CHRIS - La Dai! La Dai! GET THE FUCK OUTTA THERE!
FRANCIS – hey take it easy man. They're scared.
CHRIS - They're scared? What about me! I'm sick of this
shit man, I"m sick of this shit! They don't want us
here! Who do you think they're fighting for! GET
OUTTA THERE!
Francis doesn't recognize him in his rage. Bunny now coming in,
followed by O'Neill, drawn by the shouting.
An Old Woman and her Son, a young man with one leg, throw up
their hands, climbing out of the hole with stupid confused looks
as Chris, shaking with his own sort of confusion and rage, cuffs
them, hustling them out. The Young Man uses a pair of crutches
for his blown-off limb, hobbling like a mangy three-legged dog.
BUNNY - Hey look at this! Ma and Pa Kettle here. Look at
them - greasy gook motherfuckers!
CHRIS - Get up out of there! ... You see I didn't wanna hurt
you. Why didn't you come out, when I said so hunh!
Why? WHY! WHY? DON'T YOU LISTEN ... WHAT ARE YOU
SMILING AT HUNH! FUCKING ASSHOLES!
The couple, hands raised, muttering things in Vietnamese, don't
understand a word, shaking their heads stupidly and smiling that
impassive Oriental smile which sends Chris into a rage only he
can understand.
His finger closes on the trigger of his 16.
Francis, the baby-faced black, looks nervously, sensing the
danger ... Bunny amused, drawn in by Chris. O'Neill watches
passively from the lip of the hutch.
The Young Man continues to grin, not seeming to realize the
degree of danger he's in, which is what Chris wants - a token
sign of acquiescence. There is also the added element of showing
off his manhood in front of an audience now.
BUNNY - Do 'em man, do 'em.
Chris. The trigger. He pulls. But he can't quite bring himself
to kill. The bullets exploding in the dirt at the edges of the
young man's foot.
CHRIS - (demonic) DANCE YOU ONE-LEGGED MOTHERFUCKER, DANCE!!!
The Young Man hops up and down in a reflex fear of the sounds of
the bullets as they thud into the dirt. Yet his eyes remain
fixed on Chris in wonderment.
Chris, firing out the magazine, seems to expend his bloodlust.
He ceases, noticing - for the first time - the eyes of the Young
Man. They aren't stupid - nor fearful - but filled with
resignation and despair - a despair that Chris, in disgust of
himself, recognizes.
Chris lowers the rifle, silent.
The Young Man's impassive face shines now with tears. That sad
young look - as if death itself would've been a release. Chris
turns his eyes away, an awkward sense of shame.
FRANCIS - (leaves) Let's get out of here man.
BUNNY - (to Chris) You chickenshit man, they're laughing at you, look at them faces. That's the way a gook laughs.
O'NEILL - (checking out the hutch) Forget it will ya, let's go ...
Chris standing there, watching, sensing something awful is going
to come and unable to do anything about it. It comes - suddenly
and without warning. Bunny is looking at O'Neill, the Vietnamese
couple are muttering something. In one fluid move, Bunny swivels
and with unbelievable savagery clubs the young one-legged man in
the side of the head with the butt of his 16.
O'NEILL (stunned) Hey what are you doing!
BUNNY - Fucker!
The young man is groaning on the floor of the hutch. Bunny
smashes him - again and again.
BUNNY - That's for Sandy! And this is for Sal! And this is
for fucking Manny! This is for me!
Chris watches, horrified. Never in his life has he seen
something so horrifying as this. And yet he does nothing. He is
part of it.
BUNNY - (stepping back, examines what's left of the head, amazed)
Wow! You see his fucking head come apart? Look at
that ... I never seen brains like dat before. Jesus
fucking Christ ...
The Old Lady is shrieking, hovering over the body of her son.
Bunny studying her.
BUNNY - Betcha the old bitch runs the whole show. Probably
helped cut Manny's throat. Probably cut my balls off
if she could. (to Chris) Come on, man, let's do her.
She cowers from him. Chris steps back, horrified. As is
O'Neill, more puzzled than horrified.
BUNNY – (hitting her again)Let's zap all these motherfuckers! Let's do the whole village!
He backs out of the hutch, scared. Evidently Bunny is
temporarily insane. But he spots O'Neill, yells at him.
BUNNY - GET BACK HERE YOU FUCKING COWARD O'NEILL. THIS IS
FOR SANDY ... THIS IS FOR SANDY MAN! AND SAL! AND
MANNY!
As he clubs her to death. On Chris' face, blood and brain tissue flying up into it.
CHRIS - La Dai! La Dai! GET THE FUCK OUTTA THERE!
FRANCIS – hey take it easy man. They're scared.
CHRIS - They're scared? What about me! I'm sick of this
shit man, I"m sick of this shit! They don't want us
here! Who do you think they're fighting for! GET
OUTTA THERE!
Francis doesn't recognize him in his rage. Bunny now coming in,
followed by O'Neill, drawn by the shouting.
An Old Woman and her Son, a young man with one leg, throw up
their hands, climbing out of the hole with stupid confused looks
as Chris, shaking with his own sort of confusion and rage, cuffs
them, hustling them out. The Young Man uses a pair of crutches
for his blown-off limb, hobbling like a mangy three-legged dog.
BUNNY - Hey look at this! Ma and Pa Kettle here. Look at
them - greasy gook motherfuckers!
CHRIS - Get up out of there! ... You see I didn't wanna hurt
you. Why didn't you come out, when I said so hunh!
Why? WHY! WHY? DON'T YOU LISTEN ... WHAT ARE YOU
SMILING AT HUNH! FUCKING ASSHOLES!
The couple, hands raised, muttering things in Vietnamese, don't
understand a word, shaking their heads stupidly and smiling that
impassive Oriental smile which sends Chris into a rage only he
can understand.
His finger closes on the trigger of his 16.
Francis, the baby-faced black, looks nervously, sensing the
danger ... Bunny amused, drawn in by Chris. O'Neill watches
passively from the lip of the hutch.
The Young Man continues to grin, not seeming to realize the
degree of danger he's in, which is what Chris wants - a token
sign of acquiescence. There is also the added element of showing
off his manhood in front of an audience now.
BUNNY - Do 'em man, do 'em.
Chris. The trigger. He pulls. But he can't quite bring himself
to kill. The bullets exploding in the dirt at the edges of the
young man's foot.
CHRIS - (demonic) DANCE YOU ONE-LEGGED MOTHERFUCKER, DANCE!!!
The Young Man hops up and down in a reflex fear of the sounds of
the bullets as they thud into the dirt. Yet his eyes remain
fixed on Chris in wonderment.
Chris, firing out the magazine, seems to expend his bloodlust.
He ceases, noticing - for the first time - the eyes of the Young
Man. They aren't stupid - nor fearful - but filled with
resignation and despair - a despair that Chris, in disgust of
himself, recognizes.
Chris lowers the rifle, silent.
The Young Man's impassive face shines now with tears. That sad
young look - as if death itself would've been a release. Chris
turns his eyes away, an awkward sense of shame.
FRANCIS - (leaves) Let's get out of here man.
BUNNY - (to Chris) You chickenshit man, they're laughing at you, look at them faces. That's the way a gook laughs.
O'NEILL - (checking out the hutch) Forget it will ya, let's go ...
Chris standing there, watching, sensing something awful is going
to come and unable to do anything about it. It comes - suddenly
and without warning. Bunny is looking at O'Neill, the Vietnamese
couple are muttering something. In one fluid move, Bunny swivels
and with unbelievable savagery clubs the young one-legged man in
the side of the head with the butt of his 16.
O'NEILL (stunned) Hey what are you doing!
BUNNY - Fucker!
The young man is groaning on the floor of the hutch. Bunny
smashes him - again and again.
BUNNY - That's for Sandy! And this is for Sal! And this is
for fucking Manny! This is for me!
Chris watches, horrified. Never in his life has he seen
something so horrifying as this. And yet he does nothing. He is
part of it.
BUNNY - (stepping back, examines what's left of the head, amazed)
Wow! You see his fucking head come apart? Look at
that ... I never seen brains like dat before. Jesus
fucking Christ ...
The Old Lady is shrieking, hovering over the body of her son.
Bunny studying her.
BUNNY - Betcha the old bitch runs the whole show. Probably
helped cut Manny's throat. Probably cut my balls off
if she could. (to Chris) Come on, man, let's do her.
She cowers from him. Chris steps back, horrified. As is
O'Neill, more puzzled than horrified.
BUNNY – (hitting her again)Let's zap all these motherfuckers! Let's do the whole village!
He backs out of the hutch, scared. Evidently Bunny is
temporarily insane. But he spots O'Neill, yells at him.
BUNNY - GET BACK HERE YOU FUCKING COWARD O'NEILL. THIS IS
FOR SANDY ... THIS IS FOR SANDY MAN! AND SAL! AND
MANNY!
As he clubs her to death. On Chris' face, blood and brain tissue flying up into it.
Exit scene…
Yeah man, yeah.
Totally representative to everything man, wow how introspective.
its propaganda, pure and simple. propaganda used to support a war, and a cause. i disagree wholeheartedly with that cause, and this war that has cost the lives of innocent people.
I can clearly see you dont agree with the war, and i understand. I just cant come to a conclusion how you can compare a fucking yellow ribbon somebody sticks on the back of thier ford tempo, and the largest symbol of genocide the world has ever seen. It just doesnt make sense to me. Innocent civilians do die in war, it always happens and its awful, but have you forgotten about the thousands upon thousands that the modern day Hitler (Saddam) has removed from this earth, innocent men, women and children. You're argument is lost man, stick a swastika on the back of you're car and see what happens.
I guess just confiscating the stolen wood wouldn't have been suffecient enough, they had to make a point by shooting up and then crushing the car. I guess that's just part of being a democracy.
They were setting the car free and introducing it to democracy! :rolleyes:
Comments
What a buzzkill thread...
And I don't feel right when you're gone away
FRANCIS – hey take it easy man. They're scared.
CHRIS - They're scared? What about me! I'm sick of this
shit man, I"m sick of this shit! They don't want us
here! Who do you think they're fighting for! GET
OUTTA THERE!
Francis doesn't recognize him in his rage. Bunny now coming in,
followed by O'Neill, drawn by the shouting.
An Old Woman and her Son, a young man with one leg, throw up
their hands, climbing out of the hole with stupid confused looks
as Chris, shaking with his own sort of confusion and rage, cuffs
them, hustling them out. The Young Man uses a pair of crutches
for his blown-off limb, hobbling like a mangy three-legged dog.
BUNNY - Hey look at this! Ma and Pa Kettle here. Look at
them - greasy gook motherfuckers!
CHRIS - Get up out of there! ... You see I didn't wanna hurt
you. Why didn't you come out, when I said so hunh!
Why? WHY! WHY? DON'T YOU LISTEN ... WHAT ARE YOU
SMILING AT HUNH! FUCKING ASSHOLES!
The couple, hands raised, muttering things in Vietnamese, don't
understand a word, shaking their heads stupidly and smiling that
impassive Oriental smile which sends Chris into a rage only he
can understand.
His finger closes on the trigger of his 16.
Francis, the baby-faced black, looks nervously, sensing the
danger ... Bunny amused, drawn in by Chris. O'Neill watches
passively from the lip of the hutch.
The Young Man continues to grin, not seeming to realize the
degree of danger he's in, which is what Chris wants - a token
sign of acquiescence. There is also the added element of showing
off his manhood in front of an audience now.
BUNNY - Do 'em man, do 'em.
Chris. The trigger. He pulls. But he can't quite bring himself
to kill. The bullets exploding in the dirt at the edges of the
young man's foot.
CHRIS - (demonic) DANCE YOU ONE-LEGGED MOTHERFUCKER, DANCE!!!
The Young Man hops up and down in a reflex fear of the sounds of
the bullets as they thud into the dirt. Yet his eyes remain
fixed on Chris in wonderment.
Chris, firing out the magazine, seems to expend his bloodlust.
He ceases, noticing - for the first time - the eyes of the Young
Man. They aren't stupid - nor fearful - but filled with
resignation and despair - a despair that Chris, in disgust of
himself, recognizes.
Chris lowers the rifle, silent.
The Young Man's impassive face shines now with tears. That sad
young look - as if death itself would've been a release. Chris
turns his eyes away, an awkward sense of shame.
FRANCIS - (leaves) Let's get out of here man.
BUNNY - (to Chris) You chickenshit man, they're laughing at you, look at them faces. That's the way a gook laughs.
O'NEILL - (checking out the hutch) Forget it will ya, let's go ...
Chris standing there, watching, sensing something awful is going
to come and unable to do anything about it. It comes - suddenly
and without warning. Bunny is looking at O'Neill, the Vietnamese
couple are muttering something. In one fluid move, Bunny swivels
and with unbelievable savagery clubs the young one-legged man in
the side of the head with the butt of his 16.
O'NEILL (stunned) Hey what are you doing!
BUNNY - Fucker!
The young man is groaning on the floor of the hutch. Bunny
smashes him - again and again.
BUNNY - That's for Sandy! And this is for Sal! And this is
for fucking Manny! This is for me!
Chris watches, horrified. Never in his life has he seen
something so horrifying as this. And yet he does nothing. He is
part of it.
BUNNY - (stepping back, examines what's left of the head, amazed)
Wow! You see his fucking head come apart? Look at
that ... I never seen brains like dat before. Jesus
fucking Christ ...
The Old Lady is shrieking, hovering over the body of her son.
Bunny studying her.
BUNNY - Betcha the old bitch runs the whole show. Probably
helped cut Manny's throat. Probably cut my balls off
if she could. (to Chris) Come on, man, let's do her.
She cowers from him. Chris steps back, horrified. As is
O'Neill, more puzzled than horrified.
BUNNY – (hitting her again)Let's zap all these motherfuckers! Let's do the whole village!
He backs out of the hutch, scared. Evidently Bunny is
temporarily insane. But he spots O'Neill, yells at him.
BUNNY - GET BACK HERE YOU FUCKING COWARD O'NEILL. THIS IS
FOR SANDY ... THIS IS FOR SANDY MAN! AND SAL! AND
MANNY!
As he clubs her to death. On Chris' face, blood and brain tissue flying up into it.
Exit scene…
Yeah man, yeah.
Totally representative to everything man, wow how introspective.
Give me a fuckin break.
I can clearly see you dont agree with the war, and i understand. I just cant come to a conclusion how you can compare a fucking yellow ribbon somebody sticks on the back of thier ford tempo, and the largest symbol of genocide the world has ever seen. It just doesnt make sense to me. Innocent civilians do die in war, it always happens and its awful, but have you forgotten about the thousands upon thousands that the modern day Hitler (Saddam) has removed from this earth, innocent men, women and children. You're argument is lost man, stick a swastika on the back of you're car and see what happens.
Just reminded me of a scene from Platoon. Where soldiers snap under the strain of war...
They were setting the car free and introducing it to democracy! :rolleyes:
So you love a word and a piece of cloth?
Weirdo!
I wonder if they siphoned the oil out of it first
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