2306 lines
49 KiB
Plaintext
2306 lines
49 KiB
Plaintext
FADE IN:
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EXTERIOR MASH COMPOUND -- DAY
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Unit is being inundated with wounded, who are lying about on the
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ground. At least two trucks are in the process of disgorging more
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wounded soldiers. Helicopters overhead bringing still more.
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Frenzied activity around wounded men. Cries of pain and groans
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mix with barked orders ("Morphine! Stat!") and questions ("More
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plasma here, Doctor?")
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INTO FRAME
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Jeep with driver and passenger. The passenger, a nurse, takes one
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look at the situation, jumps out of the still-moving jeep and
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starts toward the nearest wounded man.
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DRIVER
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Hey! What about your bags?
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JACKIE
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Just leave them anywhere.
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I'll find them later.
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And... thanks.
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Driver starts to unload a large suitcase from the back of the
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jeep.
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DRIVER
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Sure thing. And hey,
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(looking around;
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softly)
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Good luck.
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ANGLE ON Jackie, who doesn't hear him. She's kneeling beside a
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wounded man, checking beneath his bandage. Beside them is a
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fresh-faced kid with strawberry blond hair escaping from beneath
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his head bandages. The blond kid sits up and winks at Jackie with
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a come-on smile. She busies herself with another patient.
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Despite her dress uniform, Jackie blends in with her
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surroundings. None of the MASH regulars notice her.
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LONG SHOT. Jackie moves on to another patient. The blond kid is
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still sitting up, following her with his eyes.
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INTERIOR OPERATING ROOM
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Crowded. Tumultuous. The usual compliment of doctors and nurses
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operating, enlisted men carrying wounded in and out. Klinger is
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seen rushing to and fro with x-rays or i.v.s.
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B.J.
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Is there a sale on? This
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is the biggest crowd I've
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ever seen in here.
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Hawekeye doesn't look up from his patient. Jackie, appropriately
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outfitted, is assisting him.
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HAWKEYE
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(bitterly)
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What did they do, find
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another irresistible
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piece of Korea?
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POTTER
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(with disgust)
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Hill 7086.
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This is punctuated with the metallic SOUND of a piece of shrapnel
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that he angrily throws into a bucket.
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HAWKEYE
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Maybe we should collect all
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the hardware we've mined out
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of these boys -- clamp! --
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gift wrap it -- sponge! --
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and send it to the generals
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of both sides.
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At each order, Hawkeye reaches for the requested item and finds
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it already waiting for him. Jackie is anticipating his needs.
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B.J.
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Let them build their own hill.
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HAWKEYE
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Let them build a mountain. Let
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them build a mountain range!
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In fact -- sponge! -- we've
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got enough material right here
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for each side to build its own
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country. Silk!
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As before, each time Hawkeye asks for something, Jackie already
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has it waiting. He pauses for a half second, looks questioningly
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at her masked face, shrugs and turns back to his patient.
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POTTER
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Done! (shouts) Next!
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He rips off his gloves. A nurse brings him a fresh pair. At the
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same time, another patient has been wheeled in beside him. He
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begins another operation.
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CHARLES
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If Edward R. Murrow would
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comment less and operate
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more, he might get some
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work done.
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HAWKEYE
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All right, Speedy, if you
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think you can resection
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this bowel any faster, be
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my guest.
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CHARLES
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(chuckling)
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I'd hate to take you away
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from your natural habitat.
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Besides, this gentleman
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(indicates his
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own patient)
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has a vested interest in
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retaining the best
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surgeon present.
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HAWKEYE
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(like an announcer)
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And this, ladies and
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gentlemen, from a man whose
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head has already outgrown
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his hair!
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Charles is too busy with his operation to reply. Hawkeye pulls
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off his gloves and nods to another nurse to bring him a fresh
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pair. To Jackie:
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Close for me. (shouts) Next!
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Another patient is immediately rolled up to him, and he gets to
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work. Another nurse assists him.
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JACKIE
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Done.
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Hawkeye looks up briefly, apparently surprised that she has
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finished so quickly, then turns back to his patient.
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The blond kid with the head bandages staggers confusedly into the
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operating room.
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CHARLES
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(without looking
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up. annoyed.)
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Get that fellow out of
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here! He'll contaminate
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everything!
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Jackie turns to see who Charles is referring to and recognizes
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the young soldier from triage. Concerned, she goes over to him.
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JACKIE
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What's your name, Soldier?
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SOLDIER
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(mumbles incoherently.
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He's spacey, confused.)
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Jackie gently pushes him into a chair. She pulls a penlight out
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of her pocket and examines his eyes. With growing alarm, she
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notices blood draining out of his left ear.
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JACKIE
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(loudly; alarmed)
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Doctor! I think we have a
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left cerebral hemorrhage
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here!
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B.J. immediately looks up at Jackie, then turns to Margaret who
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is assisting him.
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B.J.
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Can you finish this?
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Margaret nods. B.J. rushes to Jackie's side.
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JACKIE
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His left pupil's dilated
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and he's bleeding from
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his left ear...
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B.J.
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(shouts)
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Get me a table -- stat!
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I need to drill!
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INTERIOR SCRUB ROOM -- NIGHT
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Hawkeye and B.J. are draped across the bench. Potter staggers in,
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takes a bleary-eyed look at them and slumps beside them. Charles
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stumbles in and falls across one of the sinks. Throughout the
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following, Hawkeye looks as if he's trying to remember something.
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CHARLES
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Cruel and unusual punishment.
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Twenty-eight hours of
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unremitting surgery at
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breakneck speed is cruel
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and unusual...
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B.J.
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(interrupting)
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Be glad it isn't your neck
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that's broken.
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CHARLES
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That isn't an operating room
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in there -- it's an assembly
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line.
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B.J.
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(wryly)
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Fisher Bodies.
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POTTER
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I know what yo're saying.
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Sure, twenty-eight hours
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of stringing wet spaghetti
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is tough, but I can't
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think of crueler or more
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unusual punishment than what
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those boys have been through.
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B.J.
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The waste. The incredible
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waste. And we would've lost
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one more if it wasn't for
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that quick thinking nurse
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who caught the cerebral
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hemorrhage... Who was she,
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anyway?
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HAWKEYE
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(sits up abruptly)
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That's it! Tell me if I'm
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crazy...
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CHARLES
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(drily)
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I assure you, you are.
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HAWKEYE
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No, seriously. Did anyone
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else notice a well-oiled
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machine in there, in the
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gorgeous shape of a nurse?
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POTTER
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Now that you mention it, it
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did seem as if Radar'd come
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back in female form.
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CHARLES
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Quite an improvement, I
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must say.
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HAWKEYE
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Yes, I suppose you must.
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POTTER
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(musing)
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Seemed like the woman could
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see right into my upper story.
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Hawkeye springs up, seemingly recharged.
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HAWKEYE
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I've got to know.
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(stumbles toward door)
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Who was that masked woman?
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INTERIOR POST OP
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Margaret, obviously still tired from the marathon surgery, is on
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duty. Klinger bursts in.
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KLINGER
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(exuberantly)
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Neither rain nor snow nor
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sleet nor dark of night
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shall stay this courier
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from his appointed
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rounds!
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He hands her a letter with a flourish.
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MARGARET
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(annoyed)
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That's enough, Klinger.
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Thank you and be gone.
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Klinger bows deeply and walks to the other end of the room, past
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the rows of recovering wounded. One calls to him.
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BIG AL
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Hey you!
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Klinger turns to see who called.
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BIG AL
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Yeah, you. C'mere!
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(gestures to
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Klinger)
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KLINGER
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Anything I can do for you,
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Soldier?
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BIG AL
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Ain't you the guy with
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the dresses?
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KLINGER
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(brightens)
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You've heard of me?
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BIG AL
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I been here before, but
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the docs patched me up
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and I got back to the
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action.
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KLINGER
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(smiling, friendly)
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So, how're you doing?
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(comes closer to
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Big Al)
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Anything I can get for you?
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We have special rates for
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return customers.
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By now Klinger is about to sit on the side of Big Al's bed, ready
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for a friendly chat.
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BIG AL
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Stay away from me, Queer!
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KLINGER
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(shocked)
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What?
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BIG AL
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You heard me! I remember
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you. You're the queer with
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more dresses than a movie
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star.
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KLINGER
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You've got it all wrong!
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I was bucking for a Section
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Eight but it didn't work out
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and I got tired of trying.
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(half to himself)
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I don't know why it worked
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for Uncle Ahmed...
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BIG AL
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(hysterical)
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There's a whole family of
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them! Get away! Get away
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from me!
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Margaret comes running. She pushes past Klinger.
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MARGARET
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(impatiently)
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Get out of the way!
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(to Big Al;
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soothingly)
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Now, now. You don't want to
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open your stitches, do you?
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BIG AL
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(still hysterical)
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Get him away from me!
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MARGARET
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Klinger, you idiot! Can't
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you see you're upsetting
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him?
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Big Al shakes his fist threateningly at Klinger.
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BIG AL
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You get away and stay away!
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Big Al is warnin' ya for the
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first and last time! Pervert!
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(he spits)
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Klinger exits, puzzled and hurt.
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INTERIOR MESS TENT
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Hawkeye joins the line of people waiting to be served. Among
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those near him is Jackie. He stares at the brown stuff that is
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slopped onto his tray.
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HAWKEYE
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(bitterly)
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I've seen more appetizing
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piles under water buffalo.
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JACKIE
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(with good-humored,
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exaggerated surprise)
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And I thought this was
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the cream of the crap.
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Hawkeye brightens. He studies her with the appreciation of a
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connoisseur.
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HAWKEYE
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Ah, you must be our mystery
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nurse.
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JACKIE
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Mystery nurse?
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HAWKEYE
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Faster than a speeding
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hemorrhage, more powerful
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than a retractor, able to
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leap tall gurneys in a
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single bound...
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Jackie laughs.
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HAWKEYE
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Benjamin Franklin Pierce at
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your service. You can call
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me Hawkeye.
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JACKIE
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Jackie Hyde.
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Both are standing, holding full trays. They awkwardly try to
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shake hands and laugh. Jackie, followed by Hawkeye, goes over to
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get some coffee.
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HAWKEYE
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(with mock horror)
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You aren't going to =DRINK=
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that, are you?
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JACKIE
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What else would I do with it?
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HAWKEYE
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(thoughtfully)
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I hear it works pretty well
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as anti-freeze, paint thinner
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or battery acid.
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JACKIE
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Judging from the unappetizing
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mass on my tray, the coffee
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should go with it perfectly.
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As they sit together at the nearest available table, Hawkeye's
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anticipatory lecherous grin makes it clear that he regards Jackie
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as sexual prey. She doesn't see his expression.
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HAWKEYE
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So, when did you blow in
|
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and, more importantly, for
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how long?
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JACKIE
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To answer in order of
|
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importance, I've been
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assigned here (pause)
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and it already feels like
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||
forever. Are you always
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this busy?
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HAWKEYE
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(looking grim)
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You caught us during our
|
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two-for-one special -- send
|
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us one regiment and we'll
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patch up another for free.
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(changes his tone)
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But that's enough shop. Let's
|
||
talk about you. Where are you
|
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from?
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|
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JACKIE
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You've never heard of it.
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Elmsford, New York. And you?
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|
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HAWKEYE
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You've never heard of it,
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either, but it's the most
|
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wonderful town in the world.
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Crab Apple Cove, Maine.
|
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|
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JACKIE
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You sound like you miss it.
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||
|
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HAWKEYE
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More than I ever thought
|
||
possibl. Don't you miss
|
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Elmsford?
|
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|
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JACKIE
|
||
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I spent too much energy
|
||
trying to get away. Maybe
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||
I haven't been gone long
|
||
enough to miss it.
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||
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||
Charles sets his tray beside jackie's and sits down. She is now
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||
flanked by the two men.
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||
|
||
CHARLES
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|
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Well, well. You must be the
|
||
new nurse. I must say, I was
|
||
most impressed with your work
|
||
in o.r.
|
||
|
||
JACKIE
|
||
|
||
Thank you... Doctor?
|
||
|
||
CHARLES
|
||
|
||
Charles Emerson Winchester the Third.
|
||
|
||
HAWKEYE
|
||
|
||
(annoyed)
|
||
|
||
Chuckles to his friends. Don't
|
||
you have something better to do,
|
||
Charles? Somewhere =ELSE=?
|
||
|
||
CHARLES
|
||
|
||
Now, Hawkeye, what could be
|
||
better than making the
|
||
acquaintance of a nurse who is
|
||
as skilled as she is fair?
|
||
|
||
JACKIE
|
||
|
||
(smiling)
|
||
|
||
You are too kind.
|
||
|
||
HAWKEYE
|
||
|
||
(sarcastically)
|
||
|
||
Yes, Charles, you're just
|
||
too, too.
|
||
|
||
B.J. joins them, sliding his tray onto the table and sitting
|
||
opposite the others. Hawkeye looks disgusted.
|
||
|
||
B.J.
|
||
|
||
Hi! You must be the new
|
||
kid on the block. I'm
|
||
B.J. Hunnicutt.
|
||
|
||
JACKIE
|
||
|
||
Jackie Hyde
|
||
|
||
They shake hands.
|
||
|
||
JACKIE
|
||
|
||
What's the B.J. stand for?
|
||
|
||
B.J.
|
||
|
||
(broad, open grin)
|
||
|
||
Anything you like.
|
||
|
||
CHARLES
|
||
|
||
(drily)
|
||
|
||
B.J.'s from California.
|
||
You'll have to excuse him.
|
||
|
||
JACKIE
|
||
|
||
For what? I think he's charming.
|
||
|
||
HAWKEYE
|
||
|
||
(meaningfully)
|
||
|
||
He's charmingly =MARRIED=.
|
||
|
||
B.J.
|
||
|
||
(grinning
|
||
contentedly)
|
||
|
||
Happily.
|
||
|
||
JACKIE
|
||
|
||
(shrugs)
|
||
|
||
That's good.
|
||
|
||
HAWKEYE
|
||
|
||
(enthusiastically)
|
||
|
||
Good! That's =GREAT=!
|
||
|
||
(catches himself)
|
||
|
||
I mean, it's wonderful when
|
||
a man and a woman find one
|
||
another and something meshes
|
||
and...
|
||
|
||
Jackie stands up abruptly.
|
||
|
||
JACKIE
|
||
|
||
(coldly)
|
||
|
||
I'm sure it is.
|
||
|
||
Jackie exits. Hawkeye, B.J. and Charles exchange puzzled looks
|
||
as Hawkeye hastily rises to follow her.
|
||
|
||
|
||
|
||
|
||
|
||
EXTERIOR MESS TENT
|
||
|
||
Zale is in the background working on a jeep. Throughout the
|
||
following, he listens carefully. Hawkeye rushes to walk beside
|
||
Jackie, who has just come out of the Mess Tent.
|
||
|
||
HAWKEYE
|
||
|
||
Hey, I didn't mean to come
|
||
on so strong. I mean, it isn't
|
||
every day that an attractive
|
||
woman comes to this corner of
|
||
hell. I guess I got carried away.
|
||
I'm sorry. Can't we be friends?
|
||
|
||
Jackie stops and smiles.
|
||
|
||
HAWKEYE
|
||
|
||
Friends?
|
||
|
||
JACKIE
|
||
|
||
Friends.
|
||
|
||
Hawkeye and Jackie walk together. Zale follows surreptitiously.
|
||
|
||
HAWKEYE
|
||
|
||
To continue our rudely
|
||
interrupted conversation,
|
||
are you married, engaged
|
||
or otherwise encumbered?
|
||
|
||
Jackie stops, frowns and starts to move away.
|
||
|
||
JACKIE
|
||
|
||
Friends, huh?
|
||
|
||
HAWKEYE
|
||
|
||
(affirmatively)
|
||
|
||
Yes, friends.
|
||
|
||
(follows her)
|
||
|
||
Friends hav to know about
|
||
one another. For instance,
|
||
I am not spoken for in any
|
||
way. How about you?
|
||
|
||
JACKIE
|
||
|
||
(in a tone of
|
||
dismissal)
|
||
|
||
I speak for myself.
|
||
|
||
She walks away, stiffly.
|
||
|
||
Hawkeye pensively watches Jackie's receding form. A nurse passes
|
||
him.
|
||
|
||
NURSE
|
||
|
||
(with
|
||
satisfaction)
|
||
|
||
Looks like you've met
|
||
your match.
|
||
|
||
Colonel Potter and Father Mulcahy step beside Hawkeye. In the
|
||
background we see Zale approach the nurse and converse with her.
|
||
|
||
POTTER
|
||
|
||
(appreciateively,
|
||
indicating the
|
||
departed Jackie)
|
||
|
||
A spirited filly. I don't know
|
||
if she can be broken.
|
||
|
||
HAWKEYE
|
||
|
||
I don't want to break her. I
|
||
just want to (pause. looks at
|
||
Mulcahy) know her (pause)
|
||
biblically.
|
||
|
||
MULCAHY
|
||
|
||
I'll pretend I didn't hear
|
||
that. But I think you should
|
||
check with the lady.
|
||
|
||
HAWKEYE
|
||
|
||
That's what I'm trying to do.
|
||
|
||
|
||
|
||
|
||
|
||
INTERIOR POST OP
|
||
|
||
Margaret and Jackie are making the rounds together, checking the
|
||
patient in the bed next to Big Al's. The patient is the blond
|
||
kid, and he's unconscious.
|
||
|
||
MARGARET
|
||
|
||
(reading chart)
|
||
|
||
And this is Bob Tyler. (pause)
|
||
I guess I don't have to tell
|
||
you about him. (admiringly)
|
||
You were really quick in there.
|
||
|
||
JACKIE
|
||
|
||
(embarrassed)
|
||
|
||
I was just doing my job.
|
||
|
||
MARGARET
|
||
|
||
If you keep doing it like that,
|
||
you may discover you're an
|
||
officer before long. Well, as
|
||
you know, his reflexes mustbe
|
||
checked hourly for any sign of
|
||
paralysis.
|
||
|
||
Jackie nods. They move on to Big Al.
|
||
|
||
MARGARET
|
||
|
||
(reading chart)
|
||
|
||
Dressing must be checked
|
||
three times a day.
|
||
|
||
Big Al raises himself part way to leer at Jackie.
|
||
|
||
BIG AL
|
||
|
||
Hey, good lookin'! What
|
||
ya got cookin'?
|
||
|
||
JACKIE
|
||
|
||
(quietly)
|
||
|
||
Nothing that would interest
|
||
you. Now, lie back and relax.
|
||
You don't want to aggravate
|
||
your wounds, do you?
|
||
|
||
Gently, but firmly, she pushes him back against his pillow.
|
||
|
||
BIG AL
|
||
|
||
For you, Babe, anything.
|
||
(to Margaret) Hey, Blondie.
|
||
|
||
MARGARET
|
||
|
||
(restraining herself)
|
||
|
||
What.
|
||
|
||
BIG AL
|
||
|
||
Who's in charge of this joint?
|
||
|
||
MARGARET
|
||
|
||
Colonel Potter. Why?
|
||
|
||
BIG AL
|
||
|
||
I wanna talk to him.
|
||
|
||
MARGARET
|
||
|
||
Is it anything we can do? He's
|
||
very busy.
|
||
|
||
BIG AL
|
||
|
||
(importantly)
|
||
|
||
Naw. This is =MAN'S= business.
|
||
But (meaningfully) there's
|
||
plenty =OTHER= things you can
|
||
do for me...
|
||
|
||
Big Al's hand shoots toward Jackie, who is still standing beside
|
||
his bed, but she's too quick for him. She grasps his hand and
|
||
forces it to his side.
|
||
|
||
BIG AL
|
||
|
||
(leering)
|
||
|
||
Wait 'till I'm stronger, Babe.
|
||
|
||
Margaret and Jackie walk toward the door.
|
||
|
||
MARGARET
|
||
|
||
(indicating Big Al)
|
||
|
||
Occupational hazard. It comes
|
||
with the territory.
|
||
|
||
JACKIE
|
||
|
||
(sighing)
|
||
|
||
I know. I only wish it were
|
||
restricted to the patients.
|
||
|
||
MARGARET
|
||
|
||
(sympathetically)
|
||
|
||
Hawkeye.
|
||
|
||
Jackie nods. They exit.
|
||
|
||
|
||
|
||
|
||
INTERIOR "THE SWAMP"
|
||
|
||
Hawkeye is carefully pouring liquid from the still into a wine
|
||
bottle. B.J. is watching him dubiously
|
||
|
||
B.J.
|
||
|
||
I thought you wanted to
|
||
impress her, not poison her.
|
||
|
||
HAWKEYE
|
||
|
||
(grinning)
|
||
|
||
She's already passed the acid
|
||
test -- she walked out of the
|
||
Mess Tent on her own power.
|
||
|
||
B.J.
|
||
|
||
Rather hastily, I recall.
|
||
Look, Hawk, maybe you're
|
||
just not her type.
|
||
|
||
HAWKEYE
|
||
|
||
(insistently)
|
||
|
||
Ridiculous! She's a woman;
|
||
I'm a man. It's fate.
|
||
|
||
Enter Charles.
|
||
|
||
CHARLES
|
||
|
||
(chuckling)
|
||
|
||
Well, well. I hear Dulcinea
|
||
isn't responding to your
|
||
amorous advances.
|
||
|
||
HAWKEYE
|
||
|
||
I wouldn't want this conquest
|
||
to be too easy, Sancho. I'm
|
||
warming her up for the legendary
|
||
Pierce treatment.
|
||
|
||
CHARLES
|
||
|
||
(sarcastically)
|
||
|
||
Yes. And we'll see who gets
|
||
shafted.
|
||
|
||
HAWKEYE
|
||
|
||
I don't suppose you'd spare
|
||
me your pompous pearls.
|
||
|
||
CHARLES
|
||
|
||
(exaggerated surprise)
|
||
|
||
I? Toss pearls before swine?
|
||
|
||
(self satisfied laugh)
|
||
|
||
Although I admit she's a pretty
|
||
wench, I prefer to remain aloof
|
||
from another's affaire du coeur.
|
||
I'll simply sit back
|
||
|
||
(he does)
|
||
|
||
and enjoy your little comic opera.
|
||
|
||
HAWKEYE
|
||
|
||
Great!
|
||
|
||
(heads for the door)
|
||
|
||
And while you exercise your tush,
|
||
I'll exercise my fabled prowess!
|
||
|
||
Carrying the bottle of "wine" and two glasses, he exits
|
||
whistling.
|
||
|
||
|
||
|
||
|
||
EXTERIOR "THE SWAMP"
|
||
|
||
As Hawkeye is leaving the tent, Margaret almost collides into
|
||
him.
|
||
|
||
MARGARET
|
||
|
||
Hawkeye! I was just coming
|
||
to see you.
|
||
|
||
HAWKEYE
|
||
|
||
(dramatically)
|
||
|
||
Hot Lips! Darling! I had
|
||
no idea...
|
||
|
||
MARGARET
|
||
|
||
(annoyed)
|
||
|
||
Stop it, Hawkeye. This is
|
||
serious.
|
||
|
||
Hawkeye puts on a mock-serious expression.
|
||
|
||
MARGARET
|
||
|
||
My nurses are not here for
|
||
your enjoyment.
|
||
|
||
She looks meaningfully at his "wine" and two glasses.
|
||
|
||
HAWKEYE
|
||
|
||
(exaggerated
|
||
surprise)
|
||
|
||
They aren't?
|
||
|
||
MARGARET
|
||
|
||
(frustrated)
|
||
|
||
Stop it! My nurses are trained
|
||
medical professionals. They are
|
||
here to do a job. I won't allow
|
||
anyone to interfere with that --
|
||
not even you. Do you understand?
|
||
|
||
HAWKEYE
|
||
|
||
(seriously)
|
||
|
||
Nobody's interfering with their
|
||
job. But what they -- and I --
|
||
do on our own time is our own
|
||
business.
|
||
|
||
He turns and walks away.
|
||
|
||
MARGARET
|
||
|
||
(shouting,
|
||
to his back)
|
||
|
||
If I see any nurse falling
|
||
down on her duties, I will
|
||
hold you directly responsible.
|
||
|
||
Hawkeye turns, grinning widely.
|
||
|
||
HAWKEYE
|
||
|
||
And I'll love every minute of it!
|
||
|
||
He gaily waves his wine bottle and walks away.
|
||
|
||
|
||
|
||
|
||
INTERIOR POST OP
|
||
|
||
Klinger crashes in. The nurse on duty tries to stop him.
|
||
|
||
NURSE
|
||
|
||
(hissing)
|
||
|
||
Stop it! Quiet! This is
|
||
a hospital!
|
||
|
||
By this time, Klinger has reached Big Al's bedside. He proudly
|
||
displays a prominent, fresh black eye.
|
||
|
||
KLINGER
|
||
|
||
Hey, Big Al! You want proof
|
||
I'm all man? When's the last
|
||
time you saw a sissy with
|
||
one of these?
|
||
|
||
BIG AL
|
||
|
||
The last time I gave him one.
|
||
Get the hell outa here, Fairy.
|
||
|
||
KLINGER
|
||
|
||
(surprised)
|
||
|
||
Oh yeah?
|
||
|
||
(with righteous
|
||
indignation)
|
||
|
||
I got this fightin' over at
|
||
Rosie's Bar. You can ask
|
||
anyone! You ever hear of a
|
||
fightin' fairy? Huh? I'm a
|
||
charter member of the Toledo
|
||
Mud Hens! Looka that!
|
||
|
||
He makes a muscle.
|
||
|
||
NURSE
|
||
|
||
(trying to pull
|
||
him away)
|
||
|
||
Klinger! What are you doing?
|
||
|
||
KLINGER
|
||
|
||
(ignoring her)
|
||
|
||
Ya call that a sissy? I'm
|
||
tough -- maybe the toughest
|
||
guy in this camp. I survived
|
||
the streets of Toledo! I'm
|
||
king of the pool halls...
|
||
|
||
BIG AL
|
||
|
||
(interrupting;
|
||
voice low)
|
||
|
||
I warned ya once already,
|
||
Pervert. Get the hell
|
||
away from me.
|
||
|
||
Big Al raises himself part way and grabs Klinger.
|
||
|
||
BIG AL
|
||
|
||
(menacingly)
|
||
|
||
I eat fairies like you
|
||
for breakfast.
|
||
|
||
KLINGER
|
||
|
||
Oh yeah?
|
||
|
||
They are nose to nose, fists poised.
|
||
|
||
NURSE
|
||
|
||
Doctor! Someone! Help!
|
||
|
||
The nurse ineffectively pulls at first one then the other.
|
||
|
||
Colonel Potter rushes in.
|
||
|
||
POTTER
|
||
|
||
Klinger! What in the name
|
||
of crosspatch are you doing?
|
||
|
||
Klinger is pulled up short. As he disentangles himself from his
|
||
adversary, he says the following.
|
||
|
||
KLINGER
|
||
|
||
Uh oh. His master's voice.
|
||
|
||
POTTER
|
||
|
||
Get out. I'll deal with
|
||
you later.
|
||
|
||
Klinger eits apprehensively.
|
||
|
||
POTTER
|
||
|
||
(to Big Al)
|
||
|
||
Now, what's put a burr
|
||
under your saddle blanket?
|
||
|
||
BIG AL
|
||
|
||
(indicating the
|
||
departed Klinger)
|
||
|
||
Why isn't he locked up
|
||
somewheres?
|
||
|
||
POTTER
|
||
|
||
All right, what did he do?
|
||
I know he's a mite hot-
|
||
blooded -- Mediterranean,
|
||
you know.
|
||
|
||
BIG AL
|
||
|
||
(surprised)
|
||
|
||
Do? Don't you know what he
|
||
is? His kind don't belong
|
||
with real men.
|
||
|
||
POTTER
|
||
|
||
(also surprised)
|
||
|
||
Klinger? Now what ever put
|
||
that notion in your noggin?
|
||
|
||
BIG AL
|
||
|
||
Ain't he the guy used to
|
||
waltz around here like a
|
||
dame? In dresses?
|
||
|
||
POTTER
|
||
|
||
Sure. But that was only to
|
||
get out of the army.
|
||
|
||
BIG AL
|
||
|
||
Well, why didn't they kick
|
||
him out and lock him up?
|
||
|
||
POTTER
|
||
|
||
Because everyone knw it
|
||
was a scam. And anyway,
|
||
those days are over.
|
||
|
||
BIG AL
|
||
|
||
It's a scam, all right.
|
||
That fairy's got you all
|
||
fooled.
|
||
|
||
POTTER
|
||
|
||
(reassuringly)
|
||
|
||
Klinger's a good boy. Sure he
|
||
has his quirks, but then, don't
|
||
we all? And he does a bang-up
|
||
job as our company clerk.
|
||
|
||
(he stands up)
|
||
|
||
I wouldn't worry about it, Son.
|
||
You just concentrate on getting
|
||
better.
|
||
|
||
As Potter exits,Big Al's expression is one of deepening
|
||
suspicion. He is not convinced about Klinger, and now he's
|
||
wondering about Potter's masculinity.
|
||
|
||
|
||
|
||
|
||
|
||
EXTERIOR POST OP
|
||
|
||
Klinger, confused and angry, sees Potter coming out of Post Op.
|
||
|
||
KLINGER
|
||
|
||
(under his breath)
|
||
|
||
Oh boy. Here it comes.
|
||
|
||
POTTER
|
||
|
||
What happened in there?
|
||
|
||
KLINGER
|
||
|
||
That guy's crazy!
|
||
|
||
POTTER
|
||
|
||
Seems the feeling's mutual.
|
||
|
||
The two walk together.
|
||
|
||
KLINGER
|
||
|
||
Every time he sees me, he
|
||
calls me something worse.
|
||
He thinks I'm a sissy.
|
||
|
||
POTTER
|
||
|
||
And you got that shiner
|
||
proving otherwise?
|
||
|
||
Klinger gingerly feels his eye.
|
||
|
||
KLINGER
|
||
|
||
Huh? Oh yeah. (thinks)
|
||
Guess so.
|
||
|
||
POTTER
|
||
|
||
Was it worth it?
|
||
|
||
Klinger's face slowly breaks into a broad grin as he remembers
|
||
the terrific fight he had.
|
||
|
||
KLINGER
|
||
|
||
(enthusiastically)
|
||
|
||
You shoulda seen it! It was
|
||
like the old days at Toledo
|
||
Fats'. I sent Zale flyin'
|
||
through the window...
|
||
|
||
Potter, not understanding the attraction of this form of
|
||
recreation, shakes his head and puts a fatherly hand on Klinger's
|
||
shoulder.
|
||
|
||
POTTER
|
||
|
||
Well, just make sure you
|
||
don't fight any more
|
||
patients. No matter how
|
||
pesky they get, we're here
|
||
to cure 'em, not kill 'em.
|
||
|
||
Klinger nods.
|
||
|
||
|
||
|
||
|
||
EXTERIOR MESS TENT
|
||
|
||
Jackie is about to enter the Mess Tent when Hawkeye, carrying the
|
||
"wine" and two glasses, stops her. Charles is seen approaching in
|
||
the background, but he stops to listen to the following.
|
||
|
||
HAWKEYE
|
||
|
||
(indicating
|
||
the Mess)
|
||
|
||
How would you like to be
|
||
saved from a fate worse
|
||
than death?
|
||
|
||
Jackie looks at his eager face and at what he's carrying.
|
||
|
||
JACKIE
|
||
|
||
Is that your standard
|
||
courtship kit?
|
||
|
||
Hawkeye nods, smiling at what he sees as his imminent triumph.
|
||
Jackie turns to the Mess Tent and enters.
|
||
|
||
JACKIE
|
||
|
||
(dramatically)
|
||
|
||
Death be not proud!
|
||
|
||
Charles, his interest in Jackie obviously kindled, passes the
|
||
disappointed Hawkeye and follows her through the door.
|
||
|
||
|
||
|
||
|
||
INTERIOR MESS TENT
|
||
|
||
Jackie is being served. Charles joins her.
|
||
|
||
CHARLES
|
||
|
||
I coldn't help overhearing
|
||
your conversation outside.
|
||
Do you like poetry? John
|
||
Donne?
|
||
|
||
JACKIE
|
||
|
||
Oh yes. I enjoy his intellectual
|
||
games. It's sort of like playing
|
||
chess, isn't it?
|
||
|
||
CHARLES
|
||
|
||
(surprised)
|
||
|
||
Do you play chess?
|
||
|
||
JACKIE
|
||
|
||
Is that so surprising?
|
||
|
||
They sit together. Hawkeye in the background sits beside B.J.
|
||
Also in the background Margaret, at another table, is seen with
|
||
her back to Jackie and Charles.
|
||
|
||
CHARLES
|
||
|
||
Un, no, not at all. Well, yes,
|
||
actually. It is unusual -- at
|
||
least in my experience -- to
|
||
find a woman who plays the game.
|
||
|
||
JACKIE
|
||
|
||
(ruefully)
|
||
|
||
In mine, too.
|
||
|
||
CHARLES
|
||
|
||
(speculatively)
|
||
|
||
A penchant for poetry and
|
||
chess, too. Tell me, who
|
||
are some of your favorite
|
||
poets?
|
||
|
||
JACKIE
|
||
|
||
Lately I've been rereading
|
||
Blake. He gives me a lift.
|
||
|
||
CHARLES
|
||
|
||
(approving)
|
||
|
||
Ah, William Blake.
|
||
|
||
(quotes)
|
||
|
||
Abstinence sows sand all over
|
||
The ruddy limbs and flaming hair,
|
||
But Desire gratified
|
||
Plants fruits of life and beauty there.
|
||
|
||
JACKIE
|
||
|
||
(retaliates; quoting)
|
||
|
||
Love is like the wild rose-briar
|
||
Friendship like the holly tree --
|
||
The holly is dark when the rose-briar blooms
|
||
But which will bloom most constantly?
|
||
|
||
CHARLES
|
||
|
||
I'm afraid I can't place that one.
|
||
|
||
JACKIE
|
||
|
||
Emily Bronte.
|
||
|
||
During the foregoing, Zale has been approaching Hawkeye and B.J.
|
||
ANGLE ON them.
|
||
|
||
ZALE
|
||
|
||
You wanna join the pool?
|
||
|
||
B.J.
|
||
|
||
What's the bet?
|
||
|
||
Zale nods toward Jackie and Charles, who are still seen talking
|
||
and eating in the background.
|
||
|
||
ZALE
|
||
|
||
Who's gonna be the lucky man.
|
||
|
||
Hawkeye frowns and looks as if he's going to take a swing at
|
||
Zale.
|
||
|
||
ZALE
|
||
|
||
(fawningly)
|
||
|
||
You're the clear favorite,
|
||
Sir. In fact, so many people
|
||
are bettin' on you that I've
|
||
got a second pool right
|
||
here -- on the day you'll get
|
||
her. Wednesday's still open.
|
||
|
||
HAWKEYE
|
||
|
||
(angrily)
|
||
|
||
Get out of here!
|
||
|
||
ZALE
|
||
|
||
(moving away quickly)
|
||
|
||
Yes, sir!
|
||
|
||
Zale approaches Margaret in the background while Hawkeye gets up.
|
||
|
||
B.J.
|
||
|
||
Leaving so soon?
|
||
|
||
HAWKEYE
|
||
|
||
I have to check on a patient.
|
||
|
||
MARGARET
|
||
|
||
(standing abruptly;
|
||
shouts)
|
||
|
||
Absolutely not! I won't have
|
||
everyone in camp betting on
|
||
my nurses!
|
||
|
||
She and Jackie exchange a glance before Margaret exits in a huff.
|
||
|
||
|
||
|
||
INTERIOR POTTER'S OFFICE
|
||
|
||
Margaret rushes in angrily.
|
||
|
||
MARGARET
|
||
|
||
My nurses are not sexual
|
||
playthings! They are highly
|
||
trained medical professionals.
|
||
|
||
POTTER
|
||
|
||
(amiably)
|
||
|
||
So they are. Who says different?
|
||
|
||
MARGARET
|
||
|
||
(with growing
|
||
indignation)
|
||
|
||
Apparently, everyone in camp!
|
||
No sooner does a new nurse
|
||
report for duty than every
|
||
male in sight rushes to the
|
||
attack! I won't have it! These
|
||
women are here to do a job,
|
||
and they can't do it if they
|
||
are constantly accosted by
|
||
drooling, cow-eyed males!
|
||
|
||
POTTER
|
||
|
||
Whoa! Now slow down! Don't
|
||
you think you're blowing
|
||
this out of proportion?
|
||
It's only natural that a
|
||
winsome filly will raise
|
||
a few libidos.
|
||
|
||
MARGARET
|
||
|
||
With all due respect, Sir,
|
||
this isn't a breeding farm!
|
||
|
||
POTTER
|
||
|
||
Don't you think the same
|
||
thing would happen in reverse
|
||
if a handsome new doctor
|
||
showed up?
|
||
|
||
MARGARET
|
||
|
||
Within limits. But this thing
|
||
is getting way out of hand.
|
||
|
||
POTTER
|
||
|
||
I think you're just
|
||
overreacting. It's
|
||
the natural order of...
|
||
|
||
(he breaks off)
|
||
|
||
Zale and one of the enlisted men pass by the open window. They
|
||
are speaking loudly.
|
||
|
||
ZALE
|
||
|
||
(hooting
|
||
incredulously)
|
||
|
||
Ten-to-one on Major Winchester?
|
||
You gotta be kiddin'! Didn't
|
||
you see him at Mess? His chances
|
||
of gettin' that new nurse are
|
||
real good, real good. I can't
|
||
give you any better odds than
|
||
three-to-one...
|
||
|
||
They walk out of earshot. Before Potter and Margaret can resume
|
||
their conversation, they see Hawkeye walking past, conpicuously
|
||
carrying the "wine" and glasses.
|
||
|
||
POTTER
|
||
|
||
(understandingly)
|
||
|
||
I'll get right on it.
|
||
|
||
MARGARET
|
||
|
||
Thank you, Colonel.
|
||
|
||
She exits.
|
||
|
||
|
||
|
||
|
||
INTERIOR POST OP
|
||
|
||
Hawkeye is examining a patient.
|
||
|
||
BIG AL
|
||
|
||
Hey, Doc. Can you come
|
||
here a minut?
|
||
|
||
Hawkeye gets up and goes over to Big Al.
|
||
|
||
HAWKEYE
|
||
|
||
(concerned)
|
||
|
||
Is anything the matter?
|
||
|
||
(starts to read
|
||
his chart)
|
||
|
||
BIG AL
|
||
|
||
Naw. I just gotta ask
|
||
you somethin'.
|
||
|
||
(confidential
|
||
whisper)
|
||
|
||
Colonel Potter. Is he
|
||
one of us?
|
||
|
||
HAWKEYE
|
||
|
||
(mystified)
|
||
|
||
One of us? Do you think
|
||
he's a Communist?
|
||
|
||
BIG AL
|
||
|
||
(shakes his head)
|
||
|
||
No, no. I wanna know if
|
||
he's... you know... one
|
||
of =US=. A regular guy.
|
||
|
||
HAWKEYE
|
||
|
||
What exactly are you asking?
|
||
|
||
BIG AL
|
||
|
||
(exasperated)
|
||
|
||
Don't it seem strange he
|
||
lets that fairy, Klinger,
|
||
hang around us normal guys?
|
||
|
||
HAWKEYE
|
||
|
||
(light dawns)
|
||
|
||
Ah, you want to know if
|
||
Colonel Potter's like
|
||
=US= =NORMAL= guys!
|
||
|
||
BIG AL
|
||
|
||
Yeah...
|
||
|
||
HAWKEYE
|
||
|
||
(with high-pitched
|
||
lisp and limp wrist)
|
||
|
||
Oh yes. He's =JUST= like us!
|
||
|
||
He smooths his hair as he minces back to his patient, shaking his
|
||
head in disbelief.
|
||
|
||
HAWKEYE
|
||
|
||
(to himself)
|
||
|
||
Colonel Potter!
|
||
|
||
Big Al's eyes narrow with suspicion as he watches Hawkeye.
|
||
|
||
|
||
|
||
|
||
Enter Jackie, looking tired. She's followed by Charles, who
|
||
continues to follow her as she walks over to Bob Tyler's bed.
|
||
|
||
CHARLES
|
||
|
||
(insistently)
|
||
|
||
Let me not to the marriage
|
||
of true minds/ Admit
|
||
impediments...
|
||
|
||
JACKIE
|
||
|
||
(picking up chart)
|
||
|
||
Don't you think marriage a
|
||
bit premature, Doctor?
|
||
|
||
(faces him)
|
||
|
||
Now, if you'll let me get
|
||
back to work?
|
||
|
||
Charles, noticing Hawkeye, exits. Jackie checks the patient's
|
||
pupils.
|
||
|
||
BIG AL
|
||
|
||
Hey, Babe. Ready for a
|
||
real man yet?
|
||
|
||
JACKIE
|
||
|
||
(wearily)
|
||
|
||
Sure. Know any?
|
||
|
||
BIG AL
|
||
|
||
That ain't funny, Babe.
|
||
What's the matter -- don't
|
||
ya like men? Yeah, that's
|
||
it.
|
||
|
||
(triumphantly)
|
||
|
||
You wouldn't know what to
|
||
do with a real man!
|
||
|
||
Jackie's expression, unseen by Hawkeye, is fearful as she rushes
|
||
out the door. Hawkeye strides angrily over to Big Al.
|
||
|
||
HAWKEYE
|
||
|
||
Who the hell do you think
|
||
you are? You've accused
|
||
everything that moves of
|
||
the same thing. If you do
|
||
it again -- I don't care if
|
||
it's a man singing soprano
|
||
or a woman singing bass --
|
||
I swear I'll make you croak!
|
||
|
||
He rushes out after Jackie.
|
||
|
||
|
||
|
||
|
||
xEXTERIOR POST OP -- NIGHT
|
||
|
||
Hawkeye finds Jackie leaning against a tree.
|
||
|
||
HAWKEYE
|
||
|
||
You all right?
|
||
|
||
JACKIE
|
||
|
||
Leave me alone.
|
||
|
||
HAWKEYE
|
||
|
||
Hey, I want to apologize.
|
||
|
||
JACKIE
|
||
|
||
(indignantly)
|
||
|
||
What do you want, a medal?
|
||
Have you ever considered
|
||
what I want? Once? Instead
|
||
of treating me as a thing,
|
||
a prize to be won -- and
|
||
probably stuffed and
|
||
mounted -- have you ever
|
||
considered treating me as
|
||
a human being? Surprised?
|
||
Well, buddy-boy, here's a
|
||
news flash for you. Get
|
||
this! I'm human! I have
|
||
needs and desires and
|
||
feelings and all the rest
|
||
of it! And none of it has
|
||
anything to do with you.
|
||
|
||
HAWKEYE
|
||
|
||
(contritely)
|
||
|
||
I deserve that. Look, Jackie,
|
||
I got a picture back there,
|
||
an all-too-clear picture, of
|
||
what I've been doing to you.
|
||
It wasn't pretty.
|
||
|
||
JACKIE
|
||
|
||
(softly)
|
||
|
||
That's not the worst of it.
|
||
|
||
HAWKEYE
|
||
|
||
What do you mean?
|
||
|
||
JACKIE
|
||
|
||
(pacing)
|
||
|
||
Oh, I knew it was only a
|
||
matter of time. Sooner or
|
||
later, someone would have
|
||
had to wonder. It's just
|
||
that it happened so soon.
|
||
|
||
(she stops, looks
|
||
at him speculatively)
|
||
|
||
The pity of it is, we probably
|
||
could have been friends.
|
||
|
||
HAWKEYE
|
||
|
||
What are you talking about?
|
||
|
||
JACKIE
|
||
|
||
Don't you understand? What
|
||
Big Al said in there. It's
|
||
true.
|
||
|
||
HAWKEYE
|
||
|
||
(with growing
|
||
awareness)
|
||
|
||
Oh my God...
|
||
|
||
JACKIE
|
||
|
||
(turning away)
|
||
|
||
You don't have to worry.
|
||
I'll go quietly.
|
||
|
||
HAWKEYE
|
||
|
||
Go? Where?
|
||
|
||
JACKIE
|
||
|
||
(shrugs)
|
||
|
||
Good question.
|
||
|
||
HAWKEYE
|
||
|
||
Why do you have to go
|
||
anywhere?
|
||
|
||
JACKIE
|
||
|
||
Be realistic. Once the
|
||
colonel finds out, he'll
|
||
have me out of here so
|
||
fast the tents will flap
|
||
for a week!
|
||
|
||
HAWKEYE
|
||
|
||
Who'll tell him?
|
||
|
||
JACKIE
|
||
|
||
(gratefully)
|
||
|
||
Even if you don't report me,
|
||
someone else will. And it
|
||
won't take long, either if
|
||
even a creep like Big Al
|
||
could figure it out.
|
||
|
||
HAWKEYE
|
||
|
||
He didn't figure anything out.
|
||
He's been accusing everyone --
|
||
even Colonel Potter.
|
||
|
||
JACKIE
|
||
|
||
(laughing
|
||
nervously)
|
||
|
||
Colonel Potter!
|
||
|
||
HAWKEYE
|
||
|
||
(thinking)
|
||
|
||
We have to get the heat off
|
||
you somehow... I know! Why
|
||
don't we spend an evening in
|
||
the storeroom together?
|
||
Everyone knows I don't go
|
||
there to play Parcheesi!
|
||
|
||
JACKIE
|
||
|
||
I don't know. Let me think
|
||
about it.
|
||
|
||
|
||
|
||
|
||
EXTERIOR MASH COMPOUND -- DAY
|
||
|
||
A bus is evacuating the patients that are well enough to be
|
||
moved.The scene is similar to -- though not as frantic as -- the
|
||
opening scene.
|
||
|
||
Big Al is carried out on a stretcher. He sees Klinger, who is
|
||
helping with another patient.
|
||
|
||
BIG AL
|
||
|
||
Hey you! Klinger!
|
||
|
||
Klinger tries to move away, but he can't avoid him due to the
|
||
logistics of loading his own patient.
|
||
|
||
BIG AL
|
||
|
||
Hey, Klinger! Per...
|
||
|
||
(he sees Hawkeye's
|
||
warning look)
|
||
|
||
fectly nice day, ain't it?
|
||
|
||
KLINGER
|
||
|
||
Huh?
|
||
|
||
BIG AL
|
||
|
||
(eyeing Hawkeye)
|
||
|
||
I just wanna tell ya I
|
||
don't think you're such
|
||
a bad guy after all.
|
||
|
||
KLINGER
|
||
|
||
(hesitating)
|
||
|
||
Ya mean it?
|
||
|
||
BIG AL
|
||
|
||
Sure. (smiles) Just don't
|
||
come anywhere near Pittsburg.
|
||
Ya got that?
|
||
|
||
KLINGER
|
||
|
||
(broad grin)
|
||
|
||
Sure thing. And, Al?
|
||
|
||
BIG AL
|
||
|
||
Yeah?
|
||
|
||
KLINGER
|
||
|
||
If I ever catch ya in Toledo,
|
||
I'll cream ya!
|
||
|
||
Big Al's stretcher disappears into the bus as Bob Tyler's
|
||
stretcher moves INTO FRAME. Jackie comes over and grasps his
|
||
hand. He grips back.
|
||
|
||
JACKIE
|
||
|
||
With a grip like that, you
|
||
have nothing to worry about.
|
||
|
||
Bob smiles weakly, then winks at her the way he had when she
|
||
first saw him. His stretcher is loaded.
|
||
|
||
Jackie turns away to pick up her suitcase. Hawkeye, seeing the
|
||
suitcase, rushes over to her.
|
||
|
||
HAWKEYE
|
||
|
||
(indicating
|
||
suitcase)
|
||
|
||
Did I do this?
|
||
|
||
JACKIE
|
||
|
||
Not alone.
|
||
|
||
HAWKEYE
|
||
|
||
Where are you going?
|
||
|
||
JACKIE
|
||
|
||
Tokyo, for three days of
|
||
"R and R." I'm going to
|
||
look up a Japanese couple
|
||
some friends back home
|
||
told me about.
|
||
|
||
HAWKEYE
|
||
|
||
Are they...
|
||
|
||
JACKIE
|
||
|
||
...lesbians? Yes.
|
||
|
||
HAWKEYE
|
||
|
||
I'm sorry. I shouldn't have
|
||
asked. What happens next
|
||
|
||
JACKIE
|
||
|
||
(shrugging)
|
||
|
||
I've requested a transfer.
|
||
|
||
HAWKEYE
|
||
|
||
They take time. Maybe when
|
||
you get back, we can still
|
||
become friends.
|
||
|
||
JACKIE
|
||
|
||
Maybe.
|
||
|
||
Jackie gets onto the bus. The doors are closed and it drives
|
||
away, leaving Hawkeye standing alone.
|
||
|
||
|
||
|
||
|
||
INTERIOR ROSIE'S BAR -- NIGHT
|
||
|
||
Hawkeye, B.J., Colonel Potter, Father Mulcahy and Charles are
|
||
drinking at the bar. Zale approaches Potter, looking indignant.
|
||
|
||
ZALE
|
||
|
||
What's this I hear about
|
||
that new nurse gettin'
|
||
transferred out? (catches
|
||
himself) Sir?
|
||
|
||
POTTER
|
||
|
||
(menacingly)
|
||
|
||
What business is it of
|
||
yours, Soldier?
|
||
|
||
ZALE
|
||
|
||
(obsequiously)
|
||
|
||
You're absolutely right, Sir.
|
||
|
||
(backing away)
|
||
|
||
It's none of my business.
|
||
None at all. Just idle
|
||
talk, is all... Sir...
|
||
|
||
Zale exits. The others turn to look at Potter questioningly.
|
||
|
||
POTTER
|
||
|
||
It's true. She's at Tokyo
|
||
General.
|
||
|
||
B.J.
|
||
|
||
That was fast.
|
||
|
||
POTTER
|
||
|
||
I had them push it through.
|
||
|
||
HAWKEYE
|
||
|
||
Push it through? Why?
|
||
|
||
POTTER
|
||
|
||
(meaningfully)
|
||
|
||
She was under a lot of
|
||
pressure here.
|
||
|
||
MULCAHY
|
||
|
||
Makes me grateful for this
|
||
collar.
|
||
|
||
B.J.
|
||
|
||
Keep off the cleric.
|
||
|
||
POTTER
|
||
|
||
(musing)
|
||
|
||
Damn shame, too. A talented
|
||
nurse like that belongs here,
|
||
in the field.
|
||
|
||
CHARLES
|
||
|
||
(ruefully)
|
||
|
||
Not during open season.
|
||
|
||
Hawkeye isn't listening. He's turned with his back to the bar.
|
||
Hawkeye's POINT OF VIEW as camera PANS slowly, showing couples
|
||
dancing and friends sitting at the tables talking, laughing and
|
||
sharing drinks.
|
||
|
||
FADE OUT.
|
||
|