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+EXT. PENNSYLVANIA STEEL MILL - LIGHT SNOW - DAYThe plant is massive, grime-streaked, squatting in the valleyunder five massive stacks, each one trailing a black ribbonacross the winter sky. Fires can be seen flickering throughthe windows and long flames weave and dance from the tops ofguyed metal flues. Steam rises in clouds from vents andchimneys and the sound of it all -- the hissing, theclanging, the rumbling, the shrieking -- comes faintly, mutedby the falling snow.In the foreground is a street -- COLUMBINE STREET -- whichinhabits the bottom of a narrow ravine and plunges directlydown the hillside, straight at the mill. Columbine is a sadlooking street, a grim-looking street, a street hanging on bythe skin of its teeth. Dilapidated stores hug the narrowsidewalks. Battered signs squeak in the wind. Sandwichedbetween the stores and scattered on twisting roads along thehillside are narrow Victorian houses. These houses, which runto three stories or more in height, all seem on the verge oftoppling over, and undoubtedly would, except that they areall connected one to another by a mad arrangement of utilitylines which cross and re-cross between them with occasionalaid from a leaning pole.MUSIC COMES UP -- dissonant, rather frightening music -- aswe watch a car come charging up through the slush onColumbine Street. As it nears CAMERA the car falters on theslippery grade and slides out of sight. A figure appears,huddled against the driving snow. The figure disappears ASCAMERA HOLDS ON THE STEEL MILL AT THE END OF THE EMPTYSTREET.MAIN TITLE COMES UP: THE DEER HUNTERINT. STEEL MILL - DAYA white-hot ingot shoots out of an ejecting mechanism andcomes ripping down a track. Another ingot follows it, andanother and another and another. The ingots are huge,trembling with heat, and they come on with a terrifyingrumble.CREDITS ROLLUNDER CREDITS we see STEELWORKERS catching the ingots withtongs and deftly swinging them into troughs. The STEELWORKERSwear leather aprons and are stripped to the waist. Warped inheat waves and glistening with sweat they seem like figuresin some hellish ballet. Since they all wear goggles it ishard to distinguish between them, but there are three, whoare young, who seem to work with particular grace. These areNICK, SAL and MERLE.CREDITS END. CAMERA CLOSES ON NICK, SAL AND MERLE. The noiseis deafening, the heat is unbelievable and the ingots come onwith murderous speed. Taking advantage of a slight pauseMERLE jabs NICK and they both make cuckold's horns at SAL.SAL blushes and waves them off with his hand. MERLE and NICKmake the horns again and now SAL puts both hands on his hips,gives a thin smile and studies the corner of the shed. MERLEand NICK begin laughing. SAL can't hold out and he startslaughing too, but now the ingots begin roaring down the trackagain and they all grab their tongs.INT. GREEK ORTHODOX CHURCH - ALTAR - DAYA very old PRIEST is making preparations for a weddingceremony. SAL'S MOTHER hovers around him as he unlocks acabinet and takes out white tapers and a golden crown whichwill be used in the service. The PRIEST moves with agonizingslowness and SAL's MOTHER is in the midst of a bad case ofnerves. SAL'S MOTHER It's all ready? Everything's ready? PRIEST Yes. SAL'S MOTHER Are you sure everything's ready? Are you positive? PRIEST Everything. Yes. SAL'S MOTHER It would snow... Everything's going to slip. Everything's going to slide... All the cars are going to crash!SAL'S MOTHER puts her hand to her mouth and bursts intotears. SAL'S MOTHER (CONT'D) I can't believe this... My own little boy... with a stranger!The PRIEST smiles. He takes SAL'S MOTHER in his arms andcomforts her.EXT. COLUMBINE STREET - DAYAnother car lunges up the hill, gets about halfway and slidesback. As the car disappears, the door to one of the housesbursts open and a group of giggling BRIDESMAIDS beginscampering across the street. They have all been working ontheir dresses, which are not completely finished, and theyall carry ribbons and scissors and pieces of material. Asthey make their way to the other side of the street they allwave away the snowflakes and grab each other for support. Oneof the BRIDESMAIDS loses her dress entirely and with everyonelaughing she rushes back to retrieve it in her slip. When thegarment is repossessed a door comes open and the BRIDESMAIDSdisappear inside.CAMERA HOLDS ON COLUMBINE STREET. The snow slants across thelittle stores and piles on the gables of the tipsy littlehouses. Another car appears, lunges at the hill and slidesback. Suddenly the door to the bakery comes open and a groupof OLDER WOMEN emerge carrying a huge wedding cake with aminiature bride and groom standing on the top. The WOMEN areall in their fifties and bundled in boots and dark overcoats.They begin moving slowly up the street, in the driving snow,with the great white cake held firmly between them.INT. STEEL MILL - ENTRY AREA - DAYThe time clocks are lined against both walls. As a whistlescreams to mark the end of the shift thousands of men beginchecking out. NICK, SAL and MERLE are right up in the frontranks and once they have clocked their cards they gathertogether along the wall. NICK Where's Vince? SAL There's Albert! (calls) Hey, Albert!!!ALBERT -- six and a half feet tall and built like an ox --changes course and plows across the river of homeward-boundSTEELWORKERS. ALBERT How you feelin', Sal? SAL I feel okay. ALBERT Feeling hot? NICK (arm around SAL) Humper's ready. Old humper's hotter'n damn hell! MERLE There's Vince! OTHERS (calling) Vince!... Over here! Vince! MERLE Get him, Albert. Get Vince! ALBERT I'll get him.ALBERT wades back into the stream of STEELWORKERS, grabsVINCE and they all push out together.EXT. STEEL MILL - PARKING LOT - DAYThe snow is still falling. It covers the ground. It coversthe acres of parked cars. It swirls and tosses and blows. Asthe five friends come bursting out of a side exit they allstop dead in their tracks. VINCE Snow... Holy shit, snow!SAL gives a look at the others. Something is going on. VINCEis so excited he begins hopping around. VINCE (CONT'D) ... Do you know what this means? Do you guys realize exactly what this means?They all know. They all know damn well. MERLE and NICKexchange looks. ALBERT chortles. SAL What are you guys...? Are you guys going hunting?The others nod, shrug, shuffle their feet. They are all alittle embarrassed. SAL (CONT'D) Not tonight?... You're not driving up tonight? NICK As soon as you're hitched, Sal. First we get you hitched. SAL (envious) You guys are crazy. You know that? I mean you guys are really nuts. VINCE He's getting married... and we're nuts! NICK (puts his arm around SAL) It's all right. Hey, it's all right. We'll be right here, right with you.A look at the others... NICK (CONT'D) Won't we? Right? Am I right? MERLE Right. ALBERT Damn right! VINCE What do you think, Sal? Jesus, you think we'd miss this?Now SAL is embarrassed. He makes a gesture with his hand. NICK (with a laugh) C'mon. C'mon you guys!They all start into the swirling snow. NICK with an armaround SAL. VINCE And we want you to know, Sal, that any help you might need-- ALBERT Yeah, Sal-- MERLE Willing fingers-- ALBERT Extra feet!INT. V.F.W. POST - DAYThe place is large and drafty and rundown. A huge Americanflag hangs from the middle of the ceiling. Under it WOMEN arelaying white table cloths on trestle tables. Off to one sidea half dozen OLD MEN wearing VFW hats are Scotch-taping paperribbons to the brick wall. Two OLD MEN are on stepladders,two more are bracing the ladders and the operation is underthe direction of a pair of World War I VETS standing side byside. Their hands tremble. Their four eyes loom huge behindcorrective lenses. VET 1 Up I would say... What would you say? VET 2 Up. VET 1 (signals) Up ribbon!One end of the ribbon is moved up. The two VETS study it. VET 2 Down I would say... What would you say? VET 1 Down. VET 2 (signals) Down ribbon!Suddenly there is a commotion. The WOMEN who are setting upthe tables all rush to the door as the OLDER WOMEN come inwith the wedding cake. The OLDER WOMEN look half-frozen andas they move toward a table the cake receives a great chorusof Uhh's and Ahh's. Suddenly one of the OLDER WOMENcollapses. Friends rush to her aid, seat her in a chair andgive her wine. The WOMAN takes the glass, tosses it off inone swallow and grins. EVERYONE laughs.EXT. COLUMBINE STREET - BOTTOM OF HILL - DAYA big, battered old shark-finned black Cadillac approaches,coming fast.INT. CADILLAC - DAYNICK, SAL, MERLE, VINCE and ALBERT are all laughing. NICK isat the wheel. VINCE Hit it, Nick! OTHERS Go Nick! Hit it, baby!!!EXT. COLUMBINE STREET - DAYThe car bangs over potholes and slams into the grade. Wewatch as it reaches the half-way point, then the threequarter mark...INT. CADILLAC - DAYNICK bends forward over the wheel, peering out through theslapping wipers. GUYS IN THE CAR (chanting) Do it, Nick! Do it! Go Nick, Go! Do it! Do it, Nick! Go!The car fishtails, loses speed... to a creep. NICK Back! All hands to the rear!ALBERT and MERLE, who are sitting in front, immediately throwthemselves into the back seat on top of SAL and VINCE. GUYS IN BACK SEAT Easy... 'At's it, easy! Easy, Nick... Easy!EXT. COLUMBINE STREET - TOP OF HILL - DAYThe Cadillac inches up the last ten feet, gains level groundand skids to a stop. From inside comes a MUTED CHEER.INT. BRIDE'S HOUSE - BEDROOM - DAYANGELA is dressed in her white bridal gown and veil. She isplump, pretty, with a solemn, round face and big brown eyes.ANGELA leans forward into a mirror. ANGELA (sincerely) I do.A pause. ANGELA scowls and tries it again. ANGELA (CONT'D) (heartfelt) I do.ANGELA tries it a few more times. It sounds worse and worse. ANGELA (CONT'D) I do, I do, I do!!!ANGELA stares at herself. Now she looks desperate andunrelievedly forlorn. Bursting into tears she throws herselfon the bed. Someone has slipped a photograph under thepillow. The photograph is face down and as ANGELA pulls itout she sees that something is written on the back: ANGELA (CONT'D) (reading, slow) "This is it -- more or less... Love, Mom."ANGELA frowns, turns the photograph over. It is a picture ofMichaelangelo's "David". ANGELA stares at the figure for along, long moment... ANGELA (CONT'D) Oh, wow.INT. JOHN'S BAR - DAYThe place is packed with boisterous STEELWORKERS drinkingboilermakers. Deerheads are mounted in a long row over thebar, and hand-painted murals decorate the walls. The muralsdepict hunting scenes and display an eerie tone -- at oncecomical and frightening -- as if the animals held some secretfrom the hunters, some power beyond their own.JOHN bangs out from behind the bar with a tray of beer. Atthe same moment SAL comes in with NICK, MERLE, ALBERT andVINCE. JOHN, who is a great bear of a youth, puts down histray, wraps his arms around SAL and begins jumping him aroundthe floor, grinning ear to ear. The STEELWORKERS turn, deserttheir places and swarm around SAL, joking and shoutingcongratulations.INT. LINDA'S HOUSE - KITCHEN - DAYLINDA is thin -- a skinny slip of a thing with a hauntinglylovely face. Wearing her bridesmaid's dress she stands alonein the kitchen, staring at the ceiling. Thumping noises arecoming from the room above. The thumping gets louder.There is a crash, then another crash, as if furniture werebeing thrown around. A MAN'S VOICE begins cursing and thereis more thumping and crashing. Suddenly there is a thud...and then silence.LINDA bites her lip. She crosses to the stove, ladles stewinto a bowl, butters bread, pours a cup of tea and puts itall on a tray.INT. LINDA'S HOUSE - FATHER'S BEDROOM - DAYThe room is a wreck of broken furniture. Chairs are turnedover, lamps are smashed and the pictures hang cockeyed on thewall. In the middle of the room, face down on the floor, isLINDA'S FATHER. His coat is torn, one shoe is missing and heholds a half-empty bottle in his hand. Behind him, throughthe open window, snow is blowing in.LINDA comes in with the tray. She stands for a momentexpressionless, looking down at her father. Then she sets thetray on the bureau and kneels beside him. LINDA Daddy? FATHER (mumbles) Go... fucking hell!LINDA reaches down, takes her FATHER by the shoulder androlls him over. It takes some effort and the face that comesup is gray, unshaven and implacably bitter. Saliva dribblesfrom his mouth, there is a cut with the stitches still in itseaming his forehead and as LINDA looks at him he beginscursing again. FATHER (CONT'D) Fucking shit... all around, like a sea! Like an ocean!LINDA gets up and closes the window. She comes back, getsdown on the floor beside her father and pushes him toward thebed. Then, hiking up her bridesmaid's dress, she takes him bythe shoulders again and heaves him onto the coverlet. Theeffort is almost too much for her. Tears begin to burn in hereyes, but when he slips back she tries again. The fathergroans, begins to mumble, and then, when she almost has himon the bed, he suddenly lifts his hand, catches her full inthe face and pushes her violently across the room.LINDA crashes backwards over a fallen chair and smashes intothe wall. As she gets to her feet her father advances on her. FATHER (CONT'D) Fucking bitch... All bitches!He swings, catches her in the face again, hard. LINDA Daddy...! Daddy, it's me! FATHER Hate 'em. Fucking bitches!LINDA'S FATHER swings at her again, loses his balance andfalls on the floor. LINDA stands looking at him, holding herjaw. She is crying. Tears are streaming down her face. EXT. COLUMBINE STREET - TOP OF HILL - DAYSeven MUSICIANS, carrying their instruments, file silentlythrough the falling snow.EXT. ALLEY BEHIND JOHN'S BAR - DAYThe WOMEN are all gathered, some fifteen or twenty, rangingfrom grandmothers to young wives. About half of them wieldrolling pins or heavy pans. As the last reinforcements arrive-- TWO HEFTY LADIES WITH TRUNCHEONS -- a roar of laughtercomes from inside.INT. JOHN'S BAR - DAYNICK, SAL, MERLE, VINCE, ALBERT and JOHN are dancing. TheMUSIC is at top volume and the smoke is thick enough to cutwith a knife. Suddenly, from the back, comes a CHORUS OFSCREECHES AND FEMALE RECRIMINATIONS. The door to the alleybursts open and the HEFTY LADIES WITH TRUNCHEONS appear. TheSTEELWORKERS take one look, gulp their drinks, grab theirheads in their hands and rush for the front door.EXT. JOHN'S BAR - FRONT ENTRANCE - DAYThe STEELWORKERS stream into the snow with the WOMEN closebehind. Several blows are delivered and the howls ofcomplaint are met with angry commands to hurry and getdressed for Sal's wedding.CAMERA CLOSES ON SAL, who emerges with NICK and MERLE. Thesnow hits him a sobering blow and he comes to a stop. SAL Boy, this is it. This is really it... I mean... here I go.SAL'S MOTHER hurries out of the alley. She is crying. SAL'S MOTHER My beautiful boy! My angel... who is leaving his own mother.She throws herself in SAL's arms, sobbing. SAL Momma... SAL'S MOTHER So cold is your heart to leave your own mother? SAL Momma, I'll be right upstairs.SAL throws a look to NICK and MERLE. They gesture withsympathy and study the snow flakes. SAL'S MOTHER So cruel is your heart? Is your heart so uncaring? SAL (a litany now) One flight, Momma. It's one flight. DISSOLVE TO:EXT. NICK'S TRAILER - DAYThe trailer is a dented two-tone pink and cream job whichlooks as if it had been purchased third-hand off aconstruction site. It stands on cinder blocks in a small lotwhich has been cut out of the side of the hill. A wreckedschool bus decorates it to the right. On the left is a barebranched tree. NICK's black Cadillac is parked in front and alight shows from inside the trailer.CAMERA PICKS UP MERLE who is strolling toward the trailerwhistling through his teeth. He is wearing his tuxedo andcarries a knapsack and a deer rifle. He mounts the cinderblock steps and pounds on the trailer door. NICK opens thedoor and waves him in.INT. NICK'S TRAILER - DAYThe place is cramped, littered with camping paraphernalia. Adeer head is mounted above the sink and NICK, who is halfinto his tuxedo, is applying waterproofing to a pair of heavyboots. MERLE smiles, throws his kit on the stove and sits. MERLE (indicates the waterproofing) You should have put that on last night. NICK I know. MERLE That way it sets. NICK Yeah.Pause. MERLE I just wait. You know? NICK Huh? MERLE I just wait. For this... It's what I wait for... I wait all year. NICK So do I. MERLE (sharp) You do? NICK (nods) Yeah.NICK grins, takes down his rifle and begins wiping the oiloff it. MERLE You think about it? NICK Yeah. MERLE So do I. (watches Nick for a minute) I want to be ready... You have to be ready... It has to be there, in your mind. NICK The shot? MERLE Fucking A. NICK I don't think about the shot that much. MERLE (firmly) You have to think about the shot. It's the shot. The shot's it. NICK (uncertain) Yeah... I guess. MERLE (studies him) What do you think about? NICK I don't know... I guess I think about the deer... Being out, maybe. I don't know. I think about it all. Hell, I like the trees, you know? I like the ways the trees are, all the different ways the trees are too. MERLE (with a glance to the window) I'll tell you something, Nick. I wouldn't hunt with anyone but you. I won't hunt with a yo-yo. NICK (laughs) Yo-yo! Who's a yo-yo? MERLE Who's a yo-yo...? Who do you think's a yo-yo! They're all yo yo's. I mean they're all great guys, for Christ's sake, but... The point is, Nick, without you I'd hunt alone. Seriously. I would. That's what I'd do. NICK (laughs) You're a fucking nut. You know that, Merle? You're a fucking maniac! MERLE Yeah. (he grins) When it comes to hunting, that's true.Cursing and banging from outside. NICK opens the door. JOHNand ALBERT, both in tuxedoes and loaded down with gear, arepounding on the trunk of the Cadillac, trying to get it open.NICK and MERLE go out. EXT. NICK'S TRAILER - DAY NICK Albert! For Christ's sake... John! Wait a minute, you guys! ALBERT It won't open. NICK You gotta hit it here. Here, Albert, not there. ALBERT Where should I hit it? Just show me where I should hit it. NICK Here. Hit it here.ALBERT hits the trunk in the indicated spot and the lid snapsopen. ALBERT Hey, that's neat.NICK nods. ALBERT (CONT'D) That's new, isn't it? NICK Couple of weeks... Listen -- ALBERT I love this car. Some cars sit, you know? This car, a car like this... grows. I mean you never know, with a car like this, where this car has been.VINCE comes up, also in tuxedo, and dragging a totallydisorganized clutter of hunting gear behind him. VINCE Hey, guys... JOHN Shhh! Albert's gonna hump the Coup de Ville.ALBERT looks around at his friends. He surveys the back endof the Cadillac with simian pride. Then he expands his chest,thumps on it with both fists and yodels out a magnificent,mile-carrying Tarzan call. As the echo of it comes back thechurch bell begins ringing down the street and a group ofexcited BRIDESMAIDS come, hurrying up. BRIDESMAID 1 Albert, what are you doing! BRIDESMAID 2 Hurry up, you guys! BRIDESMAID 3 Who's got their carnations? BRIDESMAID 4 Here. They're right here. BRIDESMAID 1 Look at you! You're all a mess! BRIDESMAID 3 Put on their carnations! BRIDESMAID 1 Who's got a pin?As the BRIDESMAIDS begin straightening ties and putting oncarnations, NICK hears someone call his name. He turns tofind LINDA standing beside the trailer where she can't beseen. She looks pale and very frightened and she holds asmall suitcase in her hand. NICK (crosses) Linda... LINDA Hi. (forces a smile) Nick, your shoes are soaking. NICK Linda, what's the matter? LINDA (tries to toss it off) Oh... You know...She fights against it but the tears begin to come. NICK looksaround, pulls her inside the trailer.INT. NICK'S TRAILER - DAYNICK clears a place on the couch. LINDA sits, holding hersuitcase in her lap. LINDA (with great effort) I was just wondering... Nick... You're going hunting... If I could use this place to stay, because... NICK Sure. Are you kidding? Sure. LINDA I'd want to pay you... and I was thinking -- NICK (kneels in front of her) Linda... Hey, Linda... LINDA I would want to pay you, Nick... and I was thinking -- NICK Linda, Linda...! LINDA (very small, looking into his eyes) What? NICK Will you marry me? LINDA (after a long, long moment) Okay. NICK Would you?LINDA nods - a solemn nod. NICK (CONT'D) You would?LINDA's lip begins to tremble. Tears stand in her eyes andshe gives a little toss of her head. LINDA Who else, dummy?NICK stares at her. He can still hardly believe it. NICK This is terrific...! This is really terrific!LINDA nods. She is suddenly excited, suddenly radiantlyhappy. She takes the suitcase off her lap and throws herselfin NICK's arms. NICK (CONT'D) I don't know what we've been waiting for! LINDA (eyes closed, loving him) I don't know! I don't know either!INT. GREEK ORTHODOX CHURCH - NIGHTSAL and ANGELA stand facing each other as the PRIEST readsthe Holy Sacrament of Marriage. PRIEST "Blessed be the Kingdom... now and forever unto Ages and Ages...As the PRIEST continues with the Holy Sacrament CAMERA PICKSUP FACES IN THE CONGREGATION. We see SAL'S FAMILY. We seeANGELA'S FAMILY. We see the VETS from the V.F.W. Post. We seethe STEELWORKERS from the bar and the WIVES and MOTHERS whochased them home to change. They are hard faces -- workingclass faces -- but we sense a fortitude among thecongregation, a community of both heart and spirit.CAMERA PICKS UP NICK, MERLE, VINCE, ALBERT and JOHN standingin a row opposite the BRIDESMAIDS. The guys all look slightlydisheveled. Their tuxedos are all too small and their shoesare soaking wet from walking in the snow.NICK catches LINDA's eye and they hold each other across theintervening space like two children who are amazed.The PRIEST hands white tapers to the bride and groom. CAMERACLOSES SLOWLY ON THE PRIEST. The man is impressive -- gentleyet full of power. The PRIEST lights the tapers -- firstANGELA's, then SAL's -- and looks out across the assembledcongregation. PRIEST "For everyone that does evil hates the light, and does not come to the light, lest his deeds will be reproved."EXT. COLUMBINE STREET - TOP OF THE HILL - NIGHTSave for a lone figure trudging home, the street is deserted,left to the gently falling snow. In the background themassive silhouette of the steel mill is plainly visible, litwith fire.INT. GREEK ORTHODOX CHURCH - NIGHTNICK, MERLE, VINCE, ALBERT and JOHN join with the BRIDESMAIDSto assist the PRIEST in the crowning of SAL and ANGELA.The PRIEST crowns SAL first. PRIEST "The servant of God, Sal, is crowned for the servant of God Angela, in the Name of the Father and of the Son and of the Holy Ghost. Amen."Now ANGELA is crowned. PRIEST (CONT'D) "The servant of God, Angela, is crowned for the servant of God, Sal, in the Name of the Father and of the Son and of the Holy Ghost. Amen."Guiding the couple by their joined hands the PRIEST leads SALand ANGELA around the analoy. The movement is very precise,very formal, a circling to represent eternity.INT. V.F.W. POST - DANCE FLOOR - NIGHTThe Band is going full blast and the whirling COUPLES, youngand old, are laughing.We see SAL and ANGELA, NICK and LINDA, VINCE, ALBERT andJOHN. The only one of the group not dancing is MERLE. MERLEis drinking, standing alone on the side of the floor chuggingbeer in tense, rapid-fire gulps. We sense immediately that hefeels out of place, at a loss to join spontaneously in thespirit of the party. MERLE finishes the beer, crumples thecan and starts on another. As he picks up the second can henotices that a SAD-LOOKING GIRL is sitting against the wallbehind him, waiting for someone to ask her to dance. The SADLOOKING GIRL gives MERLE a smile. MERLE pretends not to seeand moves behind a post.INT. V.F.W. POST - TRESTLE TABLES - NIGHTThe wedding cake that was carried in earlier has now beenattacked from all sides, but the miniature bride and groomare still standing in the middle. Unnoticed by each otherSAL'S MOTHER and ANGELA'S MOTHER eye the little figures. Bothwomen are in rather teary condition and begin moving towardthe cake. Suddenly, as the CROWD shifts, they encounter eachother face to face. Smiles are exchanged -- strained smiles,which get stretched and stretched and stretched. Then, inunison, they desert the smiling and remove their respectiveoffspring from the cake. SAL'S MOTHER looks down at her sugarcoated groom and ANGELA'S MOTHER looks down at her sugarcoated bride. Then they eye each other, burst into tears andthrow themselves in each other's arms, moaning and sobbing.INT. V.F.W. POST - COAT ROOM - NIGHTAnother COUPLE tries to enter the rack. It is pretty full.They finally find an empty place and squeeze in.INT. V.F.W. POST - DANCE FLOOR - NIGHTNICK comes off the floor with LINDA and throws an arm aroundMERLE. NICK Sit with Linda, man, will ya?... Give her a beer. (to Linda with great solicitude) Would you like a beer? LINDA (puzzled) Sure. NICK What kind of beer would you like? LINDA (laughing) I don't know. NICK (to Merle) Give her Miller's. Miller's High Life.NICK takes off. LINDA sits down at a table and MERLE goes tothe cooler to get a Miller's. He gropes around in the tub,finds one and pops the tab. Suddenly he notices that NICK hascrossed to the SAD-LOOKING GIRL by the wall. He has stoppedin front of her and is asking her something. The SAD-LOOKINGGIRL gives a blush, gets out of her chair and NICK takes herin his arms and begins to dance. The SAD-LOOKING GIRL lookstransformed. She begins chattering and laughing.MERLE crosses back to LINDA and gives her the beer. As hepulls up a chair to sit down beside her he stumbles andnearly loses his balance. He is very drunk. MERLE Sorry. LINDA (laughs) It's okay, Merle.NICK swings by with the SAD-LOOKING GIRL and waves. MERLE (catching Linda's expression) I guess you like Nick. LINDA (nods) Yes.MERLE doesn't say anything for a moment. He seems to betrying to contain a floodtide of emotion. MERLE Fuckin' Nick... (clears his throat) Fuckin' Nick... gives. (he nods, bangs his fist on the table) Gives. Fuckin' Nick gives.INT. V.F.W. POST - COATROOM - NIGHTThe rack is still jammed with COUPLES but the laughing andgiggling has now given way to the sound of heavy breathingand low moans.What light there is comes from the colored glass ballrevolving above the dance floor, where the MUSIC is nowplaying sweet and low.The front door comes open and a U.S. Army SERGEANT steps intothe darkened hallway. The man wears his dress green uniform.On his chest is a row of battle ribbons and his shoes arebrightly polished. SERGEANT Pow!The SERGEANT gives a beery chuckle and moves toward the dancefloor.INT. V.F.W. POST - TRESTLE TABLE AREA - NIGHTThe SERGEANT passes between groups of celebrating GUESTS,plucks a beer from one of the coolers and sits down alone atthe end of one of the white trestle tables.INT. V.F.W. POST - DANCE FLOOR - NIGHTALBERT gives his Tarzan cry, suddenly picks his GIRL off herfeet and marches around holding her above his head. GIRL Albert, what are you doing... Albert!INT. V.F.W. POST DANCE FLOOR - ANOTHER LOCATION - NIGHTVINCE and JOHN are standing together. VINCE is going bananasbecause his girl, MARSHA, is dancing too close to FRED. VINCE Look at that, see... Watch. Wait a minute, watch. There! D'j'u see that? D'j'u see the way he... You know what that guy is doing? That guy is squeezing her ass! JOHN Oh, well... VINCE Oh well! What do you mean Oh well?! The guy is actually... He did it again! That's what he's doing... He... He's reaching in, John, to her --! I'll kill him! I'm gonna kill him right now.VINCE marches up and taps FRED on the shoulder. FRED releasesMARSHA. MARSHA waits, one hand on her hip, while the two ofthem exchange words. VINCE turns MARSHA, points to her ass.FRED turns MARSHA, pints to the small of her back. VINCE ishopping up and down now. So is FRED. MARSHA, who is gettingbored, points to the door. VINCE and FRED bang out. As soonas they have gone MARSHA is taken by someone else who putshis hand right back where FRED had it.INT. V.F.W. POST - TRESTLE TABLES - NIGHTNICK, SAL and MERLE are standing together, looking at theSERGEANT. MERLE Nick, he just came back. NICK From Nam? MERLE Fucking A. See that ribbon in the left. That's Quan Son. That fucking guy was at Quan Son!MERLE gestures with his head. NICK and SAL cross with him tothe SERGEANT. MERLE (CONT'D) We, ah... We're going too.The SERGEANT looks at them and delivers a big, blank smile. SERGEANT Pow! MERLE What?The SERGEANT keeps smiling. MERLE (CONT'D) (to Nick) What'd he say? NICK Pow. MERLE Pow? NICK Pow. MERLE Oh.MERLE nods. MERLE (CONT'D) (clears his throat) Uh... well, maybe you could tell us how it is over there? SERGEANT Pow! MERLE Pow? SERGEANT Pow!MERLE looks at NICK. NICK looks at SAL. They all beginscratching their heads, trying not to laugh. MERLE Well, thanks a lot.They turn away and then, when they are out of earshot, theyall break up, howling. SAL Who the hell is he? MERLE Who the hell knows! NICK Is he from here? MERLE Hell no! NICK Well, where's he from? MERLE AND SAL (in unison) Who the hell knows! MERLE (soberly) Maybe he's lost. SAL AND NICK Lost??? MERLE (throws up his hands) Well, I don't know!INT. V.F.W. POST - NIGHTThe GUESTS have formed in a long double line which extendsfrom the dance floor right out into the street. Everyone ispretty drunk and they are all armed with streamers and bagsof rice. As SAL and ANGELA appear from out of a back roomthere is a great rowdy CHEER. The MUSICIANS strike up aMARCH. Followed by the MUSICIANS, showered with streamers,rice, advice and encouragement, SAL and ANGELA walk thegauntlet toward the street, where a glossy, bright redPontiac with headers and straight pipes is being revved in aseries of ear-splitting crescendos.EXT. V.F.W. POST - STREET - NIGHTJOHN, ALBERT, MERLE and VINCENT are standing by the door.Their tuxedos are stained and torn. Their carnations aresquashed and their clip-on bow ties are either missingentirely or dangling from the open collars of their shirts.VINCE looks the worst, with a black eye and half his pant legtorn away, and they are all guzzling beer. VINCE Bullshit! That's bullshit! MERLE You wanna bet? VINCE I'll betcha! That's bullshit and I'll betcha! You're fulla shit! MERLE How much? How much do you wanna bet? OTHERS Bet him! Bet him, Vince! VINCE I'll betcha! I'll betcha... I'll betcha twenty dollars!EXT. V.F.W. POST - PARKED PONTIAC - NIGHTSAL and ANGELA emerge to more CHEERS and a shower ofstreamers and rice. ANGELA is helped into the Pontiac on theright. NICK throws an arm around SAL and walks him around tothe driver's seat. NICK Don't worry what it says in the book. SAL Right. NICK Just forget that. Forget what it says in the book. SAL I'm gonna start slow... At the top. Then I'm gonna work down. NICK Great. That's great. SAL That's my plan.NICK gives SAL a hug. SAL gets in the car. NICK See you Monday. SAL See you Monday.INT. PONTIAC - NIGHTSAL looks over at ANGELA. SAL All set, hon?ANGELA nods. SAL puts the car into gear and starts slowlyoff. Fists pound on the car. Rice and streamers shower down.Suddenly, through the front windshield, MERLE appears, starknaked, running in front of the car with colored paperstreamers floating out from his upraised right hand. For asplit second SAL cannot believe what he is seeing. He throwsa look at ANGELA. ANGELA covers her mouth in amazement andthen quickly shifts the hand to cover her eyes.EXT. STREET - NIGHTMERLE weaves down the street in front of the growling redPontiac. MERLE is not just running. He is leaping andbounding, as if released from gravity and entered into arealm of pure ethereal space.NICK, ALBERT, VINCE and JOHN pound down the street behind thePontiac, ALBERT carrying MERLE's clothes. GUYS Look at that! Fuckin' guy! Fuckin' Merle!... Unbelievable!EXT. STREET - NIGHTThe road forks, one road going high to a parking area, theother descending to the valley below. MERLE swerves up theincline toward the parking area, while the Pontiac goesstraight and disappears down the hill.ALBERT, VINCE and JOHN stagger to a stop, panting helplessly.NICK grabs MERLE's clothes from ALBERT and takes off up thehill.EXT. HILLSIDE PARKING AREA - NIGHTMERLE stands motionless, looking out across the valley asNICK approaches. The night is brilliantly clear and the firesfrom the mill light up the sky with an eerie glow.NICK comes to a stop a few feet away. NICK Merle?MERLE turns. His face has a strange, distant look, and hegives NICK an almost feral grin. MERLE You think we'll ever come back? NICK (startled) From Nam? MERLE Yeah.NICK moves up beside him. He doesn't know what to say. MERLE (CONT'D) I love this fuckin' place... That sounds crazy. I know that sounds crazy, but I love this fuckin' place... If anything happens, Nick, don't leave me there. I mean it. Don't leave me... You gotta promise, Nick. You gotta promise me that. NICK (half laughing) Merle -- MERLE Promise! You gotta promise! NICK You got it.MERLE lets out his breath. It is as if some great weight hadbeen pressing on him. MERLE (with a laugh) Let's go huntin'. I mean let's do it! DISSOLVE TO:EXT. THRUWAY - NIGHTNICK'S battered old shark-finned Cadillac comes screamingpast.INT. CADILLAC - NIGHTNICK, MERLE, VINCE, ALBERT and JOHN, all of them still intuxedos, are jammed in the car between knapsacks, sleepingbags, six packs of beer and deer rifles. GUYS (singing) Let me be free! Let me be free! If... you... will let me be free... You'll... always be happy... with me-e-e-e!!! ALBERT (making a trumpet sound) Wa-wa-wa!... Waaaaa!!!EXT. MOUNTAIN ROAD - NIGHTTale Cadillac comes blasting by...INT. CADILLAC - NIGHTNICK is hunched over the wheel, his eyes gone completelyglassy. MERLE and VINCE are on the nod, while ALBERT andJOHN, both half asleep, are having a lead-voicedconversation. ALBERT She fucked you? JOHN She fucked me. ALBERT She fucked me too. JOHN She fucked you? ALBERT She fucked me too.There is a long pause. They both struggle to keep their eyesopen. JOHN She fucked us both. ALBERT Yeah. JOHN Fucking women, man... ALBERT (shakes his head) I know...INT. CADILLAC NIGHTNICK'S head is sunk below the upper rim of the steeringwheel. One eye is entirely shut and the open one seems closeto death. Suddenly his head snaps up. He slams his foot downon the brake and the Cadillac fishtails, rubber screaming, toa jolting stop.EVERYONE in the car comes awake ten bleary eyes staring outthrough the windshield.There are deer in the road, fifteen or twenty of themstanding in the headlights.EXT. CADILLAC - NIGHTVINCE, ALBERT, NICK and JOHN pile out with their rifles.VINCE immediately slips and falls down. VINCE Get 'em! For Christ sake, get 'em! JOHN Who's got the ammo? ALBERT Ammo! Get the ammo! VINCE I'll get it! Where is it? JOHN It's in the trunk!... It's in the trunk! I'm telling you, it's in the trunk!VINCE, ALBERT and JOHN rush around to the trunk. ALBERTbegins pounding on it. VINCE There, Albert! Hit it there!Pushing and shoving each other, VINCE, ALBERT and JOHN rusharound to the side of the car. As they pass along theembankment at the side of the road there is a soft sound,like a sigh, and all three of them simultaneously vanish.NICK, who has been watching, stares at the place where histhree friends disappeared. He takes a few steps forward,realizes what has happened and doubles up in the middle ofthe road, helpless with laughter. VINCE (CONT'D) (getting out of the car) Man, let's go hunting!... Where are they?NICK makes a gesture, a downward pointing of his finger.VINCE crosses to the side of the road.EXT. RAVINE - NIGHTThe slope is a good 45 plus. At the bottom, barely visible,three tiny figures flop in the snow.EXT. CADILLAC - NIGHTVINCE looks down at the three hunters with an expression ofabsolute disgust. He looks at NICK -- flat on his back,pounding his feet, howling -- and then he looks at the deer.The deer are still watching. If anything they have edgedcloser and their massed expression of polite curiosity throwsVINCE into a blind rage. VINCE Get out of here, damn you! Go home!... Scat!... Shoo!VINCE, whose rifle is fully loaded, slams a shell into thechamber and lets off a barrage of shots above the deer. VINCE (CONT'D) Bastards! Assholes! Get lost!EXT. MOUNTAIN PASS - DAWNThe sky is cold -- first light -- with low, wind-drivenclouds. CAMERA TILTS DOWN and we see NICK's Cadillac comingup a narrow road flanked by precipitous, heavily forestedridges on both sides.EXT. MOUNTAIN ROAD - DAWNThe Cadillac seems minuscule, overwhelmed by the massive,black slopes looming up from the road.INT. CADILLAC - DAWNEveryone is eating cold hot dogs, ripping them out of a halfdozen plastic packages, dipping them in a jar of mustard andstuffing them down. Hot dog juice has dripped overeverything, potato chips are littered everywhere and bothbeer and milk are being passed around. ALBERT Fuel up. Need fuel. JOHN Those are mine! ALBERT You want 'em? JOHN Damn right! ALBERT Gimme a Hostess Twinkie, Merle. MERLE Here's a Hershey.ALBERT tears off the wrapper, dips it in the mustard andglomps it down. JOHN That's mustard! ALBERT (mouth jammed full) What? JOHN You just put mustard on your Hershey bar. ALBERT (nods) Good... Pass the beer. VINCE (pointing to a location beside the road) Here, here! This is it! MERLE (milk slopping over him) Watch it, shithead! VINCE (pounds Nick on the shoulder) Here! This is it! ALBERT It is not! VINCE It is too! Now you passed it! MERLE It's ahead, by the tree. NICK It's ahead, Vince. VINCE That isn't it! There's no way that's it... Unless they changed it. They might have changed it.NICK pulls to a stop on the shoulder. VINCE (CONT'D) They changed it. That's what they did. This is it but they changed it.EXT. ROADSIDE AREA - DAWNThe sky is just turning grey. A cold wind is blowing, moaningin the trees and swirling a fine haze of snow across the openroadway. The guys all pile out in their wrecked tuxedos. VINCE This is it. Definitely. This is it, but they changed it. ALBERT You're full of shit. VINCE Who's full of shit? ALBERT You're full of shit! VINCE I'm telling you, they changed it! ALBERT They did not! VINCE They did too! ALBERT Jesus, it's freezing!NICK, MERLE and JOHN have the trunk open and are taking stuffout. MERLE strips down where he stands and begins putting onhis hunting clothes. ALBERT and VINCE grab their things andfollow the example of NICK and JOHN, who are changing on thecorner of the seats. NICK Whee-uu! ALBERT Jesus! JOHN Holy shit! VINCE Merle, hey Merle, you got any socks?MERLE, who is crouched down studying the hillside, looksover. VINCE (CONT'D) (rummaging around in the mess of things he has brought) Never mind, Merle. Never mind, I got 'em... Where the hell are my pants? Anyone see my pants?... Who the hell took my pants!VINCE begins plunging around. OTHERS Fuckhead! Watch it! VINCE Somebody took my pants... I know I brought pants.VINCE tears into another pile of equipment, comes up withnothing and steps out of the car. VINCE (CONT'D) All right. All right, you guys. Whoever took my pants, I want 'em back!EXT. ROADSIDE AREA - DAWN - LATERShots are ringing out in the hills. NICK, ALBERT and JOHNstand by the roadside while VINCE and MERLE glare at eachother. VINCE is still in his tuxedo pants, is still wearinghis dress shoes and is draped in a gigantic red goose downvest that could only have come from ALBERT. MERLE's knapsacklies on the ground in front of him and we can see that itcontains a pair of Vibram-soled mountain boots. MERLE Sure I got boots. I got boots right here. VINCE Then lemme have 'em. MERLE No. VINCE (both hands in the air) No!!!? MERLE No. VINCE What do you mean, no??? MERLE That's it. No. No way. VINCE Some fuckin' friend... You're some fuckin' friend, Merle! MERLE You gotta learn, Vince! You come out here... You got no jacket, you got no pants, you got no knife and you got no boots. You think everyone's gonna take care of you! That's what you always think, but this time you're wrong. This time you're on your own! ALBERT Merle, give him the boots. MERLE No. No boots. No nothin'. VINCE You're one fuckin' bastard, Merle. You know that? You're one fucking bastard! MERLE (snapping it out, jabbing his finger at the ground) This is this, Vince. This isn't something else. This is this! VINCE You know what I think? There's times I think you're a goddamn faggot!... I fixed you up a million times, Merle! (to the others) I fixed him up a million times! I don't know how many times I fixed him up... and nothin' ever happens... Zilch! Zero!... The trouble with you, Merle, no one knows what you're talking about! "This is this"? What does that mean, "this is this"? I mean is that some faggot bullshit, or is that some faggot bullshit!!! And if it isn't, what the hell is it??? JOHN Vince. Hey, you guys -- VINCE (hopping now) Take last night...! Last night he coulda had twenty fuckin' deer! More! He coulda had more! And look what he does! I mean look what he fuckin' does!!! JOHN Vince!!!JOHN throws up his hands in a comical way. JOHN (CONT'D) I'll get the boots. ALBERT (in agreement) Get the boots. JOHN (crossing to Merle's knapsack) I mean let's get going before --MERLE -- who has remained completely calm throughout VINCE'stirade -- pumps a shell in the chamber of his rifle. JOHNfreezes in his tracks and stares at him, his face gone white. MERLE I said no.JOHN looks at ALBERT, who is right behind him, and they bothback away. VINCE, who is standing directly opposite MERLE,begins to tremble. His mouth comes open, closes and comesopen again. Urine begins trickling out from the bottom of hispants leg, staining the snow. Suddenly, NICK steps forward.He looks at MERLE, crosses to the knapsack, takes out theboots, walks over to VINCE and throws them on the road. NICK (gently, to Merle) Let's hunt.INT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHTThe place is about nine-by-twelve. The floor is rotted out,boards are missing from the walls and the entire structure iscanted to the right. Hanging from the roof peak is a hissingColeman lantern which sways in the wind.VINCE, ALBERT and JOHN are sacked out, sound asleep. Beercans -- some old, some new -- litter the floor. Wet clothes,most of them bloody, hang from tie-boards and nails. Strungup on the end wall are two deer carcasses, one of them with aknife jammed in it where steaks have been cut out.Snow is blowing in -- dry, crystal bright. It swirls overeverything and settles on the sleeping figures on the floor.CAMERA DISCOVERS MERLE AND NICK. They are both in sleepingbags, lying on rusted bedsprings at either side of the brokendoor. The wind gusts and moans. The cabin shudders and thenthere is a sudden lull. MERLE Hey, Nick? NICK Huh? MERLE Tomorrow I go with Vince. NICK Hunt with Vince? MERLE Yeah... I mean so he knows... He doesn't even know.EXT. THRUWAY PITTSBURGH OFF-RAMP - TWILIGHTTraffic is heavy, an unending flow of cars, a river ofheadlights suspended on a curved concrete trestle which seemsto float in thin air. Behind is the mill, belching steam andablaze with fire.NICK's Cadillac appears, horn blaring, weaving through thetraffic. The car sits low. Trussed to the hood, to the roof,to the trunk, are the carcasses of five deer. Rope-endsflutter and bang in the wind. The car shudders and thuds.Inside, grinning maniacally, NICK, MERLE, VINCE, ALBERT andJOHN are all shouting and guzzling beer.EXT. COLUMBINE STREET - TWILIGHTThe Caddy appears, swerving onto Columbine with tiresscreaming and NICK still leaning on the horn. The guys areall hanging out the windows, shouting to FRIENDS, whistlingat GIRLS and banging a triumphant tatoo on the doors. ALBERT Maxie! Hey Maxie wha'd'ya say! JOHN Hey Geraldine, let's eat! VINCE Nothin' to it, asshole! Piece o' fuckin' cake!As the car ascends the grade the mill appears behind it,seeming to loom upward under the pink-streaked twilight sky.CAMERA HOLDS AS THE CAR COMES TOWARD IT. The headlights blazewhite, like huge hungry stars, and the eyes of the dead deeron the fenders glitter gold and green and red.ALBERT leans out the window and gives his Tarzan call... ITSEEMS TO ECHO, AS IF COMING FROM FAR AWAY, FREEZE FRAME...EXT. CLOSE-UP OF JUNGLE LEAF - DAYThe leaf is being eaten by an exotic-looking insect. Aftereach bite, the insect lifts its head, produces an exceedinglythoughtful expression, and chews.WE HEAR THE BUZZ AND CREAK OF OTHER INSECTS, THEN A DULL,FLUTTERING DRONE. THE DRONE GROWS LOUDER...EXT. HELICOPTER SQUADRON - SOUTH VIETNAM - DAYThere are twenty of them, coming fast and low, just over thetops of the trees. Sunlight gleams on their paint andmurderous-looking rockets are packed to their bellies in fatclusters, like eggs.Suddenly, in unison, they fire the rockets.EXT. RANGE OF LOW HILLS - SOUTH VIETNAM - DAYAs the rockets streak away the lightened choppers shootupward, lost to sight. There is an eerie silence and then thehillside explodes, vanishes in a sheet of smoke and flame twomiles wide.EXT. DUSTY ROAD - DAYA platoon of AMERICANS have been ambushed on the road. Thebodies lie helter-skelter -- headless, armless, legless, gutsspilled in the dirt. No one moves and there is absolutesilence except for the low buzz of flies.A V.C. LIEUTENANT steps into sight. He gives a brusquecommand and V.C. SOLDIERS step out of the jungle. TheLIEUTENANT bayonets a few of the fallen U.S. SOLDIERS --idly, without much interest -- and then cracks a joke as herubs his finger in the Americans' blood. The V.C. SOLDIERSlaugh, spear a few AMERICANS themselves and repeat the joke.There is a slight sound. The V.C. LIEUTENANT spins and givesa low command. Fifty feet away there are three grass huts.He signals his SOLDIERS to spread out and then he startstoward them.INT. GRASS HUT - DAYSouth Vietnamese VILLAGERS -- women, children, and a few oldmen -- sit huddled in the semi-darkness. The WOMEN hold theirhands over their BABIES' mouths. Flies buzz and there is alook of stark terror in their faces.EXT. DUSTY ROAD - DAYOne of the fallen AMERICANS moves. CAMERA CLOSES ON THESOLDIER. His face is in the dirt and flies are nuzzling at agash in his temple. The face is unshaven, frighteninglygaunt, but we recognize that it is MERLE.A WOMAN'S SCREAM comes from the direction of the huts. A shotrings out. MERLE pulls himself to his hands and knees andstands there, on all fours, like a dog.EXT. GRASS HUTS - DAYThe V.C. roust the VILLAGERS from their huts, smashing themin the back with rifle butts. One of the SOLDIERS emergesfrom a hut carrying two small BABIES upside-down by theirfeet. One of the WOMEN cries out. The SOLDIER gives her akick, swings one of her BABIES in the air and lets it go. TheBABY turns over and over against the blue sky. As the BABYcomes down ANOTHER SOLDIER catches it through the neck on theend of his bayonet.EXT. DUSTY ROAD - DAYMERLE strips a B.A.R. from one of his dead companions, slamsa fresh clip in it, jams two extras in his pants and startsfor the grass huts. His movements are slow, almost dreamlike,and his face is expressionless, like someone risen from thedead.EXT. GRASS HUTS DAYThe VILLAGERS -- about twenty of them -- have been formed ina line. As the SOLDIERS look on the V.C. LIEUTENANT walks upand down trying to extract information. The SPEARED BABY liesin the dust between the two groups. The SECOND BABY tries toplay with it. The SOLDIER who threw the dead baby in the airsquats nearby and yawns.EXT. GRASS HUTS - ANOTHER ANGLE - DAYMERLE approaches between the huts. He takes a quick lookaround the corner, finds the V.C. all bunched in a neatpackage and draws back.CAMERA CLOSES ON MERLE'S EYES. They are cold, dreamingthings, glittering blankly.EXT. GRASS HUTS - DAYMERLE spins out with the B.A.R. on full automatic. The V.C.SOLDIERS go down screaming, arms and necks thrown back, in athin mist of spraying blood.ABOVE THE CHATTER OF MERLE'S B.A.R. WE HEAR A GROWING ROAR.EXT. APPROACHING AMERICAN HELICOPTERS - DAYThere are five of them, coming in low under the tops ofnearby trees.EXT. GRASS HUTS - THE VILLAGERS - DAYThe VILLAGERS stand motionless, staring at the helicoptersand frozen with terror. They turn. They start to run. Andthen they disappear in a roaring wall of burning napalm.EXT. GRASS HUTS AFTER NAPALM ATTACK - DAYMERLE stands alone with his B.A.R. surrounded by clouds ofbillowing black smoke. There is no sound but the rush ofheated air and the faint crackle of flames. MERLE'S clothesare burning. Flames are licking up his trouser legs and ablob of napalm is burning fiercely on his helmet.In front of MERLE the SOLDIERS and the VILLAGERS lie in twocharred heaps. The BABIES lie between them. Both aremotionless now, like two roasted stones.An AMERICAN LIEUTENANT steps out from behind one of theburning huts. MERLE and the LIEUTENANT spin on each other andthen the LIEUTENANT lowers his carbine. LIEUTENANT What the hell are you doing here? MERLE (numb) Saving lives.MORE AMERICANS appear, some twenty of them, coming out of thetrees in a long line. Among them are NICK and SAL. LIEUTENANT Move it out, girls! Move it out!The LIEUTENANT heads down the line. NICK stares at MERLE. NICK Merle?... Jesus, Merle!MERLE turns and looks at NICK. There is no recognition. Heseems to be looking right through him.SAL comes up behind NICK. SAL Hey...! Hey, Merle!A shot rings out. The LIEUTENANT goes down and suddenly thewhole line of AMERICANS is caught in a murderous cross-fire.Grenades rain out of the trees. MERLE, NICK and SAL dive forcover.Out of the smoke V.C. SOLDIERS begin to appear, more and moreof them, swarming out of the jungle in scores.EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAYWe are looking at the ground where three pits have been dugand fitted with bamboo gratings which are held down bystones. The ground is ankle-deep in running mud and the pitsare filled with water to within a foot of the bamboogratings. In each of the pits are about a half-dozen men --SOUTH VIETNAMESE and AMERICAN. Their hands grip the gratingsand their eyes are hollow. Other than an occasional groanthere is only the sound of the falling rain.A V.C. SOLDIER trudges out of the jungle. As he reaches thepits he notices the hands, curses and begins jumping up anddown on the bamboo gratings. The hands disappear. As soon asone comes back, the SOLDIER stomps on it, shrieking withlaughter. Then, almost as an afterthought, the SOLDIER pullsdown his pants and squats above the center grating.CAMERA TILTS SLOWLY UPWARD. We see the clearing in itstotality. It is a raw hole hacked out of the jungle andcontains only two structures. One is a large bamboo "tigercage" with a few leaves tied to its top. The other is a smallhut with a thatched roof. The walls of the hut are open andwe can see V.C. GUARDS moving about inside.A cry comes from the hut. There is the THUD of a rifle button flesh and the cry abruptly stops.INT. THATCHED HUT - DAYIn the middle of the hut is an American kitchen table with arose-patterned plastic top. At opposite ends of the table aretwo chairs. A SOUTH VIETNAMESE PRISONER sits in one of thechairs. In the other chair, facing him, is MERLE.The SOUTH VIETNAMESE has a welt on his head and one of thehalf-dozen V.C. GUARDS in the hut is screaming at him. In themiddle of the table, between the SOUTH VIETNAMESE and MERLE,is a single-action .45 caliber revolver with an Americaneagle carved on its ivory grip.MERLE sits quietly, waiting, but his eyes are working, takingin every detail of the scene. The V.C. GUARD gives the SOUTHVIETNAMESE a final cuff, takes up the revolver with adramatic flourish and loads one cartridge into the chamber.Immediately the OTHER GUARDS begin placing bets. The GUARDSare a ragged bunch -- wet, half-drunk on captured Budweiser,and it takes some time to straighten things out.MERLE looks off to his right:INT. THATCHED HUT - REVERSE ANGLE - DAYWe see more SOUTH VIETNAMESE and AMERICAN prisoners standingagainst the wall. Most of them have been badly beaten and allhave their elbows tied behind their backs. In among them,standing beside one another, are NICK and SAL. NICK looksgrey, like a skinny ghost. SAL is out of control, sobbingquietly.INT. THATCHED HUT - ORIGINAL ANGLE - DAYThe betting is now completed. The V.C. in charge waves the.45 around and calls for silence. Then, closing the cylindercontaining the single bullet, he points the revolver at theceiling and clicks through the empty chambers until therevolver goes off with a ROAR. Bits of thatch flutter downfrom the ceiling. The V.C. GUARDS shout enthusiastically andgrin.MERLE sits motionless. The SOUTH VIETNAMESE across the tablefrom him begins shaking uncontrollably.The V.C. in charge now reloads the revolver with onecartridge, snaps the cylinder shut, puts the gun on the tablebetween MERLE and the SOUTH VIETNAMESE and gives it a goodspin.The revolver slows and finally comes to a stop pointing atMERLE. MERLE stares at it for a long beat. Then he picks itup, spins the cylinder, cocks it, puts it to his temple andpulls the trigger. The hammer falls on an empty chamber witha loud CLICK.MERLE places the revolver back on the table and pushes ittoward the SOUTH VIETNAMESE. The SOUTH VIETNAMESE begins totremble again. Fumbling horribly he finally manages to getthe gun in his hand. He spins the cylinder, cocks the hammerand puts the gun to his temple. The gun weaves around.The SOUTH VIETNAMESE closes his eyes and pulls the trigger.There is a loud CLICK.MERLE takes the revolver again. He spins it, cocks it -- allin one smooth motion -- puts it to his temple and pulls thetrigger. There is another CLICK.MERLE pushes the gun back across the table. This time theSOUTH VIETNAMESE takes it up with sudden confidence. He spinsthe cylinder, cocks it, puts it to his temple and pulls onthe trigger.THERE IS A ROAR. THE PISTOL IS FLYING IN THE AIR AND THEN THEMAN'S HEAD, HALF-EXPLODED, CRASHES OVER ONTO THE KITCHENTABLE.MERLE doesn't even blink. The GUARDS begin hooting andlaughing, wiping pieces of brain from their clothes, andMERLE watches them, watches every gesture, every movement...like a cat.EXT. THATCHED HUT - LATER DAYA pile of bodies lie by the steps in the pouring rain. Thebodies are both SOUTH VIETNAMESE and AMERICAN. Their headsare all variously blown to pieces and SEVERAL HUGE RATS arealready feeding on them.INT. THATCHED HUT - TABLE AREA - DAYNICK is at the table now, opposite a SOUTH VIETNAMESE. Heholds the pistol by his chin, spins the cylinder. His face istwitching, dripping sweat and both he and his opponent areholding onto each other's eyes as if they had been at it fora long time.NICK raises the pistol to his temple, CLICKS OUT. The GUARDSmurmur. NICK pushes the pistol across the table.INT. THATCHED HUT - PRISONER END - DAYThere are no Americans left to play except SAL. The sobbinghas stopped but SAL is shaking and trembling and his eyeswander around in their sockets as if they been cut loose.MERLE, who lies on the floor nearby, is trying to talk toSAL. As he does so we hear the CLICKS coming from across theroom and the excited MURMURS of the GUARDS as their bettingchoice survives another round. MERLE You can do it, Sal. SAL No. No, no. MERLE Sal... listen to me, Sal! You have to do it. SAL I want to go home, Merle. MERLE You have to think about this, Sal. Listen to me, Sal! You have to think about this. SAL (tears again) This is horrible! MERLE Listen to me, Sal. If you don't do it they'll put you in the pit. If they put you in the pit, Sal, you're gonna die... Sal, do you understand? SAL (nods) Merle, I wanna go home!There is an EXPLOSION from the other end of the room. SAL'Seyes go wide and he lets out a whimpering SCREAM. The GUARDSopen a path and NICK appears. His knees won't support him andthe GUARD who is holding him throws him on the floor. MERLE Listen to me, Sal. Do it! You have to do it!The GUARD who delivered NICK jerks SAL to his feet and dragshim of f to the table.INT. THATCHED HUT - TABLE AREA - DAYSAL is thrown in the chair. A SOUTH VIETNAMESE is placedopposite him. The SOUTH VIETNAMESE is a kid, even youngerthan SAL, and he is trembling with terror. SAL Hey, listen, you can do it. (Sal nods, smiles) Believe me, you can do it. We can both do it. Then we go home, see? Then we go home!SAL looks down. The pistol is ending its spin and the muzzlecomes up pointing at the SOUTH VIETNAMESE. The SOUTHVIETNAMESE stares at the gun and tears begin to fill hiseyes. The GUARDS begin yelling at him, urging him on and thenSAL gives him a SMILE OF SUCH UNWAVERING FAITH that the SOUTHVIETNAMESE picks up the gun, fumbles the cylinder around,cocks it and puts it to his temple. For a moment SAL and theSOUTH VIETNAMESE look at each other. THE SOUTH VIETNAMESE ISTAKING HIS FAITH STRAIGHT OUT OF SAL'S EYES AND NOW SAL GIVESHIM ANOTHER ENCOURAGING NOD.The SOUTH VIETNAMESE BOY squeezes the trigger. THERE IS ANEXPLOSION AND HIS HEAD DISINTEGRATES WITH A ROAR.SAL sits motionless, his jaw hanging open and his face formedin an expression of terrible puzzlement. Then his face beginsto move, begins to twitch, as if the muscles were trying todiscover a frown. SAL looks around. He looks back again atthe place where his friend was sitting and he begins to cry.INT. TIGER CAGE - HEAVY RAIN - FOLLOWING DAYA half-dozen SOUTH VIETNAMESE sit huddled together in themuck on the uphill side. A seventh lies sprawled on his back,DEAD. The rain pours through the few leaves placed on theroof and splashes in great cascades in the middle of thefloor.On the downhill side are SAL, NICK and MERLE. SAL is in afetal position, gripping his knees and rocking himself backand forth. His eyes are vacant and his face is fixed in anexpression of horror, as if he were still watching the boy atthe table blow himself away. Beside SAL is NICK. NICK sitsslumped against the bamboo. One knee is raised and he ispicking at the threads of his trousers where they have tornat the knee.MERLE IS STANDING, GRIPPING THE BAMBOO WALLS OF THE CAGE ANDLOOKING OUT AT THE "PITS".EXT. THE PITS - MERLE'S POV - HEAVY RAIN - DAYThe pits are about twenty feet away. Running mud and watergurgle into them, coming out through shallow trenches on thedownhill side. There are fewer hands than the day before, farfewer. The nearest pit only has one pair and as MERLE watcheshe sees that these hands are struggling to keep their grip.SUDDENLY ONE OF THE HANDS SLIPS AWAY. THE HAND COMES BACK FORA MOMENT, THEN BOTH HANDS DISAPPEAR.INT. TIGER CAGE - HEAVY RAIN - DAYMERLE turns away from the "pits". He looks down at SAL, thenhe looks at NICK. His expression is one of exasperation, asif he had been having a long argument. MERLE I'm telling you, Nick, no one's going to come. NICK What are you, God? MERLE Listen, asshole, it's up to us! NICK They bombed last night, right? Didn't they bomb? If they bombed last night, they could bomb tonight. They could be up there right now! MERLE What are you, hoping? NICK What else? MERLE I thought you might be praying. NICK I'm doing that too. MERLE I suppose you wish you were somewhere else? NICK What do you think? MERLE Nick, you're wasting your time... Listen to me! You're wasting your time! This is no fucking time for hoping or praying or wishing or any other shit! This is it. Here we are... And we gotta get out! NICK You're right... Okay, you're right. MERLE (grabs him) Get off your ass, Nick. Get off your fucking ass and stand up!!! NICK (stands) Okay, okay! (he straightens his shoulders) Okay. Okay, you're right... What about Sal? MERLE Forget Sal. NICK What do you mean? MERLE I mean forget Sal... Sal can't take it, Nick. NICK Forget Sal? MERLE Forget Sal... Listen to me -- forget Sal! I've been working on Sal since dawn, Nick. Sal's in a dream and he won't come out. LISTEN!!! From here on you gotta go for you. You hear me? For you! NICK Merle... MERLE LISTEN, NICK! GET IT THROUGH YOUR HEAD OR YOU AND ME ARE BOTH DEAD TOO!A shout comes from the thatched hut. The SOUTH VIETNAMESEwhip around in fright. MERLE and NICK turn.Through the bars of the "tiger cage" we see the V.C. GUARDScoming down from the thatched hut. The GUARDS are alldrinking beer again and the GUARD IN CHARGE is waving thepearl-handled revolver.NICK looks at MERLE. The sight has totally unnerved him. MERLE (CONT'D) (calm) We gotta play with more bullets. NICK We what? MERLE We gotta play with more bullets, Nick. It's the only way. NICK More bullets in the gun? MERLE (even) More bullets in the gun... The trouble is that still leaves one of us with his hands tied up, so that means we gotta play each other. NICK (numb) With more bullets?... Against each other?... Are you crazy!!! Are you fucking nuts!!! MERLE Nick... NICK!!! It's the only chance we've got!NICK stares at MERLE. Rain is pouring off them in rivuletsand the VOICES of the approaching GUARDS are getting louder. NICK How many bullets? MERLE (watching him) Three bullets -- minimum. NICK (panic) No way. No fucking way! MERLE (evenly, holding him with his eyes) I'll pick the moment, Nick. The game goes on until I move. When I start shooting, go for the nearest guard and get his gun. NICK No. No way! MERLE When you get the AK, open up. You got me? Open up. NICK (screaming) YOU'RE CRAZY!!!... NO WAY!... NOW YOU'RE CRAZY!!! YOU'RE COMPLETELY CRAZY!!!The GUARDS begin screaming orders from outside the cage andONE OF THEM lets off a blast of automatic rifle fire whichshreds the bamboo roof just above the PRISONERS' heads. NICKand MERLE grab SAL and drag him to the door.EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAYAs the PRISONERS emerge from the "tiger cage" the GUARDSsmash them with their rifle butts, screaming orders. In themelee SAL is separated from NICK and MERLE, both of whom areknocked to the ground by furious blows. When they get totheir feet they see that SAL is wandering off alone in thedirection of the "pits". One of the GUARDS spots SAL andclubs him down.SAL gets up and begins wandering off again. The GUARD clubshim down again, turns to the GUARD IN CHARGE and beginscomplaining. The GUARD IN CHARGE dispatches a SECOND GUARD tohelp the FIRST and the TWO GUARDS open the bamboo grating onone of the "pits".MERLE turns to NICK, who is standing beside him. MERLE It's up to you, Nick. Now it's up to you.EXT. CLEARING IN THE JUNGLE - THE "PITS" - DAYSAL has absolutely no comprehension of what is about tohappen to him. His eyes are dreamy, far away, as if he hadmentally transported himself to some distant place. There aregreat gashes in his head from the blows he has received andas he stands waiting in the pouring rain he looks exactlylike a very small child who has experienced some terribleconfusion.Suddenly the GUARD standing beside SAL wrenches him around.We see the pit now, CLOSE UP. There are four bloated CORPSESfloating in the muck.We SAL'S FACE, CLOSE UP. He gives a CRY and tries to turnaway.We see the GUARDS pick SAL up, SCREAMING. We see the SPLASHas SAL hits the water and then we see him surface between thebloated CORPSES, STILL SCREAMING, paddling desperately andtrying to find something solid to hod him up.EXT. CLEARING IN THE JUNGLE - WAITING PRISONERS - DAYNICK stands motionless, stunned, listening to SAL'S SCREAMS.MERLE has his attention focused on the GUARD IN CHARGE andwhen he glances in their direction MERLE slugs NICK in thestomach and begins beating him furiously to the ground. NICKstruggles to his feet. MERLE attacks him again and now, asthe GUARD IN CHARGE comes over to see what's going on, MERLEbegins hopping up and down, pointing at NICK, pointing at therevolver in the GUARD'S hand and screaming. MERLE Him and me!!! Him and me!!!The GUARDS look at each other, interested. MERLE (CONT'D) Him and me, goddamn it! Him and me!INT. THATCHED HUT - HEAVY RAIN - DAYMERLE and NICK sit facing one another across the rosepatterned kitchen table. The GUARDS are all grinning and eventhe SOUTH VIETNAMESE are watching with grim fascination. NICKhas the revolver. He is trembling visibly. Already MERLE hasmanaged to draw the GUARDS in closer and as NICK spins thecylinder and cocks the hammer MERLE jumps up and beginspounding on the table. MERLE This is it, motherfuckers! Now he's going to do it! Watch! You watch!NICK almost loses what little control is left and his handbegins shaking violently. MERLE (CONT'D) Look at him! See! This is it and he knows it!Side bets begin changing hands. MERLE (CONT'D) Last chance to lose your money there, guys. Goodbye money! Hurry, hurry. Here he goes!NICK puts the revolver against his temple and pulls thetrigger. There is a dull CLICK.NICK puts the revolver back on the table. His hand is shakingso badly it falls with a clunk. MERLE grabs it, spins it,sticks it to his temple and CLICKS OUT, talking all the time: MERLE (CONT'D) This is stupid! You understand stupid? On and on! At this rate we'll still be here tomorrow! (throws the revolver on the table) Wait a minute. I know! Hey, I got it. More! Put in more! You understand more? More! More bullets! (he mimes with his fingers) Three bullets! You understand three? That way BLAM! BOOM!MERLE hops up and down, laughing maniacally. MERLE (CONT'D) KA-POWIE!!! BA-ROOM!!!... 'Cause I want that bastard! Him I want boom! Him or me!!!The GUARD IN CHARGE looks at his COMPANIONS. They all beginshouting for him to go ahead. The GUARD IN CHARGE purses hislips, as if imitating a general coming to a decision, andthen nods his assent. The GUARDS all howl. MERLE joins rightin. MERLE (CONT'D) He's terrific! Great fucking guy!The GUARD IN CHARGE takes the revolver, opens the cylinderand begins sticking in two more cartridges. MERLE (CONT'D) KA-POW!!! BA-ROOMIE!!!MERLE hops up and down again, then screams at NICK, jabbinghis finger at him, as if in fury. MERLE (CONT'D) Both of us may have to pull on this, so get your shit in fuckin' shape!!! (to the GUARDS) Him or me!!! Now we got it, him or me!!! (he rubs his hands and sits back down) Place your bets, motherfuckers! Now we're going! Now we got a game!The GUARD IN CHARGE places the revolver on the table, spinsit. MERLE (CONT'D) Watch! Now watch! He's going to get it. And then KA-POW! BA-ROOMIE!!!The muzzle stops pointing at MERLE. MERLE scowls, looks overat the GUARD IN CHARGE. The GUARD IN CHARGE has lifted thebarrel of his AK 47 and is watching him with caution. TheOTHER GUARDS, who are totally caught up in the game, areyelling and shouting. MERLE You guys think I'm in trouble, right?MERLE picks up the revolver, spins the cylinder, cocks it... MERLE (CONT'D) No way! Never!!! (he begins to chant) MERLE IS MIGHTY! -- HA! MERLE IS STRONG! -- HA! MERLE IS MAGIC! -- HA! MERLE LIVES LONG! Lemme hear it. Come on, motherfuckers, lemme hear it!MERLE starts it again. The GUARDS who are bett ing on himJOIN IN: MERLE (CONT'D) (with GUARDS) MERLE IS MIGHTY! -- HA! MERLE IS STRONG! -- HA! MERLE IS MAGIC! -- HA! MERLE LIVES LONG!MERLE takes a glance at the GUARD IN CHARGE again. The GUARDIN CHARGE is still eyeing him with caution.MERLE places the revolver to his temple... and CLICKS into anempty chamber. MERLE (CONT'D) See! Nothing to it.He pushes the gun across to NICK. Then he stabs his finger athim, screaming again, as if in a fit of rage. MERLE (CONT'D) You got an empty chamber and it's in your mind! Just put that empty chamber in the gun!NICK looks down at the revolver and picks it up. He stares atMERLE for a moment. Then he spins the cylinder, cocks thehammer, Puts it to his head... and CLICKS into an emptychamber.The GUARDS let out expressions of disbelief. Those betting onNICK begin taunting those betting on MERLE.MERLE sits motionless, as if stunned, as if utterly defeated,his brow furrowed in a mighty frown.NICK pushes the revolver across the table. His face istwitching but he gives the gesture a certain flair, as ifthrowing back a challenge.MERLE stares at the revolver -- stares at it with anexpression of utter gloom. Then he reaches out, takes therevolver in his hand and pulls it toward him, as if he nolonger possessed the strength to pick it up. MERLE (CONT'D) (gloom) Who's for Merle? (he thumps his fist on the table) Is anyone for Merle???MERLE roams a glowering eve over the watching GUARDS, as ifsuddenly discovering himself among traitors. Slowly, hepushes himself to his feet. The gun is still on the table,still in his right hand, and as he gets up he lets his bodysag over it. MERLE (CONT'D) Who here is for Merle...?There is absolute silence now except for the drumming of therain. It is as if the war had disappeared, vanished. TheGUARDS stand motionless, hardly breathing, so captivated byMERLE'S performance that they suddenly resemble littlechildren. MERLE (CONT'D) Who... here... is for Merle...?MERLE begins his chant again. His voice is low, verydramatic, and the GUARD IN CHARGE joins right in. MERLE (CONT'D) (with GUARDS) MERLE IS MIGHTY! -- HA! MERLE IS STRONG! -- HA! MERLE IS MAGIC -- HA!MERLE snaps the revolver level in his hand and BLASTS theGUARD IN CHARGE, hitting him full in the face. At the sametime NICK throws himself into the GUARD who is standingbehind him, spins and slams the GUARD'S AK 47 into his chin.TWO MORE SHOTS BLAST OUT FROM MERLE'S .45 and we see TWOGUARDS crash over the kitchen table. NICK now opens up withAK 47, and as MERLE backs off beside him, also with an AK 47,they GUN the remaining GUARDS to the floor.It is over in an instant. The BODIES lie in a bloody, tangledmess under a pathetic paper lantern. The rain drones on --uninterrupted, undiminished, eternal...EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAYBarely visible against the dripping foliage -- like a shadow is a startled V.C. SOLDIER. The man takes a half-stepforward, unslings his rifle and OPENS FIRE.INT. THATCHED HUT - DAYThe SOUTH VIETNAMESE PRISONERS are hit where they stand. NICKspins, BADLY WOUNDED. MERLE throws himself on the floor andlets go with the AK 47.EXT. BAMBOO GROVE - HEAVY RAIN - DAYMERLE appears carrying NICK on his back. NICK is unconsciousand the effort that MERLE has expended to get him this farcan be measured in MERLE'S eves, which burn like dead coals.As MERLE approaches, traversing the bamboo grove along theside of a steep hill, we suddenly see SAL, stumbling alongbehind and attached to MERLE by a short rope.MERLE comes to a stop, unshoulders NICK and lays him on theground. As MERLE stands looking at NICK, gasping for breath,SAL hunches down and stares at the endless trunks of bamboowith an expression of pure terror. SAL Where are we going, Merle? Are we going home?There is a sound, so faint as to be almost imperceptible.MERLE throws himself on SAL, slamming one hand across hismouth and raising the other in case he has to silence NICK.For a moment there is nothing -- silence. The rain drones onand we can hear NICK'S breath, which comes in short, shallowrasps.The sound comes again and suddenly a PLATOON OF V.C. SOLDIERSappear, coming down through the trees. Their passage isalmost completely silent and they go by on both sides, movingdown the hill.CAMERA CLOSES SLOWLY ON MERLE'S FACE. His gums are bleedingand his skin is drawn tight so that every bone stands out inhis skull. His teeth are bared, his eyes are hollow and helooks within a hair's breadth of being completely mad.EXT. CRATERED ROADSIDE - NIGHTA huge battle is taking place nearby. The earth trembles andshakes and gigantic explosions intermittently light the sky.MERLE staggers down a ravine with NICK, loses his footing andslides to the bottom where he lies in the mud, motionless,too tired to move.SAL comes down behind. He is hunched over, like a gnome. Therope which MERLE has tied around his neck drags in the mudand his eyes are huge with terror. SAL Merle? MERLE (a whisper) Right here.SAL crouches down in the mud. SAL Where are we going, Merle? Are we going home? MERLE (barely moving his lips) Right here.Another explosion lights the sky, this one much closer. Inthe flash we see that a red American car is stranded in themiddle of the road. There is another explosion and anotherflash. The car is dusty, spattered with mud, but otherwise itappears miraculously unharmed.NICK'S breath rattles in his throat. MERLE, who lies besideNICK, holding him, has closed his eyes. SAL, who is the onlyone who has seen the car, stares at it hard, and for a longtime, trying it out with one eye and then the other. SAL Merle?No answer. SAL (CONT'D) Merle?Still no answer. SAL goes over to MERLE and shakes him.Getting no response he crosses fearfully toward theautomobile. When he gets to within a foot of it, he reachesout and touches it. SAL (CONT'D) Merle. Merle, a car!As the flashes continue to light up the sky, SAL peers at thetires and begins kicking them. SAL (CONT'D) Hey! Hey, gee!SAL crosses to the window and looks in. There is no damagewhatsoever, the keys are dangling from the ignition. SALpulls open the door and climbs in. He pumps the accelerator,hits the starter...THERE IS A FLASH OF FIRE, THEN A HUGE EXPLOSION AND THE CARGOES UP IN A FIREBALL OF FLAME.EXT. CRATERED ROADSIDE - BURNING CAR - NIGHTMERLE has dragged SAL from the car and thrown him in theditch below NICK. SAL is horribly burned and MERLE kneelsover him -- out of breath, tears streaming from his cavernouseyes -- howling with helpless rage. MERLE Damn it!!! God damn it!!!MERLE looks down at SAL. SAL'S face in a mass of raw fleshbut his eyes look up at MERLE with lunatic, unwavering trust. MERLE (CONT'D) Sal! (more gently) Sal... Goddamn it, Sal, don't you know anything? SAL Where are we going, Merle? Are we going home? MERLE (nods) Sure. Sure, Sal. We're going home.EXT. CRATERED ROADSIDE - FOLLOWING DAYREFUGEES are streaming down the road in a desperate,frightened human torrent. There is every imaginable means ofconveyance -- from bullock carts to motorbikes -- but thevast majority, carrying their meager belongings, are fleeingon foot. The burned-out car is still in the middle of theroad and the great human tide streams around it, as if itwere an island. In the distance comes the sound of machinegun fire and mortars are coming in nearby. MEDVAC helicoptersclatter overhead with wounded strapped to baskets on theskids. Now and then an ARMY CONVOY comes through, blastingthe REFUGEES into the ditch.MERLE sits alone on the embankment by the side of the road.NICK and SAL are gone and the area is littered with freshbandage packages and throw-away medical supplies. Suddenly ajeep pulls up with a two-star GENERAL in it. GENERAL Where's your unit, soldier?MERLE stares at the GENERAL -- blankly, withoutcomprehension. Finally, after a long moment, he gives aslight shrug. GENERAL (to his DRIVER) C'mon. We'll take him along.The GENERAL and the DRIVER get out and start up theembankment toward MERLE. GENERAL (CONT'D) Little R and R and you'll be standing tall again, son... Damn, this is steep! DRIVER Uh-oh. Sir.The GENERAL looks up at MERLE. MERLE is holding the pearlhandled revolver and he cocks the hammer with an audibleclick. GENERAL Uh-oh.The GENERAL and the DRIVER turn tail, scramble back down theembankment and pile in the jeep. GENERAL (CONT'D) (as they take off) Y'know, there's more fucking maniacs coming out of this conflict...MERLE watches them go without expression. On the road belowthe REFUGEES stream past -- by the hundreds, by thethousands, by the tens of thousands. For a long moment MERLEwatches, then he jams the gun in his pants and stands.EXT. EVACUATION ROUTE - DAYMERLE is walking with the fleeing REFUGEES. CAMERA PANS,HOLDING ON MERLE as he grows smaller and smaller -- to aspeck in the vast human torrent. DISSOLVE TO:INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - SAIGON - DAYThe room is tiny, a cubicle furnished with a chair. NICK isalone, standing at the window looking out. He wears illfitting civilian clothes whose colors are too bright for-thepallor of his skin. Around his neck is a piece of plastic onwhich is stapled a colored paper marker. Departing aircraftthunder overhead and there is the sound of some nearbyhydraulic mechanism.EXT. LOADING RAMP (NICK'S POV) - U.S. MILITARY HOSPITAL - DAYBlack BODY BAGS are laid out in countless rows on the hotconcrete TWO PFC's are stacking them on pallets and MOREPFC's, driving hydraulic LIFTERS, are loading the palletsinto the cavernous hold of a huge JET TRANSPORT.INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - DAYNICK turns away from the window and sits down in the chair.Suddenly the door bursts open and a harassed DOCTOR comes in. DOCTOR Is your name Solomon?NICK shakes his head. DOCTOR (CONT'D) Are you sure?NICK nods. DOCTOR (CONT'D) Lemme see this.The DOCTOR looks at the paper marker on NICK's neck. DOCTOR (CONT'D) Is this yours?NICK nods. DOCTOR (CONT'D) This isn't yours. This can't be yours! I'm going to take this one off and cut it up... (he extracts a pair of scissors and does so) Shred it... so no one gets a hold of it. What I'm going to do now, I'm going to give you this one. (he staples a new marker around NICK's neck) There. How's that? Does that feel better?NICK nods. The DOCTOR directs a finger at him. DOCTOR (CONT'D) That one's yours.The DOCTOR slams back out the door. Another jet thundersoverhead. The hydraulic LIFTERS on the loading ramp shriekand whine...NICK reaches for the new paper marker on his neck and peersdown at it from the corner of his eye. It seems to remind himof something and he takes out his wallet. In his wallet is aPHOTOGRAPH of LINDA. NICK peers at the photograph intently,then closes his wallet and puts it away.INT. U.S. ARMY TELEPHONE CENTER - SAIGON - DAYBanks of telephones line the wall. Stretching out from thetelephones are long, ragged lines of SERVICEMEN waiting tocall home. The room is huge, full of echoes. Re-enlistmentposters are plastered everywhere and CANNED LATIN MUSIC isplaying.NICK stands in one of the lines with only one person in frontof him. He looks anxious. He takes out his wallet again,peers intently at LINDA'S PHOTOGRAPH, then puts it back.NICK takes a half-step forward -- staring at the telephone --and then he stops, frozen with fear. GUM CHEWER BEHIND Go on, babe. Take it. 'S all yours! NICK (mumbles) You go ahead.CAMERA HOLDS ON NICK as he turns out of the line and headsfor the exit under a long row of CLOCKS.EXT. BUSY STREET - SAIGON - DAYNICK comes along the sidewalk in a CROWD OF PEDESTRIANS. Heis drunk and he moves aimlessly, as if he had been driftingalong for hours. As he comes to a stop, staring at a SOUTHVIETNAMESE who has lost both legs, he fumbles in his pocketfor a pint of whiskey, empties the bottle and drops it in thegutter. Suddenly, across the street, something catches hiseye. NICK (calling) Sal...! Sal!!!NICK throws himself into the traffic, headlong, without evenlooking.Vehicles swerve and screech to a stop. NICK dodges betweenthem, gains the sidewalk on the other side and claps his handon the back of a passing SOLDIER. The SOLDIER turns. It isnot SAL at all and the resemblance is not even close. NICK (CONT'D) Sorry... Thought you were someone else.The SOLDIER continues on his way. The CROWD streams on, a seaof bobbing, brilliant color. NICK gropes in his pocket andproduces another pint bottle. He unscrews the cap and downs along swallow.INT. BAR - SAIGON - NIGHTThe place is very dark. LOUD MUSIC is playing. Partially-cladBAR GIRLS are dancing with the CUSTOMERS, while above, on akind of trapeze, NAKED GIRLS are performing obscenecontortions.NICK sits at one of the tables. By now he is very drunk and aBAR GIRL is giving him her undivided attention. NICK I love Linda, see. I love Linda more than I can even say. BAR GIRL Everybody love Linda. NICK That's right. That's exactly what I mean! BAR GIRL I love Linda. Myself, I love Linda so much! NICK Only,good people love Linda, see. What Linda has, Linda -- BAR GIRL (in his ear) How you like to have nice fuck with Linda? You like that? Special, crazy fuck just like with Linda? NICK (stares at her) You mean...? BAR GIRL I show you. Come. You come. (pulls him to his feet) Linda have special, crazy fuck. That right?NICK nods. He looks as if he might be about to cry. BAR GIRL (CONT'D) I give you special, crazy fuck, just like Linda. Come. You come. Linda cry, make crazy moan?NICK nods. BAR GIRL (CONT'D) I give you cry, crazy moan. Come. You come.INT. CORRIDOR - BAR - NIGHTThe BAR GIRL comes around the corner with NICK, guiding himto a flight of narrow stairs. She has one hand around hiswaist and the other down the front of his pants. BAR GIRL You like to call me Linda now? NICK Linda, yeah. BAR GIRL You call me Linda, just like home.Suddenly NICK draws to a stop, staring at a small window atthe end of the corridor. He tears himself loose from the BARGIRL and pushes up against the glass.EXT. NARROW STREET (NICK'S POV) - NIGHTSeated on the sidewalk against the wall of the oppositebuilding is an OLD MAN surrounded by a collection of whiteceramic elephants. A truck roars by in front of him.Motorcycles sputter past and PEDESTRIANS hurry in bothdirections. The OLD MAN sits motionless, like the guardian ofsome timeless, silent kingdom.INT. CORRIDOR - BAR - NIGHTNICK spins away from the window. NICK Hey... Hey, elephants! Look at those elephants!The BAR GIRL stares at him. NICK (CONT'D) Linda loves elephants! Linda... she loves 'em!NICK turns and charges back down the corridor with the BARGIRL hot on his tail. BAR GIRL Wait! First I give you special fuck! NICK Elephants! Make way... I gotta get elephants!EXT. NARROW STREET - NIGHTNICK paces up and down in front of the OLD MAN and hisceramic elephants. NICK Great... These are great. I wanna tell you these are great elephants! I'm going home, see... Stateside in a few days and my wife Linda, she loves elephants. She... she has a thing for elephants because elephants... Elephants go on. You know what I mean? They go right on. I don't know if they cry. Maybe at night. I mean... What I mean is my two best buddies are dead, see, MIA, who knows, and they would have liked some elephants also because... How much are these elephants? I mean let's talk elephant. (notices a GROUP OF STREET URCHINS) Hey you guys...! Over here! Come over here and carry elephants!The STREET URCHINS come running. They are ragged,malnourished, ranging in age from about six to nine. They arecovered with sores. One of them ~as lost an eye and anotherhas lost a hand. NICK (CONT'D) Everyone take an elephant! (to the YOUNGEST URCHIN) You know how to carry an elephant? (the URCHIN nods) That's what I thought. Right off I figured you as that kind of guy. Hey, wait a minute, I gotta get change. Take an elephant! Everyone take an elephant and then form up. Right here. Over here, like this, in a nice long elephant line... Good. That's good. Man, look at all these elephants! One, two, three, four, five, six, seven, eight, nine, ten... eleven elephants! (surveys them) Hey, but you gotta stand tall to carry elephants. (he illustrates) Better. That's better. I mean... God damn, I mean that's elephants now! Wait. Now you wait while I get change.NICK dives into a nearby bar.INT. NEARBY BAR - NIGHTThe place is as dark as the one before. MUSIC BLASTS from ajukebox and two vaseline-covered GIRLS are dancing. As NICKcrosses to the bar to get change there is a WHISTLING SCREAMand then the FRONT WALL OF THE BUILDING DISINTEGRATES IN AROAR OF NOISE.NICK pulls himself out of the debris. There is absolutesilence in the WRECKED BAR but rockets are coming in all overthe city and the EXPLOSIONS rumble and roar.EXT. NARROW STREET AFTER ROCKET EXPLOSION - NIGHTA nearby building is burning fiercely. The street is desertedexcept for the sprawled CORPSES of the STREET URCHINS whichlie this way and that, like broken dolls.NICK walks out past the CORPSES. The street is littered withfragments of broken ceramic -- gleaming, pure white, likechunks of snow.EXT. DESERTED STREET - SAIGON - NIGHTThe sky is alight with fires. Now and then HUGE EXPLOSIONSrock the night and SIRENS wail.A lone figure appears, walking down the middle of the street.As the figure approaches we see that it is NICK. NICK (toneless, over and over) Hey, hey, the wind does blow. Hey, hey, the snow does snow. Hey, hey, the rain does rain...NICK swallows, as if to force back some overwhelming emotion.Then, squatting down under a lamp post, he begins again. NICK (CONT'D) Hey, hey, the wind does blow. Hey, hey, the snow does snow...NICK takes out his wallet, opens it hurriedly to thePHOTOGRAPH OF LINDA and peers at it with a kind of ferociousdetermination, as if this link were the last, as if bystaring at it hard he could make it hold. NICK (CONT'D) (his voice thin, cracking) Hey, hey, the wind does blow. Hey, hey, the snow does snow --There is the sharp report of a pistol SHOT and then, as NICKspins, staring at a shuttered building, there is theunmistakable sound of APPLAUSE.NICK stares at the building for a long moment, then hecrosses toward it.EXT. YARD BEHIND BUILDING - SAIGON - NIGHTA tiny light glows inside a paper lantern. Lying on thearound are three CORPSES, all of them Asian, all of themexpensively dressed and all of them with their heads blownoff. As NICK stands looking at them a door comes open on theback of the building,and TWO BURLY MEN bring out anothercorpse. The body is that of a young American. Like the Asianshe is expensively dressed and he is dead from a bullet in theright temple. MAN (V.O.) If you are brave and lucky I can make you rich.NICK turns. A MAN is standing in the shadows of a small grapearbor, eyeing him with a look of cold amusement. The MAN'Saccent is French. Beside him, on a small white table, is abottle of champagne and several glasses. MAN (CONT'D) You have played?NICK stares at the MAN, nods. MAN (CONT'D) Once you have played it is not so hard. Cigarette?NICK shakes his head. MAN (CONT'D) You seem... disturbed. NICK I... No. You do this for money? MAN Mais certainment... A great deal of money. Naturally I do not do it myself. I myself do not possess the nerve. (smiles) But I am always... how do you say... looking out for those who do... It is a thing quite rare. Champagne perhaps? Tch, tch. Don't say no. When a man says no to champagne, he says no to life and that no man must ever do. (gives NICK a glass) Where did you play? NICK Up north. MAN Ah yes. Of course... So few survive. (smiles) La creme de la creme... How did you obtain release? NICK Playing. MAN (raises his eyebrows) Playing? NICK We... Three bullets. MAN And then you...The MAN makes a clicking sound, three times, as if firing apistol. NICK nods. MAN (CONT'D) How extremely clever. That is really most extraordinaire... Allow me please to introduce myself. I am Armand... And you are? NICK Nick. ARMAND Nick. C'est extraordinaire! Do you know that I have a cousin who is called Nicholas and a nephew Nickolai. So you are, comme on dit, en famille. In the family.There is another SHOT from inside and another round ofAPPLAUSE. NICK I have to go. ARMAND But you must come in. NICK No, I -- ARMAND But I insist. NICK I have to go. ARMAND You are frightened, no?NICK nods. ARMAND (CONT'D) Of what is there to be afraid? The war? The war is no problem. It is a joke, a silly thing. I make one call and get you out.ARMAND refills NICK's glass. NICK looks at it. The glass isas thin as paper and the sparkling bubbles dance and hiss.NICK lifts the glass and empties in one swallow. NICK See, I'm going home. ARMAND Ah yes. Of course. (smiles) To the girl who waits. NICK (gives him a look and sits) Yeah... Do you mind if I sit? ARMAND But of course! Please make yourself comfortable. Perhaps you would enjoy some fresh caviar, or une petite glace, or --? NICK (weary, shaking his head) No. None of that. ARMAND Unfortunately I must now go in, but I leave you my card. Naturellement I pay my players cash American. Just so you know.ARMAND disappears in the darkness. Then his VOICE comesagain. ARMAND (V.O.) (CONT'D) However, should you prefer German marks, or perhaps Swiss francs, this of course can be arranged. Everything can be arranged.ARMAND moves around the side of the building and the sound ofhis FOOTSTEPS fades away. The TWO BURLY MEN come lurchingwith another CORPSE. Laughter comes from inside the buildingand there is a glimpse of AN ELEGANTLY DRESSED WOMAN seatedat a cafe table. The BURLY MEN return to the door and shut ittight. In the distance the sky goes up in a huge flash offire and then the sound of the EXPLOSION rolls across thecity like a great dead wind. DISSOLVE TO:EXT. NICK'S TRAILER - WINTER - DUSKThe trailer is all decked out with bunting and stuck, like aplum cake, with tiny American flags. Stretching from thetrailer to the side of a house across the street is a huge,hand-lettered banner which says "WELCOME HOME NICK!" and itwhips and it snaps in the cold winter wind.NICK's battered old shark-finned Cadillac is in the yard.Alongside it are a bunch of newer cars and PEOPLE are comingfrom all directions, spilling in and out of the trailer andcongregating in excited, foot-stomping, half-frozen groups.EXT. SERIES OF SHOTS - COLUMBINE AREA - DUSKWe see the OLD PRIEST on his way from the church. We see theOLDER WOMEN, wrapped in shawls and carrying cakes andcookies, trudging up the hill. We see ALBERT, JOHN and abunch of STEELWORKERS, all of them half-bombed, dragging twocases of beer on a child's sled. We see LINDA peering out thetrailer window, pale and anxious-looking. We see VINCE, whois unofficial lookout, jumping up and down at the approach ofevery car and screaming, "This is it! This is Nick!" andthen, when it isn't, saying, "Not yet! Just hold your water,I'll tell you when!"And we see an empty street into which SIX VETS from the VFWPost come tottering. The VETS are all in their old uniforms.While three of them attempt to make MUSIC on a BASS DRUM, aFIFE and an old Army BUGLE, the other three attempt to sing. VETS Three cheers for the red, white and blue...! VET #1 This is hard. VET # 2 Christ Almighty, it's fifty years! VETS Three cheers for the red, white and blue...INT. TAXICAB - DUSKNICK sits hunched forward in the back seat surrounded byunwrapped cartons containing electric appliances he hasbought for LINDA. NICK looks nervous, VERY NERVOUS.Suddenly, as the cab comes over the crest of a hill, thetrailer looms into sight, straight ahead, with VINCE hoppingup and down in the snow and the OLD VETS all marking timeunder the flapping banner. CAB DRIVER Whadda welcome! Will you lookit... Whadda welcome!NICK stares at the approaching trailer. NICK That's not it. CAB DRIVER What're you, crazy? That's not it??? You said a trailer. You said-- NICK That's not it. Keep going. Go straight. CAB DRIVER Hey, now listen. Now you said -- NICK I'm telling you that's not it! Now keep going!NICK throws himself down on the floor. NICK (CONT'D) Just keep going! Just keep going straight!EXT. NICK'S TRAILER - DUSKLINDA is outside, standing with VINCE and ALBERT. VINCE This is him. I'm telling you, this is Nick!The TAXICAB comes thudding by. LINDA, VINCE and ALBERT allwatch as it disappears over a rise. ALBERT (to VINCE) I thought that was it. VINCE So he's in the next one, Albert. I mean take it easy. I mean you're driving everybody nuts! VETS (V.O.) (singing raggedly) Three cheers for the red, white and blue...! VINCE (to LINDA) You okay?LINDA gives a thin smile. VINCE (CONT'D) It's gonna be the next one. Okay?LINDA nods. VINCE (CONT'D) It's gotta be the next one. I mean it's gotta be! Right, Albert? ALBERT Fuckin' A. It's gotta! VINCE It's gotta!EXT. MOTEL - DUSKA huge neon sign stands against the grey sky, buzzingangrily, as if it were full of bees.The TAXI DRIVER comes out of one of the units, gets back inhis cab and pulls away.INT. MOTEL - NICK'S UNIT - DUSKNICK stands in the doorway where the driver has left him. Hisduffle bag and the cartons of electric appliances are piledalong the wall by his feet. His head is thrown back and he isdraining a bottle of whiskey, gulping it down in great rawswallows. .NICK lowers the bottle, catches his breath and goes at itagain. This time, as he lowers the bottle, the stark panic isgone, but there is still fear -- blind, nameless fear, likethat of an animal run to the ground.NICK crosses to the window, grips the frame with both handsand looks out.EXT. THE STEEL MILL FROM THE MOTEL (NICK'S POV) - DUSKThe five great stacks trail ribbons of black smoke across thepale winter sky, Steam billows upward in huge, silver-edgedclouds and there is the flash and gleam of fire.INT. MOTEL - NICK'S UNIT - DUSKNICK turns back to the room. He stares at it blankly --stares at the bed, stares at the bureau, stares at the chair,then he picks up the bottle, closes his eyes and beginsgulping down whiskey -- gulping it hard, fast, as hard andfast as he can.EXT. NICK'S TRAILER - NEW ANGLE - DAWNThe banner stretching to the house across the street has beenwhipped to shreds by the wind. In the yard, parked besideNICK's black Cadillac, is another car of about the samevintage. There is a case of beer on its roof, the windows areentirely frosted over and the engine is running. After amoment TWO STEELWORKERS come down the street and knock on thetrailer door. TWO OLDER WOMEN emerge, putting on their coats,and then LINDA comes to the door and tells the STEELWORKERSshe has no news. The STEELWORKERS and the OLDER WOMEN startoff, but now one of the WOMEN points to the frosted up car.The STEELWORKERS go back, pound on the roof of the frosted upcar, pull open a few doors and go on their way. First thingout is a GIRL. Next thing out is a SECOND GIRL. Their dressesare rumpled and half-undone. Neither one has a coat and theSECOND GIRL is missing a shoe. The GIRLS both plunge backinside the car, where howling and cursing can now be heard.The GIRLS both retrieve their coats. The SECOND GIRL gets hermissing shoe, plus a bra and a pair of panties.She returns the panties to the FIRST GIRL, puts on her shoeand they both take off at a fast trot. As the two GIRLS leavethere is a cascade of empty beer cans and ALBERT, VINCE andJOHN all stagger out -- bleary-eyed, hung-over, halfundressed and freezing. LINDA comes out of the trailer withcoffee, but just as she emerges the whistle at the mill goesoff. ALBERT and VINCE begin yelling at each other, yelling atJOHN and yelling at LINDA. Then they throw themselves back inthe car and start off. The case of beer on the roof crashesto the street. They stop, pile out, pick up the cans, heavethem in the back seat and take off again.JOHN says something to LINDA and goes on his way.LINDA stands in the yard, alone, with the three cups ofcoffee.EXT. ADJOINING OVERLOOK - DAWNNICK stands half-way down a rickety wooden stairway,watching.EXT. NICK'S TRAILER - ORIGINAL ANGLE - DAWNLINDA turns and goes back inside the trailer.EXT. ADJOINING OVERLOOK - DAWNNICK swallows and starts down the stairway toward thetrailer. He hesitates, pulls the bottle from his pocket,drains the last of it and tucks it under the stairs.Straightening up, he claws at his hair, trying to comb itwith his fingers. Then he starts down again.INT. NICK'S TRAILER - DAWNCakes, cookies, six-packs of beer and bottles of wine coveralmost every inch of available space. LINDA sits on thelittle settee, wedged between two cases of Coca-Cola andhunched over a white sweater which she is attempting, withpainful slowness, to knit. LINDA is trying not to cry. She istrying her God-damnedest.There is a knock at the door. LINDA freezes. Then, trying tobe totally matter-of-fact, she puts down the sweater, crossesto the door and opens it. NICK Guess who.LINDA stares at him. NICK gives a little laugh and steps in. LINDA (throws herself in his arms) Nick! Oh, Nick, you're back!She hugs him for a moment, as hard as she can, then they pullapart. LINDA (CONT'D) I thought... Oh, Nick, I thought you were hurt, some accident. Maybe you fell or maybe some car... (back in his arms) I thought someone stole you away! NICK No. LINDA Oh, Nick! Oh I missed you so!They pull apart. LINDA (CONT'D) How are you? NICK Fine. I'm fine. How are you? LINDA Fine. I just go along, you know. Down at the market. Back here. I mean it just seems there's a million things to do!... Are you sure you're all right? I mean, what about the wound? NICK (anger) That was nothing. That wasn't anything. LINDA But -- NICK It was just the complications. I mean, you take a little thing over there and then you get complications. I mean all the guys had it. LINDA I made you a sweater. (she gets it) Here... You have to take that off.NICK removes his coat. LINDA pulls the sweater over him LINDA (CONT'D) I couldn't remember your exact size.The sweater is huge, a great rumpled thing reaching almost toNICK's knees. LINDA (CONT'D) (smoothly) Oh, that's fine. Perfect... It is a little too big... (she pulls the sweater back off) ... but I can easily fix that. Easily. One thing about wool sweaters, they are such a cinch to fix.She crosses to a garbage pail out of NICK's line of sight andstuffs the sweater in it. NICK How's the trailer? LINDA Great. Fine... Once or twice it did fall off the blocks. I don't know what that's from. NICK Frost. LINDA Is that what it is? I couldn't figure out. NICK Did you get hurt? You didn't get hurt? LINDA Oh, no. It just kind of goes thump. Would you like a Coke? You don't drink Coke. Or maybe you do. What about champagne? Let's have champagne! I don't think we have champagne. Let's have this. See? Sparkling. I'll get you an opener. Oh, that's right. No opener. Let's just have beer. Do you want some cheese? Or maybe eggs? Maybe we should have coffee.She begins to sob. CAMERA CLOSES ON HER FACE: LINDA (CONT'D) Nick? I'm so glad you're alive! I'm so happy! I... I just don't know what to do!EXT. COLUMBINE STREET - DAYNICK and LINDA are some distance away. NICK is shaking handswith an ENTHUSIASTIC MAN while LINDA stands to one side,watching his face, and so full of love that she seems aboutto burst. ANOTHER MAN comes over. LINDA takes the MAN's armand presents him to NICK.WE CANNOT HEAR WHAT IS BEING SAID. THE ONLY SOUND COMES FROMTHE MILL WHICH LOOMS UP BEHIND THEM OUT THE FROZEN VALLEYBELOW.INT. PIZZA PARLOR - TABLE BY WINDOW - DAYNICK and LINDA sit opposite one another. Across the street acoal train is rumbling slowly by and NICK is watching it. Thecars are black, interchangable, and they roll on and on.Suddenly the last car appears. The car passes and there issilence.LINDA gives NICK a smile. NICK It was all for nothing. Do you know that? It was all for nothing.LINDA stares at him. She doesn't know what to say, how torespond. NICK forces a grin, gestures with his hand andshrugs. He picks up the check, stands. LINDA Nick?... I just want to say how sorry I am about Sal and about Merle. How... I know you loved them and I know it's not the same. I mean now. NICK Naw, it's... I mean... LINDA Maybe... I don't know, if you want to talk -- NICK Naw, it's... This guy wants his money.INT. SUPERMARKET - BACK ROOM - DAYThe place is full of crates and boxes. ONE CREW is unloadinga tractor-trailer. ANOTHER CREW is stacking and unpacking.NICK stands with LINDA and a red-faced, cigar-chewing MANAGERwho is pumping NICK's hand, slapping him on the back andshouting orders all at the same time. MANAGER You did a good job, kid. Pettrucio, here! You did a good job. Gimme a count on these pears! I think we got 'em now, know what I mean? The pears, the pears! Ask me, we got 'em right by the balls, know what I mean? Have a cigar. The pears, Pettrucio, the pears!!!He goes off. NICK (to Linda) Does this... I mean, how does this job work out? LINDA Oh, it's great. Fine.NICK nods. A STOCK BOY comes by and whistles. STOCK BOY Hi you, hot lips. NICK What do they... bother you!? LINDA (takes his arm, laughs) No-o-o! NICK I'll kill 'em. Anybody bothers you, I'll kill 'em! LINDA (gently) Nick. It's okay... It's okay. (gives him a squeeze, kisses him) I have to go now.NICK nods. LINDA (CONT'D) Pick me up at eight.NICK nods again. LINDA hurries off. The MANAGER comes in frombehind, clapping NICK on the shoulder and going for his ear MANAGER That's one sweet little piece of ass. I'm telling you, that's one sweet little piece of ass. Who's got these pears, God damn it! Who's got the count on these goddamn pears!EXT. STEEL MILL PARKING LOT - DAYNICK stands by the entrance to the mill. It is cold and helooks as if he had been waiting for some time. SuddenlySTEELWORKERS begin streaming out the doors, heading for theircars. NICK cranes his neck and then he catches sight ofALBERT and VINCE. NICK Hey, Albert!ALBERT turns. He grabs VINCE and pulls him through thedeparting STEELWORKERS. VINCE What the --! ALBERT It's Nick! VINCE Nick...? (sees him) Jesus, Nick!VINCE grabs NICK's hand, shakes it. Then ALBERT does thesame. VINCE (CONT'D) Where the hell were you? We were all set -- beer, broads. Right? Am I right? ALBERT Yeah. NICK I got delayed. I -- ALBERT (hugs him) Hey, Nick! God damn!... What've you been doin', I mean... VINCE Fuckin' guy's been shooting slants, Albert! I mean, what do you think? ALBERT I know, but... VINCE What do you think? You think he's been picking flowers? Fuckin' guy's been saving your ass, Albert. Everybody's ass! Even in Europe! ALBERT Yeah. Oh, boy, yeah... Jes', you must be tired. NICK I'm fine. Hey, I'm fine.THEY start for the cars. NICK (CONT'D) How're you guys... I mean, how've you guys been? VINCE Same old thing. Hey, same like always. Nothing's changed. Albert is getting fat. ALBERT Look who's talkin'! Jes'! He got married! Vince got married! NICK Married? ALBERT Tell him, Vince. VINCE Yeah. I did. Yeah...What the hell.VINCE makes a gesture, shrugs. NICK (after a beat) Well, who'd you get married to? VINCE Aw, it's a long story! ALBERT Tell him, Vince! VINCE Well... you remember Cynthia? NICK Cynthia! Sure. VINCE (nods) That's who. NICK (fast recovery) Cynthia! Hey, that's terrific. I mean... Great! That's really great! ALBERT Show him the gun. Hey, show him the gun, Vince.VINCE looks around. Cars are streaming out of the lot, hornsblaring. VINCE pulls back his coat and shows a .38 Smith andWeston in a holster on his hip. NICK What the hell's that for? VINCE What's it for?? ALBERT He's serious. Vince is fuckin' serious! NICK You mean...? VINCE Hey, Nick, I mean... This here is for the guy that gets caught! ALBERT Vince thinks... you know... NICK (nods) Hey... hey, let's drink!INT. JOHN'S BAR - NIGHTNICK comes through the CROWD OF STEELWORKERS shaking hands.The STEELWORKERS treat him with immense respect. There are nocracks; there are no jokes. They squeeze his shoulder, pathis back, reaching out for him, touching him. STEELWORKERS Nice going! Good going, Nick! You did good, boy; you did fine! Let him through! Damn good, boy! Let him through! He's all right! Did his part and he did it good! Let him through! Let's make a little room!JOHN pushes out of the crowd. JOHN Nick! Hey, Nick! (gives him a big hug) Boy! Boy oh boy! Are you okay? You're okay, huh? NICK Fine. Hey, I'm fine. JOHN Sit down. Here. Right here. (calls) Albert! Vince!JOHN pushes them all into a booth. A tray arrives loaded withbeer and shots of whiskey. JOHN (CONT'D) Here. Here we go. (he raises a beer) Here's to you, Nick! ALBERT Fuckin' A! VINCE (stands) Here's to Nick, you guys. He did his part. He did... what hadda be done... and so he did it... and here he is!!!INT. JOHN'S BAR - NIGHT - LATERNICK sits at the bar flanked by VINCE and ALBERT. Both VINCEand ALBERT are completely glassed out. Behind, in the booths,three or four STEELWORKERS are sleeping. JOHN moves aroundbehind the counter wiping things off. JOHN Rough, huh? NICK Rough. (he nods) We didn't have to do it, John. JOHN No? NICK No. How's Angela? How's she taking it? JOHN Not so good. NICK No? JOHN Worse since she talked to him. ALBERT (with a dull beery blink) Fucking A. NICK Worse since she talked to who? JOHN Sal. NICK Talked to Sal? (stares at him) Sal's alive? JOHN Kind of. You didn't know? NICK (pushes off the counter) Sal's alive???JOHN, ALBERT and VINCE exchange glances, nod. ALBERT He's real bad, Nick. NICK (stares at them) Well, where the hell is he!!! I mean what are we all sitting here for!!! (tears begin streaming down his face) WHAT THE HELL IS THIS??? ALBERT Nick... VINCE Hey, Nick... JOHN Nick, we don't know where Sal is... Nick, Angela won't tell us. NICK Why?... What do you mean?... Why??? JOHN Nick, she won't say why. NICK But Sal's mother! What about Sal's mother! JOHN She's out of her tree, Nick. She is straight out of her tree. NICK (stares at them) Oh, Jesus.He walks in a circle and then stops, staring at them. NICK (CONT'D) Oh, Jesus!!!NICK turns and goes out.INT. SAL'S HOUSE - FRONT PARLOR - NIGHTThe room is very dark. ANGELA sits at a lace-covered table bythe window where a street lamp illuminates her in an eerieglow. ANGELA holds a portable radio in tier hand, a very tinyone, and she fiddles with the dial, going from one station toanother.There is a sound from the hallway, then SAL'S MOTHER comes inwith NICK. SAL'S MOTHER I know I know you. So familiar. Such a familiar face. Oh, I know now! The toaster man! I'll go and get it for you.SAL'S MOTHER goes out. ANGELA lights up a cigarette. ANGELA You're back. NICK Yeah. ANGELA I'm glad. Seriously... I'm very glad. NICK Angela, I just heard Sal was alive. ANGELA Sure. Why not. NICK Where? Where is he? ANGELA Nick, he's fine. He's in a hospital and they're fixing him up. NICK You talk to him? ANGELA Oh, sure... Twice a day. NICK What hospital is he in? Where? ANGELA Nick... Sal is very weak. He suffered a severe wound... and right now he doesn't want a whole lot of people to get involved in a whole thing. NICK Hey, Angela, Sal and I go back a long way. ANGELA He doesn't want people bugging him, Nick!ANGELA begins to tremble, jabs out her cigarette and standsup.She stares at NICK for a moment, goes to a telephone pad andwrites down a number in a tiny, nearly illegible scrawl. NICKcomes up behind her. ANGELA finishes, puts down the pen andstands with her back against the wall. NICK tears off thepiece of paper, looks at it, puts it in his pocket. NICK Angela...?ANGELA laughs and gives a strange, twisted smile, avoidingNICK's eyes. ANGELA Did you ever think life would turn out like this? NICK No. ANGELA You know what Sal's got now?... Sal's got... one arm, Nick, and... that's it.The door to the kitchen bangs open and SAL'S MOTHER comes inwith an electric toaster and a screwdriver. SAL'S MOTHER Here. This is it. What you do, you stick this in here.Pushes the toaster in NICK's arms. SAL'S MOTHER (CONT'D) Then you jab it, see. Jab it good. Something's in it. Hear? Listen. Something's in it. What? What's there?EXT. RUSSIAN ORTHODOX CHURCH - FRONT STEPS - NIGHTNICK sits on the steps with the toaster that Sal's mothergave him in his lap. It is snowing and from inside the churchwe hear the CHOIR SINGING. The sound is massive, deep anddark, like a great river rolling through the night.CAMERA CLOSES ON NICK. He is staring at something, tearsglistening in his eyes.EXT. ORTHODOX CHURCH - REVERSE ANGLE (NICK'S POV) - NIGHTWe see a lone telephone booth at the curb. The door is halfopen and snow is blowing in.EXT. ORTHODOX CHURCH - ORIGINAL ANGLE - NIGHTNICK closes his eyes, leans his head forward and takes it inhis hands.INT. MOTEL NICK'S UNIT - BATHROOM - NIGHTLINDA steps out of the shower and begins to dry herself. LINDA It just seems sort of strange coming to a motel... Like a honeymoon. Or some kind of parlez vous ... Not parlez-vous! (she giggles) What am I saying? That's those cocktails! Parlez-vous!... What I mean is rendezvous. Some kind of rendezvous.LINDA pulls on a short and very sexy nightie, then looks atherself in the mirror. She is very excited, very nervous. Shestrikes a pose, pulling up the bottom of the nightie andpoking a finger in her mouth. LINDA (CONT'D) Do you know what I mean?... Nick?NICK doesn't answer. LINDA pulls the door full open, takesone last look at herself and goes out.INT. MOTEL - NICK'S UNIT - BEDROOM - NIGHTAs LINDA comes out of the bathroom her face falls and shestops dead in her tracks.NICK is lying on the bed -- sprawled on his back, one shoeoff and sound asleep. LINDA Nick?NICK doesn't stir, doesn't budge. LINDA crosses and looks athim -- hungrily, top to bottom -- then she gives his toe awistful shake. LINDA (CONT'D) Nick...? Nick, it's me!But NICK is out, gone. LINDA lets out a little moan and sitsdown on the chair beside the bed. Then, almost immediately,she stands and begins taking off his clothes. She takes offhis shoes, then both socks. As she goes to undo his belt, hisshirt, which is unbuttoned, falls slightly open, revealing afresh scar. LINDA stares at the scar for a moment, then sheslowly exposes the whole of NICK's chest.NICK'S CHEST IS COVERED WITH A SERIES OF TERRIFYING FRESHSCARS. THE SCARS ARE RAISED; THEY ARE INTER-CONNECTED ANDSTUDDED WITH ANGRY SUTURE MARKS, LIKE A TOPOGRAPHICAL MAP OFSOME UNKNOWN BATTLEGROUND.CAMERA HOLDS ON LINDA'S FACE. DISSOLVE TO:INT. STEEL MILL - CASTING ROOM - DAYNICK stands at the handle of a long metal rod. At the otherend of the rod ALBERT and VINCE are attaching metallicstrips. When ALBERT and VINCE have secured the strips theysignal to NICK and all three of them lower their goggles.CAMERA PULLS SLOWLY BACK. NICK is standing below a furnacewhich is seven stories high, towering above him into a mazeof cat-walks and monstrous steel-hipped cranes.ALBERT and VINCE give a signal and the CRANE OPERATOR raisesthe door at the bottom of the furnace. NICK is now alone,standing like Don Quixote with his lance. As NICK advancestoward the base of the furnace with his rod the surface ofhis asbestos suit begins to smoke and bits of lint which havestuck to it burst into flame. Within reach of the furnacenow, NICK pauses. Then, lifting the metal rod, he jams itthrough the open doorway at the base of the furnace. There isa white flash as the metallic strips explode and then ageyser of molten steel erupts in a huge jet through thedoorway, passing NICK at the level of his shoulders andshowering him in a great cascade of white sparks.INT. JOHN'S BAR - NIGHTNICK sits at the bar, silent, hunched over a beer, lost inthought. All around him STEELWORKERS are shouting, yelling,cracking jokes. After a moment VINCE pushes in, claps him onthe back. VINCE How's it feel, huh? How's it feel to be back? NICK (forced enthusiasm) Great. Feels great... Fuckin' A! VINCE I mean, I guess you still think about Nam. Right? I mean -- NICK Naw. (shakes his head) Uh-huh. VINCE Hey, Nick, you ever do it with one of those slants? NICK No. VINCE No! NICK Never one. VINCE Oh, Jesus! (looks around) You're kiddin'! NICK One, Vince... you have to understand, doing it with one... would be... like nothing. They're small, see, so if you're smart you get about six or eight. I mean, if you want to have any fun. VINCE Six or eight. (nods) And they go wild? NICK (lowers his voice) They have these little sticks, Vince. They call them "chomp chomps", and when you get these girls going, you have to stick 'em in their mouths.VINCE stares at NICK. His respiration is up, his mouth isbone dry and his eyes are as big as saucers. For a moment hisbelief is total, then a frown crosses his face. VINCE You're full of shit! NICK (nods) Yeah. VINCE (pounding him on the head) And I believed you! I oughta punch you out! I oughta...! Hey. Hey, let's go huntin'! Albert! Hey, Albert! Let's go huntin'. What do you say? Nick? What do you say? NICK Sure. ALBERT Hey! Fuckin' A! Hey!He spots JOHN passing with a tray of beer. ALBERT (CONT'D) Hey, John!ALBERT scoops JOHN into his arms where he holds him frombehind. JOHN Yes, Albert? ALBERT (into his ear) John,we're going huntin'. JOHN Who's going? ALBERT We're all going. JOHN Nick's going? ALBERT Nick, Vince, Albert and John. JOHN No women? OTHERS No! No women! Jesus! What are you, crazy? JOHN Take these beers.They all take a beer. JOHN raises his glass, solemnly. JOHN (CONT'D) Here's to huntin'. ALBERT Hey! Fuckin' A! VINCE (hopping up and down) Just like always! Just like it always was! Right, Nick? Am I right? NICK In the timeless words of Squire Albert...VINCE cracks up, howling. VINCE Squire Albert...VINCE collapses on the floor. NICK In the timeless words of Squire Albert... ALL (in a ragged chorus) Hey! Fuckin' A!!!INT. NICK'S TRAILER - NIGHTNICK sits on the bed in the back part of the trailer. Hishunting gear is piled on the floor, the lights are out and heis staring at the telephone which is illuminated through thewindow by a street light on the corner. There is a soundoutside, then the lights come on as LINDA enters withgroceries. LINDA Nick? NICK Right here.LINDA crosses to the doorway. LINDA What are you doing? NICK Oh. Nothing... Sitting. LINDA You're going hunting? NICK (blankly) What? LINDA I see you're going hunting.NICK looks at the equipment on the floor. NICK Yeah... All the guys, we're all going huntin'. Like we did. You know? Like we always used to. LINDA That's wonderful. I think you should... fresh air.NICK gets to his feet, suddenly. His face is twisted withpain and his voice is cracked with emotion. NICK You know how sometimes you're going along... You're going along... And that's all...! One thing is right after another, like steps... And you step along.NICK can hardly breathe. It is as if he were choking. NICK (CONT'D) I don't know where that is... It's gone! That's gone!A car pulls up outside. The HORN begins blowing, then VINCEand ALBERT begin pounding on the wall of the trailer. VINCE (V.O.) Let's go!!! ALBERT (V.O.) Hey! Fuckin' A! Time to roll!!! NICK I gotta go.NICK swings his pack on his back, picks up his rifle andheads for the door. LINDA follows, still clutching hergroceries, her emotions so pulverized she can't even speak. NICK (CONT'D) I'll be... I don't know... Couple of days.NICK IS GONE. LINDA STANDS MOTIONLESS, CLUTCHING HERGROCERIES, STARING AT THE TRAILER DOOR. IT IS DARK OUTSIDE.SNOW IS BLOWING IN. THE DOOR CLOSES SLOWLY, WITH A FAINTHISS, AND THEN CLICKS SHUT.EXT. MOUNTAINS - MIXED HARDWOOD FOREST - DAYSnow is blowing, swirling past the trunks of stark, icecovered trees. There is no horizon. Sky and earth are boundin a moan of wind, in the faint creak of frozen limbs and thewhispering, fitful, spinning flakes.NICK appears, suddenly, as a gust of wind shifts the slantingsnow. NICK is moving easily, heading slightly uphill,following the contour of the slope. As he draws closer we seethat he is following a SET OF FRESH TRACKS.EXT. MOUNTAINS - MIXED HARDWOODS - ROCK LEDGE - DAYA magnificent SEVEN POINT BUCK stands by a grove of hemlocks,looking down the slope.NICK appears below, barely visible in the swirling snow.The BUCK watches NICK for a moment, then turns unhurriedlyand vanishes into the trees.EXT. RIDGE NEAR CAMP - DAYVINCE is out of breath, clawing his way up a steep slope onall fours. JOHN and ALBERT, who have reached a level areaabove VINCE, unsling their rifles. SHOTS are going off inevery direction and the sound is so magnified by echoes thatit sounds like a full scale war. VINCE What are you, kiddin'? Are you kiddin' me, Albert? Twenty times I coulda had her! She...! One time she begged me, practically begged me. Listen, I had her tit, which was out, in one hand, and my other hand... You know that mole on the inside of her right leg? Well, I was past that mole, way past that mole, and I was --JOHN nudges ALBERT. FOUR DEER are coming down the slope,single file. JOHN and ALBERT raise their rifles and FIRE. TWOOF THE DEER FALL AND THE REMAINING TAKE OFF. VINCE, who isjust getting to his feet, unslings his rifle, trips and fallsdown. JOHN and ALBERT drag VINCE to his feet and then rushover to the TWO DEAD DEER. VINCE (CONT'D) (coming after them) Nice shootin', you guys. Not bad. Not half bad.Leans his rifle on the horns of one of the fallen DEER. VINCE (CONT'D) 'Course how could you miss, right? Twenty, maybe thirty feet. I mean, if I'd'a been where you guys were -- JOHN Psst. Vince!JOHN signals with his head. VINCE turns. ANOTHER DEER hascome out of the woods. The DEER is rattled by the gunfire andpeers at VINCE uncertainly. VINCE spins and grabs his gun,which immediately goes off. He slams another shell in thechamber and scrambles to his feet but the rifle sling ishooked on the antlers of the DEAD DEER and another shotricochets off a nearby rock. JOHN and ALBERT dive for cover.As they look up, they see the DEER trot down the slope andthen VINCE, firing wildly, running after it.EXT. MOUNTAINS - RIDGE TOP - DAYThe wind is much stronger, moaning in the trees. NICKappears, moving fast, at a near trot. Suddenly he stops,listening. At the same moment there is a snort. NICK wheels.The BUCK is behind him, bounding away.EXT. MOUNTAINS - RIDGE TOP - DAYThe BUCK appears, trotting out of the swirling snow. Reachinga deadfall the BUCK pauses, looking back, and then turnssharp left and disappears.NICK comes out of the snow. He is winded but still goinghard.EXT. MOUNTAINS - DEADFALL - DAYNICK reaches the deadfall, hesitates, then rapidly springsover. As he touches down on the other side there is agrowling sound.NICK grabs for the deadfall. The wind shifts and we see thathe has stepped onto a boulder which is loosely planted at thetop of a steep scree slope. As NICK watches, the boulderbegins to roll, then to bound, dislodging other rocks andboulders, all of them bouncing and leaping and cracking...and then falling -- soundless -- over a sheer ledge tounknown depths below.EXT. BUSTED-DOWN OLD LOGGERS SHACK - DAYALBERT and JOHN have dragged their TWO DEAD DEER to a logbeside the shack. They sit side by side, drenched in sweat,guzzling beer out of both hands. JOHN Sweet! Oh, that is sweet! ALBERT Hey! Fuckin' A! Just... just like a hot shit... except cold.JOHN lowers his beer. ALBERT gives him a blank expression,then cracks up. SHOTS explode nearby. At first the shots arescattered but they quickly open into a FULL BARRAGE. ALBERTand JOHN stand up.EXT. HIGHWAY EMBANKMENT - DAYThe DEER that VINCE was chasing earlier comes hobbling out ofthe woods pursued by a GROUP OF HALF-DRUNK HUNTERS. VINCEcomes barreling through the HUNTERS, shouting and screaming.VINCE's clothes are in tatters, the sole is gone from oneshoe and the barrel of his rifle is jammed up with mud andperceptibly bent. VINCE I got this one!!! This one's mine!!!VINCE loses his footing and rolls down the embankment, headover heels.EXT. DITCH - DAYVINCE comes up ten feet from the bewildered DEER. He raiseshis rifle, fires, and the BARREL SPLITS OPEN. SHOTS begincoming in, thudding in the mud and ricocheting off rocks. TheDEER wheels out on the highway. VINCE heaves his rifle at theDEER, draws his pistol...EXT. HIGHWAY - DAYCars are parked on both sides of the road. HUNTERS aresitting in the cars, drinking, eating sandwiches and warmingthemselves at small fires. MORE HUNTERS are up on theembankment. VINCE I got this one!!! This one's mine!!!The panicked DEER bolts down the highway between the parkedcars. The HUNTERS ON THE EMBANKMENT open fire. The HUNTERS INTHE CARS dive for cover. VINCE (CONT'D) Hold your fire! I got this one!!!VINCE FIRES, FIRES AGAIN. SHOTS are ringing everywhere.HUNTERS are shouting, running, yelling. A car window goesout, a headlight goes out. The DEER is hit, falls and getsup. VINCE takes aim. A FLEEING HUNTER bowls him over. TheDEER bolts for the woods, bullets smashing all around it.VINCE scrambles to his feet and plunges after it. VINCE (CONT'D) I got it! I got this one!EXT. WOODS - DAYThe DEER staggers through the trees, blood pouring from itswounds. VINCE comes stumbling after it. HE FIRES, FIRESAGAIN.EXT. BUSTED-DOWN OLD LOGGERS SHACK - DAYALBERT and JOHN stand with their beers, looking into thewoods. A shot zings by, close, and they dive behind a log.The DEER comes out of the woods, barely able to keep moving.VINCE appears, reeling. He takes aim at the DEER and there isa DULL CLICK. VINCE jams his pistol back in his holster. VINCE Gun! Gimme gun!!!ALBERT indicates his rifle. VINCE stumbles over to it, rams acartridge in the chamber. VINCE (CONT'D) (looks around, bewildered) Where's it gone? JOHN Inside, Vince.VINCE staggers to the cabin door. The DEER is lying on thefloor, motionless, DEAD. VINCE I got it! Hey, you guys, I got it!!!EXT. MOUNTAINS - FROZEN LAKE - DAYThe wind is blowing in gusts, slanting the snow first one wayand then the other. NICK appears in the distance, a blackspeck in the endless expanse of shifting white.As NICK draws closer we see that he is near exhaustion. Hisclothes are , caked with snow, his breath comes in a shallowgasp and his gait is uneven, favoring one leg. As NICKAPPROACHES CAMERA HE FALTERS AND LIMPS TO A STOP. There areno tracks. There is nothing to go by and he hunkers down inthe driving snow.The wind bangs in from one way, then it shifts and bangs inagain from another way. Suddenly it stops entirely. In thesilence there is a sound -- the click of a hoof on rock.NICK turns. The BUCK is standing on the shoreline, not thirtyfeet away, looking down at him.NICK pushes himself to his feet, raises his rifle and sightsdown the barrel.WE SEE THE BUCK THROUGH NICK'S SIGHTS. IT IS A CLEAR SHOT.NICK'S FINGER IS ON THE TRIGGER. HE HAS ONLY TO SQUEEZE IT.NICK LOWERS HIS RIFLE. THE BUCK SNORTS, TOSSES HIS HORNS ANDDISAPPEARS IN THE SLANTING SNOW.NICK STANDS MOTIONLESS, STARING AFTER IT, SO WONDER-STRUCK HEHAS FORGOTTEN TO BREATHE. NICK (grins) Damn... God damn...EXT. MOUNTAINS - OVERLOOK - DAYNICK sits on his haunches with his back against a sheer rockface. As he devours a Hostess Twinkie he looks out over asnow-shrouded landscape of such spectacular beauty that itmight be something from a dream. NICK (shouts) Hey! Hey... okay!INT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHTThe Coleman lantern hangs from the rafter, rocking in thewind. NICK is propped against the wall, dozing. JOHN is outcold. ALBERT and VINCE are both drunk and arguing bitterly. ALBERT You're full of shit, Vince! You're so full of shit you're going to float away! VINCE Who? Who is? ALBERT You, Vince! You! You are! You're a crock! You're a walking, talking crock!... I mean, what do you know? VINCE I know! I fuckin' know! ALBERT You don't! VINCE I do!!! ALBERT I'm tellin' you she does it, Vince! With twenty guys you know! VINCE She does not! ALBERT Then what's the gun for! What's this for? VINCE In case!!! The gun's in case!!! ALBERT In case???!!! In case of what? In case you stumble on her, suckin' cock in the front fucking hall?! VINCE She might!!! She might do it, Albert, but you can't fuckin' tell me that she does!!! ALBERT She does, Vince! That's what I'm telling you! She does!!!VINCE is sheet-white, trembling. He grabs up the pistol andcocks it. VINCE (shrieking) Say that one more time!... Say it!!! Go on, say it!!!NICK is half-way up the wall, still half-asleep, staring atthe pistol in disbelief. Suddenly he springs, seizes the gunwith one hand and slams VINCE to the floor. VINCE gets up.NICK slugs him in the face, knees him in the stomach andbegins pounding his head against the wall. ALBERT lurchesover, pulls NICK away. ALBERT Nick! Nick, you'll kill him!... Easy. Nick, easy! Hey, hey. Vince goes back a long way. NICK (grimly) Yeah.VINCE gets to his feet. Blood is streaming down his face. VINCE What the hell was that! (picks up the pistol) What did you think? Did you think it was loaded! NICK You loaded it, Vince! I saw you! VINCE The fuck I did!!! NICK The fuck you didn't!... Gimme that!NICK takes the pistol. VINCE What do you think? You think I don't know!!!NICK looks at him, then he EMPTIES THE PISTOL INTO THE FLOOR.For a moment there is absolute silence. The wind moans in thetrees, snow curls through the open door and JOHN, who isstill soundly sleeping, finds a new note on which to snore.NICK looks down at the pistol, turns it over in his hands... NICK I'm going to throw this fuckin' thing away.NICK goes out.EXT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHTFor a moment NICK stands in the light from the door,listening to the wind. He looks down at the pistol again,then he heaves it into the trees.The wind gusts. The snow swirls and hisses, slipping throughthe woods in great streaming wraiths.NICK watches it for a moment, then he turns and goes back in.EXT. NICK'S TRAILER - DUSKThe trailer is lonely looking, DARK and cold. VINCE pullsinto the yard beside NICK's car and skips to a stop. NICKgets out, says a few words to VINCE and everyone laughs. NICKgoes around to the trunk, removes his gear, slams the lid andpounds on the car. VINCE takes off, thudding over the curbwith his load of THREE DEAD DEER.NICK crosses to the trailer and goes inside.INT. V.A. HOSPITAL - RECREATION ROOM - NIGHTTWO DOZEN AMPUTEES in wheelchairs are watching a western.INT. V.A. HOSPITAL - CORRIDOR OFF RECREATION ROOM - NIGHTIn the foreground a NURSE holds a telephone. Beyond the NURSEwe see a wizzened figure in a wheelchair coming slowly downthe polished corridor. As the figure draws closer we realizeit is SAL. SAL is dressed in a white hospital gown, thebottom of which hangs over the front of the wheelchair andtrails limply on the floor. Both SAL's legs have beenamputated and he has lost one arm. His face is terriblyscarred and what expression he displays is centered in hiseyes.SAL takes the telephone. THE SOUNDTRACK FROM THE MOVIE IN THERECREATION ROOM IS VERY LOUD. SAL Hello?INT. NICK'S TRAILER - NIGHTNICK sits in a little chair by the window, still in hishunting clothes, huddled anxiously over the receiver. NICK Sal? Sal, it's me, Nick. SAL Nick. Hey. How's things? NICK Oh. You know. How's it with you? SAL Same. Hey. Same old stuff. NICK (he can hardly hear) What's that noise? SAL What? NICK What's that noise? SAL John Wayne... Listen, Nick -- NICK Great. Hey. That's great. SAL Listen, Nick -- NICK John Wayne's great... Listen, Sal. Jesus. When are you getting out? SAL I'm gonna stay here, Nick. NICK (hearing it) What? SAL (with everything he has) Place is great. Really. One great place... Basketball, bowling. You name it. Canasta. Hearts. Lots of guys are making salad bowls. What I'll do is make a salad bowl for you, unless you'd rather have a pencil holder. The pencil holder's neat, I mean -- NICK Wait a minute. Sal. Hold it. John Wayne's making so much noise I can hardly -- SAL I gotta get back, Nick.SAL looks around in desperation. SAL (CONT'D) They're passing out popcorn now, so I'll be talking to you... maybe next year.INT. NICK'S TRAILER - NIGHTNICK holds the receiver, staring into it. There is the SOUNDOF WHOOPING, GRUNTING, THUNDERING HOOVES... NICK Sal?... Sal?INT. V.A. HOSPITAL - CORRIDOR OFF RECREATION ROOM - NIGHTSAL is wheeling himself rapidly down the polished corridor.At the doorway to the recreation room he pauses, looking backat the DANGLING RECEIVER. Then he turns and disappears intothe flickering darkness, where BUGLES are sounding a cavalrycharge.INT. NICK'S TRAILER - NIGHTNICK listens to the SOUND OF THE BUGLES for a moment, thenputs the receiver back on the telephone. He stands, walksaround in a little circle - pained, terribly upset. His eyefalls on the clock. It is nearly eight o'clock. He turns,hurries out the door.EXT. SUPERMARKET PARKING LOT - NIGHTThe lot is empty except for scores of abandoned shoppingcarts which a CLERK is banging together.NICK gets out of his car and goes in.INT. SUPERMARKET - NIGHTTwo or three CHECKERS are closing out the registers up front. CHECKER She's in back. NICK Thanks. CHECKER How was huntin'? NICK Oh. Fine. CHECKER Get anything? NICK No. CHECKER Too bad.NICK goes down a long aisle of bright packages. Coming out atthe back he finds LINDA sitting in a green plastic chair,crying. NICK Linda... Honey, what's wrong? LINDA (helpless shrug) I don't know. NICK Hey. Look. There must be something.LINDA looks at him, tears streaming down her face. LINDA I'm just so lonely. NICK C'mon. I've got the car. LINDA (shakes her head) I'll be out... Just leave me. I'll be out. I'm fine. Really. I'm fine.NICK walks back down the aisle between the bright packages.INT. NICK'S CAR - SUPERMARKET PARKING LOT - NIGHTThe CLERK is still collecting abandoned shopping carts. Thecarts crash and clank as the CLERK rams them together.NICK sits behind the wheel, watching the clerk. His handsbegin shaking uncontrollably and he gets back out of the car.EXT. SUPERMARKET PARKING LOT - NICK'S CAR - NIGHTNICK watches the lights go out in the market. LINDA comes outof the door and crosses towards him. NICK You okay?LINDA nods. NICK fumbles for the door. LINDA Let's make love, Nick.LINDA takes him in her arms and holds him tight. LINDA (CONT'D) Let's make love forever!INT. NICK'S TRAILER - NIGHTLINDA is asleep - lying on her back, arms flung out acrossthe pillows, like a dancer leaping.NICK stands beside the bed, wrapped in a blanket, lookingdown at her. After a moment he draws the covers over her,fusses with her slippers until they are straight and thengoes to the window.EXT. STREET IN FRONT OF NICK'S TRAILER (NICK'S POV) - NIGHTThe wind is blowing. Bits of trash skitter and swirl in thefrozen ruts and a cat comes by, MEOWING. Suddenly a MANappears walking slowly down the street. The MAN is elegantlydressed in Western attire, wearing a tailored suit with vest,polished boots and a Stetson hat. As the MAN draws under thelight of a street lamp he pauses, looking at NICK's trailer.THE MAN IS MERLE, OR IF NOT MERLE IT IS A FACE SO STRIKINGLYSIMILAR THAT NICK ALMOST LETS OUT A CRY.THE MAN UNDER THE STREET LAMP PAUSES, JUST FOR AN INSTANT,THEN HE TURNS AND MOVES ON DOWN THE STREET.INT. NICK'S TRAILER - NIGHTNICK backs away from the window. For a moment he standsmotionless, hardly able to believe his eyes. He looks over atLINDA, he looks down at a chair, then he pushes his face tothe window again.EXT. STREET (NICK'S POV) - NIGHTThe street is empty. The MAN is gone.INT. NICK'S TRAILER - NIGHTNICK hesitates, then he sheds the blanket and pulls on pants,shirt, jacket and jams his sockless feet into a pair ofslices.EXT. NICK'S TRAILER - NIGHTNICK comes out into the street. There is no one in sight.NICK crosses to the intersection of Columbine.EXT. INTERSECTION OF COLUMBINE - NIGHTNo one. Nothing. A beer can rolling in the wind.NICK jams himself against a wall, zippers his jacket. He isirked with himself, a little frightened. Suddenly he hears acar door close and en engine start up. A black limousinepulls out of a nearby street and comes past him slowly. ACHAUFFEUR is at the wheel.The PASSENGER in back appears to be the MAN he saw, but theMAN is looking out the window on the other side and his faceis not visible.As NICK watches, the limousine rapidly gathers speed. Thetail lights grow small, then the car dips over a hill anddisappears.INT. V.A. HOSPITAL - RECREATION ROOM - DAYSunlight streams through a window. The television is going.In a far corner SAL sits in his wheelchair, sleeping.CAMERA CLOSES SLOWLY ON SAL. His head has fallen to one sideand his single arm sticks into the air -- as if he had failedin his grasp of something, as if he were drowning. On a trayin front of him is an untouched breakfast of orange juice,milk and a little box of Wheaties.INT. V.A. HOSPITAL - EMERGENCY STAIRWAY - DAYSomeone is descending the stairs. After a moment the feetappear, clad in expensive cowboy boots. We see expensive,tailor-made trousers, a belt buckle embossed with a sixshooter... and then, suddenly, MERLE'S FACE.MERLE slows in his descent, stops, looking at something.EXT. V.A. HOSPITAL ENTRANCE (MERLE'S POV) - DAYNICK is getting out of a cab. He pays the driver and startstoward the building.INT. V.A. HOSPITAL - EMERGENCY STAIRWAY - DAYMERLE watches NICK for a moment, his face utterly withoutexpression, then MERLE continues down the stairs.EXT. HOSPITAL GROUNDS - DAYNICK is pushing SAL down a walkway. NICK Sal, we need you. We need you. SAL Hey, Nick. How can you need me? NICK We do, Sal. We do... You're the heart.Turns SAL and sits on a bench. NICK (CONT'D) Sal, you're gonna die! You're gonna sit in that corner watching soaps and you're gonna die!... I'm not saying it's gonna be the same. It's not gonna be the same, but whatever it's gonna be we're all gonna do it, Sal. God damn it we are! We are gonna do it! SAL Nick. I'm so scared. I'm so fuckin' scared to go home. NICK (nods) I know. It's like coming from the moon. Or Mars.SAL laughs. SAL Did you go hunting. NICK Yeah. SAL Did you get one? NICK No. SAL You didn't get a deer? NICK I tracked this one, a big buck. God, he was such a beauty--! What's this suitcase here? SAL Where? NICK Here. Behind you.NICK pulls a suitcase off the rack behind SAL's chair. SAL I don't know.NICK sets the suitcase on a low wall and starts to undo theclasps. NICK Maybe Angela brought you stuff. I know she said --The suitcase slips over the back of the wall. NICK (CONT'D) Shit!NICK swings up on the wall and then he freezes. The lid ofthe suitcase has popped open and bundles of money arescattered all down the slope of a steep embankment. SAL Mom keeps sending me socks, Nick. I mean, if it's socks or something just let 'em go.EXT. HOSPITAL GROUNDS - EMBANKMENT WITH MONEY - DAYNICK looks down at the money scattered at his feet. Thebundles are made up of hundreds and they are everywhere. SAL (V.O.) Maybe you could use socks, Nick. Jesus, I mean, come to think of it socks are pretty expensive now. NICK It's not socks, Sal.NICK bends over the suitcase and begins going through lookingfor identification. There is nothing. As he straightens up henotices a wadded-up piece of paper lying beside one of thebundles of bills.The paper is about an inch square. The corners are tatteredand it looks as if it had been carried in someone's pocketfor a long time.NICK picks the paper up, realizes it is a calling card andunfolds it.THE CARD READS "EXHIBITIONS". IT CONTAINS A TELEPHONE NUMBERON THE LOWER LEFT CORNER AND IS IDENTICAL TO THE CARD ARMANDGAVE TO NICK WHEN HE CAME UPON HIM IN THE GARDEN BEHIND HISROULETTE GAME IN SAIGON.EXT. HOSPITAL GROUNDS - VALLEY OVERLOOK - DAYNICK leans on a railing watching the black, interchangeablecars of a coal train roll slowly by. SAL sits with thesuitcase of money in his lap, utterly bewildered, crying. SAL Who is it, Nick? Who is it? I don't understand.NICK looks at SAL. His head is spinning and he brings himselfback with effort. NICK It's Merle, Sal. SAL Merle? ... Merle's alive? (NICK nods) How do you know? NICK I saw him last night. I thought I was dreaming. I thought I was out of my mind. SAL Merle gave me this? NICK Yeah. SAL But, Nick... Hey, I mean, where would a guy like Merle get money like this?NICK is standing slightly behind SAL, looking down at themoney. The reality of what MERLE is doing, has nearlyoverwhelmed him and it is only with tremendous effort that hemaintains a casual tone. NICK Oh cards, maybe. Poker... It's getting cold, Sal. I'm going to take you in. (starts off) We'll call Angela. The guys can help her bring you home... Did I tell you I was going on a trip? SAL (panicked) Trip? What do you mean, Nick? You said you'd be -- NICK It's okay. Hey, it's okay! Just a week. Just to see Phantom Mary. SAL Phantom Mary? NICK Didn't I ever tell you about Phantom Mary? SAL (laughs) No. NICK (starts off again) Well... Phantom Mary's on my mother's side. Naturally no one there admits it because Phantom Mary's pretty weird... You want to hear the whole story? SAL (enthusiastically) Yeah! NICK Like I say, Phantom Mary's pretty weird... Lives alone, lives way out in the middle of nowhere with a cat called Pajamas and a cow called Fred. Well, last week I got a call from Phantom Mary, which in itself was very strange... DISSOLVE TO:INT. TERMINAL BUILDING - U.S. ARMY AIRFIELD - TEXAS - DAYThe place is a madhouse of activity. As jets scream overheadTROOPS embarking for Saigon are being counted and recounted.SERGEANTS are yelling off names. CLERKS are typing forms andpapers. Forklift trucks weave in and out, DRIVERS cursing.NICK is back in uniform. He stands at a window watching a jettransport being prepared for loading. A CLERK comes by,arguing with a SERGEANT. The CLERK sets down his clipboard toconsult the SERGEANT's papers. NICK picks up the clipboardand moves into the CROWD.INT. TERMINAL BUILDING - ANOTHER LOCATION - DAYNICK spots a lone SECOND LIEUTENANT sitting on his gear. MoreOFFICERS are waiting nearby but the SECOND LIEUTENANT seemsnot to know them.NICK moves in close enough to read the SECOND LIEUTENANT'sname tag. NICK (bawling) Biederman! Where's Biederman! LIEUTENANT Here. NICK You Biederman? LIEUTENANT Biederman, yes. NICK I got you on this flight, Biederman. Is that right? BIEDERMAN Correct. NICK Follow me, please.INT. TERMINAL BUILDING - WAREHOUSE AREA - DAYNICK walks along briskly with the LIEUTENANT at his side. NICK Right this way.INT. TERMINAL BUILDING - WAREHOUSE AREA - DAYNICK comes to a door, opens it. NICK Through here.INT. TERMINAL BUILDING - UTILITY CLOSET - DAYThe LIEUTENANT walks into the closet and comes to a stop,looking puzzled. NICK comes in behind him, closes the doorand picks up a length of pipe. NICK Take off the uniform.The LIEUTENANT stares at NICK, dumbfounded. NICK (CONT'D) Take off the uniform, Lieutenant!The LIEUTENANT nods, begins taking off his uniform.INT. TERMINAL BUILDING - UTILITY CLOSET - DAYNICK has changed into the LIEUTENANT's uniform and tied himto a chair. The LIEUTENANT is in tears. NICK is going throughhis orders. LIEUTENANT Please! Please mister, please! This is vital I go to Saigon. This is very important. Most important. NICK (exasperated) Listen, Biederman, I'm going to club you into the floor unless you tell me what the fuck is so important. LIEUTENANT That I must not tell you. Top secret. You see there. Topmost secret. NICK Biederman! LIEUTENANT (stiffly) I will not betray my country. No. Ne-ver!NICK throws down the pipe in disgust, whips a gag around theLIEUTENANT's mouth and ties it. NICK When I get to Saigon I'll tell 'em where you are.Slams the door.EXT. SAIGON AIRPORT - TERMINAL BUILDING - NIGHTViet Cong SAPPERS have just attacked. A number of jetfighters are burning, bodies are strewn over the tarmac andjeeps with SOLDIERS are racing back and forth.Out beyond, the jet transport taxis into view, lumbering likea great silver monster out of the night.INT. JET TRANSPORT - NIGHTNICK stands in the aisle next to a COLONEL who is peering outthe window. COLONEL Jesus Christ, they hit the airport!NICK nods. COLONEL (CONT'D) Those fuckin' niggers. This time I'm going to eat balls!... You ever try 'em? NICK Naw. COLONEL (leans close) Not bad fresh, but they don't keep worth a pig's fart.NICK nods. EVERYONE starts out. COLONEL (CONT'D) Lotta guys don't know that. (winks) Assholes!EXT. JET TRANSPORT - DEBARKATION RAMP - NIGHTA SIREN is screaming in the distance. NICK looks aroundnervously. The COLONEL is still right in beside him. COLONEL Tell you something else. Don't eat 'em in the damn Delta. Unless you like 'em fishy... Some do. I don't. I never did.The scream of the SIREN grows louder. Suddenly a Jeep careensaround the corner followed by a huge black Cadillac flyingAmerican flags on the fenders. Both vehicles screech to astop and an MP jumps out of the jeep with a loud hailer. MP (amplified) Lieutenant Biederman! Lieutenant Biederman report to the ramp! COLONEL That's you. (grabs NICK's arm and waves) Right here, Sergeant! He's right here! MP Right this way, Lieutenant.NICK is hurried to the limousine where a SECOND MP holds thedoor. SECOND MP Quick as you can, sir. We're in a rush.NICK gets in the limousine. The SECOND MP slams the door,jumps in the front and they take off with sirens wailing.INT. LIMOUSINE - SAIGON - NIGHTThere are jeeps with MP's ahead; there are jeeps with MP'sbehind. Seated beside NICK is a gigantic MARINE CORPORAL whostares rigidly ahead.EXT. CAVALCADE - SAIGON - NIGHTPedestrians and bicyclists flee as the cavalcade comesscreaming down a wide boulevard.EXT. AMERICAN EMBASSY - SAIGON - NIGHTThe jeeps peel off to the side. The gate swings open and thelimousine enters the compound.INT. AMERICAN EMBASSY - RECEPTION AREA - NIGHTA STRING QUARTET is playing. GUESTS in evening clothes aredrinking champagne.NICK enters with the MARINE CORPORAL and is whisked rapidlydown a hallway.INT. AMERICAN EMBASSY - KITCHEN - NIGHTNICK stands in front of a huge range staring down at a table.On the table there is a basket of eggs, an omelette pan and apile of mushrooms. Across from the table six SERVANTS withnapkins on their arms stand waiting with plates. MARINE (V.O.) Sir?NICK turns. The MARINE CORPORAL is holding a chef's hat. NICKtakes off his cap, puts on the chef's hat. Suddenly a doorcomes open and the AMERICAN AMBASSADOR and his WIFE come in. AMBASSADOR Henri! So good to see you. How are you? How are you? Darling, this is Henri. Henri, my wife Elizabeth. WIFE My pleasure. AMBASSADOR Henri, we are starved. Six omelettes, s'il vous plait. WIFE (hissing) Avec champignons. AMBASSADOR Avec champignons. (back to his WIFE) Fines herbes?The WIFE shakes her head. The AMBASSADOR winks. AMBASSADOR (CONT'D) Avec champignons.The AMBASSADOR and his WIFE hurry out. There is dead silence.NICK pulls the MARINE CORPORAL to one side, points to hiscrotch. NICK Pee-pee.INT. AMERICAN EMBASSY - CORRIDOR OFF KITCHEN - NIGHTNICK comes down the corridor behind the MARINE CORPORAL. Ashe passes a straight-back chair standing against the wall hepicks it up and swings it down on the MARINE CORPORAL'S head.The blow is ferocious. The chair splinters into pieces andthe MARINE CORPORAL goes down with a dull thud.NICK stands for a moment, looking at him. Then he kneels,removes his pistol and jams it in his belt.EXT. AMERICAN EMBASSY - WALKWAY TO PEDESTRIAN EXIT - NIGHTThree MARINE GUARDS are standing at parade rest by an openiron gate.As NICK appears in his white chef's hat the GUARDS snap toattention and he walks into the CROWD OF ASIANS streaming byoutside.EXT. TELEPHONE BOOTH - BUSY INTERSECTION - NIGHTNICK takes out his wallet, extracts the tattered calling cardthat he found with SAL'S money and dials the number. He letsit ring a long time but there is no answer.EXT. DESERTED STREET WITH SHUTTERED BUILDING - NIGHTNICK is not sure where he is. Suddenly he stops, recognizingthe yard with the little grape arbor where he met ARMAND.EXT. YARD BEHIND SHUTTERED BUILDING - NIGHTThe yard is grown over. As NICK goes in there comes a lowbuzz of flies. He trips over something, draws back. Seeing acandle on the little table under the grape arbor, he crossesand lights it.The yard is full of discarded champagne bottles, red velvetcushions and rotting CORPSES. NICK leans over one of theCORPSES. The skin is falling away and the eye sockets writhewith maggots.NICK straightens, looks around. NICK Merle!!!The back door to the building is open. NICK draws his pistoland goes in.INT. SHUTTERED BUILDING - NIGHTNICK finds his way blocked by a door. He steps back, hurlshimself against it. The door gives way with a crash and hestaggers into the middle of a small stage hung with redvelvet curtains and furnished with a table and two chairs.Out beyond the proscenium, huddled together in a litter ofbroken cafe tables, a FAMILY OF REFUGEES stare at him interror from the other side of a small fire. NICK (waves pistol) It's okay.The REFUGEES cower back even further. NICK (CONT'D) (screaming) It's okay, God damn it! It's all right!POUNDING and BANGING come from the direction of the frontdoor. NICK crosses...INT. SHUTTERED BUILDING - FRONT DOOR - NIGHTNICK readies his pistol, cautiously unbolts the door andjerks it open. The COLONEL FROM THE AIRPLANE tumbles in andfalls flat on his back. Standing in the doorway, lit by theheadlights of two cars, is a party of U.S. OFFICERS, ARVNOFFICERS and WHORES. COLONEL (no attempt to get up) Hey, good buddy, how you doin'? (gestures) This is Biederman, you guys. Biederman, this is Son Loc, Tu Fon, Huckerbelly and Potts. What's the story here, Biederman? We're looking for... Wait a minute.He fishes a piece of paper out of his breast pocket. COLONEL (CONT'D) Here it is. Chez Armand. WHORE Chez Armand not here! Chez Armand has gone to other spot! COLONEL (gets up) Honey, c'mere. Come right here.The COLONEL opens a brown paper bag he is carrying andpresents her with a large red, white and blue dildo. COLONEL (CONT'D) This is for bein' so smart.The WHORE shrieks with pleasure. EVERYONE laughs. COLONEL (CONT'D) (arm around WHORE) Let's go! Mount up! C'mon Biederman!The COLONEL throws an arm around NICK and they all start forthe cars. COLONEL (CONT'D) (to NICK) Boy, do I love this conflict. Huh?... What the hell were you doin' in there? NICK You know a guy named Merle? COLONEL Merle? That's who we're looking for. Merle. NICK Yeah? COLONEL Sure! I got eight hundred potatoes says he goes one more... He retired, you know. NICK Yeah? COLONEL Now he's back.Pulls NICK close so he can whisper in his ear. COLONEL (CONT'D) He eats 'em... Sure... He eats 'em raw!EXT. RUBBER PLANTATION - SAIGON OUTSKIRTS NIGHTAn elegant house of French design is ablaze with lights. Thehouse is encircled by a stone terrace on which tables havebeen set up. Over the terrace and strung out for a hundredyards into the surrounding trees are countless paper lanternswhich bob and sway in the wind. GUESTS are everywhere --wandering in and out of the house, sitting at the tables andstrolling under the trees. For the most part the GUESTS areAMERICANS and SOUTH VIETNAMESE. The majority of these areOFFICERS IN UNIFORM, but there are numerous CIVILIANS mixedamong them and the CIVILIANS are attired in everything fromsports shirts to white linen suits and tuxedos. As tonationality there are no limits. There are FRENCH, GERMANS,BELGIANS, SWISS, CHINESE, BRITISH and AUSTRALIANS. WHORES andMISTRESSES abound. WIVES are not greatly in evidence, exceptto dog the heels of heavily armed ARVN GUARDS who wanderabout, glass-eyed, drinking champagne.EXT. RUBBER PLANTATION - PARKING AREA - NIGHTJeeps, personnel carriers, trucks and light tanks are parkedside by side with gleaming Mercedes limousines, staff carsfrom various government agencies and a blitz of civilianvehicles running from sedans to motor scooters.More vehicles arrive by the minute and exotic couples, likeplumed birds, debark in the swirling dust.EXT. RUBBER PLANTATION - CLEARING IN TREES - NIGHTA dozen ARVN helicopters have put down between the trees. Onehas crashed and lies on its side with a broken rotor.There is a mounting clatter in the distance and anotherhelicopter comes out of the sky. As it sets down a dashinglyhandsome AIR FORCE OFFICER hops out and extends a hand to hisWIFE. When his WIFE has descended the OFFICER opens a backcompartment in the fusilage and carefully takes out theirBABY. He hands the BABY to his WIFE and they stroll offtoward the house.INT. RUBBER PLANTATION - HOUSE - NIGHTGambling tables are set up in all the rooms. The betting isheavy, champagne flows like water and the atmosphere is oneof reckless abandon, as if money, like love, were good for anhour.EXT. RUBBER PLANTATION - ROULETTE STAGE - NIGHTLow bleachers covered in red velvet are set in a semi-circlefacing a small stage. The stage is lit with a single,blindingly bright spotlight and is furnished with a table andtwo velvet-covered chairs. Two CONTESTANTS, both of themVIETNAMESE, sit opposite one another. Between them, lying onthe table, is a revolver. Both CONTESTANTS are dressed intuxedos. Both wear red numbers on their downstage arm.Although the bleachers are not yet full, eager BETTORS jamthe first three rows. Here CLERKS with change trays take thebets, signalling each transaction to a MARKER who chalks theshifting odds on a large board.CAMERA CLOSES ON NICK, standing in the aisle, staring indisbelief at the evolution of the game he once played.Now a REFEREE enters the stage carrying two strips of scarletcloth. REFEREE (amplified) Game number seven. Gentlemen will please wrap.The CONTESTANTS wrap their heads with the scarlet cloth. REFEREE (CONT'D) (as he loads revolver) One cartridge. Game to be played to completion. Forfeit automatic after delay of one minute.The REFEREE places the pistol back in the center of the tableand spins a wheel whose -intervals are alternately marked Land R. The wheel clatters to a stop with the marker on L. REFEREE Gentleman on the left will now commence play.The REFEREE steps out of the light. A gong sounds. TheCONTESTANT on the left picks up the pistol, spins thecylinder, cocks it andplaces it to his temple. He hesitates, pulls the trigger...and clicks out.NICK is unable to bear it. He turns, starts around toward theback of the stage. AS NICK MOVES THROUGH THE GUESTS WE HEARTHE SOUND OF THE CYLINDER CLICKING, AMPLIFIED OVER A P.A.SYSTEM. WE HEAR THE CLICK OF THE HAMMER BEING COCKED...NICK turns. The SECOND CONTESTANT has the pistol to histemple. He pulls the trigger... THE GUN GOES OFF WITH ADEAFENING ROAR and he topples on the floor.The FIRST CONTESTANT STEPS FORWARD AS THE SPOTLIGHT NARROWSTO CONTAIN HIM ALONE. HE BOWS, CLASPS HIS HANDS ABOVE HISHEAD AND DANCES AROUND.NICK stares at the FIRST CONTESTANT celebrating his victory.He looks around him. BETTORS are screaming and yelling infive languages.NICK starts off again, hurrying.EXT. RUBBER PLANTATION - BACKSTAGE AREA NIGHTNICK comes upon a pile of six naked CORPSES with their headsblown off. Opposite the CORPSES -- sitting, standing, pacing,squatting in the dirt -- are a GROUP OF WAITING CONTESTANTS.Some of these are AMERICAN. Most are SOUTH VIETNAMESE,several of whom have come with WIVES and FAMILIES. A few ofthe contestants are well dressed, most are in rags. THREE. OFTHE WAITING CONTESTANTS ARE WEARING TUXEDOS.Suddenly a WOMAN WITH A BABY lets out a shriek. NICK spins.TWO BURLY MEN appear, bringing the CORPSE OF THE SECONDCONTESTANT. As the WOMAN WITH THE BABY begins sobbing andscreaming with grief the BURLY MEN strip the tuxedo off theSECOND CONTESTANT and then, as each article is summarilyremoved, they begin dressing one of the WAITING CONTESTANTSin it. ARMAND (V.O.) If you are brave and lucky I can make you rich.NICK turns and finds ARMAND behind him. ARMAND studies himfor a fraction of a second and then smiles. ARMAND (CONT'D) C'est tres amusant... You have been promoted. And to a Jew... I am joking of course. Naturellement. Seriously, Nick, may I hope that you have come to play? NICK I came to see Merle. ARMAND Ah. Merle. And you know Merle? NICK Yeah. ARMAND (studies him) You are his friend. NICK Where is he??? ARMAND (faint smile) Merle is under his tree... Beside the terrace. You can't miss him.EXT. RUBBER PLANTATION - TREES BY TERRACE - NIGHTGUESTS are still coming in from the cars, strolling downthrough the trees in bright coveys and flocks, chatteringlike birds.Laughter comes from the terrace. Glass tinkles and the tinylanterns bob and sway.NICK appears, hurrying down the steps. Suddenly he stops.MERLE is sitting at a table under a nearby tree. He is alone,dressed in a tuxedo, watching the arriving GUESTS with anexpression of dreamy detachment, as if they were rain drops,or snow flakes, or falling stones. NICK (shouts) Merle!MERLE turns, watching NICK as he crosses toward him. WhenNICK reaches the table, he stands. NICK (CONT'D) Merle...! Jesus! Hey, how are you? MERLE Nick!... I thought you went home. NICK I did. I... This is stolen. I came back. MERLE Sit down.NICK sits. MERLE's self-possession has thrown him. He doesn'tknow where to start. MERLE (CONT'D) (breaking the silence) How's Linda? NICK Fine. She's fine... Merle, what the hell are you doing? MERLE (eyes him) I like it, Nick. NICK Merle... Hey, Merle, listen... (stares at him) Why?For a moment MERLE doesn't answer. His eyes are pale, likefaded robin's eggs, and they seem to look through NICK, as ifto some landscape far beyond. MERLE I like it because it's simple.A BEAUTIFUL VIETNAMESE GIRL steps up and whispers somethingin MERLE's ear. MERLE (CONT'D) (stands) I have to go, Nick. We'll have a drink.MERLE and the VIETNAMESE GIRL move into the CROWD. NICK Merle...! Merle, wait!NICK starts after them. He can see them ahead, moving rapidlythrough a GROUP OF ARVN OFFICERS and WHORES. NICK (CONT'D) Merle!!!NICK sees he can never overtake them directly. He cuts aroundto the terrace.EXT. RUBBER PLANTATION - TERRACE - NIGHTNICK maneuvers his way down to the end of the terrace. NICK Excuse me... Sorry... Sorry... Pardon.NICK reaches the end of the terrace. MERLE and the BEAUTIFULVIETNAMESE GIRL have disappeared.EXT. RUBBER PLANTATION - TERRACE - NIGHTNICK sits at one of the tables. The terrace is deserted. REFEREE (V.O.) Gentleman on the right will now commence play.EXT. RUBBER PLANTATION - HOUSE - NIGHTThe gaming tables are utterly deserted. AS NICK WANDERSTHROUGH THE EMPTY ROOMS THE SOUND OF THE GAME CONTINUES OVERTHE P.A. SYSTEM -- THE SOUND OF THE CYLINDER SPINNING, THESOUND OF THE HAMMER BEING COCKED... AND CLICK AFTER CLICKINTO EMPTY CHAMBERS.Suddenly NICK can stand it no more. He turns and startstoward the entrance to the bleachers.A SHOT EXPLODES OVER THE P.A. SYSTEM. NICK freezes, then heruns.EXT. RUBBER PLANTATION - ROULETTE THEATRE - NIGHTNICK appears at the back of the aisle between the bleachers.The CROWD is going wild, yelling and screaming. NICK pushesthrough a group of BETTORS and then stops. A look of stunnedrelief spreads over his features.On the stage a tall figure stands alone in the spotlight,head bowed in acknowledgement of the OVATION.NICK grins. He begins yelling and screaming along witheveryone else.On the stage the tall figure raises his head, pumps his fistsin the air and begins hooting maniacally.... WE NOW SEE, AS DOES NICK, THAT THE TALL FIGURE IN THESPOTLIGHT IS NOT MERLE AT ALL. IT IS MERLE'S OPPONENT.INT. V.F.W. POST - BASEMENT - DAYPipes crisscross the ceiling and there is the faint hiss ofleaking steam. Seated on a bench and all dressed-up in theiruniforms are FIVE OLD VETS. TWO VETS are on the nod. THEOTHER THREE -- rheumy-eyed and ancient -- give patientattention to the SIXTH VET who stands beside the boiler witha bugle, trying to play TAPS. VET 1 Up a little there... What would you say? VET 2 Up.The VET WITH THE BUGLE tries it again, flubs it, startsover...INT. V.F.W. POST - MAIN HALL - DAYThree tables have been set up in the middle of the floor. Thetables have been laid with white cloth and the OLDER WOMENare setting out fresh flowers and laying the places for afuneral breakfast. They work in silence, fussing over theplacement of each knife and fork.AS THE WOMEN WORK WE HEAR THE SOUND OF THE CHOIR SINGING ASTHE SERVICE PROGRESSES IN THE CHURCH. AT FIRST THE SOUND ISBARELY AUDIBLE, EASILY MATCHED BY THE FAINT NOTES OF THE VETWITH THE BUGLE IN THE BASEMENT BELOW.BUT NOW THE SOUND OF THE CHOIR GROWS -- A SOUND AS DEEP ASWATER, AS DARK AS NIGHT; A SOUND LIKE STONE.Gradually, one by one, the OLDER WOMEN stop fussing with thetable. They stand motionless, listening.EXT. GREEK ORTHODOX CHURCH - FRONT STEPS - DAYA HEARSE waits at the curb. The day is windless, cold andgrey Snow is drifting down and the gleaming vehicle emits aghostly cloud of white exhaust.THE SOUND OF THE CHOIR IS MUCH LOUDER, ASCENDING IN DARKTRIUMPH TO A SUDDEN, FINAL NOTE.In the ringing silence of the MUSIC'S END the doors to thechurch swing open. NICK, VINCE, ALBERT and JOHN appear withMERLE's flag-draped COFFIN. Followed by MOURNERS, they bearthe COFFIN slowly down the steps.EXT. CEMETERY - DAYSnow drifts down from a leaden sky as the MOURNERS standtogether on a steep hillside of tilted, weather-wornheadstones. The mill looms behind them, breathing roilingclouds of steam and uttering a dull concordia of clanks andgroans.EXT. CEMETERY - GRAVE SITE - DAYThe PRIEST completes his reading of the 23rd PSALM. TheMOURNERS join in the LORD'S PRAYER.CAMERA CLOSES ON NICK, VINCE, ALBERT, JOHN and SAL. They helpSAL to the side of the grave. It is awkward. The chair getsstuck and they have to carry it. THEY ALL pick up a handfulof dirt and then, following NICK's lead, they throw it in.NICK steps back from the grave, nods to the VETS. The VETScome to attention. The VET WITH THE BUGLE steps forward andtremblingly, but perfectly, PLAYS TAPS.INT. V.F.W. POST - MAIN HALL - DAYThe meal is over. The WOMEN are drinking coffee, the MEN aresmoking and putting down the beer. There is muted laughterand conversation.NICK sits at the head of one of the tables, flanked by LINDAand SAL. He looks stunned. His food is untouched, there aretears in his eyes and he hardly seems to know where he is. LINDA Eat something, Nick. Eat a piece of toast.NICK nods, picks up a piece of toast and then, forgetting allabout it, lays it absently on his plate.VINCE comes up behind NICK, looking somewhat officious in anew blue suit. VINCE You want to say a few words, Nick? I think you should. Like that would wind things up.NICK nods. VINCE raps on a glass. VINCE (CONT'D) Quiet!... Quiet!!!... Awright, everybody, Nick has a few words. NICK (very shaky) I just... would like to say a few words... about Merle. I guess Merle always wanted something... I don't know... better. That fucking guy, he saved my Life. He saved Sal's... What Merle liked, he liked things right... But then there wasn't any place for that... that he could find.Tears are streaming down NICK's face and he sits down,looking miserable. VINCE (hisses) John! Play something!JOHN goes to the piano, hurried along by VINCE. He sits down,casts a quick glance to the ceiling and begins playing"America The Beautiful".A FEW VOICES being SINGING. OTHERS join in. ALBERT stands up.Then EVERYONE stands up. THE END
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