from here to eternity (1953)

8/14/2019 from here to eternity (1953)

1/161

FROM HERE TO ETERNITY

Screenplay

by

Daniel Taradash

(Second Draft - 8/29/1952)

USE FOR EDUCATIONAL PURPOSES ONLY


2/161

FADE IN:

EXT. QUADRANGLE - DAY

LONG SHOT

The quadrangle of Army buildings is quiet and deserted. Abroken-down taxi drives in at one corner and slowly makes its

way around the quadrangle. SUPERIMPOSED over shot is thelegend:

HAWAII, 1941

SIX MONTHS BEFORE

PEARL HARBOR

The taxi pulls up across the street from camera. A soldiergets out, pulls two heavily loaded barracks bags after him.He pays the driver, hoists the bags to his back, moves towardcamera. The taxi drives away slowly. The soldier walks towardsteps 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 wherechevrons have been removed. He pauses, looks up over thedoor. CAMERA PANS UP to sign which reads: ORDERLY ROOM - GCOMPANY, 219TH REGIMENT.

MEDIUM SHOTA small thin soldier in an undershirt and fatigue pants backs

out of the screen door and into shot. He is wielding a frayedbroom. This is PRIVATE ANGELO MAGGIO. He is violent and funnyand sour and friendly. He sees Prewitt's legs but not hisface, speaks as he sweeps a cloud of dust off the porch.

MAGGIDFine way to pass the time. Good forthe mind.

PREW

Hello, Maggio.

Maggio turns and stares at Prew, astonished.

MAGGIOPrew...?

PREW

(nods)I transferred out of Fort Shatter.

Maggio notices the marks on the sleeves where the stripeshave been removed. Prew follows his glance.

MAGGIOYou quit the Bugle Corps...?


3/161

2.

Prew nods. Maggio jerks his head toward the sign.

MAGGIOTo here...?

PREW

(shrugs)That's what the orders say.

MAGGIOYou made a bad mistake. This outfitthey can give back to Custer.

Prew smiles slightly, starts toward door.

MAGGIOThe Captain ain't in yet.

Prew puts down his barracks bags.

PREYI'll look around.

MAGGIO(smiles for first time)

Maybe we borrow some money from atwenty per cent man and take a realtrip to town some night.

PHEWMaybe.

TRUCKING SHOT ALONG COMPANY STREETPrew walks slowly down the raised porch alongside the street.He takes the mouthpiece of a bugle from his pocket, jigglesit idly, a habit of his. He comes to the Dayroom, glancesthrough the screen door, goes in.

INT. DAYROOM - DAY

MEDIUM SHOTThe Dayroom has a pool table, ping-pong table, a radio, etc.Moth-eaten, upholstered chairs line both walls. The place isempty as Prew enters. He looks around casually, sees the pool

table in an alcove. He moves over to it, puts the buglemouthpiece in his pocket, picks a cue from the rack on thewall. He switches on the light, chalks the cue.

MEDIUM CLOSE SHOTThe triangle of balls is already racked on the table. Prewaddresses the cue ball, shoots and breaks the rack solidly.He watches the balls hurry around the table.


4/161

3.

WARDEN'S VOICE (O. S.)Whatre you think you're doing!?Why ain't you out in the field withthe Compny? Whats 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.

PREWPrewitt. Transfer from Shafter.

WARDENYeah. I heard about you.

PREWI heard about you, too, Warden.

WARDENWell, put up that cue and comealong. This here's a rifle outfit,Prewitt. You ain't suppose to enjoyyourself before sundown. The Man'svery particlar about little thingslike that.

Warden goes out of the Dayroom. Prew puts up the cue andfollows him.

EXT. COMPANY STREET

TRUCKING SHOTas Prew and Warden walk along the porch, Warden a few pacesahead. They go into the Orderly Room.

INT. ORDERLY ROOM - DAY

MEDIUM SHOTas Prew and Warden enter. Maggio is sweeping the room.MAZZIOLI, a bespectacled, intellectual-looking Private FirstClass, is at the clerk's desk, opening it, taking out papers,etc. Prew sits on a bench as Warden goes over to Mazzioli.

WARDENMazzioli! Grant went to thehospital yesterday. Did you make uphis sick record? Did you make anote for the morning report?!You're the Compny Clerk. The lousySickbook is your job!


5/161

4.

MAZZIOLIThose medics didn't get theSickbook back till late yesterday --I'll tend to it right now --

WARDEN

Thanks. I already done it for you.

ANOTHER ANGLEMaggio has swept his way over to Prew. He stops sweeping now,stares at the other man as if still incredulous.

MAGGIOBut you the beat bugler they gotover at Shatter. You probly thebest on this whole Rock.

In b.g., Warden has turned from Mazzioli and is looking atPrew. Prew looks back coolly, answers Maggio thoughtfully.

PREWThat's true.

Maggio wags his head, bends over to pick up wastepaperbasket.

MAGGIOWell, friend, I feel for you. Butfrom my position I can't quitereach you.

WARDENTen-sh-HUT!

Prewitt, Mazzioli and Maggio spring to attention. The screendoor bangs and CAPTAIN DANA HOLMES enters shot. He wearscavalry boots and spurs. He is about forty, unsure ofhimself, therefore always too certain with his men. He nodspleasantly.

HOLMESAt ease. Good morning, men.Anything special this morning,Sergeant Warden? I've only a few

minutes.

WARDENNew man here, sir.

HOLMESOh, yes. Bring him in.


6/161

5.

Holmes goes into his office. Warden jerks his thumb towardthe 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 nearbyhas a placard' reading: 1ST SERGEANT WARDEN. Warden seatshimself at this desk. On the walls are framed photographs ofprizefighters as well as one of a large golden trophy. OnHolmes' desk is a small framed photograph of a veryattractive blonde woman. Prewitt comes to attention in frontof Holmes' desk.

PREWITTSir, Private Robert E. Lee Prewittreporting to the Compny Commanderas ordered.

HOLMESAt ease.

(takes papers out ofdrawer, glances throughthem)

They sent your service recordover... Twenty-two years of age...born in Kentucky... enlisted firstat Fort Myer, Virginia... BugleCorps... re-enlisted for overseasduty... Fort Shafter... FirstBugler...

(benignly)Prewitt, I always make it a policyto talk to my new men. It'simportant for an officer and hismen to understand each other. Now Ihave a fine smooth-running outfit.

ANGLE FEATURING WARDENHolmes cannot see Warden who is grinning at Prewitt withunholy glee.

HOLMESPlenty of room for advancement for

a man who knows how to soldier. Buthe's got to show me he's got it onthe ball. I don't know what you'vebeen used to in the Bugle Corps,but in my outfit we run it by thebook. What kind of trouble were youin over there?


7/161

6.

PREWNo trouble, sir.

HOLMESWhat made you transfer out, then?

PREWIt's a personal matter, air.

HOLMESOh. I see...

He studies Prew for a moment, sees Warden on the edge of hischair, watching hawk-like.

HOLMESSomething you wanted to ask,Sergeant?

WARDEN(explodes suddenly)

Who? Me? Whv, yes, air. You hadCorpral's stripes in the BugleCorps, Prewitt. You took a bust tobuck Private to transfer to anInfantry Compny. Why? Because youlike to hike?

PREWI dint have no trouble if that'swhat you mean.

WARDED(grins suddenly)

Or was it just because you couldn'tstand to bugle?

PREWIt was a personal matter.

WARDENThat's up to the Compny Commander'sdiscretion to decide.

PREW(looks straight at Warden)

All right. I was First Bugler atShafter for two years. The topkickhad a friend who transferred infrom the states. Next day he madehim First Bugler over me.


8/161

7.

WARDENAnd you asked out on account ofthat!?

PREYMaybe I just ain't sensible... But

that's the reason.

WARDEN(snorts)

His feelings were hurt! Kids theysend us now!

Warden swings his chair around, absorbs himself in work athis desk as if the Prew situation is too absurd to concernhimself with. Holmes speaks blandly, winningly.

HOLMESI've got a mighty sour Company

Bugler here... but I suppose youwouldn't want that job.

PREYNo, air.

HOLMES(smiles)

Well, we'll get your stripes backfor you, maybe an extra one forgood measure. You know why you weresent over here when you requested

transfer?

PREWNo, sir.

HOLDSI pulled a few strings. I'm theRegimental Boxing Coach, Prewitt. Isaw your fight with Connors in theBowl year before last. With anyluck you should have won it. Ithought for a while, in the secondround, you were going to knock him

out.

PREW(tense)

Thank you, sir.

MEDIUM CLOSE SHOT HOLMES


9/161

8.

(MORE)

HOLMES(bitterly)

My Regiment got beaten last year inthe finals, as you know.

(savage insistence)But I mean to win this year. And I

will. All I've needed was a topmiddleweight.

(waves at pictures)Next year I'll hang your picture upthere with the others, my boy.

MEDIUM SHOT FEATURING PREW

PREWI'm sorry, air. But I quitfighting.

HOLMES.

Quit fighting? When? What for?

PREWI just stopped, sir... After --Maybe you heard about whathappened...

HOLMEBYou mean that fallow you hurt --the one that went blind?

CLOSE SHOT PREW

Prew's lips are drawn tight. He nods almost imperceptibly.

MEDIUM SHOTDuring this shot Maggio can be seen in b.g. through door toOrderly Room. He pretends to be sweeping, but stops now andthen to listen.

HOLMESYes, it's too bad about that. I canunderstand how you feel. But thosethings happen in this game. A manhas got to accept that possibilitywhen he fights.

PREWThat's why I decided I would quit,sir.

HOLMES(less warmly)

But on the other hand, look at


10/161

9.

HOLMES(cont'd)

it this way. What if all fightersfelt like that?

PREWThey don't.

HOLMES

Would you have us disband ourfighting program because one mangot hurt?

PREWNo, sir. I dint say --

HOLMESYou might as well say stop warbecause one man got killed. Ourfighting program is the best moralebuilder we have off here away fromhome.

PREWI don't want it disbanded, sir.

(doggedly)But I don't see why any man shouldfight unless he wants to.

HOLMESIt looks to me like you're tryingto acquire a reputation as a lonewolf, Prewitt. You should know thatin the Army it's not the individual

that counts. If a man wants to getahead he has certainresponsibilities to fulfill that gobeyond the regulations. It mightlook as though I were a free agent,but I'm not. Nobody is.

Holmes waits hopefully for a moment, then realizes Prew isnot going to respond further. He stands. Prew snaps toattention.

HOLMESMaybe you'll change your mind. In

the meantime just don't make anymistakes in my outfit.

(to Warden)I've got to go into town. Is thereanything else for me today,Sergeant?


11/161

10.

(MORE)

WARDEN(holds up papers)

Yea, sir! The Compny Pond Report'sgot to be made out. It's duetomorrow --

HOLMESYou make it out. Is that all?

WARDEN(holds up more papers)

No, sir!

HOLMESWell, whatever it is, you fix it.If there's anything that has to goin this afternoon, sign my name. Iwon't be back.

He goes out, crossing Warden's desk and knocking a wirebasket filled with papers on the floor. In a moment, thesound of the screen door slamming is heard. Warden picks upthe papers.

WARDENHe'd strangle on his own spit if Iweren't here to swab out his throatfor him.

(to Prew)Come on. I'll show you the SupplyRoom.

Warden goes out to Orderly Room, Prew following.

INT. ORDERLY ROOM - DAY

MEDIUM SHOTas Prew and Warden enter and walk through. Maggio bobs hishead approvingly at Prew.

EXT. COMPANY STREET - DAY

MEDIUM SHOT WARDEN AND PREWas 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 theporch.

WARDEN(one of his unexpectedintense bursts)

Know what you did just now?


12/161

11.

WARDEN(cont'd)

(MORE)

When you turned down DynaniteHolmes' boxing squad? You put yourhead in a noose. Things are softfor a boxer in his Compny.Otherwise, you better know how tosoljer.

PHEWI can soljer with any man.

WARDENThis ain't the Bugle Corps -- thisis straight duty.

PREWI'll take my chances.

A convertible, top down, drives by and pulls up outside theOrderly Room. KAREN HOLMES, a tall, lean blonde woman, getsout. 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 intothe Orderly Room.

WARDENSince when is this place gettin tobe the Royal Hawaiian?

PREWWho's she?

WARDEN

His wife. Captain Holmes'.

They resume walking.

WARDENYou'll fight, Prewitt. You'll fightbecause Captain Holmes got a bee inhis hat he needs a winnin team tomake Mayor. And if you don't do itfor him you'll do it for me. I onlybeen in this outfit eight monthsmyself but I learned one thing. Myjob is to keep him happy. The more

he's happy the less he bothers meand the better I run his Compny. Sowe know where we stand, don't we,kid?

PREWI know where I stand. I don'tbelieve that's the only way a mancan get along.


13/161

12.

PREW(cont'd)

A man's got to make up his own mindand go his own way. It he don't,he's nothin...

WARDENMaybe back in the days of thepioneers a man could go his own

way. But not in our time, kid.Today you got to play ball. You gotto divide it all by two.

They have reached a Dutch door, top half open. A sign over itreads: SUPPLY ROOM.

MEDIUM SHOT SHOOTING INTO SUPPLY ROOMSUPPLY SERGEANT LEVA is eating a candy bar with one hand andleisurely typing up a form with the other. He is a foolish-looking man, about thirty-five.

WARDEN

Lava! Can't I once walk by thisSupply Room and find you workinwith both hands!

LEVA(comes up to door)

I can't do no better on what youpeople pay me.

WARDENDraw some supplies for this man.

(to Prew)

That's G Compny barracks overthere. Get rid of your bags andcome back here, and Leva'll findyou a cart to lug your stuff overin. Save you makin four five trips.

PREW(surprised, pleased)

Okay.

WARDENI just hate to see energy wasted.Any kind. Besides, you'll be needin

yours.

Prew walks off, toting the barracks bags. The bang of theOrderly Room door is heard and Lava and Warden look in thatdirection.

LONG SHOT KAREN HOLMES FROM WARDEN AND LEVA'S ANGLEas she walks along porch toward them. She is at aconsiderable distance. Karen is about thirty. She wears a


14/161

13.

sweater and skirt. She is aware the men are studying her.

MEDIUM CLOSE SHOT WARDEN AND LEVAwatching Karen. Leva leans over the counter.

LEVAHer and them sweaters.

LONG SHOT KAREN FROM WARDEN AND LEVA'S POVas she continues toward them. As much as a man can make out,she is probably not wearing a brassiere. Warden's and Lava'svoices, loud at first, get softer and softer the nearer Karengets to camera. At end of the shot, as she is only a fewyards away, they are practically whispering.

WARDEN'S VOICEArmy women... They're cold,they got no more warmth than adiamond. There's no pleasure inthem...

LEVA'S VOICEYeah, but this one knows thescore... Like I been tellin you.

WARDEN'S VOICE(sarcastic)

Is that right?

LEVA'S VOICEOkay, not around here. But I wasback at Fort Bliss with Holmes.

When they was married only a yearor two. I heard plenty about thelady then. Plenty.

WARDEN'S VOICEYou heard.

LEVA'S VOICEOkay, 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 tellinme.

Karen stops, a few paces from camera.

KARENGood morning, Sergeant.

MEDIUM SHOT


15/161

14.

Lava watches, listens avidly but discreetly in b.g. Duringthe dialogue, Karen seems irritated by Warden, who looks ather coolly, appraisingly, physically.

KARENI'm looking for my husband.

WARDENCaptain Holmes just went in town,ma'am.

KARENOh. Of course, He was to have leftsome things for me.

(stumbles slightly)That he was to have purchased. Doyou know anything about them?

WARDENNo, ma'am, I don't. Is there

anythin I can do for you?

KAREN.No, thanks, Sergeant.

She makes slight move to go, pauses.

KARENHe's been telling me quite a bitabout you lately. My husband. Hesays you're very efficient.

WARDENYes, ma'am.

KARENWhat is it that makes you soefficient, Sergeant?

WARDENI couldn't help it if I was bornsmart, ma'am.

Karen laughs suddenly, loudly.

KARENI 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 Levaspeaks.


16/161

15.

(MORE)

LEVABut man, she sure is one, ain'tshe?

WARDENOne what?

LEVAOne 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, enjoyingthe sensual pleasure of it. Karen is a woman of moods andtempers, spontaneous, quick to impulse. A car is heardpulling up in the driveway, the motor stopping. Karen's brushstrokes become faster, rougher. The front door is heardopening and Holmes' voice calling, "Karen." She does notanswer. Holmes enters. He seems to have had a few drinks.Through the following, Karen continues brushing her hair.

HOLMESI'm sorry I'm so late. And aboutdinner, I --

KARENIt doesn't matter.

HOLMES-- I got tied up with GeneralSlater. Bumped into him at theOfficers' Club.

KARENYes? What did the General have tosay?

HOLMESSuccess, he said. Success in war,success in peacetime... And not aword about my promotion... Thereare times I think the Old Man'sjust waiting to ship me down...

(slumps into chair)I've had a bad day all around...


17/161

16.

HOLMES(cont'd)

started right off this morning...trouble with a new man...

KARENIf you'd spend less time butteringGenerals and more time with yourCompany, maybe you'd get that

promotion.

HOLDSThe Company takes care of itself.Or my Topkick takes care of it.

KARENI went over there this morninglooking 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 yourbusiness wasn't too successful.

HOLMESNow what does that mean?

KARENDana. Give me credit for a few

brains.

HOLMESHow many, times do I have to tellyou I haven't any other womenbefore you'll believe me?

CLOSE SHOT KAREN SHOOTING INTO MIRROR ON DRESSING TABLEKaren laughs sharply, loudly, then stops suddenly as shelooks at herself in the mirror, sees the repugnance in herface. She puts down the hairbrush, picks up a long comb.

HOLMES VOICE

If it were so, don't you think I'dadmit it? The way things arebetween us now? What right have youto always be accusing me?

KARENWhat right?

TWO SHOT


18/161

17.

They are both tense now. Holmes is out of the chair andpacing. Karen combs her hair spasmodically.

HOLMESThat again. How long will it be, Iwonder, before I'm allowed to livethat down? After eight years, how

many times do I have to tell you ItWas An Accident?

KARENThat makes it all right, I suppose!

HOLMESI didn't say that. I know what it'sdone to you, but --

KARENYou know I hate to talk about it!

He moves over to her.

HOLM ESHow many times do I have to tellyou I'm sorry, about that? How manytimes that I had no way of knowing -

He puts his hands on her shoulders. Karen shakes away, rises,faces him.

KARENYou had a way of knowing, Dana. I

want to go to bed. Please get outof 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 WARDENThe room is fairly well filled with soldiers. The click of

pool balls is heard over shot. Warden is reading anewspaper.. 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 TABLEMaggio, Prew and CHIEF CHOATE, a Corporal, are playing pool.Choate is a full Choctaw Indian, a man of great bulk andtolerance. He speaks in a tremendously deep bass voice. The


19/161

18.

table on one side is surrounded by the prizefighters of GCompany. They are IRE GALOVITCH, an ape-like, bent-kneed manweighing about two twenty, with a widow's peak almost to hiseyebrows; BALDY DHOM, chunky and tough, his head as bald asan 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 watchingwith cold belligerence. Choate, bending over his cue, shootsand misses.

CHOATEI'm coldern a Idaho winter tonight.

Prew shoots, makes a brilliant shot.

MAGGIOMan, what I would not give to havethis character in the cornerpoolroom in my home town: I'd dress

him up on overhalls and a straw hatand put a grass in his teeth, and Iwould make a whole mint of gheltoff him!

Choate laughs deeply. Prew sizes up a new shot.

WILSONWe'd of won last year if we had agood middleweight. You box as goodas you used to over at Shatterwe're a cinch this year.

Prew doesn't respond. He bends over his cue again.

THORNHILLYou ain't forget the Divisionchamps get ten day furloughs, didyou, son? Ey?

GALOVITCHYou no talk now, Prewitt. But outin field with us you sing differentsong. An don't think you are toughguy. Quickest way to stockade is

being toughguy.

HENDERSONYou heard him. Better think itover.


20/161

19.

MAGGIOLissen, it's his right not to fightif he don't want. Without beinkicked around. Now, we playin pool.Whyn't you take off?

DHOMYou want a busted head, Maggio?

MAGGIO(seriously)

No.

DHOMThen keep your big nose outaltogether.

(turns back to Prew)Trainin season starts next week --

Prew has been growing more and more agitated, as much by aninner turmoil as by the men. His control snaps suddenly.

PREWI told you I quit fightin! I'mthrough! An that's all she wrote:You guys want to put the screws on,go ahead. I can take anything youhand out!

DHOMOkay, Prewitt. No halts barred.

The five men move off, file out of the Dayroom.

MEDIUM CLOSE SHOT WARDENHis paper still on his lap. He has been watching. He wears afaint smile of respect.

MEDIUM SHOT PHEW, MAGGIO, CHOATEPrew chalks his cue, hands trembling, turns to Maggio.

PREWThanks.

MAGGIOI just hate to see a good man getit in the gut.


21/161

20.

CHOATEYou might as well get use to it,kid. You probly be seein it oftenbefore you die.

DISSOLVE TO:

INT. SQUAD ROOM - NIGHT

MEDIUM SHOT PREW AND CHOATEIn b.g. a few of the men are moving to and from the latrinebut most of them are in their bunks. Over shot the sound of abugle blowing Tattoo is heard. Lights are being extinguishedin various parts of the room. Prew and Choate are lying onadjoining bunks, smoking. Choate's voice is almost linked tohis last speech of preceding scene.

CHO ATE... oh, sure, we got a few bad non-

coms and we got Dynamite Holmes fora Captain. But I been around twentyyears in this Army. They even up.

In b. g. Warden and SERGEANT PETE (POP) KARELSEN come throughfrom the latrine. The latter is a grizzled, crumbled dog-face, about fifty.

CHOATETake A Compny. They got the bestCompny Commander I ever saw. Buttheir Topkick -- he ain't no

Warden.

Warden stops beside Prew and Karelsen moves on, going in to asmall room off the main squadroom. Warden's big, powerfulbody is covered only by a towel around his loins. He smilesat Prew.

WARDENHello, kid. Everythin nice andcomfy?

PREWNever better.

WARDEN'at's the lull before the storm,kid. Set yourself.

He moves off, goes into the room he shares with Karelsen.


22/161

21.

PREWWhat's the deal with him, anyway? Ican't figure him.

The lights are almost all off and activity in the room hasended.

CHOATEThe Warden? He's a wild man. He wasin the 15th when they seen theiraction in the Settlement inShanghai. I heard about it down inthe Philippes even. He got himselfa DSC and a Purple Heart out of itbut you'd never know it if I dinttell you. This next war comes,Warden'll be right in there,standin up on the skyline, trio toget himself killed, but nothing

will ever touch him. He'll comethrough maddern, wildern, craziernever. All I know is he's the bestsoljer 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 MENcarrying rifles, marching at attention. Prew is FEATURED inshot; a light smile of pleasure as he moves along. Choate,bringing up the rear, is singing the Regimental Marching Songin a wonderful basso. Dhom marches on one side of theplatoon, Galovitch on the other. Dhom calls out the "huts."

CLOSE SHOT FEET OF MEN MARCHINGThey are in perfect unison.

CLOSE TRUCKING SHOT PREW

DHOM'S VOICEPrewitt! Get in step, Prewitt!

Prew frowns slightly. He hops once, changing stride, realizeshe is now out of step.

GALOVITCHS VOICEPrewitt! Dis a drill, not picnic!Get in step!


23/161


24/161

23.

CLOSE SHOT PREWas he strips the rifle. (This mechanical operation should beinteresting to audiences; a good man can field strip theweapon in thirty or forty seconds.) Prew finishes the job andCAMERA MOVES to CLOSE on shelter half where all the parts arelaid out.

HENDERSON'S VOICE'at's fair time. Now lemma see youput it together.

Prew's hands start to work over rifle parts, putting themtogether.

DISSOLVE TO:

EXT. FIELD - DAY

CLOSE SHOT THE RIFLE

in Prew's hands, assembled, CAMERA PULLS BACK as Prew standsup, holding the weapon. The rest of the men are still workingover 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 HENDERSONlooking along barrel. SHOT FEATURES his thumb as he flips therear sight to one side. Henderson turns around and ANGLEWIDENS to include Prew. He throws the rifle at Prew, whocatches it, staggering back.

HENDERSONYour rear sight's way off! You'd befifty feet off your target at threehundred yards!

(to others, mockingly)That's what comes when a soljerdon't know how to assemble arifle.

(to Prew)You better get down to the trackand carry it around a few times.Maybe thatll teach you...

DISSOLVE TO:

EXT. CINDER TRACK - DAY

MEDIUM SHOT PREWrunning around track to sun, rifle held before him. The smileis fainter but still there.

DISSOLVE TO:


25/161

24.

EXT. FIELD - DAY

GROUP SHOT BAYONET PRACTICEThe platoon is divided into teams of two. Thornhill is theinstructor. This is actual hand-to-hand training. Prew wieldshis rifle, bayonet fixed, in expert thrusts. Maggio is

fighting in next lane. Thornhill walks behind Prew, trips himquickly as he passes. Prew falls off balance. His opponentsmashes his rifle against Prews, knocks it to the ground.Prew whirls on Thornhill in protest.

THORNHILLWide open, ey, Prewitt? Maybe sevenlapsll teach you to watchyourself...

Maggio, wielding his rifle madly, yells over.

MAGGIO

Hey, I saw that -- I saw what youpulled --

DISSOLVE TO:

EXT. CINDER TRACK - DAY

MEDIUM SHOT PREW AND MAGGIOtoiling around track together, holding rifles.

DISSOLVE TO:

EXT. COMPANY STREET - DAY

TRUCKING SHOT OUTSIDE SUPPLY ROOMMaggio and Prew trudge wearily along the porch, rifles onshoulders. Their sweaty uniforms are plastered to theirbodies.

MAGGIOI use to think a shipping clerk wasa dog's life.

(sighs, shakes head)What I would not give to be back inGimbel's basement!

As they come up to the Supply Room, Warden, neat and cool, isleaning on the counter. He steps aside to let them pass,beams at Prew.

WARDENChow's almost over, men. Betterhurry up and wash. less of courseyou'd rather go in the way you are.


26/161

25.

(MORE)

Maggio gives Warden a dirty look. Prew's expression isnoncommittal. They carry their rifles into the Supply Room.Leva comes up to the door as Warden turns to go back to theOrderly Room. As he does, Karen's convertible comes down thestreet. Warden stops, watches it.

LONG SHOT FROM WARDEN'S POVas Karen drives by, turning her head slightly toward Warden.There is the vaguest trace of i smile.

MEDIUM CLOSE SHOT FEATURING WARDENas he turns to watch the departing car.

LEVAI'm tellin you, Top, she's trouble.You better keep your mind off whatyou're thinkin.

CAMERA MOVES TO CLOSE SHOT

of Warden, still looking after the car, thinking.

DISSOLVE TO:


MEDIUM SHOT WARDEN AND HOLMESIt is a gloomy, rainy day and the lights are on in theoffice. Warden is at his desk, working. Holmes is buckling onhis trench coat. He wears a happy smile.

HOLMES

I won't be back in time to takeRetreat.(winks at Warden)

Or Reveille either, probably.

WARDENYes, sir.

HOLMES(strides back and forth;jovially)

All work and no play, Sergeant. Allyou do is sit around sweating over

this paper and that. There areother things in this world besidework.

Warden carries some official papers to Holmes' desk.

HOLMES(bending over, tyingshoelace)


27/161

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.

HOLMESWell, I'm going.

He claps Warden on the back fraternally.

HOLMESI'm leaving it in your care,Sergeant.

WARDENIt'll be here when you get back.

Holmes goes out. Warden turns back to Holmes' desk. He isstill holding the papers in one hand. He looks at Karen'spicture, 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 WARDENstanding on the open porch, in the rain. He wears a GIraincoat. He is squinting at the door with the sameexpression he used looking at Karen's picture. He takes adeep breath as if he were going off a high diving board, thenknocks briskly. A shadow moves across the room behind thecurtains. Then Karen opens the door. She is in shorts and ablouse.

KARENOh. If it isn't Sergeant Warden.You better step inside or you'llget wet.

Warden opens the screen door and jumps in past the waterrunning off the eaves.

INT. SMALL PANTRY OFF KITCHEN - DAY

MEDIUM SHOTas Warden jumps in. He takes off his rain hat.


28/161

27.

WARDENI am wet.

KARENIf 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 doesyou any good.

WARDEN(quickly)

Well, I'm looking for him. Do you

know where he is?

KARENI haven't the slightest idea.Perhaps he's in town. I guess itwas in town the way you put it,wasn't it? Or perhaps he's at theClub. Having a drink.

WARDEN(fishes in his pocket,brings out papers)

I got some papers it's importantfor him to sign. Today.

KAREN(turns)

I'll try phoning him at the Clubfor you.

WARDENI never like to disturb a mandrinking.

KAREN

(turns back)What is it you want, Sergeant?

WARDENI could use a drink myself rightnow. Bad. Anyway, I got a faintsuspicion the Captain's in town.Ain't you going to ask me in?


29/161

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 awhisky 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.

KARENYoure taking an awful chance, youknow. My maid is liable to be homeany time.

WARDENNo she won't. Thursday's her dayoff.

He takes off his raincoat, drops it on a chair.

KARENYou think of everything, don't you,Sergeant?

WARDENI try. In my position you have to.

KAREN(goes to sink, picks up

the papers)Are these really important?

WARDENYes. But not important they getsigned today. Tomorrow's okay.

Karen suddenly, deliberately, rips the papers in half. Thenshe tears them into bits and throws them into thewastebasket. Warden appreciates the gesture, relaxes for thefirst time. He grins widely.

WARDEN

I got carbons of those back at theoffice. So it won't be much work tofix them up.

Warden's control has begun to affect Karen's now. She islosing her poise.


30/161

29.

KARENThat's what I like about you,Sergeant. You have confidence. It'salso what I dislike about you.

WARDEN

It's not confidence. It's honesty.

KARENHonesty? How did you acquire suchan old-fashioned virtue?

WARDENI figgered out one day it was theshortest distance between twopoints.

KARENWell, he's clever as well as

virile.

WARDENNo -- it's just that I hate to seea beautiful woman goin all towaste.

He moves close to Karen, is on the verge of embracing her.Greatly tempted but greatly disturbed, she turns away. Duringnext she pours herself a drink, the bottle shaking in herhand. Her tone is no longer brittle. It is bitter.

KARENWaste, did you say? Now that's asubject I might tell you somethingabout. There's we. And then there'swaste. Positive and negative. Thenegative is sometimes moreinteresting... more evil. Forexample -- what about the housewithout a child? Tell me yourthoughts, Sergeant.

WARDENYou're going to cry.

KARENNot if I can help it.

WARDENPlease don't cry... I can't standto see somebody cry.


31/161

30.

Karen turns to face him as he picks up his raincoat, is aboutto put it on.

KARENWhat are you doing?

WARDENI'm leaving. Isn't that what youwant?

KAREN(slowly)

I don't know, Sergeant. To behonest, I don't know.

They stare squarely at each other, both puzzled and a littleafraid of their emotions. This is something neither hadcounted on.

WARDENI know a beach near Diamond Head.Nobody ever goes there. The cars onthe highway pass above and theynever know it's there. You feellike you used to feel when you werea kid, hiding by yourself in acave, watching the others huntingyou.

Karen turns, goes to the sink, puts the whisky bottle back inthe cabinet.

KARENMaybe... why not?

WARDENHow about Payday?

Karen is trying hard to regain her glassy composure. She isunsmiling again.

KARENYou don't have to spend money onme, Sergeant.

WARDENI just like to have some on me whenI take out a woman. Can you getaway?

KARENMaybe.


32/161

31.

(MORE)

Warden grins as he puts on his raincoat. He goes to the doorto the pantry, pauses there.

WARDENI'll be in Kuhio Park. Say, nineo'clock. Payday.

Karen leans back against the sink, watches him go out to thepantry. A moment later the sound of the door is heard as heleaves the house. She turns on the faucet, starts to rinse,the glasses they have used. Suddenly she turns the faucet onfull force, watches it pound into the sink.

FADE OUT.

FADE IN:


MEDIUM SHOT HOLMES GALOVITCH THORNHILL WILSON DHOM HENDERSONThe men are grouped around Holmes. He is pressing hard topretend equanimity. The Sergeants appear somewhat baffled butdetermined.

HOLMES-- this man Prewitts been hereover a month now. I expected youmend have him around before this.

HENDERSONWe've been runnin him pretty hard.

But he don't faze.

HOLMESMaybe he needs a good dose of TheTreatment.

The men react to the phrase; The Treatment is obviouslyreserved for very special, intractable cases. They considerit silently for a moment or two.

GALOVITCHA double dose needs him to begiven.

THORNHILL(nods)

The Treatmentll bring that puppyboy around...

HOLMESYou understand. I don't wantany rough stuff.


33/161

32.

HOLMES(cont'd)

But we all know good athletes makegood leaders. And good leaders --

The music of the forthcoming MONTAGE drowns Holmes' words ashe continues.

DISSOLVE TO:

EFFECT MONTAGEThe MONTAGE consists of a continuous stream of SUPERIMPOSURESdepicting Prew's growing humiliation and exhaustion at thehands of the non-corns. Mingling with the background shotsare VARIOUS ANGLES of CLOSEUPS of Prew. As the speed of thesequence increases, the stubborn smile on his face gives wayto hurt, bitterness, anger... Over shots we occasionally hearstray shouts of the non-corns as they belabor Prew, but forthe most part these and other dialogue are obliterated byMUSIC. The MONTAGE can be selected and created from thefollowing:

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 HENDERSONriding Prew, mocking him, grinning at him, thumbing him tothe track, etc. FEATURED is Galovitch, who takes particularJoy in baiting Prew.

FLASHES PREW

running around track, staggering despite a tremendous effortnot to show his fatigue.

OBSTACLE COURSEwith the platoon going through, crouched low, live ammunitionspattering around them. Prew, nearest camera, is lower thanany man in the line. Over shot we hear a snatch of Wilson'sVoice yelling at Prew to get lower.

CLOSE FLASH WILSON AND PREWWilson bawling Prew out, thumbing him to one side of obstaclecourse.

FLASHES PREWchinning himself on bar setup near obstacle course; he isnear physical exhaustion.

OBSTACLE COURSE PREWgoing through alone, on his belly in deep mud.

CLOSEUP PREW (CULMINATION OF SUPERIMPOSED CLOSEUPS AND END OFMONTAGE)


34/161

33.

coming HEAD-ON into camera as he bellies through the mud ofthe obstacle course. Snatch of mingled voices of non-comsyelling "Keep it downs", Get that nose in the mud!, etc.Prew is utterly spent. His face drops into the mud, whichsplatters up, obscuring the screen.

DISSOLVE TO:

INT. KITCHEN - DAY

CLOSE SHOT SWIRLING DISHWATER IN SINK

MEDIUM SHOT PREWbent over the sink, scraping, washing and rinsing cookingpans and mixing basins. He hangs the soap bucket on the hotfaucet and turns it on full force. As he does, PRIVATEWILLARD, a fat, whining cook, dumps an additional huge pileof pans before him. Prew looks at them ruefully. Willard sayssomething to him with a "hustle up" gesture. The faucetdrowns 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 messhalls, carrying large trays.

MEDIUM CLOSE SHOT SERGEANT STARKThe Mesa Sergeant, a tall, gaunt man, surveys the scenepossessively. Maggio, Dining Room Orderly today, wearing asoiled white coat, flashes by to the mess hall, almostdropping his loaded tray in his haste.

MEDIUM SHOT PRIVATE TREADWELLA slow, lazy, heavy man, peeling potatoes. There is a largekettle filled with dirty water in front of him in which thepotatoes are floating. Treadwell stabs at one with a longfork, misses it. He stabs again, almost in slow motion,misses again. He sees Stark glowering over him.

TREADWELLAh+m suppose to be a automaticrifle man, not a spud-cutter.

STARK(disgustedly)

Rifle man, huh? All somebodyd haveto do would be holler war at youand it'd be over the hill and faraway.

Stark walks off.


35/161

34.

(MORE)

TREADWELL... they just give me my chancethey'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 WILLARDThe faucet is still on and we cannot hear what Willard saysas he dumps more pans before Prew. However, he is obviouslycomplaining that Prew is slow. Prew, sweating and angry,barks something back at him and turns the faucet off.

PREWNo cook ever used that many panelNot even for an officers, banquet,ladies invited! Want me to growcouple more arms?!

Stark, always alert to trouble, comes into shot. Willard seeshim and speaks with whining dignity, for Stark's benefit.

WILLARDAll I ask is that you keep the panswashed up so they're clean when Ineed them. In order that I amallowed to cook the kind of foodrequired for men who work hard allday and who need good nourishingfood to get their nourishment.

STARKHole up 'at noise. This mans hotas a forty-five shootin downhill.

WILLARD(terribly injured)

How you think I can do my job ifthe Mess Sergeant takes sides witha goldbricking KP? What do youthink I am?

STARKI 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 ofhim.

MAGGIOComin through! Comin through! Meand my table waiters!


36/161

35.

MAGGIO(cont'd)

We workin our tail off. They runninus to death. Hot stuff! Cominthrough hot stuff one side!

Nobody pays any attention but Prew, who smiles at him. Maggiowinks back.

MAGGIOHello, Prew! Bettern being threwnin 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 adish of eggs and sausage and is leaning against a pastrytable. He is grinning lovingly toward Prew. He strolls overto Prew. He eats through following. The smile never leaveshis face, broadens as the scene progresses.

WARDENYou look awful tard, kid.

CLOSE SHOT PREWworking over the sink.

WARDEN'S VOICEHow do you like straight duty?.Life in a rifle compny, eh?

Prew stops working, turns toward Warden.

PREWWhat makes you think I mind it?

MEDIUM SHOT FEATURING KP'S, STARK, MAGGIO, WILLARD, TREADWELLas something electric transmits itself and they all stop whatthey are doing to look over toward Prew and Warden.

WARDENI didn't say you minded it, kid. Ijust said you looked tard. Drawn toa fine edge.

PREW(smiles back)

I don't mind it, Top. Its a great

life, this. I find a pearl, I'llcut you in. Fifty-fifty, If youhadn't put me here, I wouldn't havehad no chance to find it.

TWO SHOT WARDEN AND PREW


37/161

36.

WARDENWell, well, there's a man for you.I'll see if I can fix you up with alot more since you like it so much.How you like the garbage detail?

PREWThanks, Top, I've had it. You giveit to me Tuesday. Remember?

WARDEN(nods, as if justremembering)

Well, then, how 'bout streetcleaning detail?

PREWThat, too. Yesterday.

WARDEN(nods)

You got a better memory than me.Guess the best thing to do is leaveyou right in the kitchen a while,huh?

He pretends to turn away, then stops, turns back.

WARDENCourse if you was an ath-a-leet youwouldn't have to pull KP. Or any

fatigue duty for that matter...

PREW(not smiling now)

If you think you can push me intofightin, Warden, you're wrong. Notyou and Dynamite and The Treatment.I'm twice the man you are. If youdint have them stripes I'd take youout on the green and beat you to apulp.

WARDEN

(smile growing bigger)Don't let the stripes worry you,kid. I can always take my shirtoff. Take it off right now.

PREWYou'd like that. You could get me ayear in the Stockade for that one,couldn't you?


38/161

37.

CLOSE SHOT PREW'S HANDclosing around a heavy mug in the sink.

MEDIUM CLOSE SHOT PREW AND WARDENWarden looking at Prew's hand. Warden's grin broadens withsomething more than sarcasm. He is 'impressed and pleased by

Prew's honest anger.

WARDENDon't throw it, Prewitt. It mightbreak on my head. And that wouldcost you one thin dime next Payday.

Warden deliberately turns his back and walks off. Prew looksafter him. CAMERA MOVES IN to FEATURE his hand on the mug. Hegrasps it tighter, then lets it fall back into the soapywater,

DISSOLVE TO:


CLOSE SHOT PRIVATE FRIDAY CLARKHe is blowing the bugle, sounding Pay Call. The rays of ablinding sun flash on its shiny surface.

INT. MESS HALL - DAY

MEDIUM SHOTThe bugle is heard over shot. A line of spruced-up menstretches through the mess hall. A blanket is spread over a

table and behind it sits Holmes, flanked by Warden andMazzioli. In front of Holmes is a pile of greenbacks and acigar box filled with silver. He is paying out the man at thehead of the line.

HOLMES-- and just see you don't drink allthis up in one place.

The man smiles, appreciating the whimsy, salutes, moves off.

WARDENPrewitt.

Prew, next in line, steps up to the table.

PREWRobert E. Lee, RA 345071.

He is crisp, sharp, expressionless. He holds out his handsfor fingernail inspection.


39/161

38.

Holmes looks them over, then up at the perfect knot in histie. He stares at Prew as if trying to fathom him.

HOLMESHave you given any thought to theboxing team recently, Prewitt?

PREW(tonelessly)

I feel the same way, sir.

Holmes hands clench. He seems about to fly into a rage whenhe senses a motion at his side. He turns to see Wardenlooking straight at him. Warden's face has the samemeaningfully expressionless look as Prews. Holmes wiltsbefore it, turns to Mazzioli.

HOLMESWhat's this man's pay?

MAZZIOLI(reading from Payroll)

Private Prewitt, thirty dollarsbase pay. Deductions-laundry,insurance, PX checks.

CAMERA MOVES IN to CLOSE SHOT of Holmes# hands laying moneyout on blanket.

MAZZIOLI'S VOICETotal due twelve dollars thirtycents.

DISSOLVE TO:

EXT. RIVER STREET, HONOLULU - NIGHT

FULL SHOTPayday night. A gay, noisy jamboree. Soldiers, mostly incivilian clothes, and uniformed sailors swarm down thestreet. Taxi drivers arguing with their fares as they pull upat bars. Filipinos padding in twos and threes.

DISSOLVE TO:

EXT. NEW CONGRESS CLUB - NIGHT

MEDIUM SHOT AT ENTRANCEMaggio and Prew, dressed in slacks and Aloha shirts, stand infront of what looks like a renovated residence. They giveevidence of having already accomplished a little substantialdrinking. The sound of loud piano playing is heard fromwithin. A sign over the door reads: NEW CONGRESS CLUB - SOFTDRINKS - DANCING - RECREATION - MEMBERS ONLY. The door opens


40/161

39.

and MRS. KIPFER stands at the threshold. She is asophisticated-looking woman with upswept hair, wears anevening gown with a corsage of orchids. The piano music,louder with the opening of the door, continues through all ofthe following. The pianist is hammering out "I Don't Want ToSet The World On Fire" (or a similar hit of 1941).

MAGGIOGreetings, Mrs. Kipfer.

MRS. KIPPER(cordially)

Why, it's Angelo Maggio.

He barges past her through the door. Mrs. Kipfer frowns andfollows 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 oldSouth feeling of mustiness and respectability. Maggio ishanding some bills to ANNETTE, a young, brash-looking girl,who sits behind a reception desk.

MAGGIOOkay... so there y'are. Dues allpaid up. Who ya got playin thepiana -- a hippo?

MRS. KIPPERAngelo, I dont believe I've met

your friend. And you know how Ihate to find you boys in thiscondition...

MAGGIOThere. You see. Any time women seea soldier, think he's drunk. Why?You know why?

PREWBecause he is.

MRS. KIPPER

Heavy drinking simply doesn't mixwith the entertainment business.Every respectable place mustconsider its future.

PREWMrs. Kipfer, ma'am, I give you mysolemn word your future will besafe with us.


41/161

40.

Maggio nods vigorously in agreement, then pushes through theheavy curtains which separate the vestibule from the roombeyond. Mrs. Kipfer looks after him a little unhappily.

MRS. KIPPERAngelo is one of my favorites.

Annette, dear, take care of thisgentleman, will you, please?

Mrs. Kipfer exits through the curtains. Annette takes a cardfrom file, picks up pen.

ANNETTEIt'll be eight bucks, Babyface.Four for initiation fee, four forApril dues.

PREWSay, what do I get for it?

ANNETTE(rattling it off)

Members are entitled to allprivileges of the club whichincludes dancing, snack bar, softdrink bar, and gentlemanlyrelaxation with the opposite genderso long as they are gentlemen andno hard liquor is permitted.

(takes a breath)Got it?

Prew grins, digs in his pocket for money.

PREWI got it.

INT. NEW CONGRESS CLUB - LARGE CLUB ROOM - NIGHT

FULL SHOTSeveral rooms branch off from this main one. There are abouta dozen soldiers in civilian clothes -- and about a dozenhostesses. Several couples are dancing. The man at the pianois 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 enjoythemselves. The New Congress is a sort of primitive U.S.O., aplace of well-worn merriment. It is not a house ofprostitution but the girls look available for goosing... allbut one we see at the end of the PAN. She sits alone on acouch. This is LORENE. There is an innocent, child-like lookabout her. Her hair is done demurely in a circular roll lowon her neck. She is about twenty-four. She is reading a


42/161

41.

magazine, untouched by the din around her.

MEDIUM CLOSE SHOT SERGEANT "FATSO" JUDSONpounding the piano as if he is trying to knock the keys out.He has an enormous head and a hogshead chest. He resemblesPorky Pig. His dead eyes look like two beads of caviar spacedfar apart on a great white plate.

MEDIUM SHOT NEAR CURTAINS TO VESTIBULEMaggio is attempting some serious dancing with SANDRA, a verytall girl. Fatso's furious tempo and tune keep drowning thelangorous tango coming from the jukebox. Maggio keepsswitching his style as he tries to get out of the range ofthe piano but cannot. He is very annoyed. He and Sandra danceout of shot, as Prew and Annette enter from the vestibule.CAMERA PANS them to a trio of girls on a couch.

ANNETTE... Girls, heres some new poison.This is Billy and Jean and Nancy.

The girls smile, ad-lib hellos. Prew is looking over thegirls' heads at someone in rear of room out of shot.

MEDIUM SHOT LORENE FROM PREW'S POVAs if she senses someone is staring at her, she looks up fromthe magazine, smiles serenely across the room.

MEDIUM SHOT FEATURING PREW AND ANNETTEas she reacts sourly to Prew's reaction to Lorene. He seemstransfixed.

ANNETTEDon't tell me the Princess is yourstyle.

Annette takes his arm, moves him toward two quite good-looking girls talking to a soldier.

ANNETTEMeet Suzanne and Roxanne.

The girls greet him heartily but Prew is looking back overhis shoulder at Lorene. Annette plucks his sleeve withhaughty disdain.

ANNETTEMuch as I adore your company, youmust allow me to tear myself away.I see a few friends at the door.

(snaps)Also I can see I will be of no useto you much.


43/161

42.

She walks off. The other girls resume talking to the soldier.Prew continues to gaze across the room.

MEDIUM CLOSE SHOT LORENEsmiling back. Her head tilts up slowly as if someone iscoming toward her. Prew comes into shot and stands before

her, tongue-tied. She pats the couch. Her voice is low-pitched, poised.

LORENEWould you like to sit down?

PREW(sitting)

Oh... sure.

LORENEI'm Lorene.

PREW(enchanted by the name)

Lorene...

LORENEI haven't seen you in here before.

Prew gestures with the membership card.

PREWI dint know about this place tillnow. A friend of mine brought me.

We're stationed at Schofield.

LORENEOh. Somehow I didn't think you werea soldier.

PREW(bridles a bit)

Well, I am. And I'm in for thewhole ride. I'm a thirty-year man.

LORENEI suppose it's different when a

fellow is going to make a career ofit.

PREWThere ain't anythin wrong with asoljer that ain't wrong witheveryone else.

Lorene smiles her fatal smile at Prew's seriousness.


44/161

43.

LORENEI like you just the same. I likedyou the minute I saw Annettebringing you in.

PREW

(melts)Me, too. I mean when I came in. Isaw you over here --

There is a commotion across the room. A group of man andgirls are surrounding the piano. Fatso has stopped playingand a shouting argument is going on between him and Maggio.Prew looks over, concerned.

FATSO'S VOICEI'll play loud as I want, ya littleWop!

A babble of voices drowns out Maggio's reply.

PREWFriend of mine.

(rises)You wait right here for me, willya?

LORENE(smiles sweetly)

Surely.

MEDIUM SHOT AT PIANOwhere two men are holding Fatso and three girls arerestraining Maggio. The others are amused by the quarrel, butFatso and Maggio are deadly serious.

MAGGIOMess with me, Fatstuff, I'll pullyou apart!

FATSOYou're the kind of character I eatfor breakfast, ya little --

Maggio breaks away from the girls and rushes toward Patso butPrew, stepping through the group, grabs him. Mrs. Kipferbustles into the melee.

MRS. KIPFERNow, you gentlemen know I will nothave any of this sort of thing.


45/161

44.

MAGGIOShut up, you Wop, he says to me!

FATSOLittle Mussolini here tryin to tellme what way to play the piano.

MAGGIOYeah, my ear drums fit to bustalready with that noise!

MRS. KIPFERYou man can simply leave if you'renot going to behave yourselves.

PREWCome on, Angelo, come on --

MAGGIO

-- Ony my friends can call me Wop --

MEDIUM SHOT AT SIDE OF ROOMwhere Prew hauls Maggio away from the piano.

SOLDIER(has been watching)

You know who that guy is, buddy?

MAGGIOSure, I know who he is. Whadda Icare?

PREWWho is he?

SOLDIERFatso Judson. Sergeant of the Guardat the Post Stockade.

MEDIUM CLOSE SHOT FATSO JUDSONsettling down at the piano again. He glances over indirection of Maggio with a mean smile. Then he starts tohammer the keys viciously.

MEDIUM SHOT MAGGIO PEW SOLDIERas the music starts, Maggio stiffens, turns as if to go back.Prew holds tight, to his arm.

SOLDIER-- Im tellin you, leave him be.Nets danger. I seen him nearlymurder a guy once. He likes it.


46/161

45.

Sandra comes over, disengages Prew's arm from Maggio's, putsher own around him.

SANDRAAll right, bully boy, now you wonthe war, let's dance.

MAGGIO(beginning to quiet down)

First I got to calm my nerves. Comeon with me to a phone booth or somethin.

(slaps himself on belly)Where I will unveil this fifth ofwhisky I got under this looseflowing sports shirt.

He and Sandra start off toward an adjoining room. Prewsmiles, turns back toward Lorene. The smile fades.

MEDIUM SHOT FROM PREWS POVLorene is looking at another soldier, on the couch besideher, with her rapt, innocent expression.

TRACKING SHOT PREWas he crosses room to Lorene, hurt and disappointed. CAMERAHOLDS on MEDIUM SHOT as he comes up to her and the soldier, atalkative man named BILL.

BILL-- you go along as fast as forty

miles per through that surf andyour balance has got to be letterperfect.

PREWHey, I thought you were gonna wait.

LORENE(looks up, smiles)

Bill here was telling me aboutsurfboarding.

BILL

Hello, friend.

LORENE(pats couch)

Sit down and just listen. Hedescribes it thrillingly.

Prew sits down, disgruntled. Bill notes his expression.


47/161

46.

BILLYou know anything aboutsurfboarding?

PREWNo. Nothing. Not a thing.

BILLYou must be stationed inland then.I'm at DeRussey so I get lots ofchances.

PREWYeah? But then we got mountains.You know anything about mountainclimbing?

BILLA little bit. Are you a mountain

climber?

PREWNo. You know anything about flyingan airplane?

Lorene is frowning now.

BILLI've had a few lessons.

PREW

Well, I can't fly either. Whatdo you know about deep sea diving?

LORENEDo you want to move into anotherroom, Bill?

BILLSure. The air in here seems to havegotten very smelly, hasn't it?

PREWYeah, I noticed that, too --

BILLListen, fellow --

LORENEShall we go, then?


48/161

47.

She and Bill rise. She smiles tremulously at him as she takeshis arm and they start off. She throws a severe glance overher shoulder at Prew.

MEDIUM CLOSE SHOT PREWHe settles lower in the couch, the picture of frustration and

hopelessness. He pulls a cigarette from his pocket and lightsit.

EXT. KUHIO PARK - NIGHT

MEDIUM SHOT PARK BENCHKaren sits on the bench, her ankles crosses primly, very illat ease. There is Payday activity here also; amorousstrolling couples; men in ones and twos looking for pickups.Several unattached men pass Karen, ogle her. She is about toget up and leave when Warden comes into shot, stands overher. His civilian suit is neat and well-cut. Both arestrained, awkward, antagonistic. Now that the step has been

taken they are not at all sure it was a clever one.

KARENWhy, hello. I didn't think you werecoming.

WARDENWhy not? I'm not late.

KARENNo, I guess you're not. But then Icame a little early. I must have

been overanxious. You weren'toveranxious though, were you? Yougot here right on the dot.

WARDENMaybe I'd of been early too only Istopped to get a drink.

KARENYou certainly chose a savory spotfor our meeting.

WARDEN

Would you rather it'd been thecocktail lounge of the Royal?

KARENNo, but I've had five chances to bepicked up in the last few minutes.


49/161

48.

WARDEN(sits beside her on thebench)

That's par for the course aroundhere.

KARENWell, I don't care for it. I neverwent in much for back-alley loving.

WARDENDidnt you?

KARENYou probably think I'm a tramp,don't you?

WARDENWhat makes you think I'd think

that?

KARENDon'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 likea school kid out with teacher!

Where'd I come up with a yen for ofall things the Compny Commander'swife! And her actin like LadyAstor's horse all because I onlygot here on time!

Warden's burst shatters the tension. Karen breaks intolaughter. After a moment, Warden joins in.

KARENOn the other hand, I've got abathing suit under my dress.

WARDENFunny. I got one in a U-Drive-Itparked 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


50/161

49.

MEDIUM SHOT COUCHFatso's piano music o.s. Prew is slumped on the couch. Hestubs out the cigarette, which is almost burnt down. He seessomeone coming toward him, slowly raises his eyes. Lorenecomes into shot, looks down at him.

PREWHow's the surfboard rider?

LORENEThat was a terrible way to haveacted. What you did.

PREWI was jealous.

LORENE(laughs)

You're a funny one.

PREWWhat do you dames want? To takethe heart out of a man and tie itup in barbed wire?

LORENE(angry because she reallylikes Prew)

Now, look here, what do you thinkMrs. Kipfer pays us for? We'rehired to be nice to all the boys.

They're all alike. Is it soimportant?

PREW(stands; urgently)

Yes, it's important. Maybe we seemall alike but none of us is everall alike.

(pause)All right, I'm sorry about before.

LORENE(touched by his outburst)

That piano is about to drive me outof my mind. Let's go up to Mrs.Kipfer's suite and sit there. Shelets us use it sometimes... forsomebody special.

PREWAre you mad?


51/161

50.

LORENENo, I'm not mad.

PREW

Because if you're still mad I'djust rather we called the wholething off.

LORENE(takes his arm)

You certainly are a funny one.

They walk away from camera, merging with the others in-theroom.

DISSOLVE TO:

EXT. OCEAN AND BEACH - NIGHT

FULL SHOT WAVEsweeping over camera, spray flying.

MEDIUM SHOT ON BEACHA tiny beach set among rocks. The pale sand glows in themoonlight. Warden, in a bathing suit, is lighting a fireabout ten yards from the water's edge. Karen is just steppingout of her dress; her bathing suit is underneath. A couple ofGI blankets near the fire. Her teeth are beginning to chatterin the chill of the night air; she raises her arms to the sky

longingly, happily.

KARENI hope the ocean's ice cold. I hopeI freeze in a solid chunk.

WARDEN(sudden, intense laugh)

Just so long's you melt afterwards.

KARENI love the way you laugh.

He stands, moves to her. She laughs, turns and runs into thewater. He runs after her.

FULL SHOT WAVEnear shore, as Karen dives into it. Warden follows her. Thewave washes over them.

INT. NEW CONGRESS CLUB - MRS. KIPFER'S LIVING ROOM - NIGHT


52/161

51.

MEDIUM SHOT DIVANCAMERA ANGLED so we see only back of the divan. We hear softchuckles from Prew and Lorene o.s., then silence for severalmoments. CAMERA MOVES as we hear a few more low, intimatelaughs, 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 ison the order of the vestibule; it, too, has a faded lavenderfeeling. A door leading to another room is half open in b.g.A door leading to a hall is closed. Prew's arm is aroundLorene's shoulder; he is very relaxed, regards her withsomething like wonder. Lorene is mellower, too, making noeffort now to be "the Princess." She speaks as if resuming aconversation.

LORENE... I enlisted, too. I came outhere on my own. To get away from myhome town. In Oregon.

PREWHow come?

LORENEI had a boy friend. I was awaitress. He was from the richestfamily in town. He just married thegirl suitable for his position.After three years of going aroundwith me.

(pause)

It's a pretty story, isn't it?Maybe they could make a movie ofit.

PREWThey did. Ten thousand of them.

ANOTHER ANGLELorene smiles.

LORENESo I left and went to Seattle, as awaitress. And I met a girl just

back from Hawaii. She said she'dmade a lot of money working forMrs. Kipfer. I caught the firstboat. I've been here a year and twomonths.

PREWYou like it much?


53/161

52.

LORENEOh, I don't like it. But I don'tmind it. Anyway, I won't be hereforever.

PREW

No. Sure not. I mean, why shouldyou?

LORENEI have it all figured out. Inanother year I'll be back home,with a pile of bills big enough tochoke a steer. And then I will beall 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, itshand gripping the neck of a whisky bottle. After a moment,Maggio's head follows the arm through the door. He isgrinning like an amateur conspirator.

MAGGIOI dint hear no sounds of combat. SoI figgered maybe you'd like adrink.

THREE SHOTas Maggio comes into the room.

MAGGIOOr otherwise old Sandra would ofdrank it all by herself. She's afine girl. But she drinks like afish.

There are glasses on a cupboard near the divan. Maggio setsthree of them up, starts to pour whisky into them.

LORENENo, thanks. I never drink much.

Maggio stops short of the third glass. He takes a big gulpfrom the first.

LORENEI think it' a a weakness.

MAGGIO(another gulp)

I grant you that.


54/161

53.

LORENEAnd 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.

LORENEWith you it's not a weakness. Withyou it's more like a virtue.

MAGGIOThat sounds like a very profoundremark. Maybe that's why I don't

get it.

LORENE(snuggles to Prew)

Well, it's so.

MAGGIOHey! What you gonna do, marry thisguy? Way you grinnin at him youlook like his wife!

PREW

Get outa here!

MAGGIO(picks up bottle)

Okay. Back to old long-leggedSandra. I love 'em tall. Acres andacres.

He goes out, closing door behind him. Suddenly the door opensagain and Maggio pops back in. He puts the whisky bottle on atable next to the door.

MAGGIO

Enjoy yourself, pizon. You need itmore than me. You be back with TheTreatment tomorrow.

He pops out again, the door closing after him. Prew's gaietydims with the reference to The Treatment. Lorene sees this.Prew rises, goes to whisky bottle.


55/161

54.

(MORE)

PREWThat was nice before. The way yousnuggled up. In front of him.

LORENEWhat's he mean, The Treatment?

Prew doesn't answer. He pours a drink, gulps it.

LORENEWhat did he mean?

PREWSome of the guys puttin me over thejumps because I won't fight.

LORENEFight?

PREWOn the boxing team. I don't want tofight! I don't want to talk aboutit! 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.

PREWIt's a personal thing...

His dread of telling the tale crumbles before hisoverwhelming need to tell it, to have someone understand.

PREWOver at Port Shafter... I used tofight... Middleweight. I was prettygood. I used to work out with DixieWells. He was a light-heavy, but hewas fast... And good. He lovedboxing. He was gonna come out ofthe Army and go right into theupper brackets... People on theOutside had their eye on him.

(rises, paces)Dixie didn't want, to use the sixounce gloves this time. And weneither of us wore headgear,anyway. I was set flat on my feetwhen I caught Dixie wide with thisno more than ordinary solid cross.Dixie just happened to be standingsolid, too.


56/161

55.

PREW(cont'd)

(sits on chair)From the way he fell I knew. Deadweight, square on his face. He dintroll over. He was in a coma a week.Then he finally came out of it. Theonly thing was that he was blind...

(rises, paces)

I went up to the hospital to seehim. Twice. Then I couldn't goback. We got to talking aboutfighting the second time. And Dixiecried... Seein tears comin out ofthose eyes that couldn't see...

There are tears on Prew's face. He turns away from Lorene.

ANOTHER ANGLE SHOOTING FROM BEHIND PREWLorene, very moved, goes to him, stands behind him, puts herhand on his shoulder. Prew does not turn but his hand graspshers. CAMERA MOVES TO CLOSE SHOT of the hands.

EXT. OCEAN AND BEACH - NIGHT

MEDIUM SHOT NEAR SHOREA wave sweeps by camera, Karen and Warden riding it intoshore. 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.

CLOSEUPas they kiss. The embrace is impassioned. When their lipsseparate, their arms remain around each other, holding tight

to something they find is more than sex alone.

EXTREME CLOSEUPas Karen and Warden kiss again, a tenderness in him not seenbefore and which he normally takes great pains to hide.

MEDIUM CLOSE SHOTas their lips separate again.

KARENNobody ever kissed me that way...not really...

They are both disquieted by the quality of their reactions tothe kisses. The jump to banter is a quick defense.

WARDENNobody?

CAMERA MOVES WITH them as they walk to the fire. Karen smilesat him.


57/161

56.

KARENNo. Nobody.

WARDENNot even one? Out of all the manymen you've been kissed by?

KARENWell, that will take some figuring.How many men do you think therevebeen?

CAMERA HOLDS as they sit, beside the fire. Karen wraps one ofthe blankets around her.

WARDENI wouldn't know. Can't you evenmake me a rough estimate?

KARENNot without an adding machine. Doyou have your adding machine withyou?

WARDENNo, I forgot to bring it.

KARENThen I guess you won't find out,will you?

WARDENMaybe I already know.

The defense has given way and there is no mirth in thequestions and answers now.

KARENWhat's the matter? What are youhinting at?

WARDENWhy? Is there something to hint at?

KARENI don't know. Maybe a lot. Or maybeyou just think there's a lot.

WARDENMaybe I do. Maybe there's been along line of beach parties --


58/161

57.

KARENYou must be crazy -- !

WARDENAm 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.

KARENI had to go and forget you were aman -- with the same rotten filthymind the rest of them have. For aminute I had to convince myself youwere different --

WARDENOnly it's true, ain't it?

KARENYes, it's true! A part of it, somesmall part of whatever sewageyou've been listening to. Some dayperhaps you'll get all the story.

WARDEN(yaps up)

All what story?

KARENYou're getting to sound so muchlike a typical male. So you justsweat it out like a typical male.

She starts toward the rocks at the end of the beach, walkingfast, then almost running. Warden runs after her.

MEDIUM SHOT BEACH NEAR PATH UP ROCKSas 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.

KARENAll right. I've never told it toanyone before. But I think now isthe time. I'll tell you the wholebloody messy thing. You can take itback to the barracks with you.


59/161

58.

She speaks rapidly, pouring it out in bursts. For much of thestory her face is in shadow, as if a cloud is passing acrossthe moon.

KARENI'd been married to Captain Dana E.

Holmes two years. Only he was aFirst Lieutenant then. Back at FortBliss. We lived right on a littlelake where we could fish and swimand be alone, our 'dreamcottage'... I'm sure you must beable to picture it. It was off on aback road, four miles from thehighway. Two miles from a neighborand a telephone....

(pauses, then rushes on)I hadn't been married long whenI knew my husband was stepping

out on me. But -- you get usedto that. Your mother tells youthat it's life, that i t happensto a lot of women. Of course,she doesn't tell you until afterit happens.

ANOTHER ANGLE FEATURING WARDENreacting with fury toward Holmes, compassion for Karen.

KARENThen, by that time, you're

pregnant. And at least you'vesomething else to hope for. I thinkI was almost happy that night thepains began. Even though they wereweeks too early, a whole month tooearly. I remember Dana was puttingon that dapper silk gabardineuniform he used to wear. He wasgoing to an officer's 'seminar.' Hewas kidding me about false labor. Ididn't think it was humorous. Itold him to get home early, tobring the doctor with him. He

smiled tenderly and told me aboutthe psychic reactions of women topregnancy. But never fear, he'd beback early. And maybe he wouldhave... if the 'seminar' hadn'tbeen with the hat-check girl in oneof the night clubs.


60/161

59.

WARDENListen.

TWO SHOT

KAREN

He was only a little drunk when hecame in... at five a.m. He lookedalarmed when he saw me. I guess itwas because of my screams. I waslying there on the floor, you see --No, don't say anything. I'm notfinished yet. Of course, the babywas dead. It was a boy. But theyworked over me at the hospital andfixed me up fine. They even took myappendix out, too. They threw thatin free. It was all fine.

WARDENListen. Listen. Please.

KARENAnd, of course, one more thing nomore children. Do you know whatthat means? You're not a woman.You're not anything. You're agutted shell... Sure, I went outwith some of the men after that. Afew months of it. I'd been madedirty and I wanted to be clean. You

can see that, can't you?... Anyway,I got my revenge on Dana. I kept onliving with him.

WARDENThe hateful, miserable --

KARENYou hunt so hungrily for love...love, if you can find it, youthink, might give things meaningagain.

WARDENListens Listen to me --

KARENAll right. I'm listening.

Warden shakes his head, inarticulate with his rage and love.Karen moves closer to him.


61/161


62/161

61.

(MORE)

KARELSENThe Profession wears you down,though, young man. Down thin like aknife what's been honed and honed.All that good steel just rubbedaway...

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.

TREADWELLMan, that's blues! Where'd you dragthat one up Prom?

ANDERSON(bashfully)

Oh, just stumbled on it.

He strums aimlessly again. Prew and Treadwell come over tolisten, prop themselves on chairs. During following, severalothers stroll over and a soldier writing at a desk nearbystops, turns to listen.

CLOSE SHOT PREWwarmed by the friendliness of the music and the moment.

PREWThey got Truckdrivers Blues...Sharecroppers Blues...

Bricklayers Blues... We oughtahave a Soljers Blues...

MEDIUM SHOT GROUPas Anderson repeats a theme he has happened on. It has ahaunting melody.

CLARKHey, look... I betcha we could makeone out of what you just played. Dothat again.

Anderson repeats the melody.

ANDERSONI could bring it down to a thirdline major ending... Regular twelvebars blues.

TREADWELLI bet I got two hundred bluesrecords back home.


63/161

62.

TREADWELL(cont'd)

But there ain't one could touchthat. And that includes SaintLouis. And it could be ours...

The men wear pleased smiles, delighted by the idea ofpossessing something quite rare and truly their own. Prewflips his cigarette into a can.

PREWI got it. We call it the Re-enlistment Blues!

There is a chorus of approval.

PREWLookit, w e could start it with theguy getting discharged.

(reaches over to desk)Hey, fella, can I use this?

The soldier at the desk nods, and Prew takes his pencil andpaper. He writes down the words of the song as they arecomposed during following.

PREWHow's this? 'Got paid out onMonday... Not a dog soljer nomore... They gimme all thatmoney....'

He stops, stuck. Anderson plays the melody and Prew sings thewords to this point. Friday Clark chimes in suddenly.

CLARK'They gimme all that money... Somuch my pockets is sore...'

They laugh. Anderson sings. Prew writes furiously.

ANDERSON'More dough than I can use. Re-enlistment Blues...'

ANGLEAnderson 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:


64/161

63.

INT. GYMNASIUM - DAY

FULL SHOTRaucous, hammering music sweeps away the melancholy blues. Onthe floor of the gym Dhom is punching the bag. In a corner ofthe raised ring Ike Galovitch is skipping rope. In the center

of the ring Thornhill and Henderson are sparring. Holmeshovers beside them, issuing instructions in a strident voice.

MEDIUM SHOT PREWHe is in fatigue clothes, on his knees, scrubbing the floor.There is an expression of stubborn hate on his face. Abovehis head in the shot are Galovitch's feet jumping the rope.In b.g. of shot is Wilson, seated near ring.

GALOVITCHS VOICESome day you get sense in your dumbhead, Prewitt, you be up hereinstead down there!

A fine spray of spit accompanies the words and showers overPrew but he keeps about his work.

WILSONStill makin out you like it, huh?

MEDIUM SHOT IN RINGThere are two water buckets near Galovitch. He skips near oneof them, kicks it. The bucket falls on its side and dirtywater spills over the ring and down onto Prew.

GALOVITCHClean up dis mess, Prewitt!

Prew gets to his feet. Galovitch resumes skipping rope.

GALOVITCHAnd look a life, hurry it up. Youon fatigue detail, not vacation.

Prew climbs into the ring, gets on his knees, starts to swabup the canvas. He is nearly finished when Galovitch"accidentally" kicks over the second bucket.

GALOVITCHClean up, Prewitt!

Prew suddenly stands, no longer able to contain his rage. Hethrows his sponge and scrubbing brush on the ring floor.

PREWClean it up yourself!


65/161

64.

GALOVITCHHow? What!

PREWYou heard me -- rub your own nosein it a while!

GALOVITCHWhat!

Prew starts out of the ring. Holmes intercepts him.

HOLMESWhat's the matter with you,Prewitt? You know better than totalk back to a non-commissionedofficer.

PREW

Yes, sir. But I have never likedbeing spit at, sir. Even by a non-commissioned officer.

HOLMESI think you owe Sergeant Galovitchan 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 manto the barracks and have him roll afull field pack, extra shoes,helmet and all, and then take abicycle and hike him up to Kole-Kole Pass and back. And see that hehikes all the way. And when he getsback, bring him to me.

GALOVITCH

Yes, Sirr.

Prew climbs out of the ring, Galovitch following him.

DISSOLVE TO:

EXT. ROAD - DAY

LONG SHOT


66/161

65.

Par below in the shot are Prew, hiking, and Galovitch, ridingbehind him on the bicycle. The dirt road is steep and the sunpours down, steaming hot.

MOVING SHOT PREW AND GALOVITCHPrew is hunched under the seventy-pound pack as he plodsalong. He is sweat-soaked, puffing, dog-weary. Galovitch's

bicycle is just behind him; he runs the wheels up on Prew'sheels.

GALOVITCHMove along. You not half way yet.Three more miles to top.

A jeep rounds a curve a couple of hundred yards above andmoves down the road. It slows its speed and pulls up when itnears Prew and Galovitch.

MEDIUM SHOTThe jeep is driven by an enlisted man. Sitting next to him is

MAJOR GENERAL SLATER. Galovitch hops off the bike and he andPrew snap to attention. General Slater leans out of thevehicle. He seems puzzled and interested by the odd sight ofthe two men.

GENERAL SLATERAt ease. Wherere you men headed?

GALOVITCHTop of pass, Sir. This maninsubordinate. The Captain isteaching him lesson.

GENERAL SLATER(frowns)

What's your outfit, Sergeant?

GALOVITCHCompany G, 219th, Sir.

The General, still frowning slightly, nods. He signals hisdriver to move on. The jeep starts down the road. Galovitchgets on his bicycle. Prew starts hiking again.

DISSOLVE TO:


MEDIUM SHOTPrew and Galovitch are standing in front of the Captain'sdesk. Prew is at attention, the heavy pack on his back; hisface is drawn and tired; his clothes are plastered to him. Hehas regained his old expressionless look. Warden has swunghis chair around and is surveying the scene. Holmes looks


67/161

66.

Prew up and down, half-smiles.

HOLMESI take it you're ready to apologizeto Sergeant Galovitch now.

PREW

No, sir, I'm not.

Holmes' face sets; he jerks his head toward the window.

HOLMESTake him back up there again,Galovitch. He hasn't had enoughyet.

GALOVITCH(nods unhappily, sick ofbicycling)

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 whoseback is to him. Disgust is reflected on his face.

MEDIUM SHOT WARDEN AND HOLMESHolmes slams his fist on his desk.

HOLMES1 know that kind of man! Hes an

againster. A bitter-ender. Youcan't be decent to a man like that.You have to tame him, like ananimal!

(to Warden)Warden, I want you to prepare courtmartial papers. Insubordination andinsolence to an officer.

WARDENYes, sir.

Warden swings around to his own desk. He thinks for several

moments, tries to sound quite casual.

WARDENToo bad you got to lose amiddleweight like that...

HOLMESWhy? Do you see any other way ofbreaking him?


68/161

67.

WARDENI don't know... But even if he onlygets three months, he'll still bein the Stockade when the boxingfinals come up.

He looks over at Holmes, sees him scowling, weakening.

WARDENHow about just giving him a goodstiff Compny punishment for now?

Holmes ponders the situation unhappily, rubs his hand overhis face,. shakes his head as if the whole thing is too muchfor him.

HOLMESAll right, all right. But throw thebook at him.

WARDEN(pleased but impassive)

Yes, sir.

DISSOLVE TO:

INT. WARDEN'S ROOM OFF SQUAD ROCK - NIGHT

CLOSE SHOT WARDEN SHOOTING INTO SMALL MIRRORHe is trimming his moustache.

WARDENI'm sick of it! They ain't got noright to keep breakin it off inthat kid! Sooner later Holmes isgoing to hound him right into theStockade!

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 goesto his footlocker, opens it, takes out whisky bottle, drinks.

WARDEN

I'm through! I'm turnin in mystripes. I mean it, Pete. I couldtransfer out tomorrow. In Grade --get that? To half a dozen Compnysin this Regmint!


69/161

68.

KARELSENOh, sure. I could be Chief ofStaff, too, except I can't standleaving all my old buddies.

Karelsen is naked now except for a bath towel knotted around

his middle. He slips his feet into Japanese-style, woodenclogs, starts slowly for the door.

WARDENWhere you going, Little Sir Echo?

KARELSENTo take my stinkin shower, if theFirst Sergeant's got no objections.Where'd you think? To the movies inthis towel?

WARDEN

(grins)Hurry up. Let's go over to Choy'sfor some beer and tear up all thetables and chairs.

KARELSEN(smiles, moves faster)

Okay, Okay.

DISSOLVE TO:

INT. CHOY'S - NIGHT

MEDIUM CLOSE SHOT OLD CHOYAn aged Chinese, at least seventy-five, OLD CHOY has a longwhite beard and wears a black skull cap and an embroideredrobe. He is motionless, surveying the pandemonium which wehear over shot: the sounds of men laughing, talking andshouting blend with jukebox music blasting Chattanooga, ChooChoo. 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 cementwalls and a cement floor; the only thing that might be calleddecorative is the jukebox. The place is crowded with men fromSchofield, a raucous assemblage; everyone is drinking beer

and the smoke hangs in thick layers. At a table near the doorsit Prew, Maggio, Clark, Anderson, Treadwell and Mazzioli. Ata corner table behind a forest of beer bottles and cans areWarden, Stark, Karelsen and Chief Choate.

GROUP SHOT WARDEN'S TABLE

from here to eternity (1953)

Documents