PEARL HARBOR



PEARL HARBOR





by



Randall Wallace







EARLY DRAFT





Out of BLACK we hear the sound of an airplane roaring by.



EXT. POV OF AN AIRPLANE



Flying over American heartland. We see the earth through the

pilot's perspective as sky and ground swap positions, the

plane swooping down and storming over the ground.



THE PLANE



is a biplane, racing over a field lush with young plants. It

releases a trail of crop spray, and climbs again...



Up into a crystalline blue sky where sunshine pours like

honey over family farms stretching to the horizon. Maybe

it's not heaven, maybe it's just Tennessee. But as long as

there's been an America, men have fought and died for this

place -- as volunteers.



Far off, but visible from the plane is



A BARN - DAY



The barn is unpainted except for hand lettering that says

"McCawley Crop Dusting." Another plane noise, this one made

by kids, brings us to TWO BOYS, sitting in the shell of an

old plane propped on crates, scavenged of it's engine, seats,

and wheels.



The boys sit in it's cockpit, butts crowded onto the nail keg

they've replaced the seat with. They've even attached a 2x4

as propeller, as if their imaginations needed any help. They

wear overalls and have bowl haircuts: RAFE and DANNY, 10

years old.



RAFE

Bandits at 2 o'clock.



DANNY

Power dive!



They buzz their lips in a flying noise and work the controls,

Rafe's bare feet on one pedal, Danny's on the other.



RAFE

It's Germans!



DANNY

Kill the bastards!



Rafe looks at Danny in shock -- then they both laugh and go

right back into their game, manufacturing their own machine

gun and engine sounds.



RAFE

Good shooting, Danny!



DANNY

Good shooting, Rafe!



RAFE

Land of the free...



DANNY

Home of the brave!



RAFE

There's another one!



Their vocal motors roar again... But a man's hand grabs Danny

by the straps of his overalls and jerks him from the cockpit.



It's Danny's FATHER and he's a fearsome sight; drunk, his

hair uncombed, his face unshaven, his teeth -- those still

left -- are rotting. He's also missing an arm; but the one

that's left is potent, and he's shaking Danny with it.



DANNY'S FATHER

You no count boy! Johnson come lookin',

said he'd pay a dime for you to shovel

his pig shed, and I can't find you no

place.



DANNY

Daddy, I told you I was comin' here.



His father slaps him off his feet. Rafe is so horrified he

can't get a sound out. Danny isn't even surprised. But when

his father snatches him up again, twisting the overall straps

so tight they choke him, he struggles. It does no good; his

father starts marching across the field, dragging and

strangling Danny.



DANNY

Da!... Dad...



The father's drunken anger makes him oblivious -- until

CRACK! The 2x4 propeller slams him across the back, knocking

him to the ground and making him drop Danny.



The father rolls over to see 10-year-old Rafe, holding the

2x4 like a bat.



RAFE

Let him alone!



The father's eyes bulge in rage; he struggles to his feet.



DANNY

Rafe... Daddy... No!



The man looks murderous, but Rafe draws back the board.



RAFE

I'll bust you open, you...German!



The words ring something deep in the man's booze-broken

brain. He begins to cough, convulsively; it brings a blossom

of blood to his mouth. He wipes it with his hand, but blood

clings to his teeth. He chokes out --



DANNY'S FATHER

I fought the Germans.



He looks at Danny in shame, with the realization of what he's

just done. He turns and staggers away.



Danny looks at Rafe -- a communication between boys joined by

something deeper than blood. Then Danny runs off after his

father.



DANNY

Daddy! Daddy! Wait.



Danny catches him, takes his father's hand, and walks away

with him.



The crop duster we saw in the air has just landed, behind

Rafe. The pilot, RAFE'S FATHER, shuts off the engine.



RAFE'S FATHER

What's goin' on, son?



RAFE

Nothing. Danny's Dad just come to get

him.



Rafe turns back to the ramshackle plane and replaces the 2x4

propeller. His father looks toward Danny and his father,

walking away, then looks at his own son.



RAFE'S FATHER

Hey, boy -- you wanna go up?



Rafe can't believe it; he runs to the plane and hops into his

father's lap. As his father cranks the engine and tucks him

into the harness, Rafe says --



RAFE

Daddy, sometime will you take Danny up

too?



RAFE'S FATHER

Sure will, son.



The engine races to life...and we --



DISSOLVE TO:



EXT. NEW JERSEY AIR BASE - DAY



American P-40 fighters blast through the air, props screaming

and wind singing by their wings.



There are eight pilots in their individual seats, and we

focus on two: RAFE MCCAWLEY has grown lean and handsome.

And DANNY WALKER is very much the same.



Their planes start swapping positions in the formation; while

the other guys are flying along in a tight line, Rafe and

Danny are playing, one of them gunning his engine to go high,

the other diving and coming back up in his place,

leapfrogging.



It scares the other guys, having their planes flashing in and

out, so close. The TRAINING CAPTAIN, watching through

binoculars on the ground, talks into his RADIO --



TRAINING CAPTAIN

McCawley! Walker! Cut that out!



RAFE

I thought this was a training flight.

I'm just trying to give Danny some

training.



DANNY

Not on your best day, boy!



Rafe grins and guns his plane low, in the opposite direction

he was moving before. Danny reacts almost instantly...

leapfrogging in the opposite direction, scaring the piss out

of everybody else.



TRAINING CAPTAIN

That's it, get into a wedge!



The squadron responds, forming up into a tight V, Rafe and

Danny just behind and on either side of the center.



RAFE

Didn't you say test the limits?



DANNY

Hey, you wanna test my limits, you better

line up a couple dozen women on the

GROUND...cause I got NO limits in the

air!



Rafe grins, loving the challenge. Then he and Danny do the

leapfrogging maneuver laterally, swapping sides in the V.



TRAINING CAPTAIN

Everybody down!



EXT. NEW JERSEY AIRFIELD - DAY



The planes land in tight order and taxi off the runway; shut

down their props, slide back the canopies and hop down. We

see young pilots we'll get to know: ANTHONY, BILLY, RED.



TRAINING CAPTAIN

Where are McCawley and Walker?



EXT. RAFE AND DANNY - STILL IN THE AIR - DAY



They've circled to opposite ends of the airfield and are now

heading right at each other, like two bullets playing

chicken.



TRAINING CAPTAIN

Aw shit...



INT. THE COCKPITS



From Rafe and Danny's POV, the rush is awesome.



THE PILOTS ON THE GROUND watch in awe as the P-40's get so

close they can't possibly get out of each other's way.

Billy, the most boyish-faced of the pilots, yells to drown

out the sound of the collision...



At the last instant, both planes snap a quarter turn so that

their wings are vertical, and they shoot past each other

belly to belly.



IN THE COCKPITS



Rafe and Danny burst out laughing.



THE PILOTS ON THE GROUND



laugh and congratulate each other.



TRAINING CAPTAIN

You know what they say... You can take the

crop duster out of the country -- but

don't put him in a P-40.



Rafe banks to land, and Danny tucks in behind him. Danny has

Rafe's plane in his sights.



DANNY

If I had guns I'd be chewing up your --



Rafe feints left, banks right, and appears behind Danny.



RAFE

If you had guns, you'd be pissin' on 'em.



They're almost to the landing strip, Rafe behind Danny. But

as Danny's wheels are about to touch, he guns his engine and

snaps the nose of his plane straight up.



THE OTHER PILOTS stop laughing.



ANTHONY

He's doing an inside loop!



TRAINING CAPTAIN

Aw, shit...



Danny pulls it off, just barely making a full circle to come

in behind Rafe and bounce to a stop on the runway.



DANNY

Yee-hawww!!!



Danny taxis his plane over to join the others. He's grinning

as he slides back his cockpit cover; then --



DANNY

Where's Rafe?



Red, tall with flaming orange hair, tips his chin toward the

air. Seeing Rafe's plane still in the air, Danny starts to

refasten his harness.



TRAINING CAPTAIN

You're down, Walker! That's an order!



DANNY

What about him?



TRAINING CAPTAIN

He's not taking my orders anymore.



Danny's just about to ask what the hell that means, when he

notices Rafe climbing in a deliberate spiral.



DANNY

He's gonna do it.



BILLY

Do what?



DANNY

It.

(beat)

Aw, shit. Aw shit shit shit...



RAFE'S PLANE reaches two thousand feet, just a speck above

them, and seems to pause in the air.



DANNY

I shouldn't'a done an inside loop.

I shouldn't'a done an inside loop.



BILLY

Why?



DANNY

Cause now he's gonna do an outside loop.



TRAINING CAPTAIN

Aw shit. Aw shit shit shit...



Anthony and Billy join in, like an involuntary chant --



ANTHONY & BILLY

Aw shit shit shit...



RAFE, IN HIS COCKPIT, is tightly controlled, yet serene. He

noses the plane into a power dive.



The P-40 screams toward the ground, picking up speed, going

so fast it begins to shudder.



THE OTHER PILOTS are transfixed. Red is so nervous he can't

get the words out.



RED

Aw sh- sh- sh- sh-



BILLY

Shit.



RED

Yeah.



DANNY

You can do it, Rafe. You can do it.



The P-40, hurtling toward the ground at nauseating speed,

snaps into a half roll, streaking upside down over the

runway. Rafe hangs inverted in his flight harness, the

asphalt of the runway shooting past, ten feet beyond his

head.



He pushes the plane into a climb, his cockpit on the outside

of the circle. The plane reaches the top of its arc, and

almost stalls; but Rafe noses it over again, toward the

earth, only this time he has very little altitude. The plane

hurtles down, still with it belly on the inside of the

curve...



And makes it full circle. Rafe's head now is barely a foot

off the asphalt as the plane shoots past, still inverted.



THE OTHER PILOTS burst into cheers.



RAFE, IN HIS COCKPIT permits himself a smile.



He lands, and the guys run out to meet him...all except for

the Training Captain, who stands there shaking his head.



Danny jumps on the wing, as Rafe stops and slides back his

canopy. Danny grabs him by the harness and shakes him.



DANNY

You could've killed yourself, you stupid

bastard!



He dives into the cockpit, hugging Rafe.



DANNY

That was the most beautiful thing I ever

saw.



INT. COLONEL DOOLITTLE'S OFFICE - DAY



COLONEL JIMMY DOOLITTLE, mid-forties, is commander of the

base. He's as tough as he is good in the air. And right now

he's frowning at Rafe McCawley, standing at attention before

him.



DOOLITTLE

There are some people who think the

outside loop is reckless and

irresponsible.



RAFE

How could it be irresponsible, Sir, if

you were the first man in the world to do

it?



DOOLITTLE

Don't get smart with me, son.



RAFE

Never, Sir. I just meant it's dangerous

only for the kind of pilot who wants to

show off, rather than inspire the other

pilots in his unit. And all you've done

for me, Sir, working out the transfer, I

did it to say thanks. To honor you, Sir.

What the French call a "homage."



DOOLITTLE

That's bullshit, son. But it's really

good bullshit.



RAFE

Thank you, Sir.



Doolittle stands, moves around his desk, and shakes Rafe's

hand.



DOOLITTLE

Good luck over there McCawley. I admire

your decision.



RAFE

Thank you, Sir.



INT. NEW JERSEY AIRFIELD - BARRACKS - NIGHT



The pilots are getting slicked up for a night on the town.

Danny's at the mirrors with the others; he's putting on

cologne, and looks terrific in his uniform.



Anthony and Billy are combing their hair at the sinks. Billy

declares to his image in the mirror --



BILLY

You good-lookin' sumbitch...don't you

EVER die!



ANTHONY

That's your line for tonight, ya know.



BILLY

What, good-lookin' sumbitch?



ANTHONY

No, numbnuts, die. You get your nurse

alone, you look her in the eye, and say,

"Baby, they're training me for war, and I

don't know what'll happen. But if I die

tomorrow, I wanna know that we lived all

we could tonight." I've never known it

to fail.



Red finishes brushing his teeth at the sink beside them.



RED

He's n-never known it to work, either.



The guys head out laughing, running into Rafe coming in.



DANNY

Doolittle didn't kill you? Attaboy!



Rafe catches Danny's arm.



RAFE

Danny, there's something I gotta tell

you...



EXT. NEW JERSEY BARRACKS - NIGHT



Rafe and Danny are walking on the parade ground; the other

guys are already on the bus that will take them into town.

Danny's upset by what Rafe just told him.



DANNY

How could you do this?



RAFE

The Colonel helped me work it out.



DANNY

I don't mean how'd you do the paperwork,

I mean how the hell did you do it without

letting me in on it?



RAFE

I'm sorry, Danny, but they're only

accepting the best pilots.



DANNY

Don't make this a joke, Rafe. You're

talking about war, and I know what war

does to people.



RAFE

Danny, you know how many times I saw you

come to school with a black eye or a

busted nose, and couldn't do a thing

about it -- for you, or for your mother...

or your father, with his lungs scorched

out with mustard gas, and more left of

his lungs than there was of his spirit?

You've made your sacrifice, Danny. It's

time I made mine.



BILLY

(from the bus)

The nurses are waiting!



RAFE

Let's go.



DANNY

Nah, you go on.



RAFE

I have to talk to Evelyn. And I want you

to meet her.



DANNY

Some other time. I don't feel like a

party.



Danny walks away. The bus driver's ready to leave, and Red

is honking the horn for Rafe to come. Rafe reluctantly lets

Danny go, and heads for the bus, where the pilots are

chanting --



PILOTS VOICE

Nurses! Nurses! Nurses!



INT. A MOVING TRAIN - DAY



The trains of 1942 have their own beauty, with felt seats,

shaded lamps, and paneled compartments even in the economy

section. But the glow of the train is outshone by EVELYN

STEWART. She's one of ten young women, Army nurses, gathered

at one end of the car as it rattles along the track.



The other nurses are pretty and ripe -- maybe a bit too

ripe. Their lips painted bright red, their faces powdered,

their spirits high.



Evelyn listens in amusement to BETTY, a cute blonde with

unmissable boobs, and BARBARA, a burnette equally endowed.



BETTY

Do you have trouble with your boobs in

the uniform?



BARBARA

You mean hiding them?



BETTY

Hide them? On a date with pilots? I'm

talking about how you make them show!



SANDRA, another nurse, speaks up.



SANDRA

Loan 'em to me, I'll make 'em show.



BETTY

The boobs or the pilots?



The girls laugh and shove each others' knees; it's a party

wherever they go. But Evelyn can't keep her mind on the

frivolity. She looks out the window and her thoughts drift

away.



BARBARA

We'll ask Evelyn. Evelyn? Evelyn!



BETTY

Ooo, she's thinking of her date! Come

on, you've been dating a pilot. We want

to know what we can expect.



Suddenly all the girlish faces are looking at Evelyn.



EVELYN

I've been dating one pilot. And only for

a few weeks. But I know he's different

from all the others.



Sandra throws up her arms and swoons onto her friends.



SANDRA

True love!...



BETTY

Morphine, give her morphine!



BARBARA

Give her an enema.



EVELYN

But I do have a warning for you. There's

one line you all need to know, and you're

likely to hear it from any man in a

uniform. It goes like this: "Honey,

Baby... We never know what's gonna happen,

and I may die tomorrow...so, let's live

all we can tonight."



A silence among the nurses.



BARBARA

I tell you. Any one of those arrogant,

leather-jacketed, slick-lookin' flyboys

tries that line on me...he's gonna get

anything he wants.



As the nurses laugh --



EXT. NEW YORK TRAIN STATION - NIGHT



Our pilots -- indeed leather-jacketed and handsome -- are

waiting on the platform. Among then is Rafe, holding

something behind his back, as the train pulls in and shudders

to a stop, clouds of steam jetting onto the platform and

giving the moment a dream-like haze.



INT./ EXT. TRAIN - NEW YORK TRAIN STATION - NIGHT



The nurses start stepping out; both pilots and nurses pretend

surprise to see each. At the door of the train, Evelyn

whispers to Betty --



EVELYN

Stick with me, I'll find you somebody

good.



Betty spot's Rafe.



BETTY

I'll take that one.



EVELYN

He's taken. But come on, I'll introduce

you.



They move to Rafe; he crosses the platform to meet them, his

eyes holding Evelyn.



RAFE

Hello, Lieutenant. Good to see you.



EVELYN

You too, Lieutenant.



Betty clears her throat.



EVELYN

Oh, this is Betty.



RAFE

Nice to meet you, Betty.



He draws his hand from behind his back; he's holding two

roses. He hands one to Evelyn and the second to Betty.



RAFE

Danny would'a brought this.



He escorts them along the platform.



EVELYN

Danny's not coming?



RAFE

No, he...got some news today. He'll be

okay, he just didn't feel like coming

tonight.



EVELYN

I was hoping to meet him.



BETTY

I was hoping to meet him.



RAFE

We'll just have to find a substitute,

won't we?



Betty stops, and faces Rafe.



BETTY

I just want to tell you one thing. If

you're thinking this might be your last

night on earth?... I'm prepared to make

it meaningful.

(leaning close)

Very meaningful.



EVELYN

At ease, Betty!



INT. CITY NIGHT CLUB - NIGHT



It's a party in full swing; swing music, jitterbugging,

beautiful young men and women in high spirits.



Rafe and Evelyn are sitting at a big table with the other

pilots and nurses. Anthony's paired up with Sandra, Billy

with Barbara, and Red, shyest of the group, finds himself

next to Betty. Betty's already found a companion in Red

Strange.



RED

He, I'm R-Red. Red S-Strange.



BETTY

Red...Strange?



RED

You know the football player, Red G-

Grange? Well the guys called me R-Red,

cause you know, I'm red...and they

thought I was strange, so, you know, Red

G-Grange, Red Str-Strange.



BETTY

But...they called you Strange? Because

of Red Grange? I don't get it. Was Red

Grange strange?



RED

How would I know.



Beside her beer is an open ketchup bottle; he picks it up and

swigs from that. Rafe and Evelyn see this, and try to keep

from laughing.



BETTY

Do you always stutter?



RED

Only when I'm n-n-n-



BETTY

Nervous?



RED

Yeah. But if I have to get something

out, I c-can always s-s-s-

(he sings)

SIIING!



She covers his hand with hers.



BETTY

Don't be nervous.



Red looks at Betty with love in his eyes. Under the table,

Rafe and Evelyn join hands too.



EVELYN

There shipping us out. Hawaii. The

Germans are overrunning Europe, and we're

sent to paradise. How about you? Have

you heard anything?



He hesitates; then Evelyn is distracted by the conversation

beside them, between Barbara and Billy.



BILLY

You're a very special woman, and...well

baby, they're training me for war, and we

don't know what happens tomorrow. So we

gotta make tonight special.



Barbara shoots a look at Evelyn, before she answers.



BARBARA

I hope you can back that up, flyboy.

Cause you're not ever gonna forget

tonight.



She takes him by the hand and pulls him to his feet... They

start dancing, sexy movements that won't stop till they've

been in bed.



Rafe pulls Evelyn to her feet, and leads her through the

dancers, outside.



EXT. THE NIGHT CLUB - NIGHT



They find a quiet place on a balcony that overlooks the

river, and Manhattan beyond. Evelyn takes in the view,

breathes in the air; she still holds the rose.



EVELYN

Whatever you're trying to tell me isn't

good, is it. Or it wouldn't be so hard

to say.



RAFE

The only reason it's hard to say is that

I keep thinking I don't have the right to

say it. But I've got to because it's

true. I love you.

(beat)

That must surprise you.



EVELYN

It surprises me that I'm not the only one

on this balcony who feels that way.



The power of hearing this from each other grips them both.



RAFE

There's one thing I have to say. I'm

going away.



EVELYN

We're all going away.



RAFE

I'm going to the war. The real war.

Hitler's taken Europe. The Brits are

hanging on by their fingernails, and If

they lose, there'll be more people killed

than anybody can imagine. And not just

there, but here.



EVELYN

But you're in the U.S. Army, how could

you --



RAFE

Colonel Doolittle pulled the strings, and

put me on loan to the R.A.F. They need

pilots, and we need experience. I leave

tomorrow.



EVELYN

You waited til tonight to tell me?



RAFE

I had to tell you in person. Because

there's something else I need to say.



He studies her face, burning it into his memory.



RAFE

Evelyn...you know the line -- let's make

tonight memorable. What I feel about you

makes it impossible for me to say

something like that. If I don't come

back, I don't want to saddle you with

regret and sadness you'll carry the rest

of your life.



EVELYN

I don't know if you can choose that,

Rafe.



RAFE

Maybe not. But I need you to know. I

love you. And I will come back. I'll

find a way. And then we'll get a chance

to know if what I felt the first moment I

saw you, and every minute since then, is

real.



EVELYN

Do one thing for me, before you go.



She takes his hand and leads him inside.



INT. NIGHT CLUB - NIGHT



She leads him onto the dance floor, and they dance, among the

others, yet in a world apart from everyone else. And then

they stop while all the others move around them, and kiss the

kind of kiss that lasts a lifetime.



EXT. HOTEL - NIGHT



The nurses are entering the hotel. Pilots are going in with

them. But Rafe and Evelyn stop on the street.



A last kiss. Their hands touch a final time, and then part.

She moves inside the lobby, and looks out the glass doors as

he walks away.



EXT. TRAIN STATION - DAWN



Rafe and Danny stand on the platform. Rafe's got his gear

packed in a bag slung over his shoulder.



CONDUCTOR'S VOICE

All aboard!



Rafe glances once more toward the revolving doors from the

station that lead onto the platform.



DANNY

Didn't you say you told her not to come?



RAFE

Yeah.



DANNY

Then why are you looking for her?



RAFE

It's a test. If I asked her to come and

she came, it wouldn't tell me anything.

If I tell her not to come, and she

comes...then I know she loves me.



VOICE

ALL ABOARD!



DANNY

You're still a kid, ya know that? Take

care of yourself.



RAFE

You too.



Rafe sticks his hand out to Danny. Danny knocks it away, and

hugs him.



Rafe steps onto the train, and it pulls away. Rafe waves.

Danny waves back and smiles, but he whispers like a prayer...



DANNY

Give 'em hell, Rafe.



INT. TRAIN - DAWN



Rafe finds a seat and sits down. He's the only one in the

car, and he's deeply alone.



EXT. TRAIN STATION - DAWN



Danny walks to one of the three revolving doors back into the

station. He takes the one on the far right. As he passes

through it, he doesn't see Evelyn rushing through the door on

the left side. She's told herself she wouldn't come, but

couldn't help it, and now as she sees the last car of the

train disappearing around the corner the pain of it all hits

her.



She stands on the empty platform, as lonely as Rafe.



MONTAGE - THE JOURNEYS



Rafe and Evelyn travel in opposite directions, toward

opposite ends of the earth...



EXT. A GRAY, COLD, CANADIAN SEAPORT - DAY



as Rafe boards a Canadian naval vessel headed into the North

Atlantic.



EXT. TRAIN - TRAVELING THROUGH THE AMERICAN WEST - DAY



Evelyn and her fellow nurses ride the train through the

American southwest. The scenery outside the window is

beautiful, but her thoughts are far away...



EXT. NORTH ATLANTIC - DAY



Rafe's ship is in a convoy through the rough gray waters.

The deck is loaded with military supplies bound for Britain.

Rafe stands among the drab crates and seems oblivious to the

rain, his thoughts on Evelyn.



He looks toward the eastern horizon, where his ship is

heading. A deep, dark storm is brewing before them...



EXT. PACIFIC - DAY



Evelyn stands on the deck of a ship headed in the opposite

direction, on another ocean, the sky is clear, the breeze is

warm, the light of a glowing sunset bathes her face. The

MONTAGE ENDS, with them heading to different ends of the

earth.



EXT. BASSINGBORNE AIRFIELD - BRITAIN - DUSK



In the eternal dusk of England, everything is cold and gray.

British fighter planes -- Spitfires and Hurricanes -- are

surrounded by mechanics hurriedly ripping off bullet riddled

fuselage panels and digging into overworked aircraft engines.

Rafe walks across the tarmac, still carrying his duffel bag.

He moves up behind a slim, pale BRITISH AIR COMMANDER who is

surveying engine damage on one of the Spitfires.



RAFE

Rafe McCawley, Sir.



Rafe salutes as the Air Commander turns and then returns the

salute, with his left arm -- his right arm is gone. Rafe

freezes at the sight, reminded of Danny's father.



BRITISH AIR COMMANDER

On loan from Colonel Doolittle, is it?



RAFE

That's me, Sir.



BRITISH AIR COMMANDER

Good on you, then, Rafe McCawley. We'll

get you situated in some quarters, and

then introduce you to the equipment

you'll be flying.



RAFE

If you're patching up bullet holes right

here on the runway, maybe we should skip

the housekeeping and get right to the

planes.



BRITISH AIR COMMANDER

Are all the Yanks as anxious as you are

to get yourself killed, Lieutenant?



RAFE

Not anxious to die, Sir, anxious to

matter.



EXT. BASSINGBORNE AIRFIELD - BRITAIN - DAY



A Spitfire sits on the runway, and it's badly mangled -- a

string of bullet holes punched through at mid-fuselage; a

shot-off chunk of wingtip; but most striking is the blood

still splattered over the inside of the cockpit.



BRITISH AIR COMMANDER

Good lad. Didn't die till he'd landed

and shut down his engine. Welcome to the

war.



He walks away, leaving Rafe to stare at the bloody cockpit.



EXT. PEARL HARBOR - MILITARY BASE - DAY



Evelyn and the nurses enter the base, riding in two jeeps.

As they stop at the gate, the guards look at them, especially

Evelyn in the lead jeep; one guard mumbles to the other --



GUARD

I've died and gone to heaven.



The guards lift the bar and smile at the nurses. The jeeps

drive through. The nurses are loving this island paradise

already.



BARBARA

You know the ratio of men to women on

this island? Four-thousand...to one.



Barbara slides on a new pair of sunglasses with plastic palm

trees glued on the sides, and calls back to the guards as the

jeeps pull away --



BARBARA

See ya on the beach, boys!



EXT. MILITARY BASE - NURSES' QUARTERS - OAHU - DAY



As the other nurses happily unpack, Evelyn leaves and crosses

the grass in the drenching sunshine. We follow her into --



INT. BASE HOSPITAL - DAY



She finds a small, immaculately clean hospital, twenty beds

with luminous white sheets, all empty.



Then she notices the view. It's of Pearl Harbor, with the

entire American Pacific fleet riding at anchor. Battleships

all in a row. Aircraft carriers too, in perfect stillness on

the aqua blue water with a white sand bottom. The view is

expansive and beautiful.



The sound of an approaching fighter plane with wing guns

firing as we --



CUT TO:



EXT. THE DARK SKIES OVER THE ENGLISH CHANNEL - DAY



Rafe, in the middle of an aerial dogfight, throws his

Spitfire into a tight turn, swinging around to fire again

into a squadron of Messerschmidts; they outnumber the British

planes, and they're tougher and faster. Rafe darts through

their line, machine guns blazing.



One of the Spitfires in Rafe's squadron has taken hits in the

engine compartment and is sputtering, losing power, its

pilot, NIGEL, frantic as the German planes swarm into finish

him.



BRITISH PILOT (NIGEL)

I need help! Someone get them off me!



Rafe slams his control stick hard right and goes into a power

dive at one of the Messerschmidts. Rafe's bullets chew up

its cockpit and the plane goes into a fast corkscrew spiral,

down into the water.



Rafe instantly climbs again. Nigel, in the moment of safety

Rafe has bought him, bails out, his chute blossoming and

carrying him toward the water. The OTHER BRITISH PILOTS are

impressed.



OTHER BRITISH PILOT

(into radio)

Nigel's out! I'll call in the position!

(to himself)

That Yank is bloody good.



Rafe swings his plane right back at the Germans; he attacks

them head on, just like he went at Danny, only this time he's

firing his machine guns.



And OVER THIS ferocious dogfight, we hear his letter to

Evelyn...



RAFE'S VOICE (LETTER)

Dear Evelyn... It is cold here. So cold,

in a way that goes deep into your bones.



The Messerschmidt in Rafe's sights breaks apart with the

stream of precise fire he pours into it, its prop flying into

pieces, its disintegration accelerated by its airspeed.

Before it completely comes apart, it explodes.



Rafe goes into another tight turn, to get at them again.



RAFE'S VOICE (LETTER)

It's not easy making friends. Two nights

ago I drank a beer with a couple of the

R.A.F. pilots -- beer's the only thing

here that isn't cold -- and yesterday both

of them got killed...



As Rafe starts another attack we see him in the cockpit, in

the trance of battle, as other Spitfires around him are

getting shot out of the sky...as we --



DISSOLVE TO:



EXT. HOSPITAL - PEARL HARBOR - DAY



Evelyn, receiving the letter at mail call.



She sits on the grass under a palm tree, in paradise, reading

his letter.



RAFE'S VOICE (LETTER)

There is one place I can go to find

warmth, and that is to think of you.



EXT. OUTDOOR RESTAURANT - OAHU - DAY



Evelyn is off duty, and wears a light cotton dress. She's

let her hair down, and her skin has the sheen of light sweat

in the tropical heat.



The restaurant is barely more than a shelter of palm wood

posts with a frond roof, and it looks out over the harbor.

Evelyn sits alone. She's brought writing paper. As the

Hawaiian waiter serves her an icy tropical ambrosia with

chunks of pineapple and a fresh plumeria flower floating at

the rim of the glass, she lifts her pen.



But before she can start to write, three naval officers move

over to her table from the bar. They're out of uniform too,

wearing garish tropical shirts.



NAVY GUY 1

A woman beautiful as you shouldn't be

sitting alone. Buy you a drink?



EVELYN

Thank you...Ensign.



The guys look at each other, impressed that she could tell.



NAVY GUY 1

Ensign! Smart too!



NAVY GUY 2

So how about that drink? Or dinner?



EVELYN

Thank you, but...I really want to be

alone right now.



NAVY GUY 3

Want to see something long and hard?



He shows her the tattoo of an anchor on his forearm. Evelyn

looks away from them, toward the harbor.



EVELYN

I'm sorry. I've got a letter to write.



NAVY GUY 3

Cold bitch.



His friends start to pull him away, but Evelyn's eyes flare.



EVELYN

What did you say?



NAVY GUY 3

I said you're cold.



EVELYN

Cold? No, I'm just thinking about a war.

And maybe you should be too.



They leave, shaking their heads. Evelyn picks up her pen,

and writes.



EVELYN'S VOICE (LETTER)

Dear Rafe... It's strange to be so far

from you in body, and so close to you in

spirit. But if our spirits really give

our bodies life, then you should know

this: Every night I look at the sunset,

and try to draw the last ounce of heat

from its long day...



She looks toward the sunset now; then she writes again...



EXT. BASSINGBORNE AIRFIELD - BRITAIN - NIGHT



Rafe brings his battered plane in for a landing...



INT. BRITISH AIRFIELD BARRACKS - NIGHT



Rafe sits on his cot, reading her letter.



EVELYN'S VOICE (LETTER)

...and send it from my heart to yours.



Rafe is startled as the Air Commander appears beside his

bunk.



BRITISH AIR COMMANDER

Air-Sea Rescue picked up Nigel. He'll be

back with us tomorrow.



Rafe nods, glad to hear the news. The Commander starts to

walk away, then turns back.



BRITISH AIR COMMANDER

Some of us look down on the Yanks for not

yet joining this war. I'd just like to

say that if there are many more back home

like you, God help anyone who goes to war

with America.



The Commander salutes, with his left hand. And Rafe salutes

too -- with his left hand.



EXT. ESTABLISHING THE WHITE HOUSE - WASHINGTON D.C. - DAY



The White House looks somehow whiter and purer in the glow of

1941.



INT. PRESIDENTIAL CONFERENCE ROOM - DAY



GENERALS, ADMIRALS, and other advisors sit around the

polished table -- all males, in suits and in uniforms. The

door opens, and the men all stand.



PRESIDENT FRANKLIN ROOSEVELT appears, in a wheelchair, pushed

by a huge black valet, GEORGE. The President's legs are

shriveled, braced with the iron supports that attach to his

shoes and are apparent beneath the cloth of his pin-striped

pants. From the waist up Roosevelt is heavily muscled,

powerful, and handsome even in his little spectacles. The

valet rolls him to the head of the table; he's speaking even

before he settles in.



PRESIDENT ROOSEVELT

Please be seated, gentlemen.



They sit, as one.



PRESIDENT ROOSEVELT

Churchill and Stalin are asking me what

I'm asking you: How long is America

going to pretend the world is not at war?



GENERAL MARSHALL

We've increased supply shipments to them,

Mr. President, and we're losing merchant

vessels every day.



PRESIDENT ROOSEVELT

Shift in every destroyer and anti-

aircraft weapon you can find.



ADMIRAL

Sir, our Pacific Fleet is already down

to almost nothing.



PRESIDENT ROOSEVELT

Gentlemen, at this moment the nation of

Hungry has a larger military then the

United States. We have no choice but to

draw from whatever we can.



EXT. ESTABLISHING TOKYO - JAPAN - NIGHT



INT. JAPANESE HIGH COMMAND - NIGHT



The Conference Room is similar to that of the White House.

But this table is low and all the men sit on the floor. And

there are no civilians here; Japan is now a nation ruled by

its warriors.



The last man to enter the room and take his place is ADMIRAL

YAMAMOTO. Harvard educated, Yamamoto is an object of

veneration and suspicion among the men of the war council.

Yamamoto bows, sits, and looks across the table at his friend

Genda, who can't hide his fear. Yamamoto glances to the far

end of the table where NISHIKURA, chief of the War Council,

sits glowering. (Their discussion is in Japanese, with

subtitles.)



NISHIKURA

So you join us, Admiral. Some of us

thought your education at an American

university would make you too weak to

fight the Americans.



YAMAMOTO

If knowledge of opponents and careful

calculation of danger is taken as

weakness then I have misunderstood what

it means to be Japanese.



NISHIKURA

The time has come to strike! Or to sit

and let the Americans cut off our oil and

our future. I know what you whisper to

the others, Yamamoto -- that the Americans

are strong. Yet look at their leader.



He motions to OYAMA, an intelligence analyst, who opens a

file and lays out pictures of Roosevelt.



OYAMA

Franklin Roosevelt. Born into great

wealth. Fifteen years ago, he was

stricken with polio. Now he cannot walk,

or even stand without help.

Photographers will not take pictures of

him in his chair; Americans do not wish

to know how weak their President is.



Yamamoto makes a low grunt.



NISHIKURA

You have something to say, Yamamoto?



YAMAMOTO

The Council knows I have opposed fighting

the Americans. No matter how great our

resolve, they have resources beyond ours.

If we must go to war, there is only one

way -- deal them a blow from which it will

take them years to recover. In that time

we can conquer all of the Pacific, and

they will have no choice but to ask for

peace.



NISHIKURA

You see us as capable of such a blow?



YAMAMOTO

The Americans themselves have made it

possible. We will annihilate them in a

single attack -- at Pearl Harbor.



The members of the war council are so pleased with Yamamoto

that they bow to him. Only Genda keeps his eyes raised long

enough to see the sadness in Yamamoto's face.



EXT. PEARL HARBOR - AIR BASE - BARRACKS - DAY



Danny Walker and his pilot buddies have just arrived; they

enter the barracks, talking happily.



RED

If I ain't n-never on a b-boat again,

it'll be too s-soon.



BILLY

Where are the women on this --



Danny has stopped before the others; now all of them see that

the other pilots who inhabit this air base are still in their

beds, sleeping off hangovers. They wear Hawaiian shirts;

they haven't shaved.



RED

They're s-still asleep!



Danny pauses for a moment, then shouts --



DANNY

Drop your cocks and grab your socks,

boys! The terror of the skies are here!



The sleeping pilots groan, and cover their heads with their

pillows.



ANTHONY

They're all drunk.



One guy sits up in bed, his hair pointing every direction of

the compass, his tongue working as if to wipe a terrible

taste from his mouth. As his feet dangle over the side of

the bunk and one of them touches the floor, a sensation

reaches his sotted brain; he raises that foot to look at its

bottom, and finds a new tattoo, on the sole of his foot; he

blinks as if trying to remember how it got there.



Danny moves over to him, and dubs him with a name, COMA.



DANNY

Hey. You. Mr. Coma.



COMA

Where's that lizard?



DANNY

What lizard?



COMA

The one that slept in my mouth last

night.



DANNY

What the hell happened to you guys?



Coma is one of those drunks who speak as if he's always about

to burp.



COMA

Ever hear of mai-tai's? Comes in a

big...pot. Like...like...



RED

A m-missionary?



COMA

No, like...



Coma emits a pukey, toxic burp that has Danny and his buddies

wincing back from the fumes.



DANNY

This is an Air Base? Where's your squad

commander?



The question soaks through to Coma's brain. His right hand

points...and his left hand points...in different directions.

His hands float around in the air until finally both of them

are indicating the same direction, behind his back. In the

bunk beyond Coma's is another drunk pilot in a Hawaiian

shirt...and to judge by the shapely bronzed leg that

protrudes from under his damp sheet, there's a woman with him

too.



Danny and his buddies are speechless -- except for Red

Strange.



RED

I th-think I'm gonna like it here.



COMA

You guys are new?



DANNY

Yeah.



COMA

Mai-tai's. I got this to tell ya, about

mai-tai's.



Coma's head drifts forward slowly; they think for a moment

he's looking for something under the bed. Then he pukes.

Danny leaps back from the splatter, and marches out of the

barracks; his friends follow.



EXT. PEARL HARBOR - AIRFIELD - DAY



Danny and his buddies stride up to the airfield. It's full

of fighter planes -- and they're all bunched together in

clusters on the field. Danny grabs a MECHANIC.



DANNY

Hey! What is this, the planes all

bunched up like that?



MECHANIC

The brass is afraid of sabotage. This

makes 'em easier to protect -- and easier

to service.



DANNY

What about easier to hit in an air raid?



MECHANIC

Who's gonna to that? Japan is four

thousand miles away. So you guys just

arrived, huh?



DANNY

Yeah.



MECHANIC

We got a saying here. A-low-HA!



The mechanic walks off. Danny and the guys are left standing

on the tarmac.



DANNY

Well guys...I reckon there's just one

thing to do...



INT. OAHU BAR - DAY



Danny and the pilots are in Hawaiian shirts, their party in

full swing. A bucket-sized hollowed-out volcano sits in the

middle of the table, with twelve straws emerging from the

crater. It's full of booze -- or was; Danny and the other

guys are pulling heartily at the straws, and they gurgle as

the last liquid is sucked dry.



RED

More m-mai-tai's!



Coma is sitting there with them, beside Red.



COMA

Absolutely right.



Everybody's having a ball, the new arrivals fitting right in

with the others. Danny's a bit off to himself, lost in his

own thoughts. Billy and Anthony are doing the hula to the

Hawaiian music playing.



COMA

No, you guys aren't doing it right. It's

in the hands. They talk story.



Coma stands and starts demonstrating, explaining the gestures

of his hula.



COMA

Fish swim in ocean... Happy in the Mother

Sea... Girl, beautiful girl, with big

jugs, walks into water...waves lapping at

her thighs...



ANTHONY

I never knew those dances were so

sophisticated.



COMA

...Fish nibble at her breasts...



Coma's really into his dance, his hands over enormous

imaginary breasts; but as he turns toward the windows --



COMA

A more beautiful girl walks by...



The guys see Evelyn passing on the other side of the street,

gorgeous in the sunshine. Coma's hands start squeezing the

imaginary breasts of his hula.



BILLY

Hey, isn't that Evelyn?



Danny moves up to look.



DANNY

Rafe's girl, Evelyn?



COMA

You guys know her?! I gotta have an

intro! Man, I'd like to --



Danny's hand is suddenly around Coma's larynx.



DANNY

A friend of mine's in love with her. So

you don't even look -- not ever.



Danny releases him and Coma staggers back to the table to

nuzzle up to one of the straws of the mai-tai volcano.



Danny looks out the window again and sees Evelyn's beautiful

form disappear around the corner, on her way back to the base

hospital. Danny moves back to the table, and as two burly

Hawaiian waiters set another full loaded mai-tai volcano onto

the center of the table, he picks up a glass and dips it full

of the potent liquid. He shouts to the whole room --



DANNY

I'm a better pilot than any son-of-a-

bitch on this island! So I'm the one to

say this! Here's to Rafe McCawley! A

better pilot...and a better man...than

me.



The other pilots drink up -- from glasses or from straws.



OTHER PILOTS

To Rafe.



Danny drains the whole glass at one chug, and slams it down

onto the table. Then he blinks, puts a hand on his stomach,

and frowns. Coma recognizes the look.



COMA

Uh oh. Volcanic eruption!



Danny bends at the waist; his head obscured by the table.



COMA

Shit, he's puking on my feet!



RED

Well, you p-puked on his feet.



COMA

Yeah, but he was wearing shoes!



INT. ADMIRAL KIMMEL'S OFFICE - OAHU - DAY



ADMIRAL KIMMEL is Commander of the American Pacific Fleet.



Two members of his staff are standing uncomfortably in front

of him, having delivered a message from the Joint Chiefs of

Staff.



ADMIRAL KIMMEL

...transfer twelve more destroyers to

Atlantic Fleet, and all the available

anti-aircraft weaponry?! Washington has

gone insane!



Kimmel's STRATEGIC ANALYST speaks up.



STRATEGIC ANALYST

We've done what you ordered, Admiral, and

war gamed the likely outcome of a

Japanese attack against each of our major

bases in the Pacific. Wake, Guam,

Midway, the Philippines. In each case,

we lose.



ADMIRAL KIMMEL

You left out Hawaii.



STRATEGIC ANALYST

Pearl Harbor can't be attacked

effectively from the air. It's too

shallow for an aerial torpedo attack.

Pearl Harbor's safe. It's everywhere

else that we're vulnerable.



ADMIRAL KIMMEL

Step up surveillance of Japanese

communications. They're gonna do

something somewhere. I can feel it.



EXT. THE SKIES ABOVE OAHU - DAY



A seaplane takes tourists on an excursion above Pearl Harbor

and around the island of Oahu. One Japanese tourist shoots

pictures rapidly...first of the ships as seen from overhead;

then he leans to the other side of the plane and shoots

pictures of the airfield below them.



EXT. PEARL HARBOR - DAY



Another Japanese tourist hikes through the hills above Pearl

Harbor. He takes an excellent camera from his picnic basket,

and shoots pictures.



CLOSE - THE PICTURES, being carried down a hallway, into --



INT. JAPANESE PLANNERS OFFICE - DAY



The courier places the pictures onto the table in front of

Yamamoto, Genda, and the other JAPANESE OFFICERS.



GENDA

Look at the ships -- all grouped. Perfect

targets!



JAPANESE OFFICER

And the planes! They are -- what is that

American expression? Sitting geese?



YAMAMOTO

Sitting ducks.



JAPANESE OFFICER

How can they be so foolish?



YAMAMOTO

They think no one would be stupid enough

to attack them at Pearl Harbor.



GENDA

Or perhaps they think no one is capable.

Look at this...



He moves to a diagram displayed on the wall -- a simple

display showing water depth and ship displacement.



GENDA

Pearl Harbor's depth of only forty feet

makes them feel safe. A torpedo dropped

from an airplane plunges to one hundred

feet before it can level off. That is a

conventional torpedo. But we have been

experimenting.



From a stand beside his diagram he takes a set of wooden

fins, attached to a circular metallic band.



GENDA

Wooden fins. We are testing them

tomorrow.



EXT. JAPANESE ISLAND - DAY



Yamamoto and his planners have flown to a quiet Japanese

island, sunlit and pleasant. They are gathered on the shore

of the island's natural harbor. Wooden targets -- basically

huge plank barriers -- are sunk into the water like ships at

anchor. A squadron of Japanese planes zooms overhead, taking

up attack positions.



GENDA

We have chosen this place because its

depth is exactly the same as Pearl

Harbor's.



Genda speaks into a field radio. A lone plane drops out of

formation and goes into a low-level approach, speeding up and

dropping its torpedo.



BELOW THE SURFACE we see the torpedo as it plunges at two

hundred miles an hour into the sunlit sea. With the wooden

fins the torpedo makes a sharp dip and levels off above the

sea floor.



ABOVE THE SURFACE the planners see the path of the torpedo;

it hits the wooden barrier with a satisfying THUNK. The

planners are impressed -- but Yamamoto is not satisfied.



YAMAMOTO

Uncharged torpedoes have different

balance.



GENDA

I have arranged a live fire drill -- with

your permission.



Yamamoto nods; Genda speaks again into his radio, and another

plane swoops down and drops a torpedo. Genda holds his hands

to his ears, causing the others to do the same; even though

they wonder at the need.



The torpedo hits the barrier, and the explosion is deafening,

and of shocking force; the entire barrier is blown to

toothpicks.



GENDA

Of course against a ship the explosion

will not be dissipated, and will have

more force.



The planners, nearly blown off their feet, nod as if they

knew that all the time.



INT. MILITARY BASE - PILOTS' BARRACKS - NIGHT



The pilots are getting slicked up.



BILLY

Are you sure they're here?



ANTHONY

If Evelyn's here, the rest are here!



Red moves up beside him to frown at the mirror. His hair is

plastered down and parted, his uniform's immaculate.



ANTHONY

Looking good, Red.



RED

Shut up.



Red moves away, to polish his shoes.



ANTHONY

What is it with Red? I've never seen him

this way.



BILLY

He's been like that all day. Hey Danny,

you coming?



DANNY

Nah, I'm gonna stay here. Read.



Anthony and Billy look at each other; Danny's in his bunk,

and he's not reading, just staring at the ceiling.



INT. NURSES' BARRACKS - PEARL HARBOR - NIGHT



The nurses are primping to go out; Evelyn is in her uniform

getting ready to go back to work.



BARBARA

Now listen, it's hands off Billy. I

mean, you can put your hands on him if

you want to, but then my hands will break

yours.



BETTY

He was that good?



BARBARA

No, I was.



EXT. NURSES' QUARTERS - OAHU - NIGHT



Creeping through the vegetation, Red leads Anthony and Billy

to a spot outside the nurses' barracks; they can see the

girls through the barracks window.



BILLY

Red, Peeping Tom stuff can get us court-

marshaled.



RED

Shhh!



Anthony and Billy are baffled, even more so when Red strides

into the open, right outside the nurses' window.



And then, Red begins to sing.



RED

(singing)

Oh...Betty, Betty, Betty, you're the one

for me, Betty, Betty, Betty, Betty, can't

you see...



Anthony and Billy look at each other, dumbfounded. The

nurses move to the open windows. Red's singing is pretty

good -- though not that good. But he doesn't stutter when he

sings.



RED

(singing)

I'll be yours for eternity, Betty, Betty,

Betty, Betty, Betty!



Anthony and Billy are hysterical, trying to keep their

laughter hidden. But then they see the effect this is having

on the women -- especially on Betty. She's smitten.



Red repeats the verse, really getting into it; when he

finishes, Betty runs out and hugs him, as all the nurses

applaud. They move off into the darkness, arm and arm.



The nurses go back to their primping.



Anthony and Billy are changed men. Anthony stands up;

Billy's baffled. Anthony moves out and starts singing.



ANTHONY

(singing)

Oh Sandra...I like you...love you...



He's terrible. The nurses pelt him with hairbrushes,

curlers, shoes...



EXT. BASSINGBORNE AIRFIELD - BRITAIN - DAY



Coming out of the blustery skies at the end of another deadly

day, a squadron of Spitfires chirps in for landings. The

planes are shot up and battered.



Rafe is one of the pilots; the fuselage below his cockpit is

marked with four swastikas, symbols of his victories. He

taxis to a stop, and is met by IAN, a Scottish mechanic, who

is dismayed at the state of the plane.



IAN

Leapin' Jesus!



RAFE

(climbing down)

The struts are loose, the hydraulics are

leaking, and the electrical system's

shorting out in the cockpit.



IAN

Well which of those three ya want fixed?



RAFE

All of 'em.



Rafe starts away, and Ian calls to his back --



IAN

If ye'd wanted a bloody Cadillac ya

should'a stayed in the bloody States!



RAFE

And if you don't give me a plane that can

handle combat, you better start learning

to speak German.



IAN

Fook ya!



RAFE

Learn English, then!



IAN

Fook ya dooble!



Rafe moves to the barracks; Ian keeps the fueling hose going,

and moves to help the armorers reload the guns.



INT. BRITISH AIRFIELD BARRACKS - NIGHT



Rafe falls down onto his cot, exhausted. The other pilots do

the same, everybody spent from the day's combat. Then they

hear the SIREN. Rafe's out of his bunk, with the others,

everybody running.



BRITISH PILOT

Bloody Krauts! Night raid!



EXT. BASSINGBORNE AIRFIELD - BRITAIN - NIGHT



They race across the runway. Rafe reaches his Spitfire, just

as Ian is removing the fueling hose.



IAN

I have'na been able ta --



RAFE

Crank her!



Ian gives the prop a spin, and the engine roars to life.



IAN

God speed ya, laddie.



EXT. SKIES OVER THE ENGLISH CHANNEL - NIGHT



It's dark, but there are breaks in the clouds, giving way to

patches of light from a full moon. The squadron of Spitfires

tightens up for battle.



Rafe is positioned just right of the squad leader; he sees

planes breaking out of the dark clouds ahead.



RAFE

Here they come.



The clouds break, revealing a huge attack formation.



BRITISH SQUAD LEADER

Alpha group, on the bombers! Beta group,

take the fighters!



They peel off, into action.



EXT. THE AIR BATTLE OVER THE CHANNEL - NIGHT



We stay with Rafe as he and the Squad Leader rush side by

side at the lead bomber, blasting away with their guns.



INT. GERMAN BOMBER - IN THE AIR - NIGHT



The Spitfires' bullets rip into the pilot and also kill the

nose gunner; the bomber dips as the copilot struggles to take

control.



INT. RAFE, IN HIS SPITFIRE - NIGHT



As he streaks past, Rafe sees the bomber wobble in the air.



RAFE

We've got him hurt, stay on him!



Rafe throws his plane into an ultra-tight, high speed turn,

right between the tails of the leader German group and the

noses of the second. His turn is so tight that the plane

flexes with the g-force.



Rafe comes out of his turn ahead of the Squad Leader, and

races back up through the formation of German bombers, moving

above them where their weapons and armaments are the weakest.

He stitches a trail of bullets from tail to nose of the

wounded lead bomber; it begins to smoke.



The second Spitfire, the Squad Leader's, takes fire from the

other German bombers, and shears off, heading through the

smoke of the plane Rafe has on the ropes.



RAFE

We've got him going!



Rafe does a half-loop and half-spin, to bring him around to

face the bombers again. This time the g-force of the turn

pops an oil line inside Rafe's cockpit; hot, pressurized oil

begins to spray everywhere -- all over Rafe, his controls,

and worst of all, over the inside of his cockpit glass.



He wipes at the oil with his hands and that just smears it

and makes it worse.



His wingman sees him veering away from the bombers...and sees

the German fighters moving up to meet him.



SQUAD LEADER

McCawley! Get to the clouds! Get into

the clouds!



RAFE, IN HIS PLANE, is flying blind.



RAFE

I can't see the clouds!



His problems are just beginning; the fluid is dripping down

onto his cockpit's corroded electrical wiring; the fluid

causes an arc...a spark...and suddenly a fire is spreading

through Rafe's plane.



He grabs his fire extinguisher and triggers a cloud that

snuffs the fire but fills the entire cockpit with choking

smoke; between that and the smeared fluid on his glass, he

can't see a thing.



And the Messerschmidts are swarming over him.



Rafe's wingman dives in, raking the German planes as he

passes.



Rafe tries to open his cockpit cover to clear the smoke, but

it's jammed; he pulls out his .45 pistol and BLAM! BLAM!

BLAM! He blows out the glass; the smoke clears enough for

him to take a breath and try to see. He fights the stick,

but the plane won't respond.



The Messerschmidts rake him again, bullets riddling his

engine.



SQUAD LEADER

Get out of there, McCawley! Get out of

there!



Rafe's plane descends, ever faster, passing through clouds,

then clear air again. The Squad Leader tries to chase and

cover him, but Rafe's dropping fast, and still isn't out of

the plane as the Germans dive on him again, firing.



Rafe's Spitfire hits the broken fog over the water -- the

Squad Leader loses sight of it for a moment -- and then the

plane hits, splashing and exploding all at once.



The Squad Leader winces, and ducks into the clouds as he

reports on his radio...



SQUAD LEADER

McCawley down. No 'chute.



EXT. BATTLESHIP WEST VIRGINIA - PEARL HARBOR - DAY



The sailors have assembled on deck for the ship's heavyweight

championship fight, a contest made more interesting to the

sailors because one of the combatants is white and the other

is black.



The battle is more toughness than technique. The guys

throwing haymakers and shoving each other around the roped

area, as their shipmates cheer and make wild bets. The white

guy digs a punch deep into the black guy's ribs, and the

black guy slams a double left hook into the white guy's

belly, making him back up and say --



WHITE BOXER

You hit hard -- for a cook.



The black guy rushes the white guy, only to catch a right

cross that wobbles his knees and makes him stagger, with a

fresh cut over his right eye. The white guy now rushes in,

and the black guy (his name is DORIE MILLER) throws an upper

cut that drops his opponent like a sack of rocks.



The sailors cheer wildly. Dorie steps back, and rubs his

glove across his brow. It's really bleeding now.



EXT. MILITARY BASE - DAY



Evelyn is returning from church with six of her nurse

friends. It's very quiet on a Sunday morning, almost nobody

at the base; they walk along the path.



BARBARA

Let's get into civvies and find a bar.



MARTHA

Right after church?



BARBARA

You've gotta sin some, to get

forgiveness. Come with us, Evelyn. You

need some sin.



EVELYN

I've got to write some requisitions.

We're undersupplied with morphine.



BETTY

Morphine? We've been here a month and

nobody's had worse than a sunburn.



Evelyn smiles softly and walks toward the base hospital.



BETTY

I wish she could forget him.



BARBARA

You don't forget love, Honey. Not ever.

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