If a Tree Falls

IF A TREE FALLS Screenplay by Robert A. Crimmins

Felton, Delaware robcrimmins@comcast.net

INTERIOR - HOME OFFICE - DAY The reflected light from a home movie screen illuminates JENNIFER MOSCARDI’S face. The flickering, gray light from the black and white film sharpens her young features. She is completely absorbed by what she is watching and very disturbed by it. Her coloring is the result of her fear as much as the pale light. She is staring, and occasionally wincing but her gaze never falters from the screen. The images are cutting her mind but she must not turn away. The clicking, mechanical sound of the 8mm projector is almost piercing.

Bright, white light bathes her face as, mercifully, the film ends. The clatter from the machine changes to include the steady slapping of the film tail striking the projector as the take up reel continues to spin.

Frozen by the images that are still vivid in her mind, she continues to stare at the screen.

The spinning take up reel now fills the screen and the mechanical sound of the projector prevails.

The door in the background opens and RAY LOCKNER, a tall, hard figure, in work clothes stops in the doorway to see who is sitting next to the projector. The out of focus, spinning reel fills the foreground and slightly obscures Ray's silhouetted figure. As his eyes adjust to the low light he recognizes the seated figure.

RAY Jenn, What are you watching?

As if in a trance, she continues to stare at the blank screen.

Slowly, she turns to face her fiancĂŠ. As soon as she looks at him, her countenance changes from the frozen, shocked expression that she has held until now to a pained grimace. She begins to speak but can't. Instead, she stands and runs to the door. He can see that she will try to run past him without answering so he bars her way. She tries to push past him but he stops her, holding her upper arms in his hands. Pulling her slightly to him so he can look into her eyes he sees her fear and revulsion.

RAY What's wrong?

She looks into his eyes and starts to speak.

JENNIFER I ...I found it.

She pushes him away with all her might. Unprepared for the force of the shove, he stumbles into the doorframe. She runs from him, through the living room, to the front door and out.

He runs after her as far as the front door then stops and calls after her.

RAY What's wrong!

Ray watches her run down the street toward the harbor. His view is from the hill above the docks and businesses of a New England fishing village. It is early on a summer evening. People are returning home from work and in the distance some of the fishing boats are nearing the docks. Gulls abound, particularly out near the water.

He starts to follow her but changes his mind and quickly returns to the projector to look at the film reel. The label on the reel reads "PHOTO DETACH." He now knows why she ran and the meaning of her expression. He sits heavily and stares for a moment at the spinning reel before turning off the projector.

Leaning back in the chair he looks up at the spinning ceiling fan and allows himself to be calmed by the gentle turning of the blades and the low noise of the moving air as the picture slowly fades to black.

Music plays; the beginning guitar solo from "Summertime" by Big Brother.

EXTERIOR - COUNTRY ROAD - DAY At the word, "Summertime", in the song, black is replaced with bright daylight and a clear blue sky. Half a mile distant, on a long straight country road is a mid-sixties muscle car approaching at very high speed. As it nears, we can see that is a 1966, black GTO with wide rear tires. The engine is issuing a low roar and just as it reaches us the driver kicks it, causing the 4-barrel carburetor to open up. The dual exhausts thunder.

One-and-a-half tons of painted steel and chrome flashes by the camera, sucking dust, leaves and stones in its wake.

CAR INTERIOR The occupants are four young men, in their late teens. The Big Brother tune is playing on the radio. Ray is in the back seat, behind the driver, ED MUNION. Ed is wearing his high school jacket. It's maroon with white leather sleeves and a varsity letter on the left breast. He is short and solidly built, his hair is short, and there is a healing cut under one eye and another one at the hairline. There is also a scar on his chin.

He is controlling the car with his fingertips, like he's playing pool, and he's chomping with all his might on four sticks of gum. Ray is wearing a plaid hunting jacket, jeans and boots.

He is only two years younger than he was in the first scene and although he isn't a childish figure now, he is not the man that we just left. He is taller and thinner than Ed and his motions and speech are relaxed and fluid.

He and JAMES NERO are casually chatting in the back seat. James is also wearing a letter jacket and his face is also battered. One eye is slightly swollen. He is about the same size as Ed and similarly built but his Italian coloring and features contrast with Ed's reddish hair and ruddy complexion. The fourth rider, GABRIEL RUSSO, is in the front, passenger seat. Gabe, the least athletic of the four is wearing a navy blue pea jacket and his long hair is spilling out of a wool skullcap.

Ray and James are oblivious to their extremely high speed and the driver, Ed, is also imprudently casual. Gabe is slightly nervous and trying to hide it.

RAY Doesn't she just want to make you cry. No one sings the blues like Janis.

JAMES She makes me want to puke. woman's a dog.

The

RAY That voice. She’s lived the blues till they’re black. You can just hear it in that voice. She's beautiful.

JAMES She sounds like she's in pain all right.

ED Does Jennifer know about your attraction to skagwoman?

RAYMOND Jenn digs Janis.

GABE Ray, who's gonna be at your party.

RAY Mom and Dad, Uncle Harold, Jennifer and you guys.

GABE Last night I was thinking about it.

We've had birthday parties since we were five. It's been twelve years and at four parties a year that's forty-eight birthday parties. We missed a few over the years so we had probably 40 parties between the four of us.

ED So. GABE This is the last one.

RAY Why is it the last one? sometime soon?

Are we dying

GABE It's February and the next birthday is Ed's in September. You guy's will be scattered to the winds by then and I'm getting married. Hell, we might all get drafted. Even if we do get together for a party it'll be different.

ED No shit. It's a rite of manhood. more kids' birthday parties.

No

The conversation stops and they all look outside. Ed lets off on the accelerator slightly and Gabe doesn't conceal his relief.

From the road surface, we see the car pass over at eighty milesper-hour, then reach a curve in the distance and turn out of view.

INTERIOR - RAY'S PARENT'S HOUSE, KITCHEN - DAY It is a comfortable, Victorian house in one of the older sections of their Atlantic coast town. The kitchen is large.

On one side of the room is a double sink under a window that looks out on the back yard. Sunlight through the window fills the room. The back door is on the wall with the window and sink. A large table with chairs is on the opposite side of the room. A hall leads from the kitchen, through the center of the house to the front door.

Jennifer and RUTH LOCKNER, party, working at the sink ALBERT LOCKNER, Ray's dad, gifts are on the table and

Ray's mother, are preparing for the and counter top with their backs to who is seated at the table. A few the birthday cake is on the counter.

Mrs. Lockner is an attractive woman with a good figure and a Donna Reed kind of perkiness and propriety. Mr. Lockner is a self taught engineer who has worked his way up, through the ranks, in shipbuilding.

MR. LOCKNER How about it Ruth? Ray's eighteen.

MRS. LOCKNER Al, I swear, every year you say the same thing, 'How about it Ruth. Ray's 8, or Ray's 14.' Why? MR. LOCKNER Because you're answers make me laugh.

When he turned three he was in the middle of a tantrum when I asked and you threw a piece of fruit at me. On his eleventh birthday I asked right after he came in from playing and had given you wildflowers. You cried.

When he turned fifteen you said you couldn't wait until his twenty-first birthday. So what's your answer this year? This year he's a man.

The two woman are side by side, working at the counter. Both react to his comment. Jennifer thinks of Ray as a man, hopefully, her husband to be. She keeps looking down at her work but a smile comes to her lips. Mrs. Lockner stops working and looks out the window over the sink to the swing set in the back yard. Memories of Ray as a child, playing in that yard, come to mind. Jennifer looks at Mrs. Lockner and notices that she is looking at the swing set. Mrs. Lockner turns to Jennifer and sees her smile which Jennifer quickly tries to remove. Both know the other's thoughts and both quickly return to their work.

Mr. Lockner has watched the exchange between the two women and he is tickled.

See.

MR. LOCKNER You did it again.

Jennifer and Mrs. Lockner look at each other and both pick up radishes and throw them at Mr. Lockner. Both missiles hit him hard on his head and the two women laugh and congratulate each other.

The hall from the kitchen to the front door permits a clear view of the front door. It is open and through the glass, storm door, we can see the front yard and the street. As the radishes bounce off Mr. Lockner's head the car with Ray and his friends screeches to a stop in front of the house. The doors open and the boys get out. Mr. Lockner gets up and strides purposefully to the front door, yelling.

MR. LOCKNER Goddamn Ed I must have told you a hundred times not to do that! The street in front of this house looks like a racetrack!

As he reaches the front porch he meets the four boys. Ray, Gabe and James come in but Mr. Lockner tells Ed to turn around and go back to the street. He continues to yell as they both walk back to the street. The other three come down the hall laughing and enter the kitchen.

Jennifer sees Ray coming toward her with his arms out to hug her. She makes a very slight head motion towards Mrs. Lockner to tell Ray to go to his mother first. Mrs. Lockner's attention remains on her work and she doesn't see Jennifer's signal to Ray. He winks at her and puts his arms around his mother then kisses her on the cheek.

MRS. LOCKNER Hello honey, hi boys.

James and Gabe sit at the table.

GABE Hi Mrs. Lockner, Jenn.

JAMES Hey Ruth, what's happenin' Jenn.

Despite years with these boys and acceptance of their peculiarities, Mrs. Lockner is still mildly exasperated at James' familiarity but she is not insulted. All are very comfortable with each other and the house. Gabe picks up a chip out of a bowl, shows it to James, and with a smile, slowly puts it in his mouth. James gives Gabe a look that says "very funny" then looks away to the others.

JAMES Ray. We have to stop hanging out with non-wrestlers during the season.

They're a bad influence.

RAY That's funny. Gabe is a bad influence on you. He reads Shakespeare and your favorite pastime is rolling your boogers.

Jennifer and Mrs. Lockner are disgusted but James is unaffected by the insult. Instead he continues to watch Gabe savor his chip.

JAMES Ugh! Look at him. Just eatin' and eatin'. You had breakfast this morning too didn't you?

GABE Yea. Come to think of it, I had a pretty big lunch.

With that, he turns in his chair and tosses the chip in the trash.

MRS. LOCKNER Can you eat today Ray? RAY Nooo!

MRS. LOCKNER Don't you get snippy with me mister.

It's not my fault you picked wrestling and a weight class fifteen pounds less than your natural weight.

RAY You and dad should have known I was gonna be a wrestler and worked it out so that I was born in the summer.

Then on my birthday we could go to the beach and I could eat cake.

JENNIFER I'll be so glad when this season is over so you can start eating like a normal person.

RAY You'll be glad? I'll be glad. so hungry.

I am

JENNIFER (whispering) Are you nervous?

RAY Real nervous. This is the biggest match of the season, for the team and me. If I can beat Maher, I should be able to place in the regionals.

JENNIFER Are you ready?

Mr. Lockner and Ed enter the kitchen.

MR. LOCKNER Ruth, that street is a mess. It's black! It was clean before these kids started driving. And they won't stop doing it. Any more they only do it to make me mad!

ED I try not to Mr. Lockner but there's so much rubber and oil out there now that the tires don't hold no matter how I stop.

This "explanation" really gets the father hot and he rushes at Ed. As Mr. Lockner gets to him, he reaches for his head to "lock up", as wrestlers do when they are on their feet, facing each other. Ed catches Mr. Lockner's arm under the elbow as he is reaching for his head and pushes it up, spinning him as he does. He then gets behind Mr. Lockner and puts his arms around the older man's waist, pinning his arms to his side in the process. Ray rushes over, laughing.

RAY I'll save you Ed! Ray punches his father repeatedly in the stomach and chest. Mr. Lockner laughs and cusses as the tender beating continues. They let him go after 15 to 20 punches.

MR. LOCKNER You rotten kids. Punk wrestlers.

MRS. LOCKNER Al, you're just as bad as they are.

Mr. Lockner sits at the table to catch his breath. Ed sits down next to him and asks, with mock concern if he is ok. They laugh and begin conversation with Gabe and James.

Jennifer and Mrs. Lockner continue preparations for the party.

RAY Ed, Jenn wants to know if I'm ready for Maher. Tell her.

ED Jenn, your boy's gonna get killed.

RAY I'm ready. I was shootin' and floatin' at practice yesterday better than anybody you ever wrestled.

I know. him.

ED That guy won't know what hit

All are quiet. These boys and their families have lived with wrestling all their lives and they all know how Ray feels. He is so nervous about tonight's match that, now, as the thought of it grips him, he must take a deep breath and as he does he shudders slightly. All notice and are with him in his thoughts.

Ed turns to the kitchen window and sees someone approaching.

Al's younger brother, a large man with mechanic’s hands, is coming through the back gate. He has a package under his arm and a book in his hand.

RAY Uncle Harold's here and he brought a present.

Ray opens the door to admit his uncle. Harold waves greetings to all and Mrs. Lockner takes his coat.

Hi Unc.

RAY Whatcha got?

Ray reaches for the package but Harold puts it behind his back and turns so Ray can't get it.

HAROLD It's your birthday present you little shit.

Ray persists but Harold easily holds Ray off with one hand.

HAROLD Cut it out or I'm not givin' to you.

Ray backs away from him.

RAY C'mon, what is it?

HAROLD (to Ray's mother) Can I give it to him now? want to use it.

He might

MRS. LOCKNER Yes, go ahead.

Harold hands the package to Ray. Ray, trying not to seem excited, opens it and reveals an 8 mm movie camera. It's a fairly high quality, all metal camera with three attached lenses that rotate into position over the aperture. It's small enough to be comfortably operated in one, large hand. Ray turns it over in his hands, examining the details. He then looks up to his uncle.

RAY Thanks Harold. This is great.

He stops momentarily as if something isn't right.

RAY You said people should live their lives, not take pictures of it, or watch somebody else's.

HAROLD What do I know? I'm just a ship fitter. If you want to take pictures, if it makes you happy, then you should.

RAY Is it hard to use?

Harold walks to Ray and Ray hands the camera to him.

HAROLD No, most of what you need to know is on it. See, (Harold rotates the lens assembly) this lens says "telephoto", this one says "wide angle" and the other one is for in between shots.

Here's the lens opening or "f stop".

You change it for different light. I got you a book too. If you want to get good with it you need to study.

Harold tosses the book to Ray who sits and eagerly opens it to the first chapter. He holds the camera in his left hand at eye level while he refers to the page that identifies the parts.

GABE Jennifer, can you pick up Donna tonight at her house. She wants to go to the match.

JENNIFER Sure.

ED What!? The love child is coming to see the barbarians?

JENNIFER She doesn’t put you guys down. I've never heard her say anything against your sport. Just because she talks about peace you make fun of her.

She'll cheer for you Ed. ED I know Jenn, jeez, get your claws in.

MRS. LOCKNER All right let's sing Happy Birthday.

She carries the cake to the table then she and Jennifer put on the candles. Ray doesn't notice. He is still studying he camera and the instruction book.

JENNIFER Ray. Yoo hoo. This is your birthday.

Reluctantly, he rises and joins the others as his mother lights the candles.

INTERIOR - HIGH SCHOOL GYMNASIUM - NIGHT It's an average size high school gym filled to capacity. On the floor, in the center of the room is a wrestling mat. Under the basketball backboards are fifteen folding chairs, in a line, for the teams. Small mats are on the floor behind the chairs.

About a thousand people are in the stands and sitting on the floor all the way to the edge of the wrestling mat. The crowd is waiting for the teams to come out for their warm up exercises. There is a lot of noise. The people are excited and anxious for the match to start. This is an important match between two rivals in a community where high school wrestling is the main winter event.

VARSITY LOCKER ROOM The buzz in the gym is barely audible here where the team is quietly waiting.

The room is about 25' X 25' with a high ceiling. A half dozen incandescent light fixtures hang from above. Lockers line all four walls. Seated or lying on the benches in front of the lockers are Ray, Ed, James, and the other nine members of the team. Some are directly under the light fixtures so their features are discernable. Others are in lower light or shadow.

None are speaking.

All are deep within themselves, each in his unique ritual that will prepare him for the contest. The battle that they are about to engage in is extremely demanding. Before their six minutes of wrestling is over many of them will be completely exhausted, unable to even close their hands. At least one will sustain some sort of injury and some may experience panic from the claustrophobia induced by the awful combination of exhaustion and constriction. Their families, girlfriends, teammates and schoolmates will witness their battle and pain.

Ed is on his back on a bench looking up at the ceiling. His eyes are unmoving and his expression reveals intense concentration. James is rocking back and forth slightly, mouthing promises to himself. His fists are clenched.

Unlike most of the others in the room, Ray's back is to the lockers and the look on his face is more serene. He is serious but his ritual doesn't include oaths. He reasons that he will win whereas the others demand it of themselves.

The coach, a powerfully built man in his mid-thirties, with a red beard and wearing a sport coat and tie, enters abruptly.

All look to him. He instantly changes from the agitated and nervous state that he was in, to the calmer demeanor that the atmosphere of this room demands. Slowly he looks at each face, worn and seasoned by the physical and emotional rigors of sixteen wrestling matches and ten weeks of practice. There are black eyes, cauliflower ears, and cuts. Some are much worse than others. Ray is one of the least damaged. After looking at each wrestler, the coach realizes that a pep talk isn't necessary.

COACH Let's go.

All stand and walk to the door. Some remain within themselves.

Others encourage their teammates. Ray, Ed and James stay together. They do not speak or look at each other but they remain in physical contact as they leave the room.

INTERIOR - HIGH SCHOOL GYM - NIGHT The other team has already warmed up. Some are sitting on the chairs lined up on their side of the wrestling mat. Others are standing. Four of the lower weights are lightly wrestling on the mats behind the chairs. Their moves and counters are very

smooth, one following another in rapid succession. These two pairs occupy only a portion of the screen, perhaps 1/4 or less, but their motion is the dominant feature. Wrestlers can progress from move to counter endlessly when they cooperate with each other. It’s like a dance. Lightweights can do this with great speed. These wrestlers are floating and countering with fluid grace.

As Ray and the rest of the home team enter the gym from the door at the far end of the room the crowd roars.

They run, in single file, to the mat outer circle. During three laps around the circle they clap and shout, raising the crowd's excitement. Ed and another wrestler break from the line and go to the center of the mat to lead calisthenics. The others stop running and face the center. They begin with rapid jumping jacks with all members of the team in perfect unison. They continue with pushups and sit-ups, again, done as a well practiced team. They run in place, drop, and spring back up with lightning quickness and crisp precision. Until they break up into pairs for stretching exercises and light wrestling, their appearance resembles a military drill team.

Ray's parents are clapping and shouting encouragement to the team as are all those around them. Mrs. Lockner leans toward her husband so that she can be heard and points toward the other team.

MRS. LOCKNER Which one is Ray's?

MR. LOCKNER The one standing next to the end chair, nearest us.

ERIC MAHER is a very powerfully built 177 pounder. He is shorter than Ray and appears much stronger, more like a body builder than a wrestler. He is intently watching Ray warm up.

He flexes and hardens as he studies Ray. To Mrs. Lockner, he seems malevolent. Although she has watched Ray wrestle many times before, she has never seen an adversary like this. Mr. Lockner looks at her and then to his son's opponent.

Maher's massive arms are at his side and he is slowly opening and closing his hands. His facial muscles tighten as he clenches his teeth. A drop of sweat rolls down his cheek. Mr. Lockner notices Maher's heavily muscled and well defined neck,

shoulders and arms as he repeatedly opens and tightly closes his fists.

Turning to his wife, he notes her worried expression.

MR. LOCKNER He's tough but Ray will handle him.

A guy like that might have made the varsity squad on his strength only.

Ray's a better wrestler.

Both parents look to the mat where Ray's team is concluding their warm up.

Ed calls the team in and all gather at the center of the mat.

He kneels and they all briefly huddle over him. With a low cheer they break and leave the mat. The smallest among them, the 98 pounder, puts on his headgear, and takes off his warm up jacket and pants. He walks to the edge of the mat where the coach is waiting while the others sit or continue warming up.

He is bouncing on his toes, with his arms loosely swinging at his side, as the coach speaks and the announcer identifies him and his opponent. As the introduction ends, all the lights, except those over the mat are turned off and the referee motions to both wrestlers. Both sprint to the center of the mat.

The crowd cheers as the wrestlers abruptly shake hands and step back to opposite sides of the mat inner circle.

One wrestler (from the home team and in green) is on the left, the other (in red), on the right. Both are slightly crouched and leaning forward, ready to spring. The referee is between them, facing us with his whistle in his mouth and his right hand extended, ready to give the signal to start the match. He is much taller than either of the thin boys.

Both wrestlers are tense. One is fifteen, the other fourteen and both are pale little skeletons with bulbous, hard joints.

They're baby faces look very determined, like starving angels fighting for the Lord.

The boy on Ray's team is breathing deeply and his lips are tight, front teeth together, so his breath is a rush. He is not aware of the crowd. For him, the crowd is faint, in the background or screened from him. All we can hear is his breathing.

His young face is worn. There is a scar over one eye and his nose, which has been broken, is crooked.

Except for specific injuries and coloring, his opponent presents a mirror image. His breathing has a different rhythm and equal intensity. His mouth is slightly open and his breaths are longer and deeper.

The crowd noise, which is very high, first overshadows, then obliterates the breathing. The referee jerks his hand upward and simultaneously blows his whistle to start the match.

The two wrestlers spring towards each other. Green goes for red's head to tie up and red feints a lock up, then drops and shoots in on green's legs. Green, hits a long, good sprawl, kicking his feet up and back while forcing Red's head down with his forearm. He then tries to spin to his left and get behind for the takedown but red counters by lifting his right arm and wrapping it around green's waist. Green counters by overhooking the arm that has his waist and this series of moves and counters (which took less than five seconds) ends. Both wrestlers clamp down and look for an opening. They are side by side with green on red's right.

Again, we hear the breathing of the wrestlers, this time both at once. Their exertions cause them to grunt. The tone of each varies according to which wrestler has the advantage. Some sound hostile and aggressive; others are desperate.

Red is on both knees and his head is up. If he drops his head his opponent will push it to the mat and gain an advantage. His left hand is "posted" on the mat, supporting him. With his arm around green's waist and his other three appendages forming a tripod he is in a stable, defensive position.

Green has the overhook ("whizzer"). He mostly stays on his feet but he can't stand straight up as long as the other wrestler has his waist. As their weights shift he will drop, briefly, to one knee and then the other. He is in a stable offensive position and his right hand is free. He can use it to control red's head, to remove red's left-hand post or to push away and break.

Still the breathing - crowd noise in the background varies slightly in intensity as the wrestlers gain or lose advantage.

Momentarily there are no large movements and the crowd noise decreases. Both boys are clamped up and straining. Green is

free from the waist up except for his left arm which has the overhook. His head and back are up and there is not much that he can do because he is only supported by two points that he controls and a third point that red controls. This support system requires that he frequently shift his upper body as required to relocate his mass. Each shift and movement is met with some force or movement by the other wrestler.

Red works the mass relationship and the extremely good purchase he has on green's waist. Red's main disadvantage is that his head and upper body are lower than green's.

Although both wrestlers are expending a great deal of effort and there are many short, hard motions, neither wrestler is gaining advantage. The general crowd noise is low now and we can hear individual instructions from fans and coaches. Suddenly, Red pushes into green and both stand, then separate. Takedown shots and flurries of moves and counters continue until green manages to get behind red. Locking his arms around his waist he lifts red and violently takes him to the mat. The crowd roars for the first points of the night.

The force of the impact stuns red and he appears hurt. Green moves up to his head and wraps his arms around his opponents head, neck and shoulders, applying torque to his upper body. He is taking brutal advantage of the lapse in Red's determination that the impact has caused. Red seems severely bound but he resists the turning force. Summoning all his strength he manages to loosen the vise. His face is red and the skin on his head and neck, thinned from weeks of dieting, is tight over straining muscles and swollen veins as he frees his arms then pulls himself up to all fours. Now free from the cruel constriction he is angry and resolute. Fueled by his rage, he begins a rapid succession of moves; sitouts, turns, and rolls, but green floats with great speed and grace. His technique is so fast and fluid that green cannot arrest the motion but he somehow manages to float and successfully counter. They seem to feed on each other’s energy and resolve and the moves become even more rapid and the contact and force of the counters more brutal. Finally Red stands. Green stays behind him with his arms tightly wrapped around his waist. Red puts both hands on one of his opponent’s wrists. He looks up and sets his jaw, then sits to the mat and thrusts his hips forward while he forces Green's hands apart. With the grip broken, Red now stands and turns in. He has escaped and the referee awards him one point.

The score board shows the weight class (98 pounds), team score (0-0), match score (home 2, visitors 1), period and time. It changes to 136 pound class, team score of 10 to 9, match score green (home) 7, red 4. One minute, thirty seconds into the third period. With the scoreboard change comes an audio change; heightened crowd noise.

The 136-pound wrestlers are on opposite sides of the mat. Green is on his back breathing heavily. The red-haired coach is on one knee next to him, providing instruction. He is speaking rapidly and thrusting his finger toward his face as he emphasizes points. He is also occasionally turning his shoulders and upper body as he illustrates moves to his wrestler. The assistant coach is standing over both and fanning a towel at the boy on his back.

The red wrestler is standing on his side of the mat with both of his coaches. They are attending a bloody nose, which is why the match is temporarily stopped.

Red's head is back and two coaches are standing with him. One coach is applying pressure with a towel to his nose. The other is excitedly giving instruction. Red is breathing very hard and the front of his uniform is heavily spotted with blood.

The referee is at the scorer's table watching a clock. It is counting down the "injury time" and as it reaches 0 he turns and walks briskly back to the mat. He looks toward red's coaches, blows his whistle and motions for the wrestlers to come back to the center of the mat and resume the match.

Green springs to his feet and puts on his head gear then bounces on his toes and shakes his arms as his coach gives him final instructions. The coach slaps him on the butt as he sprints to the center of the mat. Red's coach takes the towel away and looks at the injured nose. The bleeding has stopped. His coach sends him to the mat with a butt slap also. Red walks to the center of the mat and puts on his headgear as he goes. The referee is walking to the center of the mat and stops at the center circle.

The referee takes a look at Red's face to satisfy himself that the bleeding has stopped then steps to the center of the circle.

He puts his whistle in his mouth, takes a quick look at both wrestlers and puts his right hand in front of him to start the match. Red's coach is pacing.

The ref starts the match then steps back as the two wrestlers approach each other. Red shoots for green's legs from several feet away with lightning speed. He lifts green high and drops him to the mat executing a perfect double leg takedown. The referee signals two points and the crowd roars.

Maher responds to his teammate's success with a shout and a raised fist.

Ray is watching his opponent. He considers for a moment the ordeal he is about enter and his eyes narrow and lips tighten.

Leaning back slightly he looks up and his gaze fixes on something above. He takes a deep breath and slowly lets it out, continuing to stare at the ceiling.

The object that has caught his eye is a large exhaust fan. crowd noise subsides as we hear the turning fan blades and humming motor.

The

CUT TO: The two 168 pound wrestlers at the center of the mat shaking hands. The referee raises green's arm. The crowd cheers and both wrestlers walk off the mat to their teammates who are at the edge of the mat to meet them with congratulations and consolation.

The scoreboard shows home: 32, visitors:28.

Ray walks into the frame from the left. The coach leaves the team and walks to the edge of the mat, meeting Ray who is putting on his headgear.

The coach is sweating and excited. His tie is loose and the top button of his shirt is undone. He has long since removed the sport coat. Now he is in a short sleeve shirt that is stretched over a muscular frame. He takes Ray's head in his hands and pulls Ray towards him so that their faces are an inch apart.

Ray looks in his eyes and listens intently.

The crowd knows the importance of this match and they are cheering loudly. Ray's coach must shout to be heard, but his voice is controlled.

COACH We need you Ray. We're not gonna win the heavyweight match.

Ray looks back over his shoulder to his team and their heavyweight who is warming up. He is only slightly larger than Ray. He then looks at the other side of the gym and the other team's heavyweight who is at least fifty pounds heavier.

COACH Your it buddy. If you win we win.

You can beat this guy. Use your head.

Don't let him clamp down on you. Be fast.

Ray nods then looks to the other side of the mat as Maher is finishing his stretching exercises.

We see Jennifer, DONNA SHEPHERD, on her right, and two other friends on her left. These two are talking excitedly; not about the match. Jennifer is sitting forward on the bleacher seat and her hands are gripping it. Her back is straight and she is craning her neck. Donna is an attractive girl dressed in bellbottoms and tight blouse. She is the only one in the crowd wearing a hat. She is relaxed and confident, even slightly aloof although she is interested in the spectacle and the reactions of the people around her. She is the same age as the others but more mature.

She looks at Jennifer and noticing her agitated state she takes her hand. With her friend’s touch, Jennifer relaxes slightly.

DONNA This is really interesting. I should have come to wrestling matches before. Everybody is really turned on.

She leans back slightly to look at Jennifer's whole body.

DONNA Do you always get so nervous?

JENNIFER No, but this guy is the best that Ray has met all year. They're both undefeated.

DONNA Well take it easy. Ray is very good.

That's what everybody says. He'll be ok.

JENNIFER Yes, he is very good, but look at the guy.

Donna turns to see just as Maher is removing his warm up pants and pull over. He is very pumped up.

The other two girls look also and the sight excites one of them.

The other notices her friend’s reaction and they both giggle.

Shut up!

JENNIFER Ray has to beat this guy.

1ST FRIEND I wish that guy could beat me, just a little.

Jennifer rolls her eyes as her two friends laugh. She then turns again to Donna for support but this time Donna is no help.

She too is admiring Maher's physique and she is at a loss for encouraging words. Instead she smiles; weakly. This does help because it makes Jennifer laugh.

Ray strides to mat center to meet his opponent, he is calm and loose, rotating his head to limber up his neck and shaking his arms to loosen his triceps. He stops at the edge of the inner circle, spreads his legs and reaches to the mat to stretch his hamstrings. He then straightens, raises his arms and twists his torso to pull the muscles of his lower back. He doesn't look at his opponent.

Jennifer relaxes now and smiles as she admires her boyfriend and his confidence. Donna notices the remarkable and sudden change in her friend.

Mr. Lockner is proud of his son's demeanor. Mrs. Lockner, on the other hand, is looking at Maher and she is still worried.

Maher's coach is giving instructions and encouragement. The crowd noise is drowning out his words and the din grows as they stomp their feet on the bleachers. Maher is looking down and

nodding. He then looks past his coach to Ray who is at the center of the mat, waiting.

Finally his coach takes his hand and shakes it, then sends him to the mat. His eyes remain on Ray as he walks slowly to the center circle. The referee is waiting impatiently with his hands on his hips and his whistle in his mouth. The slow walk is an unusual approach and it excites the crowd. They also know the importance of this match so the cheers and stomping become deafening.

Jennifer and Donna both are now completely caught up in the excitement and both have their hands cupped over their mouths, screaming to Ray. Opportunities to scream are few for Donna and she is enjoying herself.

As Maher finally reaches the center circle the referee motions for the wrestlers to shake hands. They step in, shake hands in a very unfriendly and abrupt fashion, and step back. The referee puts his whistle in his mouth and his right hand in front of him, then simultaneously blows the whistle and jerks his hand up to start the match.

The two cautiously approach each other and both are in perfect form for wrestlers on their feet. Their knees are bent and their backs are straight with heads up. Their hands are at about chest height and their arms are bent. They reach for each other but neither can get a grip because each tentative motion of the hands and arms are deflected. This match is beginning as many do, with a feeling out of the opponent. Each man moves to his right and left or makes a feint for legs, arms and head to get a feel for how his opponent reacts and how strong he is.

Any offensive move could produce an advantage or begin a series of moves and counters.

With good wrestlers in important matches this phase of the contest is short. Tentativeness is soon replaced by committed action.

The referee moves quickly and constantly around the wrestlers.

He must always be in the best place to judge who is in scoring position.

Suddenly, Maher shoots in on Ray's legs. He executes a clean double leg pick up and lifts Ray off the mat. The crowd roars.

Although points aren't scored for a takedown until one wrestler

is in complete control of the other, the crowd believes that the two-point award is imminent.

Ray is brought to the mat in a sitting position with Maher's arms locked around his waist; his right shoulder in Ray's stomach. Ray's chest is on Maher's back and his arms are locked around Maher's midsection. Holding on in this manner prevents award of the takedown but it puts Ray in danger of being rolled to his back and getting pinned. Maher is struggling to free his head and move up on Ray so he can gain full control for the takedown or even turn his current advantage into a pinning combination.

Jennifer and the others are leaning forward and yelling. The people around them are screaming to Ray to "get his hips out", "stand", "turn in", "give him two"; a stream of instructions in wrestling jargon.

Maher's team is also wildly cheering and shouting instruction.

A third of them are on their feet shouting encouragement to their teammate. The heavyweight is on the small mat behind the chairs stretching and preparing for his match. The rest are leaning forward in their seats urging their teammate to complete the takedown.

Ray's team is carrying on in exactly the same fashion. His coach is at matside on his knees with his hands cupped to his face, shouting instruction.

Now we hear the breathing and grunts of the wrestlers with the crowd noise low in the background. Their expressions show total focus and concentration on a task that is as physically demanding as any they will go through. During the few seconds that this exertion lasts their universe consists of their bodies, their training and their instincts. The noise being generated by the hundreds of people around them is not heard.

Ray reaches back to the mat with his left hand to support himself, and raises his hips and Maher's upper body. Maher reaches back with his right hand to take Ray's hand off the mat and remove the support but Ray has his weight on it. With all his might he is able to completely lift his hips and swiftly pull his legs from under Maher then push Maher's head away and separate his grip. His exertion is audible and sounds like a low roar. Ray has forcefully executed a difficult counter and the crowd is thrilled. Once back on his feet Ray is again aware of his surroundings and hears the cheers.

Ray's coach, relieved, returns to his seat with the team.

The wrestling is no longer the least bit tentative. Both wrestlers are aggressive. Each shoots and counters repeatedly in a brilliant display of wrestling ability. At one point their momentum carries them off the mat and into the people sitting on the floor.

There is an incredible amount of motion for wrestlers this heavy and it is a level of activity that cannot be sustained.

The first period ends with Ray picking up Maher and taking him down out of bounds. It is a clean takedown but Maher managed to force completion of the move off the mat so no points are awarded. They release each other and roll to their backs gasping for air. The score at the end of the first two minutes is 0 - 0.

Both wrestlers are on their backs, chests heaving. Ray rolls over to his stomach then raises himself to one knee. He is looking down and sweat is running off his face, falling to the mat. The referee is walking away from them, going to the center of the mat. He stops and looks back, then turns toward them.

REFEREE Let’s go wrestlers!

No rest between periods is permitted. Both boys slowly get to their feet and walk, hands on hips, to the center of the mat, sucking air as they go.

Ray’s parents are worried although Mr. Lockner is trying to hide it.

MRS. LOCKNER He's not just strong is he?

Mr. Lockner looks at her and shakes his head.

MR. LOCKNER No. He moves pretty well.

Ray and Maher return to the center of the mat where the referee is waiting. They are both walking slowly in order to get as much rest as they can. As soon as they stop the referee flips a coin and tells Maher to call it. Maher looses the toss and the referee points to Ray to indicate that the choice of position is

his. Ray points up and the referee tells Maher to take the down position; both verbally and with a hand signal. He slowly gets on his hands and knees in the center circle as the referee moves into position about ten feet in front of him and slightly to his left. The referee then motions for Ray to take his position on top. Ray moves to Maher's left side and goes to his left knee, placing his left hand behind his opponent’s left elbow while putting his right arm around Maher's waist.

As Ray slowly settles into the "referee's position" the crowd begins to stomp their feet on the bleachers again and those sitting on the floor slap it. As soon as the referee feels that both wrestlers are set, he’ll start the match. His hand is up and he could give the signal the instant that the top wrestler's right hand comes to rest on the bottom wrestler's belly. That's what he does, and Maher, who was like a coiled spring, explodes to a standing position and immediately reaches for Ray's hands which are locked around his waist. Ray pulls his opponent to him, drawing their hips together. He then lifts, turns and drives him to the mat. The impact causes Maher to exhale loudly and his expression shows pain which instantly turns to rage.

Ray moves up on him to control his arms and head. Maher sits out and turns in, then wraps an arm around Ray's waist effecting the reverse. He is awarded the first points of the match and his position, high on Ray's upper body has him in position to work a pinning combination. He quickly tightens the grip with his left arm around Ray's chest and moves up toward his head.

Ray is on his knees with his back straight and head up. Maher stands as he applies a deep, half nelson and once on his feet he is able to exert tremendous torque to turn Ray's upper body and drive him to his back. He does so and the impact is crushing.

As Ray is slammed to the mat we see Mrs. Lockner as she issues a short, loud scream and raises her fists to her face. She doesn't look away.

Ray's shoulders are on the mat. The referee is on his stomach raising his hand to call the pin when Ray arches on his head and heels and lifts both shoulders off the mat. The muscles of Maher's upper arm are straining as he tightens his grip on Ray's head and neck. He breaks Ray down again and squeezes him with all his considerable strength. Ray begins to choke but he manages to keep one shoulder up and the referee doesn't see that Maher's shoulder is bearing on Ray's throat. He is watching Ray's back for contact with the mat.

Ray's coach comes out of his chair like a pheasant flushed from cover.

COACH Ref! Ref! He's chokin' him!

The referee, hearing the coach, looks away from the mat to Ray's face and slaps Maher on the shoulder.

Move up!

REFEREE Get off his throat!

Maher doesn't let go but he does let off enough to satisfy the referee. This slight adjustment and break in his concentration gives Ray an opening. He arches hard and creates a space between himself and Maher, then turns to his stomach. The referee stands and signals three points for the near fall. The crowd goes wild and starts stomping on the bleachers with destructive intensity.

On his stomach and elbows with his arms drawn tight to his side, Ray is desperately trying to catch his breath while Maher pulls and pushes at his arms, head and hands. He is nearly exhausted but a few moments in this position are all he needs to regain his strength.

Many now are on their feet including Mr. and Mrs. Lockner who are both screaming at their son. Jennifer is seated and completely involved with her lover's suffering. Donna is also still seated. The entire scene has overwhelmed her. Ray's torment and his courage and the wild enthusiasm of the people are beyond her experience.

Ray lifts his head slightly to look toward his bench. His coach is at the edge of the mat on his stomach in exactly the same position as Ray. He demonstrates what he wants Ray to do by quickly drawing his knees to his chest, then standing and turning toward his imaginary opponent Ray looks away from the coach and back down to the mat. He takes one second to steel himself then moves exactly as the coach demonstrated. Bursting to his knees and then to his feet in one powerful, quick motion he turns in and drives into Maher, clamping him into a cradle. Ray takes him to the mat and the referee signals two points then immediately drops to his stomach, his whistle in his mouth, to watch Maher's back. Ray has rocked Maher to his shoulders. The noise in the gym is

tremendous. Ray's cradle is solid and he hooks one of Maher's legs so he can't kick out.

All of Ray's teammates and his coach leap into the air and scream like Indians. Jennifer is yelling Ray's name and if a smile could fracture a face, hers would be broken. Donna is awestruck and energized.

The referee won't call the pin before he is sure but now he lifts his hand high off the mat then slams it down and blows his whistle. The match is over. Ray releases his grip and Maher flattens out as if deflated. Ray rolls to his back, exhausted.

Both wrestlers are still.

Ray is directly under the spinning fan and as his chest heaves, he watches it spin.

EXTERIOR, AERIAL - FARMLAND AND WOODS - DAY We are in an airplane at about one thousand feet. Below are farmland and large plots of deciduous forest. The mix is about half-and-half. A mile ahead, where woods and farm meet, three people with shotguns are walking with their backs to the camera.

A dog is running in front of them. We descend as we approach and as we reach them our altitude is one hundred feet. Just as we reach the hunters, a quail is flushed from the brush and the man at the lead raises his gun, points it at the camera, which has turned to remain pointed at him, and fires.

From the rifleman's perspective, we see the bird in flight.

The gun fires and the shot misses. The shooter is Ray's dad and the other two are Jennifer and Ray. MR. LOCKNER Ahh! I hope you weren't ready. That would have been a waste of film.

Ray and Jennifer are a few paces behind him. Jennifer is holding a shotgun. Ray has his movie camera in his right hand and his shotgun slung over his shoulder.

RAY No. I wasn't. Gettin' this camera up to my face is harder than shouldering my 14 gauge. It's gonna take some practice.

JENNIFER You're getting faster. This time you had the camera up almost as soon as your Dad was firing. Take the lead for a while and let me try the camera.

MR. LOCKNER That's a good idea son. having much luck today. can get us a bird.

I'm not Maybe you

RAY Yea, alright. Here ya go Jenn.

Jennifer slings her shotgun and takes the camera. The dog has returned to their side and is sitting, awaiting instruction.

Ray motions to the dog and they all walk forward. Jennifer and Mr. Lockner walk together a few steps behind Ray. MR. LOCKNER Quite a match last night.

JENNIFER Yes. Ray really reached inside himself.

Mr. Lockner turns his head toward her as they continue walking.

He looks at her for a moment before he responds.

MR. LOCKNER That's exactly why he won. what he said?

Is that

JENNIFER No. We didn't see each other after the match.

She realizes that he is surprised at her perceptiveness.

Playfully, she hits him on the shoulder.

JENNIFER You and Ruth aren't the only ones with insight.

MR LOCKNER Very few people your age have it.

Although I guess I should stop being surprised at you.

JENNIFER Thank you.

MR. LOCKNER I raised him, but I don't usually know what he's thinking.

JENNIFER Your not trying to scare me off are you.

MR. LOCKNER Certainly not.

JENNIFER Knowing you and Ruth helps me figure him out. You can't see how much like you he is. You're too close. Except for one or two of the teachers and Ed and Gabe, the people in school don't know him. Some of them tell me that he's a tough guy. One of the kids on the debate team told me that he is a brooding genius.

MR. LOCKNER Oh, he broods alright.

JENNIFER The jealous ones say he's stupid and he only gets good grades because the teachers are easy on the jocks. But the truth is he is uncomplicated.

Sort of pure. He loves learning.

MR. LOCKNER That's the truth. He makes being a parent rewarding.

Ray turns slightly to look behind him.

RAY Are we huntin' or what? chatter.

Cut the

Mr. Lockner nods to his son and leans closer to Jennifer.

MR. LOCKNER (hushed) Brooding.

Jennifer sticks her tongue out.

They continue walking, now in silence and focused on the hunt.

The dog freezes and points. Mr. Lockner stops. Ray continues to move forward as he slowly raises his shotgun. Jennifer stays three steps behind him and raises the camera to her eye, her finger poised on the shutter release. Both continue forward very cautiously. When the bird breaks both will have to react quickly. Jenn has moved to a position behind and to his right.

She stops, sensing that the bird is about to break. At the edge of the woods, forty feet ahead of Ray, two quail flush and before either gets 10 feet off the ground Ray has fired two shots. Both birds fall. The dog immediately breaks for the downed targets.

Mr. Lockner whistles quietly and shakes his head slightly, having once again been impressed by his son’s speed and thoughtless skill.

Jennifer lowers the camera and Ray walks toward the kill. Jenn also continues forward. The dog reaches the nearest bird, picks it up and trots to Ray. He kneels as the dog approaches.

Hey!

JENNIFER Show us.

She lifts the camera to her eye and starts filming.

The dog drops the bird at his feet. Ray praises and pets him then lifts the quail to show Jenn and motions for the dog to fetch the other one.

INTERIOR - RAY'S PARENT'S LIVING ROOM - NIGHT Ray is sitting with Jennifer, Gabe and Donna on the couch in Ray's living room. Ed and James are standing behind the couch.

They have bottles of beer in their hands. All are watching a movie.

We now see the 8mm film that they are viewing. Jennifer is sitting on the swing on the front porch of Ray's house. She is looking into the camera and smiling provocatively. She is speaking to him but there is no sound. After ten seconds her gaze moves to the cameraman as he walks away from the camera and toward her. She opens her arms as Ray appears in the frame. He sits on the swing next to her and they embrace, then kiss. The kiss is a long one and as soon as it starts we hear James, Ed and Gabe laugh and shout.

Back to live action, Jennifer hides her face in her hands but then looks up and smiles. Ray is also smiling broadly.

Ooh!

ED A love scene!

JAMES Yep, they're all like this - these skin flicks. Lousy lighting, poor camera work and bad actors with pimples on their butts.

Ed howls with laughter and Donna turns and looks at him with disgust. The others continue watching the movie.

RAY Jennifer is not ugly and I don't have pimples on my butt.

They all look at Jenn, expecting a response but she continues to look at the screen, as if she didn't notice Ray's comment. When she does nothing, they all resume watching the movie. Ray was ready for a blow but relaxed when none came. As soon as he lets his guard down, Jenn drives the heel of her fist, as if swinging a hammer, into his quadricep. She has connected solidly and he leaps from his seat and limps around the room to work out the bruise, cursing through clenched teeth. Rubbing his thigh as he walks, he goes quickly to the rear of the room and then forward

to Ed and James who are wincing in sympathy for him. They saw how hard he was hit and where. He puts one arm around Ed's shoulders for support and looks at the screen while bending and straightening his leg and rubbing the injured muscle.

Ed and James are clearly sympathetic to Ray's pain.

Oh man!

JAMES I know that hurt.

Gabe and Donna are grinning broadly. Jennifer is watching the film, apparently not noticing the others. She looks over her shoulder at Ray and smiles, then turns back to the screen and rubs her hand.

Looking back to the movie screen we see Ray and Jenn finish their kiss. They continue to hold each other and look into each other’s eyes. They have forgotten the camera.

After a rough edit the scene changes. Now we see Ed and James wrestling in the high school wrestling room. Others are wrestling on the mat around them. James is on his hands and knees. Ed is on top of him with his right arm around his waist and he is trying to break him down but James is low with his arms spread and Ed is having no success. Ed is quite angry about it.

ED O.S. This is James, the world champion staller!

JAMES O.S. You just can't work on top.

Ed lifts his left arm and swings it down hard on to James' left arm just above his elbow in an attempt to bend the arm and remove James' post. It doesn't work so the effect is as if he were just punching his arm. This infuriates James. He explodes to his feet and tries to turn toward Ed who keeps a tight hold around James' waist. The two tumble off the mat to the floor and don't stop wrestling. James then turns violently and breaks Ed's grip, then throws a punch to his head. Ed strikes back and both boys start flurries of punches, many of which land. It looks like a hockey fight. Others enter the frame to break them up.

Back to live action, Donna turns to face Ed and James.

DONNA How often does that happen?

JAMES Oh, I kick Ed's ass everyday.

ED NO you didn't!

DONNA No! I mean how often do you guys fight off the mat.

James looks at Ed with a questioning expression. Ed considers the question. Neither of them has ever thought of it.

JAMES (to ED) Everyday, about ... almost... most days, don't ya think?

ED Not everyday ... almost.

Both boys nod in agreement.

Donna rolls her eyes and looks at Jennifer. They make eye contact and exchange an understanding about their male companions. Both laugh and turn back to the screen.

Ed and James whisper to each other. Then on a signal from Ed, both reach over the back of the couch and they each put their middle fingers in opposite corners of Gabe's mouth hooking his cheeks and pulling his lips tight across his teeth. They pull his head back and hold him against the couch. Donna and Jennifer look at Gabe's stretched lips and scream with laughter.

They get the idea at the same time to hold his arms so they can enjoy his predicament. They each grab an arm and sit on it.

All Gabe can do is grit his teeth and wait. Mercifully, they release him after only a few seconds.

GABE (rubbing his face) What the hell is wrong with you people?

He then shakes his head and laughs along with the others.

JENNIFER Look you guys. Watch Ray nail these two birds.

The image on the screen is Ray walking, with his back to the camera. The dog moves into the picture and the camera motion freezes. The two birds break from the brush at the bottom center of the frame, Ray raises his shotgun to fire and hits his targets before either leaves the frame. The dog immediately breaks for the nearest bird, reaches it and picks it up.

ED O.S. Nice shootin'!

There is an edit and we now see Ray kneeling, as the dog approaches with the kill. Ray takes the dead bird from the dog then turns toward the camera to show it. He raises it to show that it is headless. With the bird in his left hand he points to where the head was with his right index finger and makes a shooting gesture. He then stands and walks to the camera, smiling.

EXTERIOR, AERIAL - VIETNAM HIGHLANDS - DAY We are flying over dense jungle, within inches of the treetops.

The pilot is staying as low as possible. The forest floor is irregular and the tree heights vary so there is a great deal of up and down flight as the pilot strives to hug the surface. On several occasions we seem to be flying into a tree but pull up or veer off just before impact. Some of these close calls result in contact with an upper branch. There is considerable turning and banking so our view is continually tilted as it rises and falls.

From inside the UH-1 (HUEY) helicopter we see the gunner who is hanging out of the open left side of the aircraft in a harness.

The harness, called a "monkey seat" is attached to the doorframe above. It allows the rider to get completely outside the aircraft for those occasions when a wide field of fire is needed.

The soldier in the harness is PFC Ray Lockner. Ray is only nine months older then the previous scene but he looks different now

because of his surroundings, dress, and radically different living conditions. He is slightly heavier than before but he is still lean. He hasn't shaved in a week and he is dripping with perspiration.

His film camera is to his eye. The helicopter's wild motions are apparent through the door and by the movement of the gunner.

His harness allows a great degree of movement and he is "riding it" in order to keep the camera steady. Often he is weightless as the aircraft falls. A short length of webbing is looped around his ankle and tied to a fitting on the floor. This pulls taught when the aircraft dives sharply and prevents him from rising too high. Occasionally he lowers the camera and hugs it to his stomach because the movements are far too extreme for him to continue shooting. Most of the time he can barely hold on.

The ride that he is getting is fantastic and only possible because of the aid of the well-designed harness and the outstanding athleticism of the rider. Occasionally he lowers the camera in order to enjoy the ride or the view. Suddenly he covers the camera with his arms and ducks his head just as he is violently slapped by a tree branch. This is a thrill and he looks inside the aircraft and screams with laughter.

SERGEANT (E5) STAN CHRISTIANSON, is inside watching Ray's antics. Ray's impact with the branch and his reaction causes Stan to howl.

Stan is Ray's age but he doesn't look it. It is hard to tell how old he is. A teenager might guess that he is in his late thirties and a middle-aged man might take him for nineteen. His eyes are bright and his actions are sure. He is confident without being cocky. His laughter is pure joy and excitement.

Like Ray he is unshaven and sweating profusely. He is wearing a green undershirt, fatigues and a flight helmet (with headset and microphone.) He is also wearing a huge wristwatch that makes his wrist look very thin.

Up front are 1ST LIEUTENANT JIM RIDINGER and WARRANT OFFICER FRANCIS CARTER. They too have enjoyed Ray's scrape with the jungle. Although they can't see Ray, Carter was looking aft as the branch struck and he saw Christianson laugh and a bushel of leaves fly into the cabin.

Ridinger is clean with closely cropped blonde hair. His uniform is regulation all the way. The pant and sleeve creases are sharp. He too is a young man and he is muscled, athletic. He wears a West Point ring. Carter is the oldest, over thirty. He

has a cigarette in his mouth and although he isn't slovenly, sitting next to Ridinger he appears unkempt.

RIDINGER (into his microphone, laughing) Christianson, tell Lockner to pull in. Both of you stand by your weapons... area for the LZ is ten kliks north. We'll climb to two five.

STAN Roger. Jim man, you almost wiped our boy off the side.

Christianson moves carefully across the compartment and waves his arm to get Ray's attention. Ray looks and swings inside.

He unhooks the harness and secures it and his camera in the forward bulkhead. On the bulkhead is the insignia of the US Army 1St Air Cavalry Division.

Stan points to Ray's M60 that is secured to its pintle mount in the doorframe. Ray understands that he is to prepare it.

As we slowly climb away from the forest the camera reveals a beautiful landscape of lush jungle, mountains and rivers and a sky of incredible beauty. Huge white and gray cumulus clouds towering to 40,000 feet stand in brilliant contrast to the blue background.

Back in the cockpit, CARTER has a map on his lap and he is looking alternately at it and the ground to locate landmarks.

He leans over to show Ridinger the map, then points to an area on the ground to his right. Ridinger looks and nods, then initiates a gradual right turn.

Ray finishes with his weapon and fixes his gaze on the ground below for any sign of the enemy. They are most vulnerable as they climb to altitude and Ray will not relax until they are beyond the range of small arms fire. The countryside is dropping away as the aircraft climbs. Ray's head is turning as he watches for signs of the enemy. Suddenly, he swings his weapon forward and speaks:

RAY Lieutenant, I got enemy on the riverbank at 10 o'clock, 2000 yards.

They're pretty far from cover.

Ridinger looks out of the left side window and starts a gradual left turn and descent.

RIDINGER I see 'em. Lockner, we'll come in on your side.

RAY Roger.

In the distance we see four figures dressed in black on a riverbank. Two are kneeling, filling canteens. One is sitting and looking out over the river. The fourth is standing with his back toward us.

RIDINGER Bulldog four five. We've spotted an enemy patrol on the riverbank ahead.

Were going down. Maintain separation.

Ray has heard the radio communication through his headset and he leans out and looks aft to locate the trailing aircraft.

We see the other helicopter, a Cobra, a thousand feet behind and two hundred feet above.

BULLDOG 45 PILOT O.S. Roger Seattle 8.

Ray cocks his weapon and widens his stance. on his prey as they draw nearer.

His gaze is fixed

Stan is loading fragmentation grenades into a gym bag size satchel. He finishes loading the bag and moves over to the door, behind Ray, pulling the bag with him, then sits in the doorway, places his feet on the skid outside and takes two grenades from the satchel.

Looking out again we see that the we are less than 1000 yards from the four men on the ground. Because of acoustic shadow or wind they have not heard the engine or rotors of the Huey as it

is bearing down on them. They are still filling canteens in the river. Finally one of them looks in Ray's direction and frantically warns the others of the approaching danger. Three panic and run in two different directions. The forth drops to one knee and raises his AK-47 to fire.

Now the aircraft is almost on them. Christianson is poised to throw a grenade. Ray fires a very short burst. Two tracers streak toward the enemy. (Standard load is one tracer for every three rounds.) The man that was preparing to shoot is hit in the chest. He is thrown backwards and he lands on his back, his rifle still in hand. The other three are running for cover.

Ray fires another short burst and then a single shot as the helicopter passes over. The camera stays on them as it flies past. None move.

Stan's right arm is up, grenade in hand, poised to throw, but there is no need. He lowers it, looks up at Ray, smiles and shakes his head. Without looking, he throws the grenade down and away.

Now we are on the ground near the dead soldiers. The first one killed is in the immediate foreground. Blood is flowing from his wounds. One of the others is twenty yards away. Both are motionless. The other two are not in sight. The helicopter is in the background, flying away, descending gradually. Stan's grenade explodes in the distance. It is far enough away that the noise and flash of the explosion are small, no more than a pop. Before the aircraft begins to climb the Cobra that has been closely following appears. Both aircraft rapidly climb away.

As the sound of the helicopter fades out the sounds of nature can be heard, birds, the flowing water and the wind through the river grass.

Back in the helicopter, Christianson lifts himself off the deck and stows his bag. He takes his place at the right side gun position and starts to scan the ground.

STAN (into his mic) Lieutenant, I'm up.

RIDINGER Bulldog four five. What did you see

Now, in the cockpit of the trail aircraft, we see its pilot.

2ND PILOT Dead p.j.s. No motion. I'm gonna switch frequencies and call back for them to come get the bodies and weapons.

RIDINGER Roger Bulldog. Were going back up.

Once again we rise from the haze near the surface. Ray takes off his helmet and lets the wind blow his face and hair as he enjoys the ride and the view. His expression gradually changes, indicating excitement of flight. Their short engagement is out of his mind. As the scene ends, the only sound is of the wind.

EXTERIOR - AIR CAVALRY BASE CAMP - DAY From the ground, near the helicopter landing area, we see two helicopters, a HUEY and a Cobra approaching. In the foreground and to both sides of the open landing area are the implements of war; soldiers, drums, vehicles, tents, piled sandbags, antennae.

This is a base for fifty aircraft and one thousand men.

Both helicopters come in fast and make 180-degree turns as they near the ground, completing the turn and setting down simultaneously. The engines are shutdown. The pilots and crew are inside checking systems and stowing gear until the rotors nearly stop. A mechanic greets Ridinger as he exits the aircraft and they speak briefly. Carter joins them, then Ray and Stan exit and go to the others. Ray has a bag in his hand.

He and Stan speak to each other while they wait for Ridinger to finish, then the four walk away from the aircraft together.

RIDINGER How many rounds did you fire at that patrol?

RAY Six. RIDINGER Six!? Six shots and four dead.

Mister, you're a phenomena.

RAY I owe it to my Dad and gunnery school, and all the practice I get.

STAN We get plenty of practice.

CARTER What'd ya get for the film record of our Asian adventure.

RAY The ride out, jungle, sky. A tree in the face. (to Ridinger) Thank you very much for a few new scratches.

CARTER Wastin' the slopes would have been a cool shot. We need some action on those films.

RAY Yea, well I can't pull the trigger on the 60 and the one on the camera at the same time.

RIDINGER I was thinkin' about that and I talked to a machinist at the maintenance shop in Hue. He can fix us up with a rig that'll turn on the camera when you pull the trigger on the 60. There's a lift ship goin' there tomorrow. Go with it to talk to him. It won't cost us much. Take that NVA officer's pistol we got from the Blues and we'll get together some cash. Ten dollars each ought to get it. This guy said he could do it in a day.

RAY What if this thing gets in the way?

RIDINGER That's why you're going to see the guy. We all want some good stuff to take home but killing the enemy comes first. Make sure that what you get won't slow you down. You're the best gunner in the 1/9th and we're gonna keep it that way. Be on that lift ship and make sure the job is done right. See me when you get back.

Carter and Ridinger separate from Ray and Stan and walk out of frame to the right. The two enlisted men continue to a sandbagcovered mound and walk down steps and into the shelter leaving behind the activity of the camp.

INTERIOR - RAY'S QUARTERS - DAY Ray enters and walks to a cot. Stan is right behind him and he too goes to his cot and lies down.

The space is 30' x 30'. The walls are sandbags and one quarter of the wall area is covered with pages from magazines, primarily Playboy and Penthouse centerfolds. There are four cots in addition to Ray's and Stan's, each with a footlocker. Lighting the space are four droplights hanging from the ceiling. A small folding table covered with bottles, playing cards, a newspaper and debris is the only furniture.

Ray puts the bag with his camera down on the cot, opens it and takes out the camera. He takes the film out and drops it on the cot. Next he opens his footlocker and takes out writing material. Sitting on the cot, he starts to write but before he actually puts the pen to paper he stops to think. He appears frustrated and then resolved, but the frustration returns and he speaks to Stan who is now lying on the cot with his eyes closed.

RAY Stan, why is it I can't write to Jenn about killing. It's the main thing we do. It doesn't really bother me any more. Shit, I'm thrilled when we get what we're after. She knows I do it. But since our second mission I hardly mention firing my weapon.

Stan is lying on his back with his hands behind his head, his gaze fixed on the ceiling. He is deep in thought. He answers Ray without hesitation and as though his train of thought was not disturbed by the question.

STAN You're damn good at it RAY In the letters I treat it like I only do it because I have to or I don't mention it at all.

Now Stan rises up on one elbow and looks at Ray. STAN Of course you only do it because you have to.

RAY Oh, fuck you. You know what I mean.

No Ray.

STAN I don't.

Stan waits for a moment for a response.

Ray has none.

STAN You don't write about it because you're not Hemingway. You'd have to write a book to explain it to her and then you'd have to understand it yourself. Which apparently you don't. The thought of killing a man was pretty horrible before you got used to it. How can we tell them it doesn't bother us any more.

Stan lays back down and closes his eyes. Ray looks at him and considers what he said then crumples the letter and throws it at him. It misses and since Stan's eyes are closed he doesn't notice. He then addresses an envelope and puts the film in it and seals it. Then he gets up to leave with the envelope in hand and exits the bunker without speaking.

EXTERIOR - BASE CAMP - DAY Ray is walking to the mail drop. He passes the various tents, temporary structures, shops, facilities and vehicles that constitute the Air Cavalry Base Camp. It is a very busy place.

The 1st Air Cavalry is a highly competent and successful fighting force; an elite Army unit. Their effectiveness is the result of their expertise at conducting war and preparing for it. The base that Ray is presently walking through is well run and well appointed. There are the very large, twin rotor Chinook lift ships and Sikorsky Sky Cranes that retrieve downed aircraft and deliver artillery pieces. There are HUEYs, used primarily for command and control and squad transport, and OH-13 (Hughes 500) light Observation Helicopters and Cobra gunships.

Ammunition, food, fuel, communications equipment, generators, tools, and dozens of other categories of stores and supplies are coming in and out in massive quantities every day. Hundreds of men are occupied with dozens of tasks and Ray is in the midst of this tremendous logistic activity.

Two soldiers walking toward Ray greet him.

SOLDIER #1 Ray! You're legend grows buddy. We heard you did four gooks with six rounds today.

RAY Yea, the other two were for two ducks that flushed . . . got both of them in the eye.

They all laugh.

SOLDIER #1 Did Ridinger tell you. We're headed back out to the bush day after tomorrow.

RAY No. We just got back in. He probably doesn't know yet. What are we doin'.

SOLDIER #1 Somethin' big, with Blues and regulars. They didn't say where yet.

Probably north.

RAY How big?

SOLDIER #1 Anytime they hook up the Cavalry's ground pounders with regular Army it's for somethin' big. I think we're in for a hell of trip. We'll know for sure soon enough. Catch you later.

They part. Ray is at the mail drop and he watches them for a few seconds as they walk away. He then looks down at his package, which is addressed to Jennifer.

He drops the package in the container, turns and walks out of frame.

SLOW FADE OUT. The sounds of the camp remain and then they too fade to silence.

FADE AUDIO IN: From the silence of the previous scene, the sounds of the morning's activity fade in. They build until reaching a peak at which hundreds of different sounds are discernable. They are the sounds of the Air Assault Troop preparing to board their aircraft and enter battle. Orders are being shouted, and weapons are being checked. There is the slap of leather and the ring of metal on metal. Men are laughing and cussing and finally the sound of engines starting, and then music. Jimi Hendrix' guitar version of the Star Spangled Banner plays loud over it all and a few men hoot and cheer.

At the sixth note, FADE IN to the early morning light.

EXTERIOR - AIR CAVALRY BASE CAMP - PRE-DAWN Twenty helicopters are in a fifty-acre, open area. All are pointed toward the sun, which is just breaking the horizon.

There are Cobras, HUEYs and one Chinook. Troops are boarding the Chinook and the HUEYs. The rotors are turning on some of the most distant aircraft. The blades begin to turn on more every few seconds until all are spinning. There is enough separation between aircraft for safety but the shot is foreshortened to compress the aircraft into the frame as much as possible. With all helicopters ready to lift off they’re a swarm and the sound is tremendous.

The smaller aircraft, furthest from us, rise and fly east. As soon as the first clears the ground, our vantagepoint rises.

The others take off in a wave beginning with the ones furthest away.

As soon as all are away the leaders bank, heading north and all the others follow.

Ray at his position. The compartment is loaded with Air Cavalry Infantrymen ("Blues"). Ray's ship is in the lead and slightly above all the others. Leaning out and looking down, he sees twenty spinning rotors. They are flying low over dense, green jungle. The terrain is irregular and all are staying as low as possible. They are maintaining formation as they rise and fall with the uneven ground. They appear joined or as one gigantic, undulating, flying organism.

Ray rotates his weapon on its pintle mount in order to look at the camera that is mounted to the side of his M60.

The 8mm-film camera is mounted to the side of the weapon where the barrel leaves the main body. There are two triggers in tandem similar to the dual triggers on a double barrel shotgun but they are closer together. Ray's finger pulls the front trigger, which starts the camera. He continues to squeeze until it contacts the rear trigger. He pulls a little more to move the rear trigger that will fire the weapon but he lets go before it moves that far.

Stan is watching Ray and he sees how the camera is started.

With his hands still on the weapon, Ray turns toward Christianson, smiles and nods.

STAN (grinning) Looks like that's gonna work just fine.

One of the Blues, a sergeant with the look of a seasoned veteran is watching also. He winks at Ray. SERGEANT That's a fine rig.

Ray acknowledges the compliment then looks at all the other faces. There are eight. Four are on Ray's side of the aircraft. He studies them. The similarity to the wrestlers is striking. The wrestlers and the soldiers alike were prepared for a contest and little fear was displayed in either case. In both cases they were, and are, well trained, prepared and confident in the outcome. Determination is the word that best describes their state of mind.

After his look at the men Ray points the gun down and aft at the other aircraft in order to film them. We see the group again, from above, but all aircraft are higher then before. We are still the same distance above the others but now we are at 3000 feet altitude. The view of twenty helicopters in formation over Asian jungle is awesome.

Ray slowly depresses the front trigger.

The image changes to black and white and the roar of engines, rotors and wind turns to silence. After a few seconds Ray’s chopper begins to descend. We come down to the same altitude as the others and drop below them.

Back to live action we see Ray's reaction to this powerful sight. He is very glad for his new camera mount.

RIDINGER (into his microphone) We're 8 clicks from the LZ. We're gonna get low and ahead of the group along with Lead 2. Lead 3 and 4, will take the left and rear. Its supposed to be clear but one VC with a rocket is all it takes. Look sharp. Here we go.

From above the entire formation we see two HUEYs and two Cobras descend and pull ahead of the others. The four take a widely spaced, diamond formation and descend to two hundred feet above the trees.

Looking out of Ridinger's window, over his shoulder, we see a ridge in the distance. It has a large, cleared area at the top.

We can also see the ship at the point of the diamond (one of the Cobras) to the left. Their destination is the hill. As the only high ground for miles, it is an important position for control of the surrounding area.

As we approach, the details of their objective become discernable. The clearing, which is several hundred feet across, has been blasted from the forest. Trees at the perimeter are broken and scorched and there are shallow craters in the ground. Some of the foliage is still smoldering indicating that the bombing that produced this spot was recent.

Looking straight down on the four aircraft as they fly toward the hill we see the Cobra at the point pull ahead of the other three which slow down and spread out. The lead Cobra leaves the others and goes ahead to the clearing and completes a low, steep, fast turn to get a good look at the clearing and adjacent woods for signs of the enemy.

From inside his cockpit we see the Cobra pilot as he peers down on the hilltop and we get a look at the clearing. Explosives, primarily incendiaries, designed specifically to clear forest have been dropped on the hilltop. The surface is irregular, but there is plenty of clear area to land helicopters, even the Chinook troop carrier. We fly around the entire perimeter of the clearing. After two orbits the pilot reports to Ridinger.

COBRA PILOT Looks clear, repeat, LZ clear.

Back in the cockpit of Ray's HUEY RIDINGER Roger, come on back, we'll form up and go in together. Heads up everyone. Just 'cause the first one didn't draw fire doesn't mean they're not there.

Ridinger switches to the intercom RIDINGER Stan, tell the Major that we’re going in.

We see Stan lean forward to tell the Blues' leader that it is time. He passes the word left and right and his men shift about to give final checks of weapons and equipment. Each man looks at himself and at the men closest to him. In this way every man is checked at least twice and one or two do find loose gear on his neighbor. Once the checks are done the men are still. All they can do now is wait. Some of the faces now seem to show some fear or at least avid anticipation.

Ray is at his position, ready to fire. He leans out slightly to look at their objective and the other aircraft.

Now, looking forward at the returning Cobra, we watch it return to it's place at the point of the diamond and make a 180 degree turn. As we look left we see the other HUEY at the opposite side of the diamond and then the Cobra at the rear point; then Ridinger.

RIDINGER Tighten up, take us in Lead 2.

Looking straight down on the four as they fly toward the hill.

They fly out of the frame.

From the forest floor looking up through the thick cover of trees near the base of the hill we see the four helicopters fly into the frame and directly overhead. The noise of their engines and rotors is upon us and then recedes as they pass over. The camera follows and then pans down as they fly past revealing six Viet Cong soldiers crouching at the base of a large tree. One of them is using a radio, warning others of the approach of the four helicopters.

From the clearing, at the top of the hill, we see the aircraft approaching. Our vantagepoint is a depression near the center of the clearing that has been covered with scorched branches and dirt. Our view is through a gun port that is framed by leaves and sticks, which move slightly as the occupants of the hole shift about. We hear the faint sound of the approaching helicopters, the radio communication from the base of the hill and then the excited chatter of the Viet Cong.

Three young men are lying in this shallow, dark depression. It is barely large enough for them. Their roof of vegetation provides an excellent hiding place. Sunlight penetrates their cover in spots, revealing their faces and weapons. One is lying

on his back and is holding an RPG-7 grenade launcher. The other two are on their stomachs with AK-47 rifles. One of these two is looking out of the hole at the incoming aircraft and speaking into a microphone. All are tense and sweating profusely.

As we look out the gun port again we see that the four aircraft are much closer. The diamond is widely spaced now so as not to present close targets. All are pointed straight toward us. The furthest is slightly lower than the other three.

The man in the hole with the radio puts the microphone down and braces to spring. The other two are prepared. The man on his back with the grenade launcher stiffens and covers the mechanism of his weapon.

The group is nearly upon them.

The VC, who had been operating the radio, pulls his rifle to him, nods to the others and springs from the lair, casting off their cover. He immediately opens fire. The other rifleman stands also and the rocket bearer rises to one knee and aims.

Now, from above the aircraft we see the entire scene; all four helicopters, and the combatants on the ground. The rocketpropelled grenade is fired at the lead Cobra that is now less than 100 yard away. It strikes the tail boom and the Cobra spins to the ground.

The action on the ground is visible to all those on Ray's side of his aircraft. All aboard react. Many pull their rifles to their chests. All look out at the explosion. Ray whips his weapon toward the three but doesn't pull the trigger. Instead he immediately changes his aim to a new target and then opens up.

From the same birds eye view as before we see why he switched targets. The Cobra at the aft end of the formation has fired rockets at the three on the ground. They streak to their target and as they do, from the edge of the clearing less than 50 yards from the first, springs another three Viet Cong. They’re armed with two grenade launchers and a rifle. One aims at Ray and the other points his weapon at the other Cobra on the opposite side of the formation.

Ridinger decides that they are too close to turn and run. The enemy gunners already have them sighted and the best move is to keep still so Ray can aim.

Ray opens fire on them and all aboard are watching his target as the tracer rounds leave the muzzle. They know if their gunner doesn't kill the man with the rocket before he can fire they'll die.

From the ground, five yards behind the three Viet Cong, and looking toward Ray we see that the two with rockets are about to fire and the one with the rifle is firing. Tracers are streaking toward us and several rounds kick up mud in front of the hole and then the rocket bearers are hit. They fall. The rifleman, who had been firing at the Cobra, now turns to Ray and resumes firing. He only gets off a few rounds before he is hit and falls backward into the hole.

Looking back now at Ray and the other occupants of his helicopter we see that they are all tremendously relieved. The veteran sergeant that spoke earlier pats Ray on the back and the Major leans toward Ray to get a good look at the gunner who's quick thinking and skill saved them. Ridinger calls the Assault Force.

RIDINGER Lead 1 to Pack 1. We're drawing fire. Don't come in. Lead 2 is down. We'll set down and let off the Blues.

He switches to the intercom RIDINGER Lockner, nice shootin'.

The ship descends and lands fifty yards from the dead men. Ray keeps his weapon aimed at them. The blues get out and the commander points left and right, directing his men. He signals to two of his men to follow him and he starts toward the dead VC. As soon as all are out, the aircraft rises and proceeds toward the men that Ray killed. To make sure that none are alive and waiting to sacrifice themselves to take out the Americans on the ground Ray takes aim at the corpses.

Looking at Ray's trigger finger we see him pull the forward trigger, activating the camera.

From almost directly over them, looking over his shoulder and down the barrel of the M60, we see the three dead bodies.

Now there is silence as our view of the scene changes from the live action to the black and white, 8mm-film image. The barrel of the M60 is visible at the right side of the frame, but because it is so close to the lens, it is out of focus. As Ray pulls the second trigger tracers streak forth. The picture vibrates slightly from the recoil of the weapon as the bullets tear into the lifeless figures.

Abruptly, live sound resumes as we return to live action and the machine gun continues its roar. The firing stops as the ship flies on. We continue to see the riddled bodies then we look toward the Americans approaching the foxhole. The commander that is walking toward the downed Vietnamese waves to Ray then turns toward the other two and directs them away. The approaching assault force can be seen in the distance. A medevac helicopter is near; considerably closer than the others.

Ray's aircraft turns toward it and flies over it as it descends toward the downed Cobra. Our perspective is now from Ray's position and we continue to watch the medevac helicopter until the crashed aircraft is visible. The assault force flies beneath us, toward the hill, and we continue in the opposite direction.

EXTERIOR - AIR ASSAULT BASE CAMP - DAY From the staging area we see Ray's HUEY coming in. It is at one thousand feet and one mile out. The other two aircraft that were in the Lead Group flank it. The distinctive sound of the UH-1 rotor, a deep "bup-bup-bup-bup-bup-bup-bup-bup-bup", precedes them and grows as they approach. The activity of the base camp is in the foreground.

From the air, Ray's perspective, we see the full extent of the facility; a large and very busy complex.

From the ground again we see the three aircraft, now much closer. Maintenance personnel are waiting for them.

The two HUEYs and the Cobra fly toward us then turn near the ground and land. The men on the ground casually turn their backs toward the landing aircraft. One carefully cups his cigarette. Sand and other debris kicked up by the rotors fly

past them. The men remain with their backs toward the landing helicopters until the prop wash subsides. They then walk to the aircraft to get damage assessments from the crew. The crew gets out to greet the mechanics and all walk around the helicopters to point out damage and problems. Ridinger is the only one to walk away from the aircraft. (His first responsibility at the end of each flight is to report to his superiors on the mission.)

INTERIOR - RAY'S AND STAN'S QUARTERS AT THE BASE CAMP - NIGHT Ray and Stan enter the bunker. A group of four men near the center of the room around a cot. They are One of them has a whiskey bottle. He draws from it it to another. As Ray and Christianson go to their drop their gear, greetings are exchanged.

are seated talking. and passes bunks to

The four others are mechanics and crew chiefs in Ray's unit.

They are crew chiefs, SGTS. JIM HAMMOND, and RALPH JONES and SPECIALISTS DOUGLAS KIRKLAND and ALBERT WEIS. Jones and Kirkland are black. Hammond is career Army, thirty years old.

All the others are in their early twenties.

Hello boys.

HAMMOND How was the hunt?

RAY (smiling and with theatric flare) We are alive to tell of it.

JONES (imitating Ray) And what more can we ask?

JONES Philosopher! What went down.

STAN We own that hill. We'll have our new home in the bush tomorrow.

All express displeasure at this news.

KIRKLAND (lowering the bottle from his lips) I'll miss this place. I get used to showers and hot food real quick.

STAN There were two holes with VC and rockets on the LZ. List took one through the boom from 100 feet. .. lost his tail rotor, took about two and half turns and went into the canopy. They got Cirelli out but List is dead . . . killed in the crash.

All are silent, briefly within themselves. moments before continuing.

Stan allows a few

STAN The new guy from the 3/10th fired his rockets into one nest and we did the other one. Lockner got 'em ...

Ridinger showed nerves of steel.

We were right on these guys when they popped up, and they were ready to go, they knew we were comin’. Our man Ray got the bead and Ridinger hung steady until it was done. It was another real lucky timing thing.

They died a second before we would've, and everyone on board knew it.

He puts a hand on Ray's shoulder and looks into his eyes. His description of the event is accurate but his expression speaks of his appreciation far better than the words. Ray and Ridinger saved them and he knows it.

WEIS Awe, Stan is moved.

Kiss him Stan.

STAN I think I will.

He opens his arms and steps toward Ray who is shaking his head and stepping backward.

RAY No, no, that's ok. grateful.

Stan continues to come.

I know you're

He smiles and puckers his lips.

RAY I’d really rather not kiss you.

Stan jumps at Ray who drops down to Stan's legs to execute a double leg takedown. He picks him up and runs to the group of men, dropping him in their midst. They land directly on Kirkland and roll into the others. They pile on Stan and then all at once they kiss him on the face.

Ridinger and the unit commander, COLONEL CHRISTIAN GREGG enter the bunker just as all of their faces are together on Stan's.

Ridinger is one step behind Gregg. He steps past him and shouts at the men on the ground to get up.

They look to Ridinger then rise, embarrassed, trying to control their laughter.

Ridinger and Gregg are both stone faced.

RIDINGER What the hell are you doing!

HAMMOND We were just kissin' sir.

Gregg slowly turns his head toward Ridinger and raises his eyebrows. Ridinger doesn't know what to say so he allows a weak smile. At that Gregg explodes in laughter and the others stop containing themselves as well.

COLONEL GREGG You tell him Lieutenant.

Gregg leaves the bunker and Ridinger walks to the others. Weis and Kirkland right the cots and sit down.

RIDINGER (still laughing) That was interesting. Now the Colonel knows you guys kiss. He'll probably change his mind about the Silver Star.

RAY Who's gettin' a Silver Star?

RIDINGER You are. You saved us today with tremendous shooting and quick thinking. I told the Colonel about it five minutes before the Blue squad leader called him. The Major wants you to have his sister.

All express their congratulations.

RIDINGER The other thing is, we aren't going to move to the firebase until day after tomorrow so you can celebrate tonight without worrying about your hangovers.

He looks at Weis who is seated and drinking from the whiskey bottle. Weis lowers the bottle and winks at Ridinger.

RIDINGER So you have my permission to get drunk.

WEIS Yes sir.

He takes another drink.

RIDINGER All right, congratulations Ray. you guys tomorrow.

See

JONES Lieutenant, stick around and have a drink with us.

The others express their approval. Ridinger looks at each and considers their invitation for a moment then smiles and goes to the man with the bottle.

RIDINGER Thank you gentlemen. honored.

Weis hands the bottle to Ridinger.

I would be

Jim takes a drink.

RAY Why a Silver Star. If it was so special, you should be getting one too. I couldn't have made the shot if you hadn't hung in there. That took some guts too.

RIDINGER Having that Major on board was probably the main reason. Plus, you're not getting it for today only.

The Colonel's been hearing about you for months. You have more kills than any other gunner in the unit so he figured it was time you got recognized, and he knows that our whole crew must be good for you to get it done. I'm real satisfied. As a matter of fact, I want to make a toast.

Turning to the others, he holds up the bottle. others are without drink, he stops.

RIDINGER Is this all we've got. a few words.

Seeing that the

I want to say

All get up and go to their footlockers and return with bottles of whiskey, tequila and vodka.

RIDINGER All right.

He faces Ray and raises his bottle.

RIDINGER Lockner, you've killed theirs and saved ours. I salute you.

All join bottles and drink.

Time enough to finish a few bottles passes and we see four empty bottles on a cot. Two whiskey, one tequila and one vodka.

Ray, Stan, Ridinger, Hammond and Kirkland are seated in a circle, their heads low. Christianson and Kirkland have bottles. Weis and Jones are asleep.

KIRKLAND How long will we be flying out of that firebase.

RIDINGER (slowly, his speech a little slurred) I don't know but it could be for while. Weeks maybe. The VC have owned that whole province ever since we got here. The people are with the communists all the way. The plan is to secure the region from that firebase so we'll be doing search and destroy and insertions from there.

HAMMOND Yea, you can't fight a war from a distance. Eventually you gotta look the enemy in the eye. (to Stan) Isn't that what your man Clausewitz says?

Stan is in deep thought. He is staring at the ground and doesn't respond to Hammond's question.

HAMMOND Christianson! Ain't that what you're German war god says?

STAN Victory on the battlefield means destruction of the enemy. Our enemy is making us fight his war. He's making us get close so he can wear us down.

RAY (with mild sarcasm) More. Give us you're thoughts on our present campaign. I wouldn't know why I'm here if it wasn't for you.

Stan looks at him coldly and hesitates before answering. Ray stops smiling as if he were caught in a lie. The others also await Stan's response.

STAN Can you feel the Earth holding you?

He doesn't continue, but awaits an answer.

They have none.

RAY What do you mean?

Stan slowly stands and spreads his feet to get a wide stance.

He looks at each member of his audience before speaking, his words slurred and lucid.

STAN We're the tool of the tactician who is the servant of the strategist . . . Clausewitz . . . (he hesitates) We want the bigger picture so we can predict what's going to happen to us and so we can maybe figure out why. There's always a "bigger picture"; much more beyond the edges, and behind, the present field of view.

I've been thinkin' about it a lot, the big picture. The more I think about it, and the more I learn, the bigger it gets, but there is always the edge of the picture and something outside.

The media; the substance of all our conclusions are the objects of the physical world. I am physically bound to the Earth. Our matter, the Earth’s and mine are drawn to each other. The attraction is almost impossible to break. It takes a Saturn V rocket to free just one quarter ton of human meat from this surface.

He opens his arms and looks toward the ground.

STAN I can trust that. in that.

There is security

This surface (he stomps on the ground) that I am bound to is the bottom of the sea. (takes a deep breath) I draw its fluid into me every minute that I am alive. Those guys in the rocket have to put it in bottles and take it with them.

STAN The Sun's energy becomes the matter that sustains my life.

In improbable concert with the forces, energies and substances of the universe our species has evolved.

Here we stand, alive on this surface, able to enjoy the fruits of our intellect and industry...

He picks up a bottle, admires it, and takes a long drink.

STAN ... and kill each other by the millions, from afar.

But not for long. Our time on this surface, in this sea, is short. With death I'll return to the Earth to be consumed. Maybe the edges of the picture will move or go away then.

The reasons for the killings that we commit . . . or the losses that we suffer, are the realm of the tacticians who use us as they serve the strategist. Why the strategy warrants the tactics and how the politics determine the strategy isn’t our business. How history has influenced the politics is for the leaders. We can wonder. What were the important planned and random events of history? Why do we war?

Is it for love of our nation and families? In that case it’s sort of a holy thing. Or do we do it out of hate or fear of our enemies? I don't hate anyone and I don't know if killing the communists here is protecting my family. We trust the tactician and the strategist and the politician and our families and country to put us where they need us.

We'll fight for them and ourselves without knowing why . . . That's the way it has to be.

So I'll breathe the air, float in the water, fly in the sky and live in the light while it is mine. I'm gonna do all that no matter where I am on the Earth and no matter what my job is.

And I'll love a few of my fellows.

He looks at his listeners and raises his glass to them.

EXTERIOR, AERIAL - VIETNAMESE PLAINS - DAY

The sound of wind, engines, and rotor blades bursts upon us. We are at treetop level flying in an erratic manner; turning left and right at irregular intervals to make a difficult target for anyone on the ground. The terrain is flat so the motion, although severe in lateral movement and banking, has little vertical variation. The flight is therefore sensually very pleasing. Without the up and down component, the G forces are slight and always positive. The turns create a rocking sensation that is soothing and since we are near the ground and flying at high speed it is also exhilarating.

The trees are in large and small groups separated by open area, some of which is under cultivation. Occasionally we pass civilians traveling down roads and working in the fields and rice paddies. This enjoyable ride continues for several miles with our view steady and in the direction of flight. Then, as we approach a group of coconut palms, our gaze fixes on the top of a particular tree as we pass. A man with an AK-47 is in the tree and he looks at us as we streak past. We are twenty feet away from him as we go by.

Looking at Carter from the right side of the cockpit we see him look to his left as we pass the sniper. He banks the aircraft left and speaks into his microphone.

Ridinger looks up from the charts that he was studying.

CARTER (into his microphone) Ray, did you see that guy.

RIDINGER What is it?

CARTER There's a sniper in the top of that tree we just passed. Stan, did you and Ray see him.

RAY Roger.

RIDINGER Get him.

As we continue the left turn our view is of the tree with the sniper. He is agitated, trying to remove a rope that is tied

around his waist. When he sees how quickly the helicopter is making its turn he stops struggling with the rope and lifts his weapon to his shoulder. By the time we finish the turn and are headed back in the original direction of flight, the sniper has begun firing and Stan has retrieved an M14 from the forward bulkhead and moved next to Ray. As we approach, Ray and Stan open fire and shots from the sniper strike the aircraft. We can hear the bullets cutting the air and striking the armor. Ray and Stan both tighten their stances as rounds pass through the sheet metal and ricochet off armor around them.

STAN (angry and desperate) Get him!

Ray and Stan are face to face with the sniper and all three are firing. Some of the palm fronds around the sniper fall from the tree and then he is hit. As we fly past, twenty feet from the treetop, he falls. The rope around his waist leaves him dangling from his perch.

From a vantagepoint outside the helicopter and away from the tree we see both the aircraft coming slowly toward the hanging sniper and us.

Now inside the helicopter we see Stan drop to his knees. He lets the rifle rest on his lap. Ray is still pointing his M60 at the sniper as we fly slowly past him and away.

All is silent as our view of the scene changes from the live action to the black and white, 8mm-film image. The dead soldier is hanging limp and the remaining palm fronds are moving very slightly from the wind. Blood is dripping from his hands and feet as it flows over his body to his lowest extremities. He and the treetop grow smaller as the helicopter flies on.

Back to live action we see Stan get up and return to his position then Ridinger look back at the tree and then to the copilot.

RIDINGER Is anybody hit?

Carter shakes his head as he scans the instruments for indications of damaged systems.

STAN We're all right back here.

Ray is still looking aft at the tree. and shaking slightly.

He is soaked with sweat

The tree is now very distant but still distinguishable from the others and the dangling soldier is still visible.

Stan takes off his headgear, draws a deep breath and calls to Ray. STAN You all right pal?

On hearing Stan's question Ray stops looking aft.

RAY We were face to face. why he didn't get me.

I don't know

STAN (very happy) We got him first.

This simple explanation satisfies Ray and he smiles then wipes his face with his sleeve and takes a deep breath to collect himself.

RAY Yea. Ray sits down in the door with his legs hanging outside and watches the jungle and fields pass by. For a few seconds we enjoy his view. Then our perspective changes to one outside the aircraft, slightly ahead of them and one hundred feet off their left side. Ridinger and the co-pilot are clearly visible in the cockpit. Ray is seated in the doorway. The ground is in the bottom of the frame. After several seconds they begin to draw nearer. They come along side and pull ahead and as our eyes follow, their destination, the firebase, is revealed. They continue to pull away from us. We see helicopters leaving the firebase and others landing in cleared areas at the base of the hill. There are fields and a village in the distance.

Visibility is excellent and the sky is clear so we can see to the horizon where there are other hills and fields. Smoke is

rising from two widely separated spots several miles beyond the firebase.

Now we are above Ray's aircraft as they near the firebase. Ray is still seated in the doorway and the pilots are visible in the cockpit. The firebase comes into view. The clearing has been transformed. Now there are towers, tents, artillery pieces, latrines, a large, sandbag covered bunker, and a clearly defined perimeter. A HUEY and Cobra are parked in a landing area in the quadrant of the clearing nearest the top of the hill. There are also two landing areas at the base of the hill where half the aircraft from the original assault force are parked. Paths lead from these, up the hillside, to the clearing above. A dozen tents of varying sizes are set up at the base of the hill and on top.

With the helicopter landing area before us and the hill in the background, we see the helicopter descending. As it nears the ground it does a 180-degree turn to face the hill, and lands.

Ray and Stan get out immediately to see what damage the sniper has done. They don't have to look far because there are bullet holes above and below the door. Ridinger steps out.

Ray examines holes around the doorframe and Stan crawls underneath. Ridinger stands back to get a look at the rotor blades and rotor hub.

Shit!

STAN The bastard hit a line.

Stan is near an oily spot at the low point of the belly and oil is dripping from it. He wipes it with his hand then crawls back out.

After showing his oily palm to Ray and Ridinger he wipes it on his flight suit.

RIDINGER Looks like some of the maintenance people are here . . . but not all of them.

He motions to one of the tents behind them.

RIDINGER Get with them and you two stay with it until she's patched up. I'll be back to help as soon as I check in.

Ridinger leaves them to walk up a trail to the hilltop.

Carter emerges from the helicopter and walks around the damaged side of the aircraft to have a look and Stan walks toward the tents to get tools and help. Ray remains still, with his arms folded, staring at the bullet holes.

Silently counting the holes, he wonders why he has always been missed.

Finally, we get a clear shot of the area of the helicopter around Ray's position. There are holes all around it. The M60 is pointed forward so the camera, attached to its left side, is visible.

Ray walks to the weapon, removes the film from the camera and puts it in his pocket.

EXTERIOR - FIRE BASE LANDING AREA - NIGHT Droplights hung on posts and from several places on the aircraft illuminate the scene. A diesel generator is steadily grumbling.

Stan, Ray, Ridinger and Hammond are at work, repairing the damage. Panels are missing, revealing hydraulic and electrical lines, structure and armor. Weapons have been removed and they are lying on the ground along with tools, damaged panels and pieces and replacement components. It is a scene of general chaos. The men are steaming and dirty. As they slap the feeding insects the grease from their hands and their blood from the stomachs of the bugs leaves dark smudges. There is no conversation. All are engaged in separate activities and discussion isn't necessary. All are tired and intent on their tasks.

Looking closely at one of the droplights we see the swarming insects. The men are visible, out of focus, in the background.

FADE OUT

EXTERIOR - NEW ENGLAND BEACH - LATE AFTERNOON A volleyball falls from a clear sky and lands in the sand. it strikes the ground a woman screams.

As

The players are Donna, Gabe, James, three other girls and two boys. The scream came from Donna as Gabe missed the ball.

DONNA You stink! What is it with you and game points! Game points are the ones you have to get. I want you to do it once. Just once you have to do it or I'm gonna break your legs!

Gabe stands with his hands on his hips, looking into her eyes as the tirade continues. At first he is slightly perturbed by her insults but her animated motions and bikini-clad figure are irresistible.

DONNA (to the other team) He's on your team from now on. want to win one and if . . .

I

Gabe takes her in his arms and kisses her. She struggles very briefly then relaxes and puts her arms around his neck. They hold the kiss and both breath slow and heavily. The embrace gently overcomes them as they flow onto the sand.

The other players, who are hot and tired anyway, realize that the game is done. In fact, they are in a different universe than the two lovers. All but James walk out of frame. James sits in the sand near the two and watches them make out. Donna writhes slightly and James cocks his head, like a curious puppy, and shifts to get a better look.

Jennifer is watching from a blanket near the net and the players are coming her way. She assumes that Gabe and Donna will soon regain their modesty and she doesn't want to spoil their passion so she waits, but James' proximity and voyeurism stirs a sense of duty.

JENNIFER Donna.

Donna doesn't hear and James looks toward Jennifer and puts his index finger to his lips, shushing her. He scoots closer.

JENNIFER Donna!

Now Donna slowly opens her eyes. She and Gabe both awaken from the dream and are greeted by their grinning friend. Gabe rolls off and remains motionless, staring at James. Donna starts to say something to James but stops, then stands. She begins to speak again, this time to Gabe but she stops again. He and James are frozen, staring at each other. She waits for a few seconds for either of them to move or speak but they do not so she leaves them and walks to Jennifer and the others.

She reaches Jennifer and takes a Coke from a cooler, opens it and drinks. Turning back to Gabe she sees that he and James are still frozen. Jennifer is watching them also.

DONNA They're acting like twelve-year-olds.

JENNIFER Yes they are.

Donna takes another drink and watches the boys. content to observe.

Jennifer too is

DONNA I guess they'll stop pretty soon.

Finally, Donna shakes her head and shrugs and Jennifer also turns to face the others.

One of the girls, DEBBIE, is watching James and one of the boys, ANGELO, is taking a guitar out of a bag. The others are engaged in conversation.

DEBBIE What are they doing?

Donna gets Jennifer's attention before answering.

DONNA They've been close their whole lives.

Jennifer realizes that Donna is up to something.

JENNIFER Their mothers were best friends.

DONNA Some say they were more than that.

JENNIFER Donna!

DONNA Sorry. Gabe and James were practically raised together.

JENNIFER From the time they were just a few days old until they started school they were constantly together.

DONNA They toilet trained each other.

Jennifer) Gabe remembers it.

(to

Debbie looks at Jennifer for assurance and Jennifer gently nods.

DONNA Every now and then they get like this.

JENNIFER I think they're telepathic. They listen in on each other's thoughts.

DONNA Even the one's that you wish you wouldn't have. I'm sure of it. Look at them.

Gabe and James are still frozen. The false explanation of their behavior fits. Debbie turns back to the other two, hoping for something further but nothing is offered. Instead, Jennifer stands.

JENNIFER Let's get in the water. up.

I'm burning'

DONNA Yea, let's go. You guys want to come.

All of them except for Angelo and Debbie run to the water.

DONNA Just when I think Gabe's grown up he shows me I'm wrong. A staring contest. They're having a staring contest. It’s unbelievable.

JENNIFER They toilet trained each other? could they do that?

How

DONNA It's a good thing I didn't have to explain. Jimmy's date might be a little confused about their relationship and he might not get laid tonight. I'll teach him to mess with me.

JENNIFER No you won't.

Looking back at Debbie and beyond we see Gabe and James still engaged. Debbie is watching and Angelo is playing his guitar.

Suddenly Debbie gets to her feet, gathers her things and runs off the beach.

EXTERIOR - NEW ENGLAND BEACH - SUNSET Jennifer and the others (except Debbie) are around a fire listening to Angelo play an intricate classical piece. His playing is uncommonly beautiful. He is inspired and gifted. and his companions are enthralled. Gradually he transitions from delicate to powerful until he reaches a crescendo where his hands are just a blur and the music a torrent. When he finishes the group bursts in cheers and applause. The girl next to him, BERNADETTE, grabs his face in her hands and kisses him then wipes sweat from his lips then hers.

Goddamn!

GABE That was great.

JENNIFER

Very great.

JAMES I am totally turned on. light a joint.

Francis,

FRANCIS has his arm around his girlfriend, LAURA. He releases her, pulls a joint out from behind his ear and lights it, draws deeply, then passes it to James.

FRANCIS Here you go my man.

After taking a toke, James offers it to Donna, who declines. then reaches toward Jennifer who also turns him down.

Oh come on.

He

JAMES Take a hit.

JENNIFER I'll cough my head off.

JAMES No, this stuff isn't harsh at all.

You won't cough.

Jennifer considers it for a moment.

DONNA Jenn, you don't trust him do you.

Jennifer comes to her senses.

No.

JENNIFER No thanks James.

James shrugs and passes it to Gabe. starts a coughing fit.

Gabe takes a drag and

They all laugh at Gabe and Angelo starts to play again but this time it is a folk song and he plays very softly. They all listen for a moment.

BERNADETTE Who's going to the march tomorrow?

Everyone except Jennifer says they will be there.

LAURA Jennifer, you're not going ?

JENNIFER No. With Ray over there, I can't go to an antiwar protest.

GABE Donna and I aren't blaming Ray and Ed and the other guys. A lot of them would protest if they could.

JENNIFER Ray wouldn't.

DONNA He would work for a change. He would fight for an ideal. That's what we're doing.

Angelo stops playing.

JENNIFER I know. I believe in it. I want you to work for it because it's the most exciting thing that's ever happened.

The feeling, the music the hope.

ANGELO Yea. What you said about the music and the feelings. What we're going through is real. I wouldn't play like I do if I wasn't moved. Dylan and Lennon couldn't write what they do if it was only for money.

DONNA I hope we get it right.

LAURA It's already right. The fact that so many people have stood together for peace is historic. If the cynics and the capitalists or the hawks bring it down tomorrow or even if we just give up, we've already created a legacy.

JAMES Somebody tell me what "it" is. You guys and half the people I know are part of something but I can't really figure out what it is. Flowers, pot, music, acid, peace signs, florescent paint . . . What's the legacy?

History is about wars and elections and dead heroes. What do you figure they're going to write in the history books about the sixties? It's gonna be Vietnam and assassinations.

Pass me that joint.

All are silent as Angelo begins to play again. He looks straight at James as he does. Jennifer watches James too and the others are irritated with him or just sorry that he doesn't share their hope. He draws on the joint and lets a thick cloud barely leave his slightly open mouth before he draws it back into his lungs then closes his mouth and eyes. He's shut them all out. Jennifer stands, takes a few steps away and looks toward the setting sun.

EXTERIOR- FIRE BASE LANDING AREA - DAWN The light is still on but there are no insects around it. It is less intense than before because the pre dawn horizon fills the background.

Hammond is watching Ray who is placing the M60 on its mount. It is the last item to install. All other panels and parts have been attached. The repair is complete. Stan is seated on the ground with his knees up, his arms resting on his knees and his head down. Ridinger is asleep on the ground behind him. The all night repair has exhausted them.

When Ray finishes attaching the 25-pound weapon he drops his arms, heavily, and sighs. He and Hammond walk to Stan and lie down. Stan reclines, letting his arms fall to the ground over his head. One hand lands on Ridinger and he wakes up.

Ridinger sits up, looks at the others, then the helicopter, and finally the horizon.

RIDINGER What a night. (To Hammond) Are the rest of the maintenance people comin' in today?

HAMMOND Yea. RIDINGER Thank God! RAY What did they say on the hill yesterday about what we'll be doing here?

RIDINGER Search and destroy, spot for air strikes, put the Blues down, and get some prisoners.

STAN (still reclined, with his eyes closed) That ought to keep us from getting bored.

RIDINGER This province is all VC and VC sympathizers and the NVA pass through heading south. They have weapons caches hear and there and the villagers give them rice. Everything here is a target, even the animals.

They all know the dangers and troubles that can occur when the civilians are combatants. There is a pause as these potentials are considered by each.

RAY I hate killing animals.

Ridinger looks at him and considers his statement. the eastern horizon.

Ray looks at

HAMMOND I'm hittin' the rack.

He, Stan and Christianson all slowly rise and plod off to their tents, leaving Ray alone, staring at the sunrise. The orange light colors his face.

A quarter of the disk is above the horizon. The Vietnamese landscape is silhouetted before it. The shot is time lapsed very slightly to make the Sun's movement noticeable. We hear birds and wind and the faint rustle of fire, which begins very low and increases as the Sun emerges from behind the land. Once the Sun has fully risen, the sound of fire is distinct.

EXTERIOR - AERIAL, VIETNAMESE PLANES - DAY We are in the trailing aircraft in a formation of three flying over jungle. Two HUEYs are ahead of us. One is 2000 feet from the camera and to our left. The other is 1000 feet ahead and on the right. Both are at 1500 feet above ground level and we are two hundred feet higher. In the distance there is a village and beyond that about a square mile of rice paddies bordered on all sides by woods. In a far corner of the open area there is a crashed, burning helicopter. In the center of the rice paddies there is a person working and on a dike near the worker is a water buffalo.

From a position twenty-five yards behind the lone farmer we can see the three aircraft. They are descending to treetop level as they approach. The worker is an old woman. She is bent over, casually pulling rice plants from the water. At the edge of the woods, between the peasant and the approaching aircraft, there is a machine gun emplacement manned by four Viet Cong. Their position is completely hidden from the Americans and the VC cannot see the helicopters that are about to pass over. One of the enemy soldiers is standing and looking at the hapless peasant through binoculars.

Two of the soldiers are ready at the machine gun. The third is intently watching his spotter and speaking. We can hear the helicopters.

Through the soldier's binoculars we see her, bent over and working. She looks at the helicopters that are nearing the edge of the clearing and turns to point her head toward the one that will clear the trees first. She then resumes picking.

The one with the binoculars turns to the other two and excitedly directs them to the spot where the woman is pointing. They turn their weapon in that direction just as the first helicopter clears the tree line.

The enemy gunners open fire. The gunner in the HUEY is hit and falls to the floor before he can even face his attackers. The helicopter is struck repeatedly and lands heavily in the rice paddy, near the other crash.

The entire scene is visible from the cockpit of the trail helicopter and from here we see the helicopter on our left go down. The one on our right has not yet reached the tree line that conceals the machine gun. The pilot and co-pilot are Ridinger and Carter. Carter is looking through binoculars.

RIDINGER Where are they!? Can anybody see 'em!?

The pilot of the other helicopter, Stan and Ray all answer no.

Looking at Carter we see him raise his binoculars to view the spotter and through them we see her turn toward the second helicopter which is almost to the clearing.

CARTER The farmer is directing fire!

RIDINGER McNair! Turn around! the clearing!

Don't enter

McNair makes a hard turn to avoid the clearing.

Ridinger does not veer. He applies forward cyclic, and full collective. This causes his aircraft to pitch quickly forward which directs the rotor thrust aft, increasing his speed.

The enemy officer with the binoculars is looking at the woman who has turned toward the second helicopter. He points to where the woman is indicating the next target will appear and his men respond. It doesn't emerge as expected and they are not ready to fire on the third aircraft as it passes directly over them at high speed.

From the ground, behind the VC we see them swing their weapon around and fire as the HUEY streaks toward the woman.

Stan!

RIDINGER Waste the farmer!

From inside the compartment we see Stan quickly aim and fire but as he does he is hit in the back. He doesn't fall and Ray doesn't notice that his friend has been shot.

Stan's shots hit the water buffalo, which falls, into the mud and struggles. The woman starts to run but then realizes that there is no cover so she stops and stands straight up with her arms at her side. We are now close enough to recognize gender.

RIDINGER (perturbed that Stan missed) Lockner. I'll put her on your side!

From the ground, fifty yards from the old woman we watch as the ferocious, loud, flying machine turns and bears down on her to rain fire. She is still and very small, awaiting her fate. As it finishes its turn, it slows down.

We watch the old woman, through Ray's eyes as we slowly close the distance. The prop wash is flattening the rice plants and making ripples in the water and the water buffalo is struggling, in agony, to pull itself out of the mud. The sound is diminished. All we hear is a low whooshing from the rotors.

The aircraft is moving forward very slowly. The woman is 40 feet away. She is standing still, and very erect with her arms at her side. She is looking straight into Ray's eyes; our eyes.

Now we see Ray's hand as he depresses the trigger.

Through the woman's eyes, we see Ray pointing straight at us.

The tracers come.

In the cockpit with Ridinger. He is preparing to fire rockets at the machine gun nest that is still firing at them. His preparations take two seconds and then he fires.

From his perspective we see the rocket fly to the target and explode.

All firing has now ceased. We see the helicopter, hovering, and Ray, his hands still on the M60 and the muzzle smoldering and the dead woman, lying in the paddy.

The helicopter begins to rise and fly toward the water buffalo.

Looking down, over Ridinger's shoulder we move toward the animal. It has managed to get back up on its feet on the dike.

Blood is flowing out of a wound in its hindquarter.

Ray.

RIDINGER Kill the cow.

Within a second of hearing the command Ray takes aim and fires three rounds. The animal falls to its knees then rolls into the rice paddy.

Now Ray looks forward at the smoking area where the machine gun was. Pointing in that direction, he is prepared to fire but when he sees no motion he hesitates. He then fires into the trees, in case others are hiding there, hoping to cause return fire or movement that would give away their position. The helicopter is turning away from the trees and gaining height as Ray shoots.

As we rise we see the destroyed machine gun position but none of the soldiers are visible.

Ray leans outside the door slightly, looking for the enemy soldiers.

RAY Jim. I don't see anyone. Somehow they got out. They're probably headed back to the village.

RIDINGER Yea. We'll head that way and see if we can spot 'em.

Turning toward Stan, Ray sees that he is wounded. Stan is holding his arms tightly around his midsection. As their eyes meet Stan drops to his knees. Ray is horrified and he goes to Stan to hold him as he slumps to the deck.

RAY Jim! Stan is hit! to a medic!

It’s bad!

Get us

RIDINGER (to the other pilot) Packer 48, we got wounded; we're turning back! You're staying to cover Thompson?

PACKER 48 PILOT Roger, Seattle 8.

Stan's injury is severe. Blood is flowing from between his folded arms and his color is bad. Ray holds Stan close to him.

Tears begin to flow down Ray's cheeks. He rocks Stan gently then holds him away slightly to look at his face. He is very pale. Stan looks into his eyes.

STAN It went through me.

Looking at the hand that was supporting Stan's lower back, Ray sees that it is covered with blood. Stan turns his head and he too sees the blood on Ray's hand. The bullet did pass through him. Ray now believes that his friend will die and he composes himself. Stan also seems to relax and he looks up at the ceiling.

STAN Tell Jim to put it down. I don't want to die with all this noise.

Shut up.

RAY You're not going to die.

STAN

Yes I am.

His gaze is penetrating and his tone is clear. Both know that he is right. His request to land is a last wish.

RAY Jim. Set it down. talk to you.

Stan nods.

Stan needs to

He must say goodbye to his friend.

So talk!

RIDINGER We gotta get to a medic.

He knows what this request means but he isn't ready to accept it.

RAY (looking at Stan, his tone calm and stern) Land this goddamn thing.

Ridinger and Carter look at each other and with the look agree that they will comply. Both survey the terrain below. Carter points and Ridinger nods, then turns the helicopter and begins the descent.

Ray continues to cradle Stan and watch him as they descend.

Stan's breathing is labored but he is calm. He is looking outside at the sky.

The Vietnamese landscape stretches out to the horizon; lies above.

blue sky

We are descending into what could be an excavation. It is a cut in the earth that could have been created by bulldozers or flowing water. An embankment of exposed dirt appears in the bottom of the frame as the helicopter lands. The rotors stir up dirt and dust from the slope, which now fills half the frame. A few small rocks and clods roll down.

The sight of the shifting Earth causes Stan to shudder.

Watching from 1000' above and 1/2 mile away we see the helicopter set down. They are in a large open area and there is no sign of friend or foe. Their position in the cut provides concealment.

The engines shut down and the rotors begin to slow. Carter exits the aircraft with a rifle and climbs up the slope to stand guard.

Back inside the aircraft we see Ridinger unstrap himself from his seat and move back to Ray and Stan. He sits on the deck next to them. Ray's face is wet with tears. Stan, his skin pale, his blood in large puddles all around him, is gazing out at the embankment. He is afraid.

RIDINGER You wanted to see me?

STAN Yea, I wanted to see you.

He looks at Ray and starts to cry.

STAN I want to see my mom. I want to be home. I'm not brave, God I know I'm not brave.

As he sobs Ray pulls him close. The crying hurts him and the pain makes him stop. Now he collects himself, looks at both his companions then back out at the embankment.

In slow motion, dirt slides down the slope.

The sight of the shifting ground terrifies him.

STAN The Earth . . . Ray. . .!

He grabs Ray's shirt and looks into his eyes. fear on his face.

There is terrible

STAN ..the grave At his words, "the grave", Stan Christianson dies. His terror and his last words tear at Ray and Ridinger. They look at each other, shocked and afraid. After a very long silence Ridinger calls out for Carter to return, then moves quickly back to the cockpit.

From above we see Carter run down the slope toward the helicopter, rifle in hand. The rotor blades begin to turn.

As the helicopter lifts off, Ray is still holding Stan and he is crying. Stan's face still has traces of pain and fear on it.

Ray becomes agitated and rubs Stan's face to remove the pain and it works, Stan is now expressionless but now his eyes are slightly open and this further upsets Ray. He gently closes Stan's eyes. He is now furious and he slides out from under his friend. He returns to his station and puts on his helmet. He looks at the jungle below, searching for prey.

FADE OUT INTERIOR - AIR CAVALRY FIRE BASE - DAY Inside Stan's foot locker are the few personal items that an Air Cavalry crew chief takes to the field: clothes, boots, letters from home, pictures, and books. Ray reaches inside and pulls out the bundle of letters.

Ray is in their tent at the firebase collecting Stan's possessions to send them home.

He looks for a moment at the addresses on the envelopes then places the bundle in a box on the cot next to him. Reaching in the locker again, he takes out a photograph.

Stan and two other boys with their arms around each other's shoulders are standing next to an early sixties model Chevrolet convertible. They are all smiling broadly.

Ray thinks of his own friends and what Stan's friends have lost.

His gaze remains on the picture as a tear rolls down his face.

Finally he wipes his eyes and puts the photo in the box and returns to the locker.

There are four books: The Second World War, volumes 1 and 2 by Winston Churchill, On War by Carl Von Clausewitz and The Universe and Dr. Einstein by Lincoln Barnett. He takes them out of the locker and looks at each. The last one is On War, which he turns over in his hands. It is a worn volume. He opens it and browses for a few seconds, closes it and considers for a moment whether to keep the works that inspired his friend. He opens it again and notices hand written notes in the margins.

He turns the book to read one of these notes as Ridinger enters the tent.

Jim stands beside the cot, looks in the box then takes out the photograph of Stan and his friends. Ray looks up at Ridinger as he is examining the picture.

RIDINGER Have you ever known anyone like him?

While looking at Stan's book on tactics, strategy, politics and the conduct of war, Ray thinks about the question.

RAY Yea. I know someone who is a little like Stan. My buddies girl, Donna.

She thinks about things and studies them the way Stan did.

RIDINGER He seemed to know why.

Ray understands Jim's meaning.

RAY It's not so much that he knew why.

He accepted that the questions never stop.

RIDINGER Yea, come to think of it, every time we would ask him what he thought he would give an answer but at the end ask a question.

RAY He was rare . . . twenty years old . . . what a waste. Why do we lose guys like him?

That Ray would ask the rhetorical question during their discussion of mysteries within questions is ironic and both are aware of the irony. The conversation temporarily ceases. Jim puts the photo back in the box and Ray pulls another item out of the locker. It is a film can with Stan's copy of the films that Ray has taken. Jim notices what Ray is holding.

RIDINGER You didn't get any of the combat stuff processed yet, did you?

RAY No. I don't want to send it home for Jenn to take care of. I don't want her to watch this stuff without me.

RIDINGER That's definitely a good idea. Give them to me and I'll set it up with my buddy in the Photo Detachment to get them developed. When you take more we'll send them to him.

RAY Yea, all right. I'll give you my parents' address and when my tour's over he can ship it there.

Ray gets up and goes to his side of the tent and retrieves a half dozen film containers from his foot locker and gives them to Jim. Before handing them to him he takes a moment and remembers some of the scenes that they hold.

RIDINGER What are our people gonna think of this? What are they gonna think of us?

RAY If they lived here and had jobs like ours they'll admire us. The rest of them can't know what the pictures really mean. We'll have to explain it to them.

RIDINGER I'm not so sure I can explain it to anyone.

RAY It won't be easy with some of them.

RIDINGER Yea. I got a hippie, peacenik brother that won't get it.

RAY I didn't mean the people. I meant the pictures. Maybe we shouldn't take them back.

RIDINGER We have to look at them.

Finish up with Stan's stuff. We’ve got to go. I'll see you at the airplane.

Jim looks for another moment at Stan's things then leaves. is standing, looking down at the books on the cot.

Ray

Three are on edge, their titles discernable. The fourth, Lincoln Barnett's, The Universe and Dr. Einstein, a paperback, is on its back. A portrait of Einstein is on the cover.

Formulae and atomic symbols are floating behind him.

Ray reaches down and picks up the Barnett volume.

The famous thinker with his wild white hair is looking into Ray's eyes. Einstein's expression is neutral but are penetrating. There are secrets and wonder beneath and behind those eyes. They compel. Ray wonders what paperback taught Stan.

straight his eyes that brow this thin

He opens the book and begins to read the introduction. After just a few seconds however the sound of the helicopter starting is heard and he remembers that he must go. He stops reading and quickly finishes putting the few remaining items in the box but he doesn't put the books in. Instead, he takes them to his own locker, opens it, puts them inside and takes out a letter addressed to Donna. He then hurries out.

While running toward the helicopter he stops one of the several men that are crossing his path. They exchange about six words and Ray hands him the envelope, slaps him on the back and continues, at a gallop, to the aircraft. He bounds in, turns, and sits on the floor, plants his feet on the skids, and tightly grips hardware and webbing with both hands. As soon as he sits, the helicopter that is at max manifold pressure and rpm leaps into the sky as the pilot applies full collective. It jumps to 50 feet then quickly rolls to full forward pitch. As it flies away, it banks left and accelerates. Ray holds on tight as the

turn is completed and they speed off, hugging the ground. remain in ground effect until they are a half a mile off.

They

FADE OUT EXTERIOR - THE LOCKNER RESIDENCE - DAY It is a bright spring day. Birds are singing and children are playing nearby. Ray, in civilian attire and his hair longer then when we last saw him, is on the front porch swing, reading.

He is slightly heavier or maybe just less gaunt then when we last saw him. He is clean and healthy which is also different.

In Vietnam he was always hot and dirty.

Jennifer, wearing short shorts, a gauze blouse and sneakers comes out of the front door with a box in her hands. She lets the screen door go and it slaps shut behind her, then she springs off the porch and runs to the car parked on the street.

Ray places the book on his lap and smiles broadly as he watches Jennifer.

She opens the back door and leans in to put the box on the seat.

She presents a very appealing picture. As she steps back and closes the door she turns toward Ray and notices, with satisfaction, that he is watching her. She responds to his smile with a laugh then runs toward him. His joy increases as she nears him. He greets her with open arms as she sits on the swing with him.

They kiss long and very tenderly. Finally they break the kiss but they stay close and look into each other's eyes.

RAY Every time we come together I feel like I did when I got off the airplane six months ago.

JENNIFER Me too. I don't think it will ever be any different. I love you. God, I'm glad you came back.

The mention of him coming back and her choice of words causes him to recall his friend that didn't. He picks up the book off

the bench and looks at it. It is one of those that he took from Stan's locker; Volume 2 of Churchill's WWII history, "Their Finest Hour".

Jennifer is sorry that she said what she did.

JENNIFER Every time we're grateful that your back you feel guilty about Stan.

RAY I'm not guilty. I'm sad and I'm sorry he didn't make it and I can't forget . . . It'll get better in time.

She nods at him and smiles, takes the book from him and leafs through it, then puts it down on her lap. She has just realized something.

JENNIFER You know how your father and uncle never talk about the war. We used to ask them to tell us stories but they never would. Do you think it's because of painful memories?

RAY Yea, partly.

JENNIFER Why else?

RAY We couldn't have understood.

JENNIFER Because we were kids?

RAY Yea. partly.

She rolls her eyes at him and sighs because "partly" was not a good enough answer a second ago and it still isn't.

He responds with a chuckle and recognition that she deserves more.

RAY You just have to be there to understand it. The longer I'm away the less I feel I know about it. For people that have never been at war its even harder. How can they know?

His answer is vague and Jenn doesn't know exactly what he means but she doesn't want to press him so she changes the subject.

JENNIFER There's not much left. At the rate were going we'll have all your stuff out of here by the time we get married. I'm coming back over tomorrow to get more.

RAY Is my mother going to help you?

JENNIFER Yes. Let’s go in and say goodbye.

We've got to get going over to Gabe and Donna's for dinner.

RAY OK They get up from the swing. Ray puts his arm around Jenn's shoulder and she puts hers around his waist and they walk inside.

INTERIOR - THE LOCKNER'S KITCHEN - DAY Ray and Jennifer, still holding each other, walk in the kitchen.

Mrs. Lockner is working at the sink. Mr. Lockner and Uncle Harold are at the table having coffee.

RAY We have to get going.

HAROLD Don't go yet. You've been reading that book all afternoon. I feel neglected. Sit down here and talk to your uncle for a minute.

MRS. LOCKNER Yes Raymond. Jennifer had a chance to talk while we were packing your things but you haven't spoken to your father and uncle all day.

Ray looks at his watch and then at Jennifer.

RAY We could stay a little longer.

JENNIFER Sure.

Ray and Jennifer sit at the table.

JENNIFER (to Ray) Do you want coffee?

RAY Yea. JENNIFER Well get me a cup too.

Ray sighs, then gets up and walks to the cupboard next to his mother to get cups. On the way across the room he speaks.

RAY I feel like Charlie Brown when Lucy pulls the football away at the last second. Every time you ask me do I want coffee I end up getting it for you.

Mr. and Mrs. Lockner and Harold are amused but no one laughs out loud.

Ray pours the coffee at the stove.

JENNIFER ("sweetly") You do it because you love me Charl.., Ray. RAY (smiling) Oh, I know. And you take maximum advantage of that, pain in the a.., Jenn.

JENNIFER I wouldn't be the ideal woman if I didn't do that.

MRS. LOCKNER Isn't it lovely Al. They're acting like married people already.

Ray returns to the table with the coffee. Puts one down in front of Jennifer the leans over and kisses her.

RAY You are ideal. Almost perfect.

She picks up the cup, sips, and shrugs. clearly stating. "See, I told you".

Her body language

Harold gestures to Jennifer for the book.

HAROLD What are you reading?

Jennifer hands it to him.

HAROLD (while reading the cover) "Their Finest Hour". Why are you reading this?

He leafs through it as Ray answers.

RAY To get some perspective on what's going on with Vietnam and the Army.

HAROLD Vietnam sure isn't our "Finest Hour".

Everyone is struck by Harold's statement and as soon as he says it he realizes that he may have hurt Ray. HAROLD The government is so screwed up in how they're fighting this war that it gets me and every other vet worked up.

RAY I know. The vets get worked up and the protestors get worked up and movie stars tell us were baby killers. Sure makes you feel unappreciated while your getting your ass shot at.

MR. LOCKNER We were behind you.

HAROLD Damn right. It’s not the Army's fault. It's sure not your fault.

You did your duty. The last thing I want to sound like is a protestor.

We wouldn’t have fought the way we did in the Pacific if the people back home weren’t behind us.

RAY That's the point. I got that book and a few others from a dead buddy.

It’s helping me figure things out.

C'mon Jenn. We gotta go. (to Harold) You need to figure it out too.

Ray and Jennifer get up, put their arms around each other and walk out.

Harold returns to the table and sits down. Mr. Lockner and Harold are silent at the table. Mr. Lockner glares at his brother as Harold picks up the book and stares at the cover.

EXTERIOR - IN THE CAR WITH RAY AND JENNIFER ON THE WAY TO GABE'S APARTMENT - EARLY EVENING Jennifer is snuggled up to Ray. His arm is around her. Both are silent and watching the road ahead. Both are deep in thought. The radio is playing the Moody Blues. At the end of the song we hear the disk jockey.

RADIO DJ Here's some bad, bad news from the west coast you all. Janis Joplin died last night. Word is, it was a heroin overdose. Otherwise there are no details. She died early this morning at the Landmark Hotel in Los Angeles, where she and her band were staying while working on their new album.

Ray and Jennifer look at each other, both saddened by this news but their mood was already contemplative. Neither responds dramatically. Ray says only one word.

RAY Shit.

Just as he speaks they arrive at the complex where Gabe and Donna share an apartment. Ray turns into the parking lot.

Their town has a state college where Gabe and Donna are studying. Their apartment complex is one of many around the school that cater to the students. Volkswagens and strangely painted vans abound. Apartment windows are adorned with posters and peace signs. Most of the people that are coming in and out of the buildings are young and carrying books.

They park in a space near the entrance. Another car pulls in next to them. It's Ed. He gets out and they greet each other at the sidewalk.

Ed's hair is short. He is wearing jeans, sneakers and an Army field jacket. On it are Sergeants stripes, and his name over the breast pocket. On the left arm is the organization insignia for the 1st Army and on the right arm is the combat overseas organization insignia for Special Forces.

RAY (very happy to see his old friend) Hello soldier! How's the adjustment to civilian life going.

JENNIFER Hi handsome.

She rubs his closely shorn head and hugs him.

ED The first week has been great. My mother is still the best cook ever and I love my bed. No bugs! I haven't been stung or bitten by anything.

RAY Well that is great Eddy boy. Good food and no scorpions. You got the world by the balls.

Ed shrugs and smiles as if to say, “Yep, my life is perfect."

ED Hey, both of you guys. Thanks for meeting me at the airport last week.

Seeing you and my family first thing was great.

JENNIFER You’re welcome. We loved it too.

ED Well, lets go sup with the hippies.

They walk into the building.

Jenn, Ray and Ed enter and start up the stairs. A couple is at the 2nd floor landing and walking down. Both are wearing bellbottom jeans and beads. The man has long hair and a beard. As the two groups pass on the stairs the couple parts to let the ascending trio by. They stare at Ed and give him a disgusted look. He and Ray both notice and Ed issues a low growl. The girl in the couple tugs at her boyfriend and they whisper as they walk down the stairs and out the door.

They stop at the top of the stairs and watch the couple exit.

Jennifer is angered by the couple’s reaction but she remains controlled. She figures if Ed doesn't let it bother him then she should be able to endure it. But it does bother him.

ED That guy knows one thing about me.

That I was in the Army. And he hates me. Do you know how many looks like that I've gotten since I've been back?

RAY Yea, I know. When your hair grows back and you stop wearing your field jacket you'll blend in.

ED I'm not gonna stop wearing my field jacket.

JENNIFER You guys will never blend in with those people, not after what you've been through.

This is an observation that makes Ray and Ed both appreciate her.

ED All right Jenn! A fact we can live with. Thank yoooou.

The incident doesn't affect their happy mood. down the hall, stop at Gabe's door and knock.

They continue

Donna, dressed in a long, almost sheer, Indian cotton dress, opens the door. They are very happy to see each other.

Donna and Ed embrace. He lifts her and spins then holds her at arms length and admires her.

ED American women! Oh yea!

He lifts her again and buries his face in her neck. and hits him and pushes herself away.

She laughs

DONNA Man, you need a date! me!

Gabe protect

Ed finally leaves Donna alone to greet Gabe.

The living room is small with sparsely furnished. There’s only a couch, one overstuffed chair and a bean bag chair. Plants are everywhere. A fabric wall hanging adorns one wall and the others have framed posters and prints of modern art, scenes and symbols to the period. One is of the throng at Woodstock. It is a well-kept and warm space.

James is there on the couch with Gabe. His hair is short and he is wearing a tee shirt that says "STATE WRESTLING". He's in great shape with very muscular arms, thick neck and narrow waist.

Ray and Jennifer don't look much different now then did the last time these six were together at Ray's parent's house before Ray and Ed went away. The other men are physically different then before, particularly Gabe and James. Gabe has long hair and whiskers and James is bigger. Ray has matured. His growth in this respect has changed him more then any physical change.

Ed's experience in the war has had a similar effect on him. He too presents a different image then before even though he is physically relatively unchanged. Donna, like Jennifer, looks like she did before. The women were women before. The boys, with the possible exception of James, have grown into men.

James and Gabe are sharing a joint. Jennifer and Donna walk into the room with their arms around each other. They stop at the couch so Jenn can say hi to James. She squeezes his bicep and tells him he looks good. Then she and Donna continue on into the kitchen. Ray sits in a chair at the end of the couch and Ed sits on the end of the couch, next to Gabe. Gabe immediately gets up.

ED (to Gabe) What's your problem.

GABE I'm not sittin' between you two.

They all laugh. hit.

Gabe takes the joint from James and takes a RAY (to James) That shit isn't on your training regimen.

JAMES (while drawing on the joint) . . .special occasion . . .

GABE Oh right, it's Thursday.

JAMES No. Not Thursday. It's our reunion.

The six of us haven't been together since Ray and Ed went to the Asian war deal . . . the Army . . . you know. Not Thursday.

ED Have another hit.

RAY (to James) So how's the team?

JAMES (without breathing) Pretty good. We might win the conference and a few of us are gonna go to the Nationals.

ED 'A few of us?' Does that mean that you think you're going to the Nationals?

JAMES Yea, I probably will.

ED Ray; look at what we missed by going off to war. Ed's going to the damn Collegiate Nationals. What do we get for sleeping in the mud and watching our buddies die? . . . fucking hippies giving us dirty looks.

Donna and Jenn return as Ed is speaking. turned bitter.

His tone has suddenly

GABE Who's giving you dirty looks?

ED The two assholes we passed on the stairs just now, everybody else.

RAY Ed, not everybody.

DONNA We don't like this war, but we love you.

ED You don't like the war. Did you hear what you just said? I liked it a lot less than you did. You don't know anything about it.

DONNA This one isn't like the others. watch it on TV every day.

Yea it is. others.

We

RAY It’s exactly like the

Rays' comment goes unnoticed by everyone but Jennifer. tries to ask him to explain but Ed interrupts.

ED Shit Donna, the Flintstones are on everyday too. Does that mean you know about cavemen.

She

DONNA Our generation is trying to make things better. We stand a chance at doing it because of TV and music and newspapers and the general enlightenment. It’s possible now to share ideas better then ever before and nobody can hide the truth for very long. There are too many people with cameras and electric typewriters for the truth to stay hidden.

And here's the truth; we can't go on killing each other, were too good at it. We know enough about nature and we have the ability to make the world a paradise, but we aren't.

We really can change. A lot of people are capitalizing on the trend by selling jewelry and posters and drugs and recycled poetry but capitalism is a truth too, another piece of the puzzle.

It's a marvelous age, and Gabe and I and millions of others are aware of the possibilities. We've got to make the changes while there is still time.

RAY I hope you’re right. I need some kind of new order to help me figure things out.

ED (to Donna) You sound like one of Ho Chi Minh's commissars. You think you've got a new slant and if the world will listen, your approach will make it all better. The communist doctrinaires say the same thing when they storm into villages and kill the elders. Then they start "educating" the people that are left with their idea of the truth. My unit came in next and killed them, which cleared the way for more proper thinking, and the kids that are left don't care about any of it. All they know is that Mom and Granddad are dead, and Dad was dragged away and Sis was beaten and raped and they're still hungry.

I'm already fed up with this shit.

Donna I love you. I respect what you think and you should work for what you think is right. But you need to know something about me and what I did over there to people who were doing what they thought was right.

Ray is really worried. He knows that everything might change for all of them right now.

RAY Ed, cool it.

His tone is extremely serious, his teeth are slightly clenched and the others have rarely if ever seen him display this emotion. His warning is chilling.

ED What!? We can't tell them what we did? They think they know. They saw it on TV! Ray looks at him with eyes on fire. His voice is low and controlled

RAY No! All are quiet as Ed looks into Ray's eyes. Jennifer is chilled.

(What is it that he can't tell her?) Ed thinks for a moment about what he was going to tell Donna then looks at her. She is afraid and he does not want to shock or hurt her. Not knowing how to answer them, he becomes angry.

ED I guess you’re not ready. You’re not ready for us. I'm leaving!

Ed gets up and starts for the door.

James stands and runs toward him.

As he reaches the door

JAMES The hell you are.

RAY James!

No!

Ray springs up just as James spins Ed around. Ed reacts with lightning quickness and brutal force, sweeping James' feet then pouncing on him. He drives his left forearm into James' throat and draws back his right fist to deliver a fatal blow. As the punch is descending Ray reaches them and plows into Ed. Gabe is right behind him and both wrap up Ed's hands. James rolls to one side holding his throat and gasping. Jennifer goes to him.

Donna has remained on the couch, amazed.

Once restrained by his friends, Ed relaxes. His reaction to James' aggression was reflexive and he is not crazed or angry.

He is disturbed at what almost happened. He is so recently out of the bush that his response to his friends "attack" was deadly. What if Ray hadn't stopped him?

None of the three speak. Ray and Ed are looking into each other's eyes. Both are afraid. Ed searches his friend’s face, concentrating on it with questioning eyes.

James is not injured. looks at Ed.

He lifts himself up on one elbow and

JAMES (coughing and clearing his throat) Man, that was a cool move. You gotta show me that.

At James' question, Ed starts to smile. James was almost severely injured by his childhood friend and he wants to add the move to his wrestling repertoire. Ray begins to smile also and their holds on each other loosen.

RAY (looks away from Ed to James) This damn robot, soldier, programmed, grunt, bundle of reflexes almost killed you.

What?

JAMES Id've countered.

With that Ed and Ray break into belly laughs. They are relieved and now take the opportunity for emotional release. They laugh at James and themselves and revel in the joy of having survived and returned to their friends. Ray rolls off Ed and holds his sides. Ed raises himself and crawls over to James and falls on him. By now all are laughing and all are ecstatic to be back together. Donna walks to Ed and James and piles on. Jennifer and Ray follow so that they are all piled on top of each other.

All are now laughing hysterically and tears of joy are streaking down their faces.

GABE We were really worried about you guys. Every day.

Jennifer and Donna switch to crying.

DONNA Ed, it was hard for us too. you guys.

We love

INTERIOR - GABE AND DONNA'S DINING ROOM - NIGHT Dinner is done and all but Donna, who is clearing the table, and James who is on his feet going through the motions and description of his last match, are seated at the table. There

are three empty wine bottles on the table and another that is three-quarters full. Everyone has wine in mugs and jelly jars, no two of which are the same.

Donna finishes and sits down with the others.

JAMES . . .so, I'm losin' 13-7 with fortyfive seconds left. This guy is pretty sure he's got me beat but I'm not, so I shoot from about six feet out and get in deep on his legs. He tries to sprawl but I don't let him so he draws back his arm to about here . . .

He makes a fist and raises his where his opponent started his and forward to demonstrate how with the inside of his forearm

arm high and behind him to show swing. He sweeps his arm down the other wrestler struck him in his face.

JAMES (cont.) ...and hits me with a cross face. I mean he threw it from someplace in the Midwest. It isn't legal to throw a crossface. The inside of the forearm is supposed to be placed on the guy's head. Well this guy didn't place shit. He threw a punch.

The ref doesn't call it and the guys on his bench think it's a scream.

They're laughin' their asses off. So he's got the crossface on me and I've still got his legs. What does he do?

He looks over at his guys, sticks his chin way up in the air and makes like a lizard.

James demonstrates. He thrusts his chin toward the ceiling and lowers his jaw slightly then pulls the neck tendons tight, rocks his head from side to side, sticks out his tongue and flicks it in and out.

JAMES His guys go crazy. This is the funniest thing they've ever seen.

James' audience is in tears too. His motions while telling the story are perfect and his lizard impression is great.

JAMES So I've just been punched and now I'm being laughed at and it’s all I can stand so I freak. I drive into him, suck him up, get him up in the air and slam him to the mat. This is the worst slam you've ever seen. He actually bounced. And the ref didn't call that either! This guy was gonna let us kill each other.

When he hits the mat, I can here that I've knocked the wind out of him so before he can inhale I clamp down on his chest and squeeze. So now he's got no air in his lungs and I'm wrapped so tight around his chest he can't suck any more in. The guy is suffocating!

Recalling his opponent’s dilemma thrills James. He laughs so hard that he can't continue. When he starts again he is even more animated.

JAMES Now his team springs to their feet and yell for the ref's blood but he's on the mat watching for the pin. I pin him and when I get up he doesn't move. He's out cold! It was the greatest thing I ever saw. The ref had to give him mouth-to-mouth!

Ed and Ray loved the story and are laughing. James’ description and actions entertain all although Donna squirmed a little at the part about the wrestler suffocating.

ED To render your opponent unconscious is a supreme accomplishment.

No shit!?

GABE You put him out?

JAMES Yes I did. I expect that match to live on as legend around these parts for years to come.

All laugh at this expectation.

RAY From the way you tell it, yea, it sounds legendary.

ED No, It’s a folk tale. songs about it.

They'll write

James is nodding, considering the likelihood. sings a few silly lyrics.

Then he hums and

JAMES Hmm . . . Jim Nero Jim Nero . . . a wrestling hero . . . a man among men . . . and every woman's favorite stud . . .yea bud RAY You're so full of shit.

GABE (sarcastic, to Donna) I should have been a wrestler.

There's such glory in it.

JENNIFER Oh yea, the guy that watched the lights go out felt real glorious.

She and Donna expressively agree (both say yeeech).

DONNA No baby, you stick with gentler arts.

Leave the near death experiences to the warriors.

Ed and Ray look at her.

DONNA (quickly, to cut them off) I mean warrior in the nicest way.

JAMES One of you veterans tell us a story.

What's it like?

Ray and Ed look at each other and each considers what they might relate. Their minds are racing. Both saw a great deal of combat and could tell tales that would last all night but what of the consequences? Which tales are fit to relate to this group?

Jennifer is concerned too. Ray has told her things that have upset them both. Most of what he has told her has been personal and much of it is disturbing.

JAMES Ray, you got a medal. then?

Jenn is relieved.

What happened

She knows this one.

RAY It happened real fast. Most of the combat that I was in was like that.

Fly in, engage the enemy for as short a time as necessary and get out.

His listeners are immediately enthralled. War stories told by the participants fascinate us all, even the pacifist.

RAY We needed to set up a firebase in a region that had always been controlled by the enemy. There was one hill within a fifty-square-mile area so that's where they decided to put it. We were the first ones in.

There were two HUEYs, each with a squad of Blues, and two Cobras. The rest of the assault force was behind us and the Air Force was flying over.

The Cobras checked out the LZ before we got there and didn't see enemy so we went in. But they were there.

Six of 'em with rocket launchers in two holes covered with branches.

They jumped up just as we got there and shot down one of the Cobras but the other Cobra took out one group and I got the other before they got anyone else.

Ed looks at Ray inquisitively. from the story.

He knows something is missing

ED So where's the extreme bravery part?

They don't give Silver Stars for shooting three guys during an insertion.

Ray gives Ed a sideward glance and raises his eyebrows.

RAY You didn't tell a story yet. want me to ask you a lot of questions?

GABE Tell the whole story. leave out.

You

What did you

RAY I didn't leave anything out. It was what they consider an outstanding display of skill and application of training. They give medals for that too.

He pauses and looks at Jenn. all but Ed.

This explanation is accepted by

ED Oh no. What was it really? . . . But that sounded real good.

RAY Ed, you're an asshole.

JAMES Well c'mon Ray, what did you do.

It’s an award for chrissake. There’s nothing wrong with telling us why our country gave you a medal.

RAY The other thing was the squad leader for the infantry was a major. A little unusual, but it happens. He was looking down the barrel with the rest of us. He pulled the strings.

Again every one, except Ed, is comfortable with the new information.

ED Ray, you did what you did and even though I don't know what it was I know that it's nothing to be ashamed of. Tell us why you . . . were . . . honored.

RAY I had more kills than any other gunner in the 1/9th . . . one hundred and fifty confirmed.

As Ray says the number his voice trails off.

Ed does a low whistle and gestures with a thumbs up. He is proud of his friend. Ray, on the other hand, is angry with Ed for pulling this information out of him.

ED Now there's a reason for a medal.

James is also pleased at the explanation but Gabe is not outwardly approving. Donna is stunned.

DONNA (to Jennifer) Did you know?

JENNIFER Yes. ED Wait a minute! This is good. Our boy is a hero. What's the problem?

DONNA Killing is wrong. We might need a minute to think over the fact that Ray has killed a hundred-and-fifty people.

ED One-fifty confirmed. He killed more than that. Bullshit, "It's wrong"... they gave him a Silver Star for it.

That’s a reward, not a punishment.

What he did was right.

DONNA Oh, it is? Was it right when your friends were killed?

Ray is angry now with Ed and Donna RAY All right Ed, you tell us a story.

Your fucking turn.

JENNIFER No!

RAY Yes! We just spent a year getting shot at and shit on for our country.

For you and you (he points at Donna).

We shouldn't have to forget it or spare our countrymen the details.

Donna said that she might need some time to adjust to the fact that I've killed so many people. How long do you guys think it will take me? Tell us a story Ed. ED My unit killed a lot more than onefifty. More like a thousand. Hey, the US Army is the best. When they send us out to fight we kill the enemy. That's the job.

Political re-education was our specialty. We set up village governments. First we had to kill the communists. Then we put in guys that work for us. To protect them we would go out into the bush and kill the VC and NVA in the area.

The details are a lot less interesting than anyone thinks.

Pretty soon it’s just the way you are. It’s your job.

And I don't want to tell you the details anyway.

RAY No shit!

All are silent. Ray and Ed are looking at each other. Jennifer is looking at Ray. Donna's hands are folded on the table in front of her and she is looking down at them. Gabe has his hands on hers and he is watching her face. James is scanning the entire group and shaking his head.

EXTERIOR -

ONE THOUSAND FEET IN THE AIR - DAY

A HUEY is on the ground directly beneath us. Its rotor is spinning in slow motion. We can hear the rotor but it isn't the sound of a helicopter, it is the gentle whooshing of fan blades.

The helicopter is in the middle of a large featureless plain.

Very slowly the helicopter lifts off the ground and flies away.

We descend to the spot on the ground where it was and an object becomes visible. Until we are almost on the ground we can not tell what it is and just before we land we see that it is a man's face. We land and approach it and we can see that the man is buried and all that is above the ground is his face. The man is Stan Christianson. Lying on the ground next to him is his paperback, "The Universe and Dr. Einstein". He is inanimate.

His features are frozen in terror, his mouth open in a scream.

Dust begins to blow over him. It sticks to his skin then fills the cavities and contours, obscuring his features. The book is blown away and we watch it as it rolls and slides along the flat surface into the distance.

Our gaze moves back to the face and now, standing beside it, is the old woman that Ray killed in the rice paddy. The face is now just a small mound of sand. The woman is trembling with fear. Her face is painted with death.

INTERIOR - RAY AND JENNIFER'S BEDROOM - NIGHT Ray is in bed, asleep. He wakes up suddenly, sitting up and opening his eyes at the same time. He looks over at Jennifer to see if he has awakened her and he has not. He then puts his hands to his face and sighs.

INTERIOR - RAY AND JENNIFER'S BEDROOM - MORNING Ray wakes up and looks at his watch. He looks at Jennifer then moves over next to her and strokes her head to awaken her. She opens her eyes, looks at him and smiles, then stretches and puts her arms around him.

RAY What are you doing today?

JENNIFER I'm going over to your mother's and then to my mother's. Ruth and I are going to get the last of your things and my mom and I have wedding details to work on. She's getting nervous.

Its only two weeks away and there's still a lot to do.

RAY You guys will get it done.

Hey, I'm going to stop by the college today to get the admissions stuff. I think I want to go next year.

JENNIFER (smiling and very pleased) Good. That's really good.

They hug.

RAY Can you start looking for a job.

I'll keep working but only part time.

JENNIFER Yes. I was going to look anyway.

It’s been real nice being kept by you but I want to start working. What are you going to study?

RAY Writing, and filmmaking.

This makes Jennifer smile. She studies his face as this news sinks in. Her smile grows until it couldn't get any larger.

JENNIFER You have to make me a movie star.

You can't do it if you don't make me a movie star.

RAY Of course. That's why I want to do it. See I've always known that if I didn't cover you with diamonds and make you famous that one day I would lose you to Hugh Hefner. College is just part of the plan to keep you.

JENNIFER It's brilliant.

She wraps her arms around his neck and pulls him to her and they kiss. When the kiss is done he slaps her on the bottom and springs up.

He goes to the window and opens the curtains. Daylight floods the room. He stands at the window for a moment, looking out.

Jennifer sits up to look at him.

RAY The last two years have been real important for a lot of people. I've seen more than I ever wanted to. So much has gone on around me and every day I've thought about it then I started reading about it and now I'd like to write about it.

But first, today, I'll go to work at the shipyard.

He walks across the room to the bathroom, goes through the door, and leaves it open, and turns on the water.

Jennifer watches him, then lies back down and thinks of the future.

INTERIOR - UPSTAIRS AT RAY'S PARENT'S HOUSE - DAY Ruth Lockner exits her room and walks down the hall to Ray's.

She is dressed for housework. She is moving purposefully but as she opens the door to Ray's room she stops. Standing in the doorway, she lets her eyes slowly scan her son's space.

The walls, shelves and other surfaces are cluttered with certificates, plaques, varsity letters, and trophies. The evidence of childhood and teenage accomplishment are everywhere.

The photograph of him in his Army uniform, an American flag in the background is on one wall.

An item has caught her eye. She walks to the open closet to get it. There is a chest in the closet and on top of it is a stuffed animal. She picks it up and examines it.

She strokes it for a moment, then closes her eyes. Holding the toy to her she continues to pet it and thinks of Ray in the cradle. She opens her eyes, looks at the toy and then looks around the room again. She walks to the dresser, which is next to the window that faces the street. While looking at the objects on the dresser she notices a car approaching. It is Jennifer.

Jennifer pulls up in front just a little too fast and when she brakes on the area scarred by Ed's reckless driving and dripping oil pans, the tires screech. She slides a few inches and gently bumps the curb with the right front wheel. The collision jostles her a little and surprises her.

She gets out and walks around to the front and looks for damage.

There is none and now she notices Mrs. Lockner watching her.

Mrs. Lockner has opened the window and she is leaning out, laughing.

MRS. LOCKNER C'mon up Jenn.

JENNIFER Good thing it's a low curb, huh?

MRS. LOCKNER Yes dear, that is a very good thing.

Jennifer runs into the house.

Mrs. Lockner closes the window then goes back to the closet and puts the stuffed animal where she found it. Then she looks through the clothes, takes some out and places them on the bed.

Jennifer enters the room.

MRS. LOCKNER Hello. I'm just getting started.

There isn't much left to go up here but you should take whatever clothes he can still wear. Most of these things are too small now.

Her comment makes her think of the little boy again and she starts to choke up slightly. She sits on the bed and Jennifer sits down next to her.

MRS. LOCKNER When he left for the Army, I didn't know that he would be out of the house for good. I didn't think about it when he got back and moved in with you. The only thing on our minds then was that he was home safe. But this is really it. He's gone for good.

She takes a deep, cleansing breath.

MRS. LOCKNER He has you and you make him very happy. I couldn't ask for a better daughter-in-law. So I'll stop being a teary mother. Let's get busy.

She starts to stand but Jennifer takes her hand.

JENNIFER You haven't lost Ray. and so do I.

He loves you,

They embrace and now Mrs. Lockner starts to cry.

MRS. LOCKNER It seemed like it would never end.

The waiting and the fear. Every night they would have the horrid body counts on the news. Never names, there isn't time to read the names.

So we prayed that Ray wasn't one of them. How many nights did you and I cry together.

Jennifer is holding back tears now also.

JENNIFER I don't know, a hundred?

MRS. LOCKNER Let's not cry anymore.

He's home.

JENNIFER It's not over for him though. So it's not over for us either. He and Ed and all the others did a lot over there and adjusting to home isn't easy.

MRS. LOCKNER Yes. I remember when the men came home from the war. Al was a different man from the one who left.

He had nightmares. I'm glad I was there for him. Ray is very lucky to have you.

They hug again then wipe their eyes and walk to the closet.

Mrs. Lockner takes some more clothes out and Jennifer looks on the top shelf. She takes down a shoebox and another, sealed box.

JENNIFER Ruth, what's this?

MRS. LOCKNER Oh my. I'd forgotten all about that.

It came in the mail shortly before Ray came home. I put it up here and in all the excitement I completely forgot about it.

It is wrapped in brown paper and taped. the Photo Detachment in Saigon.

The return address is

JENNIFER I know what this is. It’s more of Ray's film from Vietnam. During the last few months he stopped sending them to me. He told me that he was going the start taking care of the processing there, but he never said why. I wonder why he never mentioned that there was this much more. This is a lot of film.

He told me this morning that he wants to go to college next year and study writing and film making.

MRS. LOCKNER (very pleased) That's grand. We always hoped he would go to college.

JENNIFER I loved watching the films that he sent back from Vietnam. It's a beautiful country and the things that they did with the helicopter make you feel like you’re on a roller coaster.

It's great stuff. I can't wait to see this.

She drops it on the bed and returns to her work.

INTERIOR -

JENNIFER'S & RAY'S HOUSE - DAY

Jennifer enters the front door with boxes in her arms and walks into the dining room. She lays the boxes on the table and picks up the package with the film then sits down at the table to open it. There is a note. Jennifer unfolds it and reads it.

It reads: "I sent prints to Ridinger and Carter. you're a hell of a shot."

Lockner,

Puzzled by the note, she turns it over to see if more is written on the other side. Seeing nothing, she puts the note back in the box, picks up the film and walks through the living room and into one of the back bedrooms.

She walks to the projector, loads the film and turns it on then rushes back to the wall switch at the door and turns off the light. Moving quickly back to the projector she sits down next to it.

The noise of the projector prevails. Her face is bathed in the gray, reflected light of the screen and she is smiling. The excitement of the "first viewing" in her expression.

The first shot is of the assault force when Ray was looking down on the large formation of HUEYs, Cobras and the large, twin rotor Chinook.

Jennifer smiles at this impressive scene and is anticipating those to come. Suddenly her expression changes. She becomes serious.

We see the destruction of the enemy positions on the hilltop.

Taken from the M60 camera mount and one hundred and fifty yards from the target, there is little detail although the shot is clear. The rocket fired from the Cobra destroys the first group of Viet Cong and the second group appears out of their hole at the edge of the clearing. The frame shifts slightly, centering the second group, as Ray takes aim. The rocket bearers can be seen taking aim at the camera. As Ray fires the frame vibrates slightly. Tracers streak from the barrel that is just visible on the right side of the frame. Their course is straight toward the enemy and the two with the rocket launchers are hit, one immediately after the other. The rifleman turns toward Ray and he too is hit.

Next we are above the three dead VC and immediately, we see tracers leave the muzzle and bullets tear into the three men.

From this close range the high caliber bullets do terrible damage to their bodies.

Jennifer is repulsed and covers her face with her hands, then lowers them so she can see the screen, leaving her nose and mouth covered.

Next, we are face to face with the sniper who is aiming at the aircraft and firing. The branches around him are breaking and falling as they are struck by the bullets being fired by Ray and Stan. Suddenly he is hit. His weapon is torn from his grasp as the rounds from Ray's M60 strike him. The violence of the impacts is tremendous.

After a rough edit, where we quickly see trees then sky, we see the dead soldier hanging from the rope around his waist. The remaining palm fronds are moving very slightly from the wind.

Blood is dripping from the mans hands and feet as it flows over his body to his lowest extremities. He and the treetop get smaller as the helicopter flies away.

From Ray's perspective, forty feet away and at nearly ground level we see the old woman, her arms at her side. She is still and dignified. Again, the barrel of the M60 is visible on the right of the frame so we know perfectly well what is about to happen.

Now Jennifer is terrified. We see her ashen face while she watches the film and sees the shots fired and the woman go down.

Jennifer gasps and her eyes quickly widen.

Now we see the water buffalo as it is hit with three rounds and dies on its feet. It falls, away from the camera, into the rice paddy.

These last two scenes have shocked Jennifer to nausea. She stands and turns off the projector then runs to the bathroom.

We hear water run, then stop. She reappears in the doorway and stops there, looking into the room. After a few seconds she resolutely strides back to the projector, sits down in the chair, her back straight and her head up, her hands in her lap.

For a moment she just sits. Her left hand is in a fist and the other is closed tightly around it, working it back and forth.

She braces for what may be presented to her and turns the projector back on.

We see Stan Christianson, in a hand held shot, dead on the floor of the helicopter. The shot is held for ten seconds then the camera pans to the open door and shows the rice paddy where Stan was shot. They have returned for their revenge.

There is an edit and the camera is once again on its machine gun mount. We are at 500 feet over forest, rapidly descending toward a village that lies less than half a mile ahead. Four men are running toward a hut. Two of the men are hurt and the other two are helping so their progress is slow. They manage to get to the hut just before Ray can fire.

Another edit and we are hovering near the hut. Ray rakes the thatch structure with fire from his M60. Pieces of the hut are torn away. One of the men that entered before runs outside with a rifle in his hands and aims at the camera. He is cut down immediately. Now others begin to appear from the other huts.

Some have weapons and begin to fire at Ray but many are noncombatants who are fleeing. Now the camera is repeatedly switching on and off as Ray finds targets. He doesn't sweep the field in front of him but rather selects only armed targets so with each edit a man is hit. Ten enemy soldiers are struck one and two at a time in this fashion until finally Ray makes a mistake. An unarmed woman runs out of a hut toward him, screaming in anger. He makes the split second decision to fire on her and she is cut down. The helicopter now pulls up so the effect is a zoom out. More of the village becomes visible as we pull away and the total effect of the attack is apparent. A dozen bodies are lying about. Villagers are already tending to most. Some are dragging them into huts. Others are sobbing over the dead. The shot is held until the entire village takes up only about a third of the frame.

Then the film ends and the screen is filled with white. We hear the projector and the slapping of the film tail on the take up reel.

INTERIOR - HOME OFFICE - DAY Ray's flashback is over and we are with him in the office. He is looking up at the fan spinning overhead, his legs outstretched before him. Slowly he sits up and turns toward the projector and looks at the film reel. After another moment’s reflection he stands and rewinds the film. As it spins he watches and when it is done he threads the film and starts the projector. Returning to his seat, he watches.

He thinks he knows fairly well what is to come but the film was shot months ago and this is his first viewing, so some things have been forgotten. The first sequence is the air to air shots of the assault force. These remind him of the excitement of flight so he smiles. Just as it happened with Jennifer, his expression changes when the battle starts but he does not show shock or revulsion. He only becomes more serious. There is no sighing or head shaking or wringing of hands. There are no signs of regret.

CUT TO The fully loaded film reel then: CUT TO The reel nearly empty.

CUT TO Ray leaning back in the chair, his arms folded across his chest as he watches the final few seconds of film. It ends and he remains still for a few seconds, thinking of what he should do and what he must say to Jennifer. He is calm. Although he and Jennifer both saw the same film the effect on each is very different because of how the images were processed in their minds. Beyond sight, to the image creation and interpretations in their minds it is not the same film. This is what he must explain to her. If she then rejects him it will be for what he did, not what she has seen.

He stands and leaves the room.

EXTERIOR -

FRONT OF JENNIFER'S AND RAY'S HOUSE - DAY

Ray comes out of the front door and sets off after Jennifer.

At first he walks with long, fast steps. Soon he reaches a park and leaves the sidewalk. Now he runs. At first he trots but after a few strides he accelerates to a sprint. He continues the hard run for a hundred yards then he sees her and he stops.

She is sitting on a bench next to a pond. Her back is to him.

She is holding herself and rocking either because she is cold or distraught.

He walks to her and stops at the end of the bench. They look at each other for a moment but she can't hold his eyes and turns away. He sits down.

RAY I watched it.

Jennifer doesn't answer.

RAY Where did you get it?

She looks at him and searches his eyes.

He is different to her.

JENNIFER It came to your mother's house. She forgot about it. We found it today when we were in your closet.

He is aware that it is different between them now. himself and carefully chooses his words.

He gathers

RAY Jenn, what you saw on that screen has nothing to do with me.

She looks at him coldly.

RAY You didn't see what happened.

JENNIFER I saw. It was a real clever set up and it wasn't a cartoon. You took the pictures and you pulled the trigger.

RAY So, you think you saw enough to make a judgement? Am I guilty or innocent?

JENNIFER I don't know. I saw you do terrible things.

Ray looks at her now with warmth and compassion. her understand.

He can make

RAY My baby, my love, you didn't see what happened. You saw a film and the differences between the film and what really happened are so great that the picture means nothing. Nothing!

I took the film and I pulled the trigger but you didn't see it. You weren't there . . . Stan saw it.

All you saw was light reflected off a screen. You saw a picture, an image.

A movie isn't a memory.

The actions and thoughts and everything else that happens outside the frame and behind it and behind the photographer and the day before and one second after are part of the event. All that is a thousand times more important to knowing what happened than the surfaces and the instant that the shutter captured.

Think of the bird hunt that you shot.

You and Donna saw it for the first time together. How different her interpretation must be than yours.

He pauses and looks away.

Jennifer waits for him to continue.

You have to be there to know; to know the danger and the fear; to smell the air and the fuel and death.

The only other way is to hear about it from someone you trust.

He stands

RAY Remember the question that we used to ask when we were kids. "If a tree falls in the forest and there is no one around does the tree make a sound." I always thought that was stupid. Sure it makes a sound. What difference does it make if people are there? But the answer really is, "No, it doesn't make a sound." Because it isn't sound, it isn't what you know as sound until the moving air strikes your ear drum and your brain figures it out. Without a brain it isn't a sound . . .

Pictures are like that. The mind interprets, but there is so much missing from a photograph or a film that the interpretation can easily be wrong. If there are important consequences then you have to ask questions.

The same type of incomplete thinking that figures the falling tree makes a sound concludes, "pictures don't lie". That's easy. If pictures don't lie then all I need is a good picture to make a conclusion.

Well, pictures don't lie. They don't speak at all. They don't say anything. People speak. Nothing else speaks, and only people can lie to you or tell you the truth.

I'm going to tell you what happened, or at least the truth as I know it.

In the images you saw today I fired into dead bodies. That might have been thoughtless barbarism. It looked like it. But it wasn't. If those men weren't dead they might have killed our people. We didn't take chances like that.

His tone softens slightly.

RAY You saw me kill an old woman tending her fields. She was directing fire for the enemy. They were shooting when I shot her so taking her prisoner wasn't an option. We lost two crews. I saw one of them go down. Six men were killed including Stan. I had to kill her.

The shot of the water buffalo was gruesome, but you couldn't tell that Stan had accidentally shot him and I was putting him out of his misery.

He wasn't the only one I killed though. The enemy uses them and if they were enemy water buffalo, I'd kill 'em.

I accidentally shot a woman in that village. I am very sorry for that.

I'm sorry.

But I did the best I could. I did what I had to. I did what they told me and what they taught me. I've been trained my whole life; school, sports, the Army. If I learned what they were teaching I was rewarded.

It made perfect sense to everyone.

I can't tell you all the things that you don't know about those events. I can't tell you. I don't know most of them myself and I forget others and I was too busy to notice some. We're such a small part of the things that go on around us that we miss almost everything. Yet we still judge others from pictures.

What about what you do know. You know me. Seeing me do those things has made you question that, but if you ask your heart the answer is yes.

You . . . know . . . me.

You know that I went to serve my country. They taught me how to do a job, then they put me where the work was and I did it. I got up every day, ate my breakfast and went to work. That sounds funny, but life is circles and patterns and you get used to anything if you do it long enough.

People do that. After a while the killing becomes real natural. Hell, I didn't even mind taking movies of it.

He pauses because the words and realization trouble him.

Being back here watching TV you start to question why is our country fighting those people. You try to interpret those pictures and digest other people's interpretations. We debate it but the last guy we should get mad at or turn our back on is the soldier. He's doing the dirty work, the work that his country has told him to do.

Donna's right. We should all love each other. The three of us, we love as many people as we can. The communists that I knew of didn't love us. They wanted our blood.

The guys in Washington deal with that. They're supposed to govern and protect us. What do you and I know about the reasons why they sent me?

Now our enemy can kill us from ten thousand miles away and we don't know if he will. That's the reality that presidents and generals live with and it’s the reality that you and I have to accept while we're trying to change it. We have to choose leadership that will protect us and then we better get behind them.

We're a tribe and every tribe needs leadership or the other tribes will kill us. That's what it is in war.

You do anything to save your buddy because he'll look out for you and you're both fighting for the people and life you love back at the lodge.

Betraying the soldier is so wrong.

He's living through hell for the tribe and selfless acts are part of fighting for a cause. If he's not appreciated he'll think twice. He'll stay where its safe for him and the fighting might get past him; one step closer to home.

Soldiers think about that when they're doing the work. The main thing is home. We want to get back; we want to serve; we have to be supported or the whole thing falls apart. So you can't blame the Army if you don't like what they're doing.

If the Army is committed its too late to change your mind. The last group the tribe should abuse is the warriors. They are the ones that keep us free.

He pauses to let what he said sink in and to give Jennifer a chance to speak. She doesn't so he continues; slowly, deliberately.

RAY Everybody hates war. But it happens.

I don't want it to ruin me. When I was there I got used to it and when I got back I hated myself for getting used to it. So I thought about why and I satisfied myself with the answers. But if you leave me; if you think I'm a killer I'll know my answers were false.

Stan died in my arms and he was so afraid. I'm haunted by his fear.

Without you it'll tear me up.

Jennifer, please, I'm home, take me back.

She is sad, tormented by the images.

JENNIFER It makes sense Ray. say makes sense.

It doesn't sound like forgiveness. coldness in her tone.

Everything you

She understands but there is

JENNIFER It's hard to deny my senses.

Explanations and logic only go so far when the images break your heart.

You shouldn't have taken those pictures. I shouldn't have seen what you had to do. I don't know if I'll get used to it . . . but I'll try . . . because I love you . . . I love you. It won't be the same.

She takes him to her breast.

FADE OUT WALTER CRONKITE ON THE CBS EVENING NEWS

He is giving a report of action in Vietnam. Film footage of combat appears. More actual television reports of the period follow in rapid succession: correspondents with microphones, airplanes on aircraft carriers, napalm attacks, helicopters discharging soldiers and protests at home.

ROLL CREDITS OVER BLACK AND WHITE STILLS OF COMBATANTS AND CIVILIANS