Aici puteți comenta offtopic, puteți chatui, puteți pune linkuri, iutuburi, poze, ce vreți voi. Chiar și poza aferentă articolului va fi offtopic. O să punem și o melodie offtopică, ca să nu vă plictisiți în timp ce comentați offtopic.
Dennis Hopper – Apocalypse Now
PHOTOGRAPHER It's all right! It's all right! It's been approved! The PBR moves slowly toward the steps, as the man continues to shout out. CHEF I ain't coming in there! Them bastards attacked us! PHOTOGRAPHER Zap 'em with your siren, man. Zap 'em with your siren. Chef BLOWS THE SIREN on the PBR. The Natives react, never having heard one before; they scatter in all directions, running away scared. The photographer moves down onto the landing, directing the boat. PHOTOGRAPHER There's mines over there! Mines over there, too! And watch out, those goddamn monkeys bit you, I tell you. The PBR crew are exhausted, staring at him through their mud-and-blood splattered faces. PHOTOGRAPHER Move it in right toward me. He jumps onboard the boat and immediately advances towards Lance. He shakes his hand, moves to the others, and shakes their hands as well. PHOTOGRAPHER I'm an American. An American civilian. Hi, Yanks. Hi. American. American civilian. It's all right. (to Chef) And you got the cigarettes, and what's what I've been dreaming of. Chef flips him a packet of cigarettes. WILLARD (or photographer) Who are you? PHOTOGRAPHER Who are you? I'm a photojournalist. I've covered the war since '64. I've been in Loas, Cambodia, 'Man... (looking around the boat) I'll tell you one thing. This boat is a mess, man. WILLARD (gestures to natives) Who are all these people? PHOTOGRAPHER They think you've come to take him away. I hope that isn't true. WILLARD Take who away? PHOTOGRAPHER (gestures to temple) Him! Colonel Kurtz! These are all his children, man, as far as you can see. Hell, man, out here, we are all his children. WILLARD Could we talk to Colonel Kurtz? PHOTOGRAPHER Hey, man, you don't talk to the Colonel. Well, you listen to him. Willard steps off the boat onto the steps. He turns and looks back at the Photographer. PHOTOGRAPHER The man's enlarged my mind. He's a poet-warrior in a classic sense. I mean, sometimes he'll-well, you say hello to him, right? And he'll just walk right by you and he won't even notice you. And then suddenly he'll grab you and he'll throw you in a corner and he'll say "Do you know that the 'if' is the middle word in 'life'? If you can keep your head when all about you are losing theirs and blaming it on you. If you can trust yourself when all men doubt you." I'm a little man, I'm a little man. He's a great man. (a beat) "I should have been a pair of ragged claws scuttling across floors of silent seas." Willard, incredulous, turns away to Lance. WILLARD Stay with the boat. PHOTOGRAPHER Don't go without me, okay. I want to get a picture. Willard and Chef start up the steps. The Photographer walks with them, taking photographs. TRACKING SHOT They reach the top of the steps. Gradually the natives and savages show themselves-fierce and frightening, jungle fighters, mostly Montagnard. They wear only loincloths and bandoleers of ammunition. Their bodies are painted in strange patterns. Death and parts of bodies are everywhere. PHOTOGRAPHER He can be terrible, and he can be mean, and he can be right. He's fighting the war. He's a great man. I mean, I wish I had words you know? I wish I had words. I could tell you something like, the other day he wanted to kill me. WILLARD Why did he want to kill you? They come to a stop. PHOTOGRAPHER Because I took his picture. He said, "If you take my picture again, I'm going to kill you." And he meant it. See, just lay cool, lay cool. Lay back, dig it. They start walking forward again, as the photographer continues. PHOTOGRAPHER He gets friendly again, he really does. But you don't judge the colonel. You don't judge the colonel like ordinary men. ANGLE ON WILLARD looking carefully as he moves forward MOVING POV More natives and savages. Interspersed among them are a few taller men with paler skins, with the remnants of army insignia on them. ANGLE ON WILLARD reacting, as he moves forward. Chef is frightened, as he follows Willard. ANOTHER ANGLE They move closer and closer to the temple. The photographer runs up ahead of Willard and stops in front of the man with paler skins...these are remnants of the Green Beret "A" Team. PHOTOGRAPHER Okay, watch it now! These are Americans! Americans! (to Willard) You can feel the vibe of this place. Let me take a picture. Hey, could you hold it? Hello? Could you hold it for a minute? The photographer starts clicking away with a Nikon, as Willard moves toward what once must have been an American. He wears only a shotgun cartridge and striker pants. His face is darkened from dirt, battle smoke, matted mud and grease. Willard stops and looks at him. WILLARD Colby? Colby is silent. Then he and the other Berets, woman, children, etc., slowly part, making way for Willard. Willard slowly moves through the group and looks. WHAT HE SEES The stone steps of the temple. Resting on the steps are freshly screed heads, blood washing down from them. They sit decorating the entrance to the temple like so many gruesome pumpkins. PHOTOGRAPHER The heads. You're looking at the heads. Sometimes he goes too far, and he's the first one to admit it. Chef, behind Willard, looks at the heads. CHEF He's gone crazy. PHOTOGRAPHER Wrong! Wrong! If you could have heard the man just two days ago, if you could've heard him then. God. You were gonna call him crazy? CHEF Fucking A. WILLARD I just want to talk to him. PHOTOGRAPHER Well, man, he's gone away. He disappeared out in the jungle with his people. He continues forward. The others follow. WILLARD I'll wait for him. PHOTOGRAPHER He feels comfortable with his people. He forgets himself with his people. He forgets himself. CHEF Captain, maybe we should wait back at the boat. WILLARD (turns back to him) Okay, Chef, we'll go back to the boat for a while. CHEF Yeah. Stay with Lance.