'd been drinking anything --rain water, river shit, stuffright out of the paddies. Andthere were these guys standingby their trucks spilling waterall over. I could've killed them.(solemnly)I swear to God I would have, too,if ...CAPTAINI didn't know we had units upthere in North Vietnam.WILLARDWe do.CAPTAINHow long were you up there ?WILLARDA long time.CAPTAINA year ? Waiter another beer.WILLARDI go up on missions. ListenCaptain, buy me all the beeryou want, but you better tellthat asshole over there you'renot going to find out anymoreabout me.Willard glances over his shoulder and indicates theCivilian. The Civilian is given a sign by the Captain.He rises and comes over to the bar.WILLARD(continuing)What do you want ?CIVILIAN(indicating the Army jeep)If you're B.L. Willard, 4th ReconGroup, we'd like you to come withus.WILLARDWhose orders ?CAPTAINHeadquarters 11 Corps -- 405thA.S.A Battalion -- S-2 --Com-Sec -- Intelligence --Nha Trang.WILLARDWho are you ?CIVILIANThe agency.Willard looks at the Civilian a moment, and then walksroght out toward the jeep without saying another word.The Civilian follows.8  EXT. HELICOPTER - DUSKA darkly painted "HUEY" ROARS over low paddies and junglebefore emerging onto an open plain. It crosses a barbedwire and sand-bagged perimeter and lands in a heavilyfortified, concealed compound.WILLARD (V.O.)They took me to some place outsideNha Trang... Intelligence Headquartersfor all operations in South East Asia.I'd worked for Intelligence before --Armed men jump from the Huey -- among them Willard. Alarge camouflaged cover is moved, revealing an undergroundcorridor -- they enter.9  FULL SHOT - UNDERGROUND PLOTTING ROOMA door swings wide -- Willard steps through and comes toattention, blocking the view of the room. A strangereddish light pervades. The room is covered with plasticmaps and filled with smoke.The whole place has been hewn out of the ground itselfand there is a sense of the cut-back jungle growth slowlyreclaiming it.WILLARDCaptain B.L. Willard, G-4 Headquarters,reporting as ordered, sir.COLONEL (O.S.)Okay, Willard, sit down.Willard sits in a chair that is set in a center of abare concrete floor. Across from him, around steel desksand tables sit several men. The nearest one, a COLONELputs his cigar out on the bottom of his shoe -- behindhim sits a MAJOR and a seedy-looking CIVILIAN.COLONELHave you ever seen this officerbefore, Captain Willard ?He points to the Major.WILLARDNo, sir.COLONELThis gentleman or myself ?WILLARDNo, sir.COLONELI believe on your last job youexecuted a tax collector in Kontum,is that right ?WILLARDI am not presently disposed todiscuss that, sir.MAJORVery good.He turns to the Colonel and nods his approval. TheColonel gets up and goes to a large plastic map.COLONELYou know much about about Special Forces;Green Berets, Captain ?WILLARDI've worked with them on occasionsand I saw the movie , sir.The officer smiles at this.COLONELThen you can appreciate Command'sconcern over their -- shall we say'erratic' methods of operation.(pause)I have never favored elite units,Captain, including your paratroopersor whatever. Just because a manjumps out of an airplane or wearsa silly hat doesn't give him anypriviliges in my book -- not inthis man's army.MAJORWe didn't need 'em in Korea --no sir, give me an Ohio farm boyand an M-1 Garand, none of thisfancy crap -- no sir.CIVILIAN(stopping him)Major.COLONELWe have Special Forces Adetachments all along theCambodian border. Two here andanother one here -- twelve orfourteen Americans -- prettymuch on their own; they trainand motivate Montagnard natives;pick their own operations. Ifthey need something, they call for it, and get it withinreason. What we're concernedwith is here.10  CLOSE VIEW - ON THE MAPCOLONELThe A detachment at Nu Mung Ba.It was originally a larger base,built up along the river in anold Cambodian fortress.The area has been relativelyquiet for the past two years --but --11  MED VIEWCOLONEL... Captain, we know something'sgoing on up there -- Major --The Major looks at some papers in front of him.MAJORCommunications naturally dwindledwith the lack of V.C. activity,this is routine, expected ... butsix months ago communicationvirtually stopped.COLONELAbout the same time -- large numbersof Montagnards of the M'Nong descentbegan leaving the area -- this initself is not unusual since thesepeople have fought with the RhadeTribe that lived in the area forcenturies. But what is unusual isthat we began to find Rhade refugeestoo -- in the same sampans as theM'Nongs. These people aren't afraidof V.C. They've put up with warfor twenty years -- but somethingis driving them out.MAJORWe communicate with the baseinfrequently. What they call forare air strikes, immediate --always at night. And we don'tknow what or who the air strikesare called on.WILLARDWho ?MAJORYou see, no one has really goneinto this area and come back alive.WILLARDWhy me ?MAJORWalter Kurtz, Lieutenant Colonel,Special Forces. We understandyou knew him.He puts Kurtz' dossier in Willard's hand.WILLARDYeah.COLONELHe's commanding the detachmentat Nu Mung Ba.The Colonel gets up and walks over to a tape recorder,flicks it on. The recording is first STATIC -- theAIR CONTROLLER then asks for more information on targetcoordinates -- it all sounds very routine, military.Then a frantic VOICE comes on, talking slurred, likesomeone dumb, except very fast.VOICE (ON TAPE)Up 2 -- 0 -- give it to me quick --Mark flare -- affirmative damn --Immediate receive -- hearingautomatic weapons fire man ...GUNFIRE is HEARD and a lower, slower VOICE in background.SECOND VOICEBlue Delta fiveThis Big Rhine -- threeNeed that ordinance immediatelyGoddamn give it to me immediateChrist -- Big Rhino --Blue God -- Delta damn -- goddamn.A heavy BURST of AUTOMATIC WEAPONS FIRE -- INSANE LAUGHTER-- STATIC, and faintly, very faintly we HEAR HARD ROCKMUSIC -- more STATIC -- suddenly a low, clear VOICEpeaceful and serene, almost tasting the words.THIRD VOICEThis is Big Rhino six -- Blue Delta.MAJORThat's Colonel Kurtz.KURTZ (V.O.)I want that napalm dropped in thetrees -- spread it among thebranches.We'll give you a flare -- anorange one -- bright orange.(STATIC)We'd also like some white phosporous,Blue Delta. White phosporous, giveit to me.STATIC interrupts -- the Major turns the machine off.WILLARDI only met Kurtz once.CIVILIANWould he remember you ?WILLARDMaybe.COLONELWhat was your impression of him ?Willard shrugs.CIVILIANYou didn't like him.WILLARDAnyone got a cigarette.The Major offers him one; they wait as he lights up, thinks.WILLARD(continuing)I thought he was a lame.COLONELA lame ?WILLARDThis is years ago, before hejoined Special Forces, I guess.We had an argument.COLONELAbout what ?WILLARDI don't know. He was a lame,that's all.COLONELBut why ?WILLARDHe couldn't get through asentence without all thesebig words; about why we kill.COLONELWell, he's killing now.WILLARDMaybe.CIVILIANWhat does that mean ?WILLARDMaybe it's not Kurtz. I don'tbelieve he's capable of that.I just don't believe it.COLONELIt's got to be Kurtz.CIVILIANThe point is that Kurtz orsomebody attacked a SouthVietnamese Ranger Platoon threedays ago. Last week a Reconhelicopter was lost in the area --another took heavy damage --direct fire from their basecamp.WILLARDOur Recon flight ?CIVILIANOurs.WILLARDTouchy.CIVILIANYou can see, of course, theimplications, if any of this --even rumours leaked out.WILLARDYou want me to clean it up --simple and quiet.CIVILIANExactly -- you'll go up theNung River in a Navy P.B.R. --appear at Nu Mung Ba as if byaccident, re-establish youracquintance with Colonel Kurtz,find out what's happened -- andwhy. Then terminate his command.WILLARDTerminate ?CIVILIANTerminate with extreme prejudice.12  FULL VIEW - ON THE DELTAA waterway leading out to the ocean -- it is broken anddivided into hundreds of channels, islands, water farms.A Navy patrol boat (P.B.R.) is waiting by a dock area.This is small, light craft, very fast, and heavilyarmed. Its men stand at attention in a small and simplemilitary ceremony. Willard approaches them in battle-dress: Tiger suit, full field pack, forty-five, helmet,M-16. The boat commander salutes Willard.13  MED. VIEWWe hear the introductions faintly, UNDER Willard's VOICE.WILLARD (V.O.)I met the P.B.R. crew; they werepretty much all kids, except forPhillips, the Chief -- Gunner'sMate Third Class L. Johnson --Lance Johnson; Gunner's MateThird Class J. Hicks -- The Chef --Radio Operator Second Class T.Miller; they called him Mr. Clean.WILLARDChief, try to keep out of wherewe're going -- Why we're goin' andwhat's gonna be the big surprise.CHIEFAll right with me, I used to drivea taxi.WILLARDLet's go.The Chief nods.  They all break formation and jump aboardand otherwise go about their work.The twin diesels kick up -- and t he boat moves away fromthe dock. The Chef jumps aboard; Lance mans the forwardtwin fifty-caliber machine guns -- they wave to the guardson the dock and move away into the complexity that leadsto the ocean.DISSOLVE TO :14  FULL VIEW - STORMY SEAThe boat slams through the heavy sea ; hurtling off thetop of a wave and crashing full into the trough of another.15  MED. SHOT - BOAT COCKPIT - WILLARD AND CHIEFWillard holds on to whatever he can -- he looks very pale.Water crashes over the bow and drenches everyone. TheChief mans the wheel and the ENGINES WHINE. Lance climbsback from his position. He looks at Willard, who juststares ahead into space, swallowing.DISSOLVE TO :16  LONG SHOT - BOAT DUSKThe dusk is spectacular through the broken storm clouds --the sea is calm again.DISSOLVE TO :17  VIEW ON THE BOAT - PROCEEDING UP THE COASTThe Chief is at the helm -- Willard approaches him.CHIEFThe Delta closes off to us aboutten  miles out of Hau Fat. We'llbe able to pick up some supplies --bit I think there are only twopoints we can draw enough waterto get into the Nung River. It'sall Charlie's turf from there onout.WILLARDWe're gonna have some help toget in the river. You knowthese waters, Chief ?CHIEF'Bout six months ago I took a manup to Lo Mung Bridge. He wasregular Army too. Shot himselfin the head. I brought his body back down.WILLARDShot himself. What for ?CHIEFBeats me -- the sun was too muchfor him, or the mud. Who knows ?Pause, looking at Willard.18  CLOSE SHOT - ON WILLARDSuddenly, his attention is diverted -- there is a slowbuffeting, as if the air around them is being sucked outand replaced quickly. The boat shakes slightly. Thereis a distant ROLLING NOISE like interrupted thunder. Allthe men have stopped whatever they're doing -- stand upand look out toward the shore and the green jungle hillsbeyond. The buffeting and NOISE CONTINUES -- they allstand silently -- suddenly it stops.WILLARDArch light.CHEFI hate that -- Every time I hearthat noise something terrible happens.CHIEFAnybody see some smoke ?CLEANToo far inland.LANCEThere they are.He points up to the sky.19 FULL SHOT - ON THE SKYWay up -- past any clouds and barely discernible, we SEEthe black silhouttes of four B-52 bombers, their vaportrails streaming white against the dark blue sky.CLEANCharlie don't ever hear 'em. Nottill it's too late -- don't haveto hit you neither, concussion'lldo it for a quarter mile or better.Burst your ears -- suck the airoutta your lungs.20  FULL SHOT - BOAT - CREWThey are looking up. Willard sits down, unconcerned.He takes out the dossier given him by ComSec. Heflips through the letters and other documents.WILLARD (V.O.)The dossier on A detachment hadletters from Kurtz' wife and thewives and families of his men.All asking where to send futuremail, understanding the necesserysilence due to the nature oftheir work -- None of the men hadwritten home in half a year.Occasionally, in the b.g., we FEEL the terrifying buffetingof the distant B-52 BOMBING.21  CLOSE - ON WILLARDstudying, examining a report.22  MONTAGE - PICTURES OF KURTZKurtz' face evolves through the various stages of hiscareer as represented in the pictures in the dossier,as Willard reads :WILLARD (V.O.)Lieutenant Kurtz has shown adedicated and well-disciplinedspirit. He is a fine officer,combining military efficiency --with a broad background in theHumanities, the Arts and Sciences ...Another picture of Kurtz in Germany, standing next to the161st Petroleum Supply Group sign.WILLARD (V.O.)(continuing)... He views his military careeras the dedication of his talentsto bringing our values and way oflife to those darker, lessfortunate areas in the world.A SHOT of Kurtz at jump school.WILLARD (V.O.)(continuing)... I feel Captain Kurtz' requestfor Special Forces training ishighly unusual in regard to hispast humanitarian concerns, andhis somewhat liberal politics,though I can see no reason todeny it.A CLOSE SHOT of Kurtz with Green Beret on in the Vietnamjungle. His face is blank and vacant.WILLARD (V.O.)(continuing)... We feel Major Kurtz' need tobring a sense of Western cultureto the backward peoples of theseareas will be of use inaccordance with our 'Vietnamization'programs ...MOVE IN TO Kurtz' empty eyes until the photograph is justa BLURRED MASS OF DOTS.DISSOLVE TO :23  EXT. HAU FAT - AN ADVANCE STAGING AREAWILLARD (V.O.)One day later we came to anadvanced staging area along thecoast. This was our last chanceto pick up supplies beforeapproaching the mouth of theNung River.The VIEW OF THE COASTLINE leading up along the long load-ing docks at Hau Fat, an advance staging area for opera-tions "Brute Force" and "Mailed Fist."Everywhere are tents -- oil drums -- sandbagged bunkers --helicopters -- tanks -- guns -- men. Nobody buildsadvanced staging areas like the Americans.As the P.B.R. approaches the docking area, Lance noticessomething.LANCEHey.They look as a Chris-craft speeds by pulling a fancy water-skier who waves as he slaloms by. The men just look atone another.24  VIEW ON THE DOCKThe P.B.R. pulls in -- the men scan the busy surroundings.CHIEFLance -- I want you to go with theCaptain an' get three extra drumsof fuel and maybe scrounge somemore 50 caliber.LANCEYeah -- look at those uniforms.25  FULL SHOT - PARADE GROUNDS - TROOPSA platoon drills in the hot, lazy sun; they are clean andpale, in contrast to Lance and the others, just off theairplane.CHIEFPoor bastards, have a long yearto go.The troops turn and march TOWARD US with six weeks ofAdvanced Infantry Training to back them up.26  FULL SHOT - DOCK - P.B.R. - CREWThey are tying up at the dock -- a young SERGEANT is fill-ing cut papers concerning them and talking with Willard.SERGEANTI don't know anything about thesepapers, sir.WILLARDThey're in order -- it's perfectlyclean -- just check with ComSec-Intel like I said.SERGEANTWell, you know I don't have thepriority to do that, sir. Itsays here not to contact Com-Sec-Int. Who's your commanding officer ?WILLARDRight now -- I am.SERGEANTWell who the hell verifies that ?WILLARDI do.He signs it quickly, leaving the Sergeant totally confused.CHIEFNo shit -- what's all the activityfor around here ?SERGEANTThe show --WILLARDWhat show ?SERGEANTBig show in the parade groundsthis noon -- some boss stuff --WILLARDThis -- Bob Hope or the like --SERGEANTNo sir, I think -- this'll be alittle bit different --CHIEFWhere's it gonna be ?He points --27  FULL SHOT - PARADE GROUNDS - PEDESTALA large, well-built pedestal has been erected -- this issurrounded by a deep moat filled with punji stakes andgarnished with concertina wire. It is empty --DISSOLVE TO :28  FULL SHOT - PARADE GROUNDS - TROOPSThe entire area around the pedestal and right up to thewire is mobbed with seething American fighting men. Someof these boys have just gotten here -- others have been inthe jungle for months. All have one thing in common, tosee and if possible grab an American girl. Their need farsurpasses that of the run-of-the-mill rapist, pervert,or child-molester. To counter their need of course arethe moat, punji stakes and barbed wire -- but implementingthis are seven "riot control positions" equipped with thelastest in teargas launchers, attack-trained German shep-herds and assorted psychological warfare aides. Even soarmed, the great mass of wild men are right up to the wire.29 FORWARD AREAjammed in the crowdCHEFIt's really too much -- I meanI've collected every picture ofher since she was Miss December.CLEANYeah -- you can really get hungup on them like the cat in theDelta.CHIEFWhat cat  ?CLEANOne that went up for murder -- hewas an Army Sergeant.CHIEFI never heard about that.CLEANYeah -- he really dug his Playboymag, man -- I mean like he was therewhen it arrived -- He just knew.CHEFSo what happened ?CLEANHe was working A.R.V.N. patrolsand had one a them little cockygook asshole Lieutenants -- anyhow,the Lieutenant took his new Playboyone day, sat on the end of the dock,and wouldn't give it back.CHEFYeah -- typical A.R.V.N.CLEANThen went too far -- he satthere and starts mutilating thecenterfold. Poking pins in her an'all that. Sergeant says, don't doher like that. You leave yourshitty little hands off that girl.Gook Lieutenant says Fuck you inVietnamese -- Sergeant says, don'tdo that again. You'll wish youhadn't. Then he stood up, flickedhis iron to rock and roll and gavethe little zero a long burstthrough the Playboy mag. Man, itblew him clean off the dock --Hell, just the magazine was floatin'there all full of holes.CHIEFThey nail him for it bad ?CLEANHe's in the L.B.J. -- didn'tgive him no medals or nothing --In the b.g., we begin to HEAR a SWELL of TWO THOUSANDMALE VOICES; the ENGINES of four helicopters approaching.All heads turn skywards while one descends onto thepedestal kicking up a lot of dust and general resentment.On the nose amd doors of the black Huey are painted largePlayboy rabbits. Finally the blades are trimmed and astrange silence descends over the men. The door of thecopter slides partially open -- two young Green Beretsstep out with M-16's to varied catcalls. When thisabates a young, extremelly well-dressed man emerges. Heis the epitome of a Hollywood AGENT. Hair is combedimpeccably and free of dandruff -- clothes are formalbut hip -- shoes are shined -- Quite some dude -- hispresence causes some stirring but seems to strangelyquiet the man.He walks over to the microphone.AGENTI'd like to say hello from all ofus up here, to all of you out there.All of you who've worked so hardduring Operation Brute Force --Paratroopers -- Infantry -- Airmen-- Medics -- Marines -- and Sailors.And I want you to know that we feelproud of you and know how hard yourjob is. To prove it -- we've broughtsome entertainment we think you'regonna like: The Playmate of the Yearand her two runners up !He pulls open the door and three unbelieveably beautifulsex playmates in fringed go-go outfits leap out and startdancing to the Creedence Clearwater Revival singing"Suzy Q."30  MONTAGE ON THE GIRLS AND MENVARIOUS SHOTS as the girls dance in an incredibly eroticmanner -- smiling.The faces of the G.I.'s pass -- their jaws drop -- somelook almost horrified. Chef is hypnotized -- Mr. Cleancries. Chief mouths unspoken obscenities with sentimentaltenderness.Others grab the air in front of them. With each movementtheir need increases by the square.31  FULL SHOT - PEDESTAL - GIRLS - MENThey crush forward starting to scream -- men fall on thewire -- the guards in the "riot control positions" forget-- the attack dogs are trampled. The mob as one surgesforward onto the wire. Men scream and fall into the moat,which is filling up fast. The Agent sees this all as hehas seen it before. He casually pulls the pin of a smokegrenade; the girls retreat into the copter -- he follows,then the two Green Berets. The ROTARS WHINE -- the blackPlayboy Huey lifts off just as the first crazed men reachit. They grab frantically for the wheels, but miss. TheHuey wheels up into the blue sky, leaving them all below.Such are the ways of war.CUT TO:32  EXT. FULL VIEW - DAYThe P.B.R. moving further up the primitive coastline.There are few signs of civilization; no villages, noboats -- just the overwhelming presence of the jungle.WILLARD (V.O.)Two days out of Hau Fat, there wasnothing but us and the coastline.I felt like I had set off forthe center of the earth...Suddenly, Chief looks out, ahead.CHIEFSmoke !WILLARDWhere ?They all turn. Chief points up the coast.33 FULL SHOT - THE COASTLINEA thick train of black smoke rises from the green jungle.WILLARDBlack smoke ... secondary burning.The Chief grabs field glasses.CHIEFYeah -- fishing village --helicopters over there. Hueys,lots of 'em.WILLARDFirst Air Cavalry. They're theones gonna get us into the River.34 FULL SHOT - THE BEACH AND VILLAGEA vast field of devastation -- smashed and smoking palmtrees -- deep, ragged craters -- gutted and burning huts-- shattered sampans and bodies washing around in thesurf.35  MED. SHOT - BEACH - WILLARD AND CREWThey wade through the water to the beach where they aremet by a heavily armed group of men.Overhead jets swoop by FIRING ROCKETS, the NOISE drowningout Willard's attempt at conversation with some of the men.We can't hear any of the talk, but we notice that theSergeant turns up to a particular Huey, and points to it.36  FULL SHOT - HELICOPTERSThree Hueys swoop in low -- they are heavily laden withmachine guns -- rockets and loudspeakers. The two out-side copters hover, while the center copter lands, raisinga lot of dust. It cuts its rotors and the other copterspull up and off to the side. Two armed soldiers jumpfrom the doors and stand with guns ready. Then a tall,strong looking man emerges. He wears a well-cut andneatly-stretched tiger suit. It is COLONEL WILLIAM KILGORE-- tough looking, well-tanned, with a black mustache.He crouches over, holding his hat in the rotor wash. Itis no ordinary hat but a L.A. Dodgers baseball hat. Hewalks out, and then stards to his full immense height andwith his hands on his hips he surveys the field of battle.His eyes are obscured by mirror-fronted sunglasses.KILGORE(bellowing)Lieutenant: Bomb that tree lineback about a hundred yards -- giveme some room to breathe.A Lieutenant and radio man nod and rush off.37  CLOSE VIEW ON WILLARDHe was not quite prepared for this.38  VIEW ON KILGOREturning to his GUARDSKILGOREBring me some cards.GUARDSir ?KILGOREBody cards, you damn fool --cards !The soldier rushes over and hands him two brand newpackages of playing cards wrapped in plastic. Two othersoldiers get out of the copter and walk over. They arewell-tanned and carry no weapons. They seem more casualabout the Colonel than anyone else. The Sergeant walksup, leading Willard, the Chief and Lance.WILLARD(formally)Captain B-L. Willard, sir -- 4thRecon Group -- I carry prioritypapers from Com-Sec Intelligence11 Corp -- I believe you understandthe nature of my mission.KILGORE(not looking up)Yeah -- Na Trang told me toexpect you -- we'll see what wecan do. Just stay out of my waytill this is done, Captain.He cracks the plastic wrapping sharply -- takes out thedeck of new cards and fans them. The Colonel stridesright past Willard with no further acknowledgement. Theothers follow,39  TRACKING VIEWThe Colonel walks through the shell-pocked field ofdevastation. Soldiers gather around smiling; as Kilgorecomes to each V.C. corpse he drops a playing card onit -- carefully picking out which card he uses.KILGORE(to himself)Six a spades -- eight a hearts --Isn't one worth a Jack in thiswhole place.The Colonel goes on about this business.40  TRACKING ON KILGOREmoving through the corpses, dropping the cards.On of the two tanned soldiers rushes up and whisperssomething to him. He stops.KILGOREWhat ? Here. You sure?The soldier points to Lance, who immediately puts downthe card he was holding. Kilgore strides over to theyoung man, who almost instinctively moves closer tWillard.KILGORE(continuing)What's your name, sailor ?LANCEGunner's Mate, Third Class --L. Johnson, sir.KILGORELance Johnson? The surfer?LANCEThat's right, sir.Kilgore smiles -- sticks out his hand.KILGOREIt's an honor to meet you Lance.I've admired your nose-riding foryears -- I like your cutback, too.I think you have the best cutbackthere is.LANCEThank you, sir.KILGOREYou can cut out the sir, Lance --I'm Bill kilgore -- I'm a goofyfoot.41 VIEW ON WILLARDHis entire, top priority  mission has been put in thebackground.KILGORE (O.S.)This is Mike from San Diego andJohnny from Malibu -- they're goodsolid surfers -- none of us areanywhere near your class, though.Lance blushes, sort of mumbling thanks.WILLARDMy orders are from Com-SecIntel -- B.L. Willard, 4th Recon --KILGOREJust hold up a second, Captain --I'll get to you soon enough --We've got things to do here.Willard eats it, for now. Kilgore puts his hand onLance's shoulder, and continues flipping the cards in-discriminately on the bodies as they talk.KILGORE(continuing)... we do a lot of surfing aroundhere. Like to finish up operationsearly and fly down to Vung Tau forthe evening glass. Have you eversurfed the point at Vung Tau? Iliked the beach breaks around NaTrang a lot -- good lefts.He passes a twisted gun emplacement with about fivebodies -- sprinkles cards all over them.KILGORE(continuing)... we keep three boards in myCommand Huey at all times. Younever can tell when you're gonnarun into something good. I got aguy in Cam Rau Bay that can predicta swell two days in advance. Wetry to work it in.He stops at a particularly wild-looking Viet Cong whohas died with his mouth agape -- staring wild-eyed inhorror at the sky. Kilgore pauses.KILGORE(continuing; to himself)Hell, that's an Ace if I ever sawone.He puts the card in the gaping mouth.42  CLOSE VIEW OVER THE VIET CONGWe SEE the Colonel and the others walk off -- the deadViet Cong and card are in the immediate f.g. The cardhas the shield of the CAV printed bautifully, and aboveit the motto: DEATH FROM ABOVE.KILGOREWhere've you been riding, Lance?LANCEI haven't surfed since I got here.KILGOREThat's terrible -- we'll change that -- I'd like to see you work --I've always liked your cutback;got a hell of a left turn, too.DISSOLVE TO :43  EXT. THE HELICOPTER - MED. SHOTWillard is sitting with Kilgore on acouple of chairs bya table set up in front of the command copter.Everywhere we SEE armed men, sandbags, barbed wire, oildrums etc. Hueys are constantly ROARING over. ARTILLERYBOOMS in the far distance. Kilgore looks at the map.KILGOREWhy the hell you wanna go upto Nu Mung Ba for?WILLARDI got bored in Saigon.KILGOREWhat's the furthest you beenin?WILLARDHaiphong.KILGOREHaiphong? Shit, you jump in ?WILLARDNo. Walked.KILGOREWhat'd you do for supplies?WILLARD(he shrugs)Mercenaries -- agents, traitors --they put out caches.KILGORECan you trust them?WILLARDNo. They put out two or threefor every one I needed. Whenyou get to the one you'll use,you just stake it out. Ifsomething feels wrong, you justpass it up. On one mission, Ihad to pass up three and endedup living on rats and chocolate bars.KILGORENu Mung Ba. Last I heard, WalterKurtz commanded a Green Beretdetachment at Nu Mung Ba.WILLARDWhen did you hear?KILGORE'Bout a year ago? Is Kurtzstill alive?WILLARDWho knows.KILGORESeems to me he got himselffragged. i heard some gruntrolled a grenade in his tent.Maybe a rumor. Helluva man --remarkable officer. WalterKurtz woulda been a Generalsome day. General of the Army.Shit, Head of the Joint Chiefsof Staff. Did you knew Kurtz?WILLARDI met him.KILGOREDon't you agree?WILLARDHe musta changed !(pointing to the map)I got to get into the NungRiver, here or here.KILGOREThat village you're pointing atis kinda hairy.WILLARDHairy ?KILGOREI mean it's hairy -- they got somepretty heavy ordnance, boy --I've lost a few recon ships inthere now and again.WILLARDSo? I heard you had a good bunchof killers here.KILGOREAnd I don't intend to get some ofthem chewed up just to get yourtub put in the mouth of thegoddman Nung River. You say youdon't know Kurtz?WILLARDI met him.KILGOREYou talk like him. I don'tmind taking casualties,Captain, but I like to keepmy ratio ten to one in thisunit -- ten Cong to one.WILLARDYou'll find enough Cong up there.KILGOREWhat about this point here?He puts his finger on the map.KILGORE(continuing)What's the name of that goddamnvillage -- Vin Drin Dop or Lop; damn gooknames all sound the same.He motions to one of his surfers.KILGORE(continuing)Mike, you know anything aboutthe point at Vin Drip Drop?MIKEBoss left.KILGOREWhat do you mean?MIKEIt's really long left slide,breaks on the short side of thepoint -- catches a south swell.LANCENice.Willard looks at Lance -- then at Kilgore.KILGOREWhy the hell didn't you tell meabout that place -- a good left.(to Willard)There aren't any good left slidesin this whole, shitty country.It's all goddamn beach break.MIKEIt's hairy ,though. That'swhere we lost McDonnel -- theyshot the hell out of us. It'sCharlie's point.KILGOREHow big it is?MIKESix to eight feet.Kilgore gazes out across the parked helicopters.KILGORE(to himself)A six-foot left.Willard nudges Lance -- who gets the idea.LANCEBoss. What's the wind like.MIKELight off shore -- really hollow.WILLARDWe could go in tomorrow at dawn-- there's always off-shore windin the morning.CHIEFThe draft of that river might betoo shallow on the point.KILGOREHell, we'll pick your boat up andlay it down like a baby, rightwhere you want it. This is theCav boy -- airmobile. I cantake that point and hold it aslong as I like -- and you canget anywhere you want up thatriver that suits you, Captain.Hell, a six foot left.(he turns to an advisor)You take a gunship back to division-- Mike, take Lance with you -- lethim pick out a board, and bring memy Yater Spoon -- the eight six.TOMI don't know, sir -- it's -- it's --KILGORE(hard)What is it?TOMWell, I mean it's hairy in there-- it's Charlie's point.Kilgore turns and looks to Willard, exasperated.WILLARDCharlie don't surf.44  FULL SHOT - HELICOPTERS - DAWNWhat seems like hundreds of Hueys standing, their rotorschurning a great wind -- Inside, the men of the 1stCavalry Airmobile -- toughest unit in Vietnam.Kilgore's helicopter is being loaded with ammunition andhas surfboards strapped underneath.45  MED. VIEWKilgore strides up to the side door, dressed for battle.He looks out, around. He turns to his door GUNNER.KILGOREHow do you feel, boy?GUNNERLike a mean motherfucker, sir.He turns to his R.T. man.KILGORELet's go.46  FULL VIEWHelicopter rotors build up speed -- gas turbinesbelching fire from their jet pipes -- dust flyingas fifty helicopters rise; ROAR OVER CAMERA anddeploy into attack formation.47  NEW VIEWHelicopters moving THROUGH the FRAME: almost a dance ofdragonflies.48  INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARD,       OTHERSWillard looks ahead -- Kilgore sits near the door.Below they see the jungle whisk by and they aresuddenly over the ocean, low and fast.49  MONTAGECLOSE SHOTS of rocket pods -- mini-guns in bizarrelooking mounts.CLOSE SHOTS of the three surfboards strapped below thecommand helicopter, next to the fearsome weaponry.And finally, CLOSE SHOTS of the men -- nervous, excitedvery few of them really scared -- they fondle theirrifles, grenade launchers, anti-personnel grenades,claymore mines; plastic explosives cord; flame-throwers;M-60 machine guns; expandable rocket launchers; mortarsand bayonets.50  INT. COMMAND COPTERKilgore cranes his neck and almost leans out to watchthe waves -- then he sits back relaxed.KILGORE(to Willard)We'll come in low out of the risingsun -- We'll put on the music about a mile out.WILLARDMusic?KILGOREYeah. Classical stuff -- scaresthe hell out of the slopes -- theboys love it.51  MED. SHOTPOV behind the PILOT and CO-PILOT -- the ocean rushesbelow.PILOTBig Duke six to Eagle Thrust --turn on coordinates 1-0 -- niner,assume attack formation.The helicopter banks into a tight turn and bearstoward the coast.RADIO (V.O.)Eagle Thrust formation target2800 yards -- begin psch-waroperations.52  CLOSE SHOT - LOUDSPEAKERSThe ocean rushes below as suddenly the LOUDSPEAKERSBLARE out Wagner's "Ride of the Valkyries."53  FULL SHOT - HELICOPTERSFrom the water we SEE the massive grouping of Hueys -- gun-ships -- troop carriers -- medevac and recon -- ROAR overlow in battle formation BLARING out "Ride of the Valkyries."54  INT. HELICOPTER - MED. SHOT -CREWPOV behind pilot --PILOT700 -- 600 yards -- 500 --Commence firing.The whole copter shakes.55  EXT. VIET CONG FISHING VILLAGE - FULL SHOTA Vietnamese coastal fishing village built along thebeach and palm trees -- with rice paddies behind. Thisvillage commands a delta where ocean and river merge.Sampans are pulled into a cover where they are beingunloaded. We SEE bunkers with N.V.A. regulars amblingabout.Suddenly we HEAR the distant MUSIC -- Everyone stops;they stare out to see. Men scream orders -- women runfrom huts bearing ammunition and rifles -- Everywherethere is activity to prepare for the defense of thevillage.Camouflage is removed from anti-aircraft emplacements.People feverishly unlimber weapons of all types and runto tunnels and trenches.The MUSIC GROWS LOUDER with the FAINT SOUND of ROTORS56  EXT. THE HELICOPTER FORMATION - AERIAL VIEWcoming directly at us; WAGNER BLARING.57  HIGH ANGLElooking down through the helicopters as they approachthe village.58  INT. HELICOPTER - MED. SHOT - CREWPOV behind pilotPILOT700 yards -- 600 -- 500 --commence firing.The whole copter shakes.59  EXT. HELICOPTERS - MONTAGEWe SEE rockets ROAR from pods -- MACHINE GUNS RATTLE --grenade launchers POUND away -- and MINI-GUNS pourstreams of lead and tracers with the SOUND of a DIESELHORN.60  FULL SHOT - HELICOPTERSPOV behind lead gunship. They ROAR in over the beachstreaming FIRE from doors, pods and nose -- The groundis alive with smoke and fire -- a hut EXPLODES. Theleads ship banks sharply up over the trees -- men runbelow SHOOTING back.61  MED. SHOT - ANTI-AIRCRAFT EMPLACEMENTEXPLOSIONS crash around -- the MUSIC and SOUND of theCOPTERS almost drown them out. The gunner FIRESfrantically -- COPTERS are ROARING over -- GUNFIRErips around. The gunner is blown away.62  MED. CLOSE ON WILLARDas the ship he is in swoops down, its MACHINE GUNSFIRING into the village.63  MED. SHOT - SWOOPING COPTERThe Pilot leans out and SHOOTS a charging V.C. in thehead with his .38, then ducks back in.CO-PILOTWe're down, Eagle Thrust -- we'rehit. We got a hot L.Z. here.BULLETS RIP through the plexiglass. The Pilot FIRESback.CO-PILOT(continuing)Hell of a hot L.Z. Need immediateair strike on the tree line, EagleThrust.64  INT. COMMAND COPTER - MED. SHOT - WILLARD, KILGORE,       OTHERSKilgore has R.T. equipment -- he leans out near thedoor gunner.KILGOREBig Duke Six to Hell's Angels Four-- bring it in on along tree lineand huts.RADIO (V.O.)Hell's Angels Four to Big DukeSix -- we'll need green smoke --suggest you have the FAC mark it.KILGOREHaven't got time, Hell's Angels --lay it right up the tree line.65  FULL SHOT - JET SQUADRONFour F-4H Phantoms peel off and streak toward thecoast.66  INT. COMMAND COPTER - VIEW ON WILLARD AND KILGOREKILGOREFucking savages.WILLARDWho?KILGOREThe enemy. Who else?67  HELICOPTER'S POV - THE JETSThe jets streak by below laying in huge gobs of orangenapalm along the trees.KILGORE (O.S.)(on radio)Very good, Hell's Angels -- suggestyou follow with cannon fire.68  INT. COMMAND COPTER - MED. SHOTThey circle the battle.RADIO (V.O.)This is Baker Delta Four --Captain hit bad -- need dust-off.Receiving heavy automatic weaponsfire from huts about thirty yardsto our left.KILGOREBig Duke Six to Baker Delta Four-- hold -- we're right over you.He turns to door gunner.KILGORE(continuing)Right along the doors, boy.The gunner FIRES leaning out --KILGORE(continuing)Fine... fine... little higher.Through the roof; yeah, that'sgood.He leans back in.KILGORE(continuing)Didn't anybody bring me anybombs, grenades, claymores oranything?LIEUTENANTYou didn't tell me to, sir.KILGORE(grumbling)You shoulda known.Suddenly, BULLETS SMASH through the copter -- PlexiglassSHATTERS; the copter vibrates and turns sharply. Kilgoreis thrown down where he hangs on.KILGORE(continuing)Sonuvabitch -- anybody hurt?WILLARDAutomatic weapons flashes alongthose trees -- probably elevenmillimeter guns and AK-47's.KILGOREThe trees, eh...He grabs the R.T.KILGORE(continuing)Eagle Thrust Four -- Big DukeSix. Join me in sparaying sometrees.RADIO (V.O.)Affirmative, Big Duke Six -- We'reeven got some rockets left.KILGORETake her in low, Lieutenant.69  FULL SHOT - THE TREES, HELICOPTERSThe two helicopters swoop up out of the smoke and blastthe trees with ROCKETS, MACHINE GUNS and GRENADE LAUNCHERS.Other copters join -- The V.C. break and run throughthe rice paddies in the f.g. -- BULLETS EXPLODING aroundthem -- they scream and fall FIRING back.70 INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARDKilgore looks out as three V.C. break and run throughthe rice paddies -- the helicopter turns and followsthem -- the door gunner swings out and BLASTS two ofthem into the mud. He takes a bead on the third.KILGOREHold it, boy.He puts his arms across the sights -- the gunner swingsback inside.KILGORE(continuing)Take her up to 300 feet,Lieutenant.They rise above the paddy -- the man below runs forall he's worth. Kilgore motions to the door gunner whosteps aside. Kilgore buckles himself into the gunner'sharness.KILGORE(continuing)Rifle.A hand passes him a M-16.KILGORE(continuing; hard)My rifle, soldier.There is some fumbling and then a hand passes him a 300Weatherby Magnum with a zebra wood stock -- mother of pearlinlays and a variable power scope. Kilgore takes it andopens the bolt.71  VIEW ON WILLARDAmazed at these proceedings.72  VIEW ON KILGOREas he loads the rifle with huge cartridges. He getsinto the sling and slams the bolt shut.73  MOVING POV. ON THE V.C.He is running hard, but starting to sink into the mud.The Huey DRONES overhead, its huge shadow behind himon the mud. He turns and FIRES with a pistol.74  INT. COPTER - MED. SHOT - KILGORE, WILLARDKilgore leans out; pulls the gun in tight -- takescareful aim and the Cong is BLASTED flat into the paddy.Kilgore leans back, opens the bolt, ejecting the spentcartridge out the door. He hands Weatherby backinto the copter.75  VIEW ON WILLARDThe gaudy rifle passed by him.SOLDIER  (O.S.)That's 27, sir.WILLARDAnyone got a card?Somebody hands Willard the deck. He takes a card andflips it out of the copter, never lifting his gaze fromKilgore.DISSOLVE TO :76  FULL SHOT - BATTLEFIELD - THE CAV, V.C.Americans run through the hooches FIRING and throwingGRENADES. Helicopters swoop overhead -- JETS ROAR by-- Uniformed N.V.A. regulars burst from a tunnel en-trance and charge the Americans. The SHOOTING is atpoint blank range -- automatic, as the V.C. are cutdown.77  INT. COMMAND COPTER - KILGORE, WILLARD, LANCE, ETC.Kilgore leans out carefully, looking over the battle-field. He has the R.T.He leans back, deliberately avoiding Willard to speakto Lance.KILGOREThe L.Z.'s cooling off fast --we'll move in another companyan' then we'll own it.(he laughs to himself)Charlie's point.He looks out toward the ocean.KILGORE(continuing)Good swell.LANCEWhat, sir?KILGOREI said it's a good swell -- hellof a good swell 'bout six feet.Let's get a look at it.Lance looks at Willard and then agrees.78  FULL SHOT - COPTER, SURFThe pilots are used to this -- they bank sharplyand swoop in on the lineup of waves, coming in  lowover the point and streaking down a long, lined-upgreen wall as if surfing it. They tip up over and upat the last minute as the wave breaks.DISSOLVE TO :79  FULL SHOT - BEACH HUTS, SOLDIERSAmericans line up blindfolded Viet Cong and N.V.A.regular troops outside a burning hut. GUNFIRE isDISTANT and sporadic -- an occasional MORTAR roundSCREAMS in. A soldier yells in Vietnamese in asouthern accent and the prisoners are marched away.Other soldiers are already setting up heavy weaponsemplacements -- 50 cal machine guns etc. ThreeHueys ROAR in, fanning the smoke with their wind.The center one, the command ship, lands. JETS SCREAMover and the two gunships pull up at 200 feet. AnotherHuey zooms in low and lands behind the Colonel's. Thedoors open, guards jump out, check the situation, andout steps Kilgore and Lance. From the other copterare more guards, Kilgore's surfers and others of theP.B.R. crew. Willard follows.80  FULL SHOT - THE POINTThey stride out across the debris-strewn beach. Kilgorestands majestically on the point watching the waves. ASHELL SCREAMS overhead.SOLDIERIncoming !They all dive, except Kilgore. He is watching a big set-- the SHELL EXPLODES in the water about a hundred yardsaway, sending up a huge geyser of spray. Kilgore isunmoved.KILGORELook at that.They look.LANCEThis  L.Z. is still pretty hot,sir, maybe we oughta standsomewhere else.Kilgore pays him no mention.WILLARDI'm waiting for the fucking boat,Colonel.KILGORE(without looking)It'll get here, soldier.He turns to Mike and Johnny who have their faces in thesand.KILGORE(continuing)Change.MIKEWh -- what?KILGOREChange -- get out there -- Iwant'a see if it's ridable --change.MIKEIt's still pretty hairy, sir.KILGORE(bellowing)You want'a surf, soldier?He nods yes meakly.KILGORE(continuing)That's good, boy, because it'seither surf or fight.They turn and hurry off -- Kilgore grabs an M-1 fromone of the guards. They all think he's going toshoot the surfers or someone. They move back uneasy.KILGORE(continuing)I'm gonna cover for 'em -- that'sall.He cocks thye weapon. Lance looks around uneasily. TheColonel walks over.KILGORE(continuing)You think that section on the point is ridable, Lance?LANCEI think we ought to wait forthe tide to come in.A SHELL SCREAMS OVER -- they all hit the dirt exceptfor Kilgore. It EXPLODES throwing sand through theair. Kilgore leans down yelling over the NOISE.KILGOREDoesn't happen for six hours.Lance looks up at him terrified, holding ontohis helmet.KILGORE(continuing)The tide -- doesn't come in forsix hours.DISSOLVE TO :81  FULL SHOT - SURF - MIKE AND JOHNNYThey walk through shallows carrying brightlycolored boards. They look very scared. JETS SCREAMoverhead, FIRING CANNONS. Helicopters wheel bycarrying out wounded.They wear olive drab surfing trunks with the Cav'sshield on the left leg. The same shield is emblazonedon the boards along the word "Airmobile". They edgeinto the water and paddle through the mild shorebreak.82  FULL SHOT - THE POINT - SURFERSThey paddle up the point in the calm channel -- thebeautiful waves breaking beyond them.83  CLOSE SHOT ON JOHNNY, MIKEThey paddle on their stomachs, keeping low -- breathinghard and constantly looking around scared out of theirminds.84  MED. SHOT - KILGORE AND LANCEKilgore looks at them with his field glasses. Lancekind of sits below taking cover in a shell hole.KILGOREThey far enough?LANCESure -- fine --Kilgore turns and takes a giant electric megaphone froma waiting lackey.KILGORE(through megaphone)That's far enough -- pick oneup and come on in --85  FULL SHOT - THE POINT, SURFERSThey line themselves up on the point. A good set isbuilding. Mike turns strokes into it -- takes off-- drops to the bottom and turns -- trims up into atight section -- everything right except he keeps lookingaround frantically.86  CLOSE SHOT ON LANCE AND KILGOREAnother SHELL SCREAMS over and EXPLODES down the beach.Lance looks over at Willard.LANCE(to himself)Maybe he'll get tubed.WILLARDWhat?LANCEMaybe he'll get inside the tube --where -- where they can't see him.A SERIES of SHELLS ROAR in.WILLARDIncoming !Lance ducks -- puts his hands over his head. The SHELLSSCREAM over Kilgore and out towards the point. Kilgorelooks through his glasses -- two EXPLOSIONS in the waterare HEARD.KILGORESon of a bitch.Lance looks up and out toward the point in horror.87  FULL SHOT - THE POINTTwo surfboards float in the channel bobbing up and downon the waves.88  MED. SHOT - LANCE AND KILGORELANCE(to himself)The tragedy of this war is adead surfer.Willard looks over, beginning to think Lance is crazy,too.WILLARDWhat's that?LANCEJust something I read in theFree Press.KILGOREThey just missed a good set --the chicken shits !Lance looks up.89 FULL SHOT - THE POINT , SURFERSThey come up near their boards and climb on -- smokehangs over the water.KILGORE (O.S.)(megaphone)Try it again, you little bastards.90  BACK TO SCENEHe turns to Willard.KILGORE(continuing)I�m not afraid to surf this place.I'll surf this place.91  CLOSE SHOT ON KILGOREHe turns, glowering to his lackeys.KILGOREBring that R.T., soldier.He grabs it.KILGORE(continuing)Big Duke Six to Hell's Angels --Goddamit, I want that treelinebombed -- yeah -- napalm --gimme some napalm -- son of abitch -- yeah, I'll take H.Z.or C.B.U.'s if you got any ofthem -- just bomb 'em into theStone Age, boy.He throws the R.T. back to a soldier -- another SALVOWHISTLES over -- everyone drops.KILGORE(continuing; to himself)Son of a bitch.As the SHELLS EXPLODES on the beach behind him, KIlgoreraises his M-16 and EMPTIES it full automatic in thegeneral direction of the trees. He mumbles a few un-intelligible swear words and jams a new clip into hisrifle turning to Lance --KILGORE(continuing)We'll have this place cleaned upand ready for us in a jiffy, boy.Don't you worry.He FIRES another clip as the JETS SCREAM overhead.92  FULL SHOT - RIVER - COPTERSA sky-crane without pod descends slowly toward us --The P.B.R. hangs below it.The Chief, mr. Clean and Chef stand watching this sightalomg with other soldiers. A man guides the descendingcopter till the boat settles carefully in the shallows.The Chief and others leap aboard; unshackle the hoists-- load on ammunition and fuel. The battle is stillgoing on around them. They all look up as a wadgeof PHANTOMS streak over low and peel off one by one tobegin their bombing run.93  FULL SHOT - PHANTOMS - MONTAGEPhantoms RAKE the trees with 20 mm CANNONS -- FIRE fiveinch ROCKETS in salvo -- "Bull Pup" MISSILES -- dropH.E. (high explosives) and C.B.U's (Cluster Bomb Units)and finally an immense amount of NAPALM.94  FULL SHOT ON THE P.B.R.The Chief is at the helm --the engine starts; Cleanand Chef work feverishly, ducking for cover every-so-often when an EXPLOSION hits nearby. The boat beginsto back out of the shallows. The EXPLOSIONS of NAPALMare reflected on their faces; the ROAR of the FIRE drownsout almost everything.CHIEFForget that extra drum -- it'stoo damn hot.CLEANClear on starboard -- Where'sLance an' the Captain?CHIEFI saw that Colonel's Huey on thepoint --Two HELICOPTERS SCREAM over FIRING ROCKETS.CHIEF(continuing)Let's just get outta here.95  FULL SHOT - THE POINT - KILGORE, WILLARD , LANCE,       OTHERSKilgore watches the waves with his field glasses --smoke drifts over.Lance crouches below. Willard is up looking off in anotherdirection. SHELLS SCREAM over, but even their noise isdrowned out by the fierce SHRIEK of the PHANTOMS and thedeafening BLAST of HIGH EXPLOSIVES. Willard stares at thetree line where it comes down to the river. The JETS aremaking a hell of the tree line; a hell of fire and bust-ling steam thet nothing could live in. Willard's glancegoes further downriver through the black smoke and theremerging in the river -- small and vulnerable, is his boat.WILLARD(to Lance)Look. There it is; the boat.Lance looks over --  a tremendous relief on his face. Butstill there remains the threat of Kilgore, standing starkagainst the sky. Willard silently motions Lance towardthe boat.LANCE(whispers)He'll kill us.WILLARDHe can't kill us.(realizing as he says it)We're on his side.Kilgore FIRES another clip at the tree line, and thenstrides back without looking at them.KILGORE(almost to himself)You smell that.(louder)You smell that?LANCEWhat?KILGORENapalm, boy -- nothing else inthe world smells like that --They reflect the glow from the burning trees.KILGORE(continuing; nostalgically)I love the smell of napalm inthe morning. One time we had a hill bombedfor 12 hours. I walked up itwhen it was all over; we didn'tfind one of 'em ... not onestinking gook body. Theyslipped out in the night -- butthe smell -- that gasoline smell-- the whole hill -- it smelledlike ...(pause)victory...He looks off nostalgically.WILLARDYou know, some day this war'sgonna end..KILGORE(sadly)Yes, I know.Suddenly he senses something -- he stops -- lifts hishand -- then frantically licks his fingers and putsthem up in the air.KILGORE(continuing)The wind --LANCEWhat?Sure enough there is a rushing breeze that increases.KILGORE(rising maniacally)Feel it -- it's the wind -- it'sblowing on shore -- It's on shore !He leans down and practically grabs Lance.KILGORE(continuing; screaming)It's gonna blow this place out.It's gonna ruin it ...WILLARDThe kid can't ride sloppy waves.They turn and stare out to sea.96  FULL SHOT - THE POINT - SURFERSThe wind has changed. Instead of blowing spray backover the waves and hollowing them out, this strangewind is causing white caps and cross chop.. reducingthe swell to slop. Mike and Johnny lay low on theirboards, overjoyed.WILLARD (O.S.)The kid can't stand sloppy waves.97  MED. SHOT - THE BEACH - LANCE, KILGORE, WILLARDWILLARDYou don't expect this kid toride that crap, do you? He'sa goddamn artist, he needssomething to work with...Slapping Lance on the shoulder.LANCEYeah, I'm an artist, goddamit !KILGORE(apologetically)Yeah -- yeah, I can understandhow you feel.He turns toward the trees.KILGORE(continuing)It's the napalm -- it's causingthe wind -- ruining my perfectleft.He staggers off toward the trees followed by hisguards and other lackeys.KILGORE(continuing; mumbling)The napalm -- ruin -- napalmmy perfect left -- my perfectleft point break -- napalm --Lance motions with his eyes to Willard.98  FULL SHOT ON THE P.B.R.The P.B.R. along the river shallows -- The Chief andcrew waiting and yelling.99  MED. VIEW ON WILLARD AND LANCEWILLARDAre you finished surfing?LANCEYeah... thanks.WILLARDWant to say goodbye to theColonel?LANCENah.WILLARDThen let's get the hell out ofhere.They break and run like hell toward the boat in thedistance. OUR VIEW TRACKS with them. They arecheered by the crew -- suddenly, Willard sees some-thing and stops... Lance continuing. In a pile ofequipment that the Hueys have left are two surfboards-- Willard looks at them.LANCENo -- no, Captain.WILLARDWhich one's the Colonel's?LANCEThe Yater -- the clear onewith the thin stringer.Willard glances over to it with determination. Thereis still MORTAR FIRE coming in between him and theboard. Suddenly, Willard makes a run for it.CHIEF (O.S.)Incoming ! Incoming -- son ofa bitch.The ROUNDS bracket the P.B.R. and line up the beachtoward Willard. He stands there and doesn't move, thesurfboard under his arm. The shells kick up sand.Lance has dropped. Fragments whistle by, one rips a chunk of foam and fibreglass from the rain of theboard.WILLARD(calm)This one , Lance?LANCEYeah, Jesus Christ !Once again, Willard takes off fast as hell with theboard under his arm. Lance follows toward the boat,through the water. Willard hands the board up to Mr.Clean, and they both scamper abroad, exhausted andrelieved.CLEANWhat'd you that for?WILLARDWhen I was a kid I, never hada Yater spoon.Mr. Clean stuffs the board in the stern 50 Cal. mount.The boat turns -- ENGINES RUNNING HARD and ROARS OFFtoward the deeper water of the river -- the boardclearly visible on the stern.DISSOLVE TO :100  FULL SHOT ON THE RIVER - P.B.RThe P.B.R. ROARS BY going down the river at full speed.It is swerving and zig-zagging to avoid potential enemyfire.101  MED. SHOT ON THE CREWThey all are in full battle positions -- their twinfifty Cal. guns turning; warily covering the jungledbanks. The Chief is at helm -- Willard crouchesagainst some armor plate, huddled with his M-16 ready.Chef is behind him at the radio. Lance leans backfrom his forward turret.LANCE(yelling)Maybe we better stay in underthe trees till dark -- we gothis Yater.WILLARDHe didn't look like he'd takethat sitting down.They all look up into the sky -- expecting the worst.WILLARD(continuing)Let's put some distance betweenus and Charlie.The Chief nods.CHIEFLance ---LANCEYeah.CHIEFWhy don't you roll us a bigjoint? I think the Captain'dlike that.They all look at Willard uneasily. After a suspensfulpause, Willard smiles:WILLARDTake one a mine --He fishes into his breast pocket -- pulls out a hugecigar-sized joint. They all smile -- Willard lightsup.DISSOLVE TO :102  FULL SHOT - THE P.B.R.It zig-zags away from us down the river at high speed.DISSOLVE TO :103  FULL SHOT - THE TREES, BOAT, CREW - NIGHTThe boat is hidden under some trees along the riverbank. The men wait tensely listening --LANCEYou hear it again?WILLARDNo -- I don't think so. Butit'll be back. They werecircling. It'll be back.LANCEYou think he'd of shot us?WILLARDWhen?LANCEAny time -- us -- Americans.Lance looks over at Willard.WILLARDI don't think he�d of shot us onthe beach but -- he'd of shot usif he saw me taking the board --LANCEA Yater spoon is hard to get --especially here.WILLARDHe's a man who knows what he wants -- he does know what he wants.CHEFCan I go get those mangos now?CHIEFI'll go with you in a while --judt hold tight awhile --LANCECaptain -- that was all trueabout the rats and chocolateand stuff?WILLARDSure.LANCEAnd you could just tell whenthe supplies were booby trapped?WILLARDIt's a feeling you get in thejungle. When you get good, youcan find a track and tell notonly how many they are, buttheir morale, how far they'regoing, whether they're neartheir camp, the weapons they'recarrying.CLEANHow can you tell their weapons..an' how far they're going?Willard smiles.WILLARDMostly from the imprints when theyput them down to rest. their moralefrom the way they drag their feet,or the joints that may be lyingaround. If they're near a basecamp, they wouldn't be conservingfood; they'll be throwing it awayhalf-eaten. If the branches aren'tbroken, their weapons are slung.But all this is just technique..There's a feeling you get after awhile, that's what's important.I was going through a village once.I was looking for a certain party.I took off my boots, and walkedinto each hut. It was midnight.I went into three like that andsuddenly I realized I�d gone intoeach hut the same way -- standingup -- so the next one I went in onmy belly. An RPD burst took outthe door a bit above my head.(he shrugs)Things like that.A pause, and then suddenly his attention is diverted --They all are silent -- It is pitch dark -- we HEAR thedistant SOUND of ROTOR-BLADES and indistinguishablelanguage on a loudspeaker -- The talk stops -- theROTORS grow LOUDER until almost overhead.KILGORE (V.O.)(over a loudspeaker)I'm not gonna hurt or harm you,boy -- I just want the boardback -- You can understand --It was one of my best -- Youknow how hard it is to get aboard you like, boy. I'm notgonna hurt or harm you --Just leave it where I can findit --The HELICOPTER DRONES on into the night -- the samespeech starts again further off -- Finally the noiseceases.CLEANJesus -- that guy's too damnmuch.CHIEFI wonder if that was the samecopter.WILLARDHe's probably got 'em all overthe river with that recording.We better move now while it'sdark.Chef steps forward with a plastic basket.CHIEFYeah, Chef -- go ahead -- takeLance with you --WILLARDI'll go with him --They all look at him.WILLARD(continuing)I wanta get my feet on solid landonce in awhile --He grabs an M-16 and follows Chef over the side.104  MED. SHOT - THE JUNGLE - CHEF, WILLARD - NIGHTThey cautiously walk through the underbrush.WILLARDChef.CHEFYes, sir --WILLARDWhy they call you that?CHEFCall me what, sir?WILLARDChef -- is that 'cause you likemangoes an' stuff?CHEFNo, sir -- I'm a real chef, sir-- I'm a sauciere --WILLARDA sauciere --CHEFThat's right, sir -- I come fromNew Orleans -- I was raised tobe a sauciere.. a great sauciere.We specialize in sauces; my wholefamily. It's what we do. I wassupposed to go to Paris and studyat the Escoffier School; I wassaving the money. They calledme for my physical so I figuredthe Navy had better food.WILLARDWhat are you doing out here?CHEFCook school -- that did it.WILLARDHow?CHEFThey lined us all up in front ofa hundred yards of prime rib --magnificent meat, beautifullymarbled.. Then they startedthrowing it in these bigcauldrons, all of it -- boiling.I looked in, an' it was turninggray. I couldn't stand it. Iwent into radio school.They move into a slight clearing.WILLARD(whispering)-- quiet --Chef crouches close -- redies his M-16. Willard ges-tures that he heard something; he points.105  MED. SHOT - DIFFERENT ANGLEPAN SLOWLY over jungle -- END REVEALING Willard and Chef.WILLARD(silent)There...He points -- motions Chef to move away -- they coverthe spot. A few yards from them they hear somethingmove. It is obviously no small jungle creature. Theywalk toward a patch of black elephant grass; their gunsat the ready. They look at each other. Willard iscold, methodical, doing something he knows well. Thereis a noise again -- some of the growth rustles.  Heand Chef move a distance apart, and join in stalkingthe probable V.C. Willard directs the Chef with handgestures, and bird and cricket sounds. They movestealthily, closing the apex of their triangle on thehunted. The two men drop low into the elephant grass,and remain motionless. Then Willard makes the cricketnoise, and they move closer. Willard's left hand edgesout along the M-16's far end, so that he only has topoint the finger of that hand and he will hit what hewants. He makes another command and they rush thetrapped enemy.106  MED. SHOT - THE ELEPHANT GRASS - WILLARD AND CHEFSuddenly there is a RUSHING SOUND -- The grass foldsdown quickly toward them -- willard plants his feet andfrom the hip lets go FULL AUTOMATIC. The Chef retreatsFIRING short BURSTS into the grass -- the grass foldsalmost to Willard -- then a huge tiger leaps out atthem; snarling magnificently. They FIRE wildly,emptying their clips.CHEFIt's a motherfucking tiger --goddamn...He turns and bolts through the jungle, as scared as aman can be.CHEF(continuing; screaming)Goddamn -- Jesus Christ tiger --motherfucking tiger -- ohhhhhhhhh --Willard jams another clip in his gun and backs out ofthe clearing, covering the bushes and runs, scaredout of his head as well.107  FULL SHOT - THE BOAT - THE CREWThey all are armed -- Lance has the twin 50's pointed intothe jungle. Chef comes screaming out of the brush, throwshis rifle into the boat and dives headfirst after it.CHEF(hysterical)Ohhhh -- tiger ! Oh goddamn !It's a tiger ! Jesus Christ !Goddamn, a tiger ! Ohhhhhhhh.The Chief tries to grab him; takes his gun away, but isunable to take a hold of the Chef, as he slithers aroundthe boat, trying to find safety. willard follows from thejungle -- The Chef is moaning and stares off into the night.LANCEWhat's this tiger shit?WILLARDNo shit... I think I shot thehell out of him.LANCEYou think?WILLARDI wasn�t looking.. I was running.CLEANWas a big tiger -- no shit?WILLARDWho stopped to measure him -- let'sget the hell out of here.CHEFA motherfucking tiger -- I could'vebeen killed.The ENGINE ROARS to life -- the P.B.R. pulls away with greatspeed.CHIEFYou forgot the mangoes, didn'tyou?CHEFMangoes? There as a fuckingtiger in the woods -- I could'vebeen eaten alive. I'm nevergoing into that jungle again.I gotta remember never get out ofthe boat; never get outta the boat.They move off; swallowed by the darkness. The JUNGLE NOISES remain, as OUR VIEW BEGINS a MOVE INTO the jungle.WILLARD (V.O.)He was right, the Chef -- nevergo into the jungle, unless you'reready to go all the way.DISSOLVE TO :108  EXT. THE BOAT IN MARINA DEL RAY - NIGHTWillard, thinking, his BACK TO US. Suddenly, he turnsaround, and we SEE his face.WILLARD (V.O.)What was in the jungle? What wasthere, waiting for me?He lights the cigarette; the light of his match illuminatinghis face momentarily. There is something different abouthim; a maturity, a cool inner peace.WILLARD (V.O.)(continuing)... Kurtz was in there. Or was he;was it Kurtz? He was just a nameto me now; I couldn't remember aface, a voice -- he just didn'tadd up to me. all his liberalbullshit about the end of savagery-- and the role of our culture,our way of life...Willard looks toward the group of people on the boat --there is still some MUSIC. They talk and drink and laugh.WILLARD (V.O.)(continuing)Our way of life -- I reallystarted to look forward tomeeting Kurtz again.DISSOLVE TO :109  WATERWAY - MOVING FORWARD - DAYWe HEAR:RADIO-- must remember that we oweour thanks for these to thewonderful services of the U.S.O.-- here's another oldie -- thisone dedicated...110  VIEW ON CHEFby himself on the P.B.R.; he has wiped mud under hiseyes to kill the glare; it is incredibly hot. He isbarechested, wearing a hat made of a banana palm.RADIO... to the fire team at An Khefrom their groovy C.O. Fred theHead --111  VIEW ON THE GROUPRADIOThe Rolling Stones and "Satisfaction..."CHEFOuta sight.The SONG BLARES ON -- they all dig it.PAN TO Willard, sitting alone in the rear, reading fromhis file on Kurtz. We REVEAL Lance in the b.g., water-skiing behind the P.B.R., slaloming back and forth onhis single ski to the MUSIC -- jumping the wake occasion-ally.112  NEW VIEW - ON THE P.B.R.Lance waterskiing to "Satisfaction."113  VIEW ON CLEANalert, at the rear of the boat -- his M-16 ready, justin case.114  VIEW ON WILLARD Willard opens a letter from the packet.We can SEE it is a private correspondence -- femininewriting on the envelope.WILLARD (V.O.)The dossier of A Dtachmentcontained letters from the familiesand wives of Kurtz' men Therewere letters from Kurtz' wife aswell.115  CLOSE SHOT - ON THE LETTERIt is addressed to Colonel Walter Kurtz -- in the corneris the return addess of Mrs. Colonel Walter Kurtz --Willard's hand fushes through the packet and comes upwith apicture of a very attractive, thirty-five yearold American Beauty... She is classically American.116  CLOSE SHOT - ON WILLARDlooking at the picture -- puts it back, then opens theletter, straightens it.WILLARD (V.O.)Dearest Walt -- I have to confesssomething. I know how you feelabout this, but I had to ask Bobto find out what he could -- Ijust couldn't stand it anymore,not knowing where you are, whetheryou're alive or dead. I'm sorryWalt, I'm sorry I said that. Bobdidn't tell me anything -- he saidhe couldn't -- I can't stand itanymore, Walt -- I just can'tstand it.Willard looks out at the jungle.Deep imppenetrable jungle -- dark and primeval forestspass by. The Rolling Stones CHANT on in the b.g.WILLARD (V.O.)(continuing)I have to take the kids to schoolevery morning now -- carpools justnever work out.Jeff came home with a black eyeon Tuesday but said he won anyway.He wouldn't tell me what the fightwas about. Jeff keeps askingwhere you are -- he has maps ofViet Nam in his room now. Hemisses you very much. I can'ttake this much longer, Walt. Ilove you and I just can't standit.117  CLOSE ON WILLARDHe folds the letter up, files through some others quicklyand gets to a peculiar envelope stamped Top Secret witha stenciled date on it. It is also noted that this wasthe last correspondence to leave Nu Mung Ba. It isaddressed to Kurtz' wife. He opens the letter -- it iswritten in a scrawled savage hand to no one in partic-ular. It reads:Sell the houseSell the carSell the kidsFind someone elseForget itI'm never coming backForget it --He folds up the letter.118  CLOSE SHOT - WILLARDHe looks out at the ominous jungled mountains.DISSOLVE TO :119  FULL SHOT - P.B.R. - RIVER OUTPOST - RAINThe P.B.R. pulls in towards an American outpost that isbeing used as a forward medical evacuation center.Various helicopters pads are SEEN, but only one heli-copter -- the H-34 painted with Playboy rabbits thatbrought the girls to Hau Fat. Several soldiers in rain-coats come out the dock as the P.B.R. pulls up.120  MED. SHOT - WILLARD, SOLDIERSWillard looks into some empty tents -- looks around thedreary muddy camp. Two soldiers pass.WILLARDSoldier -- where'�s your C.O.?SOLDIERStepped on a booby trap, sir --got blown all to hell --WILLARDWell , who's in command here?SOLDIERI don't know -- don't have anyidea -- I'm just the night man --He turns and walks off babbling incoherently --WILLARDWhat about you, soldier?The soldier he was talking to turns around smilingidiotically and making animal noises. He stumbles offafter his friend.121  MED. SHOT - DIFFERENT ANGLE - WILLARDHe looks around disgustedlyVOICE (O.S.)(whispering)Captain --Willard turns around looking for where the voice camefrom.VOICE (O.S.)(continuing)Over here, Captain --He turns to see the Hollywood Agent under the flap of alarge tent so that he won't get wet. He wears the sameclothes as before, but is much dirtier. He motionsWillard into the tent.122  INT. TENT - MED. SHOT - WILLARD, AGENTThey duck inside -- it is dark and damp.On cots around astove sit the three playmates and thepilot. The nearest one, CATHY, a blonde, picks leechesout of her feet. The other two, TERRI and LYNDA, playcards with the helicopter pilot. Willard looks over the situation.AGENTYou came in on that boat, didn'tyou?WILLARDYeah --AGENTWhere are you headed?WILLARDWhat's it matter? Get to the point.AGENTLook -- you know the girls --Thta's Terri -- she was playmateof --WILLARDYeah, I caught your show at HauFat.They all look over.AGENTOh -- I see -- Well, girls, thisis Captain -- eh --WILLARDCaptain Willard -- go ahead.AGENTLook -- we got in a little trouble-- they rudely took our helicopterfor MedEvac work on this -- uhOperation Brute Force -- They justbrought it back this morning.WILLARDYeah.AGENTWell I mean like they also tookour fuel -- We've been here twodays.WILLARDDreadful.AGENTLook -- the girls could getkilled -- we're not supposed tobe this close combat, I meanreal combat.WILLARDWell --AGENTWe could use some fuel -- just ahalf drum -- just enough to getus out a here.WILLARDWe need all our fuel.He turns and starts to leave.AGENTBut, Captain, think what thesegirls have done for the boys --think of how they've risked --Willard is almost out of the tent.TERRICaptain --He turns around.TERRI(continuing)It's really rough here -- Captain-- we're just not built for it --The Pilot laughs.PILOTThat's rich --TERRIDo us a favor -- I'd do one foryou -- if I could --Willard just stares at her -- even though she's in jeansand field jacket she is something to see -- The Agenttakes Willard aside -- Terri goes back to the others.AGENTLook -- you know who that is,Captain -- you know what she'ssaying -- you'll never see stuffthat good outside of a magazinefor the rest of your life.WILLARDI'm not that fond of blondes --maybe I like brunettes --AGENTTake your pick -- they all likeyou -- I can tell --WILLARDI like all of them --AGENTGood -- like I said, take your pick.WILLARDI said I like all of them.AGENTNow just a second -- I'm doingyou a favor, buddy -- what're youtrying to pull?Willard turns to leave again.WILLARDWe need all our fuel anyway.AGENTWait -- wait -- don't get up tight-- what I meant was we'd need awhole drum for that --WILLARDSit down -- we'll talk about it.Willard sits down on a metal chair -- motions the Agentto do likewise.AGENTWhat's there to talk about -- thiswhole thing disgusts me.WILLARDMy men --AGENTWhat !WILLARDThat's what there is to talk about -- my man -- I take a goodcare of my men --The girls are trying to pretend they're not listening --the helicopter Pilot is cackling to himself.AGENTYou're out of your skull --WILLARDWe have a lot of pride in ourunit --AGENTHow far do you think you canpush -- what kind of people doyou think --WILLARDEsprit de corps --AGENTNo -- absolutely not --WILLARDOne for all -- all for one --AGENTYou can keep your fucking fuel --Willard gets up.WILLARDYou make some of your closestfriends in the army -- war has away of bringing men together.AGENTGet out --WILLARDMen of all races -- nationalities --He gets up and starts out.AGENTTwo drums --Willard turns around slowly.AGENT(continuing)Two whole drums --WILLARDWe can use some fifty caliber anda 16 too --AGENTI don't know what you're talkingabout -- Get fucked --WILLARDI will -- I assure you that --You got a fifty on that H-34 --leave the ammo in boxes -- I'llget my men to bring the first drumwith 'em --He turns to go under the tent flap.WILLARD(continuing)Have the girls freshen up a bit --comb their hair -- put onsomething -- you know what I mean --He leaves.123  FULL SHOT - P.B.R. - CREWThey are all working on patching the boat and cleaningit up in general. Mr. Clean sits in f.g., cleaning an M-16.CLEANYou keep this thing in thiscondition an' it's gonna jam,Lance -- mark my words.LANCEWhy don't you go pet the waterbuffaloes -- get off my back.Behins them on the beach stand several water buffaloeseating mud or whatever they do. They are painted junglebrown and green camouflage with grey bottoms -- on theirsides the words have been stenciled in black:1 Each --Buffalo, Water B-1AU.S. Army No. 15239Willard walks through them down to the boat.CHIEFCareful,  Captain, they've beenknown to charge.WILLARDAll right I got a little surprisefor you --They all look up.WILLARD(continuing)I've arranged with those peoplewe saw at Hau Fat to give us some50 caliber in trade for a couplea drums of fuel --CHEFNo shit.WILLARDChef -- since you're such a fanof Miss December's I think youshould be detailed with Lance andClean to take the first drum upthere.CHEFI don't believe you --CHIEFWhat're you trying to say, Captain --WILLARDYou'll see soon enough -- get going,sailor --CHIEFNo shit -- hot damn --124  INT. TENT - MED. SHOT - LYNDA, CHEFHe has followed her into the tent awe-struck -- shecasuallu starts unbuttoning her fatigue jacket and takingoff her pants. he just stands there, his arms at hissides.CHEFI've got every one of yourpictures -- I've got thecenterfold -- the Playmate'sreview -- the Playmate of theYear run-off -- everything, eventhe calender --LYNDAWell, get undressed and let'sget it over with --CHEFI can't believe it -- I'd anever even got to see you if itwasn't for this war --She lies down on the cot in only her panties.CHEF(continuing)You wouldn't mind -- uh kindadraping that jacket over yousort of the way you were in thecalender, would you?LYNDACome on -- cut this crap -- Igotta get back to Saigon --CHEFJust let me look awhile -- I justdon't believe --CUT TO:125  INT. TENT - CLOSE SHOT - LANCE, CATHYThey have just finished making love. cathy looks verypleased. Lance finishes tying his boots -- she draws onhis back. He gets up -- starts to leave.LANCEWell -- uh thanks -- see you around.CATHYYeah.He leaves -- she pulls herself up and starts combing herhair -- Mr. Clean walks in.CATHY(continuing)Who are you?CLEANI'm next --She shrugs.DISSOLVE TO :126  INT. TENT - MED. SHOT - WILLARD, TERRIHe finishes tying on his boots -- pulls on his jacket --his gun belt and picks up his M-16. She looks up at him --WILLARDMa'am -- I'd like to thank you forwhat you an' all your friends havedone for us -- I want you to knowthat me an' the men appreciateyou coming all this way -- riskin'your lives -- living uncomfortablyan' doing all you can to entertainus. I want you to know personally,Miss, that for the past few minutesyou have made me feel at home.She picks up a shoe to throw at him. he turns, exits f.g.WILLARD(continuing)Just wanted to say that, ma'am.The SHOE CLANGS off his helmet.CUT TO:127  EXT. THE P.B.R. APPROACHING DO LUNG BRIDGE - FULL SHOT -         NIGHTThe boat edges in toward the wrecked bridge in thedistance. Along the banks are sandbagged fortificvationswith U.S. soldiers in them. There is a bright fireburning uncontrolled in the distance; the sparks and whitelight from welding on the bridge momentarily lights up thenight.WILLARD (V.O.)Two days and nights later, weapproach the Do Lung Bridge.128  VIEW ON THE FACES OF THE P.B.R. CREWwatching. Everywhere are wrecked boats -- parts of trunkssticking out of the water -- smashed helicopters on thebanks. The bridge is in a state of siege. Mortars androckets arc through the night indiscriminately and ripthrough the nearby jungle. Soldiers are everywhere --scurrying from trenches, carrying materials for the bridgeor tending to the wounded, the maimed and the dead. Lightautomatic WEAPON FIRE is HEARD occasionally. The P.B.R.edges in under the span of the old bridge. Soldiers runup through the water. They are obscured in the darkness.SOLDIERI gotta get out a here -- I�ll pay-- I got money.CHIEFGet away from this boat.WILLARDWho's your C.O., soldier?The Soldier ducks back and runs away.SOLDIERFuck you, you'll get what's coming to you.Other men approach the boat. A young LIEUTENANT stepsforward.LIEUTENANTCaptain Willard?WILLARDThat's me.LIEUTENANTCaptain Willard -- we got thesefrom Nha Thrang two days ago --they expected you here then --He hands up a plastic bag, maximum security markings,Willard takes it.LIEUTENANT(continuing)You don't know how happy that makesme, sir.WILLARDWhy?LIEUTENANTNow I can get out a here -- ifI can find a way out.WILLARDWe'll be needing some suppliesand fuel -- do you know anybodywho can give me a hand?LIEUTENANTI'd just clear out as soon as Icould if I were you, sir. They'regonna start working on the bridgewith torches again. Charlie willstart throwing it in hard --WILLARDWhat is this bridge?LIEUTENANTIt's of strategic importance forkeeping the highway into Bat Shanopen -- the generals don't like toadmit that Bat Shan is surrounded.He points to the men getting ready to work.LIEUTENANT(continuing)Every night we build it and by0800 they've blown it up -- itand a lot of good men -- But thegenerals like to say the road isopen -- ha ! Nobody uses thatroad except Charlie.He turns and splashes off into the darkness.LIEUTENANT(continuing)This is the cesspool of hell.SOLDIER (O.S.)Incoming.SHELLS WHISTLE OVER and CRASH into the bridge -- MEN SCREAMin the distance -- the EXPLOSIONS are thunderous.CHIEF(yelling)All right -- Lance, go with theCaptain an' see what you canscrounge --Willard climbs out with Lance.CHIEF(continuing; to Willard)Better make it fast, sir -- wedon't really need much anyway.Willard nods and they scurry off the bank under thebridge.129  MED. SHOT - WILLARD, LANCEThey dash up the embankment and along the barbed wireon the edge of the road. SHELLS SCREAM overhead, theydon't know where to run.VOICEStraight ahead, son of a bitch.They dive towards the voice.130  CLOSE SHOT - TRENCHThey dive in, a SOLDIER is crounched in f.g. holding hisbuddy who is crying uncontrollably.SOLDIERYou came right to it, son ofa bitch --WILLARDSon of a bitch, sir.The Soldier doesn't respond.WILLARD(continuing)Where's your chief supply officer?SOLDIERBeverly Hills --WILLARDWhat?SOLDIERStraight up the road -- a concretebunker -- Beverly Hills -- whereelse you think he'd be?WILLARDC'mon --There is an apparent lull and they dash out along theroad. Suddenly to their right an M-60 STARTS OPENING UPfrom a sandbagged emplacement.SOLDIER (O.S.)Get your asses down, buddy.They drop and crawl to the slit trench and run up to theemplacement. Several SOLDIERS man a M-60. One has asniper rifle -- another tries to spot for the Gunner.Willard and Lance edge up along the trench. Willardtrips.VOICEWatch your feet, asshole --Willard looks down.VOICE(continuing)You stepped on my face.LANCEWe thought you were dead.VOICEThe whole world loves a smart ass.They move ahead more carefully. The Gunner BLASTS awayinto the night, there is a pile of brass cases about threefeet high next to him. Finally he stops swearing tohimself.WILLARDWhat're you shooting at, soldier?GUNNERGooks.He turns and sees it's an officer.GUNNER(continuing)I�m sorry, sir.WILLARDIt's all right, sergeant -- what'sout there?GUNNERThey were tryin' to cut throughthe wire -- I got 'em all I think.OTHER SOLDIEROh yeah -- listen.There is a low moaning SCREAM from out in the wire -- itstops for aminute then continues hideously.GUNNERHe's trying to call his friends --send up a flare.The Spotter does, it arcs up, then bathes them in eerielight. The Gunner FIRES a long BURST.SPOTTERThose are all dead, stupid, he'sobviously underneath 'em --They think about this as the flare goes out. The SCREAMINGgets more intense.GUNNERWake up the Roach.The Spotter moves down to where a tall lanky SOLDIER isleaned up against the trench. He kicks him hard severaltimes. Roach wakes and just looks up. On his helmet arethe words: "GOD BLESS DOW."ROACHYeah, man.SPOTTERSlope in the wire -- hear him.He listens, he does, he nods.SPOTTER(continuing)Bust him.Roach gets up somewhat annoyed but very cool. He sauntersup the machine gun dragging his M-79 which has paisleydesigns all over it.GUNNERHear him?ROACHSure , yeah.GUNNERYou need a flare --ROACHNo, it�s cool.He opens the breech of his shotgun-like weapon and plunksthe big slug into it. He snaps it closed then rests itacross his forearm over the trench -- he listens to theSCREAM, calculating.ROACH(continuing)He's close -- real close.He adjusts his sights so that the gun is aimed high intothe air. He listens again then FIRES. The GRENADEWHISTLES off into the night. There is a sharp EXPLOSIONthat cuts off the scream. Then the THUD of bodies orpieces of bodies coming down around them.ROACH(continuing)Muhhh Fuhhh ...He staggers back down the trench to go to sleep.131  FULL SHOT - P.B.R. - BRIDGE - CLEAN, CHEFThey stand in the shallows waiting for Willard and Lance.Clean is nervous, he constantly checks his M-16. SHELLSWHISTLE by and CRASH in the distance.CHEFGeez, I wish they'd hurry.A SOLDIER comes up on his way with some others to startbuilding the bridge.SOLDIERHey, buddy, that boat still runs,eh?CLEANYeah, it still runs.SOLDIERDo me a favor buddy, please.CLEANWhat is it?He takes out a handful of crumpled envelopes.SOLDIERSend these out when you get backto the world.He puts them in Clean's hand.SOLDIER(continuing)It's to everyone I really knew --the first girl I screwed -- mybrother -- best friend -- I wantedto tell 'em how much I enjoyedknowing 'em -- it's been a greattwenty years. I gotta let 'emknow.CLEANWhat're you askin' me for -- put'em in the first helicopter comesin tomorrow.SOLDIERNobody comes in here.He points up at the mountain ridges.SOLDIER(continuing)The N.V.A. 312th -- over therethe 307th -- on that hill wecounted fourteen different gunsin one minute -- they got rocketsmortars, snipers in those trees,there's a million of those shittylittle bastards out there -- we'reall gonna die.He grabs Clean and looks at him with a maniacal urgency.SOLDIER(continuing)I'm gonna be dead.Clean takes the letters.SOLDIER(continuing)You got a chance in that boat --by morning you could be five milesdown the river.CLEANWe ain't goin' down the river.The Soldier looks at him as if he is joking.CLEAN(continuing)What's up river from here anyhow --The Soldier doesn't answer, just stares dumbfounded.SOLDIERSpooky.CLEANCharlie?SOLDIERNo, it'd be spooky without the war-- give 'em back.He takes the letters and leaves, somewhat disappointed anddisgusted. Willard and Lance come back down the beachcarrying some belts of ammunition and a couple of extraM-16's.CHIEFWow, you must a found the C.O., eh?WILLARDWe found some bodies -- let's getout a here.132  FULL SHOT - DIFFERENT ANGLE - P.B.R.They edge through the shallows as the men light up theirwelding torches to start work on the pontoon bridge --then pull away and accelerate fast.133  MED. SHOT - THE P.B.R. CREWThe Chief is at the helm --  they all look back in thedistance where the bridge was -- the hills flash withartillery discharges -- there is a fiery glow from thebridge area and the CONCUSSION of heavy EXPLOSIONS.DISSOLVE TO :134  EXT. FULL SHOT - P.B.R. - CREW - RAINThe boat moves uneasily upriver, through this tropicaldownpour. Mr. Clean is in thef.g., oiling and cleaninghis 50-cal, his M-11 and M-79 -- the rest of the crew areforward, taking shelter from the rain under the canvascanopy. Clean works methodically under an umbrella he wasset up by leaning the surfboard against gun mount.135  EXT. THE RUSHING RIVER - NEW VIEW - RAINThe river is moving fast against them. all manner of de-bris; tree trunks, sweeping by the P.B.R.CHIEF(to Willard)I can't see a fucking thing.There is a loud CRACKING SOUND, as one of the pieces oftree- trunk whacks the hull, and bounces off. Willardclimbs forward, and looks down.CHIEF(continuing)We hit a big enough one thishull will shatter like a Corvette.Fucking plastic boat.Willard practically hangs off forward with a long pole,warding off the big debris moving toward the P.B.R. Cleanjoins him, helping.WILLARD(shouting to Chief)What about ducking into one ofthose tributaries till this riverslows down?CHIEFWho knows what's up there?WILLARDCan't be any worse than this.What do you think?CHIEFI think this river wants to takeus home fast. I'm practicallygoin' in reverse.Willard points his pole in the direction of the mouthof a tributary.WILLARDWell, get in there.CHIEFThis whole area is lousy withV.C. -- We don't stand a chance.Lemme turn around and we'll bein Hau Fat in six minutes.There is a really loud WHACK against the hull. willardreally mad, throws the pole at the Chief, who ducks.WILLARDGet in there !CHIEFThis is my crew and my fuckingboat, and I'm the responsibleparty.WILLARDGet in there now or I'll buryyou in this river.It's clear that Willard will kill the Chief if he doesn'tdo as he says.CHIEF(finally relents,   turns the helm)You're fucking crazy. You'regoing to get us all killed.The P.B.R. navigates through the rush and into the mouthof the tributary.DISSOLVE TO :136  EXT. THE TRIBUTARY - P.B.R. - RAINRain is pouring down, but the P.B.R. is slowed down to asnail's pace by Hyacinths, literally across thewaterway.Willard, Chef and Clean in the water, cutting throughthem with machetes.137  VIEW ON LANCEhaving climbed to the highest point of the cockpit.LANCEIt breaks through in abouttwenty feet.138  VIEW ON WILLARDcutting through. he looks to Chef, who has stopped cut-ting, and is staring into the jungle.WILLARDWhat do you see?CHEFI don't know.He looks out -- the jungle at this point is very darkand high -- totally impenetrable.WILLARDKeep cutting.They work feverishly, knowing something is wrong.139  VIEW ON CHEFcutting with all he's got.CHEFI know it sounds stupid, but Ifeel like the goddamn jungle'swatching us.WILLARDProbably is.CHEFWhatdoya think it thinks.WILLARDThat we're dumber than we look.Chef stops again, looks hard, trying to penetrate thedarkness and from the very depth of it -- the darkness ofit, comes a stream of tracers, lazily arching out at them.It whips between them -- the SOUND FOLLOWING much later.Other BULLETS SMASH through and ricochet off the deckfittings. GLASS SHATTERS, and a huge hunk of paint isremoved from the armor shield by a 20 mm cannon.CHIEFLance -- 'bout twenty metersstarboard.Lance leaps down to his position. Willard, Clean and Chefcut feverishly, as the trapped boat struggles to get free.CHEFThere in the trees !Everything is confusion -- yelling -- GUNFIRE -- the THUDof heavy BULLETS ripping inti the P.B.R.'s fibreglass hull.140  VIEW ON LANCELance's twin guns return the FIRE. The Chief moves to oneof the heavy guns and joins Lance in returning the FIRE.141  VIEW ON THE MEN IN THE WATERpushing, cutting. Bullets SMASH and EXPLODE around.Clean climbs onto the boat, and leaps onto a gun emplace-ment.142  MED. VIEWNobody really knows where the erratic fire is coming from.CHIEF(back at the helm)Elevate Lance, in the tree. No,I saw another.CHEFThirty meters up, Lance; I sawthe fucking flash.Lance grits his teeth, FIRING --143  CLOSE SHOT ON CLEAN144  POV BEHIND CLEANHe BLASTS short bursts of tracers into the jungle, cuttingit to salad. Suddenly more tracers from another direction-- Clean swings around -- BULLETS smash against his shieldand rip chunks from the surfboard. He BLASTS a long heavyburst at the jungle -- trees crumble.CLEANI'm ripping 'em, man, son-of-a-bitch, it's jammed, oh God,it's jammed.Clean is riddled by MACHINE GUN FIRE.Chief runs to Mr. Clean -- it is obvious that he is dead.He looks angrily to Willard.Willard and Chef are practically through. Willard leapsup, as Chef finishes the last strokes. He moves towardthe cockpit.WILLARDThrow me that ordnance.Chef throws him an M-79 and several shells -- Willardopens it, jams a huge projectile and pulls himself overthe edge of the cockpit.WILLARD(continuing)Give me some kind a field a fire --BULLETS rip by.CHEF(exhausted)We're through.He climbs aboard and collapses.CHEF(continuing)Oh, God --LANCE(FIRING)I ain't finished ! I ain't finished !WILLARDBring that bow ordnance into those trees.He jams his gun up as he sees a flash and FIRES -- thereis a low POP and a WHISTLE as the GRENADE arches into thejungle.145  POV. - BEHIND THEMHe FIRES another burst as the GRENADE EXPLODES brightly.There is another POP and WHISTLE , another BLAST. A largetree falls, just as the craft speeds up through the thin-ning growth. We HEAR strange SCREAMING from the trees andjungle, hideous MOANS and terror-filled CRIES.146  CLOSE SHOT ON THE CHIEFHe jams the throttle forward -- the boat surges ahead.Willard FIRES another GRENADE from his M-79.147  FULL SHOT ON THE P.B.R.The boat slams through the hyacinth growth, moving throughthe river, FIRING BACK at unseen enemy in the jungle.DISSOLVE TO :148  FULL VIEW ON THE P.B.R. - TWILIGHTThe boat moves ahead at half speed through a wide, flatarea in the river.149  MED. VIEWThe men sit around, exhausted, brutalized, wounded.They look like animals, but they are relaxed, be-cause they know they're too far from the banks tobe shot at.They smoke pot and eat silently. Lance smokes ajoint and looks at his gun. Splotches of painthave been blown away from the armor shield -- piecesof deck are ripped and ragged around the mount.The boat is a floating wreck.Clean's body is being prepared in a plastic sackby Chief. All of the men are silent.Chef comes up from below; he has been wounded in theshoulder.CHEFThere's some bad holes, man,and the cracks -- water's comingthrough the cracks. Food's shotto hell.WILLARDHow much is left?CHEFLess than half -- sure is amess down there.Chief has been silent by the body of Clean in a plasticsack.WILLARDAnd the grass?CHEFStill got a lot of that stufffrom Nha Trang. But we'rerunning low on the other.Chief pushes Clean's body into the river.150  VIEW ON WILLARDHe notices something in the distance.151  WILLARD'S POVA light.152  MED. VIEWWillard stands up, pointing up the river.WILLARDHey.They all look over.WILLARD(continuing)That's a light down there --CHEFYeah, it is.CHIEFWhat the hell is it?WILLARDIn the middle of the jungle --a goddamn light.153  FULL SHOT - THE P.B.R. - THE TWILIGHTThe P.B.R. approaches the distant light -- which seemsto be on the dock of an overgrown plantation building.154  VIEW ON WILLARD, CHIEFstraining to see; he uses field glasses.155  POV - THROUGH THE GLASSESSeems to be some figures standing on the dock. Thefigures pull back behind some drums.156  BACK TO SCENEWILLARDWatch it !They duck as SHOTS RING OUT from the dock, stitching thewater across the P.B.R.'s bow. The crew crouches, gunstrained on the dock as the boat still approaches.WILLARD(continuing)They're not Cong.CHIEF(over the loud-hailer)We're Americans.Another BURST, closer.CHEFMaybe you shouldn't say we'reAmericans?Willard stares at the dock and building, trying to figureit out.WILLARDChef, try your French.Chief hands the loud-hailer to Chef, who shrugs and shouts:CHEFNous sommes Americains --Silence.CHEF(continuing)Nous ne voulon pas vous agresser.157  VIEW ON WILLARDHe looks through the glasses.158  POV THROUGH THE GLASSESGradually, a small group appears from behind the drumson the dock.WILLARD (O.S.)French Nationals -- they may notbe too friendly, though.159  BACK TO SCENEWe drift closer to the dock. The Chef starts enjoyingspeaking French.CHEFNous sommes Americains -- noussommes des amis --There is silence as the boat drifts closer. Then:FRENCHMAN(shouting out)Vous parlez Francais comme une vacheespanole.CHEF(to himself)I thought it was pretty good,myself.CHIEFWhat'd he say?CHEFSaid I speak French like aSpanish cow.FRENCHMAN (O.S.)Laisser tomber vos armes --CHEFPut the guns straight up -- standaway from the mounts.WILLARDDo it.They do.FRENCHMAN (O.S.)Vous pouvez approcher maisdoucement --CHEFTake her in slow.160  FULL SHOT - DIFFERENT ANGLE - DOCKThe men on the dock move forward, cautiously. They area young man, PHILIPPE, about 25, strong and handsome, savefor a scar down on the side of his face and through his lefteye, which is covered by a patch. He is dressed in atiger suit and the red beret of the French colonial para-troops. Also of the red beret are HENRY LeFEVRE, a bear-ded, dark-looking man of 35, and TRAN VAN KAC, a middle-aged half-breed slave. They all bear automatic weaponsand suspicious in their eyes. As the boat pulls up to thedock, another Frenchman joins the group, obviously thehead man, GASTON De MARAIS, about fifty, small and deli-cate, with a strength about him.PHILIPPEHands on the heads.CHIEFI can't steer with my goddamnfeet.CHEFHey, they speak American.GASTONWho is the commanding officer?CHIEFI --WILLARDI am -- I'm Captain B.L. Willard.This is Chief Warrant OfficerPhillips -- it's his boat. Wewere shot up bad downriver andneed repairs and food -- we canpay you in gold.GASTONPhilippe --Philippe moves to another position -- Kac grabs the ropefrom the deck and ties it to the dock.LANCEI'll help you with --PHILIPPEDo not move --Gaston looks at the skyward pointed twin fifties admiringly.GASTONFifty calibers, eh, Captain --WILLARDAs I said, we can pay you ingold.GASTONEntirely unnecessary, Captain.He puts down his gun -- the others do likewise --GASTONWe share a common enemy -- youare our guests.(he steps back)I am Gaston de marais -- this ismy family's plantation. It hasbeen such for 121 years. It willbe such after I die.This is my son, Philippe -- hehas fought in Algeria and heldthe rank of Captain. And HenryLeFevre -- a sergeant; he wasat Dien Bien Phu. My personalservant, Tran Van Kac ---Then he motions to the trees. A young man in a tiger suitand three women come forward from different positions --all wear bush clothing and bear weapons.GASTON(continuing)My youngest son -- Christian --161  CLOSE SHOT - CHRISTIANHe carries an M-60 machine gun in his hand -- a belt ofammunition trailing off behind him.GASTONChristian's wife -- Ann-Marie --A tall girl, goodlooking, but severe -- she carries anM-16.GASTON(continuing)And my youngest daughter --Claudine.162  CLOSE ON CLAUDINEan attractive girl about eighteen. She wears a redparatrooper beret and a well-fitted bush suit. She carriesan M-79 grenade launcher and plenty of ammunition.163  FULL VIEW - P.B.R. - CREW, GASTON, OTHERSThey stand there, exhausted and amazed. Philippe yellsin Vietnamese -- about a dozen native men in tiger suits,heavily armed, walk out of the trees from all around them.They look the Americans over warily and assemble atPhilippe's command.WILLARDAmerican weapons?GASTONWe took them from the dead.(smiles)Now -- I assume you want to rest,to shower. We'll attend to yourrepairs after dinner.CHEFShower.Willard's men look at one another, dazed.WILLARDWe don't want to bother you any,we --GASTONA man of war is never bothered to aid an ally -- you will follow me,Captain.Willard steps off -- then stops, reaches back and picksup his M-16 by the stock.WILLARDA habit of men of war, sir --you understand.GASTONOf course, Captain -- anunfortunate necessity.The men are relieved. They pick up their weapons andfollow.CHIEFWhat about the boat?PHILIPPEMy men will keep it for you --CHIEFYeah -- well, I'll stay with theboat.WILLARDChief.(pause)Come with us.They look at each other a moment. The Chief shrugsand follows.164  FULL SHOT - PLANTATION - WILLARD, GASTON, OTHERSGaston stops, points to a guest house off the main struc-ture which is a typical jungle plantation house, save themany sandbagged gun emplacements and barbed wire.GASTONA suitable accomodation foryour men, captain -- you will,of course, be quartered with us --He indicates that the men should follow Philippe. TheChief is hesitant.WILLARDGo ahead --Philippe leads them on, muttering.GASTONCaptain, this way.Willard follows -- they walk over past the house and towardthe jungle, approaching a huge crater, 100 feet across andabout thirty feet deep. The bottom is filled with water andyoung French and Vietnamese children swim in it. On theopposite rim, sit two men and a woman with machine guns.Gaston strides up and looks down at the crater with pride.GASTON(continuing)Magnificent, eh, Captain?Willard looks.GASTON(continuing)It is very good -- there is nocurrent -- It is very good. Ihave never seen one like it inall Indochina. I was in Pariswhen it arrived -- do you knowwhat might have caused --WILLARDLooks like a two thousand poundto me. Yeah, a two thousandpound bomb.GASTONNo, I've seen those in Normandy.This is much better.(pause)My country -- my country couldnever originate this. Magnificent.Gaston stands in serious admiration for this feat; Willardlooks between him and this big hole in the ground inamezement.165  INT. WORKMEN'S SHOWER - EVENINGA foreman's shower from the old plantation days. TheChief steps out of it, refreshed, though still exhausted.Lance stands there, about to step in, absolutely filthy,caked with blood. His reaction is odd; rather than juststepping into the shower, he seems almost frightened,reluctant to step in. Chef is waiting behind him.CHEFA hot shower, hot damn.He pushes him forward into the water. The dirt andcaked mud go swirling off his face and shoulders, andhe relaxes as though he suddenly remenbers what ashower is.166  EXT. THE DOCK - P.B.R. - EVENINGbattered and torn -- a few of Philippe's Vietnameseguard at the boat.167  INT. WILLARD'S QUARTERS - EVENINGA beautiful European room with tall ceilings. Stillelegantly furnished, although old and decaying.Willard sits in a comfortable chair in the corner ofthe room, looking out over the carpet,  the bed withits elegant spread; the wash basin; the bidet. Hisbattle dress is black with muck, with bloodstaines andburns.He rises from the chair and steps to a dresser abovewhich is a large mirror. There is an album on themarble top of the dresser. He turns to a page at random.168  VIEW ON WILLARDhaggard, looking down at the album.WILLARD (V.O.)I wondered -- how long has this roombeen like this; how long has thefurniture been standing in theseplaces?169  VIEW ON THE ALBUMSome old photographs of people standing around a carin the 20's in front of the plantation. Another pictureshows a child playing by the rubber trees near theplantation.WILLARD (V.O.)Was it like this sixty years ago?Eighty years? But here, eveneighty years is nothing.He turns the page,The plantation being built. Pictures of the framing,skeletal against the sky and jungle.170  VIEW ON WILLARDfascinatedWILLARD (V.O.)It was jungle, once; and it willbe jungle, again...171  VIEW ON THE ALBUMOnlu the very beginnings of the house; the first struc-tures. Then another picture of the jungle site whereit was to be built.172  CLOSE VIEW ON WILLARDHe looks up and sees his own face, reflected in the garishmirror. He barely recognizes himself.173  MED. VIEWWillard looks at himself in the mirror, in this odd, out-of-time room.174  INT. DINING ROOM GROUP - TRACKING SHOTTRACK DOWN the long table, covered with delicious food.The P.B.R. crew sits with others of the De Marais group.The table is headed by St. LeFevre. Chef's face lightsup as he regards the wonderful European-style food.CHEFThis food is wonderful ! I can'tbelieve the chef is a slope.    (turning to Clean)Some more?Opposite the table, sitting next to the Chief, Lancereaches hungrily for bread and other food with his hands.CHEF(continuing)Hey -- Lance.LANCEHuh? Oh. Um, wouldya ..wouldya pass me the Rice-a-roni,please.And then he looks to his friends for approval.Our VIEW REVEALS that behind a transparent silk curtainthere is another, more elaborate table, where theDe Marais family is dining with Willard. Our VIEW MOVESthrough the curtain and settles in a MEDIUM VIEW of thegroup.The men rise as a very attractive woman enters the room.Willard finally does as well, and she moves to the chairnext to him.GASTONRoxanne, I hope you are feelingbetter.ROXANNEJe vais bien maintenant.GASTONMay I present Captain Willard?He is of a paratroop regiment.You know the difference between aparatrooper and a regular soldier,don't you , my dear?ROXANNE(smiling and taking  Willard's hand)Yes, they come from the sky.She sits -- there's an uneasy silence.Willard is caught with this exotic woman on one side ofhim, and the ongoing conversation on the other. He isforced to face toward Gaston, and drawn to look at Roxanne.WILLARDI would like to know more aboutthe .. uh, plaque...Philippe turns around, points to an elaborately scriptedwooden plaque with various tallies on it.GASTONAttacks repulsed, as I was saying.(hard)This is only  for this war, Captain.Viet Cong -- 54; North Vietnameseregular forces -- 15; SouthVietnamese -- 28 -- regularforces and otherwise.(pause)Americain -- 6. Of course, theywere, perhaps, mistakes, Captain.WILLARDOf course. I -- Once we makeour repairs, we could send word,we could have you evacuatedfrom here.GASTONCaptain?WILLARDYou'll get blown outta here someday.GASTONWe will never 'evacuate', Captain-- this is our home. Indochina isours; it has been so for a hundredand twenty-one years, there issomething to say for that.WILLARDThe Vietnamese think it's theirs-- I guess the Americans do,too.GASTONBut we civilized it. A placebelongs to those who bring lightto it, don't you agree.WILLARDI always thought the French camehere to get the rubber.PHILIPPEExcuse me, I must attend to mymen.He gets up, and leaves abruptely -- followed by his wife.ROXANNEMay I ask where the Captain isgoing in his little boat?WILLARDWe were going upriver when wegot caught in a storm, ma'am.GASTONUpriver? Why upriver? There isnothing there, only jungle.WILLARDDo you know that jungle?GASTONWhen I was a boy, my father wouldtake me there, to hunt. Thereare a few savages, but no mancan live there, no white man.WILLARDWhat about an American namedKurtz?There is a pause.GASTONWe have never heard of him.Gaston rises, and takes Roxanne's hand.GASTON(continuing)Bon nuit, Roxanne -- bon nuit,Captain.Willard turns.WILLARDGood night.Gaston leaves. Willard and Roxanne are left alone. Theservants clear the table.ROXANNEYou must realize, Captain -- wehave lost much here -- I, myhusband. Gaston -- his wife andson.WILLARDI'm sorry to hear that.ROXANNE(rising)Cognac?WILLARDI should be checking on theboat.ROXANNEThe war will still be heretomorrow.She walks out of the room.WILLARD(thinking)I guess so.He follows.175  INT. SITTING ROOM - FULL SHOT - WILLARD AND ROXANNERoxanne sits, pouring a brandy, while Willard stands.ROXANNEDo you miss your home, Captain?Have you someone there?WILLARDNo. Not really.I was discharged from the armyfour years ago. I went home,wasted some time, bought a MustangMach 1, drove it a week. ThenI re-upped for another tour. No,everything I love is here.ROXANNEThen you are like us.She reaches out to him; indicating that he sit.ROXANNE(continuing)What will you do after the war?WILLARDI just follow my footsteps, oneat a time, trying to answer thelittle questions and staying awayfrom the big ones.ROXANNEWhat's a big question?WILLARDKurtz.(pause)I know you've heard of him.ROXANNEYes.WILLARDWhat did you hear?ROXANNEThat strange things.. terriblethings have occured around thisAmerican, Kurtz.WILLARDWhat things?ROXANNEGaston would never tell me. Itwas asubject not to be spoken of,Captain.WILLARDYes.ROXANNEDid you know -- deeper in thejungle, upriver -- there aresavages?WILLARDI know.ROXANNEBut Captain, I mean -- cannibals.A long pause. Then she looks at the cognac she poured forhim.ROXANNE(continuing)What a pity, you don't drink.Since my husband died, thereare so many things I must doalone.She takes a sip.Willard moves to the French doors, which have been leftpartly open to let a breeze in. He steps onto a terraceoverlooking the river.176  EXT. THE TERRACE - MED. VIEW - WILLARD - NIGHTA machine gun emplacement is situated on the terrace cover-ing the front of house, from the river.ROXANNE(from the sitting room)Are you warm, Captain?WILLARDThe river is beautiful.In fact, we REALIZE that he is checking the boat.177  WILLARD'S POV.The P.B.R. is under guard by a couple of Gaston'sVietnamese.176  MED. VIEW ON WILLARD, ROXANNEShe, thinking it romantic to talk about the river, comesup behind him.ROXANNEI spend hours watching thatriver from my bedroom window.It fascinates me.She moves her body close to his; and, in a moment, he iskissing her.179  CLOSE ON WILLARD, ROXANNEOne eye steals another look at the P.B.R.180  VIEW ON THE P.B.R.Two of the guards leave -- two remain, getting readyfor the long night.181  VIEW ON WILLARD, ROXANNE - ON THE TERRACEHis hands wander over her body as she clings to him. Thenshe takes his hand, and leads him back into the sittingroom, and up the stairs.182  INT. ROXANNE'S ROOM - FULL VIEWIt is dark. She leads him into her room and closes thedoor. He stands there. In the center of the room is alarge canopied bed with mosquito netting hanging down overit. The windows also have netting and barbed wire --there is a .30 calibre machine gun mount in the far one.He look around. she goes over to the bed, and turnsdown the sheets. Then she slips out of her dress andstands there facing him.He puts down his gun and strips off his shirt. She laysdown on the bed and watches him.ROXANNEI have been lonely here, Captain.He moves to her, slipping into the bed. M-16 isleaning against the wall in his reach.FADE OUT.183  EXT. ROXANNE'S TERRACE - NIGHTWe can VIEW into the room, as Willard has silentlyslipped out of her bed, and is a dark sinister figurekneeling in final preparations for going out in thenight.Without a sound, he comes out to the terrace, andscales down the wall of the old building, disappearinginto the darkness.184  EXT. THE DOCK - P.B.R. - NIGHTTwo Vietnamese guard the P.B.R. -- suddenly, feet first,the first disappears into the thicket.185  CLOSE VIEW ON WILLARDin the thicket; we realize he has just killed the man witha knife. Willard stalks the second guard and makes quickwork of him with his knife. He even enjoys it. Silently,he drags the body out of sight.186  MED. VIEW ON THE P.B.R.The dark figure boards the boat silently. He disappearsinto the hold.187  NEW VIEWHe lifts out several cases of supplies, working quickly,with a grace that indicates he is a man who has done hisbest work alone, and at night.CUT TO.188  INT. ROXANNE'S ROOM - CLOSE SHOT - WILLARD - MORNINGHe sleeps soundly alone in the bed - we HEAR SOMEONEmoving around in the room. He wakes suddenly -- PULLBACK TO REVEAL Roxanne combing her hair and buttoning upher blouse. She notices he is awake and smiles.ROXANNEI will fix you breakfast.He starts to get up.WILLARDI'm afraid I won't have time --I gotta --ROXANNEWhe you reach the boat you willfind that half your fifty calibrestores -- a case of grenades, amortar and two M-16's and acase of clips are beingtransfered to us by your order.He stops -- seemingly stunned.WILLARDSo that's it.ROXANNEYou may think what you wish,Captain, but I like you verymuch.She turns to go.WILLARDWhat if I say no.ROXANNEThen Philippe will have to killall of you.She leaves.189  EXT. DOCK - FULL SHOT - WILLARD, OTHERSHe walks down onto the dock. Gaston's men are transferringammunition boxes.Gaston is standing with Philippe, who are covering theChief and crew with M-16's.GASTONTwo of my men deserted lastnight. It happens from timeto time. I assume my daughtertold you of our conditions.WILLARDYour daughter.CHIEFThey taking half our ammo,Captain -- said it was your orders.He pauses for a second.WILLARDThat's right -- I did.The Chief spits in the water disgustedly and starts theengines. Willard looks hard at Gaston.WILLARDI guess this is whAt men of wardo -- eh?GASTONWe endure, captain -- you canblow up the house and we willlive in the cellar -- destroythat and we'll dig a hole in thejungle and sleep on it. Burnthe forest and we'll hide inthe swamp. all the while, wedo but one thing -- clean theblood off our bayonets.(pause)Au revoir, Captain.190  LONG SHOT - DOCK - P.B.R.Willard climbs on board and it pulls away.191  EXT. P.B.R. - MED. SHOT - WILLARD, CHIEFThe BOAT ROARS out across the river. The Chief looks overat Willard. They stare at each other for a moment.CHIEFNext time we  get in a good firefight -- I'd like to know howshe was, Captain.Willard just smiles at the Chief. he leans over and pullsup a floorboard -- the men stare in amezement; it containsthe contents of all those ammo boxes.  .50 calibre; clips;grenades.CHEFHoly shit.CLEANWhat did you put in all thoseammo boxes?WILLARDRocks, sand -- those two menwho deserted.CHIEFWhen'd you do it?WILLARDWhile you were sleeping.He lets the board drop.Willard moves to the back of the boat.192  FULL SHOT - P.B.R. - RIVER , CREWThe river has narrowed and runs swifter -- the water darkand deep. The trees are higher in this area and much ofthe river is shaded on one side. There is no undergrowth,just the tall trees and ferms. They move ahead at halfspeed, alert, ready for anything.WILLARD (V.O.)We moved deeper and deeper intothe jungle. It was very quietthere. It was like wandering ona prehistoric planet, an unknownworld ... where the men thoughtthey crawled to, I don't know.For me, we crawled toward Kurtz --exclusively.Willard looks out ahead and points.They all turn their guns in that direction. We PAN TOREVEAL a small village of huts along the bank.193  FULL SHOT - DIFFERENT ANGLE - VILLAGE194  POV. OF THE P.B.R.They pass in front of the village which is rundown andcompletely deserted. The huts are on stilts to avoid theflooding of the river -- they are just skeletons of whatthey once were.CHEF (O.S.)Flood.CHIEF (O.S.)No -- most of 'em are stillstanding -- might've beendisease.WILLARD (O.S.)I don't know -- there'd stillbe some sign -- it's just likethe one this morning.DISSOLVE TO :195  POV BOAT - FULL SHOT - JUNGLEThe canopy of trees grows taller and stretches out acrossthe river filtering the sun. The forest itself has growndarker and more twisted with ferns and creepers. Strangebirds fly out of the trees as the boat passes -- a hugesnake slips along an overheading limb. The depth of thejungle is dark, ominous -- yet cool and strangely inviting.196  FULL SHOT - BOAT - JUNGLESuddenly the river widens, the trees give way to marshand as they emerge into the light a strange shadow fallsupon the boat. It is the shadow cast by an enormousvertical tail section of a B-52 bomber thrusting out fromthe mud. Pieces of aluminum hang loosely from it, oxi-dizing in the sun. Creepers have already started to growup around its heights -- the jungle is claiming it. Butonce under its shadow, they have passed a gateway. Agateway to paradise.The river widens and the trees at its edge are soft andseductive. The hills beyond are purple and lush. Strangeorange colored water-fowl swim lazily out of their way.The water itself is glass smooth and black as if therewere no bottom. The sun is warm and the breeze gentleand laced with wild gardenians. It is indeed the mostpeaceful valley in all the world and each man looks uponit and has never known such a sense of peace and well-being.Each man in his heart feels a need to stay -- his soulcries to stop -- stop their madness -- this spiral intohell.Here is all that can be had of earth. But no hand moves.The boat drifts on its own toward a hole at the end ofthe clearing. A hole into the jungle from which adarkness permeats. The boat follows the river into thishole.DISSOLVE TO :197  FULL SHOT - P.B.R. - RIVER - DAWNThe skull looms in the f.g. -- the P.B.R. is pulled backabout seventy yards -- Early morning mist still hangs onthe water -- as it clears, we SEE another post and skullson the opposite bank, It is strangely quiet.CHIEF-- All right, Lance --Lance's TWIN FIFTIES split the silence as they POUR intothe skulls on the opposite bank -- Suddenly there is atremendous EXPLOSION and SECONDARY ONES from the jungleas shrapnel rips into the jungle and water from CLAYMOREMINES obviously set to cover the mound of skulls. Thesmoke clears.LANCEThe other one --WILLARDNo -- leave it --CHIEFWhy -- Charlie put it there to kill --WILLARDThta's not Charlie's work --There is silence.WILLARDWhoever put'em there didn't do itto kill people -- They put 'em upas signs --CHIEFSigns?WILLARDYeah -- like keep out --Willard motions -- the Chief accelerates -- they move aheadpast the smoking mound.198  EXT. THE RIVER - FOG - DAYThe P.B.R. pushed deeper into this mysterious area. Mistswells in and around the river, as the boat moves intoan obscure fog. The Chief cuts the engine, and they coast.WILLARD (V.O.)Toward the night of the fifthday out of Do Lung Bridge, wejudged ourselves about eightmiles from Kurtz' base.Everything was still, the trees,the creepers, even the brushseemed like it had been changedinto some kind of stone. It wasunnatural, like a trance. Nota sound could be heard. I beganto think I was deaf -- then thefog came suddenly, and I wasblind too.The boat disappears in the thick fog.199  MED. CLOSE ON WILLARDWe catch glimpses of him, even though we are close.WILLARDListen.CHIEFWhat is it?WILLARDListen.They are silent. We can HEAR the most ominous SOUNDCOMING FROM THE BANKS. The GROANING, OR WAILING .. ofHUNDREDS OF MEN.CHIEFThey're on the banks of theriver.200  VIEW ON LANCEFrantically, he swings the twin fifties around.LANCEJesus !201  VIEW ON CHIEFWe can barely SEE him -- in and out of the fog.CHIEFNo, Lance. Not while you can't see.202  VIEW ON WILLARDlistening. The SOUND IS TERRIBLE, HORRIFYING.CHIEFWill they attack?WILLARDIf they have boats ... orcanoes... they'd get lost inthe fog. We can't move either --we'll end up on the shore.CHEFGod...LANCESounds like hundreds of them.WILLARDShhhhhh.The CHORUS OF GROANS in unbearable. But it is not ahostilecahnt; or a war chant, but rather the SOUND OF HUMANANGUISH.WILLARD(continuing)It doesn't sound hostile --it sounds like they've seen uscoming and it sounds like --I don't know, a funeral. Idon't understand.203  VIEW ON LANCEA glimpse of him, almost in tears. We then SEE glimpses,fog moving, of all the men on the P.B.R.DISSOLVE TO :204  MED. VIEW - THE P.B.R.MOVING THROUGH the thinning mist. The Navy craft proceedscautiously.WILLARD (V.O.)Two hours after the fog lifted,we moved slowly to a spot wethought was roughly a mile anda half below Kurtz's camp. Weapproached a long sand-bankstretching down the middle ofthe river.CHIEFWhich way? Right or left?WILLARDWho knows? Right.CHIEFLooks pretty shallow.The P.B.R. moves toard the right-most channel. Cheftakes a long pole and begins sounding depth.205  VIEW ON WILLARDThe men are really tense now -- Lances swivels his gun frombank to bank. Chief keeps his fingers on an M-16. Willardtakes out the TOP SECRET packet he received at Do Lung.Tears it open. We MOVE IN ON him.WILLARD(reading)Upon reaching objective. Targetkey personnel and commenceoperation. Should difficultyarise from which extraction isimpossible, break radio silenceCom-Sec Command code Strong Arm --indicate purgative air strike --code -- Street Gang.(pause)Purgative air strike ! Purgative !They'd kill me too !Suddenly Chef lays out flat on the bow. Hundredsand hundreds of slender sticks fly onto the P.B.R.rattling against the boat.CHIEFShit ! Fucking arrows ! They'reshooting fucking arrows at us.206  CLOSE ON WILLARDlooking toward the banks.207  WILLARD'S POVFrags of men -- naked limbs, arms, breasts, glaring eyesentangled in the dense jungle gloom. And hundreds ofpathetic wooden arrows flying out toward them.208 VIEW ON THE P.B.R.crazily zig-zagging up the river in the midst of thechildish assault.WILLARDSteer her right.209  VIEW ON THE P.B.R.arrows hitting the deck. The men open up everythingthey've got. Lance is FIRING the two fifties wildly.WILLARDKeep going.. keep going.They're just fucking sticks !Chief, stay at the helm.But Chief seems out of control -- he lets the clip of hisM-16 go. Then slowly lets the rifle fall out of his hands,and falls to Willard's feet, a primitive spear havingcaught him right through the ribs. Willard looks down inhorror.210  VIEW ON CHIEFlaying at Willard's feet -- the long spear through him,bleeding onto Willard's boots. He looks up at Willard,about to say something.CHIEFA spear?He dies.211 MED. VIEW ON THE P.B.R.The men are still crazily FIRING into the empty junglelong after those who attacked beat their retreat.WILLARDStop it.Stop it !Slowly he pulls his boots from under Chief. They areabsolutely soaked in blood. He is stunned -- sits downand begins to unlace the bloody boots, and take them off.LANCEChief's dead.Willard unlaces the other boot, and holds the bloody bootin his hand.WILLARD (V.O.)It was the strangest thing --I don't know that I can explainit. Two of my men dead, and allI could think of was whetherKurtz was dead too. That's allI wanted: to see Kurtz, to hearKurtz.He starts to wipe the blood off the boot.WILLARD (V.O.)(continuing)Somehow, in the middle of this ...carnival, Kurtz had grown intosomething -- a gifted officer;a great man.Somehow, he was the only lightin this hopeless, hopelessdarkness.And now I was too late --he was probably gone, disappeared...by a grenade rolled into histent -- or by some spear on the head.Christ, I felt like howling likethose animals in the fog.212  EXT. THE BOAT AT MARINA DEL REY - NIGHTThe people at Charlie's cocktail party on the boat.Some flashbulbs are going off. Some people are dancingto the MUSIC. OUR VIEW MOVES SLOWLY TOWARD Willard, onthe edge of the party.WILLARD (V.O.)Here they are in Los Angeles.Everything is safe. There's asupermarket around the corner,the police station around theother. It would seem ridiculousto them that I was shot to hellbecause I had lost the privilegeof listening to the mysteriousColonel Kurtz.(pause)Of course I was wrong. He waswaiting for me. Kurtz was aliveand he was waiting for me.DISSOLVE TO :213  EXT. THE RIVER - P.B.R. DAYThe P.B.R. moving up the river. The men are practicallyin a trance now, looking at the banks of the river. Theydon�t even make an effort to touch their weapons.214  WHAT THEY SEEHundreds and hundreds of Montagnard natives -- dressedin the most ornate and primitive manner: feathers, partsof birds and animals; cod-pieces -- all in body and facepaint of the most savage nature. But there is a purityabout them, men and boys, standing passively watchingthe small Navy craft flying the strange flag of red,white and blue.215  VIEW ON THE P.B.R.The men of the crew are not the same men who began thisvoyage. Their manner is lifeless as though in a trance.The various decorations and paraphenelia that they havepicked up along the way seem oddly relevant to thesavages that stand before them. The Chef has made ahat of birdfeathers; Lance's face has been painted withmud under the eyes to block the glare of the sun. Hewears certain animal skins; trinkets; some animal teeth.Their uniforms have been torn and patched throughout thedifficult journey. They start to move to their gunpositions.WILLARDJust stand here with me wherethey can see us. Do nothing.216  VIEW FROM BEHIND THE P.B.R.MOVING SLOWLY TOWARD the fantastic human wall of feathersand war paint, standing on canoes across the river. Themen on the crew stand in a group, their hands visiblywithout weapons. The natives standing across the rivermake no hostile gestures as they approach. They acceptthe small boat moving toward them with a sort of inevi-tability. The boat moves closer, approaches the wall offeathers -- which slowly and automatically gives away, inalmost a ritual of birth, undulating, allowing the littleboat to penetrate.217  VIEW ON WILLARDMus on his face (to protect it from the sun), the palmsof some jungle vegetation protecting his head, he lookssomething like atribal chieftan himself. His intuitionwas right. He senses that they would be allowed to pass.218  FULL VIEW ON THE RIVERHundreds of Montagnards who had been lining the rivernow run, absolutely silently, along the banks, keepingpace with the P.B.R. There is no hostility in thesefaces, only curiosity and a sort of grief.219  VIEW ON WILLARD, THE CREWThey look up toward the bank.220  THEIR POVThe temple at NU MUNG BA, a fortified encampment, builtaround the ruins of a former Cambodian civilization.Stone walls, barbed wire, cracked pyramids and rows androws of Escher-like sandbags arranged in an endless mazearound the fortress.221  VIEW ON WILLARDHe picks up his field glasses and looks through.222  WILLARD'S POV - THROUGH GLASSESA sign entangled in the barbed wire -- its letteringstrict and military:FOURTH SPECIAL FORCESMISSION F-82NU MUNG BAThe GLASSES POV MOVES REVEALING another sign written ina wild psychedelic hand.OUR MOTTO: APOCALYPSE NOW !The POV OF THE GLASSES MOVE once again and come upon anastonished sight, a black man dressed in a tatter ofcolored fabrics, feathers, and an Australian bush hat.He looks something like a multi-colored harlequin wavingfrantically to the P.B.R. The POV OF THE GLASSES MOVEOFF of him.223  VIEW ON WILLARDnot believing what he's just seen.224  THE GLASSES POVOnce again the young black man is now waving hisAustralian hat.225  VIEW ON THE P.B.R.Willard shouts out to the starnge greeter.WILLARDWe've been attacked.AUSTRALIAN(shouting back)I know, I know, it's all right.Come in this way. It's minedover there. This way. It'sall right.Willard look at Chef who is at the helm. He shrugs andthey do as this man says. The P.B.R. moves towards thewater's edge where there is a dock covered with concertinawire. The odd Australian stands waving his hat, guidingthem safely in.A thick greasy smoke hangs from fires that burn near thefort; fresh shell craters indicate a recent battle. Nearthe dock there is a tangled clump of corpses -- half sub-merged in the water. Other piles of bodies lie about, someof them on fire. Fire literally burns from out of theground. Chef nods at the bodies.CHEFCharlie?WILLARDLooks that way.CHEF(looking at the Australian)Who's he?WILLARDGod knows.The boat pulls up. The Australian harlequin hops onboard; the crew regards him with their dark faces splat-tered with mud and blood.WILLARD(continuing)Who the hell are you?AUSTRALIANMoonby. Got any Winstons?WILLARDMoonby what?AUSTRALIANMoonby, 4th battalion, RoyalAustralian Regiment, Task Force.Ex-Corporal Moonby,deserted.WILLARD    (incredulously, indicating the hundreds of natives)Whatis this?MOONBYOh, they're simple enough people.It's good to see you, baby.Nobody has any Winstons?Chef automatically offers Moonby a Winston.MOONBYThis boat's a mess.WILLARDWhere's Kurtz? I want to talkto him.MOONBYOh, you don't talk to ColonelKurtz.(he puffs, then smiles)You listen to him. God, theseare good. I kept these peopleoff you, you know. It wasn'teasy.WILLARDWhy did they attack us?MOONBYSimple. They don't want him togo.WILLARDYou're Australian?MOONBYPre-Australian, actually. ButI'd dig goin' to California.I'm California dreamin'.WILLARD (almost to himself)So Kurtz is alive.MOONBYKurtz. I tell you, that manhas enlarged my mind.He opens his arms wide, to indicate the breadth of hismind's expansion.MOONBY(continuing)But lemme tell you,he is themost dangerous thing in everyway that I've come on so far.He wanted to shoot me. Thefirst thing he said is, 'I'mgoing to shoot you because youare a deserter.' I said Ididn't desert from your army,I deserted from my army. Hesaid, 'I'm going to shoot youjust the same.'WILLARDWhy didn't he shoot you?MOONBYI've asked myself that question.I said to myself, why didn't heshoot me? He didn't shoot me,because I had a stash like youwouldn't believe. I hid it inthe jungle; the wealth of theOrient: Marijuana -- Hashish-- Opium -- cocaine -- uncutHeroin; the Gold of the GoldenTriangle. and Acid -- I makeKoolaid that makes purple Owsleycome on like piss. Now I'mKurtz' own Disciple -- I listenhe talks. About everything !Everything. I forgot there'ssuch a thing as sleep. Everything.Of love, too.CHEFLove?MOONBYOh, no, not what you think...Cosmic love. He made me seethings -- things, you know.The whole time Moonby is chattering on, Willard haspicked up his field glasses and scans the fortress.226  WILLARD'S POV - THROUGH THE FIELD GLASSESMen in small groups, huddled over food.Now he settles on the entrance in the temple. Thereare stakes in front, and on top of them are horribleshrunken heads.227  BACK TO SCENEWILLARDSounds like he's gone crazy.MOONBYNo, Colonel Kurtz couldn't becrazy -- if you heard him talk,just last week, you'd never thinkhe was crazy.WILLARDIs that where he is? By the shrunken heads.MOONBYThose heads, yes. Well, therebels...WILLARD(to his men)We're going ashore. Tie her up-- and leave your guns up, Lance.LANCEWhat?WILLARDBring your rifles, that's all.(looking at Moonby)Take us to him.MOONBYRight on -- he's been waitingfor --WILLARDAnd shut up.Moonby nods and shrugs, and hops off the P.B.R. willardand the men follow.228  MOVING VIEW - WILLARD, MOONBY AND THE CREWAs they proceed closer to the fortress-temple, men appearwhere a moment before there was only jungle.They are mostly Montagnards, but far more savage lookingthan any we've seen before. They wear only loinclothesand bandoliers of ammunition. their bodies are paintedin strange patterns. They carry Army M-16's, RussianAK-47's and a wide variety of knives and clubs. Womenemerge from the brush as well. they are armed andequally primitive looking. Interspersed among themare a few taller men with paler skins, with the remnantsof Army insignia on them. The paint on their bodies is,if anything more bizarre. We CONTINUE TO MOVE ACROSSthe entire group up to the stone gates of the fort,where thirty or so more are seen silhouetted againstthe sky. Willard and his men look up at people moreprimitive and more savage than any since the timeof Captain Cook.They encounter, in the center of the group, what onceappears to have been an American. he is tall, gaunt,wears a flak jacket, but is otherwise naked, save aloincloth. His face is darkened from dirt, battle smoke,strange camouflage patterns. His hair and beard arelong, matted with mud and grease. He carries an AK-47decorated with scalps and human ears. Willard approachesthis beast, who seems shy and retiring.WILLARDWho are you?MOONBY(breaking in)His name is...WILLARDI'm not ever goin' to tell youto shut up again.Moonby shuts up. The MAN tries to speak, but nothingcomes out. He is dumbstrucked at seeing them, as theyare to see him.MANColby. Exec. officer, A-Team...Special Forces. F-82 -- Col.Walter Kurtz, commanding.WILLARDWhat happened here?COLBYWhat -- happened here.WILLARDCharlie?COLBYNVA regulars. They're comingagain tonight. Tet -- theirbig -- assault.Willard is the man in the middle -- he doesn't know whatto say to this man, but he understands the forces thatpounded him. He takes his arm.229  REVERSE ON COLBYlooks at Willard, not understanding.230  REVERSE ON WILLARDSix months later, and he and Colby would be identical.WILLARDI'm taking you back.Moonby slaps himself in the head with his hand.MOONBYOh, no, don�t say that.COLBYTake us back. Take us back !But, the operation -- the team.Colonel Kurtz has such plans for-- the team.WILLARDTake me to him, Major.Colby starts, and then, seeing the shrunken heads onpoles, he turns, agitated, to Willard:COLBYI had nothing to do with theseoperations -- I did not do theplanning -- none of us did.It was all Colonel Kurtz -- hewas the genius. You'll see --the genius of our Colonel. Heshould be made a General, don'tyou think? A General? It's...Suddenly, frightened, he stops. Without looking Willardknows that Kurtz is standing behind him. He turns.Kurtz has stepped out from his headquarters: He isa powerful man, though obviously very ill. He slowlyattempts to pull the remnants of his uniform together,though it is ripped and bloodied, and now combined withprimitive ornaments designating him a tribal chief, aswell as his U.S.A. Colonel's insignia. He is feverish,with long blonde hair and beautiful features. His eyesalmost hypnotize. His midsection is bandaged from whatseems to be a serious wound.232  VIEW ON WILLARDThis is not what he expected. He is quiet, and then,automatically, he comes to an attention.WILLARDColonel Kurtz, I guess.KURTZI'm Kurtz.WILLARD(he salutes)Captain B.L. Willard reportinghis presence, sir.233  VIEW ON KURTZlooking at him a long time. Then he returns the salute,and simply:KURTZAt ease...(pause, as he regards him)Sit down.234  MED. VIEWThere is, of course, no chair or anything like a chair.But behind and around him, Kurtz's men begin to sit onthe ground, cross-legged. Finally, Willard sits as well.Then Kurtz does.Moonby lights a joint, and passes it respectfully toKurtz -- throughout the scene, the joint is passed fromman to man, ritualistically.KURTZ(slowly)Why did you come to ... my province.WILLARDWe were attacked -- down river.We need supplies and medical help.KURTZYou were not coming here, tosee me?WILLARD(finding it more and  more difficult to go on with this lie)No -- no, sir.KURTZYou came up my river -- in thatsmall boat. So simple. Ialways thought the final justicewould come from the sky, likewe did.(pause)You are the final justice,aren't you?WILLARDWhat do you mean, Colonel?KURTZ(gently)What other reason could youhave come? A Captain. Ranger.Paratrooper. Graduate of theRecondo School. Am I rightabout these things?WILLARDYou know you're right.There is a clear, incredible intelligence about this man.KURTZThen the Agency approached you.Maybe in a bar in Quinon orPleiku. Simple. A year's payfor one life. Perhaps a villageelder, or a tax collector.Nobody's orders but your own.Exciting work.235  CLOSE ON WILLARDHe remains silent.236  CLOSE ON KURTZHe smiles.KURTZYou've spent tome at the RoyalTracking School of Malaysia.I can tell from the way thelaces on your boots are tied.I understand you, Captain. Weunderstand each other.There is a long pause,  as the two men regard each other.Then Willard reaches to his holstered .45 -- withdrawsit, and places it on the dirt before Kurtz, as an actassuring Kurtz that he is not an assasin.WILLARDDo you know me?KURTZYes.Kurtz reaches down; takes the .45 -- and without anotherword or gesture, shoots and kills a man.KURTZ(continuing)Do you knowme ?He throws the .45 back on the dirt. Rises, and walksback into the cavernous headquarters behind the shrunkenheads. Moonby scampers off after him, a respectfuldistance behind. Even Willard is stunned.CHEFHoly shit.237  EXT. KURTZ'S OUTPOST - FULL VIEW - TWILIGHTDotted with campfires; Montagnard families -- it is likea primitive civilization.238  VIEW BY THE TEMPLE WALLWillard is alone by a campfire -- his M-16 leans by a wallnext to him. He is exhausted.Lance sleeps by the fire, a little distance away. Chefapproaches, crouches down.CHEFCaptain -- they've been probedall this week -- Cong and NVAregulars. There's gonna be abig offense any time.WILLARDI know.Lance stirs; starts to wake up.CHEFWhat are we doing here?WILLARDKurtz. I'm supposed to kill him,just like he said.KURTZYeah, I can see that. He's fuckin nuts --WILLARDYeah.CHEFHe killed that guy without feelinganything.WILLARDNot a thing.CHEFWhen you kill Cong, don't youfeel something.WILLARDSure.(thinking)Recoil... I feel the recoil ofmy rifle.Willard rises. Chef looks at him, confused and frightened.239  FULL SHOT - WALL - WILLARD, CHEF , LANCEWillard walks along the top of a thick wall -- sandbaggedand dug out every so often for an M-60 or a mortaremplacement.Wild looking savages man these guns, and seem to bowto Willard as he passes.WILLARDThis is good -- triple overlappingfields of fire -- walls so thickordinary artillery just cleansthe moss off their surfaces.A woman tentatively moves to Willard, bowing, and thenruns off to her bunker.WE ARE TRACKING with them as they move past the groupsof people, huddled by their fires... men, women andchildren. Skulls, shrunken and otherwise hang fromevery hut -- adorn every sandbagged bunker -- driedscalps hang from barbed wire. A child is chewing ona big piece of almost raw meat.WILLARD(continuing)I've done things, when I wasalone in the jungle -- that Inever told anyone about.They continue past amount where the shattered wreck ofhalf a helicopter is laying. It has been altered andfortified with sandbags and concertina wire. The wrecklays on its side so that a 7.62 mini-gun that was mountedthere sticks up above the sandbags. The emplacement isbuilt on amound so the gun commands a clear field offire into the jungle beyond.Some Americans, barely recognizible because of theirbeards and savage manner, sit near the gun. SeveralMontagnard children giggle at their feet and play withbayonets.CHEFThis is evil -- evil, Captain.We're all gonna die here.WILLARDYeah, I know.CHEFI don't get it -- You said yourmission was to kill him. Let'sdo it, an' get our asses outtahere. This  Kurtz is ruining thewar; I mean, this don't lookgood for America !WILLARD(lost in his thoughts)... he's an amazing officer.CHEFYou got to kill this sonuvabitch-- Lance and me, we don'�tunderstand none of this -- Jesus,Captain -- I don't wanna die here-- Do it quick.Lance just stands there; his eyes vacant.. He sort ofnods, sucking a joint.WILLARDYeah. I know.He thinks.240  INT. KURTZ HEADQUARTERS - NIGHTVIEW FROM INSIDE -- Willard approaches the stakes withthe shrunken heads. Chef and Lance with him. Willardsteps in -- Lance and the Chef crouch outside, waiting.241  WILLARD'S VIEWAn austere stone savern in the temple: Kurtz's head-quarters. Electric lights hanging in odd contrast to theancient stone. We SEE what is left of the maps and othermilitary charts -- they had been tacked up on big boards,but have now fallen into decayed disuse.There are other indications of the modern headquartersthis had been. Now all those things are no longer impor-tant.  Kurtz sits alone, slumped back in a wicker chair.There is a large wooden planning table next to him, withmaps, lamps and apile of debris that is practicallygarbage. There are native decorations to ward off evilspirits; and graffiti on the stone walls, things rangingfromm "Viet Nam, love it or leave it" to quotes of Nietzsche"Nothing is true -- everything is permitted."Moonby, who had been crouching in a corner, moves toWillard.MOONBYHe's asleep -- don't bother him.KURTZI'm awake.Willard steps in closer. Kurtz looks to Moonby.KURTZ(continuing)You. Get out.Moonby hesitates -- not wanting to leave him alone withWillard.KURTZ(continuing; suddenly)I said get the fuck out !(to himself)I'm going to kill the littleweirdo myself tomorrow.(he shows some pain  when moving his  midsection)He�s only stayed alive this longbecause he's a good orderly andmedic. He knows how to use ahypodermic.WILLARDYou're gonna get hit tonight,bad -- a whole regiment of NVAregulars.KURTZThat's right, the little gook-pricks. But they are noblelittle gook-pricks, noble.Because they fight with their guts, like animals. And for anidea ! That's rich. We fightwith ingenious machines andfire, like Gods, and for nothing.But I'll call in a major blottoairstrike tonight. We'll haveourselves a helluva airstriketonight, a lightshow. How doyou like The Doors': 'C'mon BabyLight My Fire...'Willard shrugs.KURTZ(continuing)Do you?WILLARDYeah, I like it...KURTZIlove it.He rests back, grinning.WILLARDYou've gone crazy.KURTZ(angrily)No. My thinking is clear.(calmly)But my soul has gone mad.Suddenly Kurtz is seized with a terrible pain from hisstomach wound. He groans horribly, clutching at it. Heliterally falls from his chair onto the dirt floor.KURTZ(continuing)My gut -- Oh, Christ, my gut !Willard leans over him; checking the seriousness of thewound.242  EXT. THE HEADQUARTERS - NIGHTLance is crouching by the stone entrance -- Chef leans in,witnessing the proceedings inside.CHEF(muttering)Kill him -- come on, why don'tyou kill him243  INT. THE HEADQUARTERS - MED, VIEW - KURTZ AND WILLARD -         NIGHTWillard examining the wound.KURTZ(in pain)Oh shit -- on the table; morphine.Willard moves to the table, opens the medical packet. Hetakes out a morphine capsule, leans over the writhingKurtz and injects him with the drug.KURTZ(continuing; looking  up in pain)You see how stupid it would havebeen to blow out my brains? I'mdying from the gut anyway.Willard quickly prepares another shot. Kurtz, trulyfrightened, holds up his hand.KURTZ(continuing)No -- I don't want to sleep.I want to think. Water. Giveme water.WILLARDYou can't have water aftermorphine.KURTZStill playing by the rules.(almost  affectionately)You're a damn good kiler.WILLARD(still holding the  second morphine)How's the pain?KURTZHow's yours?WILLARDI can handle it.KURTZPain is easy to handle -- butnobility.. the nobility of aman is judged by how much Truthhe can handle.WILLARDWhat Truth?KURTZThe truth that you were senthere to murder me, ans so faryou haven't done it. And doyou know why?(looks at him)Yes, you know why.(he looks)Your mission makes about as muchsense as those idiots who sentyou on it.Asshole !Schmuck ! How long does it take you tofigure out that nobody knowswhat they're doing here.(coldly)Except me.He rests back. The drug is beginning to take effect.KURTZ(continuing)Gimme water.WILLARDNo water.KURTZYou know what you're doing?You are interfering with myplans !He crawls in pain toward the canteen Willard watcheshim impassively.KURTZ(continuing)This water's got Moonby's acidin it --He drinks sloppily from the canteen, water spilling allover. Then he throws the canteen to Willard.KURTZ(continuing)Drink it -- drink it for tonight.Think of it. A whole regimentof those shitty little Cong --War. Total war -- war like you'venever known it. It's beautiful-- you'll love it. Trust me.244  EXT. THE HEADQUARTERS - MED. VIEW - LANCE AND CHEF - NIGHTWe can SEE into the headquarters: Kurtz offers the canteento Willard. Chef is terrified -- Lance is stoned out.CHEFLance -- the fucker's not gonnado it.KURTZGoddamn -- You've gotta dignapalm on Speed, too. It'sspectacular, you'll see.Lance stands up holding his M-16, looks into the cavernwith Chef.245  INT. HEADQUARTERS - NIGHTWillard stands there, holding the morphine needle in hishand.KURTZLook into the jungle. You can't --it's too terrible. You have tosmear yourself with warpaint tolook at it -- you have to be acannibal.(whispered)That's why warpaint was invented.Then it becomesyour jungle.Willard shoots himself in the arm with the morphine.WILLARDHow did we get here?KURTZBecause of all the things we do,the thing we do best -- islie.WILLARDI think think a lie stinks.KURTZOh Captain, that is so true.WILLARDStinks. I could never figure --(he drinks from  the canteen)I could never figure how theycan teach boys how to bomb villageswith napalm -- and not let themwrite the word 'fuck' on theirairplanes.Willard drinks more of the LSD water.KURTZ(angrily)You could never figure it becauseit doesn't make sense.WILLARDFuck no.KURTZI'll tell you what makes sense !Air strikes !White Phosphorus !Napalm ! We'll bomb the shit outof them if they don't do whatwe want.WILLARDWe'll exterminate the fuckers !Chef steps into the Headquarters -- he is terrified.He draws his bayonet.CHEFCaptain -- kill him.KURTZThink of it -- for years, millionsof years, savages with patheticpainted faces were scared shitlessthat fire would rain down fromthe sky. And goddamn, we madeit happen.GodblessDow  !CHEFKill him !Chef rushes at Kurtz with his bayonet -- instinctively,Willard GUNS him -- then there is additional automaticFIRE. Chef is being riddled by bullets.246  VIEW ON LANCEHe has let loose with his M-16 at Chef, like some sortof mindless, programmed killer.LANCE(FIRING)Hot damn !Then hes tops -- Chef falls to the dirt -- there is aninstant of silence, then:247 EXT. OF THE TEMPLE AT NU MUNG BA - NIGHTThe DOORS begin LIGHT MY FIRE , loud and overwhelming,as illuminating flares light up the blackness.248  MED. CLOSE VIEWof enormous loudspeakers protected behind spirals ofrazor-sharp concertina wire. LIGHT MY FIRE is blastedout to the enemy, poised to attack.249  ANOTHER LOUDSPEAKERCannibal-painted men in savage decorations wait. Bay-onets are fixed. Men are stoned to acid, injectingspeed, sniffing cocaine, eating grass, smoking hashishin water pipes. One looks up to the sky.250  EIS VIEWA rocket illuminates the sky, strobing, as in a psyche-delic hallucination.251  VIEW ON THE SOLDIERSOLDIERWow...Another behind him is chanting the word NAPALM softly thimself.252  MED. VIEW ON THE GATEWillard strides out of the darkness, into the positionsaround the gate. He looks like a magnificent warrior --Genghis. All the men: Montagnards, fierce Americans,even the savage men of the P.B.R. crew either bow,salute or kneel before Willard. The color pulsatesaround the edge of the image, red and green, mauve andpurple.We SEE Lance; waiting, with his weapons -- garlands ofteeth around his neck, his face painted.253  FULL VIEW - MONTAGEEnemy ARTILLERY BLASTING away at the fortress.254  CLOSE SHOT - A MORTARA hand drops a shell and it FIRES.255  CLOSE SHOT - ROCKET LAUNCHERIt FIRES. EXPLOSIONS around the fort, red and orangeand blue and green. They hit and grow, outward like somesort of cosmic flower.256  CLOSE SHOT - A FLAME-THROWER (ON TANK)Shoots out a stream of burning napalm that looks like adeath ray gun, radiating outward with ice-blue energy.257  SHOT ON LOUDSPEAKERSblasting out music.258  MED. CLOSE VIEW ON YOUNG SOLDIERSWith the MUSIC, like those people you see listening toradios in their cars.259  SHOT ON THE COMMAND BUNKER - WILLARD , KURTZ , OTHERS(In SLOW MOTION) Shells WHISTLE in and EXPLODE on thewalls in the compound. The men behind them are settingup rocket launcher (missile) . Everywhere metal and rockand flame fly and it is beautiful to see.Willard looks through the infra-red sniper scope.260  WILLARD - INFRA-RED POVStrange, luminescent images of North Vietnamese approach-ing the outer perimeters. Thousands of them.261  FULL SHOT ON KURTZKURTZMini-gun. Colby. Sergeant.Mini-gun.262  MED. SHOT - MINI-GUNA SERGEANT in feathered head-piece and wildly paintedoperates the mini-gun with several native helpers. SHELLSBURST  around them. When they FIRE the SOUND is incrediblyloud and steady like a high-pitched foghorn. A solidstream of molten lead seems to pour into the darkness as7000 rounds a minute rip into the enemy. The pass ofthe lead reaches out in beautiful patterns as the Ser-geant sweeps the area. The sergeant laughs maniacallyas the GUN resumes FIRING, right up to the moment he isblown to eternity by an all-engulfing 105mm shell.263  VIEW ON WILLARDExhilarated, and moving with the MUSIC.WILLARDNapalm.Colby pushes a row of plungers: Advancing NVAs il-luminated by napalm drums, phosphorescent napalm EXPLODESbeautiful, like a magnificent firework.264  VIEW ON KURTZKURTZClaymores, claymores.The SOUND DISTORTED of tremendous HOWLING EXPLOSIONSpenetrate the track of LIGHT MY FIRE one after another.Kurtz's face is illuminated by each of these. His faceseems to change from one grotesgue primitive face toanother, as though the whole history mankind is evolv-ing in front of us.The SCREAMS of maimed and dismembered men almost pene-trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's menLAUGHING and SCREAMING in delight.Kurtz looks out over the field of slaughter.265  FULL SHOT - NVA CHARGEthrough wires and claymore glass, each wilder and moreextreme. They burn in the pools of luminescent napalmbut press relentlessly on. SHELL BURSTS overhead. Theychant to themselves as they advance. NVA have reachedthe walls and throw down scaling ladders and start up.Suddenly the sky is bright with flares which produceweird psychedelic light. Blared out at tremendous vol-ume over and above the DIN OF BATTLE is LIGHT MY FIRE.266  FULL SHOT - WALL - EVERYBODYThe Americans and Montagnards stand up screaming.Spurred by MUSIC, they charge up. M-16's in both hands,blasting, kicking, bayoneting, gouging, splittin throats,biting necks, both sides collide in the utter and mosthorrible savagery.267  MED. SHOT - WILLARDstanding on the wall BLASTING as bodies fall around him;he thrusts his bayonet into one attacker, removes it witha foot and stabs another. From him he takes his AK47 andBLASTS more as they come.268  MED. SHOT - LANCEThe VC rush his position. Willard trips a claymore thatBLASTS most of them to shreads. More fill in. Lanceopens up FULL AUTOMATIC . Willard and Lance move down tothe nest wall, FIRING , bodies tumbling over.Lance is caught in a CROSSFIRE and hit several times.He pulls himself up -- FIRES a final BURST and then fallsunder the enemy's feet.269  VIEW ON MOONBYsees this and scampers off into the jungle, mutteringmadly to himself.270  MED. VIEW - WILLARD AT THE R.T.shouting into the radioWILLARDCode -- Street Gang -- StreetGang ! Purgative air strike;Street Gang !He turns and runs back through the compound with thereceding Montagnards. SHELLS are EXPLODING everywhere.The light patterns are fantastic. Men fall, Viets breakover the walls and charge. They crouch and rip intothem FULL AUTOMATIC. They break the charge and continuecutting their way through the NVA masses like torches through metal.271  FULL SHOT - COMMAND POST - KURTZKurtz watches as invaders swarm through his domain. Womenand children rush upon him now. Kurtz flicks some switch-es and the whole north wall EXPLODES in overwhelming FIRE.The gates are uprooted. The stone lions tumble, crushingmen below. Kurtz cocks an M-16 and walks off the bunker.272  VIEW ON WILLARDwatching this spectacle.273  MED. SHOT - DIFFERENT ANGLE - KURTZHe rounds  the shadow wall.Kurtz sees a group of Viets and rushes up and prepares amachine gun mount. They don't see him. He braces the gunat his side and steps out.KURTZ(yelling)Charles !They stagger and fall, shattered and bleeding, save onewho's merely lost his weapon. Kurtz looks at him, hisgun empty. He drops it and flips open the flap of hisholster. The Viet soldier goes for his pistol. Kurtzbeats him to the draw and bloes him into the night. Hemoves over to pick up the NVA light machine gun. Holdingit at his hip, he stands atop one of the ruined wallsand FIRES into the masses. His native men see him andrush for the chance to die beside him. They are quicklyencircled by onrushing Viets and are being overrun. Themachine gun jams and Kurtz grabs a rifle. When it's emptyand the bayonet is off he wields it as a club.274  MED. SHOT - LOW ANGLE - KURTZtaking swings with his rifle, standing atop thewall and battering the oncoming enemy like Davy Crockettat the Alamo.275  FULL VIEW - THE FORTRESSThe air strike hits with all its force. Balls and rainof fire sweeps down on the temple, the enemy, everything.It is the biggest firework show in history.The wall Kurtz was standing on, and he falls with it.Willard sees this and makes his way toward him as theair strike continues. All around us is a spectacle ofMUSIC and light and fire and overwhelming color.276  TRACKING SHOT ON WILLARDfollowing Kurtz's trail in the mud. He has crawled onall fours back into the jungle to die. He stalks Kurtzinto the jungle ; moving around and cutting off thecrawling KurtzKURTZGo away -- hide yourself.WILLARDWhat are you doing?KURTZGoing back  - to the jungle todie.WILLARDI'm taking you back. You can still live.KURTZI had immense plans.WILLARDI'm gonna get you out of here.KURTZI was on threshold of great things.Willard slings Kurtz's bleeding body around his neck,holding his hand, dragging hom through the jungle. Thespectacle continues in the b.g.277  EXT. THE P.B.R. - THE RIVERThis wreck of a boat is still afloat. Willard crawlsout of the jungle, carrying the dying Kurtz and managesto get him onto the boat.278  EXTREME FULL SHOTThe spectacle of total psychedelic war: the fortress ofNu Mung Ba.FADE OUT.FADE IN.279  EXT. THE TEMPLE - MORNINGThe entire temple is devastation. Vultures by the hundredscircle overhead. There are a few survivors. Everywhereis smoke and heaps of bodies. Colby, a Sergeant, andsome Montagnards sit near them.Their eyes are red and glazed, their jaws hang slack andthey tumble occasionally. They stagger away from thefield of slaughter. Willard looks down and sees something.Moves over to it, kicks several bodies away and in thef.g. below is Lance, dead.Colby stumbles over. Willard holds Lance up by his hair.COLBYWho is he?WILLARDHe was the tragedy -- the tragedyof this war.CUT TO:280  THE P.B.R.battered, moving slowly down the river.281  TIGHTER VIEWColby is at helm. Kurtz lies feverish, delirious.Willard sits by him. As the boat moves, Montagnards, thoseleft alive, come and pay their respects by the riverbanks.Colby takes an automatic weapon and FIRES it into the air.Some of the natives move in terror, frightened of him.The battle is not over.KURTZDon't. Don't frighten them away.Willard looks down at him.WILLARDSo you understand this?Kurtz looks up at him, past him with fury, longing in hiseyes. There is a slight smile.KURTZDo I not?282  EXT. RIVER - MED. VIEWThe boat moves as though naturally carried by the river.KURTZMy river... my people... my jungle...my ideas... my country... my wife...(he looks at Willard)... my death.WILLARDYou had immense plans... immense plans...KURTZYes...WILLARDI'm taking you back.Kurtz looks up to him, then an expression of overwhelmingintense and hopeless terror, hopeless despair. A whisperat some image, at some vision, he cries out twice, a crythat is no more than a breath.KURTZThe horror, the horror.We HEAR the distant SOUND of HELICOPTERS approaching.The SOUND of ROTORS in the distance. They look up,craning their eyes at the sky. Colby points.COLBYThere.Over the jungle mountains the small formation of MEDEVAChelicopters hooping toward them.COLBY(continuing)How did they know?WILLARDThey must have seen the fire.The helicopters are closer now but high up. Two ofthem breaking off, spiraling in TOWARD US.COLBYThey're coming to rescue us.They're Medevac.283  CLOSE SHOT ON WILLARDHe stares up at the sky.WILLARD(to himself)They're coming to take us back.Copters directly overhead.WILLARD(continuing)Yeah.COLBYColonel Kurtz, he's dead.WILLARDYeah.He raises his M-16 and FIRES the entire clip at the ap-proaching rescue helicopter.284  FULL SHOT - THE COPTERIt frantically pours on the power and wheels up to thesky.285  FULL SHOT - WILLARD, COLBYWILLARDYeah.Colby takes his rifle and joins Willard in FIRING atthe retreating American helicopters.286  HELICOPTER'S POV - ON THE BOATThe men in the boat FIRING AT US as we fly further intothe air, the boat getting smaller and smaller.WILLARD (V.O.)... Don't remember a lot about myrehabilitation... but I was sentback to the world before the fallof Saigon...287  EXT. MARINA DEL RAY - EXTREME HIGH ANGLE - NIGHTMOVING DOWN back to the pleasure boat at the Marina.Pause. Willard is very silent.WILLARDI never answered questions aboutKurtz -- I gave them a few of hisunimportant papers -- but for themost part I saved everything.There were other letters, personalones written earlier to his wife.I brought them to het. I watchedthe fall of Saigon on televisionin a bar in Alameda...289  EXT. CALIFORNIA NEIGHBORHOOD - DAYA bright clear day in a scrubbed-clean California neigh-borhood. Some kids are playing in the street.Willard, years later, dressed as a civilian, proceeds pastthe lawn to the attractive home, carrying a packet underhis arm. He passes a lanky, young teen-aged boy workingon a motor-scooter. Willard looks at him. The boylooks back.WILLARDHi.Then the door opens, and KURTZ'S WIFE is standing at thedoor. She is still beautiful, blonde, and dressed inmourning even though she doesn't wear black. There is asense of purity about her, though she is not young.KURTZ'S WIFECome in, Captain Willard.He enters.289  INT. KURTZ'S HOME - DAYEverything good and secure and desirable about America.She stands in the center of the room, a little nervous.KURTZ'S WIFECan I get anything for you?There are pictures of Kurtz, not too many... but he isthere in the various stages of his career.Then she sits suddenly, and Willard sits by her.KURTZ'S WIFE(continuing)Did you know him very well?WILLARDYou get to know each other prettywell out there.KURTZ'S WIFEAnd you admired him?WILLARDHe was a remarkable man. It wasimpossible not to --KURTZ'S WIFELove him... Yes, it is true.That's the hard part for me... Iknew him better than anyone ... Iknew him best.WILLARDYou knew him best.KURTZ'S WIFEYou were his friend... You musthave been, if he had given youthis...(the packet)If he sent you to his home. Hewas the best this country had --he was --WILLARDYes, I know...KURTZ'S WIFEI'll never get over it -- ButI'll always remember him...WILLARDBoth of us...KURTZ'S WIFEMen looked up to him...(she loses herself  in a thought)He died as he lived...WILLARDHis death was -- yes, he died ashe lived.KURTZ'S WIFEWere you with him, when...WILLARDYes I was... He said his lastwords to me.Pause.290  MED. CLOSE SHOT ON WILLARDA little of the madness is still with him. He knows whatshe will ask.KURTZ'S WIFEWhat were they?291  MED. CLOSE SHOT ON KURTZ'S WIFEKURTZ'S WIFETell me.292  MED. CLOSE ON WILLARDremembering that incredible day moving down the river.Our VIEW LOOSENSKURTZ'S WIFETell me what he said.KURTZ (V.O.)The horror ! The horror !WILLARDHe spoke of you, ma'am.He sits there looking at her.293  EXT. TIGHT HIGH ANGLE ON THE MARINA DEL REY BOATThe cocktail party is breaking up. Willard is one ofthe few guests left.We MOVE FROM Willard standing alone on the deck of theboat. Moving back through the departing guests. Charlieis getting ready to leave himself. We MOVE CLOSER toWillard.DISSOLVE TO:294  EXT. THE RIVER - P.B.R. - DAYthe boat floating down the river. Kurtz's body; an exhaust-ed, half-dead Colby. And HOLDING Kurtz, Willard. We HEARTHE DOORS' "THE END" as we present the END TITLES.FADE OUT.              THE  END

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