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                             FROM HERE TO ETERNITY


                         
                                  Written by
                         
                               Daniel Taradash

                         
                         
                                             (Second Draft - 8/29/1952)
                         
                         
                         
                     

          FADE IN:
                         
          EXT. QUADRANGLE - DAY
                         
                         LONG SHOT
          The quadrangle of Army buildings is quiet and deserted. A
          broken-down taxi drives in at one corner and slowly makes its
          way around the quadrangle. SUPERIMPOSED over shot is the
                         LEGEND:
                         
           HAWAII, 1941
           SIX MONTHS BEFORE
                          PEARL HARBOR
                         
          The taxi pulls up across the street from camera. A soldier
          gets out, pulls two heavily loaded barracks bags after him.
          He pays the driver, hoists the bags to his back, moves toward
          camera. The taxi drives away slowly. The soldier walks toward
          steps leading to a low building. He is PREWITT (called "PREW"
          for short), 22 years old, well-built, good-looking. He wears
          an enlisted man's uniform and on the sleeves are marks where
          chevrons have been removed. He pauses, looks up over the
          door. CAMERA PANS UP to sign which reads: ORDERLY ROOM - G
          COMPANY, 219TH REGIMENT.
                         
                         MEDIUM SHOT
          A small thin soldier in an undershirt and fatigue pants backs
          out of the screen door and into shot. He is wielding a frayed
          broom. This is PRIVATE ANGELO MAGGIO. He is violent and funny
          and sour and friendly. He sees Prewitt's legs but not his
          face, speaks as he sweeps a cloud of dust off the porch.
                         
                          MAGGID
           Fine way to pass the time. Good for
           the mind.
                         
                          PREW
           Hello, Maggio.
                         
          Maggio turns and stares at Prew, astonished.
                         
                          MAGGIO
           Prew...?
                         
                          PREW
                          (NODS)
           I transferred out of Fort Shatter.
                         
          Maggio notices the marks on the sleeves where the stripes
          have been removed. Prew follows his glance.
                         
                          MAGGIO
           You quit the Bugle Corps...?
           2.
                         
                         
                         
          Prew nods. Maggio jerks his head toward the sign.
                         
                          MAGGIO
           To here...?
                         
                          PREW
                          (SHRUGS)
           That's what the orders say.
                         
                          MAGGIO
           You made a bad mistake. This outfit
           they can give back to Custer.
                         
          Prew smiles slightly, starts toward door.
                         
                          MAGGIO
           The Captain ain't in yet.
                         
          Prew puts down his barracks bags.
                         
                          PREY
           I'll look around.
                         
                          MAGGIO
           (smiles for first time)
           Maybe we borrow some money from a
           twenty per cent man and take a real
           trip to town some night.
                         
                          PHEW
           Maybe.
                         
          TRUCKING SHOT ALONG COMPANY STREET
          Prew walks slowly down the raised porch alongside the street.
          He takes the mouthpiece of a bugle from his pocket, jiggles
          it idly, a habit of his. He comes to the Dayroom, glances
          through the screen door, goes in.
                         
          INT. DAYROOM - DAY
                         
                         MEDIUM SHOT
          The Dayroom has a pool table, ping-pong table, a radio, etc.
          Moth-eaten, upholstered chairs line both walls. The place is
          empty as Prew enters. He looks around casually, sees the pool
          table in an alcove. He moves over to it, puts the bugle
          mouthpiece in his pocket, picks a cue from the rack on the
          wall. He switches on the light, chalks the cue.
                         
          MEDIUM CLOSE SHOT
          The triangle of balls is already racked on the table. Prew
          addresses the cue ball, shoots and breaks the rack solidly.
          He watches the balls hurry around the table.
           3.
                         
                         
                         
           WARDEN'S VOICE (O. S.)
           What're you think you're doing!?
           Why ain't you out in the field with
           the Compny? What's your name?
                         
          The voice is brawling, brash, vigorous. Prew turns slowly.
          CAMERA ANGLE WIDENS to INCLUDE FIRST SERGEANT MILTON WARDEN,
          almost at Prew's elbow. He is thirty-four, big and powerful,
          has a neatly-trimmed moustache.
                         
                          PREW
           Prewitt. Transfer from Shafter.
                         
                          WARDEN
           Yeah. I heard about you.
                         
                          PREW
           I heard about you, too, Warden.
                         
                          WARDEN
           Well, put up that cue and come
           along. This here's a rifle outfit,
           Prewitt. You ain't suppose to enjoy
           yourself before sundown. The Man's
           very particlar about little things
           like that.
                         
          Warden goes out of the Dayroom. Prew puts up the cue and
          follows him.
                         
          EXT. COMPANY STREET
                         
                         TRUCKING SHOT
          as Prew and Warden walk along the porch, Warden a few paces
          ahead. They go into the Orderly Room.
                         
          INT. ORDERLY ROOM - DAY
                         
                         MEDIUM SHOT
          as Prew and Warden enter. Maggio is sweeping the room.
          MAZZIOLI, a bespectacled, intellectual-looking Private First
          Class, is at the clerk's desk, opening it, taking out papers,
          etc. Prew sits on a bench as Warden goes over to Mazzioli.
                         
                          WARDEN
           Mazzioli! Grant went to the
           hospital yesterday. Did you make up
           his sick record? Did you make a
           note for the morning report?!
           You're the Compny Clerk. The lousy
           Sickbook is your job!
           4.
                         
                         
                         
                          MAZZIOLI
           Those medics didn't get the
           Sickbook back till late yesterday --
           I'll tend to it right now --
                         
                          WARDEN
           Thanks. I already done it for you.
                         
                         ANOTHER ANGLE
          Maggio has swept his way over to Prew. He stops sweeping now,
          stares at the other man as if still incredulous.
                         
                          MAGGIO
           But you the beat bugler they got
           over at Shatter. You probly the
           best on this whole Rock.
                         
          In b.g., Warden has turned from Mazzioli and is looking at
          Prew. Prew looks back coolly, answers Maggio thoughtfully.
                         
                          PREW
           That's true.
                         
          Maggio wags his head, bends over to pick up wastepaper
          basket.
                         
                          MAGGIO
           Well, friend, I feel for you. But
           from my position I can't quite
           reach you.
                         
                          WARDEN
           Ten-sh-HUT!
                         
          Prewitt, Mazzioli and Maggio spring to attention. The screen
          door bangs and CAPTAIN DANA HOLMES enters shot. He wears
          cavalry boots and spurs. He is about forty, unsure of
          himself, therefore always too certain with his men. He nods
          pleasantly.
                         
                          HOLMES
           At ease. Good morning, men.
           Anything special this morning,
           Sergeant Warden? I've only a few
           minutes.
                         
                          WARDEN
           New man here, sir.
                         
                          HOLMES
           Oh, yes. Bring him in.
           5.
                         
                         
                         
          Holmes goes into his office. Warden jerks his thumb toward
          the door. Prewitt goes into the office. Warden follows him.
                         
          INT. CAPTAIN'S OFFICE - DAY
                         
          Holmes is seated at his desk as Prewitt and Warden enter. A
          placard on it reads: CAPTAIN HOLMES. A smaller desk nearby
          has a placard' reading: 1ST SERGEANT WARDEN. Warden seats
          himself at this desk. On the walls are framed photographs of
          prizefighters as well as one of a large golden trophy. On
          Holmes' desk is a small framed photograph of a very
          attractive blonde woman. Prewitt comes to attention in front
          of Holmes' desk.
                         
                          PREWITT
           Sir, Private Robert E. Lee Prewitt
           reporting to the Compny Commander
           as ordered.
                         
                          HOLMES
           At ease.
           (takes papers out of
           drawer, glances through
                          THEM)
           They sent your service record
           over... Twenty-two years of age...
           born in Kentucky... enlisted first
           at Fort Myer, Virginia... Bugle
           Corps... re-enlisted for overseas
           duty... Fort Shafter... First
           Bugler...
                          (BENIGNLY)
           Prewitt, I always make it a policy
           to talk to my new men. It's
           important for an officer and his
           men to understand each other. Now I
           have a fine smooth-running outfit.
                         
          ANGLE FEATURING WARDEN
          Holmes cannot see Warden who is grinning at Prewitt with
          unholy glee.
                         
                          HOLMES
           Plenty of room for advancement for
           a man who knows how to soldier. But
           he's got to show me he's got it on
           the ball. I don't know what you've
           been used to in the Bugle Corps,
           but in my outfit we run it by the
           book. What kind of trouble were you
           in over there?
           6.
                         
                         
                         
                          PREW
           No trouble, sir.
                         
                          HOLMES
           What made you transfer out, then?
                         
                          PREW
           It's a personal matter, air.
                         
                          HOLMES
           Oh. I see...
                         
          He studies Prew for a moment, sees Warden on the edge of his
          chair, watching hawk-like.
                         
                          HOLMES
           Something you wanted to ask,
           Sergeant?
                         
                          WARDEN
                          (EXPLODES SUDDENLY)
           Who? Me? Whv, yes, air. You had
           Corpral's stripes in the Bugle
           Corps, Prewitt. You took a bust to
           buck Private to transfer to an
           Infantry Compny. Why? Because you
           like to hike?
                         
                          PREW
           I dint have no trouble if that's
           what you mean.
                         
                          WARDED
                          (GRINS SUDDENLY)
           Or was it just because you couldn't
           stand to bugle?
                         
                          PREW
           It was a personal matter.
                         
                          WARDEN
           That's up to the Compny Commander's
           discretion to decide.
                         
                          PREW
           (looks straight at Warden)
           All right. I was First Bugler at
           Shafter for two years. The topkick
           had a friend who transferred in
           from the states. Next day he made
           him First Bugler over me.
           7.
                         
                         
                         
                          WARDEN
           And you asked out on account of
           that!?
                         
                          PREY
           Maybe I just ain't sensible... But
           that's the reason.
                         
                          WARDEN
                          (SNORTS)
           His feelings were hurt! Kids they
           send us now!
                         
          Warden swings his chair around, absorbs himself in work at
          his desk as if the Prew situation is too absurd to concern
          himself with. Holmes speaks blandly, winningly.
                         
                          HOLMES
           I've got a mighty sour Company
           Bugler here... but I suppose you
           wouldn't want that job.
                         
                          PREY
           No, air.
                         
                          HOLMES
                          (SMILES)
           Well, we'll get your stripes back
           for you, maybe an extra one for
           good measure. You know why you were
           sent over here when you requested
           transfer?
                         
                          PREW
           No, sir.
                         
                          HOLDS
           I pulled a few strings. I'm the
           Regimental Boxing Coach, Prewitt. I
           saw your fight with Connors in the
           Bowl year before last. With any
           luck you should have won it. I
           thought for a while, in the second
           round, you were going to knock him
           out.
                         
                          PREW
                          (TENSE)
           Thank you, sir.
                         
          MEDIUM CLOSE SHOT HOLMES
           8.
                         
                         
                         
                          HOLMES
                          (BITTERLY)
           My Regiment got beaten last year in
           the finals, as you know.
                          (SAVAGE INSISTENCE)
           But I mean to win this year. And I
           will. All I've needed was a top
           middleweight.
           (waves at pictures)
           Next year I'll hang your picture up
           there with the others, my boy.
                         
          MEDIUM SHOT FEATURING PREW
                         
                          PREW
           I'm sorry, air. But I quit
           fighting.
                         
           HOLMES.
           Quit fighting? When? What for?
                         
                          PREW
           I just stopped, sir... After --
           Maybe you heard about what
           happened...
                         
                          HOLMEB
           You mean that fallow you hurt --
           the one that went blind?
                         
          CLOSE SHOT PREW
          Prew's lips are drawn tight. He nods almost imperceptibly.
                         
                         MEDIUM SHOT
          During this shot Maggio can be seen in b.g. through door to
          Orderly Room. He pretends to be sweeping, but stops now and
          then to listen.
                         
                          HOLMES
           Yes, it's too bad about that. I can
           understand how you feel. But those
           things happen in this game. A man
           has got to accept that possibility
           when he fights.
                         
                          PREW
           That's why I decided I would quit,
           sir.
                         
                          HOLMES
                          (LESS WARMLY)
           But on the other hand, look at
                          (MORE)
           9.
                          HOLMES(CONT'D)
           it this way. What if all fighters
           felt like that?
                         
                          PREW
           They don't.
                         
                          HOLMES
           Would you have us disband our
           fighting program because one man
           got hurt?
                         
                          PREW
           No, sir. I dint say --
                         
                          HOLMES
           You might as well say stop war
           because one man got killed. Our
           fighting program is the best morale
           builder we have off here away from
           home.
                         
                          PREW
           I don't want it disbanded, sir.
                          (DOGGEDLY)
           But I don't see why any man should
           fight unless he wants to.
                         
                          HOLMES
           It looks to me like you're trying
           to acquire a reputation as a lone
           wolf, Prewitt. You should know that
           in the Army it's not the individual
           that counts. If a man wants to get
           ahead he has certain
           responsibilities to fulfill that go
           beyond the regulations. It might
           look as though I were a free agent,
           but I'm not. Nobody is.
                         
          Holmes waits hopefully for a moment, then realizes Prew is
          not going to respond further. He stands. Prew snaps to
          attention.
                         
                          HOLMES
           Maybe you'll change your mind. In
           the meantime just don't make any
           mistakes in my outfit.
                          (TO WARDEN)
           I've got to go into town. Is there
           anything else for me today,
           Sergeant?
           10.
                         
                         
                         
                          WARDEN
           (holds up papers)
           Yea, sir! The Compny Pond Report's
           got to be made out. It's due
                          TOMORROW --
                         
                          HOLMES
           You make it out. Is that all?
                         
                          WARDEN
           (holds up more papers)
           No, sir!
                         
                          HOLMES
           Well, whatever it is, you fix it.
           If there's anything that has to go
           in this afternoon, sign my name. I
           won't be back.
                         
          He goes out, crossing Warden's desk and knocking a wire
          basket filled with papers on the floor. In a moment, the
          sound of the screen door slamming is heard. Warden picks up
          the papers.
                         
                          WARDEN
           He'd strangle on his own spit if I
           weren't here to swab out his throat
           for him.
                          (TO PREW)
           Come on. I'll show you the Supply
           Room.
                         
          Warden goes out to Orderly Room, Prew following.
                         
          INT. ORDERLY ROOM - DAY
                         
                         MEDIUM SHOT
          as Prew and Warden enter and walk through. Maggio bobs his
          head approvingly at Prew.
                         
          EXT. COMPANY STREET - DAY
                         
          MEDIUM SHOT WARDEN AND PREW
          as they come out of the Orderly Room. Prew hoists his
          barracks bags to his shoulders, balancing them delicately.
          CAMERA TRUCKS with him and Warden as they walk down the
          porch.
                         
                          WARDEN
           (one of his unexpected
                          INTENSE BURSTS)
           Know what you did just now?
                          (MORE)
           11.
                          WARDEN(CONT'D)
           When you turned down Dynanite
           Holmes' boxing squad? You put your
           head in a noose. Things are soft
           for a boxer in his Compny.
           Otherwise, you better know how to
           soljer.
                         
                          PHEW
           I can soljer with any man.
                         
                          WARDEN
           This ain't the Bugle Corps -- this
           is straight duty.
                         
                          PREW
           I'll take my chances.
                         
          A convertible, top down, drives by and pulls up outside the
          Orderly Room. KAREN HOLMES, a tall, lean blonde woman, gets
          out. Her skirt hikes up a little as she goes up the stairs to
          the Orderly Room. Warden and Prew stop walking and watch her.
          Karen stops, glances at Warden momentarily, then goes into
          the Orderly Room.
                         
                          WARDEN
           Since when is this place gettin to
           be the Royal Hawaiian?
                         
                          PREW
           Who's she?
                         
                          WARDEN
           His wife. Captain Holmes'.
                         
          They resume walking.
                         
                          WARDEN
           You'll fight, Prewitt. You'll fight
           because Captain Holmes got a bee in
           his hat he needs a winnin team to
           make Mayor. And if you don't do it
           for him you'll do it for me. I only
           been in this outfit eight months
           myself but I learned one thing. My
           job is to keep him happy. The more
           he's happy the less he bothers me
           and the better I run his Compny. So
           we know where we stand, don't we,
           kid?
                         
                          PREW
           I know where I stand. I don't
           believe that's the only way a man
           can get along.
                          (MORE)
           12.
                          PREW(CONT'D)
           A man's got to make up his own mind
           and go his own way. It he don't,
           he's nothin...
                         
                          WARDEN
           Maybe back in the days of the
           pioneers a man could go his own
           way. But not in our time, kid.
           Today you got to play ball. You got
           to divide it all by two.
                         
          They have reached a Dutch door, top half open. A sign over it
          reads: SUPPLY ROOM.
                         
          MEDIUM SHOT SHOOTING INTO SUPPLY ROOM
          SUPPLY SERGEANT LEVA is eating a candy bar with one hand and
          leisurely typing up a form with the other. He is a foolish-
          looking man, about thirty-five.
                         
                          WARDEN
           Lava! Can't I once walk by this
           Supply Room and find you workin
           with both hands!
                         
                          LEVA
           (comes up to door)
           I can't do no better on what you
           people pay me.
                         
                          WARDEN
           Draw some supplies for this man.
                          (TO PREW)
           That's G Compny barracks over
           there. Get rid of your bags and
           come back here, and Leva'll find
           you a cart to lug your stuff over
           in. Save you makin four five trips.
                         
                          PREW
           (surprised, pleased)
           Okay.
                         
                          WARDEN
           I just hate to see energy wasted.
           Any kind. Besides, you'll be needin
           yours.
                         
          Prew walks off, toting the barracks bags. The bang of the
          Orderly Room door is heard and Lava and Warden look in that
          direction.
                         
          LONG SHOT KAREN HOLMES FROM WARDEN AND LEVA'S ANGLE
          as she walks along porch toward them. She is at a
          considerable distance. Karen is about thirty. She wears a
           13.
                         
                         
          sweater and skirt. She is aware the men are studying her.
                         
          MEDIUM CLOSE SHOT WARDEN AND LEVA
          watching Karen. Leva leans over the counter.
                         
                          LEVA
           Her and them sweaters.
                         
          LONG SHOT KAREN FROM WARDEN AND LEVA'S POV
          as she continues toward them. As much as a man can make out,
          she is probably not wearing a brassiere. Warden's and Lava's
          voices, loud at first, get softer and softer the nearer Karen
          gets to camera. At end of the shot, as she is only a few
          yards away, they are practically whispering.
                         
                          WARDEN'S VOICE
           Army women... They're cold,
           they got no more warmth than a
           diamond. There's no pleasure in
           them...
                         
                          LEVA'S VOICE
           Yeah, but this one knows the
           score... Like I been tellin you.
                         
                          WARDEN'S VOICE
                          (SARCASTIC)
           Is that right?
                         
                          LEVA'S VOICE
           Okay, not around here. But I was
           back at Fort Bliss with Holmes.
           When they was married only a year
           or two. I heard plenty about the
           lady then. Plenty.
                         
                          WARDEN'S VOICE
           You heard.
                         
                          LEVA'S VOICE
           Okay, never me. But a lot of them.
           I know some of the Use she played
           'around with, don't tell me.
                         
                          WARDEN'S VOICE
           I ain't tellin you. You're tellin
           me.
                         
          Karen stops, a few paces from camera.
                         
                          KAREN
           Good morning, Sergeant.
                         
                         MEDIUM SHOT
           14.
                         
                         
          Lava watches, listens avidly but discreetly in b.g. During
          the dialogue, Karen seems irritated by Warden, who looks at
          her coolly, appraisingly, physically.
                         
                          KAREN
           I'm looking for my husband.
                         
                          WARDEN
           Captain Holmes just went in town,
           ma'am.
                         
                          KAREN
           Oh. Of course, He was to have left
           some things for me.
                          (STUMBLES SLIGHTLY)
           That he was to have purchased. Do
           you know anything about them?
                         
                          WARDEN
           No, ma'am, I don't. Is there
           anythin I can do for you?
                         
           KAREN.
           No, thanks, Sergeant.
                         
          She makes slight move to go, pauses.
                         
                          KAREN
           He's been telling me quite a bit
           about you lately. My husband. He
           says you're very efficient.
                         
                          WARDEN
           Yes, ma'am.
                         
                          KAREN
           What is it that makes you so
           efficient, Sergeant?
                         
                          WARDEN
           I couldn't help it if I was born
           smart, ma'am.
                         
          Karen laughs suddenly, loudly.
                         
                          KAREN
           I love that. Well, good-bye,
           Sergeant.
                         
          Karen turns and walks back up the porch toward her car.
          Warden and Leva watch her. When she is out of earshot Leva
          speaks.
           15.
                         
                         
                         
                          LEVA
           But man, she sure is one, ain't
           she?
                         
                          WARDEN
           One what?
                         
                          LEVA
           One woman.
                         
                          WARDEN
                          (UNCONVINCINGLY)
           I've seen better.
                         
                          DISSOLVE TO:
                         
          INT. KAREN'S BEDROOM - NIGHT
                         
          MEDIUM SHOT 22 Karen, in a negligee, is seated at a dressing
          table, brushing her hair -- steadily, gracefully, enjoying
          the sensual pleasure of it. Karen is a woman of moods and
          tempers, spontaneous, quick to impulse. A car is heard
          pulling up in the driveway, the motor stopping. Karen's brush
          strokes become faster, rougher. The front door is heard
          opening and Holmes' voice calling, "Karen." She does not
          answer. Holmes enters. He seems to have had a few drinks.
          Through the following, Karen continues brushing her hair.
                         
                          HOLMES
           I'm sorry I'm so late. And about
           dinner, I --
                         
                          KAREN
           It doesn't matter.
                         
                          HOLMES
           -- I got tied up with General
           Slater. Bumped into him at the
           Officers' Club.
                         
                          KAREN
           Yes? What did the General have to
           say?
                         
                          HOLMES
           Success, he said. Success in war,
           success in peacetime... And not a
           word about my promotion... There
           are times I think the Old Man's
           just waiting to ship me down...
           (slumps into chair)
           I've had a bad day all around...
                          (MORE)
           16.
                          HOLMES(CONT'D)
           started right off this morning...
           trouble with a new man...
                         
                          KAREN
           If you'd spend less time buttering
           Generals and more time with your
           Company, maybe you'd get that
           promotion.
                         
                          HOLDS
           The Company takes care of itself.
           Or my Topkick takes care of it.
                         
                          KAREN
           I went over there this morning
           looking for you.
                         
                          HOLMES
                          (FLUSTERED)
           I had some business to attend to in
           town. During the afternoon.
                         
                          KAREN
                          (UNEMOTIONALLY)
           From the way you look I gather your
           business wasn't too successful.
                         
                          HOLMES
           Now what does that mean?
                         
                          KAREN
           Dana. Give me credit for a few
           brains.
                         
                          HOLMES
           How many, times do I have to tell
           you I haven't any other women
           before you'll believe me?
                         
          CLOSE SHOT KAREN SHOOTING INTO MIRROR ON DRESSING TABLE
          Karen laughs sharply, loudly, then stops suddenly as she
          looks at herself in the mirror, sees the repugnance in her
          face. She puts down the hairbrush, picks up a long comb.
                         
                          HOLMES VOICE
           If it were so, don't you think I'd
           admit it? The way things are
           between us now? What right have you
           to always be accusing me?
                         
                          KAREN
           What right?
                         
                         TWO SHOT
           17.
                         
                         
          They are both tense now. Holmes is out of the chair and
          pacing. Karen combs her hair spasmodically.
                         
                          HOLMES
           That again. How long will it be, I
           wonder, before I'm allowed to live
           that down? After eight years, how
           many times do I have to tell you It
           Was An Accident?
                         
                          KAREN
           That makes it all right, I suppose!
                         
                          HOLMES
           I didn't say that. I know what it's
           done to you, but --
                         
                          KAREN
           You know I hate to talk about it!
                         
          He moves over to her.
                         
                          HOLM ES
           How many times do I have to tell
           you I'm sorry, about that? How many
           times that I had no way of knowing -
                         
          He puts his hands on her shoulders. Karen shakes away, rises,
          faces him.
                         
                          KAREN
           You had a way of knowing, Dana. I
           want to go to bed. Please get out
           of my bedroom.
                         
          Holmes looks at her sullenly, then exits to adjoining room,
          closing the door behind him. There is a moment of silence,
          then a sharp snap as Karen breaks the comb in two.
                         
                          DISSOLVE TO:
                         
          INT. DAYROOM - NIGHT
                         
          MEDIUM SHOT WARDEN
          The room is fairly well filled with soldiers. The click of
          pool balls is heard over shot. Warden is reading a
          newspaper.. A column heading, conspicuous in shot, reads:
          JAPS ADVANCE IN CHINA. Warden drops the paper on his lap,
          looks toward pool table, squinting thoughtfully.
                         
          FULL SHOT AT POOL TABLE
          Maggio, Prew and CHIEF CHOATE, a Corporal, are playing pool.
          Choate is a full Choctaw Indian, a man of great bulk and
          tolerance. He speaks in a tremendously deep bass voice. The
           18.
                         
                         
          table on one side is surrounded by the prizefighters of G
          Company. They are IRE GALOVITCH, an ape-like, bent-kneed man
          weighing about two twenty, with a widow's peak almost to his
          eyebrows; BALDY DHOM, chunky and tough, his head as bald as
          an orange; TURP THORNHILL, a stringy, chinless Mississipian;
          HENDERSON, a tall, hard Texan; CHAMP WILSON, wiry and good-
          looking. They are all Sergeants except Wilson, who is a
          Corporal. The men have been heckling Prew and are watching
          with cold belligerence. Choate, bending over his cue, shoots
          and misses.
                         
                          CHOATE
           I'm coldern a Idaho winter tonight.
                         
          Prew shoots, makes a brilliant shot.
                         
                          MAGGIO
           Man, what I would not give to have
           this character in the corner
           poolroom in my home town: I'd dress
           him up on overhalls and a straw hat
           and put a grass in his teeth, and I
           would make a whole mint of ghelt
           off him!
                         
          Choate laughs deeply. Prew sizes up a new shot.
                         
                          WILSON
           We'd of won last year if we had a
           good middleweight. You box as good
           as you used to over at Shatter
           we're a cinch this year.
                         
          Prew doesn't respond. He bends over his cue again.
                         
                          THORNHILL
           You ain't forget the Division
           champs get ten day furloughs, did
           you, son? Ey?
                         
                          GALOVITCH
           You no talk now, Prewitt. But out
           in field with us you sing different
           song. An don't think you are tough
           guy. Quickest way to stockade is
                          BEING TOUGH
           guy.
                         
                          HENDERSON
           You heard him. Better think it
           over.
           19.
                         
                         
                         
                          MAGGIO
           Lissen, it's his right not to fight
           if he don't want. Without bein
           kicked around. Now, we playin pool.
           Whyn't you take off?
                         
                          DHOM
           You want a busted head, Maggio?
                         
                          MAGGIO
                          (SERIOUSLY)
           No.
                         
                          DHOM
           Then keep your big nose out
           altogether.
           (turns back to Prew)
           Trainin season starts next week --
                         
          Prew has been growing more and more agitated, as much by an
          inner turmoil as by the men. His control snaps suddenly.
                         
                          PREW
           I told you I quit fightin! I'm
           through! An that's all she wrote:
           You guys want to put the screws on,
           go ahead. I can take anything you
           hand out!
                         
                          DHOM
           Okay, Prewitt. No halts barred.
                         
          The five men move off, file out of the Dayroom.
                         
          MEDIUM CLOSE SHOT WARDEN
          His paper still on his lap. He has been watching. He wears a
          faint smile of respect.
                         
          MEDIUM SHOT PHEW, MAGGIO, CHOATE
          Prew chalks his cue, hands trembling, turns to Maggio.
                         
                          PREW
           Thanks.
                         
                          MAGGIO
           I just hate to see a good man get
           it in the gut.
           20.
                         
                         
                         
                          CHOATE
           You might as well get use to it,
           kid. You probly be seein it often
           before you die.
                         
                          DISSOLVE TO:
                         
          INT. SQUAD ROOM - NIGHT
                         
          MEDIUM SHOT PREW AND CHOATE
          In b.g. a few of the men are moving to and from the latrine
          but most of them are in their bunks. Over shot the sound of a
          bugle blowing Tattoo is heard. Lights are being extinguished
          in various parts of the room. Prew and Choate are lying on
          adjoining bunks, smoking. Choate's voice is almost linked to
          his last speech of preceding scene.
                         
                          CHO ATE
           ... oh, sure, we got a few bad non-
           coms and we got Dynamite Holmes for
           a Captain. But I been around twenty
           years in this Army. They even up.
                         
          In b. g. Warden and SERGEANT PETE (POP) KARELSEN come through
          from the latrine. The latter is a grizzled, crumbled dog-
          face, about fifty.
                         
                          CHOATE
           Take A Compny. They got the best
           Compny Commander I ever saw. But
           their Topkick -- he ain't no
           Warden.
                         
          Warden stops beside Prew and Karelsen moves on, going in to a
          small room off the main squadroom. Warden's big, powerful
          body is covered only by a towel around his loins. He smiles
          at Prew.
                         
                          WARDEN
           Hello, kid. Everythin nice and
           comfy?
                         
                          PREW
           Never better.
                         
                          WARDEN
           'at's the lull before the storm,
           kid. Set yourself.
                         
          He moves off, goes into the room he shares with Karelsen.
           21.
                         
                         
                         
                          PREW
           What's the deal with him, anyway? I
           can't figure him.
                         
          The lights are almost all off and activity in the room has
          ended.
                         
                          CHOATE
           The Warden? He's a wild man. He was
           in the 15th when they seen their
           action in the Settlement in
           Shanghai. I heard about it down in
           the Philippes even. He got himself
           a DSC and a Purple Heart out of it
           but you'd never know it if I dint
           tell you. This next war comes,
           Warden'll be right in there,
           standin up on the skyline, trio to
           get himself killed, but nothing
           will ever touch him. He'll come
           through maddern, wildern, craziern
           ever. All I know is he's the best
           soljer I ever saw...
                         
          The lights are all out now and the room is in darkness.
                         
           FADE OUT.
                         
                         FADE IN:
                         
          EXT. ROAD - DAY
                         
          TRUCKING SHOT PLATOON OF MEN
          carrying rifles, marching at attention. Prew is FEATURED in
          shot; a light smile of pleasure as he moves along. Choate,
          bringing up the rear, is singing the Regimental Marching Song
          in a wonderful basso. Dhom marches on one side of the
          platoon, Galovitch on the other. Dhom calls out the "huts."
                         
          CLOSE SHOT FEET OF MEN MARCHING
          They are in perfect unison.
                         
          CLOSE TRUCKING SHOT PREW
                         
                          DHOM'S VOICE
           Prewitt! Get in step, Prewitt!
                         
          Prew frowns slightly. He hops once, changing stride, realizes
          he is now out of step.
                         
                          GALOVITCH'S VOICE
           Prewitt! Dis a drill, not picnic!
           Get in step!
           22.
                         
                         
                         
          Prew hops again, changing step. He marches along. Dhom's
          voice commands "Platoon -- Halt!" Prew and men around him
          come to halt.
                         
          MEDIUM SHOT PLATOON
                         
                          DHOM
           Prewitt! Step out!
                         
          Prew steps to the front, still smiling faintly.
                         
                          DHOM
           You march like a drunk gooney bird!
           Corpral Paluso! Take this man to
           the track. Send him 'round seven
           laps double-time rifle at high
           port!
                         
                          DISSOLVE TO:
                         
          EXT. CINDER TRACK - DAY
                         
          Prew running around track, his rifle at high port. He wears a
          slightly contemptuous smile. CORPORAL PALUSO sits on the
          grass infield watching him.
                         
                          DISSOLVE TO:
                         
          EXT. FIELD - DAY
                         
          MEDIUM SHOT THE PLATOON
          kneeling over their rifles, laid out on shelter halves. Prew
          is FEATURED in shot. His shirt is wet and he is sweating
          heavily, as if he has just come from the run around the
          track. Henderson stands in front of the group, instructing.
                         
                          HENDERSON
           -- rifle's your beat friend. In
           case them weapons jams in combat
           could mean life or death. You got
           to know 'em inside out. Now I want
           you to strip them weapons and put
           it together again.
           (holds up stop watch)
           Go!
                         
          The men start taking their rifles apart as fast as they can.
          Henderson walks around watching them.
                         
          MEDIUM SHOT PREW AND MAGGIO
          stripping rifles. Prew is efficient and brilliantly fast,
          Maggio fumbling and slow. Maggio keeps looking over at Prew,
          admiring his speed.
           23.
                         
                         
                         
          CLOSE SHOT PREW
          as he strips the rifle. (This mechanical operation should be
          interesting to audiences; a good man can field strip the
          weapon in thirty or forty seconds.) Prew finishes the job and
          CAMERA MOVES to CLOSE on shelter half where all the parts are
          laid out.
                         
                          HENDERSON'S VOICE
           'at's fair time. Now lemma see you
           put it together.
                         
          Prew's hands start to work over rifle parts, putting them
          together.
                         
                          DISSOLVE TO:
                         
          EXT. FIELD - DAY
                         
          CLOSE SHOT THE RIFLE
          in Prew's hands, assembled, CAMERA PULLS BACK as Prew stands
          up, holding the weapon. The rest of the men are still working
          over their rifles, Maggio is staring up at Prew in awe.
          Henderson grabs the rifle from Prew, turns his back to him,
          pretending to squint along barrel.
                         
          CLOSE SHOT HENDERSON
          looking along barrel. SHOT FEATURES his thumb as he flips the
          rear sight to one side. Henderson turns around and ANGLE
          WIDENS to include Prew. He throws the rifle at Prew, who
          catches it, staggering back.
                         
                          HENDERSON
           Your rear sight's way off! You'd be
           fifty feet off your target at three
           hundred yards!
           (to others, mockingly)
           That's what comes when a soljer
           don't know how to assemble a
           rifle.
                          (TO PREW)
           You better get down to the track
           and carry it around a few times.
           Maybe that'll teach you...
                         
                          DISSOLVE TO:
                         
          EXT. CINDER TRACK - DAY
                         
          MEDIUM SHOT PREW
          running around track to sun, rifle held before him. The smile
          is fainter but still there.
                         
                          DISSOLVE TO:
           24.
                         
                         
                         
          EXT. FIELD - DAY
                         
          GROUP SHOT BAYONET PRACTICE
          The platoon is divided into teams of two. Thornhill is the
          instructor. This is actual hand-to-hand training. Prew wields
          his rifle, bayonet fixed, in expert thrusts. Maggio is
          fighting in next lane. Thornhill walks behind Prew, trips him
          quickly as he passes. Prew falls off balance. His opponent
          smashes his rifle against Prew's, knocks it to the ground.
          Prew whirls on Thornhill in protest.
                         
                          THORNHILL
           Wide open, ey, Prewitt? Maybe seven
           laps'll teach you to watch
           yourself...
                         
          Maggio, wielding his rifle madly, yells over.
                         
                          MAGGIO
           Hey, I saw that -- I saw what you
                          PULLED --
                         
                          DISSOLVE TO:
                         
          EXT. CINDER TRACK - DAY
                         
          MEDIUM SHOT PREW AND MAGGIO
          toiling around track together, holding rifles.
                         
                          DISSOLVE TO:
                         
          EXT. COMPANY STREET - DAY
                         
          TRUCKING SHOT OUTSIDE SUPPLY ROOM
          Maggio and Prew trudge wearily along the porch, rifles on
          shoulders. Their sweaty uniforms are plastered to their
          bodies.
                         
                          MAGGIO
           I use to think a shipping clerk was
           a dog's life.
           (sighs, shakes head)
           What I would not give to be back in
           Gimbel's basement!
                         
          As they come up to the Supply Room, Warden, neat and cool, is
          leaning on the counter. He steps aside to let them pass,
          beams at Prew.
                         
                          WARDEN
           Chow's almost over, men. Better
           hurry up and wash. `less of course
           you'd rather go in the way you are.
           25.
                         
                         
                         
          Maggio gives Warden a dirty look. Prew's expression is
          noncommittal. They carry their rifles into the Supply Room.
          Leva comes up to the door as Warden turns to go back to the
          Orderly Room. As he does, Karen's convertible comes down the
          street. Warden stops, watches it.
                         
          LONG SHOT FROM WARDEN'S POV
          as Karen drives by, turning her head slightly toward Warden.
          There is the vaguest trace of i smile.
                         
          MEDIUM CLOSE SHOT FEATURING WARDEN
          as he turns to watch the departing car.
                         
                          LEVA
           I'm tellin you, Top, she's trouble.
           You better keep your mind off what
           you're thinkin.
                         
          CAMERA MOVES TO CLOSE SHOT
          of Warden, still looking after the car, thinking.
                         
                          DISSOLVE TO:
                         
          INT. CAPTAIN'S OFFICE - DAY
                         
          MEDIUM SHOT WARDEN AND HOLMES
          It is a gloomy, rainy day and the lights are on in the
          office. Warden is at his desk, working. Holmes is buckling on
          his trench coat. He wears a happy smile.
                         
                          HOLMES
           I won't be back in time to take
           Retreat.
           (winks at Warden)
           Or Reveille either, probably.
                         
                          WARDEN
           Yes, sir.
                         
                          HOLMES
           (strides back and forth;
                          JOVIALLY)
           All work and no play, Sergeant. All
           you do is sit around sweating over
           this paper and that. There are
           other things in this world beside
           work.
                         
          Warden carries some official papers to Holmes' desk.
                         
                          HOLMES
           (bending over, tying
                          SHOELACE)
                          (MORE)
           26.
                          HOLMES(CONT'D)
           You ought to get out more yourself,
           Warden.
                         
          Warden is looking directly at the picture of Karen on Holmes'
          desk.
                         
                          WARDEN
           I've been considering it.
                         
          He turns aside as Holmes straightens up.
                         
                          HOLMES
           Well, I'm going.
                         
          He claps Warden on the back fraternally.
                         
                          HOLMES
           I'm leaving it in your care,
           Sergeant.
                         
                          WARDEN
           It'll be here when you get back.
                         
          Holmes goes out. Warden turns back to Holmes' desk. He is
          still holding the papers in one hand. He looks at Karen's
          picture, picks it up with his other hand, squints at it,
          considering the chances very, very carefully.
                         
                          DISSOLVE TO:
                         
          EXT. BACK PORCH OF HOLMES' HOUSE - DAY
                         
          MEDIUM CLOSE SHOT WARDEN
          standing on the open porch, in the rain. He wears a GI
          raincoat. He is squinting at the door with the same
          expression he used looking at Karen's picture. He takes a
          deep breath as if he were going off a high diving board, then
          knocks briskly. A shadow moves across the room behind the
          curtains. Then Karen opens the door. She is in shorts and a
          blouse.
                         
                          KAREN
           Oh. If it isn't Sergeant Warden.
           You better step inside or you'll
           get wet.
                         
          Warden opens the screen door and jumps in past the water
          running off the eaves.
                         
          INT. SMALL PANTRY OFF KITCHEN - DAY
                         
                         MEDIUM SHOT
          as Warden jumps in. He takes off his rain hat.
           27.
                         
                         
                         
                          WARDEN
          I am wet.
                         
                          KAREN
          If you're looking for my husband,
          he isn't here.
                         
                          WARDEN
           (taking the long chance)
          And if I'm not looking for him?
                         
                          KAREN
                          (UNSMILING)
          He still isn't here. If that does
          you any good.
                         
                          WARDEN
                          (QUICKLY)
          Well, I'm looking for him. Do you
          know where he is?
                         
                          KAREN
          I haven't the slightest idea.
          Perhaps he's in town. I guess it
          was `in town' the way you put it,
          wasn't it? Or perhaps he's at the
          Club. Having a drink.
                         
                          WARDEN
           (fishes in his pocket,
           brings out papers)
          I got some papers it's important
          for him to sign. Today.
                         
                          KAREN
                          (TURNS)
          I'll try phoning him at the Club
          for you.
                         
                          WARDEN
          I never like to disturb a man
          drinking.
                         
                          KAREN
                          (TURNS BACK)
          What is it you want, Sergeant?
                         
                          WARDEN
          I could use a drink myself right
          now. Bad. Anyway, I got a faint
          suspicion the Captain's `in town.'
          Ain't you going to ask me in?
           28.
                         
                         
                         
          Karen finally smiles, faintly. She goes into the kitchen,
          leaving the door open. Warden follows her.
                         
          INT. KITCHEN HOLMES HOUSE - DAY
                         
                         MEDIUM SHOT
          The kitchen is small and undistinguished. Karen takes a
          whisky bottle from a cabinet, pours a straight, stiff drink,
          puts it on the sink. Warden puts the papers down and drinks.
          Karen sits on a high kitchen stool.
                         
                          KAREN
           You're taking an awful chance, you
           know. My maid is liable to be home
           any time.
                         
                          WARDEN
           No she won't. Thursday's her day
           off.
                         
          He takes off his raincoat, drops it on a chair.
                         
                          KAREN
           You think of everything, don't you,
           Sergeant?
                         
                          WARDEN
           I try. In my position you have to.
                         
                          KAREN
           (goes to sink, picks up
                          THE PAPERS)
           Are these really important?
                         
                          WARDEN
           Yes. But not important they get
           signed today. Tomorrow's okay.
                         
          Karen suddenly, deliberately, rips the papers in half. Then
          she tears them into bits and throws them into the
          wastebasket. Warden appreciates the gesture, relaxes for the
          first time. He grins widely.
                         
                          WARDEN
           I got carbons of those back at the
           office. So it won't be much work to
           fix them up.
                         
          Warden's control has begun to affect Karen's now. She is
          losing her poise.
           29.
                         
                         
                         
                          KAREN
           That's what I like about you,
           Sergeant. You have confidence. It's
           also what I dislike about you.
                         
                          WARDEN
           It's not confidence. It's honesty.
                         
                          KAREN
           Honesty? How did you acquire such
           an old-fashioned virtue?
                         
                          WARDEN
           I figgered out one day it was the
           shortest distance between two
           points.
                         
                          KAREN
           Well, he's clever as well as
           virile.
                         
                          WARDEN
           No -- it's just that I hate to see
           a beautiful woman goin all to
           waste.
                         
          He moves close to Karen, is on the verge of embracing her.
          Greatly tempted but greatly disturbed, she turns away. During
          next she pours herself a drink, the bottle shaking in her
          hand. Her tone is no longer brittle. It is bitter.
                         
                          KAREN
           Waste, did you say? Now that's a
           subject I might tell you something
           about. There's we. And then there's
           waste. Positive and negative. The
           negative is sometimes more
           interesting... more evil. For
           example -- what about the house
           without a child? Tell me your
           thoughts, Sergeant.
                         
                          WARDEN
           You're going to cry.
                         
                          KAREN
           Not if I can help it.
                         
                          WARDEN
           Please don't cry... I can't stand
           to see somebody cry.
           30.
                         
                         
                         
          Karen turns to face him as he picks up his raincoat, is about
          to put it on.
                         
                          KAREN
           What are you doing?
                         
                          WARDEN
           I'm leaving. Isn't that what you
           want?
                         
                          KAREN
                          (SLOWLY)
           I don't know, Sergeant. To be
           honest, I don't know.
                         
          They stare squarely at each other, both puzzled and a little
          afraid of their emotions. This is something neither had
          counted on.
                         
                          WARDEN
           I know a beach near Diamond Head.
           Nobody ever goes there. The cars on
           the highway pass above and they
           never know it's there. You feel
           like you used to feel when you were
           a kid, hiding by yourself in a
           cave, watching the others hunting
           you.
                         
          Karen turns, goes to the sink, puts the whisky bottle back in
          the cabinet.
                         
                          KAREN
           Maybe... why not?
                         
                          WARDEN
           How about Payday?
                         
          Karen is trying hard to regain her glassy composure. She is
          unsmiling again.
                         
                          KAREN
           You don't have to spend money on
           me, Sergeant.
                         
                          WARDEN
           I just like to have some on me when
           I take out a woman. Can you get
           away?
                         
                          KAREN
           Maybe.
           31.
                         
                         
                         
          Warden grins as he puts on his raincoat. He goes to the door
          to the pantry, pauses there.
                         
                          WARDEN
           I'll be in Kuhio Park. Say, nine
           o'clock. Payday.
                         
          Karen leans back against the sink, watches him go out to the
          pantry. A moment later the sound of the door is heard as he
          leaves the house. She turns on the faucet, starts to rinse,
          the glasses they have used. Suddenly she turns the faucet on
          full force, watches it pound into the sink.
                         
           FADE OUT.
                         
                         FADE IN:
                         
          EXT. QUADRANGLE - DAY
                         
          MEDIUM SHOT HOLMES GALOVITCH THORNHILL WILSON DHOM HENDERSON
          The men are grouped around Holmes. He is pressing hard to
          pretend equanimity. The Sergeants appear somewhat baffled but
          determined.
                         
                          HOLMES
           -- this man Prewitt's been here
           over a month now. I expected you
           mend have him around before this.
                         
                          HENDERSON
           We've been runnin him pretty hard.
           But he don't faze.
                         
                          HOLMES
           Maybe he needs a good dose of The
           Treatment.
                         
          The men react to the phrase; The Treatment is obviously
          reserved for very special, intractable cases. They consider
          it silently for a moment or two.
                         
                          GALOVITCH
           A double dose needs him to be
           given.
                         
                          THORNHILL
                          (NODS)
           The Treatment'll bring that puppy
           boy around...
                         
                          HOLMES
           You understand. I don't want
           any rough stuff.
                          (MORE)
           32.
                          HOLMES(CONT'D)
           But we all know good athletes make
           good leaders. And good leaders --
                         
          The music of the forthcoming MONTAGE drowns Holmes' words as
          he continues.
                         
                          DISSOLVE TO:
                         
                         EFFECT MONTAGE
          The MONTAGE consists of a continuous stream of SUPERIMPOSURES
          depicting Prew's growing humiliation and exhaustion at the
          hands of the non-corns. Mingling with the background shots
          are VARIOUS ANGLES of CLOSEUPS of Prew. As the speed of the
          sequence increases, the stubborn smile on his face gives way
          to hurt, bitterness, anger... Over shots we occasionally hear
          stray shouts of the non-corns as they belabor Prew, but for
          the most part these and other dialogue are obliterated by
          MUSIC. The MONTAGE can be selected and created from the
                         FOLLOWING:
                         
          FLASHES ADDITIONAL ANGLES OF PRECEDING TRAINING SEQUENCES
                         
          FLASHES ADDITIONAL TRAINING SITUATIONS -- E.G. FIRING RANGE,
          PATROL EXERCISES, GRENADE PRACTICE (IF NEEDED)
          in all of which Prew excels.
                         
          FLASHES GALOVITCH WILSON DHOM THORNHILL HENDERSON
          riding Prew, mocking him, grinning at him, thumbing him to
          the track, etc. FEATURED is Galovitch, who takes particular
          Joy in baiting Prew.
                         
                         FLASHES PREW
          running around track, staggering despite a tremendous effort
          not to show his fatigue.
                         
                         OBSTACLE COURSE
          with the platoon going through, crouched low, live ammunition
          spattering around them. Prew, nearest camera, is lower than
          any man in the line. Over shot we hear a snatch of Wilson's
          Voice yelling at Prew to get lower.
                         
          CLOSE FLASH WILSON AND PREW
          Wilson bawling Prew out, thumbing him to one side of obstacle
          course.
                         
                         FLASHES PREW
          chinning himself on bar setup near obstacle course; he is
          near physical exhaustion.
                         
          OBSTACLE COURSE PREW
          going through alone, on his belly in deep mud.
                         
          CLOSEUP PREW (CULMINATION OF SUPERIMPOSED CLOSEUPS AND END OF
                         MONTAGE)
           33.
                         
                         
          coming HEAD-ON into camera as he bellies through the mud of
          the obstacle course. Snatch of mingled voices of non-coms
          yelling "Keep it downs", "Get that nose in the mud!", etc.
          Prew is utterly spent. His face drops into the mud, which
          splatters up, obscuring the screen.
                         
                          DISSOLVE TO:
                         
          INT. KITCHEN - DAY
                         
          CLOSE SHOT SWIRLING DISHWATER IN SINK
                         
          MEDIUM SHOT PREW
          bent over the sink, scraping, washing and rinsing cooking
          pans and mixing basins. He hangs the soap bucket on the hot
          faucet and turns it on full force. As he does, PRIVATE
          WILLARD, a fat, whining cook, dumps an additional huge pile
          of pans before him. Prew looks at them ruefully. Willard says
          something to him with a "hustle up" gesture. The faucet
          drowns the words.
                         
          MEDIUM SHOT ANOTHER PART OF KITCHEN PREW AT SINK IN B.G.
          Men are working in the steady, helpless motion of the KP.
          Waiters swing in and out of the entrances leading to the mess
          halls, carrying large trays.
                         
          MEDIUM CLOSE SHOT SERGEANT STARK
          The Mesa Sergeant, a tall, gaunt man, surveys the scene
          possessively. Maggio, Dining Room Orderly today, wearing a
          soiled white coat, flashes by to the mess hall, almost
          dropping his loaded tray in his haste.
                         
          MEDIUM SHOT PRIVATE TREADWELL
          A slow, lazy, heavy man, peeling potatoes. There is a large
          kettle filled with dirty water in front of him in which the
          potatoes are floating. Treadwell stabs at one with a long
          fork, misses it. He stabs again, almost in slow motion,
          misses again. He sees Stark glowering over him.
                         
                          TREADWELL
           Ah+m suppose to be a automatic
           rifle man, not a spud-cutter.
                         
                          STARK
                          (DISGUSTEDLY)
           Rifle man, huh? All somebody'd have
           to do would be holler war at you
           and it'd be over the hill and far
           away.
                         
          Stark walks off.
           34.
                         
                         
                         
                          TREADWELL
           ... they just give me my chance
           they'll see...
                         
          He is surprised and pleased as he spears a potato this time.
          He raises it triumphantly like a caught fish.
                         
          MEDIUM SHOT PREW AND WILLARD
          The faucet is still on and we cannot hear what Willard says
          as he dumps more pans before Prew. However, he is obviously
          complaining that Prew is slow. Prew, sweating and angry,
          barks something back at him and turns the faucet off.
                         
                          PREW
           No cook ever used that many panel
           Not even for an officers, banquet,
           ladies invited! Want me to grow
           couple more arms?!
                         
          Stark, always alert to trouble, comes into shot. Willard sees
          him and speaks with whining dignity, for Stark's benefit.
                         
                          WILLARD
           All I ask is that you keep the pans
           washed up so they're clean when I
           need them. In order that I am
           allowed to cook the kind of food
           required for men who work hard all
           day and who need good nourishing
           food to get their nourishment.
                         
                          STARK
           Hole up 'at noise. This man's hot
           as a forty-five shootin downhill.
                         
                          WILLARD
                          (TERRIBLY INJURED)
           How you think I can do my job if
           the Mess Sergeant takes sides with
           a goldbricking KP? What do you
           think I am?
                         
                          STARK
           I think you're a fat cook who can't
           cook.
                         
          As Willard retires, Maggio pours through from the mass hall.
          Screaming joyously, he shoves two empty platters in front of
          him.
                         
                          MAGGIO
           Comin through! Comin through! Me
           and my table waiters!
                          (MORE)
           35.
                          MAGGIO(CONT'D)
           We workin our tail off. They runnin
           us to death. Hot stuff! Comin
           through hot stuff one side!
                         
          Nobody pays any attention but Prew, who smiles at him. Maggio
          winks back.
                         
                          MAGGIO
           Hello, Prew! Bettern being threwn
           in jail, ain't it?
                         
          Maggio passes camera, leaving the shot and disclosing Warden,
          who has entered from the mess hall in his wake. He carries a
          dish of eggs and sausage and is leaning against a pastry
          table. He is grinning lovingly toward Prew. He strolls over
          to Prew. He eats through following. The smile never leaves
          his face, broadens as the scene progresses.
                         
                          WARDEN
           You look awful tard, kid.
                         
          CLOSE SHOT PREW
          working over the sink.
                         
                          WARDEN'S VOICE
           How do you like straight duty?.
           Life in a rifle compny, eh?
                         
          Prew stops working, turns toward Warden.
                         
                          PREW
           What makes you think I mind it?
                         
          MEDIUM SHOT FEATURING KP'S, STARK, MAGGIO, WILLARD, TREADWELL
          as something electric transmits itself and they all stop what
          they are doing to look over toward Prew and Warden.
                         
                          WARDEN
           I didn't say you minded it, kid. I
           just said you looked tard. Drawn to
           a fine edge.
                         
                          PREW
                          (SMILES BACK)
           I don't mind it, Top. It's a great
           life, this. I find a pearl, I'll
           cut you in. Fifty-fifty, If you
           hadn't put me here, I wouldn't have
           had no chance to find it.
                         
          TWO SHOT WARDEN AND PREW
           36.
                         
                         
                         
                          WARDEN
           Well, well, there's a man for you.
           I'll see if I can fix you up with a
           lot more since you like it so much.
           How you like the garbage detail?
                         
                          PREW
           Thanks, Top, I've had it. You give
           it to me Tuesday. Remember?
                         
                          WARDEN
           (nods, as if just
                          REMEMBERING)
           Well, then, how 'bout street
           cleaning detail?
                         
                          PREW
           That, too. Yesterday.
                         
                          WARDEN
                          (NODS)
           You got a better memory than me.
           Guess the best thing to do is leave
           you right in the kitchen a while,
           huh?
                         
          He pretends to turn away, then stops, turns back.
                         
                          WARDEN
           Course if you was an ath-a-leet you
           wouldn't have to pull KP. Or any
           fatigue duty for that matter...
                         
                          PREW
           (not smiling now)
           If you think you can push me into
           fightin, Warden, you're wrong. Not
           you and Dynamite and The Treatment.
           I'm twice the man you are. If you
           dint have them stripes I'd take you
           out on the green and beat you to a
           pulp.
                         
                          WARDEN
           (smile growing bigger)
           Don't let the stripes worry you,
           kid. I can always take my shirt
           off. Take it off right now.
                         
                          PREW
           You'd like that. You could get me a
           year in the Stockade for that one,
           couldn't you?
           37.
                         
                         
                         
          CLOSE SHOT PREW'S HAND
          closing around a heavy mug in the sink.
                         
          MEDIUM CLOSE SHOT PREW AND WARDEN
          Warden looking at Prew's hand. Warden's grin broadens with
          something more than sarcasm. He is 'impressed and pleased by
          Prew's honest anger.
                         
                          WARDEN
           Don't throw it, Prewitt. It might
           break on my head. And that would
           cost you one thin dime next Payday.
                         
          Warden deliberately turns his back and walks off. Prew looks
          after him. CAMERA MOVES IN to FEATURE his hand on the mug. He
          grasps it tighter, then lets it fall back into the soapy
          water,
                         
                          DISSOLVE TO:
                         
          EXT. QUADRANGLE - DAY
                         
          CLOSE SHOT PRIVATE FRIDAY CLARK
          He is blowing the bugle, sounding Pay Call. The rays of a
          blinding sun flash on its shiny surface.
                         
          INT. MESS HALL - DAY
                         
                         MEDIUM SHOT
          The bugle is heard over shot. A line of spruced-up men
          stretches through the mess hall. A blanket is spread over a
          table and behind it sits Holmes, flanked by Warden and
          Mazzioli. In front of Holmes is a pile of greenbacks and a
          cigar box filled with silver. He is paying out the man at the
          head of the line.
                         
                          HOLMES
           -- and just see you don't drink all
           this up in one place.
                         
          The man smiles, appreciating the whimsy, salutes, moves off.
                         
                          WARDEN
           Prewitt.
                         
          Prew, next in line, steps up to the table.
                         
                          PREW
           Robert E. Lee, RA 345071.
                         
          He is crisp, sharp, expressionless. He holds out his hands
          for fingernail inspection.
           38.
                         
                         
          Holmes looks them over, then up at the perfect knot in his
          tie. He stares at Prew as if trying to fathom him.
                         
                          HOLMES
           Have you given any thought to the
           boxing team recently, Prewitt?
                         
                          PREW
                          (TONELESSLY)
           I feel the same way, sir.
                         
          Holmes' hands clench. He seems about to fly into a rage when
          he senses a motion at his side. He turns to see Warden
          looking straight at him. Warden's face has the same
          meaningfully expressionless look as Prew's. Holmes wilts
          before it, turns to Mazzioli.
                         
                          HOLMES
           What's this man's pay?
                         
                          MAZZIOLI
           (reading from Payroll)
           Private Prewitt, thirty dollars
           base pay. Deductions-laundry,
           insurance, PX checks.
                         
          CAMERA MOVES IN to CLOSE SHOT of Holmes# hands laying money
          out on blanket.
                         
                          MAZZIOLI'S VOICE
           Total due twelve dollars thirty
           cents.
                         
                          DISSOLVE TO:
                         
          EXT. RIVER STREET, HONOLULU - NIGHT
                         
                         FULL SHOT
          Payday night. A gay, noisy jamboree. Soldiers, mostly in
          civilian clothes, and uniformed sailors swarm down the
          street. Taxi drivers arguing with their fares as they pull up
          at bars. Filipinos padding in twos and threes.
                         
                          DISSOLVE TO:
                         
          EXT. NEW CONGRESS CLUB - NIGHT
                         
          MEDIUM SHOT AT ENTRANCE
          Maggio and Prew, dressed in slacks and Aloha shirts, stand in
          front of what looks like a renovated residence. They give
          evidence of having already accomplished a little substantial
          drinking. The sound of loud piano playing is heard from
          within. A sign over the door reads: NEW CONGRESS CLUB - SOFT
          DRINKS - DANCING - RECREATION - MEMBERS ONLY. The door opens
           39.
                         
                         
          and MRS. KIPFER stands at the threshold. She is a
          sophisticated-looking woman with upswept hair, wears an
          evening gown with a corsage of orchids. The piano music,
          louder with the opening of the door, continues through all of
          the following. The pianist is hammering out "I Don't Want To
          Set The World On Fire" (or a similar hit of 1941).
                         
                          MAGGIO
           Greetings, Mrs. Kipfer.
                         
           MRS. KIPPER
                          (CORDIALLY)
           Why, it's Angelo Maggio.
                         
          He barges past her through the door. Mrs. Kipfer frowns and
          follows him. Prew shrugs and goes in after her.
                         
          INT. VESTIBULE NEW CONGRESS CLUB - NIGHT
                         
                         MEDIUM SHOT
          as Prew enters behind Mrs. Kipfer. The vestibule has an old
          South feeling of mustiness and respectability. Maggio is
          handing some bills to ANNETTE, a young, brash-looking girl,
          who sits behind a reception desk.
                         
                          MAGGIO
           Okay... so there y'are. Dues all
           paid up. Who ya got playin the
           piana -- a hippo?
                         
           MRS. KIPPER
           Angelo, I don't believe I've met
           your friend. And you know how I
           hate to find you boys in this
           condition...
                         
                          MAGGIO
           There. You see. Any time women see
           a soldier, think he's drunk. Why?
           You know why?
                         
                          PREW
           Because he is.
                         
           MRS. KIPPER
           Heavy drinking simply doesn't mix
           with the entertainment business.
           Every respectable place must
           consider its future.
                         
                          PREW
           Mrs. Kipfer, ma'am, I give you my
           solemn word your future will be
           safe with us.
           40.
                         
                         
                         
          Maggio nods vigorously in agreement, then pushes through the
          heavy curtains which separate the vestibule from the room
          beyond. Mrs. Kipfer looks after him a little unhappily.
                         
           MRS. KIPPER
           Angelo is one of my favorites.
           Annette, dear, take care of this
           gentleman, will you, please?
                         
          Mrs. Kipfer exits through the curtains. Annette takes a card
          from file, picks up pen.
                         
                          ANNETTE
           It'll be eight bucks, Babyface.
           Four for initiation fee, four for
           April dues.
                         
                          PREW
           Say, what do I get for it?
                         
                          ANNETTE
           (rattling it off)
           Members are entitled to all
           privileges of the club which
           includes dancing, snack bar, soft
           drink bar, and gentlemanly
           relaxation with the opposite gender
           so long as they are gentlemen and
           no hard liquor is permitted.
           (takes a breath)
           Got it?
                         
          Prew grins, digs in his pocket for money.
                         
                          PREW
           I got it.
                         
          INT. NEW CONGRESS CLUB - LARGE CLUB ROOM - NIGHT
                         
                         FULL SHOT
          Several rooms branch off from this main one. There are about
          a dozen soldiers in civilian clothes -- and about a dozen
          hostesses. Several couples are dancing. The man at the piano
          is banging away, his music clashing cacophonically with a
          jukebox record from an adjoining room. CAMERA PANS as Mrs.
          Kipfer moves to and fro encouraging the men to enjoy
          themselves. The New Congress is a sort of primitive U.S.O., a
          place of well-worn merriment. It is not a house of
          prostitution but the girls look available for goosing... all
          but one we see at the end of the PAN. She sits alone on a
          couch. This is LORENE. There is an innocent, child-like look
          about her. Her hair is done demurely in a circular roll low
          on her neck. She is about twenty-four. She is reading a
           41.
                         
                         
          magazine, untouched by the din around her.
                         
          MEDIUM CLOSE SHOT SERGEANT "FATSO" JUDSON
          pounding the piano as if he is trying to knock the keys out.
          He has an enormous head and a hogshead chest. He resembles
          Porky Pig. His dead eyes look like two beads of caviar spaced
          far apart on a great white plate.
                         
          MEDIUM SHOT NEAR CURTAINS TO VESTIBULE
          Maggio is attempting some serious dancing with SANDRA, a very
          tall girl. Fatso's furious tempo and tune keep drowning the
          langorous tango coming from the jukebox. Maggio keeps
          switching his style as he tries to get out of the range of
          the piano but cannot. He is very annoyed. He and Sandra dance
          out of shot, as Prew and Annette enter from the vestibule.
          CAMERA PANS them to a trio of girls on a couch.
                         
                          ANNETTE
           ... Girls, here's some new poison.
           This is Billy and Jean and Nancy.
                         
          The girls smile, ad-lib hellos. Prew is looking over the
          girls' heads at someone in rear of room out of shot.
                         
          MEDIUM SHOT LORENE FROM PREW'S POV
          As if she senses someone is staring at her, she looks up from
          the magazine, smiles serenely across the room.
                         
          MEDIUM SHOT FEATURING PREW AND ANNETTE
          as she reacts sourly to Prew's reaction to Lorene. He seems
          transfixed.
                         
                          ANNETTE
           Don't tell me the Princess is your
           style.
                         
          Annette takes his arm, moves him toward two quite good-
          looking girls talking to a soldier.
                         
                          ANNETTE
           Meet Suzanne and Roxanne.
                         
          The girls greet him heartily but Prew is looking back over
          his shoulder at Lorene. Annette plucks his sleeve with
          haughty disdain.
                         
                          ANNETTE
           Much as I adore your company, you
           must allow me to tear myself away.
           I see a few friends at the door.
                          (SNAPS)
           Also I can see I will be of no use
           to you much.
           42.
                         
                         
                         
          She walks off. The other girls resume talking to the soldier.
          Prew continues to gaze across the room.
                         
          MEDIUM CLOSE SHOT LORENE
          smiling back. Her head tilts up slowly as if someone is
          coming toward her. Prew comes into shot and stands before
          her, tongue-tied. She pats the couch. Her voice is low-
          pitched, poised.
                         
                          LORENE
           Would you like to sit down?
                         
                          PREW
                          (SITTING)
           Oh... sure.
                         
                          LORENE
           I'm Lorene.
                         
                          PREW
           (enchanted by the name)
           Lorene...
                         
                          LORENE
           I haven't seen you in here before.
                         
          Prew gestures with the membership card.
                         
                          PREW
           I dint know about this place till
           now. A friend of mine brought me.
           We're stationed at Schofield.
                         
                          LORENE
           Oh. Somehow I didn't think you were
           a soldier.
                         
                          PREW
           (bridles a bit)
           Well, I am. And I'm in for the
           whole ride. I'm a thirty-year man.
                         
                          LORENE
           I suppose it's different when a
           fellow is going to make a career of
           it.
                         
                          PREW
           There ain't anythin wrong with a
           soljer that ain't wrong with
           everyone else.
                         
          Lorene smiles her fatal smile at Prew's seriousness.
           43.
                         
                         
                         
                          LORENE
           I like you just the same. I liked
           you the minute I saw Annette
           bringing you in.
                         
                          PREW
                          (MELTS)
           Me, too. I mean when I came in. I
           saw you over here --
                         
          There is a commotion across the room. A group of man and
          girls are surrounding the piano. Fatso has stopped playing
          and a shouting argument is going on between him and Maggio.
          Prew looks over, concerned.
                         
                          FATSO'S VOICE
           I'll play loud as I want, ya little
           Wop!
                         
          A babble of voices drowns out Maggio's reply.
                         
                          PREW
           Friend of mine.
                          (RISES)
           You wait right here for me, will
           ya?
                         
                          LORENE
                          (SMILES SWEETLY)
           Surely.
                         
          MEDIUM SHOT AT PIANO
          where two men are holding Fatso and three girls are
          restraining Maggio. The others are amused by the quarrel, but
          Fatso and Maggio are deadly serious.
                         
                          MAGGIO
           Mess with me, Fatstuff, I'll pull
           you apart!
                         
                          FATSO
           You're the kind of character I eat
           for breakfast, ya little --
                         
          Maggio breaks away from the girls and rushes toward Patso but
          Prew, stepping through the group, grabs him. Mrs. Kipfer
          bustles into the melee.
                         
           MRS. KIPFER
           Now, you gentlemen know I will not
           have any of this sort of thing.
           44.
                         
                         
                         
                          MAGGIO
           Shut up, you Wop, he says to me!
                         
                          FATSO
           Little Mussolini here tryin to tell
           me what way to play the piano.
                         
                          MAGGIO
           Yeah, my ear drums fit to bust
           already with that noise!
                         
           MRS. KIPFER
           You man can simply leave if you're
           not going to behave yourselves.
                         
                          PREW
           Come on, Angelo, come on --
                         
                          MAGGIO
           -- Ony my friends can call me Wop --
                         
          MEDIUM SHOT AT SIDE OF ROOM
          where Prew hauls Maggio away from the piano.
                         
                          SOLDIER
           (has been watching)
           You know who that guy is, buddy?
                         
                          MAGGIO
           Sure, I know who he is. Whadda I
           care?
                         
                          PREW
           Who is he?
                         
                          SOLDIER
           Fatso Judson. Sergeant of the Guard
           at the Post Stockade.
                         
          MEDIUM CLOSE SHOT FATSO JUDSON
          settling down at the piano again. He glances over in
          direction of Maggio with a mean smile. Then he starts to
          hammer the keys viciously.
                         
          MEDIUM SHOT MAGGIO PEW SOLDIER
          as the music starts, Maggio stiffens, turns as if to go back.
          Prew holds tight, to his arm.
                         
                          SOLDIER
           -- I'm tellin you, leave him be.
           Nets danger. I seen him nearly
           murder a guy once. He likes it.
           45.
                         
                         
                         
          Sandra comes over, disengages Prew's arm from Maggio's, puts
          her own around him.
                         
                          SANDRA
           All right, bully boy, now you won
           the war, let's dance.
                         
                          MAGGIO
           (beginning to quiet down)
           First I got to calm my nerves. Come
           on with me to a phone booth or some
           thin.
           (slaps himself on belly)
           Where I will unveil this fifth of
           whisky I got under this loose
           flowing sports shirt.
                         
          He and Sandra start off toward an adjoining room. Prew
          smiles, turns back toward Lorene. The smile fades.
                         
          MEDIUM SHOT FROM PREW'S POV
          Lorene is looking at another soldier, on the couch beside
          her, with her rapt, innocent expression.
                         
          TRACKING SHOT PREW
          as he crosses room to Lorene, hurt and disappointed. CAMERA
          HOLDS on MEDIUM SHOT as he comes up to her and the soldier, a
          talkative man named BILL.
                         
                          BILL
           -- you go along as fast as forty
           miles per through that surf and
           your balance has got to be letter
           perfect.
                         
                          PREW
           Hey, I thought you were gonna wait.
                         
                          LORENE
           (looks up, smiles)
           Bill here was telling me about
           surfboarding.
                         
                          BILL
           Hello, friend.
                         
                          LORENE
                          (PATS COUCH)
           Sit down and just listen. He
           describes it thrillingly.
                         
          Prew sits down, disgruntled. Bill notes his expression.
           46.
                         
                         
                         
                          BILL
           You know anything about
           surfboarding?
                         
                          PREW
           No. Nothing. Not a thing.
                         
                          BILL
           You must be stationed inland then.
           I'm at DeRussey so I get lots of
           chances.
                         
                          PREW
           Yeah? But then we got mountains.
           You know anything about mountain
           climbing?
                         
                          BILL
           A little bit. Are you a mountain
           climber?
                         
                          PREW
           No. You know anything about flying
           an airplane?
                         
          Lorene is frowning now.
                         
                          BILL
           I've had a few lessons.
                         
                          PREW
           Well, I can't fly either. What
           do you know about deep sea diving?
                         
                          LORENE
           Do you want to move into another
           room, Bill?
                         
                          BILL
           Sure. The air in here seems to have
           gotten very smelly, hasn't it?
                         
                          PREW
           Yeah, I noticed that, too --
                         
                          BILL
           Listen, fellow --
                         
                          LORENE
           Shall we go, then?
           47.
                         
                         
                         
          She and Bill rise. She smiles tremulously at him as she takes
          his arm and they start off. She throws a severe glance over
          her shoulder at Prew.
                         
          MEDIUM CLOSE SHOT PREW
          He settles lower in the couch, the picture of frustration and
          hopelessness. He pulls a cigarette from his pocket and lights
          it.
                         
          EXT. KUHIO PARK - NIGHT
                         
          MEDIUM SHOT PARK BENCH
          Karen sits on the bench, her ankles crosses primly, very ill
          at ease. There is Payday activity here also; amorous
          strolling couples; men in ones and twos looking for pickups.
          Several unattached men pass Karen, ogle her. She is about to
          get up and leave when Warden comes into shot, stands over
          her. His civilian suit is neat and well-cut. Both are
          strained, awkward, antagonistic. Now that the step has been
          taken they are not at all sure it was a clever one.
                         
                          KAREN
           Why, hello. I didn't think you were
           coming.
                         
                          WARDEN
           Why not? I'm not late.
                         
                          KAREN
           No, I guess you're not. But then I
           came a little early. I must have
           been overanxious. You weren't
           overanxious though, were you? You
           got here right on the dot.
                         
                          WARDEN
           Maybe I'd of been early too only I
           stopped to get a drink.
                         
                          KAREN
           You certainly chose a savory spot
           for our meeting.
                         
                          WARDEN
           Would you rather it'd been the
           cocktail lounge of the Royal?
                         
                          KAREN
           No, but I've had five chances to be
           picked up in the last few minutes.
           48.
                         
                         
                         
                          WARDEN
           (sits beside her on the
                          BENCH)
           That's par for the course around
           here.
                         
                          KAREN
           Well, I don't care for it. I never
           went in much for back-alley loving.
                         
                          WARDEN
           Didn't you?
                         
                          KAREN
           You probably think I'm a tramp,
           don't you?
                         
                          WARDEN
           What makes you think I'd think
           that?
                         
                          KAREN
           Don't try to be gallant, Sergeant.
           If you think this is a mistake,
           come right out and say so.
                         
                          WARDEN
                          (OUTRAGE)
           Listen, what started all this,
           anyway? Why'm I shakin inside like
           a school kid out with teacher!
           Where'd I come up with a yen for of
           all things the Compny Commander's
           wife! And her actin like Lady
           Astor's horse all because I only
           got here on time!
                         
          Warden's burst shatters the tension. Karen breaks into
          laughter. After a moment, Warden joins in.
                         
                          KAREN
           On the other hand, I've got a
           bathing suit under my dress.
                         
                          WARDEN
           Funny. I got one in a U-Drive-It
           parked around the corner.
                         
          He takes her hand. They rise and walk away, backs to camera.
          They merge with the other couples in the little park.
                         
          INT. LARGE CLUB ROOM - NEW CONGRESS - NIGHT
           49.
                         
                         
                         
          MEDIUM SHOT COUCH
          Fatso's piano music o.s. Prew is slumped on the couch. He
          stubs out the cigarette, which is almost burnt down. He sees
          someone coming toward him, slowly raises his eyes. Lorene
          comes into shot, looks down at him.
                         
                          PREW
           How's the surfboard rider?
                         
                          LORENE
           That was a terrible way to have
           acted. What you did.
                         
                          PREW
           I was jealous.
                         
                          LORENE
                          (LAUGHS)
           You're a funny one.
                         
                          PREW
           What do you dames want? To take
           the heart out of a man and tie it
           up in barbed wire?
                         
                          LORENE
           (angry because she really
                          LIKES PREW)
           Now, look here, what do you think
           Mrs. Kipfer pays us for? We're
           hired to be nice to all the boys.
           They're all alike. Is it so
           important?
                         
                          PREW
                          (STANDS; URGENTLY)
           Yes, it's important. Maybe we seem
           all alike but none of us is ever
           all alike.
                          (PAUSE)
           All right, I'm sorry about before.
                         
                          LORENE
           (touched by his outburst)
           That piano is about to drive me out
           of my mind. Let's go up to Mrs.
           Kipfer's suite and sit there. She
           lets us use it sometimes... for
           somebody special.
                         
                          PREW
           Are you mad?
           50.
                         
                         
                         
                         
                          LORENE
           No, I'm not mad.
                         
                          PREW
           Because if you're still mad I'd
           just rather we called the whole
           thing off.
                         
                          LORENE
           (takes his arm)
           You certainly are a funny one.
                         
          They walk away from camera, merging with the others in-the
          room.
                         
                          DISSOLVE TO:
                         
          EXT. OCEAN AND BEACH - NIGHT
                         
          FULL SHOT WAVE
          sweeping over camera, spray flying.
                         
          MEDIUM SHOT ON BEACH
          A tiny beach set among rocks. The pale sand glows in the
          moonlight. Warden, in a bathing suit, is lighting a fire
          about ten yards from the water's edge. Karen is just stepping
          out of her dress; her bathing suit is underneath. A couple of
          GI blankets near the fire. Her teeth are beginning to chatter
          in the chill of the night air; she raises her arms to the sky
          longingly, happily.
                         
                          KAREN
           I hope the ocean's ice cold. I hope
           I freeze in a solid chunk.
                         
                          WARDEN
           (sudden, intense laugh)
           Just so long's you melt afterwards.
                         
                          KAREN
           I love the way you laugh.
                         
          He stands, moves to her. She laughs, turns and runs into the
          water. He runs after her.
                         
          FULL SHOT WAVE
          near shore, as Karen dives into it. Warden follows her. The
          wave washes over them.
                         
          INT. NEW CONGRESS CLUB - MRS. KIPFER'S LIVING ROOM - NIGHT
           51.
                         
                         
                         
          MEDIUM SHOT DIVAN
          CAMERA ANGLED so we see only back of the divan. We hear soft
          chuckles from Prew and Lorene o.s., then silence for several
          moments. CAMERA MOVES as we hear a few more low, intimate
          laughs, then Prew and Lorene are disclosed on the couch,
          their heads close together as if they have just kissed
          pleasantly but not passionately. Mrs. Kipfer's living room is
          on the order of the vestibule; it, too, has a faded lavender
          feeling. A door leading to another room is half open in b.g.
          A door leading to a hall is closed. Prew's arm is around
          Lorene's shoulder; he is very relaxed, regards her with
          something like wonder. Lorene is mellower, too, making no
          effort now to be "the Princess." She speaks as if resuming a
          conversation.
                         
                          LORENE
           ... I enlisted, too. I came out
           here on my own. To get away from my
           home town. In Oregon.
                         
                          PREW
           How come?
                         
                          LORENE
           I had a boy friend. I was a
           waitress. He was from the richest
           family in town. He just married the
           girl suitable for his position.
           After three years of going around
           with me.
                          (PAUSE)
           It's a pretty story, isn't it?
           Maybe they could make a movie of
           it.
                         
                          PREW
           They did. Ten thousand of them.
                         
                         ANOTHER ANGLE
          Lorene smiles.
                         
                          LORENE
           So I left and went to Seattle, as a
           waitress. And I met a girl just
           back from Hawaii. She said she'd
           made a lot of money working for
           Mrs. Kipfer. I caught the first
           boat. I've been here a year and two
           months.
                         
                          PREW
           You like it much?
           52.
                         
                         
                         
                          LORENE
           Oh, I don't like it. But I don't
           mind it. Anyway, I won't be here
           forever.
                         
                          PREW
           No. Sure not. I mean, why should
           you?
                         
                          LORENE
           I have it all figured out. In
           another year I'll be back home,
           with a pile of bills big enough to
           choke a steer. And then I will be
           all set for life --
                         
          There is a sound at the door and they turn towards it.
                         
          MEDIUM SHOT DOOR TO HALL
          as it opens slowly and a disembodied arm pokes through, its
          hand gripping the neck of a whisky bottle. After a moment,
          Maggio's head follows the arm through the door. He is
          grinning like an amateur conspirator.
                         
                          MAGGIO
           I dint hear no sounds of combat. So
           I figgered maybe you'd like a
           drink.
                         
                         THREE SHOT
          as Maggio comes into the room.
                         
                          MAGGIO
           Or otherwise old Sandra would of
           drank it all by herself. She's a
           fine girl. But she drinks like a
           fish.
                         
          There are glasses on a cupboard near the divan. Maggio sets
          three of them up, starts to pour whisky into them.
                         
                          LORENE
           No, thanks. I never drink much.
                         
          Maggio stops short of the third glass. He takes a big gulp
          from the first.
                         
                          LORENE
           I think it' a a weakness.
                         
                          MAGGIO
                          (ANOTHER GULP)
           I grant you that.
           53.
                         
                         
                         
                          LORENE
           And I don't like weakness.
                          (TO PREW) )
           Do you?
                         
                          PREW
           No. I don't like weakness.
           (rises, takes a drink)
           But I like to drink.
                         
          He comes back to the divan.
                         
                          LORENE
           With you it's not a weakness. With
           you it's more like a virtue.
                         
                          MAGGIO
           That sounds like a very profound
           remark. Maybe that's why I don't
           get it.
                         
                          LORENE
           (snuggles to Prew)
           Well, it's so.
                         
                          MAGGIO
           Hey! What you gonna do, marry this
           guy? Way you grinnin at him you
           look like his wife!
                         
                          PREW
           Get outa here!
                         
                          MAGGIO
           (picks up bottle)
           Okay. Back to old long-legged
           Sandra. I love 'em tall. Acres and
           acres.
                         
          He goes out, closing door behind him. Suddenly the door opens
          again and Maggio pops back in. He puts the whisky bottle on a
          table next to the door.
                         
                          MAGGIO
           Enjoy yourself, pizon. You need it
           more than me. You be back with The
           Treatment tomorrow.
                         
          He pops out again, the door closing after him. Prew's gaiety
          dims with the reference to The Treatment. Lorene sees this.
          Prew rises, goes to whisky bottle.
           54.
                         
                         
                         
                          PREW
           That was nice before. The way you
           snuggled up. In front of him.
                         
                          LORENE
           What's he mean, The Treatment?
                         
          Prew doesn't answer. He pours a drink, gulps it.
                         
                          LORENE
           What did he mean?
                         
                          PREW
           Some of the guys puttin me over the
           jumps because I won't fight.
                         
                          LORENE
           Fight?
                         
                          PREW
           On the boxing team. I don't want to
           fight! I don't want to talk about
           it! I don't want to think about it.
           And they make me think about it.
           Every day.
                         
          He drops down on the divan beside her.
                         
                          PREW
           It's a personal thing...
                         
          His dread of telling the tale crumbles before his
          overwhelming need to tell it, to have someone understand.
                         
                          PREW
           Over at Port Shafter... I used to
           fight... Middleweight. I was pretty
           good. I used to work out with Dixie
           Wells. He was a light-heavy, but he
           was fast... And good. He loved
           boxing. He was gonna come out of
           the Army and go right into the
           upper brackets... People on the
           Outside had their eye on him.
           (rises, paces)
           Dixie didn't want, to use the six
           ounce gloves this time. And we
           neither of us wore headgear,
           anyway. I was set flat on my feet
           when I caught Dixie wide with this
           no more than ordinary solid cross.
           Dixie just happened to be standing
           solid, too.
                          (MORE)
           55.
                          PREW(CONT'D)
           (sits on chair)
           From the way he fell I knew. Dead
           weight, square on his face. He dint
           roll over. He was in a coma a week.
           Then he finally came out of it. The
           only thing was that he was blind...
           (rises, paces)
           I went up to the hospital to see
           him. Twice. Then I couldn't go
           back. We got to talking about
           fighting the second time. And Dixie
           cried... Seein tears comin out of
           those eyes that couldn't see...
                         
          There are tears on Prew's face. He turns away from Lorene.
                         
          ANOTHER ANGLE SHOOTING FROM BEHIND PREW
          Lorene, very moved, goes to him, stands behind him, puts her
          hand on his shoulder. Prew does not turn but his hand grasps
          hers. CAMERA MOVES TO CLOSE SHOT of the hands.
                         
          EXT. OCEAN AND BEACH - NIGHT
                         
          MEDIUM SHOT NEAR SHORE
          A wave sweeps by camera, Karen and Warden riding it into
          shore. CAMERA PANS with them as they walk out of the water,
          hand in hand. They stop at edge, as if by a mutual impulse.
          He swings her to him and kisses her.
                         
                         CLOSEUP
          as they kiss. The embrace is impassioned. When their lips
          separate, their arms remain around each other, holding tight
          to something they find is more than sex alone.
                         
                         EXTREME CLOSEUP
          as Karen and Warden kiss again, a tenderness in him not seen
          before and which he normally takes great pains to hide.
                         
          MEDIUM CLOSE SHOT
          as their lips separate again.
                         
                          KAREN
           Nobody ever kissed me that way...
           not really...
                         
          They are both disquieted by the quality of their reactions to
          the kisses. The jump to banter is a quick defense.
                         
                          WARDEN
           Nobody?
                         
          CAMERA MOVES WITH them as they walk to the fire. Karen smiles
          at him.
           56.
                         
                         
                         
                          KAREN
           No. Nobody.
                         
                          WARDEN
           Not even one? Out of all the many
           men you've been kissed by?
                         
                          KAREN
           Well, that will take some figuring.
           How many men do you think there've
           been?
                         
          CAMERA HOLDS as they sit, beside the fire. Karen wraps one of
          the blankets around her.
                         
                          WARDEN
           I wouldn't know. Can't you even
           make me a rough estimate?
                         
                          KAREN
           Not without an adding machine. Do
           you have your adding machine with
           you?
                         
                          WARDEN
           No, I forgot to bring it.
                         
                          KAREN
           Then I guess you won't find out,
           will you?
                         
                          WARDEN
           Maybe I already know.
                         
          The defense has given way and there is no mirth in the
          questions and answers now.
                         
                          KAREN
           What's the matter? What are you
           hinting at?
                         
                          WARDEN
           Why? Is there something to hint at?
                         
                          KAREN
           I don't know. Maybe a lot. Or maybe
           you just think there's a lot.
                         
                          WARDEN
           Maybe I do. Maybe there's been a
           long line of beach parties --
           57.
                         
                         
                         
                          KAREN
           You must be crazy -- !
                         
                          WARDEN
           Am I? Listen, baby, maybe not here.
           But what about when you and Holmes
           were at Fort Bliss?
                         
          Karen flings off the blankets, snatches her dress, stands up,
          raging. She speaks as she pulls the dress over her head,
          wriggles into it.
                         
                          KAREN
           I had to go and forget you were a
           man -- with the same rotten filthy
           mind the rest of them have. For a
           minute I had to convince myself you
           were different --
                         
                          WARDEN
           Only it's true, ain't it?
                         
                          KAREN
           Yes, it's true! A part of it, some
           small part of whatever sewage
           you've been listening to. Some day
           perhaps you'll get all the story.
                         
                          WARDEN
                          (YAPS UP)
           All what story?
                         
                          KAREN
           You're getting to sound so much
           like a typical male. So you just
           sweat it out like a typical male.
                         
          She starts toward the rocks at the end of the beach, walking
          fast, then almost running. Warden runs after her.
                         
          MEDIUM SHOT BEACH NEAR PATH UP ROCKS
          as Warden catches up with Karen. He grasps her arm roughly,
          hauls her down onto the sand. He stares at her bitterly,
          waiting f or her to speak.
                         
                          KAREN
           All right. I've never told it to
           anyone before. But I think now is
           the time. I'll tell you the whole
           bloody messy thing. You can take it
           back to the barracks with you.
           58.
                         
                         
                         
          She speaks rapidly, pouring it out in bursts. For much of the
          story her face is in shadow, as if a cloud is passing across
          the moon.
                         
                          KAREN
           I'd been married to Captain Dana E.
           Holmes two years. Only he was a
           First Lieutenant then. Back at Fort
           Bliss. We lived right on a little
           lake where we could fish and swim
           and be alone, our 'dream
           cottage'... I'm sure you must be
           able to picture it. It was off on a
           back road, four miles from the
           highway. Two miles from a neighbor
           and a telephone....
           (pauses, then rushes on)
           I hadn't been married long when
           I knew my husband was stepping
           out on me. But -- you get used
           to that. Your mother tells you
           that it's life, that i t happens
           to a lot of women. Of course,
           she doesn't tell you until after
           it happens.
                         
          ANOTHER ANGLE FEATURING WARDEN
          reacting with fury toward Holmes, compassion for Karen.
                         
                          KAREN
           Then, by that time, you're
           pregnant. And at least you've
           something else to hope for. I think
           I was almost happy that night the
           pains began. Even though they were
           weeks too early, a whole month too
           early. I remember Dana was putting
           on that dapper silk gabardine
           uniform he used to wear. He was
           going to an officer's 'seminar.' He
           was kidding me about false labor. I
           didn't think it was humorous. I
           told him to get home early, to
           bring the doctor with him. He
           smiled tenderly and told me about
           the psychic reactions of women to
           pregnancy. But never fear, he'd be
           back early. And maybe he would
           have... if the 'seminar' hadn't
           been with the hat-check girl in one
           of the night clubs.
           59.
                         
                         
                         
                          WARDEN
           Listen.
                         
                         TWO SHOT
                         
                          KAREN
           He was only a little drunk when he
           came in... at five a.m. He looked
           alarmed when he saw me. I guess it
           was because of my screams. I was
           lying there on the floor, you see --
           No, don't say anything. I'm not
           finished yet. Of course, the baby
           was dead. It was a boy. But they
           worked over me at the hospital and
           fixed me up fine. They even took my
           appendix out, too. They threw that
           in free. It was all fine.
                         
                          WARDEN
           Listen. Listen. Please.
                         
                          KAREN
           And, of course, one more thing no
           more children. Do you know what
           that means? You're not a woman.
           You're not anything. You're a
           gutted shell... Sure, I went out
           with some of the men after that. A
           few months of it. I'd been made
           dirty and I wanted to be clean. You
           can see that, can't you?... Anyway,
           I got my revenge on Dana. I kept on
           living with him.
                         
                          WARDEN
           The hateful, miserable --
                         
                          KAREN
           You hunt so hungrily for love...
           love, if you can find it, you
           think, might give things meaning
           again.
                         
                          WARDEN
           Listens Listen to me --
                         
                          KAREN
           All right. I'm listening.
                         
          Warden shakes his head, inarticulate with his rage and love.
          Karen moves closer to him.
           60.
                         
                         
                         
                          KAREN
           I know. Until I met you I didn't
           think it was possible, either.
                         
           FADE OUT.
                         
                         FADE IN:
                         
          INT. DAYROOM - NIGHT
                         
          PAN SHOT AROUND ROOM
          Over shot soft strumming guitars and two voices singing a
          quiet blues. There are scattered groups,about fifteen men in
          all -- playing pool, ping-pong, reading, writing letters,
          talking. CAMERA REACHES PRIVATE SAL ANDERSON and Friday
          Clark, playing the guitars and singing. Clark plays only
          passably, but Anderson is highly accomplished, effortlessly
          sounding off chord progressions in diminished minors. Friday,
          the bugler, is about twenty-four, with shy, trusting eyes.
          Anderson is the same age, also quiet, non-aggressive. CAMERA
          CONTINUES PANNING, PASSES a soldier reading a newspaper who
          shakes his head and mutters, "... ain't it terrible about Lou
          Gehrig dyin...", then MOVES IN to HOLD on a group at a window
          seat, bulling. Prew is stretched out wearily, looks as if
          he's been through another recent dose of The Treatment.
          Maggio perches in the frame of the window like an aggressive
          robin. Treadwell slouches at the end of the seat. Pete
          Karelsen is in a chair nearby, reading a magazine.
                         
                          TREADWELL
           ... Ah'm in the Army because Ah can
           live better on the Inside than on
           the Outside.
                         
                          PREW
           It ain't the reason I'm in.
                         
                          MAGGIO
           Now he's gonna give us that snow
           about bein a Thirty-Year Man again.
                         
                          PREW
           That's right. Look at Karelsen
           there. Only seven years more for
           rockin chair money.
                         
          Karelsen hears his name, looks over.
                         
          MEDIUM SHOT KARELSEN
          CAMERA AT ANGLE so we see he's reading a full-page
          advertisement featuring a girl in a revealing negligee. He is
          feeling sorry for him;elf.
           61.
                         
                         
                         
                          KARELSEN
           The Profession wears you down,
           though, young man. Down thin like a
           knife what's been honed and honed.
           All that good steel just rubbed
           away...
                         
          He turns back sadly to study the figure of the girl.
                         
          MEDIUM SHOT FEATURING ANDERSON AND CLARK OTHERS IN B.G.
          Anderson peels off a flourish as he and Clark end their song.
                         
                          TREADWELL
           Man, that's blues! Where'd you drag
           that one up Prom?
                         
                          ANDERSON
                          (BASHFULLY)
           Oh, just stumbled on it.
                         
          He strums aimlessly again. Prew and Treadwell come over to
          listen, prop themselves on chairs. During following, several
          others stroll over and a soldier writing at a desk nearby
          stops, turns to listen.
                         
          CLOSE SHOT PREW
          warmed by the friendliness of the music and the moment.
                         
                          PREW
           They got Truckdrivers' Blues...
           Sharecroppers' Blues...
           Bricklayers' Blues... We oughta
           have a Soljers' Blues...
                         
          MEDIUM SHOT GROUP
          as Anderson repeats a theme he has happened on. It has a
          haunting melody.
                         
                          CLARK
           Hey, look... I betcha we could make
           one out of what you just played. Do
           that again.
                         
          Anderson repeats the melody.
                         
                          ANDERSON
           I could bring it down to a third
           line major ending... Regular twelve
           bars blues.
                         
                          TREADWELL
           I bet I got two hundred blues
           records back home.
                          (MORE)
           62.
                          TREADWELL(CONT'D)
           But there ain't one could touch
           that. And that includes Saint
           Louis. And it could be ours...
                         
          The men wear pleased smiles, delighted by the idea of
          possessing something quite rare and truly their own. Prew
          flips his cigarette into a can.
                         
                          PREW
           I got it. We call it the `Re-
           enlistment Blues'!
                         
          There is a chorus of approval.
                         
                          PREW
           Lookit, w e could start it with the
           guy getting discharged.
           (reaches over to desk)
           Hey, fella, can I use this?
                         
          The soldier at the desk nods, and Prew takes his pencil and
          paper. He writes down the words of the song as they are
          composed during following.
                         
                          PREW
           How's this? 'Got paid out on
           Monday... Not a dog soljer no
           more... They gimme all that
           money....'
                         
          He stops, stuck. Anderson plays the melody and Prew sings the
          words to this point. Friday Clark chimes in suddenly.
                         
                          CLARK
           'They gimme all that money... So
           much my pockets is sore...'
                         
          They laugh. Anderson sings. Prew writes furiously.
                         
                          ANDERSON
           'More dough than I can use. Re-
           enlistment Blues...'
                         
                         ANGLE
          Anderson plays a series of chords, then repeats the last two
          lines as the whole group joins in.
                         
                          GROUP
           'More dough than I can use. Re-
           enlistment Blues...'
                         
                          DISSOLVE TO:
           63.
                         
                         
                         
          INT. GYMNASIUM - DAY
                         
                         FULL SHOT
          Raucous, hammering music sweeps away the melancholy blues. On
          the floor of the gym Dhom is punching the bag. In a corner of
          the raised ring Ike Galovitch is skipping rope. In the center
          of the ring Thornhill and Henderson are sparring. Holmes
          hovers beside them, issuing instructions in a strident voice.
                         
          MEDIUM SHOT PREW
          He is in fatigue clothes, on his knees, scrubbing the floor.
          There is an expression of stubborn hate on his face. Above
          his head in the shot are Galovitch's feet jumping the rope.
          In b.g. of shot is Wilson, seated near ring.
                         
                          GALOVITCH'S VOICE
           Some day you get sense in your dumb
           head, Prewitt, you be up here
           instead down there!
                         
          A fine spray of spit accompanies the words and showers over
          Prew but he keeps about his work.
                         
                          WILSON
           Still makin out you like it, huh?
                         
          MEDIUM SHOT IN RING
          There are two water buckets near Galovitch. He skips near one
          of them, kicks it. The bucket falls on its side and dirty
          water spills over the ring and down onto Prew.
                         
                          GALOVITCH
           Clean up dis mess, Prewitt!
                         
          Prew gets to his feet. Galovitch resumes skipping rope.
                         
                          GALOVITCH
           And look a life, hurry it up. You
           on fatigue detail, not vacation.
                         
          Prew climbs into the ring, gets on his knees, starts to swab
          up the canvas. He is nearly finished when Galovitch
          "accidentally" kicks over the second bucket.
                         
                          GALOVITCH
           Clean up, Prewitt!
                         
          Prew suddenly stands, no longer able to contain his rage. He
          throws his sponge and scrubbing brush on the ring floor.
                         
                          PREW
           Clean it up yourself!
           64.
                         
                         
                         
                          GALOVITCH
           How? What!
                         
                          PREW
           You heard me -- rub your own nose
           in it a while!
                         
                          GALOVITCH
           What!
                         
          Prew starts out of the ring. Holmes intercepts him.
                         
                          HOLMES
           What's the matter with you,
           Prewitt? You know better than to
           talk back to a non-commissioned
           officer.
                         
                          PREW
           Yes, sir. But I have never liked
           being spit at, sir. Even by a non-
           commissioned officer.
                         
                          HOLMES
           I think you owe Sergeant Galovitch
           an apology.
                         
                          PREW
                          (RECKLESSLY)
           I don't think I owe him no apology.
           In fact, I think one's owed to me.
                         
                          HOLMES
                          (FURIOUS)
           Sergeant Galovitch, take this man
           to the barracks and have him roll a
           full field pack, extra shoes,
           helmet and all, and then take a
           bicycle and hike him up to Kole-
           Kole Pass and back. And see that he
           hikes all the way. And when he gets
           back, bring him to me.
                         
                          GALOVITCH
           Yes, Sirr.
                         
          Prew climbs out of the ring, Galovitch following him.
                         
                          DISSOLVE TO:
                         
          EXT. ROAD - DAY
                         
                         LONG SHOT
           65.
                         
                         
          Par below in the shot are Prew, hiking, and Galovitch, riding
          behind him on the bicycle. The dirt road is steep and the sun
          pours down, steaming hot.
                         
          MOVING SHOT PREW AND GALOVITCH
          Prew is hunched under the seventy-pound pack as he plods
          along. He is sweat-soaked, puffing, dog-weary. Galovitch's
          bicycle is just behind him; he runs the wheels up on Prew's
          heels.
                         
                          GALOVITCH
           Move along. You not half way yet.
           Three more miles to top.
                         
          A jeep rounds a curve a couple of hundred yards above and
          moves down the road. It slows its speed and pulls up when it
          nears Prew and Galovitch.
                         
                         MEDIUM SHOT
          The jeep is driven by an enlisted man. Sitting next to him is
          MAJOR GENERAL SLATER. Galovitch hops off the bike and he and
          Prew snap to attention. General Slater leans out of the
          vehicle. He seems puzzled and interested by the odd sight of
          the two men.
                         
                          GENERAL SLATER
           At ease. Where're you men headed?
                         
                          GALOVITCH
           Top of pass, Sir. This man
           insubordinate. The Captain is
           teaching him lesson.
                         
                          GENERAL SLATER
                          (FROWNS)
           What's your outfit, Sergeant?
                         
                          GALOVITCH
           Company G, 219th, Sir.
                         
          The General, still frowning slightly, nods. He signals his
          driver to move on. The jeep starts down the road. Galovitch
          gets on his bicycle. Prew starts hiking again.
                         
                          DISSOLVE TO:
                         
          INT. CAPTAIN'S OFFICE - DAY
                         
                         MEDIUM SHOT
          Prew and Galovitch are standing in front of the Captain's
          desk. Prew is at attention, the heavy pack on his back; his
          face is drawn and tired; his clothes are plastered to him. He
          has regained his old expressionless look. Warden has swung
          his chair around and is surveying the scene. Holmes looks
           66.
                         
                         
          Prew up and down, half-smiles.
                         
                          HOLMES
           I take it you're ready to apologize
           to Sergeant Galovitch now.
                         
                          PREW
           No, sir, I'm not.
                         
          Holmes' face sets; he jerks his head toward the window.
                         
                          HOLMES
           Take him back up there again,
           Galovitch. He hasn't had enough
           yet.
                         
                          GALOVITCH
           (nods unhappily, sick of
                          BICYCLING)
           Yes, air.
                         
          Prew about-faces and goes out. Galovitch follows.
                         
          MEDIUM CLOSE SHOT FEATURING WARDEN HOLMES IN B.G.
          Warden watches Prew go out, then looks toward Holmes whose
          back is to him. Disgust is reflected on his face.
                         
          MEDIUM SHOT WARDEN AND HOLMES
          Holmes slams his fist on his desk.
                         
                          HOLMES
           1 know that kind of man! He's an
           againster. A bitter-ender. You
           can't be decent to a man like that.
           You have to tame him, like an
           animal!
                          (TO WARDEN)
           Warden, I want you to prepare court
           martial papers. Insubordination and
           insolence to an officer.
                         
                          WARDEN
           Yes, sir.
                         
          Warden swings around to his own desk. He thinks for several
          moments, tries to sound quite casual.
                         
                          WARDEN
           Too bad you got to lose a
           middleweight like that...
                         
                          HOLMES
           Why? Do you see any other way of
           breaking him?
           67.
                         
                         
                         
                          WARDEN
           I don't know... But even if he only
           gets three months, he'll still be
           in the Stockade when the boxing
           finals come up.
                         
          He looks over at Holmes, sees him scowling, weakening.
                         
                          WARDEN
           How about just giving him a good
           stiff Compny punishment for now?
                         
          Holmes ponders the situation unhappily, rubs his hand over
          his face,. shakes his head as if the whole thing is too much
          for him.
                         
                          HOLMES
           All right, all right. But throw the
           book at him.
                         
                          WARDEN
           (pleased but impassive)
           Yes, sir.
                         
                          DISSOLVE TO:
                         
          INT. WARDEN'S ROOM OFF SQUAD ROCK - NIGHT
                         
          CLOSE SHOT WARDEN SHOOTING INTO SMALL MIRROR
          He is trimming his moustache.
                         
                          WARDEN
           I'm sick of it! They ain't got no
           right to keep breakin it off in
           that kid! Sooner later Holmes is
           going to hound him right into the
           Stockade!
                         
          CAMERA PULLS BACK, REVEALING Karelsen across the room,
          undressing tiredly, achingly. Warden is sharp and blustering,
          using Karelsen as an escape valve. During following he goes
          to his footlocker, opens it, takes out whisky bottle, drinks.
                         
                          WARDEN
           I'm through! I'm turnin in my
           stripes. I mean it, Pete. I could
           transfer out tomorrow. In Grade --
           get that? To half a dozen Compnys
           in this Regmint!
           68.
                         
                         
                         
                          KARELSEN
           Oh, sure. I could be Chief of
           Staff, too, except I can't stand
           leaving all my old buddies.
                         
          Karelsen is naked now except for a bath towel knotted around
          his middle. He slips his feet into Japanese-style, wooden
          clogs, starts slowly for the door.
                         
                          WARDEN
           Where you going, Little Sir Echo?
                         
                          KARELSEN
           To take my stinkin shower, if the
           First Sergeant's got no objections.
           Where'd you think? To the movies in
           this towel?
                         
                          WARDEN
                          (GRINS)
           Hurry up. Let's go over to Choy's
           for some beer and tear up all the
           tables and chairs.
                         
                          KARELSEN
           (smiles, moves faster)
           Okay, Okay.
                         
                         DISSOLVE TO:
                         
          INT. CHOY'S - NIGHT
                         
          MEDIUM CLOSE SHOT OLD CHOY
          An aged Chinese, at least seventy-five, OLD CHOY has a long
          white beard and wears a black skull cap and an embroidered
          robe. He is motionless, surveying the pandemonium which we
          hear over shot: the sounds of men laughing, talking and
          shouting blend with jukebox music blasting Chattanooga, Choo
          Choo. YOUNG CHOP, Old Choy's son, passes; he is thirty, white-
          aproned, bustling, Americanized. CAMERA PANS WITH him,
          DISCLOSING the small beer-house; it has unpainted cement
          walls and a cement floor; the only thing that might be called
          decorative is the jukebox. The place is crowded with men from
          Schofield, a raucous assemblage; everyone is drinking beer
          and the smoke hangs in thick layers. At a table near the door
          sit Prew, Maggio, Clark, Anderson, Treadwell and Mazzioli. At
          a corner table behind a forest of beer bottles and cans are
          Warden, Stark, Karelsen and Chief Choate.
                         
          GROUP SHOT WARDEN'S TABLE
           69.
                         
                         
                         
                          STARK
           ... China's the place. Your money's
           worth ten, twelves times as much.
           I'm gunna ship over soon as my
           time's up in this pineapple Army.
                         
                          KARELSEN
           (pinching beer off his
                          NOSE)
           The Canal Zone for me. This girl
           down there. She was a planter's
           daughter, see. She lived a very
           sheltered life. A very moral young
           lady, Milt. I took her out to a
           high class dinner and then dancing.
           It was a great shock to her to
           learn about life. But she took it
           well. She got to like me very much
           after that.
                         
                          WARDEN
           The last time I heard it you told
           it different.
                         
                          KARELSEN
           Well, what did you expect? I was in
           a different mood, then.
                         
          MEDIUM SHOT PREW'S TABLE
          Maggio, Anderson and Treadwell are comparing snapshots from
          home, spreading them out on the table. Mazzioli is talking to
          Prew with great earnestness.
                         
                          MAZZIOLI
           ... it's in regulations. You've got
           a right to complain. You've got a
           right to take your case to the
           Inspector General. Any soldier has,
           even a plain dogface.
                         
                          PREW
           I know it. I'm not complainin to
           nobody. They ain't goin to get the
           satisfaction of seein me squirm.
                         
          Clark begins to play the bugle softly along with the jukebox
          music, noodling an uninspired obligato.
                         
                          MAGGIO
           (pointing to pictures)
           ... believe it nor not, this is one
           soljer who's got a family -- look,
           fifteen of 'em.
                          (MORE)
           70.
                          MAGGIO(CONT'D)
           See that old man with the
           handlebars?
                          (PROUDLY)
           Mr. Maggio is my father.
                         
                          MAZZIOLI
           Listen, Prew. I guess I ought not
           to tell you but --. Warden hasn't
           had you on KP much lately, has he?
                         
                          PREW
           Only my reglar turn.
                         
                          MAZZIOLI
           Well -- I was working in the
           Orderly Room this afternoon and I
           heard the Captain telling Warden
           you're to pull KP every weekend
           from now on. You know what that
           means -- you can' t even go into
                          TOWN --
                         
                          PREW
           Whadda they want? They done
           everything, now they look me in
           a box! What else they gonna try?
                         
          Clark hits a sour note an the bugle.
                         
                          PREW
                          (SAVAGELY)
           When you gonna learn to play a
           bugle!?
                         
          In overwhelming, uncontrollable protest, Prew slaps the bugle
          away from Clark's mouth. In one motion he wipes the
          mouthpiece on his sleeve, raises it to his lips and blows his
          own wild, violent obligato to the jukebox music.
                         
          FULL SHOT CHOY'S
          as Prew plays on, the bugle's pure tone pealing through the
          room. Everyone puts down his beer, stops talking and turns
          toward Prew.
                         
          CLOSE SHOT WARDEN
          reacting. He frowns, moved by the cry behind the music.
                         
          MEDIUM CLOSE SHOT PREW'S TABLE FEATURING MAGGIO
          as he watches and listens, an exultation for his friend
          nakedly revealed on his face.
                         
          ANOTHER ANGLE PREW'S TABLE FEATURING PREW
          Hitting an almost impossibly high note, he stops as suddenly
          as he has begun. He has played perhaps fifteen seconds in
           71.
                         
                         
          all. He puts the bugle down on the table, embarrassed now,
          the violence gone, some of the wrath unloaded.
                         
          MEDIUM SHOT AT DOOR
          The room is quiet for several moments, except for the
          continuing jukebox music, which sounds pale and thin now.
          Fatso Judson strolls in, stands at the door. Some of the men
          see him, but no one greets him. Fatso threads his way between
          tables as the room slowly begins to return to normal and the
          men turn back to their beer.
                         
          MEDIUM SHOT PREW'S TABLE
          as Fatso passes. He stops, leans over Anderson's shoulder to
          look at the snapshots on the table. He points to one picture,
          a pretty young girl of about fifteen, posing Hollywoodishly
          in a bathing suit, cracks his knuckles loudly.
                         
                          FATSO
           Who's that? Who's that dame?
                         
                          MAGGIO
                          (IMPASSIVELY)
           My sister.
                         
          Fatso whistles. He picks up the photograph, stares at it,
          whistles again.
                         
                          FATSO
           Whoever! Say, she's a real good
           piece of whistle bait! I'd sure
           like to get my mitts around her.
                         
          He laughs complacently at his own wit, tosses the picture on
          the table, starts to move on, Maggio rises, picks up the
          heavy wooden stool he's been sitting on and smashes it down
          on Fatso's head with all his strength,
                         
                         ANOTHER ANGLE
          as again the laughing and shouting in the room stops
          abruptly. Fatso reels a little with the terrible blow but
          does not go down.
                         
                          FATSO
           Why, holy -- I You hit met You hit
           me!
                         
                          MAGGIO
                          (CALMLY)
           You bet your life.
                          (RAISES STOOL)
           And about to do it again.
           72.
                         
                         
                         
                          FATSO
           (still blinking from the
                          BLOW)
           What?! But what for? That's no way
           to fight!
           (reaches hand to head,
           brings away blood)
           Why, you dirty yellow sneaking --
           Wop! You yellow little Wop! If
           that's the way you want to play!
                         
          With his last sentence, Fatso whips out a knife and snaps
          open the blade. The blade is at least five inches long. It
          glints evilly as he raises it. There is a concerted whisking
          intake of breath from the room. Murder is clear on Fat sots
          face.
                         
          MEDIUM SHOT NEAR PREW'S TABLE (EXCLUDING WARDEN)
          Maggio, holding the stool high, backs up a few feet as Fatso
          advances toward him. Men sprawl away from them.
                         
                          SOLDIER'S VOICE
           Hey, it you want to fight, fight
           with fists. Take it outsides
                         
          There is a murmur of agreement from the crowd. A couple of
          men are about to rise. Fatso whirls toward them.
                         
                          FATSO
           I'm gonna cut this little Wop's
           heart out. Anybody steps in here, I
           give it to him first.
                         
          MEDIUM SHOT OLD CHOY AND YOUNG CHOY
          side by side. Old Choy watches, immobile, his slit eyes
          almost closed. Young Choy is shaking with fright.
                         
          MEDIUM SHOT FATSO AND MAGGIO
          Fatso turns toward Maggio, who circles back around the table
          as the other stalks him.
                         
                          MAGGIO
           (scared but brave; shouts)
           I'm gunna de-brain ya, Fatso!
           One step closer an I'm gunna kill
           ya!
                         
          Fatso has his knife poised at his shoulder, ready to strike.
          Warden comes into shot suddenly. He brandishes a beer bottle
          wildly, looks like an avenging spirit of authority.
           73.
                         
                         
                         
                          WARDEN
           Nobody's gunna do nothin! Anybody's
           killin anybody around here, it'll
           be me!
                         
          Warden snatches another beer bottle from a table, now has one
          in each hand. He steps between Fatso and Maggio.
                         
                          FATSO
           Look outs here, Warden. This a
           private affair.
                         
                          WARDEN
           No it ain't! This man's in my
           Compny an I'm responsible for him.
           And you ain't makin two weeks extra
           paper work for me by killin him.
           Nor him you. Put that knife down!
                         
          He smashes the neck off one of the beer bottles, points the
          wagged edge at Fatso, roars:
                         
                          WARDEN
           Put it down!
                         
          Fatso slowly lowers the knife to his waist, but keeps it
          pointed towards Maggio and Warden. Warden deliberately turns
          his back to Fatso, spits his words at Maggio.
                         
                          WARDEN
           Killer! You unweaned punk& Come on,
           you want some killing, come on!
           (whirls on Fatso)
           Come on, barrelbelly. Ain't you
           comin?
                         
          Neither Fatso nor Maggio moves.
                         
                          WARDEN
           (with mammoth contempt)
           Killers! You'll get plenty of
           killing, all right. More than you
           got the stomach for. You'll be in a
           war one of these days. When you
           feel that lead from a sniper's
           rifle hit you between the eyes,
           come and tell me how you like it.
           Killers!
           (turns to Maggio)
           Now put down that chair.
                         
          Maggio puts down the stool. Warden turns to Fatso.
           74.
                         
                         
                         
                          WARDEN
           Throw that knife on the floor.
                         
          Fatso drops the knife. It clatters on the floor. There is
          another audible whoosh of breath from the room.
                         
                          WARDEN
           Almost scared there wasn't anybody
           going to stop you for a minute,
           weren't you?
           (finally lowers his voice)
           Is there any other little things
           you punks'd like me to take care of
           for you?
                         
          He drops the beer bottles on a nearby table, strides to his
          own table. The room settles back, still hushed. Warden has
          broken the mood of certain death, but Fatso, still facing
          Maggio, bites off his words with sadistic, ominous venom.
                         
                          FATSO
           Tough monkey. Hard sister. Guys
           like you get to the Stockade sooner
           later. One day you walk in there
           I'll be waitin. I'll show you a
           coupla things.
                         
          He walks away, drops into a stool at the counter.
                         
          MEDIUM SHOT WARDEN'S TABLE
          Warden stands beside the table, watching. He seems satisfied
          as Fatso moves away from Maggio. Still standing, he raises
          his half-filled bottle of beer, drinks.
                         
          MEDIUM SHOT PREW'S TABLE
          Maggio drops onto the stool, sidles it over to the table. He
          half-whispers to Prew.
                         
                          MAGGIO
           I made a mistake I guess, but I
           don't see how I could of done
           anything else, after that big stoop
           said a thing like that.
                         
          Prew leans over and picks the knife off the floor.
                         
                          PHEW
           I'll tell you your mistake. You
           didn't hit him hard enough to put
           him out.
           75.
                         
                         
                         
                          MAGGIO
           I hit him hard as I could. His head
           must be solid ivory.
                         
          In b.g. Warden puts down the beer bottle and stalks towards
          the door. Maggio and Prew turn to watch him pass.
                         
                          MAGGIO
           Anyway, I'm glad he stopped it.
           He's a good man, you know it?
                         
          As if on impulse, Prew rises and follows Warden out.
                         
          EXT. CHOY'S - NIGHT
                         
                         MEDIUM SHOT
          as Prew carves out. Choy's is on a wide road across from the
          entrance to the Post. Prew looks around for Warden, sees him
          off to one side. CAMERA MOVES WITH Prew as he goes over to
          him.
                         
          CLOSE SHOT WARDEN
          leaning against the building, undergoing a delayed reaction
          to the fierce moment in Choy's. He is white-faced, sweating
          heavily. He looks as if he's going to be sick.
                         
          CLOSE SHOT PREW
          astonished yet appreciative that under Warden's confidence
          and control in Choy's there has been a human frailty.
                         
                          PREW
           ... That was a near thing.
                         
                          WARDEN
           ... Yeah.
                         
          Prew holds out Fatso's knife. Warden is beginning to get
          control of himself; he manages a weak smile.
                         
                          WARDEN
           You keep it, kid. Keep it for a
           souvenir.
                         
          Prew puts the knife in his pocket. They stare at one another
          a few moments, each inarticulate, each wanting to express
          some deep emotion of respect.
                         
                          WARDEN
           You ain't enjoying life much, are
           you, kid?
           76.
                         
                         
                         
                          PREW
                          (THIN SMILE)
           They can kill you but they can't
           eat you, Top.
                         
          Warden studies Prew thoughtfully. Prew turns to go back into
          Choy's.
                         
                          WARDEN
           Prewitt.
                         
          Prew stops, turns back.
                         
                          WARDEN
           Could you stand a weekend pass?
                         
          Prew stares at him for a second, incredulously, unable to
          find his voice.
                         
                          PREW
           I thought --
                         
                          WARDEN
           You thought what, kid?
                         
                          PREW
           How about Dynamite?
                         
                          WARDEN
           Leave Dynamite to me. He signs most
           anything I put in front of him
           `thout readies it.
                         
          Though Prew is overjoyed he is somehow unable to say
          "thanks"; Warden grins broadly at him.
                         
                          WARDEN
           I hear you gone dippy over some
           dame you met at the New Congress
           Club.
                         
          He slaps Prew on the shoulder roughly.
                         
                          WARDEN
           What'd you say her name was?
                         
                          FREW
           Lorene...
                         
                          WARDEN
           Pretty name.
           77.
                         
                         
                         
          Warden walks off across the street. Prew stares after him.
                         
                          DISSOLVE TO:
                         
          EXT. WAIKIKI BEACH - DAY
                         
          CLOSE SHOT PREW AND LORENE
          Lorene is covering Prew with sand and has him almost
          completely buried. Only his face remains uncovered. He is
          griming up at her. She seems thoughtful.
                         
                          PREW
           ... Lorene...
                         
          She throws a towel over his face. He chuckles under it.
                         
                          LORENE
           My name's Alma.
                         
          The chuckle from under the towel dies.
                         
                          LORENE
           Alma Schmidt...
                         
          There is a sound as of strangling from under the towel.
                         
                          LORENE
           Mrs. Kipfer picked Lorene out of a
           perfume ad. She thought it sounded
           French...
                         
          Lorene whisks the towel away. Prew's face is comic in its
          surprise and chagrin.
                         
                          DISSOLVE TO:
                         
          INT. COCKTAIL LOUNGE - NIGHT
                         
          MEDIUM SHOT AT BAR ALMA AND PREW
          (NOTE: From this point on "ALMA" will be used instead of
          "LORENE.")
          A fashionable Waikiki night spot. An orchestra in b.g, is
          playing "Someone's Rocking My Dream Boat." Alma and Prew are
          seated at the bar. She is dressed modestly and becomingly,
          might well be taken as a society girl. Prew is wearing a
          civilian suit; he looks bound and choked in it.
                         
                          PREW
           Alma...
                         
          She smiles ruefully, realizes her real name has rubbed off
          some of the enchantment.
           78.
                         
                         
                         
                          PREW
          No, honest, I like it. Alma's a --
          swell name. It was great you gettin
          away today.
                         
                          ALMA
          I told Mrs. Kipfer I was sick. But
          I bet she doesn't believe it,
                         
                          PREW
          There's no tellin when I'll get
          into town next. The Warden gave me
          a break this time. But Holmes and
          those others, they got me on the
          edge. I just about went off the
          deep end the other day.
                         
                          ALMA
          You must hate the Army.
                         
                          PREW
          Hate the Army...?
                         
                          ALMA
          Sure. Look what it's doing to you.
                         
                          PREW
          It's not the Army that's doing it.
          It's Man. I love the Army.
                         
                          ALMA
          Love it? Well, it sure doesn't love
          you in return.
                         
                          PREW
          When you love something it doesn't
          mean they got to love you in
          return.
                         
                          ALMA
          Yes, but a person can stand just so
          much from something --
                         
                          PREW
          No! A man loves a thing, he's gotta
          be grateful.
           (pauses, gropes for
                          THOUGHTS)
          I left home when I was seventeen.
          Both my folks was dead, then. I
          bummed around. I got all sorts of
          jobs. I rode the rods.
                          (MORE)
           79.
                          PREW(CONT'D)
           I landed in jails. I didn't belong
           nowhere. Until I entered the
           Profession.
                         
          She frowns, not understanding the last word.
                         
                          PREW
           The Army. I enlisted at Fort Myer
           and I learned how to box and I
           learned how to play a bugle. I
           never had much call for the boxing -
           - but if it weren't for the Army
           I'd never of learned how to play a
           bugle.
                         
                          ALMA
           A bugle?
                         
          Prew nods. He takes the mouthpiece out of his pocket, shows
          it to her.
                         
                          PREW
           This is the mouthpiece I used to
           play a Taps at Arlington.
                         
          Alma takes the mouthpiece, looks it over, seems unimpressed.
                         
                          PREW
           (as if saying "I was
                          ELECTED PRESIDENT")
           They picked me to play a Taps -- at
           Arlington Cemetery.
                         
          She still looks dubious, hands the mouthpiece back. He tries
          desperately to communicate.
                         
                          PREW
           Look. Think. You ever think how
           strange a tree would look to one
           who had never lived upon the earth?
           Well, somehow that's how I feel
           when I play a bugle...
                         
          There is a boisterous shouting nearby.
                         
                          MAGGIO'S VOICE
           Hello, citizen! I told ya I'd meet
           ya, dint I?
                         
          They turn and ANGLE WIDENS to INCLUDE Maggio, who has just
          come up to the bar. He is in uniform. Prew is pleased to see
          him but also alarmed; there is something near-desperate under
          Maggio's drunkenness.
           80.
                         
                         
                         
                          PREW
           How'd you get a pass?
                         
                          MAGGIO
           I dint get no pass. I just took
           off. I meant to bring a girl with
           me but --
                         
                          PREW
           You better get your tail back to
           the Post. Right away.
                         
          Maggio shakes his head violently in the negative.
                         
                          MAGGIO
           I'm out for the night. I got a
           bellyfull. A nail, Prew. A stinkin
           nail. I'm thirsty for a nail.
                         
          Prew gives him a cigarette. Maggio hops on an empty bar stool
          a few places removed from Prew and Alma.
                         
                          MAGGIO
           Climb up on my shoulders, Prew. You
           can see everythin from up here.
                          (TO BARTENDER)
           A beer. A BEER!
                         
          MEDIUM SHOT AT SIDE OF ROOM TWO MPs
          watching Maggio, attracted by his voice and behavior.
                         
          MEDIUM SHOT AT BAR FEATURING MAGGIO
          Maggio talks across others at the bar to Prew and Alma.
                         
                          MAGGIO
           I been in a crap game in the
           latrine. I win twenty bucks.
                         
                          PREW
           How much did you lose?
                         
                          MAGGIO
           Lose? Oh, lose. I lost twenty-seven
           bucks.
                          (DEJECTEDLY)
           That's why I ain't got no girl.
                         
          A tray on the bar contains olives, nuts and pretzels. Maggio
          snatches up two olives, shakes them in his fist beside his
          ear.
           81.
                         
                         
                         
                          MAGGIO
           COMIN OUT! THE TERROR OF GIMBEL'S
           BASEMENT! COMIN OUT! SEV-EN! SEV-
           EN! SEV-EN!
           (rolls the olives out on
                          BAR)
           Snake eyes.
                         
          MEDIUM SHOT BARTENDER SEVERAL OTHERS AT BAR
          laughing.
                         
          MEDIUM CLOSE SHOT PREW AND ALMA
          Prew is increasingly concerned for Maggio.
                         
                          ALMA
           You like him, don't you?
                         
                          PREW
                          (NODS)
           He's such a comical little guy and
           yet somehow he makes me always want
           to cry while I'm laughin at him.
                         
          MEDIUM SHOT AT BAR FEATURING MAGGIO
          finishing a long gulp of beer. He puts glass down on the bar,
          hard.
                         
                          MAGGIO
           The Royal Hawaiian's jist around
           the corner. That's where them movie
           stars stay. Rita Hayworth and Joan
           Blondell and Maureen O'Hara... You
           look like a movie star, Lorene...
           yes, you do... How long 'fore we
           get in the war, Prew?
                         
                          PREW
           I don't know. Maybe we won't get
           in.
                         
                          MAGGIO
           Tha's what you say.
                         
          He jumps off the bar stool suddenly, tears off his tie.
                         
                          MAGGIO
           Hot in here.
                         
          He throws tie on the bar, The Bartender starts to protest.
                         
                          MAGGIO
           Swimming It's a great night for
           swimmin.
                          (MORE)
           82.
                          MAGGIO(CONT'D)
           (kicks off shoes)
           Goin swimmin with a movie star...
                         
          He is unbuttoning his shirt as he abruptly dashes away,
          People around are laughing at him again.
                         
          MEDIUM SHOT ALMA AND PREW
          as Prew watches Maggio rush out. He sees something else o.s,
          which worries him.
                         
          LONG SHOT FROM PREW'S POV
          The two MPs cross toward direction Maggio has taken. They are
          obviously going after him.
                         
          MEDIUM SHOT ALMA AND PREW
          Alma follows Prew's troubled look.
                         
                          ALMA
           You better go look out for him,
                         
          Prew glances at her gratefully, then slips off his stool. He
          picks up Maggio's tie and shoes and hurries out after him.
                         
                          DISSOLVE TO:
                         
          EXT. ROYAL HAWAIIAN GROUNDS - NIGHT
                         
                         MEDIUM SHOT
          Tall pale royal palms contrast with thick dark plants and
          bushes. An ornamental lamppost alongside a walking path a
          little distance away. Prew comes into shot cautiously,
          carrying Maggio's tie and shoes. He moves quickly, bends
          over. CAMERA PANS AND MOVES IN and we see it is Maggio's
          shirt and trousers which Prew has discovered on the ground.
          He looks at them wryly, picks them up, moves on.
                         
          ANGLE PREW IN F.G. AND LAMPPOST WITH BENCH NEAR IT IN B.G.
          Prew, carrying Maggio's clothes, stops as he sees what looks
          like a shadow lying across the bench.
                         
                          PREW
                          (CALLS SOFTLY)
           Is that you, Angelo?
                         
          The shadow does not move. Prew approaches the bench.
                         
          MEDIUM SHOT MAGGIO AND PREW
          Maggio is stretched out on the bench, seems to be sleeping
          blissfully. He is clothed only in his shorts. Despite
          himself, Prew smiles. He shakes the reclining figure.
                         
                          PREW
           Maggio, you nut. Get up. Wake up.
           83.
                         
                         
                         
          Maggio mumbles without opening his eyes or moving.
                         
                          MAGGIO
           I'm sorry, sir. I won't do it
           again. Just don't lock me up, sir.
           Honest, I won't.
                         
                          PREW
           Here's your clothes.
                         
          He throws the clothes on Maggio.
                         
                          MAGGIO
           (opens his eyes)
           Well, give 'em back to the Indians.
           The Indians need clothes. All they
           wear is G strings.
                         
                          PREW
           Boy, are you drunk!
                         
                          MAGGIO
           ... maybe a movie star comes outs
           the hotel right now and picks us up
           and takes us back to the States in
           her private plane... and installs
           us in her private swimming pool --
                         
          Prew pulls Maggio off the bench and starts to drag him across
          the path away from the light.
                         
                          MAGGIO
                          (YELLS)
           Take it easy, Prew. You scrapin my
           tail on the sandy sidewalk.
                         
                          PREW
           You'll get worse than that scraped -
           - Listen!
                         
          The ominous sound of leggins brushing each other is heard,
          not far away. Prew looks off.
                         
          LONG SHOT THROUGH BUSHES
          The two MPs are on the street just outside the grounds. They
          are still looking for Maggio, somewhat aimlessly now.
                         
          MEDIUM SHOT MAGGIO AND PREW
          Prew whispers to Maggio as he pulls him to his feet.
                         
                          PREW
           Come on before you're in trouble --
           84.
                         
                         
                         
          Maggio pushes him away.
                         
                          MAGGIO
           Stop it!
                         
                          PREW
           Shut up!
                         
                          MAGGIO
           I'm sick of its Can't a man get
           drunk? Can't a man do nothin? Can't
           a man put his lousy hands in his
           lousy pockets on a lousy street? A
           man gotta be hounded every minute
           of his life? I ain't gain to take
           its I ain't no cowards I ain't
           yellows I ain't no bums I ain't no
           scum! MPs! MPs! COME AND GET US!
           HERE WE IS!
                         
                          PREW
                          (AGHAST)
           Now you done it.
                         
          MEDIUM SHOT END OF PATH NEAR STREET
          The two MPs came running onto the path, spot Maggio and Prew
          about thirty yards away.
                         
          MEDIUM SHOT PEW AND MAGGIO
          Maggio picks up his shoes, suddenly whips away from Prew and
          runs toward the MPs.
                         
          ANOTHER ANGLE NEAR MPs
          as they stop, surprised. Maggio is shouting, "Can't a man do
          nothin?!" as he hurls first one shoe, then the other,
          directly at the MPs. One MP is hit in the shoulder, staggers
          back. Maggio dashes between him and the second MP, but the
          latter reaches out and grabs him. Maggio wrenches loose but
          instead of running, suddenly wades in, arms swinging wildly.
          In a moment, he is hanging crab-like on the man's back. The
          first MP charges Maggio. Maggio grabs the second MP's club
          and hits the first MP over the head.
                         
          MEDIUM CLOSE SHOT PREW
          Horrified, he starts toward the fracas.
                         
          MEDIUM SHOT MAGGIO AND MPs IN F.G. PREW IN B.G.
          The second MP has managed to get out from under Maggio. He
          smashes his fist into Maggio's face as the latter continues
          to wield the club. Maggio sees Prew coming toward them.
           85.
                         
                         
                         
                          MAGGIO
           Get back! I'm handlin this! Take
           off!
                         
          The first MP starts to intercept Prew. Maggio tackles him
          around the knees and brings him to the ground.
                         
          MEDIUM CLOSE SHOT SECOND MP
          Club gone, his partner on the ground, the second UP fishes
          for his pistol, tugs to get it from the holster.
                         
                          MAGGIO'S VOICE
           This ain't your affair! Keep out of
           this!
                         
          MEDIUM SHOT PREW IN F.G. MPs AND MAGGIO IN B.G.
          Prew sees the second MP raise his pistol, point it toward
          him. CAMERA PANS WITH him as he turns quickly and dives
          headlong into bushes nearby.
                         
          CLOSE SHOT PREW
          CAMERA MOVES WITH him close to ground as he knees and elbows
          his way along deep into the bushes. He stops, breathing hard.
          The sound of the MPs fighting with Maggio can be heard, the
          ugly sound of fists and the uglier sound of clubs smashing
          bone and flesh.
                         
                          MAGGIO'S VOICE
           (screaming, crazed)
           Come on. Is that the best you can
           do? I bet you eat Wheaties, don't
           you? Come on... You can't even
           knock me out -- no matter --
                         
          Maggio's voice stops suddenly. CAMERA MOVES TO CLOSEUP of
          Prew on the ground, his face contorted. The voices of the MPs
          are heard now, panting.
                         
           FIRST MP'S VOICE
           I wonder what was wrong with this
           guy. He must be same kind of
           madman.
                         
           SECOND MP'S VOICE
           Come on, let"s get him into a
           wagon.
                         
          A convulsive sob escapes Prew as his head drops in the dirt.
                         
                          DISSOLVE TO:
           86.
                         
                         
                         
          INT. ORDERLY ROOM- DAY
                         
          MEDIUM SHOT PEEN WARDEN MAZZIOLI
          Warden is pinning some notices on a bulletin board. Prew sits
          on the bench against the wall, miserable, elbows on knees,
          chin in hand. There is a quiet tenseness in the room. Warden
          looks over at Prew, turns back to the bulletin board.
          Mazzioli gets up from his desk, wanders aimlessly to a
          window. The screen door slams and Leva enters, eating a candy
          bar.
                         
                          LEVA
           Any word on Maggio's Court Martial?
                         
                          MAZZIOLI
           It's on right now. At Headquarters.
                         
          Lava sits on the bench beside Prew, shakes his head.
                         
                          LEVA
           He'll get the Stockade sure.
                         
          The others tense at the word "Stockade," glare at Leva as if
          he had no right to mention it. Their fear of the place, now
          that it is imminent even for another soldier, is shown on
          their faces. There is a long pause.
                         
                          MAZZIOLI
           Maybe he won't get it. All he did
           was get drunk and run wild. That's
           a soldier's nature. It's almost his
           sacred duty once in a while.
                         
          There is another pause. Warden barks suddenly, fiercely, at
          Leva.
                         
                          WARDEN
           What you hangin around here for?
                         
                          LEVA
           Can't a man rest himself for a min--
                         
                          WARDEN
           What man? I can't stand to see
           people restin themselves. I'm
           eccentric. If you ain't got no work
           maybe I can scare you up some.
                         
          Mumbling, Leva rises and goes out. Warden goes over to Prew.
                         
                          WARDEN
           Whyn't you go on over to the Day
           Room, shoot a little pool?
                          (MORE)
           87.
                          WARDEN(CONT'D)
           I'll let you know when the word
           comes through.
                         
          Prew looks up, nods, rises. He is half-way to the door when
          the phone at the Clerk's desk rings. Prew turns. Mazzioli
          stares at the phone as if afraid to touch it. Warden goes
          over, answers.
                         
                          WARDEN
                          (ON PHONE)
           Compny G, First Sergeant Warden
           speaking... Yes, sir... Yes, sir, I
           will... I'll have his things in
           order... Yes, sir.
                         
          Warden puts down phone. He looks at the waiting men.
                         
                          WARDEN
           He got it. Six months.
                         
                          DISSOLVE TO:
                         
          EXT. BARRACKS - DAY
                         
                         MEDIUM SHOT
          Prew and a group of G Company men, including Sergeants Dhom,
          Thornhill and Henderson, are on the steps and porch as a
          Reconnaissance car pulls up and halts.
                         
          CLOSE SHOT RECONNAISSANCE CAR
          Maggio sits between the driver and another MP, both armed.
          (NOTE: These are not the same MPs with whom he fought.) The G
          Company men cluster around the car, ad-libbing greetings,
          kidding Maggio, bucking him up. Even the Sergeants join in
          this; nobody likes to see a man on his way to the Stockade.
                         
                          MAGGIO
           Hello, men! Who's got the beer?
                         
                          DRIVER
           Shut up!
                         
                          MAGGIO
           Okay, Brownie. Whatever you say.
                         
                         ANOTHER ANGLE
          as the Driver gets out of the car and goes to pick up
          Maggio's stacked barracks bag on the porch. Prew moves up
          close to Maggio.
                         
                          PREW
           I'm sorry, Angelo. It's my fault. I
                          SHOULDA --
           88.
                         
                         
                         
                          MAGGIO
           You crazy. You --
                         
                          PREW
           I shoulda stopped you somehow --
                         
                          MAGGIO
           It was all my party. Don't worry
           about it.
           (pronounces "e" as in
                          "THE")
           Anyhow, I'm gunna e-scape. If
           Gimbel's basement couldn't hold me,
           neither can no lousy Stockade.
                         
                          SECOND MP
           You heard him say SHUT UP!
                         
                          MAGGIO
           (smiles at the men)
           I'm a prisoner. And prisoners ain't
           allowed to talk. They allowed to
           breathe though. If they good, that
           is.
                         
          During last speech the Driver returns, dumps the barracks bag
          in the car, and gets in. The motor starts. The men shout good-
          byes.
                         
          CLOSE SHOT PREW
          heartsick as he looks at Maggio.
                         
                         MEDIUM SHOT
          as the Recon pulls out and Maggio's last hearty shout drifts
          back.
                         
                          MAGGIO'S VOICE
           ... e-scape to Mexico and become a
           cowboy!...
                         
                          WIPE TO:
                         
          EXT. STOCKADE GATE- DAY
                         
                         SHOT
          as the Reconnaissance car drives through the chain-mesh gate.
          In the distance is the Stockade, a building that looks
          something like a country schoolhouse. Music sweeps up as the
          gate clangs shut.
                         
                          WIPE TO:
           89.
                         
                         
                         
          EXT. STOCKADE YARD - DAY
                         
                         LONG SHOT
          Maggio walking across the yard flanked by the tall MPs. He
          looks around as if surveying the chances of escape. Music
          rises.
                         
                          WIPE TO:
                         
          EXT. STOCKADE BUILDING - DAY
                         
                         MEDIUM SHOT
          as the MPs march Maggio up to a door and gesture him to enter
          alone. He goes in.
                         
          INT. OFFICE OF SERGEANT OF THE GUARD - DAY
                         
                         MEDIUM SHOT
          CAMERA SHOOTS from behind a man seated at a desk. Prominent
          in shot is a wicked-looking chopped-off hoe handle lying on
          the desk. Maggio enters, recognizes the man. He walks, up to
          the desk, his face set in defiance. Music is rising in a
          fearful crescendo. CAMERA PANS just enough to REVEAL desk
          sign reading: "SERGEANT OF THE GUARD." The man stands up and
          the music stops abruptly.
                         
                         ANOTHER ANGLE
          REVEALING Fatso Judson as the man, on his face the same
          murderous expression as at Choy's. He cracks his fingers.
                         
                          FATSO
           Tough monkey.
                         
          CLOSE SHOT MAGGIO
          his eyes following a movement of Fatso's hand.
                         
          MEDIUM CLOSE SHOT FATSO
          Eyes on Maggio, his hand gropes on the desk.
                         
                          FATSO
           Hard sister.
                         
          CLOSE SHOT FATSO'S HAND
          as it finds and tightens around the hoe handle. The music
          sweeps in abruptly.
                         
                          DISSOLVE TO:
                         
          EXT. CLEARING IN VALLEY - DAY (TWILIGHT)
                         
          CLOSE SHOT FLASH A POKER BEING DRIVEN INTO FIRE
          Music of preceding shot segues into an ancient, savage
          Hawaiian chant which continues through following.
           90.
                         
                         
                         
          CLOSE SHOT FLASH LONG-PRONGED FORK BEING DRIVEN INTO BELLY OF
          WHOLE ROAST PIG
                         
          CLOSE SHOT FLASH LANG-BLADED CARVING KNIFE SLICING ROAST BEEF
                         
          MEDIUM CLOSE SHOT STEAM RISING FROM BETWEEN HOT STONES OF
                         FIRE
                         
          FULL SHOT LUAU
          Shot covers the continuation of all the above activity. This
          is a native luau - definitely not for tourists. Shot includes
          long ditches, heated by red-hot stones and lined with layers
          of banana leaves, containing pig, chicken, rock crabs,
          fish... Pots of native stew... Bowls of exotic fruit... Peels
          of raw cane... Working over the food are the natives, many of
          the men stripped to the waist, the women arrayed in colorful
          Hawaiian costumes.
                         
          LONG SHOT THROUGH BONFIRE HULA DANCERS
          A group of male dancers swaying with the insistent beat of a
          group of old Hawaiian instruments. This is far removed from
          the night club Hula. This is a thing of swift, agile
          angularity, primitive and powerful.
                         
          PAN SHOT SPECTATORS THROUGH BONFIRE
          At end of PAN, CAMERA REVEALS Warden and Karen in the group.
          They are the only whites in the group.
                         
          CLOSE SHOT KAREN
          her face lit by the flames. She watches the dancing
          breathlessly.
                         
          FLASHES TINY TOM TOM NOSE FLUTE GROUP OF MUSICIANS
          The native instruments playing a thin, weird melody.
                         
          MEDIUM SHOT HULA DANCERS
          The men laugh and grin as they dance, taunt and tease
          somebody o.s.
                         
          MEDIUM SHOT SPECTATORS
          They shout and laugh and squeal with delight as they watch.
          It is Warden the dancers are teasing. Several of the dancers
          break out of the group, dance over to Warden, continue to
          prod him, apparently urging him to join them.
                         
          MEDIUM CLOSE SHOT WARDEN
          protesting, joining in the laughter. Suddenly he kicks off
          his shoes, rolls his slacks up to his knees. He snatches a
          gardenia from the hair of a pretty Hawaiian girl next to him,
          sticks it over his ear, jumps into the firelight and dances
          with the others. The music comes up louder and faster as the
          spectators and dancers roar.
           91.
                         
                         
                         
          GROUP SHOT DANCERS AND WARDEN
          They are all laughing as they dance, but as Warden moves with
          them it is apparent he is as good as any of them.
                         
          MEDIUM SHOT SPECTATORS
          nodding, pointing at Warden, their hilarious laughter fading
          to delighted smiles.
                         
          CLOSE SHOT KAREN
          astonished and thrilled at Warden's ability.
                         
          MEDIUM SHOT WARDEN
          His laughter now also diminished to a happy grin as he
          dances. In all he dances about thirty seconds. Then he breaks
          out of the group and runs over to Karen.
                         
          GROUP SHOT FEATURING KAREN AND WARDEN
          as the spectators and dancers shout their applause. Warden
          comes up to Karen and puts the gardenia in her hair. Karen is
          glowing, tingling.
                         
                          KAREN
           You just love to shock people,
           don't you?! Where on earth did you
           learn to dance like that?
                         
                          WARDEN
                          (PANTING HAPPILY)
           Believe it or not -- Chicago,
           Illinois.
                         
          She flings her arms around him passionately. The onlookers
          howl with approval and merriment. Between Karen and Warden
          and camera, an enormously fat Hawaiian woman pours water on
          the stones in one of the trench-ovens. A cloud of steam
          rises, hiding them.
                         
          EXT. CLIFF ROAD - DAY (TWILIGHT)
                         
          LANG SHOT VALLEY
          SHOOTING DOWN a thousand feet into Palolo Valley. Bonfires
          and smoke rising from the floor of the valley.
                         
          The thinnest carry of the ancient Hawaiian music. CAMERA PANS
          from precipice and INCLUDES Prew and Alma as they trudge into
          shot, climbing up the steep cliff road.
                         
          TRACKING SHOT PREW AND ALMA
          holding hands as they walk.
           92.
                         
                         
                         
                          PREW
           -- If I dint get to see you once in
           a while The Treatment would've
           cracked me long ago.
                         
          Alma, fairly winded from the climb, smiles but doesn't
          answer.
                         
                          PREW
           We could have taken a cab. Except I
           ain't got cab fare.
                         
                          ALMA
           It's just around the bend.
                         
          CAMERA HOLDS as they walk on around a bend in the road.
                         
          EXT. ALMA'S HOUSE
                         
                         MEDIUM SHOT
          The small house is perched precariously on the very edge of
          the cliff. Alma and Prew come around the bend, come up to the
          door, Prew marvelling at the house.
                         
                          ALMA
           This other girl and I were lucky to
           rent it.
                          (PROUDLY)
           It's a very fashionable district.
                         
          She hands Prew her key. As he is unlocking the door:
                         
                          ALMA
           I'll get an extra one made for you.
                         
          Prew swings open the door and they go in.
                         
          INT. ALMA'S HOUSE LIVING ROOM - DAY (TWILIGHT)
                         
                         FULL SHOT
          Prew stops on the threshold, stares at the room in happy
          amazement. It is large, smartly furnished. In the rear, glass
          doors lead to a porch. One of the panelled walls is filled
          with bookshelves, floor to ceiling. The bookshelves are
          filled with books. A hearty feminine voice calls "Hi!" from
          the kitchen, and as Prew and Alma come into the room,
          GORGETTE enters from the kitchen. She is a very tall, very
          gay, good-looking girl.
                         
                          ALMA
           This is Gorgette, my roommate.
           Gorgette, this is Prew. I told you
           about him.
           93.
                         
                         
                         
                          GORGETTE
           Don't mind me. I'm going out in a
           little while.
                         
          Prew grins, can't keep his eyes off the astonishing books.
          Gorgette follows his glance.
                         
                          GORGETTE
           I belong to the Book of the Month
           Club. I always take every book.
           That way I get all the dividends.
                         
          She giggles and goes off to the bedroom.
                         
                          PREW
           She'll be great for Maggio when he
           gets out of the Stockade. He'll be
           crazy about her because she's so
           tall.
                         
          Alma smiles, presses him into a chair.
                         
                          ALMA
           Now you just get comfortable and
           I'll make you a Martini and see
           what's to cook for dinner.
                         
          She starts oft to kitchen.
                         
                          PREW
           Hey.
                         
          She turns.
                         
                          PREW
           This is just like bein married,
           ain't it?
                         
                          ALMA
           (over her shoulder as she
           exits to kitchen)
           It's better.
                         
                          DISSOLVE TO:
                         
          EXT. CLEARING IN VALLEY - NIGHT
                         
                         FULL SHOT
          SHOOTING through smoke rising from one of the trench-ovens.
          As it clears we see the enormous Hawaiian woman and one or
          two others cleaning up and putting out the remnants of the
          fires. The merrymakers and dancers have gone; the luau is
          over. In b.g., quite alone, are Warden and Karen, sitting on
           94.
                         
                         
          the trunk of a fallen palm tree.
                         
          MEDIUM SHOT KAREN AND WARDEN
          The abandoned gaiety of the earlier scene gone. They survey
          the emptiness. The fat Hawaiian woman comes near, rakes ashes
          over one of the dying fires. She speaks to Warden in
          Hawaiian. He answers her in the native tongue. The fat woman
          stares, shrugs, goes off.
                         
                          KAREN
           What did she say?
                         
                          WARDEN
           She said it's over -- time to go
                          HOME --
                         
                          KAREN
           Home... A beach, a car, a park...
                         
          Warden puts his arm around her tenderly.
                         
                          WARDEN
           It'll work out...
                         
                          KAREN
           It can't go on like this much
           longer, Milt.
                         
                          WARDEN
           I know.
                         
          He rises, paces a moment.
                         
                          WARDEN
           If there were only a way! Your
           lovin husband'd probly give you the
           divorce. But even if he didn't know
           what for, he'd never let me
           transfer.
                         
                          KAREN
           (bucking up courage;
                          QUIETLY)
           There is a way. I've been thinking
           about it.
                         
          Warden looks at her apprehensively.
                         
                          KAREN
           You've got to become an officer.
                         
                          WARDEN
           What!
           95.
                         
                         
                         
                          KAREN
           You're eligible for the extension
           course that came in with the draft.
           When you get your commission they'd
           ship you back to the States -- new
           officers aren't kept at posts where
           they've been enlisted men. Then --
                         
                          WARDEN
           You sure made a thorough study of
           it.
                         
                          KAREN
           Then I could divorce Dana and
           follow you and marry you.
                         
                          WARDEN
           An officer! I've always hated
           officers.
                         
                          KAREN
           That's a fine, intelligent point
           of view. Suppose I said I've always
           hated Sergeants. That would make a
           lot of sense, wouldn't it?
                         
          CLOSE SHOT WARDEN
          He sits, thinks it over unhappily.
                         
                          WARDEN
           Okay, suppose I did it. -- And
           don't think it's a cinch -- the
           exams are tough. Then you'd be
           getting your divorce here while I'm
           in the States. We'd be apart maybe
           six months! We'll probly be in the
           war by then --
                         
                         TWO SHOT
                         
                          KAREN
           You can't be certain of that --
                         
                          WARDEN
                          (SNORTS)
           Put it down on your calendar. On
           October twenty-third, 1941, Milt
           Warden told you we'd be in the war
           in less than a year.
                         
                          KAREN
                          (FLARING)
           Why don't you tell the truth?
                          (MORE)
           96.
                          KAREN(CONT'D)
           You just don't want the
           responsibility. You're probably not
           even in love with me --
                         
                          WARDEN
           You're crazy! I wish I wasn't in
           love with you. Maybe could enjoy
           life again.
                         
                          KAREN
           I don't know what's happened to you
           -- you were honest at first --
                         
                          WARDEN
           At first! You were tough and solid
           as a rock -- and now you're a
           whining crybaby --
                         
          He stops abruptly.
                         
                          KAREN
           And so they were married and lived
           unhappily ever after.
                         
          They are silent for several moments.
                         
                          WARDEN
           I've never been so miserable in my
           life as I have since I met you.
                         
                          KAREN
           Neither have I.
                         
                          WARDEN
                          (CHEERLESSLY)
           I wouldn't trade a minute of it.
                         
                          KAREN
                          (CHEERLESSLY)
           Neither would I.
                         
          Warden rises and paces again. Suddenly he stops, turns, looks
          down at Karen, speaks in the same gloomy tone.
                         
                          WARDEN
           I'll probably make the lousiest
           officer they ever saw in this Army.
                         
          A happy smile creeps over Karen's face. Despite himself, he
          begins to smile also.
           97.
                         
                         
                         
                          KAREN
                          (FERVENTLY)
           You'll make a fine officer. A
           remarkable officer.
                         
                          DISSOLVE TO:
                         
          EXT. PORCH OF ALMA'S HOUSE - NIGHT
                         
                         MEDIUM SHOT
          The porch is at the rear of the house, leading off from the
          living room. It is on the very edge of the cliff. Prew and
          Alma are dancing to the music of a portable victrola. It is
          playing "Why Don't We Do This More Often?" A table still
          contains the dinner plates. Prew's expression holds the
          wonder of a child at a magic show. He misses a step,
          stumbles.
                         
                          PREW
           I never caught on to dancing much.
                         
                          ALMA
           You're a very good dancer.
                         
          The record ends and Alma goes to change it. CAMERA FOLLOWS
          Prew to the edge of the porch as he looks out over the view.
                         
          LONG SHOT VIEW PROM PREW'S POV
          A magnificent panorama -- strings of lights in the valley and
          across on St. Louis Heights -- in the far distance the neon
          of Waikiki.
                         
          MEDIUM CLOSE SHOT PREW
          working with his thoughts, afraid to broach them. He lights a
          cigarette, his fingers trembling.
                         
                          PREW
           I been wanting to tell you a long
           time now --
                          (DEEP BREATH)
           I love you.
                         
          MEDIUM CLOSE SHOT ALMA
          looking through records for a new choice. She speaks quite
          conversationally, as if offered a pleasant compliment.
                         
                          ALMA
           That's nice. Because I love you,
           too.
                         
          She puts on a record -- "It All Comes Back To Me Now." It
          plays throughout the sequence.
           98.
                         
                         
                         
                         TWO SHOT
          as Alma comes over to Prew.
                         
                          PREW
           I mean it. I need you.
                         
                          ALMA
                          (AS BEFORE)
           I'm glad. Because I need you, too.
                         
                          PREW
                          (RECKLESSLY)
           A thirty-year man is movin all
           over, goin all the time. Up to now
           I never thought a thirty-year man
           had any business to think of gettin
           married.
                         
          She stares at him, amazed, a touch angry.
                         
                          ALMA
           You're a funny one, little Prew
           boy.
                         
                          PREW
                          (HURT)
           Yeah. Must be the altitude.
                         
                          ALMA
           A very funny one that I cannot
           figure out.
                         
                          PREW
           Why's it funny if a guy wants to
           marry you?
                         
                          ALMA
           Because I'm a girl you met at the
           New Congress Club! And that's about
           two steps up from the pavement.
                         
                          PREW
           Okay -- I'm a private no class
           dogface soljer. And the way most
           civilians look at it, that's two
           steps up from no thin.
                         
          There is a silence. Alma is honestly distraught.
                         
                          ALMA
           Oh, Prew, Prew, I thought we were
           happy: Why do you want to spoil
           things?
           99.
                         
                         
                         
                          PREW
           Lissen, I ain't think in of now.
           But I got a plan cookin in my head.
           You want to go back to the States
           in a year. Well, you could stretch
           it some, make it two years. And I
           could swing a Sergeant's stripes --
           If I were a non-com the Army'd let
           me pick my duty when I re-enlist.
           (lost in the picture of
                          IT)
           And there's some posts back in the
           States -- like Jefferson Barracks --
           The married noncoms rate solid
           brick houses... with lawns with new-
           cut grass and walks with big old
           oak trees...
                         
                          ALMA
           Now I know you've lost your mind!
           How do you expect to become a
           Sergeant under this Captain Holmes
           of yours? It's all you can do to
           keep out of the Stockade!
                         
          CLOSE SHOT PREW
                         
                          PREW
           I could fight.
                         
                         TWO SHOT
                         
                          PREW
           It I go out for boxin he'd send me
           to non-com school. The Regimental
           Championship is next month. I bet I
           could win the middleweight even
           without training. I used to be
           pretty good I could do it.
                         
          Alma is deeply moved. She speaks gravely, sincerely, not at
          all immodestly.
                         
                          ALMA
           No. I don't think you should give
           in to The Treatment... even to
           marry me.
                         
                          PREW
           This'd be worth it.
           100.
                         
                         
                         
                          ALMA
                          (ALMOST DESPERATELY)
          Prew -- it's true we love each
          other now. But back in America, it
          might be different... We might not
          even want each other...
                         
                          PREW
          Okay. But that ain't the real
          reason.
                         
                          ALMA
          All right. It's not.
                         
                          PREW
          What's the real reason you won't
          marry me?
                         
                          ALMA
          I won't marry you because I don't
          want to be the wife of a soldier.
                         
                          PREW
          Well, that's the top I could ever
          do for you --
                         
                          ALMA
          Because nobody's going to stop
          me from my plan. Nobody. Nothing.
          Because want to be proper.
                         
                          PREW
          Proper?
                         
                          ALMA
                          (IMPASSIONED)
          Yes, proper. Respectable. Secure.
          In a year I'll have enough money
          saved. I'm going back to my home
          town in Oregon and I'm going to
          build a new home for my mother and
          myself and join the country club
          and take up golf. And then I'll
          meet the proper, man with the
          proper position. And I'll be a
          proper wife who can keep a proper
          home and raise proper children. And
          I will be happy because when you
          are proper you are safe.
                         
                          PREW
           (bitterly disappointed but
                          ADMIRING)
                          (MORE)
           101.
                          PREW(CONT'D)
           You got guts, Alma. I hope you pull
           it off.
                         
          The victrola record ends. Alma turns away from Prew and goes
          to the victrola. Now that shots had her say with such
          certainty, she deflates. Except for the fact that she looks
          like a girl who never cries, she looks as if she might cry.
          She lifts the record off the turntable.
                         
                          ALMA
           But I do mean it when I say I need
           you. Because I'm lonely. Sometimes
           I'm dreadfully lonely... You think
           I'm lying, don't you?
                         
                          PREW
           No. Nobody ever lies about being
           lonely...
                         
          Alma puts the same record on again. Prew looks out over the
          beautiful view.
                         
                          FADE OUT:
                         
                         FADE IN:
                         
          INT. KITCHEN HOLMES HOUSE - DAY
                         
          CLOSE SHOT HOLMES
                         
                          HOLMES
           -- I've known about it for a long
           time! I've sensed it. And I'm not
           going to ignore it any longer! I
           want to know where you met him and
           just who he is.
                         
          MEDIUM SHOT HOLMES AND KAREN
          at breakfast in a nook off the kitchen. Holmes is a mixture
          of petulance, anger and frustration. He doesn't touch his
          food, but occasionally takes a sip of coffee.
                         
                          KAREN
           I'm afraid I'm not going to tell
           you.
                         
                          HOLMES
           You can't keep a thing like this
                          HIDDEN&
                         
                          KAREN
           I'm not going to hide anything. I'm
           just not going to tell you.
           102.
                         
                         
                         
          She applies herself to her food, anxious to drop the matter.
                         
                          HOLMES
           One thing I know. I know it's a
           civilian. You'd be too discreet to
           pick an Army man.
                         
                          KAREN
           I don't think it's any of your
           business who he is.
                         
                          HOLMES
           It is my business! I'm your
           husband! What do you think a
           scandal would do to my chances for
           a promotion? So if you're thinking
           of a divorce, you can forget it!
                         
          Karen stiffens. She struggles to maintain her self-
          possession. She manages it, keeps outwardly calm through the
          scene.
                         
                          HOLMES
           Now -- how does it feel to know
           you'll have to live with a horror
           like me the rest of your life?
                         
                          KAREN
           Not very nice. But then there's the
           compensation of knowing you'll have
           to live with me the rest of your
           life.
                         
          Her attitude makes Holmes progressively sorrier for himself.
          CAMERA MOVES with him as during following he rises, goes to
          stove, pours himself another cup of coffee. He spills a
          little and the liquid sizzles on the burner.
                         
                          HOLMES
           You don't know how a man feels
           about a thing like this. It breaks
           a man all up -- inside.
                         
                          KAREN
                          (DRYLY)
           I gander why men feel so
           differently about it than women.
                         
                          HOLMES
           It's -- it's just not the same.
                         
          CAMERA MOVES with him as he returns to the table, decides to
          try another tack.
           103.
                         
                         
                         
                          HOLMES
           Why do you think I've done all I
           have...?
                         
                          KAREN
           Done all what?
                         
                          HOLMES
           Tried to be a Company Commander
           when I hate it, worked my fool head
           off with this miserable boxing
           squad, tagged after the General
           whenever I could.
                         
                          KAREN
           I don't know. Why?
                         
                          HOLMES
           Why, for you and for me. For our
           home, that's why.
                         
                          KAREN
                          (DRYLY)
           I always thought you did it because
           you wanted to get ahead.
                         
          She finishes the last of her food, stands.
                         
                          KAREN
           It's a lovely day out. I think I'll
           go for a walk.
                         
          Holmes catches her wrist, stops her.
                         
                          HOLDS
           I'm willing to forgive you. Tell me
           who he is. Make a clean breast of
           it. And I'll forgive you.
                         
                          KAREN
           I wonder which is hurt more -- your
           pride or your curiosity?
                         
          She disengages her wrist.
                         
                          KAREN
                          (COOLLY)
           When I'm ready to ask you for a
           divorce we can discuss it again.
                         
          She goes to door to pantry, pauses there.
           104.
                         
                         
                         
                          KAREN
                          (MATERNALLY)
           And do eat your breakfast, Dana.
           It's getting cold.
                         
          She goes out to pantry. We hear the sound of the door to rear
          porch opening and closing.
                         
          MEDIUM CLOSE SHOT HOLMES
          wretched, completely at a loss. He stares into space, then
          looks down at his food, picks up a fork and ruefully begins
          to eat.
                         
                          DISSOLVE TO:
                         
          EXT. BARRACKS - DAY
                         
          MEDIUM SHOT LAWN
                         
          Prew, on hands and knees, is on a weeding detail with three
          other men, one of them Sal Anderson. Another is PRIVATE NAIR,
          a tousle-headed, sentimental man we have not seen before.
          Sergeant Thornhill, in charge of the detail, lolls on the
          ground, his head propped against a tree, reading a comic
          book. Prew works his way over to Nair.
                         
                          PREW
           You just get out of the Stockade?
                         
                          NAIR
                          (NODS)
           It was rugged, sam. But I kept my
           mouth shut and watched my step and
           I wasn't in no trouble.
                         
                          PREW
           You see Maggio?
                         
          Nair nods, tells his tale in half-humorous, half-reverent
          fashion.
                         
                          NAIR
           Fatso's workin him over with a hoe
           handle. Places where it won't show
           mostly. You know, the back and the
           chest. The kidneys. Once in a while
           in the face. Know what Maggio does
           when that happens? Spits in Fatso's
           eye.
                          (CHUCKLES)
           Oh, he's a hot one. Ain't he a hot
           one?
           105.
                         
                         
                         
                          PREW
           He's a good boy.
                         
                          NAIR
           Course, he throws up a little blood
           now and then. And he passes out a
           lot. But Fatso sure ain't reportin
           none of that. So there's no way
           they goin to find out.
                         
                          PREW
           Why don't he go to the C.O.?
                         
                          NAIR
           We tried to get him to. But he
           won't peep. He says he got a lot
           more scalp to lose first. That boy
           is about the hardest artery in the
           hospital.
           (with great sentiment)
           But he's got a heart just like a
           great big baby.
                         
          Prew's face has been growing in fury. He pulls up a clump of
          sod, throws it down with all his might.
                         
                          PREW
           You think he's gonna be all right?
                         
                          NAIR
           Your guess is worth mine, sam.
           Maybe he's crackin a little at that
           -- cause after Fatso put him in the
           Hole -- that's what they call
           solitary -- a couple times he began
           talkin about how he's gonna e-
           scape. He said to tell you he'll
           look you up one of these nights.
                         
          A shadow falls across the grass in front of Prew.
                         
          SHOT GALOVITCH FROM PREW'S POV
          CAMERA SHOOTING UP from near the ground, the ANGLE
          EXAGGERATING Galavitch's ungainly, ape-like figure. He looks
          down at Prew, full of venom.
                         
                          GALOVITCH
           Still on knees, eh, Prewitt? Well,
           boxing finals next month. December
           f if teen. You s till got time help
           us make champions.
                         
          MEDIUM SHOT PREW FROM GALOVITCHE'S POV
           106.
                         
                         
          Prew is at the breaking point. Controlling himself, he weeds
          around Galovitch's shadow. It moves in front of Prew again.
                         
                          GALOVITCH'S VOICE
           Are proud dis Compny to be or not?
           Bites de hand dat feeds it der
           shoot dogs for. Infortunately, ony
           dogs day are allowed to shoot, not
           men.
                         
          MEDIUM SHOT GROUP
          The other men have stopped weeding, are looking over at Prew
          and Galovitch. Thornhill, in b.g., puts down the comic book
          and comes over to them during following.
                         
                          PREW
           Get outa my way, Ike. I ain't gonna
           move around you again.
                         
                          GALOVITCH
           You need better lesson than up to
           now. Maybe I give to you myself.
           Maybe right now.
                         
          He steps on Prew's hand. As Prew jerks away from the heavy
          shoe Galovitch hauls him up by his fatigue shirt. Thornhill
          steps between them.
                         
                          THORNHILL
                          (TO GALOVITCH)
           Ey, leave him alone. `e's in my
                          DETAIL --
                         
          Prew shoves Thornhill aside, cold decision in his eyes. He
          starts unbuttoning his shirt.
                         
                          PREW
                          (TO GALOVITCH)
           All right. It's gonna be your way.
                         
          Galovitch rips off his shirt, bursting some of the buttons as
          he does. Stripped to the waist, his whole appearance seems to
          change; he looks as he did in the ring, a hard-muscled prize
          fighter.
                         
                          THORNHILL
           Ey, wait a minute, you guys -- !
                         
          Prew is barely able to get out of his shirt before Galovitch
          charges him.
                         
          VARIOUS ANGLES PREW AND GALOVITCH AND SPECTATORS
          During following men run from across the quadrangle and from
          out of the barracks to watch the affair, form a circle around
           107.
                         
                         
          the fighters. Prew is a skillful boxer, moving around
          Galovitch quickly and cleverly. Galovitch is more lumbering
          but not awkward. His heavy blows stagger Prew several times.
          Prew drives his attack at his opponent's body. He never
          throws a punch at the other's head.
                         
                          NAIR
           The head, Prew! Hit him in the
           head!
                         
          The other men around shout similar advice.
                         
          CLOSE SHOT GALOVITCH
          puzzled by Prew's concentration on his body and by the shouts
          of the men. He seems to be wondering if Prew is pulling a
          trick.
                         
          CLOSE SHOT PREW
          A fear, not born of cowardice, is reflected on Prew's face as
          he sets himself, stares at Galovitch. He seems haunted by the
          memory of Dixie Wells.
                         
          CLOSEUP GALOVITCH'S EYES
                         
                         CLOSEUP PREW
          flinching without being hit. He seems mesmerized by the
          other's eyes.
                         
          CLOSEUP GALOVITCH'S EYES
                         
          MEDIUM SHOT PREW AND GALOVITCH
          fighting. Galovitch draws blood from a cut over Prew's eye.
          He is getting the better of the battle. In b.g. Thornhill
          breaks out of the crowd and runs across the quadrangle.
                         
          MEDIUM SHOT BALDY DHOM AND SPECTATOR
                         
                          SPECTATOR
           I don't get it -- Why don't Prew go
           for the head?
                         
                          DHOM
           He blinded a guy once. Must be
           scairt of the same thing.
                         
          MEDIUM SHOT PREW AND GALOVITCH
          as Galovitch batters Prew back against the crowd. A right to
          the temple sends him to his knees. He shakes his head a
          moment, gets up and goes into a clinch.
                         
          LONG SHOT BARRACKS WINDOWS ON UPPER FLOORS
          The windows are crowded with men watching the fight.
           108.
                         
                         
                         
          INT. SQUAD ROOM - DAY
                         
          LONG SHOT OUT WINDOW To FRONT OF BARRACKS
          SHOOTING OVER heads of men watching, out to Prew and
          Galovitch on the ground. Dispassionate, professional ad-libs
          from the men: why does Prew continue his attack to the body
          only, a good little man and a good big man, etc.
                         
          INT. CAPTAIN'S OFFICE - DAY
                         
          SHOT WARDEN AND HOLMES FEATURING WARDEN
          Warden is at his desk filling out an application blank.
          Holmes is glancing over his shoulder..
                         
          INSERT: OFFICER EXTENSION COURSE APPLICATION BLANK
          Warden's hand in shot filling out answers to sex, age, race,
          etc.
                         
                          HOLMES' VOICE
           I'll be glad to recommend you,
           Warden. You've got service,
           experience, grade. You'll make an
           excellent officer.
                         
          BACK TO SCENE:
                         
          Holmes waits for thanks.
                         
                          WARDEN
                          (AFTER HESITATING)
           Thank you, sir.
                         
          The screen door in the Orderly Room bangs. Thornhill runs
          into the office, breathless. He comes to a shaking attention
          as he sees Holmes.
                         
                          HOLMES
           At ease, Sergeant. What's the
           matter?
                         
                          THORNHILL
           They fightin on the green, sir!
           Galovitch and Prewitt.
                         
                          THORNHILL
           Ike looks like `e goin to murder
           him, sir.
                         
          A pleased look crosses Holmes' face. Warden jumps up, starts
          for door. Holmes catches his arm.
           109.
                         
                         
                         
                          HOLMES
           There's no rush. I'll take care of
           it.
                         
          Holmes goes out. Thornhill follows, turns at the door.
                         
                          THORNHILL
           Ain't you want to see it, First?
                         
                          WARDEN
                          (SHOUTS SUDDENLY)
           No! I ain't want to see it! Nor you
           either! Get out of here!
                         
          Thornhill goes. The screen door in the Orderly Room bangs.
          Warden walks to his desk, stares down at the application
          form, picks it up. He carries it over to Holmes' desk. He
          looks at the picture of Karen on the desk.
                         
          CLOSE SHOT PHOTOGRAPH OF KAREN
                         
          MEDIUM CLOSE SHOT WARDEN
          He stares at the picture, then looks at the application
          blank. Then he looks down at the chevrons on his arm. He rubs
          his hand over the chevrons gently, fondly. He looks at the
          application blank again very thoughtfully.
                         
          EXT. BARRACKS - DAY
                         
          MEDIUM SHOT PREW AND GALOVITCH ON LAWN
          A continuation of the fight. Prew is tiring, his face is cut
          and bleeding and there is a welt under one eye. Galovitch is
          unmarked but grunting now from Prew's constant jabs at his
          stomach. He seems perplexed, as before, by his opponent+s
          tactics.
                         
          MEDIUM SHOT SPECTATORS
          FEATURING the non-"ath-a-leets" of G Company, including
          Anderson, Clark and Treadwell. Ad-libbed shouts of "In the
          face, Prew! In the face!"
                         
                         ANOTHER ANGLE
          FEATURING the "ath-a-loots," including Dhom, Wilson and
          Henderson. They are watching quietly, nodding with approval
          as Prew feints, then darts several punches into Galovitch's
          ribs, It almost seems as if they are admiring Prew's courage,
          inwardly rooting for him. Holmes enters the group, Thornhill
          tagging after him. Holmes stops and watches the fight. There
          is a look of satisfaction on his face.
                         
          MEDIUM SHOT PREW AND GALOVITCH
          The fight continuing.
           110.
                         
                         
                         
                         ANOTHER ANGLE
          near rear of crowd. An officer, walking across the lawn, is
          attracted by the noise. He steps into the crowd. This is
          COLONEL WILLIAMS. He wears the insignia of the Inspector
          General's Department. He watches the fight, is about to step
          through to break it up when he sees Holmes. He stops, watches
          Holmes' reactions.
                         
          MEDIUM SHOT PREW AND GALOVITCH
          Prew, backed up against the crowd, trips over somebody's
          feet. He falls without being hit. Galovitch kicks at him and
          Prew rolls away. The crowd murmurs angrily. Sergeant Stark
          steps out into the open circle, faces Galovitch.
                         
                          STARK
           This ain't no rassle, Ike. You got
           to fight this man fair.
                         
          Approving shouts from the crowd. Stark steps back. Ike waits
          for Prew to get up.
                         
          MEDIUM CLOSE SHOT PREW
          looking up at Galovitch.
                         
          CLOSEUP GALOVITCH SHOOTING UP FROM PREW'S POV
                         
          CLOSEUP GALOVITCH'S EYES
                         
                         CLOSEUP PREW
          His eyes narrow, harden as if his inner struggle has been
          resolved.
                         
          MEDIUM SHOT PREW AND GALOVITCH
          Prew gets to his feet. As Galovitch comes to him, Prew feints
          for the stomach, then throws a hard right to Galovitch's
          face. It hits him flush on the nose. Blood spurts. The crowd
          roars.
                         
                         ANOTHER ANGLE
          Galovitch, surprised and hurt, throws up his hands. Prew
          drives both fists to his solar plexus. Galovitch drops his
          guard. Prew smashes him in the face and Adam's apple.
          Galovitch falls to his knees, hawking and choking.
                         
          MEDIUM SHOT PREW AND GALOVITCH
          The whole nature of the fight has changed. Galovitch, hurt
          and reeling, rushes Prew, bull-like, head down, defense wide
          open. Prew dodges easily, slamming hard with rights and lefts
          to the head.
                         
                         MEDIUM SHOT
          Holmes, seeing Prew is now clearly in command, steps out of
          the crowd and up to the two fighters.
           111.
                         
                         
                         
                          HOLMES
                          (SEVERELY)
           All right. Let's cut it.
                         
          There is a look of relief on the faces of both Galovitch and
          Prew as they stop fighting.
                         
                          HOLMES
           What started this?
                         
                          GALOVITCH
                          (PUFFING)
           Prewitt talk back to non-com.
           Refuse order I give him, start
           fight. I teach him lesson.
                         
          A laugh from the crowd.
                         
                          HOLMES
           You won't disobey any more orders
           in my Company, Prewitt. Warden
           saved you from a court martial once
           but he won't this time --
                         
          Anderson steps into the circle.
                         
                          ANDERSON
           Sir -- I'm sorry, sir but Private
           Prewitt's not to blame for this.
           Sergeant Galovitch started it.
                         
          Holmes reacts, momentarily at a loss. He turns to Thornhill.
                         
                          HOLMES
                          (MEANINGFULLY)
           Thornhill, you're in charge of this
           detail. How about it?
                         
          Thornhill steps into the circle, nods toward Anderson.
                         
                          THORNHILL
           `e's right, sir.
           (points to Galovitch)
           `e begun it. Prewitt done nothin.
                         
          From the crowd step Sergeants Dhom, Wilson and Henderson.
          They face Holmes and Galovitch implacably.
                         
                          HENDERSON
           No, sir, this wasn't Prewitt's
           fault.
           112.
                         
                         
                         
                          DHOM
           That's right, sir. Everybody knows
           Galovitch started it.
                         
          Wilson nods. There is a murmur of agreement from the crowd.
          Holmes looks at his fighters, rocked by this betrayal. They
          stare back at him.
                         
          MEDIUM CLOSE SHOT COLONEL WILLIAMS
          Still near the rear of the crowd, he watches the scene with
          much interest.
                         
                         MEDIUM SHOT
          Holmes pulls himself together, turns to the crowd.
                         
                          HOLMES
           That's all. Break it off. Let's get
           back to our jobs.
           (to Prew and Galovitch;
                          WEAKLY)
           I'm giving you two a break. I'll
           ignore this.
                         
          He walks off. He does not see Colonel Williams. Galovitch
          moves off toward the barracks. Wilson, Henderson and
          Thornhill remain grouped around Prew.
                         
                          PREW
           You guys figure this means I'm
           steppin into a ring, you're wrong.
                         
                          EMERSON
           It's your show, kid. Run it the way
           you want.
                         
                          WILSON
           You better put same iodine on them
           cuts.
                         
                          DHOM
           Yeah. An come over to Choy's
           tonight. We buy you a beer.
                         
          The non-coms walk off, Prew stares after them.
                         
                          DISSOLVE TO:
                         
          EXT. CHOY'S - NIGHT
                         
          LONG SHOT ACROSS ROAD PREW CLARK ANDERSON
          Sounds of gaiety from the beerhouse mingle with the mournful
          twang of guitars being played by Clark and Anderson. CAMERA
          MOVES SLOWLY toward the trio until the beerhouse noises are
           113.
                         
                         
          low. The men are surrounded by many empty beer bottles.
                         
           PREW, CLARK AND ANDERSON
                          (SINGING SOFTLY)
           Woke up sick on Thursday
           Feelin like my head took a dare
           Looked down at my trousers
           All my pockets was bare
           That girl sure was bad news
           Re-enlistment Blues...
                         
          The guitars finish the stanza with a flourish as CAMERA HOLDS
          on MEDIUM SHOT. The men chuckle.
                         
                          CLARK
           Some day I'm goin back to Scranton
           and play it for my folks. And tell
           em it wan composed in the Hawaiian
           Islands! Clear across the Pacific
           Ocean!
                         
                          PREW
           (finishes long swig of
                          BEER)
           Hey, Friday.
                         
                          CLARK
           Yeah?
                         
                          PREW
           Why you called Friday?
                         
                          CLARK
           Don't know. I was borned on
           Wednesday.
           (plucks guitar, sings)
           Went back around on Friday
           Asked for a free glass of beer...
                         
          The three laugh, sing in unison.
                         
           PREW, CLARK AND ANDERSON
           My friends had disappeared
           Barman said, `Take off, no credit
           here'...
                         
          MEDIUM SHOT NEAR ENTRANCE TO CHOY'S
          The music from across the road almost lost in the laughter
          and shouts from the beerhouse. Warden comes out, wobbles a
          bit. He has One On. He cups his hand over his ear, straining
          to hear the singing. He stumbles into Choate, coming along
          the sidewalk.
           114.
                         
                         
                         
                          CHOATE
           Top, you sure plastered.
                         
                          WARDEN
                          (MUSTERING DIGNITY)
           I am off duty. Off duty if I want
           to get plastered --
                         
          But Choate has gone into Choy's. CAMERA RETREATS with Warden
          as he wanders to the road, still trying to locate the
          singing. Half-way across the road he unceremoniously sits
          down, crosses his knees Buddha-wise. Here the singing is more
          audible. He listens contentedly.
                         
          MEDIUM SHOT PREW ANDERSON CLARK
                         
           PREW, ANDERSON AND CLARK
                          (SINGING)
           Ain't no time to lose Re-enlistment
           Blues...
                         
          Anderson, as usual, finishes the stanza with a brilliant
          display on the guitar. Prew stands up. In the glow of a
          streetlight his face shows the marks of his battle with
          Galovitch. He wobbles and we realize he, too, really Has One
          On.
                         
                          ANDERSON
           Where you go in?
                         
                          PREW
           Back to Choy's. Get nother drink.
                         
          The guitars and singing continues in b.g. through following.
          CAMERA PANS with Prew as he weaves to the road.
                         
          MEDIUM SHOT MIDDLE OF ROAD
          as Prew crosses. He can see the seated figure but the light
          from the street is too dim to identify it.
                         
                          WARDEN'S VOICE
                          (BOOMS)
           Halt!
                         
          Prew stops automatically.
                         
                          WARDEN'S VOICE
           Who goes there?
                         
                          PREW
           A friend.
           115.
                         
                         
                         
                          WARDEN'S VOICE
           Advance, friend, and be reconized.
                         
          Prew moves closer, CAMERA WITH him, until he recognizes
          Warden.
                         
                          WARDEN
           (roaring, laughing)
           Quiet! At ease! Fall out! Right
           dress! `bout face! Hit the track!
           Garbage Detail! Latrine Detail! Dis
           a drill, not picnic! Hello, kid.
           Whatever you doin out all by
           yourself?
                         
                          PREW
           I'm goin to get a drink.
                         
                          WARDEN
           Siddown. I got a bottle.
                         
          He pulls a bottle of whisky from his field jacket, holds it
          up to Prew. Prew takes the bottle and drinks. Then he sits
          down in the road as matter-of-factly as did Warden. He gives
          the bottle back to Warden.
                         
                          WARDEN
           I hand it to you, kid. They called
           off The Treatment this afternoon.
           When you beat up Ike. I never heard
           of no soljer before ever lickin The
           Treatment...
           (drinks; then holds out
                          BOTTLE)
           Here, old buddy. Have a lil drink.
                         
          Prew drinks.
                         
                          WARDEN
           This is a terrible crummy life, you
           know it?
                         
                          PREW
           Miserble. Perfeckly miserble.
                         
                          WARDEN
           What if a truck or somethin was to
           come along and run over us?
                         
                          PREW
           Awful. Awful. We'd be dead,
           wouldn't we?
           116.
                         
                         
                         
                          WARDEN
                          (NODS VEHEMENTLY)
           An nobody to even mourn. You better
           not sit here any more. You better
           get up and move over to the side of
           the road.
                         
                          PREW
           What about you? You got more to
           live for than me. You got to take
           care of your Compny.
                         
                          WARDEN
           I'm old. Don't matter if I die. But
           your life's ahead of you. You get
           up.
                         
                          PREW
           No, sir. Never deserted a friend in
           need. I'll stay to the bitter end.
                         
                          WARDEN
           (shakes head stubbornly)
           We'll stay together.
                         
          They square their shoulders heroically.
                         
                          WARDEN
           (as if to an invisible
                          FIRING SQUAD)
           No blindfold. Save it to wipe your
           nose on, you skunk.
                         
                          PREW
           Amen.
                         
          Each takes a drink.
                         
                          WARDEN
           Prew, I got the biggest troubles in
           the whole world.
                         
                          PREW
           The whole world?
                         
                          WARDEN
                          (NODS)
           Take love. Did you personally ever
           see any of this love?
                         
          Prew nods gravely.
           117.
                         
                         
                         
                          WARDEN
           You'll unerstan, then... This girl,
           see, she wants me to become.
                         
                          PREW
           Become what?
                         
                          WARDEN
           (after long hesitation)
           An officer. Can you see me as an
           officer?
                         
                          PREW
           Sure I can see it. You'd make a
           good officer.
                         
                          WARDEN
           You both can see more'n I can. You
           know what, Prew? I'm scared become
           an officer.
                         
                          PREW
           You ain't scared of nothin, Warden.
                         
                          WARDEN
           Yes, I am. I tell myself diffrnt
           but it's a fack. Where'd I be
           as an officer? How could I handle
           him? That's the one thing I'm
           scared of... be an officer in the
           U.S. Army.
                          (HASTILY)
           Army of the U.S.
                         
                          PREW
           A man should be what he can do.
                         
          Warden nods solemnly as if Prew has uttered a great truth.
          They pass the bottle once more.
                         
                          WARDEN
           How's your girl? Wha'st that name
           again?
                         
                          PREW
                          (HESITATES)
           Lorene.
                         
                          WARDEN
           Oh, yeah, I remember. Lorene.
           Beautiful name.
           118.
                         
                         
                         
          Warden claps Prew on the shoulder as if he is a lifelong
          friend. They smile. They look as if they are sharing a great
          secret, a secret known to them alone in the world. The
          mournful guitars and singing comes over a little louder.
                         
                         ANOTHER ANGLE
          The headlights of a jeep descend upon Warden and Prew. Then
          the vehicle skids into the shot with a screeching of brakes,
          comes to a halt directly in front of the men. Warden and Prew
          look at the car calmly, don't move. The headlights are
          blazing on them. Stark hops out from the driver's seat,
          furious.
                         
                          STARK
           Whatsa matter with you, you crazy,
           dumb screwballs?! You tryin to get
           killed?!
                         
                          WARDEN
           What you doin with that jeep,
           Sergeant Stark?
                         
                          STARK
           I borrowed it. I'm goin to town.
           What you doin in the middle of the
           road?
                         
          The music of the guitars has stopped. There is a strange
          whine now, far in the distance, not identifiable. It grows
          during following.
                         
                          WARDEN
           My friend Prew and I sittin here
           discussin the weather.
                         
                          STARK
           Your friend, huh?
                         
                          PREW
           You beard me. I said my buddy
           Warden. My good friend Warden that
           you better not run over is what I
           said.
                         
          MEDIUM CLOSE SHOT WARDEN
                         
                          WARDEN
                          (ASSUMING ANGER)
           Don't you know you got to look out
           for this man. Get him off the road
           before you run him over. He's the
           best stinkin soljer in the Compny.
           119.
                         
                         
                         
                          STARK
           You both must be plumb nuts.
                         
                          PREW
           You heard me. Get this man to some
           safety. Why, he's the best stinkin
           soljer in the Compny.
                         
                          STARK
           I guess I'm the one who's nuts.
                         
          MEDIUM CLOSE SHOT MAGGIO
          as he stumbles around the side of the jeep directly into the
          blaze of the headlights. There are scars, new and healing on
          Maggio's face. One of his ears is cauliflowered, enough to
          give him the lopsided ribald look of a punchy. A couple of
          teeth are missing. Weirdly outlined in the glare, he is a
          nightmare figure, an apparition. The whine in the distance is
          identifiable now. It is the siren of the Stockade.
                         
                          MAGGIO
           ... figgered you might be at
           Choy's...
                         
                         GROUP SHOT
          The men gape at Maggio, unable to accept the shock of his
          appearance. Then Prew and Warden jump up and catch him as he
          is about to fall. The drunkenness drains out of them. Stark
          watches in bewilderment.
                         
                          MAGGIO
           (spewing words out)
           ... done it like I said... e-
           scape... e-scape like I figgered...
           Under a tarp inna back of a truck
           from the Motor Pool they rode me
           right out just like I figgered like
           I said... Ony the tailgate came
           down 'bout a mile back... an I fell
           inns road...
                          (GIGGLES)
           ... shoulda seen me bounce... musta
           broke somethin...
           (clutches Prew's shirt)
           Prew... lissen...
                         
                          PREW
           Angelo...
                         
          Warden steps back as Prew holds Maggio. During following
          Anderson and Clark come over, watch pop-eyed.
           120.
                         
                         
                         
                          MAGGIO
           Fatso... Fatso done it to me...
           yestiday he did it for keeps... He
           likes to whack me in the gut with a
           hoe handle an then he asks `that
           hurt?' and then I spit at him...
           Ony yestiday he done it ten times
           runnin an somethin bust... you
           know, like they was a fish swiminin
           aroun inside you...
                         
                          PREW
                          (TO OTHERS)
           Come on, let's get him to the
           hospital.
                         
          Maggio grasps him tighter. He is crying now.
                         
                          MAGGIO
           Prew... they gonna send you to the
           Stockade...?
                         
                          PREW
           No, Angelo --
                         
          TWO SHOT MAGGIO AND PREW
                         
                          MAGGIO
                          (PLEADING)
           Should they do, watch out for
           Fatso! You gotta make like it's a
           game... He'll try to crack you but
           you ain't gonna crack... He's gonna
           see you but he'll never see you
           saw... `n' when he puts you in the
           Hole you just lay there `n' be
           still... `at's the ony way -- be
           still... `n' remember things... but
           not people. Not people! Things like
           nature... woods you been in...
           trees is awys good...
                         
          He goes limp in Prew's arms, slides to the road.
                         
                         GROUP SHOT
          Warden bends over Maggio. The others watch, scared.
                         
          CLOSE SHOT PREW
          staring down at Maggio.
                         
                         GROUP SHOT
          Warden looks up.
           121.
                         
                         
                         
                          WARDEN
           He's dead.
                         
                          CLARK
           Dead? But he was here just a minute
           ago.
                         
          Prew bends over, picks up Maggio, holds him in his arms
          gently, unbelieving.
                         
                          STARK
           Fatso's lucky. They'll figure he
           got killed fallin out of that
           truck.
                         
                          PREW
           He ain't dead.
                         
          CAMERA MOVES AHEAD of Prew as he carries Maggio to the jeep,
          the others following. He lifts Maggio into the rear of,the
          jeep. Warden puts his hand on Prew's arm.
                         
                          WARDEN
           He's dead, Prew.
                         
          Prew stares at Maggio, lying in the jeep. Stark gets into the
          front of the jeep.
                         
                          STARK
           I'll take him, Prew.
                         
          He starts the motor. Prew leans over, moves Maggio's body a
          little.
                         
                          PREW
                          (TO STARK)
           See his head don't bump.
                         
          The jeep drives off.
                         
                          DISSOLVE TO:
                         
          EXT. BARRACKS AREA - NIGHT
                         
                         LONG SHOT
          Framed beautifully in the moonlight, the Quadrangle and
          Barracks area look like a college campus. Silence. No
          movement.
                         
          LONG SHOT ANOTHER ANGLE
          A figure can be seen far in b.g, at the Bugler's post beside
          the megaphone. Another figure stands near him. The silence
          continues, then is broken by the sound of the bugle beginning
           122.
                         
                         
          Taps. The first note is incredibly clear and loud and
          certain. It is held longer than most Buglers hold it. The
          second note is daringly short, abrupt. The last note of the
          first phrase rises, peals out, heartfelt. Two men come into
          the shot, smoking. They stop, turn toward the Bugler, listen
          attentively. One of them flips away his cigarette. The Taps
          continues through the following.
                         
          INT. SQUAD ROOM - NIGHT
                         
                         FULL SHOT
          Most of the men turn in their beds toward the sound of the
          bugle. Some prop up on their elbows.
                         
          CLOSE SHOT CHOATE
          as he listens. A look of mingled longing and satisfaction.
                         
          CLOSE SHOT LEVA
          listening. A strange look of pride.
                         
          CLOSE SHOT MAZZIOLI
          listening, his face also betraying emotions normally
          concealed.
                         
          MEDIUM SHOT TREADWELL AND ANDERSON
          listening. Their bunks are next to each other.
                         
                          TREADWELL
           (a reverent whisper)
           I bet you it's Prewitt...
                         
          EXT. PORCH ON BARRACKS - NIGHT
                         
                         MEDIUM SHOT
          Three men come out of the barracks, lean over the porch rail,
          listening. Their faces are thoughtful, sad.
                         
          INT. CAPTAIN'S OFFICE - NIGHT
                         
          MEDIUM SHOT WARDEN
          The office lit only by a light over his desk. He is working
          late, a sheaf of papers spread out before him. He listens to
          the bugle call, moved, sorrowful. He snaps off the light,
          listens in the darkness.
                         
          EXT. QUADRANGLE - NIGHT
                         
          MEDIUM CLOSE SHOT PREW
          at the Bugler's post. He is finishing the last phrases, full
          and wonderful. Behind him stands Friday Clark, motionless.
          The final note quivers to silence. Prew swings the megaphone
          for the repeat. Then the repeat begins, the clear proud notes
          reverberating across the silent quadrangle.
           123.
                         
                         
                         
          INT. WARDEN'S ROOM OFF SQUAD ROOM - NIGHT
                         
          MEDIUM CLOSE SHOT KARELSEN
          lying on his back in his bunk, arms clasped behind his head.
          He listens, his gnarled face the picture of the old soldier.
          He breathes heavily as if he is hearing his own requiem and
          epitaph.
                         
          EXT. PORCH ON BARRACKS - NIGHT
                         
                         MEDIUM SHOT
          There are eight or nine men here now, listening.
                         
          CLOSE SHOTS DHOM HENDERSON THORNHILL
          There is a choked kinship on all the faces.
                         
          INT. SQUAD ROOM - NIGHT
                         
                         FULL SHOT
          More men are propped on their elbows, their heads turned
          toward the Bugler. The dim figure of Treadwell can be seen,
          at a window now.
                         
                          TREADWELL
           (almost inaudible whisper)
           ... I told you it was Prewitt...
                         
          EXT. QUADRANGLE - NIGHT
                         
          CLOSE SHOT PREW
          continuing the Taps. There are tears in his eyes now.
                         
          EXT. BARRACKS STEPS - NIGHT
                         
                         MEDIUM SHOT
          A half dozen men are sitting on the steps, listening, among
          them Stark and Wilson. Stark shakes his head sadly.
                         
          EXT. COMPANY STREET - NIGHT
                         
          MEDIUM CLOSE SHOT WARDEN
          listening now on the porch alongside the street.
                         
          EXT. BARRACKS AREA - NIGHT
                         
                         LONG SHOT
          Several groups of two and three scattered about. They are
          standing in no particular places, as if they have been
          walking and stopped suddenly. They are all looking toward the
          Bugler.
           124.
                         
                         
                         
          INT. SQUAD ROOM - NIGHT
                         
          MEDIUM CLOSE SHOT ANDERSON
          as the Taps repeat is drawing to a close. He is lying on his
          side, turned toward the Bugler, a look of serenity, of peace
          on his face. His eyes close as he falls asleep.
                         
          EXT. QUADRANGLE - NIGHT
                         
          MEDIUM SHOT PREW
          coming to the end of the Taps. CAMERA MOVES IN to a CLOSEUP.
          Prew's face is wet with tears. His lips are pinched and red.
          He blows the final notes.
                         
          MEDIUM CLOSE SHOT PREW AND CLARK
          Prew lowers the bugle slowly and lets the megaphone rest in
          its swivel. He withdraws the mouthpiece, puts it in his
          pocket. He hands the bugle to Clark. Clark looks at the
          instrument as if it has become hallowed. Prew walks off into
          the darkness.
                         
           FADE OUT.
                         
                         FADE IN:
                         
          EXT. NEW CONGRESS CLUB - NIGHT
                         
                         TRACKING SHOT
          CAMERA MOVES along street, passing a lone pedestrian. It
          MOVES TOWARD the sign NEW CONGRESS CLUB, HOLDS beside an open
          window through which is heard the sound of harsh piano
          playing; the pounding style and lack of shading are clearly
          Fatso Judson's. CAMERA PANS AND INCLUDES Prew, leaning
          against the building. He is watching the entrance to the Club
          patiently. There is relentless hatred on his face. The music
          stops. Prew does not move.
                         
                         
                          DISSOLVE TO:
                         
          EXT. NEW CONGRESS CLUB - NIGHT
                         
          MEDIUM SHOT AT ENTRANCE
          Hearty male laughter from within. The door opens and Fatso
          and a couple of sailors cane out. They are about to start
          down the street.
                         
                          PREW'S VOICE
           Hello, Fatso.
                         
          Fatso looks around in direction of voice. CAMERA PANS,
          DISCLOSES Prew, still leaning against the building. Fatso
          squints, not recognizing him.
           125.
                         
                         
                         
                          FATSO
           You want me?
                         
                          PREW
           Yeah, Fatso.
                         
          Fatso takes a couple of steps toward Prew, squints again.
                         
                          FATSO
           I don't like that nickname. You
           want to see me about somethin?
                         
                          PREW
           Yeah. Let's step around the corner
           here where we can talk.
                         
          Prew's voice is so toneless as to be ominous.
                         
                          FATSO
                          (GRINS)
           Okay. Good night, gents.
                         
          The sailors go off. Fatso walks into the darkness of an alley
          next to the building. Prew follows.
                         
          EXT. ALLEY - NIGHT
                         
          MEDIUM SHOT PREW AND FATSO
          Just enough light from the street lamp to illuminate about
          ten feet into the alley.
                         
                          FATSO
           Okay. You sore about somethin?
                         
                          PREW
           No. I just don't like the way you
           play the piano.
                         
          Fatso throws back his head and laughs loudly.
                         
                          PREW
           You know Maggio?
                         
                          FATSO
           The little Wop? The one who bust
           out of the Stockade? Sure. He was a
           real tough monkey. But crazy, see?
                         
                          PREW
           You killed him.
                         
                          FATSO
           Did I? If I did, he ask for it.
           126.
                         
                         
                         
                          PREW
           I hear they're gonna court martial
           you, Fatso. But before the Army
           gets you, I want a piece of you
           myself.
                         
          There is the snick of a blade snapping open as Fatso pulls a
          knife. He moves toward Prew, who steps swiftly to one side.
                         
                          PREW
           I kinds thought you'd try that.
                         
          There is the same sound as Prew pulls a knife from his
          pocket, snaps it open, holds it out flat in his hand, showing
          it to Fatso.
                         
                          PREW
           This here's the one you pulled on
           Maggio once. Reconize it?
                         
          Fatso darts at Prew, knife raised. Prew moves back, but Fatso
          is on him and they both roll to one side along the building.
          The movement throws them deep into the shadows.
                         
          ANOTHER ANGLE SHOOTING INTO THE SHADOWS
          The two figures feint and dart. There is the occasional
          silver flash of the knives as light hits them. The men go
          deeper into the shadows, are all but lost to view. There is a
          startled, pained cry. Then one of the figures falls to his
          knees and starts to crawl toward camera.
                         
          CLOSE SHOT SHOOTING NEAR GROUND
          as the figure comes directly to camera, REVEALING the
          anguished face of Fatso. It slowly turns, is upside down in
          the frame.
                         
                         MEDIUM SHOT
          Fatso is on his back, his stomach gushing bloods his eyes
          already glazing. Prew staggers into the light now. His left
          side has two vicious cuts; he is bleeding badly. He stares
          down at Fatso, who manages a small, reproving voice.
                         
                          FATSO
           You've killed me. Why'd you want to
           kill me?
                         
          Prew backs away from Fatso, turns, staggers down the alley
          away from camera.
                         
                          WIPE TO:
           127.
                         
                         
                         
          EXT. CLIFF ROAD - NIGHT
                         
                         MEDIUM SHOT
          Prew comes toward camera, laboriously struggling up the road.
          His side is hemorrhaging steadily, his shirt and trousers
          blood-soaked. He stops close to camera. He wads his
          handkerchief, sticks it inside his shirt near the knife
          wound. He smiles wearily, crookedly.
                         
                          PREW
           (mumbles to himself)
           Gonna have an awful bad scar
           there...
                         
          He lights a cigarette, his fingers shaking. The flame from
          the match illuminates his left wrist. There is a deep scar on
          it. It seems to fascinate Prew as he stares at it, rubs his
          fingers across it.
                         
                          PREW
           ... scars...
                         
          He turns, moves on up the road; CAMERA MOVES CLOSE behind
          him, as if overhearing his thoughts which come over on sound
          track.
                         
           PREW'S VOICE (O.S.)
           ... got that one fallin off the
           barn back home... gashed it on a
           spike... Dad laughed... Dead now...
           Uncle John+s dead, too...
                         
          Prew moves away from camera out of shot.
                         
                          WIPE TO:
                         
          EXT. CLIFF ROAD - NIGHT
                         
          TRACKING SHOT ANOTHER SECTION OF THE ROAD
          CAMERA FOLLOWS Prew, as he keeps in shadows, moves slowly up
          the cliff. He is in much pain now. His hand rubs across his
          face; his fingers linger on his forehead near his eye.
                         
           PREW'S VOICE (O.S.)
           ... that cut over the eye... in the
           ring at Myer... wouldn't let `em
           stop it... knocked the guy out...
           sixth round...
                         
          CAMERA LOSES Prew again as he stumbles into shadows.
                         
                          WIPE TO:
           128.
                         
                         
                         
          EXT. CLIFF ROAD - NIGHT
                         
          TRACKING SHOT SITE OF PREVIOUS PREW-ALMA SCENE
          CAMERA FOLLOWS Prew, who is now fighting hard to keep his
          feet. His hand is pressed tight to his side.
                         
           PREW'S VOICE (O.S.)
           ... ten stitch gash in the hip...
           workin in the gym attic... fell
           through the skylight... where was
           that?... so many scars... so many
           years... where they all gone to
           anyway...?
                         
          He moves on around bend in road out of shot.
                         
                          DISSOLVE TO:
                         
          INT. ALMA'S HOUSE LIVING ROOM - NIGHT
                         
          MEDIUM SHOT ALMA AND GORGETTE
          The radio is blaring the "Hut Sut Song." Alma is crocheting.
          Gorgette is reading. CAMERA SHOOTS across them to the front
          door. The doorknob moves slowly, the door opens. Prew falls
          into the room and pitches to the floor.
                         
                          ALMA
                          PREW --
                         
          She rushes to him, bends over him. Gorgette runs to the
          radio, turns it off.
                         
          CLOSE SHOT ALMA
          Her face agonized as she leans over Prew.
                         
                          ALMA
           Prew!
                         
          MEDIUM CLOSE SHOT ALMA AND PREW
          He pushes himself up on one elbow, seems pleased by her
          stricken expression. He manages a smile.
                         
                          PREW
                          (WEAKLY)
           Don't worry... Ain't gonna die.
           They savin me for better things...
                         
          Gorgette kneels into shot. Prew's smile becomes silly as he
          turns his head to her.
           129.
                         
                         
                         
                          PREW
           ... just came up to borrow a good
           book.
                         
                          DISSOLVE TO:
                         
          INT. GENERAL'S OFFICE - DAY
                         
          MEDIUM SHOT GENERAL SLATER COLONEL WILLIAMS HOLMES
          The American flag, the General's flag and the Division flag
          are the only colorful elements in a rather severe office.
          Colonel Williams is reading from a typed report.
                         
                          COLONEL WILLIAMS
           --- In addition to inefficiency
           in administering his command and
           neglect of duty, Captain Holmes has
           been guilty of indefensible cruelty
           to the aforesaid Private Prewitt.
           This extended to instigating and
           encouraging wholly unauthorized and
           discreditable tactics to force the
           soldier to join the inter-regiment
           boxing team. These findings are the
           result of personal investigation by
           the Inspector General and are
           corroborated by numerous members of
           G Company.
                         
          Colonel Williams puts his report on the General's desk.
          Holmes' face reflects a weary resignation as if underneath he
          has really expected something like this for a long time. He
          makes no move to speak. The General is angry clear through.
                         
                          GENERAL SLATER
           I'm waiting for your reply to this.
                         
                          HOLMES
           I haven't any, sir... The charges --
           are true.
                         
                          GENERAL SLATER
           Holmes, the first thing I ever
           learned in the Army was that an
           officer takes care of his men. It
           seems to be the first thing you
           forgot. It's monstrous to think of
           anybody like you in command of
           troops. And believe me, you won't
           be for long. My only regret is that
           we have to keep you in uniform
           until a court martial is concluded.
                          (MORE)
           130.
           GENERAL SLATER(cont'd)
           In the meantime, of course, I'm
           relieving you of your present
           duties.
                         
          He indicates the meeting is over. Holmes rises, is about to
          leave, pauses.
                         
                          HOLMES
           If there were any way to avoid a
           court martial, sir. Any way...
                         
          The General frowns, is unresponsive. Holmes looks to Colonel
          Williams helplessly.
                         
                          COLONEL WILLIAMS
           There is one alternative,
           General... if you're so disposed. A
           resignation for the good of the
           service under AR 600-275.
                         
                          GENERAL SLATER
           (thinks a moment)
           I'll give you a chance you don't
           deserve, Holmes. Write a letter of
           resignation and have it on my desk
           this afternoon. I'll consider
           accepting it. Only because as far
           as I'm concerned, the quicker
           you're out of the Army the better
           for everybody. Especially the Army.
                         
                          DISSOLVE TO:
                         
          INT. KAREN'S BEDROOM - DAY
                         
          MEDIUM SHOT KAREN AND HOLMES
          He confronts her, waving a sheet of stationery. His voice is
          strangled, almost hysterical.
                         
                          HOLMES
           --- that's right, it's a letter of
           resignations I'm through! I've
           already been relieved! So you can
           begin packing. We're sailing for
           the States next week!
                         
          She shakes her head, not wanting to believe; she takes the
          letter out of his hand, starts to read it. She stops after a
          sentence or two. Her hand falls to her side. Holmes sits on
          the bed heavily. The bluster bleeds out of him. He shakes his
          head, emotionally bewildered. For perhaps the first time in
          his life he is nakedly honest.
           131.
                         
                         
                         
                          HOLMES
           Where has it gone, Karen? What
           happened to it? The gay, cheerful
           life we were going to have, you and
           I...? What happened to me...? The
           proud, dashing officer was going to
           be. The leader of men?... I've
           known all along how the men felt
           about me. They despised me...
           What's happened? I don't remember
           losing anything... Where has it all
           gone?
                         
          MEDIUM CLOSE SHOT KAREN
          reacting; she is surprised, a little afraid of her own
          emotion. The outcry, so lost, so despairing, moves her. She
          is sorry for him.
                         
          MEDIUM SHOT HOLMES AND KAREN
                         
                          HOLMES
           Karen -- you're coming back with
           me, aren't you...?
                         
          Trembling, Karen puts the letter on the dressing table.
          Abruptly, she runs out of the room.
                         
                          DISSOLVE TO:
                         
          INT. CAPTAIN'S OFFICE - DAY
                         
          CLOSE SHOT DESK
          FEATURING placard reading LIEUTENANT ROSS. We hear Ross'
          first few words over this, then CAMERA PULLS BACK to MEDIUM
          SHOT. Ross is forceful, clean-cut, gives the impression of
          toughness but fairness. As he talks he takes down the
          photographs of prize fighters and prize fighting from the
          wall. Watching and listening are Sergeants Dhom, Thornhill,
          Henderson, Leva, Stark and Karelsen and Corporal Wilson. Ross
          is such a complete switch from Holmes that the men are almost
          unnerved by him. But a definite respect is reflected in their
          expressions. Warden, beside his desk, shares this.
                         
                          ROSS
           -- I don't intend to have a sloppy
           outfit. I don't intend to have a
           goldbrick outfit. I don't intend to
           have a soft soap outfit. I've
           called you noncoms in because
           you're the backbone of any Company.
                          (MORE)
           132.
                          ROSS(CONT'D)
           From now on you'll have to prove
           you're entitled to have those
           stripes here. And not in the boxing
           ring.
                         
          He bands the pictures to Leva.
                         
                          ROSS
           Get rid of these, Sergeant.
                         
                          LEVA
           Yes, sir.
                         
                          ROSS
           That's all I have to say. If you've
           any questions, speak up.
                         
          Nobody speaks.
                         
                          ROSS
           Dismissed.
                         
          The men troop out, passing camera. As last man leaves, CAMERA
          IS ON Warden. He is looking at Ross with considerable
          approval, even admiration. He resumes a more normal
          expression as Ross turns toward him.
                         
                          WARDEN
           One non-com was missing, sir.
           Sergeant Galovitch.
                         
                          ROSS
           I know. Private Galovitch is in the
           kitchen.
                         
                          WARDEN
           In the kitchen?
                         
                          ROSS
           As of now, he's an assistant cook.
           I busted him. On a blanket charge
           of inefficiency. What are you
           grinning at?
                         
                          WARDEN
                          (GRINNING)
           I think the Company Commander made
           a wise decision, sir.
                         
          The phone rings. Warden goes to his desk, answers.
           133.
                         
                         
                         
                          WARDEN
                          (INTO PHONE)
           Compny G, First Sergeant Warden
           speaking.
                         
          Karen's voice is heard on the phone; we cannot understand
          what she is saying, but a flood of words pours through. With
          Ross looking on, Warden is embarrassed.
                         
                          WARDEN
                          (INTO PHONE)
           Yes... Yes, I know...
           (glances over toward Ross)
           Yes, the - uh - parcel has already
           arrived... Yes... What?...
                          (GRIM NOW)
           No. No, we'll have to talk about it
           soon. Right away. I - I don't
           know...
                         
          Ross perceives Warden's distress. He starts toward the door.
          Warden nods gratefully. Ross smiles, leaves the room.
                         
                          WARDEN
                          (INTO PHONE)
           Lissen, I'll get away somehow,
           tonight. I'll meet you in Kuhio
           Park. At eight... Right....
                         
          He puts down the receiver. He stares at the desk. Then he
          slowly pulls out the top drawer. The Officers Application
          Blank is lying on top of a pile of other papers. He takes it
          out, looks at it somberly. CAMERA MOVES IN to an INSERT of
          the Application. We see Warden's answers to sex, age, race,
          etc. CAMERA MOVES DOWN the page to the place for the
          signature of the applicant. It is unsigned.
                         
                          DISSOLVE TO:
                         
          EXT. KUHIO PARK - NIGHT
                         
                         LONG SHOT
          In b.g. Warden, in uniform, and Karen are sitting on the same
          bench as in their first meeting in the park. We cannot hear
          what they are saying at first. CAMERA MOVES IN past a few
          pedestrians and HOLDS on a MEDIUM SHOT. There is a defeated,
          tired look about them, as if they have been talking for a
          long time to no avail.
                         
                          KAREN
           ... I guess I felt it that night I
           asked you to become an officer.
           When you didn't say yes right away.
                          (MORE)
           134.
                          KAREN(CONT'D)
           I guess I knew deep down you
           wouldn't do it. But --
           (a hint of tears)
           It seemed such a simple plan for
           us...
                         
                          WARDEN
           I wanted to -- I tried -- but I
           couldn't...
                         
          He runs his hand through his hair. He seems to be groping
          inside himself for some way to explain.
                         
                          WARDEN
           Lissen -- there's a kid in our
           outfit named Prewitt... Robert E.
           Lee Prewitt... He came in from the
           States about a year ago. I thought
           he was a fresh punk at first...
           until I got to know him a little.
           He's AWOL right now -- probly in
           some kind of real trouble -- he
           ain't the kind to go AWOL
           otherwise. Anyway, I keep
           remembering somethin he said to me
           the first day he came in. He said a
           man has got to go his own way... if
           he don't, he's nothin... I'm an
           Enlisted Man. I'm a First Sergeant.
           Milt Warden. Once I cross that line
           and tried to be an officer, I'm
           somebody I don't know. A stranger.
           And a man has got to be what he
           is...
                         
                          KAREN
           I guess that's the trouble with
           Dana... He's always tried to be
           something he isn't. Poor Dana... I
           don't think he ever needed me until
           now.
           (shaken herself out of it)
           Well, here we are saying goodbye.
           And talking about two other people.
                         
                          WARDEN
           We're not saying good-bye -- we'll
           figger out a way for you to stay
                          HERE --
                         
                          KAREN
           I'm going back with him, Milt.
           There's something in being needed.
           It isn't love. But it's something.
           135.
                         
                         
                         
                          WARDEN
                          (DESPERATELY)
           Lissen, two people who love each
           other just don't stop loving each
           other! Nothin and nobody is goin to
           break us up l 1111 transfer out
           somehow and get back to the States.
           Maybe it'll take a little time but
           I'll do it!
                         
                          KAREN
                          (SMILES)
           That sounds like Milt Warden, all
           right.
                         
          He bends toward her to kiss her. She presses him back.
                         
                          KAREN
           No, Milt. I don't want to kiss you
           any more. I just want to remember
           you. And you to remember me.
                         
                          WARDEN
           Put it down. Put it down that on
           December 6th, 1941, Milton Anthony
           Warden told you he'd remember
           you...
                         
          CAMERA PULLS BACK, PASSES a few pedestrians, Warden and Karen
          remaining in b.g. of shot. They begin to talk again, quietly,
          undemonstratively. We are too far away now to hear what they
          are saying.
                         
                          DISSOLVE TO:
                         
          INT. ALMA'S HOUSE LIVING ROOM - NIGHT
                         
          MEDIUM SHOT PREW AND ALMA
          Alma is reading a newspaper in b.g. Prew is disheveled and
          slovenly, needs a shave badly. His face is lined with pain.
          He is drunk from several days of steady drinking, stone
          drunk, as if in a trance. He wears crumpled civilian clothes.
          He is at a table laboriously writing out the Re-enlistment
          Blues. He finishes writing a stanza and sings softly.
                         
                          PREW
           Slep in the park that Sunday
           Seen all the folks gain to church
           Your belly feel so empty
           When you're left in the lurch --
                         
          Alma looks up from the paper.
           136.
                         
                         
                         
                          ALMA
           Here it is -- they're putting it on
           an inside page already.
                          (READS)
           `... still no clue in the fatal
           stabbing of Staff Sergeant James R.
           Judson...'
                         
          Prew, who has stopped singing but not turned his head,
          resumes the song.
                         
                          PREW
           Dog soljers don't own pews
           Re-enlistment Blues...
                         
                          ALMA
                          (ANNOYED)
           Did you hear me? Are you listening
           or not?
                         
          Prew nods blankly. He rises slowly and walks across the room
          toward Alma. But his eyes are fixed on a whisky bottle on a
          table beside her. He moves stiffly, favoring his side, his
          face contorted. He picks up the bottle, pours himself a
          drink.
                         
                          ALMA
                          (COLDLY)
           Are you trying to set a new world's
           record?
                         
          CLOSE SHOT PREW
          He smiles faintly, holds the glass high.
                         
                          PREW
           Yeah... To the memory of Robert E.
           Lee Prewitt, Holder of the New
           World's Record...
                         
          TWO SHOT PREW AND ALMA
                         
                          ALMA
           I want to know what you plan to do.
                         
                          PREW
           Plan to do? When?
                         
                          ALMA
           Any time. Now. Tomorrow. Next week.
                         
                          PREW
           Lessee...
           (counts on fingers)
                          (MORE)
           137.
                          PREW(CONT'D)
           ... One... two... three... four...
           Four days I'm AWOL, ain't I?
           (picks up paper, looks at
                          DATE)
           ... this is December sixth, ain't
           it...?
                         
                          ALMA
           (half-tirade, half-wail)
           It's December sixth and you're so
           drunk you're wall-eyed. And all
           you've done since you fell in here
           is drink and drink and drink and
           try to remember that old song of
           yours. And I want to know what
           you're going to do!
                         
          Prew looks at her, hurt. He moves back to his table,
          mumbling.
                         
                          PREW
           ... might ship out on a tramp and
           go to Mexico and be a cowboy...
                         
                          ALMA
           Oh, be sensible!
                         
          Prew sits at the table again, continues to mumble.
                         
                          PREW
           ... I'm goin back to the Compny...
           soon's my side heals... Goin back
           under my own power... Goin into the
           Ordrly Room 'n' say hello, Warden,
           Private Prewitt reportin...
                         
                          ALMA
                          (BREAKING)
           Oh, Prew! Prew! Why did you have to
           do it? Why did you have to kill
           that man?
                         
          Prew shakes his head sadly as if he doesn't know the answer.
          He picks up the paper he has been writing on, sings softly,
          testing the last couple of lines affectionately.
                         
                          PREW
           Recruitin crews give me the blues
           Old Re-enlistment Blues...
                         
                          DISSOLVE TO:
           138.
                         
                         
                         
          INT. MESS HALL - DAY
                         
                         FULL SHOT
          CAMERA FEATURES clock on wall reading 7:52. About half the
          Company is at breakfast. There is considerable laughter and
          horseplay. Near the kitchen a dozen men are in the chow line.
                         
                         MEDIUM SHOT
          FEATURING Warden at the NCO table. He rises, carries his
          plate with him towards the chow line. A sudden, deep-toned,
          earthquake-like blast shudders through the room. The cups on
          the tables rattle. Warden stops, cocks his head. The men stop
          eating, look at each other.
                         
                          ANDERSON
           (to the room)
           Must be dynamitin down to Wheeler
           Field.
                         
                          CHOATE
           Them engineers mighty ambitious
           Sunday mornin before eight o'clock.
                         
          The men resume eating. Warden moves a couple of steps toward
          the chow line when the second blast hits. It is much heavier
          and fuller.
                         
          CLOSE SHOT WARDEN
          He has a hunch about this now. He reaches out to put his
          plate down, holding it very carefully in both hands. However,
          he doesn't bother to see if there is anything under it. The
          plate falls and crashes on the floor a fraction of a second
          before the third groundswell of blast shakes the room.
                         
          EXT. COMPANY STREET - DAY
                         
          FULL SHOT NEAR MESS HALL
          A man sprints toward the mess hall, yelling to right and left
          at the top of his lungs. As he approaches camera we see it is
          Mazzioli.
                         
                          MAZZIOLI
           The Japs're bombing Wheeler Field!
           It's the Japs! They're bombing
           Wheeler Field! The Japs! It's the
           Japs! I saw the red circles on the
           wings!
                         
          LONG SHOT SHOOTING UP CIRCLES ON UNDERSIDE OF MOVING PLANE
          The roar of the plane over shot.
                         
          MOVING SHOT SHOOTING DOWN FROM JAP PLANE PAST PILOT
          The figure of Mazzioli gets closer and closer as the plane
           139.
                         
                         
          dives toward him, machine guns spitting.
                         
          MEDIUM SHOT MAZZIOLI
          as the Jap plane flashes by close above him. The stones in
          the pavement pop up. Mazzioli flops on the street. The plane
          zooms.
                         
          FULL SHOT MESS HALL
          as the men rush out. In the front ranks are Warden, Karelsen,
          Stark and Choate, Choate carries his half-filled plate in one
          hand, a mug of coffee in the other. The men stretch their
          necks, following the plane. Then they look back up the
          street, CAMERA PANNING. Far in b.g, a column of black
          mushrooming to the sky. Warden dashes to Mazzioli. CAMERA
          MOVES IN to a CLOSE SHOT as Warden bends over him, hoists him
          to a sitting position. He is extremely gentle. Mazzioli's
          knee is laid open and is bleeding freely. Warden whips out a
          handkerchief and starts to apply a tourniquet.
                         
                         MEDIUM SHOT
          Some of the men continue to crane at the sky. A few pick up
          metal links from the Jap bullets.
                         
                          NAIR
           Say! This'll make me a good
           souvenir! A bullet from a Jap
           plane!
                         
                          WARDEN
           This ain't jawbone! This is for
           record. Theme real bullets that guy
           was usin. Get inside -- all of ya!
                         
          Warden gets Mazzioli to his feet, turns to first man in group
          surrounding them. It is Anderson.
                         
                          WARDEN
           Help him over to the hospital.
                         
          Anderson starts Mazzioli down the street.
                         
          LONG SHOT SHOOTING UP TO SKY
          A pair of planes are diving toward the street.
                         
                          WARDEN'S VOICE
           GET INSIDE!
                         
                         MEDIUM SHOT
          The men rush for cover, all except Choate who is left alone
          in shot. He takes a big bite of his sausage and eggs, hastily
          downs a swig of coffee. Then he throws the plate and cup into
          the street and dives for cover as the terrifyingly loud noise
          of the Jap planes indicates they are directly overhead.
           140.
                         
                         
                         
          INT. DAY ROOM - DAY
                         
                         FULL SHOT
          The men are pouring in from the Company street, all shouting
          at once. Warden pushes his way through them and jumps up on
          the pool table. His big voice booms.
                         
                          WARDEN
           All right, all right, you men!
           Quiet down! Quiet down! It's only a
           war. Ain't you ever been in a war
           before?
                         
          The men begin to quiet down, look to Warden respectfully.
          Through the scene the heavy earth shudders are felt and heard
          as bombs hit in the far distance. Also the sound of the
          strafing planes.
                         
                          WARDEN
           We're gonna organize a fire
           umbrella defense. I want the non-
           coms to get BARs and ammunition
           from the Supply Room and get up on
           the roof. Henderson, you're in
           charge of the loading detail. Get
           movin!
                         
          The non-coms push out the door.
                         
                          TREADWELL
           Hey, what about me? I been waitin
           all my life to git to shoot a BAR
           at somethin!
                         
                          WARDEN
           Okay. It's your life.
                         
          Treadwell hurries after the non-coms.
                         
                          WARDEN
           The rest of you guys - the CQ will
           unlock the rifle racks. Every man
           get his rifle and go to his bunk
           and stay there. And I mean stay
           there! I'm making each squad leader
           responsible to keep his men inside.
           If you have to use a rifle butt to
           do it, that's okay, too.
                         
          There are shouts of protest. The men are over the first shock
          now and beginning to get angry, anxious for action.
           141.
                         
                         
                         
                          WARDEN
           You heard me! This ain't no
           maneuvers. You go runnin around
           outside you'll get your ears shot
           off. You want to be heroes, you'll
           get plenty chances later. You'll
           probly have Japs in your laps
           before night.
                         
                          SOLDIER
           What if they bomb us?
                         
                          WARDEN
           You hear a bomb comin, you're free
           to take off for the brush. But
           don't worry -- the Japs'll probly
           drop all their bombs on Pearl
           Harbor and Hickam. They ain't gonna
           waste `em on us. So let's can the
           chatter. We're wastin time. Squad
           leaders, get `em upstairs!
                         
          Squad leaders begin to herd their men out. Warden jumps off
          the pool table. Stark and Karelsen come up to him.
                         
                          STARK
           What you want me to do, First? I
           got a hangover, but I can still --
                         
                          WARDEN
           You stick in the kitchen and make a
           big pot of coffee. No -- make a
           barrel of coffee.
                         
                          KARELSEN
           I think I could get one of them
           Japs with a machine gun, Milt.
           We'll put the tripod over a
           chimney. And hold her down by the
           legs.
                         
                          WARDEN
           Whatever you say, Pete.
                         
          They smile at each other affectionately, then push into the
          crowd leaving the Day Room.
                         
          EXT. SUPPLY ROOM - DAY
                         
                         MEDIUM SHOT
          The non-coma are arguing violently with Leva at the door to
          the Supply Room. Jap planes are loud overhead.
           142.
                         
                         
                         
                          LEVA
           I don't care. I can't issue any
           live ammunition without a signed
           order from an officer.
                         
                          HENDERSON
           But there ain't no officers yet,
           you jerk! Lieutenant Ross lives off
           the post.
                         
                          LEVA
                          (FOLDS ARMS)
           I'm sorry fellows. Lieutenant Ross
           give me them orders himself. No
           signed order, no ammo. And that's
           all they are to it.
                         
          Warden hurries up to the group.
                         
                          DHOM
           He won't let us have no ammo, Top!
                         
                          CHOATE
           Hats got it locked up. An the keys
           in his pocket.
                         
                          WARDEN
           Gimme them keys!
                         
                          LEVA
           I can't, Top. I got to obey my
           orders. No live ammo without a
                          SIGNED --
                         
          They flatten against the wall as a Jap plane roars building-
          high down the street, machine guns flaring. After it passes,
          they rush back to Lava,
                         
                          WARDEN
           What's the matter? You blind? You
           see them planes --?!
                         
          Lava puts his hand in his pocket protectively, shakes his
          head.
                         
                          LEVA
           I ain't gonna do it, Top. I --
                         
                          WARDEN
           Okay. Chief, bust the door down.
                          (TO LEVA)
           Get the hell out of the way!
           143.
                         
                         
                         
          Choate, Henderson and Dhom back up for a run at the door.
          Leva moves in front of the door.
                         
                          WARDEN
           Go ahead. Bust it down. He'll get
           out of the way.
                         
                          LEVA
           Remember I warned you. I did my
           best.
                         
                          WARDEN
           Okay. I'll see you get a medal.
                         
          Warden dashes up the porch steps as Choate, Henderson and
          Dhom launch themselves at the door. Leva steps aside. The
          door rattles ponderously, then flies open. The three
          battering rams careen into the Supply Room. The men standing
          by cheer and rush in after them. Leva shakes his head grimly.
                         
          INT. SQUAD ROOM - DAY
                         
                         FULL SHOT
          The men are sitting on their bunks, unhappily, holding their
          rifles. Others who have slept through breakfast are dressing
          hastily. Warden rushes into the room. The men immediately
          bark ad-libbed questions at him:
                         
                          SOLDIERS
                          (AD LIB)
           What's the deal, First?
           Why can't we go up on the roof?
           Where's the ammo, Top?
           Are we soljers -- or Boy Scouts?
                         
                          WARN
                          (PITILESSLY)
           Start rollin full field packs! We
           may have to move out of here. Squad
           leaders, get `em packin!
                         
          In b.g. Henderson and others are going up the porch stairs to
          the roof. They tote BARs and loading clips. Karelsen and two
          helpers follow with a heavy machine gun and belt boxes.
          Warden starts for the porch stairs. He is attracted by
          something, stops, looks out of scene.
                         
          MEDIUM SHOT THORNHILL FROM WARDEN'S POV
          lying under an empty bunk with three mattresses piled on it.
          He is in his underwear and a helmet, hugs his rifle.
                         
          MEDIUM SHOT THORNHILL AND WARDEN
           144.
                         
                         
                         
                          WARDEN
           You'll catch a cold, Turp.
                         
                          THORNHILL
           Don't go out there, First Sergeant!
           You'll be killed! They're shootin
           it up! You'll be dead! You'll not
           be alive any more. Don't go out
           there!
                         
                          WARDEN
           You better put your pants on.
                         
          Warden hits the floor as a plane is heard so loud and low it
          sounds as if it's coming right into the room. A dotted line
          of bullets crosses the floor and moves into Warden's and
          Karelsen's room. Warden jumps up and rushes into the room.
                         
          INT. WARDEN'S ROOM OFF SQUAD ROOM - DAY
                         
                         MEDIUM SHOT
          as Warden runs in. Broken glass lies all over the floor.
          Bullet holes are stitched across the top of Warden's
          footlocker. He throws back the lid fiercely. His linen is
          polka-dotted with holes. He tosses out shirts, shorts, etc.,
          digs underneath them. He pulls out a quart bottle of whisky;
          it is untouched. Warden smiles with relief. He lifts the
          bottle to his lips, drinks long and heartily.
                         
          EXT. ROOF OF BARRACKS - DAY
                         
          FULL SHOT ROOF
          About twenty of Company GIs men, including almost all the non-
          cams, are on the roof, They are crouched behind the chimneys
          or down on their knees in the corners. The BARs are propped
          on the low walls or chimney tops, their muzzles pointed to
          the sky.
                         
          LONG SHOT SHOOTING FROM ROOF TO SKY
          Three Jap planes, forming a V, are heading straight for
          camera.
                         
          FULL SHOT MEN ON ROOF
                         
                          DHOM
                          (SHOUTING)
           Come on, you dirty sons --
                         
          The scream of the planes drowns Dhom's voice. There is a
          tremendous clatter as the men fire. The Jap planes pass,
          untouched.
           145.
                         
                         
          From this moment on there is no letup of the noise -- there
          is a wild cacophony of Jap planes, BARs, Karelsen's machine
          gun, the deep sound of bombs hitting in the far distance. And
          Chief Choate, singing the Regimental marching song, loudly
          and lustily.
                         
                         ANOTHER ANGLE
          as Warden comes up on the roof through the skylight. He
          shouts incoherently at the men. They shout back in a wild
          cheer. They are like a pack of hungry men enjoying their
          first big meal in years. In b.g. the Jap V has swung about
          and heads back. Warden grabs a BAR from the roof.
                         
          CLOSE SHOT FLASH JAP PILOT IN LEAD PLANE
          grinning as his plane dives, its guns roaring. His silk scarf
          ripples out behind him.
                         
          MEDIUM CLOSE SHOT WARDEN
          firing the BAR, standing, as the Jap planes roar over. He
          staggers back from the recoil.
                         
          FULL SHOT ROOF
          The men fire in unison. They rise after the planes pass,
          shake their fists. Henderson and others of the loading detail
          appear on the roof, bringing up more ammunition.
                         
          CLOSE SHOT FEATURING WARDEN
          He lets out a hoarse yell of glee and pride. "These are my
          boys. This is my Company," it seems to say. The men answer
          back with a great answering shout.
                         
                         ANOTHER ANGLE
          Warden makes a tour of the roof, laughing, exhorting,
          slapping the men on their buttocks like a quarterback. They
          respond with tremendous spirit; they are having one hell of a
          time. We get only a snatch of what Warden is yelling.
                         
                          WARDEN
           -- Don't worry about wasting ammo!
           Throw your empty clips down into
           the yard. The loading detail will
           pick 'em up --
                         
          The sound of a bugle blowing insistently is now heard,
          blending into the rest of the noise. Treadwell runs to the
          edge of the roof, looks over.
                         
          LONG SHOT SHOOTING FROM ROOF TO QUADRANGLE
          At the Bugler's post, Friday Clark is sounding a call.
                         
          MEDIUM SHOT ON ROOF
          Treadwell turns, yells at the men.
           146.
                         
                         
                         
                          TREADWELL
           Friday's gone crazy! He's blowing
           the Cavalry Charge!
                         
          EXT. QUADRANGLE - DAY
                         
          MEDIUM CLOSE SHOT CLARK
          His cheeks puffed, blowing the bugle madly.
                         
          INT. LIVING ROOM OF ALMA'S HOUSE - DAY
                         
          MEDIUM CLOSE SHOT PREW
          He is lying on a couch in pajamas. He has not shaven, his
          hair is unkempt. A Radio Announcer is heard over shot. Prew
          wakens, groggy with hangover and near-delirium, wrestles with
          the blanket over him. CAMERA PULLS BACK to MEDIUM SHOT,
          DISCLOSING Alma and Gorgette. They have negligees over their
          nightgowns, are listening to the radio. The Announcer's voice
          tries hard to be calm and official but he cannot keep the
          tremor out of it. (NOTE: Transcripts of the actual broadcast
          have been requested.)
                         
           RADIO ANNOUNCER'S VOICE
           ... This is a real attack, not a
           maneuver. The Japanese are bombing
           Pearl Harbor. Please keep in your
           homes. Do not go on the streets. I
           repeat, this is a real attack.
           Japanese planes are bombing our
           naval and army installations.
           Civilians will remain in their
           homes. This is a real attack -
                         
          The Announcer's voice goes on as above.
                         
                          PREW
                          (MUTTERS)
           Oh, those dirty Germans... Those
           dirty sneakin Germans...
                         
                          ALMA
           What Germans?!
                         
                          PREW
           (points to the radio)
           Them...
                         
                          GORGETTE
           It's the Japs. The Japs!
           147.
                         
                         
                         
           RADIO ANNOUNCER'S VOICE
           ... Attacks are now taking place at
           Pearl, Wheeler, Hickam and
           Schofield...
                         
                          PREW
           ... dirty Germans...
                         
          Alma shakes Prew, hard. He falls back on the couch, passes
          out.
                         
          EXT. QUADRANGLE - DAY
                         
                         FULL SHOT
          The Jap strafing attack is continuing. Their planes are
          making a figure 8 in the sky. Silhouettes of men on the roof
          can b e seen. Friday Clark is blowing his Cavalry Charge. In
          b.g. men of the loading detail are scurrying around.
          Lieutenant Ross runs into shot. CAMERA PANS him across the
          quadrangle toward the barracks.
                         
          MEDIUM SHOT NEAR BARRACKS
          Lieutenant Ross is hailed by the loading detail -- about ten
          men. He grabs a BAR and ammunition from them and runs into
          the barracks. The loading detail is working feverishly, same
          carrying ammunition into the barracks, others picking up
          empty clips as they are thrown from the roof and hustling
          them toward the Supply Room.
                         
          EXT. SUPPLY ROOM - DAY
                         
          MEDIUM SHOT FEATURING LEVA
          He is working hard, passing out ammunition to members of the
          loading detail. But he shakes his head dourly as if the whole
          thing is still very unofficial.
                         
          EXT. ROOF OF BARRACKS - DAY
                         
                         FULL SHOT
          As before, pandemonium -- but controlled and efficient. The
          men are hoarse from shouting, red-eyed, puffing from
          excitement and exertion. Two Jap planes swoop past and the
          full-throated umbrella of fire lets loose. Lieutenant Ross
          clambers onto the roof, stooping under the burden of the BAR
          and loading clips. The men greet him with a concerted cheer.
                         
          TWO SHOT LIEUTENANT ROSS AND WARDEN
          Ross looks around the roof, nods with evident approval, claps
          Warden on the shoulder.
                         
                          DHOM'S VOICE
           HERE THEY COME, MEN!
           148.
                         
                         
                         
          Sound of Jap planes comes up ear-splitting loud. Ross drops
          down behind a chimney, swings his BAR, fires. CAMERA MOVES TO
          INCLUDE Karelsen at the other side of the chimney, firing the
          machine gun. Two soldiers hang onto the bucking legs of the
          tripod. Two Jap planes pass in b.g. of shot, zoom off into
          the sky.
                         
                          KARELSEN
                          (DISGUSTEDLY)
           Nuts! Led him too tar.
                         
                         MEDIUM SHOT
          as the men on the roof reload. In the distance the Jap planes
          have turned and are heading back for the roof.
                         
          CLOSE SHOTS FLASHES JAP PILOTS IN PLANES
          Their lips curled bitterly as their planes head for the roof.
                         
          CLOSE SHOT FLASH WILSON
          firing a BAR at the planes.
                         
          CLOSE SHOT FLASH DHOM
          firing.
                         
          CLOSE SHOT FLASH TREADWELL
          firing Joyously.
                         
          CLOSE SHOT FLASH CHOATE
          singing as he fires.
                         
          CLOSE SHOT KARELSEN
          firing the machine gun. He yanks the tripod away from his
          helpers, picks up the gun, stands and swings it after the
          plane. The recoil staggers him half way across the roof and
          deposits him on his rear.
                         
          CLOSE SHOT JAP PILOT
          He jumps in his seat like a man tied to a hot stove, throws
          up his arms helplessly.
                         
          LONG SHOT OPEN FIELD SHOOTING FROM ROOF
          The Jap plane bursts into flame and crashes.
                         
          FULL SHOT ON ROOF
          The men rise as one with an uproarious cheer. They rush to
          Karelsen, pick him up. Warden lets go with another of his
          rebel yells.
                         
                          WARDEN
           You got him, Pete! You got him!
           149.
                         
                         
                         
                          KARELSEN
           (spits over roof)
           Ah, nobody'll ever know which of us
           got that guy.
                         
                         ANOTHER ANGLE
          as the men return to their positions. Two planes head for
          them, pass over as Company G lets go again with everything it
          has.
                         
                          WILSON
           (pointing after second of
                          THE PLANES)
           Hey! That last one was one of ours!
           That was an American plane!
                         
                          WARDEN
           Well, he ain't got no business
           here. We're takin care of this
           sector!
                         
                          ROSS
           HERE COMES A JAP!
                         
          SHOT SHOOTING FROM ROOF JAP PLANE
          swooping across the quadrangle about ten feet from the
          ground.
                         
          EXT. QUADRANGLE - DAY
                         
          MEDIUM SHOT NEAR BUGLER'S POST
          Friday Clark, blowing the Cavalry Charge madly, abandons the
          megaphone as he sees the plane coming. He drops on his chest,
          hugging the bugle. The plane passes. Clark jumps up
          instantly, resumes blowing the Charge.
                         
          LONG SHOT SHOOTING FROM ROOF JAP PLANE
          The same plane has gained altitude so that it is a few feet
          above the barracks as it heads straight for the roof.
                         
                         MEDIUM SHOT
          The men flatten, all but Warden. He stands, swings his BAR
          toward the plane. CAMERA IS ANGLED so that Warden is
          silhouetted against the sky as he fires at the Jap plane.
                         
          LONG SHOT JAP PLANE
          It misses the roof by a foot or two, zooms up at a weird
          angle. A thick cloud of smoke pours out of the engine. The
          plane falls off on one wing and crashes into trees at the end
          of the quadrangle.
                         
          CLOSE SHOT JAP PLANE
          crashing. The gas-tank explodes. A cloud of fire and black
           150.
                         
                         
          smoke obscures the screen.
                         
                          DISSOLVE TO:
                         
          INT. LIVING ROOM OF ALMA'S HOUSE - NIGHT
                         
          MEDIUM SHOT PREW
          There are improvised blackout curtains over windows and the
          glass doors. The radio is on, volume low, and an announcer
          (not the one of the morning) is droning out an account of
          Pearl Harbor. Prew, still on the couch in his pajamas, looks
          as if he has just struggled to wakefulness. He listens to the
          radio for a few moments in confused disbelief. He shakes his
          head vigorously as if to throw off his grogginess. He shakes
          his head again, slowly, more knowingly now, nodding as if he
          remembers something from the broadcast of the morning. Then
          as if all of it hits him suddenly and fully and terribly he
          wrenches himself off the couch. He looks around at the dimly
          lit room.
                         
                          PREW
           Alma! Alma!
                         
          He goes to the blackout curtains, peeps out. Then he turns
          back to listen to the radio. Abruptly, he runs into the
          bedroom.
                         
                          PREW'S VOICE
           Alma!
                         
          The room remains empty for a few moments as the radio
          announcer goes on, continuing previous remarks.
                         
           RADIO ANNOUNCER'S VOICE
           -- ready to fight and die for us,
           our Regular Army and Navy have this
           day upheld the faith and confidence
           we have always placed in them. They
           have proved their right to the
           esteem we have always had for
           them...
                         
          Prew comes back into the room. He has his shoes on, holds
          civilian shirt and pants in his hand. He starts to put them
          on hurriedly, his attention still focused on the broadcast.
          The front door opens and Alma and Gorgette enter. They are
          surprised to see Prew up. He nods at them, turns back quickly
          to listen to the radio as he continues dressing.
                         
           RADIO ANNOUNCER'S VOICE
           ... the attack caused serious
           damage to many installations of
           which Pearl Harbor suffered the
           worst.
                          (MORE)
           151.
           RADIO ANNOUNCER'S VOICE(cont'd)
           We will not forget this day -- and
           we will never let the Japanese
           forget it...
                         
                          PREW
           (yells at radio)
           You said it! Who they think they're
           fight in?
           (incoherent with rage; to
                          GIRLS)
           They're pickin trouble with the
           best Army in -- the best riflemen --
           you know we the ony country on the
           face of the earth that uses the
           shooting gunsling, not the carrying
           gunsling. You know that?
                         
          The radio continues on under the scene. Alma and Gorgette
          speak breathlessly, in a rush.
                         
                          ALMA
           We've been at Queens Hospital --
           giving blood --
                         
                          GORGETTE
           The town's a madhouse. Trucks,
           busses, jeeps all over --
                         
                          ALMA
           A house on Kuhio Street was bombed
                          OUT --
                         
                          GORGETTE
           And the drugstore on McKully and
           King is smashed flat. And
           the man and his wife were killed --
                         
          Prew gestures to radio as if he's heard all about it. He
          sticks his shirttails into his trousers.
                         
                          PREW
           I gotta get back to the Post --
           I'll try to get in touch with you
           in a couple days --
                         
                          ALMA
           The Post? Tonight?
                         
          Prew nods vehemently, moves across room to a table.
                         
                          ALMA
           But why?
           152.
                         
                         
                         
                          PREW
           Why? There's a war goin on.
                         
                          ALMA
           But you can't! You're not fit yet --
           you're weak as a kitten -- you're
           AWOL -- they'll throw you in the
                          STOCKADE --
                         
                          PREP
                          (LAUGHS WILDLY)
           They'll be throwin `em out of the
           Stockade. They need every man they
           can get.
                         
          He picks up the sheet of paper with the "Re-enlistment Blues"
          written out on it, starts to fold it. Desperation is
          reflected on Alma's face; she turns to Gorgette, as if
          pleading for aid,
                         
                          GORGETTE
           Your side'll open up --
                         
                          ALMA
           And they'll find out it was you who
           killed that soldier!
                         
          Prew shakes his head, as if obsessed by only one thought.
                         
                          PREW
           Once I report in to the Compny I'll
           be all right. Once I get there. I
           gotta get back --
                         
                          ALMA
           But you'll never make it! There's
           MPs all over --
                         
                          PREW
           I'll make it. I'll go along the
           back roads. They'll let me in the
           West gate -- they'll know I'm a
                          SOLJER --
                         
          He puts the folded piece of paper in his pocket and starts
          for the door.
                         
                          ALMA
           Stay till morning!
                         
          Prew glances at Alma incredulously. She sobs suddenly,
          violently.
           153.
                         
                         
                         
                          ALMA
           Maybe if you stayed till morning
           you'd change your mind...
                         
          She throws her arms around him, clings to him.
                         
                          ALMA
           Don't go, Prew! I'll do whatever
           you want... We'll figure out a way
           to get to the States
           together... We can even get
           married... If you go I won't see
           you any more... I know it...
                         
          Prew holds her closely for a moment, then moves her away from
          him. He turns toward the door.
                         
                          ALMA
           (tears turning to
                          HYSTERIA)
           What do you want to go back to the
           Army for?! What did the Army ever
           do for you? Besides treat you like
           scum and give you one awful going
           over and get your friend killed?
           What do you want to go back to that
           for?
                         
          Prew frowns as if he's not sure he heard correctly.
                         
                          PREW
           What do I want to go back for? I'm
           a soljer.
                         
                          ALMA
                          (LAUGHING WILDLY)
           A soldier! A soldier! A Regular.
           From the Regular Army. A thirty-
           year man!
                         
                          PREW
           Sure. A thirty-year man.
                          (GRINS)
           With only twenty-six years to go.
                         
          He opens the door quickly and slips into the darkness.
                         
                          DISSOLVE TO:
                         
          EXT. HIGHWAY ADJOINING GOLF COURSE - NIGHT
                         
          MOVING SHOT JEEP WITH THREE MPs
          The night is inky black except for a little moonlight and the
           154.
                         
                         
          dimmed headlights of the jeep. CAMERA SHOOTS PAST driver onto
          the highway as the jeep moves slowly along. The two other MPs
          clutch Thompson guns, try to scan the dark countryside.
                         
                          FIRST MP
           They say they seen parachutists
           land up in the mountains.
                         
                          SECOND MP
           I ain't worried about them.
           Sabatoors is what worries me.
                         
                          DRIVER
           Yeah. Theys the creepy ones. Walkin
           around just like ordinary
           civilians. I betcha they operatin
           all over these islands.
                         
          LONG SHOT SHOOTING FROM SIDE OF HIGHWAY
          The headlights pass along the road as the jeep moves on out
          of sight. As its sound fades we hear Prew's heavy breathing,
          are barely able to distinguish his figure in the darkness. He
          is crouched, watching the car go down the highway. We hear
          his thoughts. The voice is labored and agonized.
                         
           PREW'S VOICE (O.S.)
           ... almost home... ony across the
           golf course... now... now... no...
           wait... gotta be care?... gotta
           sweat it out...
                         
          He groans, puts his hand to his side. In the feeble light
          from the moon we see blood on his shirt and hand. He looks up
          and down the road.
                         
           PREW'S VOICE (O.S.)
           ... it's clear now... gotta get
           home...
                         
          Still crouched, Prew starts across the road.
                         
          LONG SHOT OPPOSITE SIDE OF ROAD
          We see nothing but the strip of road, then Prew+s figure is
          visible, bent low, weaving a little. As he approaches the
          camera, he is taught square in the twin beams of dimmed
          headlights which flash on from the side of the road. Now we
          see that a jeep is parked near camera, heading in the
          opposite direction from the jeep which passed before. It is
          also manned by three MPs. There is a startled cry from Prew.
                         
                          MP'S VOICE
           Halt!
           155.
                         
                         
                         
          Prew starts to run back across the road. A white spotlight
          flashes on, its harsh brilliant light following him. Prew
          slips to one knee.
                         
          CLOSE SHOT PREW
          looking toward the jeep, blinded by the blazing light. He has
          the appearance of a terrified animal. There is a wildness, a
          senselessness about him. The blotch of blood oozes and
          spreads over his shirt. He picks up a rock from the road.
                         
                         MEDIUM SHOT
          Prew rises, staggers away from the jeep.
                         
                          MP'S VOICE
           HALT!
                         
          Prew flings the rock desperately toward the lights. There is
          a crash of glass and one headlight winks off. Prew runs
          across the road and onto the golf course.
                         
          MEDIUM SHOT JEEP
          The motor starts, The jeep moves out from its hiding place
          and starts across the golf course.
                         
          MOVING SHOT SHOOTING FROM JEEP
          Prew, in a skirmisher's zigzag, is trying to elude the
          spotlight. He is about twenty yards in front of the jeep. He
          heads for a high sandtrap. The spot is full on him as he
          reaches the lip of the trap. He turns, yells something back
          at the jeep. It is barely heard over the sound of the jeep.
                         
                          PREW
           -- I'm a soljer! --
                         
                          MP
           That guy ain't no soljer -- he dint
                          HALT --
                         
          MEDIUM SHOT PREW
          standing on the lip of the trap, the jeep bearing down on
          him. He turns, starts to dive into the trap. A blast of
          gunfire from the jeep hits him. He falls sideways into the
          trap, rolls over on his back, The jeep moves into the shot,
          crawls half-way over the trap, stops, its spotlight pouring
          down on Prew. His eyes are open, looking up to the sky.
                         
                         ANOTHER ANGLE
          CAMERA SHOOTS DOWN to Prew from top of trap. A portion of the
          jeep is in shot, but we are not able to see the MPs.
                         
                          MP'S VOICE
           (quavering, almost
                          TEARFUL)
                          (MORE)
           156.
           MP'S VOICE(cont'd)
           -- maybe he was a soljer -- I dint
           mean to kill him -- I dint mean it,
           guys -- you know we got orders --
                         
           SECOND MP'S VOICE
           Shut up.
                         
          The voices are lost as CAMERA MOVES SLOWLY DOWN toward Prew's
          open eyes. We hear his thoughts on the sound track, clear and
          fast at first and slow and almost inaudible as the CAMERA
          REACHES A FULL HEAD CLOSEUP.
                         
                          PREW'S VOICE
           ... sweat it out and sweat it out
           and wait and wait and wait for
           it... and now it's here... it's
           here... gotta see to do it well...
           gotta do it well... won't take
           long...
                         
          CAMERA MOVES CLOSER TO CLOSEUP of Prew's open eyes.
                         
                          PREW'S VOICE
           ... just a little more now... gotta
           do it good... it'll be over...
           nobody lies... lonely... a man
           has... got to have some place...
                         
          Prew's eyes close. THE SCREEN GOES BLACK.
                         
           FADE OUT.
                         
                         BLACK LEADER
          There is no sound as the screen remains black for several
          beats.
                         
                         FADE IN:
                         
          EXT. GOLF COURSE - NIGHT
                         
          TWO SHOT WARDEN AND A LIEUTENANT COLONEL
          They are looking down to camera, which SHOOTS UP as if from
          point of view of Prew's body in the sand trap. The dimmed
          headlights of two jeeps illuminates them. Warden is fighting
          to control his emotion, to remain the professional soldier.
          The Lieutenant Colonel is disturbed, but kindly.
                         
                          LIEUTENANT COLONEL
           Where's your Company Commander?
                         
                          WARDEN
           He's at Headquarters, sir. I'm the
           First Sergeant.
           157.
                         
                         
                         
                          LIEUTENANT COLONEL
           Did you know this man personally?
                         
                          WARDEN
           Yes, sir.
                         
          MEDIUM SHOT WARDEN AND LIEUTENANT COLONEL
          They are standing on the lip of the sandtrap. The hoods of
          the jeeps that chased Prew and the second jeep are just
          behind them in shot.
                         
                          LIEUTENANT COLONEL
           He didn't have any regular
           identification. But they found a
           card on him with his name --
           (holds card close to
                          HEADLIGHT)
           -- seems to be a membership in a
           club. The -- New Congress Club.
                         
                          WARDEN
           Yes, sir.
                         
          The Lieutenant Colonel hands the card to Warden.
                         
                          LIEUTENANT COLONEL
           I'll turn this over to you. And
           these other things that were on
           him. This --
                         
          He unfolds a sheet of paper, holds it to the headlight. He
          and Warden squint at it.
                         
          INSERT: CRUMPLED SHEET OF PAPER WITH PENCILED WRITING:
          "Re-enlistment Blues" is written at the top. The stanzas of
          the song are beneath the heading.
                         
           LIEUTENANT COLONEL'S VOICE
           Seems to be acme sort of poem.
                         
                          WARDEN'S VOICE
           Yes, air.
                         
          Very softly, so distant that we can only distinguish a word
          or two now and then, we hear the voices of Clark, Anderson
          and Prew singing the "Re-enlistment Blues." The plaintive
          melody continues under the rest of the scene.
                         
          MEDIUM SHOT WARDEN AND LIEUTENANT COLONEL
                         
                          LIEUTENANT COLONEL
           And this. Whatever it is.
           158.
                         
                         
                         
          He holds Prew' s bugle mouthpiece up to the light, gives it
          to Warden. Warden holds it in his hand, stares at it. Under
          the "Re-enlistment Blues," even softer, farther away, we now
          hear Prew's bugle blowing Taps. It continues, with the song,
          to the end of the scene.
                         
                          WARDEN
           It's the mouthpiece of a bugle.
                         
          The Lieutenant Colonel looks at Warden closely.
                         
                          LIEUTENANT COLONEL
           Are you all right, Sergeant? Was
           this man a friend of yours?
                         
          Warden speaks very formally.
                         
                          WARDEN
           Sir, this man was a good soldier.
           He loved the Army moren any soljer
           I ever knew. I would like to make a
           formal request that this body be
           buried in the Army's permanent
           cemetery at Schofield Barracks.
                         
                          LIEUTENANT COLONEL
           I believe I can attend to that for
           you.
                         
                          WARDEN
           Thank you, sir.
                         
                          LIEUTENANT COLONEL
           I'm sorry, Sergeant.
                         
          The Lieutenant Colonel walks off.
                         
          ANOTHER ANGLE WARDEN
          INCLUDING Prew's body in the shot as Warden looks down at it.
          He looks at it for several moments. The Taps is just coming
          to an end. Warden speaks very quietly.
                         
                          WARDEN
           No, sir. I hardly knew the guy...
                         
                          DISSOLVE TO:
                         
          EXT. HONOLULU HARBOR - DAY
                         
          LONG SHOT SHOOTING FROM DOCK TO SHIP LEAVING HARBOR
          Taps and the Re-enlistment Blues are swept away by the lush
          strains of Aloha Oe. The Hawaiian music continues through the
          scene.
           159.
                         
                         
                         
          EXT. PROMENADE DECK OF SHIP - DAY
                         
          MEDIUM SHOT KAREN
          She is looking back at the city. Around her neck is a garland
          of leis.
                         
          LONG SHOT HONOLULU FROM DECK OF SHIP KAREN'S POV
                         
                          ALMA'S VOICE
           It's very beautiful, isn't it?
                         
          MEDIUM SHOT KAREN
          She turns and CAMERA PANS to INCLUDE Alma in shot, standing
          beside Karen. She is dressed in black, quite severely.
                         
                          KAREN
                          (SOCIABLY)
           I think It's the most beautiful
           place I ever saw in my lire.
                         
                          ALMA
           No one would know there was a war,
           from out here.
                         
          Karen takes off her leis, begins tossing them over the rail.
                         
                          KAREN
           There's a legend. If they float in
           toward shore, you'll come back some
           day. If they float out to sea, you
           won't.
                         
                          ALMA
           I won't come back. I had to get
           away from here. You see, my fiance
           was killed on December seventh.
                         
                          KAREN
           Oh, I am sorry.
                         
                          ALMA
           (quickly, as if rehearsed)
           He was a bomber pilot. He tried to
           taxi his plane off the apron and
           the Japs made a direct hit on it.
           Maybe you read about it in the
           papers. They awarded him a Silver
           Star. They sent it to his mother.
           She wrote me she wanted me to have
           it.
           160.
                         
                         
                         
                          KAREN
           (tossing the last of leis
                          OVER)
           That's very fine of her.
                         
                          ALMA
           They're very fine people. Southern
           people. He was named after a
           General. Robert E. Lee -- Prewitt.
                         
          Karen looks at Alma numbly. Alma is looking out across the
          water.
                         
                          KAREN
           Who?
                         
                          ALMA
           Robert E. Lee Prewitt.
           (on verge of tears)
           Isn't that a silly old name?
                         
          LONG SHOT LEIS IN WATER
          They are floating on the water behind the ship. They are
          being carried out to sea.
                         
          CLOSE SHOT SINGLE LEI
          A choppy wave washes over it, submerges it.
                         
           FADE OUT.
                         
                         
                         
                          THE END
                          


From Here to Eternity



Writers :   Daniel Taradash
Genres :   Drama  Romance  War


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