Milius wrote the script back in , but it took ten years for the film to reach the audience. Kurtz in Apocalypse Now by director Francis Ford Coppola, reuniting the famous actor-director Apocalypse Now Movie Program [PDF]. Apocalypse Now () Movie Script. Read the Apocalypse Now full movie script online. SS is dedicated to The Simpsons and host to thousands of free TV. provided to compare. Apocalypse Now – December 5, first draft script by John Milius – hosted by: soundofheaven.info – in pdf format.
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A P O C A L Y P S E N O W. Original screenplay by John Milius. Inspired by Joseph Conrad's. "HEART OF DARKNESS". This draft by Francis. APOCALYPSE NOW REDUX an original screenplay by John Milius and Francis Ford Coppola Narration written by Michael Herr Final Draft - A Transcription First . Apocalypse Now () transcript - Screenplays for You. About · Links. Screenplays, movie scripts and transcripts organized alphabetically: # · A · B · C · D · E.
Today was really a new one. Ha ha! The food is being passed around. Dedicated by the fire team at An Khage. Hi yanks He said if I take his picture again - I'm gonna kill you. Willard is tired and confused and hung over.
CHEF Something terrible is going to happen. All the crew move to battle positions. But they were supposed to be waiting for us another thirty kilometers ahead. It's for television. Don't look at the camera.
Just go through. A director. The PBR moves to the beach through a chaos of other boats. DAY A vast field of devastation.
What they were mopping up now hadn't even happened yet an hour ago. Go on. Our escorts to the mouth of Nung River. First of the Ninth was an old cavalry division that had cashed in its horses for choppers.
Keep on going. They'd given Charlie a few surprises in their time here. Just go by. Those boys just couldn't stay put. Willard and the two who are following stop incredulously. Air Mobile. Explosions go off around them. Willard jumps off the boat. They make their way across the beach. Clean and Lance fall in behind him. He points to a particular Huey in the sky. He takes out a smoke bomb and pulls the pin and lays it down in the clearing.
Kilgore starts walking. They make their way toward the village under siege. Give me some room to breath. He puts on his Air-Cav hat.
The Hueys and Loches in the sky drown out most of their conversation. A tall. Willard moves back to Lance and Clean. I haven't heard from Nah Trang. Just stay out of my way till this is done. It's all right. He looks at them and shakes his head "no. Willard takes out a set of orders and hands them to him. Kilgore cracks the plastic wrapping sharply. As he comes to each V.
He moves through the shell-pocked field of devastation. Kilgore hands the orders to the major. II Corps! I understand Nah Trang has briefed you on the requirements of my mission. The Lieutenant moves back to the helicopter and Kilgore continues forward toward a besieged village. Then he strides past willard and his two young crewmen with no further acknowledgement-the others follow.
By this time the lieutenant has run back in from the helicopter with the deck of playing cards. They exchange salutes. He hands them to Kilgore. I've got five tanks broken down.
The captain turns and exits. The major hands the orders back to Willard. Fire in the hole! They all hit the deck. Four of diamonds. Two of spades. As they pass by a well. They are standing around a G. He crosses on down the street. Willard bends down and picks up one of the cards from a dead V. This is an area that's controlled by the Vietcong and North Vietnamese! We are here to help. I Cheep up. Three of spades.. Lets Charlie know who did this.
This is an area that is controlled by the Vietcong and North Vietnamese. Kilgore turns to a soldier. This man's hurt pretty bad. Give me that canteen. The man has tied a wash bowl over his belly-and is groaning for water. I'll kick you fucking ass! Any man brave enough to fight with his guts strapped on. He comes upon a wounded V. He pushes the ARVN soldier away. What does he have to say? Hurry up! He wants water About the only thing holding his guts in.
Kilgore turns and continues down the burning street with his group. We are here to extend a welcome hand to those of you who would like to return to the arms of the South Vietnamese government. A line of villagers are throwing all their belongs on top of a large APC parked by the road. He can drink paddy water.
Kilgore stops and watches the G. I'm Bill Kilgore. I'm a goofy foot. Kilgore rises. Looks at Lance. You sure? The solder points at Lance. I've admired your nose riding for years. I think you have the best cutback there is. Kilgore leads Lance off to meet some other soldiers. Willard's entire top-priority mission has been out in the background. Your cutback. Kilgore smiles. He stoops down-starts to quench the prisoner's thirst from his canteen.
A soldier rushes up to him. I think one of those sailors is Lance Johnson. Kilgore had a pretty good day for himself. Been riding since you got here? Willard looks around him.
I haven't surfed since I been here. Men are grouped around the fires. It has the bizarre resemblance of some sort of barbarian beach party..
There are maybe fifteen to twenty helicopters secured against the wind. Kilgore moves on. I like to finish operations early. They choppered in the T- bones and the beer. They stop to see Catholic Mass going on in the middle of a graveyard. Rare but not cold. Lance shakes their hands. MIKE No way. Kilgore is seated at the fire with some of his men. We're pretty solid surfers.
None of us are anywhere near your class. This is Mike from San Diego. The more they tried to make it like hone. Many helicopters continue to hover overhead. Johnny from Malibu. Willard gets up. I guess. The Chief comes over. Kilgore looks at Willard. You just knew he wasn't going to get so much of a scratch here. Vin Drin Dop or Lop? Damn gook names all sound the same. He loved his boys. He lays it down in front of Kilgore. It's a pretty wide delta. We was one of those guys that had a weird light around him.
MIKE That's a fantastic peak. Got some pretty heavy ordinance. Here and here. Nah Trang forget all about you? He laughs. I've lost a few recon ships in there now and again. That's where we lost McDonald. The colonel rises. They shot the hell out of us there. It's all goddamn beach break. It's an outstanding peak. Air mobile! I can take that point and hold it just as long as I like. MIKE It's pretty hairy in there. And bring me my Yater Spoon.
MIKE It's really hairy in there. That's Charlie's point. It's just tube city. A good peak. The draft at the mouth of that river may be too shallow. All right.
It's got both the long right and left side. It's Charlie's Point. MIKE About six foot. Willard sees his chance. There aren't any good peaks in this whole shitty country. This is the First of the Ninth. Mike reacts. Kilgore considers this. Take a gunship back to division. They all get into a helicopter. DAY It is the next morning. The helicopters slowly start up.
The helicopters. He takes off his hat. The PBR being airlifted up by the helicopter. The bugler begins to play as Kilgore climbs into the helicopter.
CHEF Jesus. Kilgore looks at him. They're picking up the boat! The men waiting. The helicopters deploy into a formation. Kilgore sits near the door. I'm used to a heavy board. The various troop ships moving by. I can't get used to one.
Here we go. Then he takes off his own helmet and sits on it. The pilot alerts the colonel. The PBR crew reacts with surprise. We've got it spotted. We're going in hot. Big Duke. Chef laughs. My boys love it. I use Wagner. CHEF How come all you guys sit on your helmet? DAY As they near the destination. Scares the hell ot of the slopes. Shall we dance? A HAND switches on the tape deck. DAY Out crew is silent. Sampans are pulled into a cove where the are being unloaded.
Wagner's "Ride of the Valkyrie". Soon the village is buzzing with activity. DAY Typical quiet Vietnamese coastal village. We SEE different aspects of the life of the village. Peasants run through as the teacher starts the children running out. Make it loud. This is a Romeo Fox Trot. A North Vietnamese soldier runs in to the teacher. The soldier waves to the children to get out of the area. One small boy remains.
Trenches are used to pass weapons and ammunitions. The helicopter shakes as we SEE the smoke of the rocket shoot ahead of us. We're gonna go down and check it out. The invincible cavalry charges in. DAY Moving behind an assault column of helicopters. Red Team. Seems almost like an astronaut. AND V. Willard looks down at this incredible battle. DAY Kilgore monitoring the transmission. It's just a flare. I'm coming down myself.
The copter circles over them. The ship is jostled around badly. Well done.
DAY A small group of copters come down and land. Everybody all right? The copter suddenly lurches over to the right. I'm gonna check it out. Soldiers start to jump off. Clear the area. There are some flames and smoke and it looks as though the copter has been seriously hit. There is confusion and we realize that the bullets have hit a box of flares which have gone off inside the copter.
Want some twenty-Mike-Mike-Vulcan right along those tree-lines. He's moving across to resupply weapon. Ripple the shit out of them. I think I see a vehicle down in the courtyard. One soldier fires his rifle into a row of storage jars in front of a house.
They explode. I'm not going! Another soldier comes back. Duke Six. A black soldier so thrown by the blast. The RT man is frantically calling for a medevac as two Vietnamese elders babble on for their lives.. We've got wounded down there.
DAY Kilgore looking out the door as he flies from the river down over the courtyard. She's got a grenade! DAY Looking down on the burning helicopter. Frantic Americans push the two older Vietnamese into the medevac ship for questioning. We can SEE the disaster as well as the three Vietnamese running away.
Out the right skid right up her ass. Get over there.
I want my men out. DAY As a medevac helicopter comes down landing by the smoke. They carry the wounded G. Men rush out on fire. Then she throws her coolie hat into the open helicopter door. I'm gonna get that dink bitch. They frantically try to out themselves out. Kilgore pop's out. Smoke and debris fly upward. The bridge is destroyed. They all dive except Kilgore. Kilgore is unmoved. The waves! Copters fire at the bridge. The others get up and join him.
It's goddamn eat-up with the enemy down there. It swerves around in circles. Good six-foot swells! DAY Kilgore's copter kicks up a cloud of dust as it sets down.
DAY Kilgore turns to look at Lance. Geysers of water almost obscure it. Kilgore grabs an M16 from one of the guards-they all think he's going to shoot the surfers or someone-they run back uneasy. One guy can break right. Go change. You're from goddamn New Jersey! He whistles Mike and Johnny over.
MIKE It's till pretty hairy out there. Maybe you ought to surf somewhere else. They nod "yes" meekly. He cocks the weapon-Lance looks around uneasily.
I bet you can't wait to get out there. I'll cover for them. That clear? They turn and leave. It explodes. Don't you think it's a little risky for R and R? Helicopters wheel by carrying out wounded. What do you think of that?
Kilgore leans down yelling over the noise. You wanna wait here for six hours? A shell screams over-they all hit the dirt except Kilgore. He starts away. I'm not afraid to surf this place! I'll surf this fucking place! He rips off his shirt and scarf. Let's go. I think we ought to wait for the tide to come up.
Kilgore intercedes. I want that tree line bombed! We SEE from among the Vietnamese prisoners being herded. He throws the R-T back to the soldier. She is trying to offer it up to the colonel. Can you put it there? Dove One- Three. Dove One-Three. They need some napalm down there. He takes the wounded baby in his hands. We're fixed to fuck with them.
Give me that R-T. They got about thirty seconds to bomb station. And tell my guys I want my board! The jets are inbound now. Do you smell that? Kilgore stands there. I wanna see you do your stuff out there. He turns to his aide. Get your people back. Give me those shorts. Kilgore returns to Lance. He hands the baby to the soldier.
This is gonna be a big one. Jets break the trees. Give it all you got and bring in all your ships. Wing abreast. We'll have this place cleaned up in a jiffy. Woman protests. You've got to go with him. Here we come. You can't expect him to surf those sloppy waves.
A tremendous sadness enveloping him.. Nothing else in the world smells like that. Willard and the soldiers react. Kilgore ignores it. The smell. A shell comes in and HITS in the background. He looks of nostalgically..
The whole hill- smelled like-victory. We didn't find one of them. The wind! Meanwhile, the searcher who is looking through the unknown is getting to know himself.
And that is all…21 If all this can be poetically articulated, if it manages to become an aesthetic object whose perfection lies in itself, the importance of whether it is cinema or literature is relativised. We do not care anymore for the ambiguous language or the subversive images affecting us. The horror! Refer to As complement to the racial and gender issues, see Worthy, Kim. Conrad, Coppola, and Hearts of Darkness. At the same time, he is the voice: Anything approaching the change that came over his features I have never seen before, and hope never to see again.
I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror —of an intense and hopeless despair.
Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision —he cried out twice, a cry that was no more than a breath— The horror! If considered correctly, Coppola has not set the focus on the war, nor did Conrad focus on the exploitation of the Belgian Congo.
They are important elements of the background and scenery, but the main issue is unquestionably Kurtz. Coppola is not telling the story of Vietnam nor is he creating a metaphor for it.
Rather, he has poetically rewritten the myth of Heart of Darkness summarized in that shriek which is no more than a voice thread: From the point of view of intentio operis, neither is the case fully clear that the movie serves as hermeneutics for the novel.
Nevertheless, given the previous and main arguments being, as I insist, that of rewriting the poetic myth, for the spectator the movie serves as hermeneutics or it can, at least, work as such. I have discussed the movie as a hermeneutic exercise of the novel and not the other way round.
Is this objective or subjective? Are there objective reasons to affirm there is only a one-way direction for this hermeneutic exercise? If the idea is to rewrite the same poetic myth, the answer cannot but be affirmative for both cases. Our mental lenses would have changed. Bibliography Apocalypse Now. Directed by Francis Ford Coppola. Paramount Home Video, Cahir, Linda Costanzo. Conrad, Joseph. New York: Eliot, T.
Mineola, New York: Dover, The Poetics of Aristotle. Chapel Hill: The University of North Carolina Press, Hellmann, John. Inversions of American Mythology.
Kinder, Marsha. Edhasa, Steier, Saul. Apocalypse Now. Steiner, George. Real Presences. This is a rare early interview with the legendary filmmaker Francis Ford Coppola. He talks about his films, his studio, his vineyard home, actors, George Lucas and his then-current movie Apocalypse Now. Apocalypse Now. Intended for editorial use only. All material for educational and noncommercial purposes only.
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Maybe someone can help us with this issue? When I was writing Apocalypse Now I wanted them to meet people and become involved in the war, but I could never think of anything that was appropriate.
Every time I would get them into a firefight or an ambush or something it would degenerate into just another meaningless Vietnam war scene. They had to be thrown into the war at its most insane and most intense. My film is not a movie. My film is not about Vietnam. It is Vietnam. It was crazy. And the way we made it was very much like the way the Americans were in Vietnam. We were in the jungle.