Hacksaw Ridge Script (PDF), Assignments of Japanese Language

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HACKSAW RIDGE

By

ROBERT SCHENKKAN

Revisions by Randall Wallace March 12, 2013

WALDEN MEDIA

1888 Century Park E # 1400 Los Angeles, CA 90067 (310) 887-

OUT OF BLACK, WE SUPERIMPOSE:

The following story is true.

DISSOLVE TO:

IN THE DARKNESS

The SOUND of distant EXPLOSIONS: mortars, howitzers, “Long Tom” artillery, 16” Naval shells, rockets, and bombs. The sound grows louder. Nearer. Hungrier.

Over black, we superimpose:

Okinawa. May 2, 1945

OPENING MONTAGE:

We INTERCUT as necessary quickly between shots, the fury and confusion of true war playing out in front of us, all from a single soldier’s POV. The sounds of war crash us between flashes of consciousness.

EXT. HACKSAW RIDGE, OKINAWA - WOUNDED SOLDIER’S POV

--BOOM!!! We’re lying on the ground. Under grey, weeping skies, a jagged, ancient coral outcropping abruptly rises above us and dominates the countryside.

--Looking around the landscape a blasted, hellish mix of craters, shell-pocked boulders, and mud. Everything has a scorched and blackened appearance from two weeks of continuous, unrelenting bombardment.

--A small group of AMERICAN SOLDIERS (307th Infantry, 77th Army Division, 1st Battalion, Company B) are fighting with dogged determination several feet away.

--A few men run up to our POV

--Looking down at our leg, a mess of blood, muscle, and exposed bone.

--Looking at our side and rips, covered in blood.

CAPTAIN KEEP PRESSURE ON THAT WOUND!

The soldiers tear out bandages from a half-burned Medic Kit and stuff them against the bleeding.

MARK

At the filling station they’re buying scrap metal! Any old junk we haul in, they’ll give us cash money!

DESMOND We got lotsa junk in the back yard!

TOM You know why they want it?

The boys hadn’t even considered that.

TOM (cont’d) They sell it overseas. The Japs and Germans make weapons out of it.

Tom rubs his neck, where there’s a nasty scar from World War I. More than his neck is scarred--but his boys are innocents.

MARK Can we take it?

TOM Do what you want. But when those plow tips and lug nuts go whistling by your ears, you’ll say your daddy was right.

The boys head around behind the house, Mark whispering to Desmond--

MARK Come on--he ain’t never right about nothin’.

EXT. BEHIND THE DOSS GARAGE - DAY

The boys are digging through a trove of cast off parts from old farm equipment. Then young Desmond spots a coin, and lifts it, spitting on it to clean it. It’s a dime.

DESMOND Look! I found a dime!

MARK (jealous) That’s mine.

DESMOND It ain’t yours.

MARK

I lost it, give it here.

He reaches for it--but Desmond snatches his hand away...and suddenly the fight’s on. They’re real scrappers, rolling around on the ground, punching, kicking, scratching. This isn’t their first fight with each other.

Mark finally pins Desmond.

MARK DOSS Say Uncle! SAY UNCLE!

YOUNG DESMOND NO!

Desmond may be younger and smaller but he’s every bit his brother’s equal in grit and determination. He elbows Mark in the face and shoves him off. In a blind fury, Desmond grabs a good size rock and lifts it over his head with both hands, no thought for what he’s about to do but...

...A LARGE HAND reaches into frame, grabs Desmond by his scrawny wrist, and yanks him off his brother.

TOM DOSS (O.C.) WHAT THE HELL YOU THINK YOU’RE DOING, DESMOND!?!?

Tom stands over them, holding a kicking, struggling Desmond up in the air like a bug. Tom folds Desmond over one arm and begins walloping him on the ass with the other - big, hard strokes which echo like gunshots.

BERTHA (O.C.) Jack! That’s enough of that!

BERTHA, Desmond’s mother, stands behind them. She’s a small woman but fierce in her own way. Tom looks at her with defiance but he lets Desmond go, and the boy falls to the ground like a sack of potatoes.

TOM DOSS He was beating on his brother.

BERTHA Beating on him doesn’t teach him any different.

Tom waves his hand in half-hearted acquiescence.

TOM DOSS You’re gonna spoil him is all.

MARK DOSS

Daddy?! Can we get down now?!

He tucks the jar away quickly and wipes his mouth.

TOM DOSS Ask your Mama, she’s the one didn’t want to whip you!

INT. DOSS LIVING ROOM - EVENING

Mark hops off the chair, leaving Desmond still in the position where their mother left them. Mark heads into the kitchen...

INT. DOSS HOUSE - KITCHEN - EVENING

Mrs. Doss is cooking dinner as Mark comes in, wearing an expression of exaggerated pennance.

MARK Mama, can we stop staring at the Commendments?

BERTHA Commandments. Are you sorry?

MARK Yes’m.

BERTHA Tell Desmond.

MARK (without moving) SORRY, DESMOND!

BERTHA Okay, you can go.

Bertha stands for a moment wondering why she hasn’t heard a response from Desmond.

BERTHA (cont’d) Desmond? (beat) Des?

She moves into the living room, and finds her youngest son now standing, staring straight at the picture.

BERTHA (cont’d) Desmond?...

FROM THE POV OF THE PICTURE, we see Desmond’s stare, his entire soul fixed on it.

He’s staring at CAIN, A LOOK OF HORROR ON HIS FACE at what he’s done.

There are tears in Desmond’s eyes.

And BERTHA realizes with a certainty what she has always suspected: Desmond feels things in a unique way.

EXT. RAILROAD TRACKS, VA, SEPTEMBER, 1941 - DAY

Title: Fourteen years later.

Lynchburg has always been a railroad town; tracks cut through the gorges and span ridges.

Twenty-five year old Desmond now walks alongside the tracks. He’s grown into a thin but wiry man with a pleasant but crooked smile.

His senses are keen; he hears the chirp of a bird and his blue eyes catch sight of a bright red Cardinal high in a hickory tree. He’s a true country boy, at one with nature.

INT. HOSPITAL ROOM - LATER

Desmond waits his turn. Fascinated by all things medical, he can’t help but poke around in the shelves and cabinets. The door behind him opens and Desmond whirls around, embarrassed to be caught snooping.

He’s even more embarrassed as sees his attendant is an attractive nurse, DOROTHY SHUTTE, early 20’s.

DOROTHY Anything in particular you’re looking for?

DESMOND No, ma’am. I’m just kind of interested in medicine.

He stammers slightly, with nerves.

DESMOND (cont’d) I used dream about being a doctor. But I didn’t get much school.

He laughs. She laughs too.

DOROTHY You must like the woods.

DESMOND I always feel lost everywhere else. But there I can find my way.

Dorothy takes this in; Desmond seems so simple, so boyish-- even backward. But something about him is deep, and poetic. And unique. It brings out the sweetness in her.

DOROTHY Well I have to tell you, Mr. Doss. For somebody to walk ten or twelve miles, to give blood to strangers... I wish everybody was like you.

DESMOND Thank you, ‘mam.

DOROTHY You don’t have to call me ‘mam. It’s Dorothy.

DESMOND Dorothy. Yes ‘Mam!

She smiles; is he flirting? She gets up.

DOROTHY You’ll be done in a minute. We have cookies and Kool-Aid. Help restore your blood sugar.

DESMOND Giving blood’s got all sorts of benefits.

INT. DOSS HOUSE - THAT EVENING

Desmond enters, more exhilarated than tired despite his long walk and the loss of blood but his face falls when he sees his father sitting, slumped, in his rocker. He’s been drinking and has fallen asleep clutching a pint of whiskey. Not an unfamiliar sight. Desmond considers him a moment and then gently tries to extract the bottle from his grasp. Tom’s eyes blink open.

TOM DOSS Excuse you?!

DESMOND

You need some help getting upstairs, sir?

Tom pushes Desmond away and rises unsteadily, still clutching his bottle.

TOM DOSS Not from you.

Bertha appears in the kitchen doorway, nervously holding a dish towel.

BERTHA You hungry, Tom?

Tom just glares at her and makes his way slowly toward the stairs.

INT. DOSS HOUSE - KITCHEN - LATER

Desmond and Bertha sit, eating a cold supper. She hasn’t touched hers. Desmond silently reaches over and holds her hand.

Desmond’s brother Mark strolls in the back door. He kisses his mother and nudges Desmond’s shoulder, sitting at the table.

BERTHA (cont’d) I was wondering if you were gonna make it to dinner.

MARK I went by to see the recruiters.

Bertha involuntarily glances upstairs, afraid her husband might hear.

BERTHA Your daddy won’t like that.

MARK Daddy ain’t payin’ my bills. If there’s a war they’ll need men--and the paper mill doesn’t need any.

Mark digs in and starts eating. Bertha is distressed at the news; Desmond changes the subject.

DESMOND

Well you got to, because ever since you stuck me with that needle, my heart’s been beating fast, and every time I think about you, it beats faster still.

DOROTHY Is that a pick up line?

DESMOND Is it working?

INT. LYNCHBURG MOVIE THEATER - NIGHT

A movie plays on the screen as Desmond and Dorothy make their way to their seats, obviously late. As they sit, Dorothy starts to watch the movie. Desmond can’t help but admire her beauty. He sits awkwardly, trying to find a way to connect with her.

He tries to stretch and put his arm around her, but when she looks at him he fumbles a bit to try and recover. She simply smiles and takes a sip of her cola. Desmond sits in silence again and then tries to have his hand brush up against hers. As he does this, Dorothy preempts him and holds his hand. For that moment, neither of them are watching the movie. Instead they are both looking into each other’s eyes.

Desmond slowly leans in and they share their first kiss.

Our music rises into a MONTAGE of Desmond and Dorothy’s growing love:

EXT. PEAKS OF OTTER - DAY

Desmond and Dorothy hike through the park and look out across the landscape.

EXT. PARK - DAY

Desmond gets onto an old rope swing just after Dorothy gets off. As Dorothy begins swinging him; she sees Desmond notice a pretty girl walking past. Frustrated, she tugs the rope sideways and Desmond swings into the tree...

Dorothy stalks away after Desmond’s crash, but he gets up and catches her and explains something we don't hear but understand. Dorothy softens and smiles...

INT. COFFEE SHOP - NIGHT

Desmond and Dorothy chat furiously across the table, barely having time to take bites of their food. Something Desmond says cracks Dorothy up.

INT. HOSPITAL - LOCKER ROOM - DAY

Dorothy opens her locker to find an orange and a note from Desmond. Her look of confusion on finding the orange turns to a smile as she reads the note.

EXT. LYNCHBURG FOREST - DAY

The leaves are falling from the tress as Desmond and Dorothy walk through the woods, talking. The MONTAGE ENDS as Dorothy puts her head on Desmond’s shoulder.

EXT. NATURAL BRIDGE, VA - WEEKS LATER - AFTERNOON

A glorious late Fall day with just a bit of color lingering on the trees. Desmond and Dorothy are walking with other tourists, gazing up at Natural Bridge.

DESMOND They say George Washington threw a silver dollar over it.

DOROTHY Seems like a waste of a dollar to me.

DESMOND I doubt anybody’s throwing money at it these days! (more seriously) The plant foreman told me the other day that I’m doing such a good job, they might raise me up a notch. Salary too. Hope that doesn’t sound too much like bragging.

DOROTHY So, you’re gonna be a man of means, Mr. Doss?

DESMOND I’m a man who means to be one.

She looks at him, realizing he’s planning a future, one that’s built around her. Slowly, happily, they kiss.

We see various CLOSE SHOTS OF GRAVESTONES, from a low angle, jabbing up into the sky...

We PAN ACROSS them, a whole forest of stones, like a whole army of soldiers who have become stone slabs as they died in battle. We are...

EXT. LYNCHBURG CITY GRAVEYARD - DAY

The cemetery is in the very heart of the town, on a hill top, surrounded by brick walls. And Desmond Doss’s father, Tom, is standing among the grave stones.

It’s an old and seemingly haunted place where few people visit; for awhile he seems all alone, until he hears--

DESMOND (O.S.) Daddy?...

Tom turns around and stands silently as Desmond approaches.

DESMOND (cont’d) Mama told me you wanted to see me. Here?

TOM Here. Yeah.

He walks away slowly and Desmond follows, completely in the dark about why his father has made such a strange demand.

They reach a section of low stones, their perfect lines now twisted by tree roots and time, their once-smooth surfaces pitted by weather and pocked by moss.

DESMOND Confederates.

TOM Soldiers. Boys from World War One are over yonder. Even got some from the Revolutionary War on the hill someplace.

Desmond’s eyes lift toward his father, starting to understand why his father wanted him to come here.

TOM (cont’d) Look at ‘em. All of ‘em soldiers. All of ‘em boys. And all of ‘em dead.

Tom sounds angry, and bitter, as he always has to Desmond; but for the first time in his life Desmond hears an emotion in his father’s voice too.

TOM (cont’d) I don’t want my boys here. I don’t want you here.

Desmond’s eyes meet Tom’s; there are tears in Tom’s eyes. Desmond is transfixed.

DESMOND Mark’s already joined up. The Marine Corps--

TOM I KNOW THAT! (trying to regain control) I know that...

Tom coughs--a wet, smoker’s cough that makes Desmond want to go try to comfort him, but from force of habit he holds back. Tom sags, supporting himself against one of the gravestones.

TOM (cont’d) I don’t want you in this graveyard. I don’t want you to go to war.

DESMOND Daddy...

TOM I know they’re drafting! But I still got a friend or two! One of ‘em works at the Foundry, making steel they use for ships and tanks and such as that. They call it an “essential defense industry,” and they’ll leave you alone if you work there. I can get you on. They--

DESMOND Daddy. I already signed up.

TOM What?

DESMOND I talked to them at the draft board today.

Desmond watches his father. He approaches him tenderly.

DOROTHY

Are you sure...this is right? It’s what you’re really meant to do?

DESMOND I’m just sure I can’t sit back and do nothing.

DOROTHY (trying not to cry) I know.

DESMOND I am sure of something, though. I don’t really have the right to be asking you, and we haven’t known each other for very long, but I can’t imagine...

DOROTHY Yes.

DESMOND You don’t know what I’m about to ask.

DOROTHY Yes, I do, and the answer is, yes. I do.

They kiss. Dot pulls out a small pocket NEW TESTAMENT and hands it to Desmond.

DOROTHY (cont’d) You keep this with you, all the time. Promise?

Desmond nods and tucks it away carefully in his shirt pocket. The train blows a second, final whistle and starts to slowly pull out.

DESMOND When?

DOROTHY Soon as you get leave. Let me know.

Desmond jumps onto the steps of the moving train. Dorothy walks alongside, reluctant to let go of his hand.

DESMOND I love you!

The train is picking up speed. Dorothy has to let go.

INT. MOVING TRAIN - DAY

Desmond sits with the other young men as the train moves slowly along the rails, past the hickory and oak trees that line the tracks. They rumble over a trestle, and Desmond realizes--

DESMOND (to himself) We’re going by my house!

A thought strikes him; he looks around at the other young guys.

DESMOND (cont’d) Anybody got some paper? Anything? Anything I could write on?

RECRUIT I got some writing paper.

DESMOND Can you loan me a sheet, I’ll pay you back!

The guy gives Desmond a cheap tablet; Desmond tears off a sheet and hurriedly pulls a pencil from his pocket to write. He’s rushing--but he takes the time to write, with feeling--

CLOSE, THE PAPER:

“DADDY...I LOVE YOU. DESMOND”

CLOSE: THE STEPS OF THE TRAIN CAR AS IT RUMBLES ALONG

Desmond opens the door, braces his foot on the step, and reaches down to the track bed; he deftly scoops up a large rock, and wraps the paper around it.

EXT. LYNCHBURG RAILROAD TRACKS - IVY CREEK TRESTLE - DAY

The train chugs slowly over the trestle; Desmond, leaning out from the train car, sees his house far below. With all his might he throws the rock. It arcs through the air...

DESMOND DADDY!...

But the train’s WHISTLE drowns out his scream...