Deer Hunter

EXT. PENNSYLVANIA STEEL MILL - LIGHT SNOW - DAY

The plant is massive, grime-streaked, squatting in the valley
under five massive stacks, each one trailing a black ribbon
across the winter sky. Fires can be seen flickering through
the windows and long flames weave and dance from the tops of
guyed metal flues. Steam rises in clouds from vents and
chimneys and the sound of it all -- the hissing, the
clanging, the rumbling, the shrieking -- comes faintly, muted
by the falling snow.

In the foreground is a street -- COLUMBINE STREET -- which
inhabits the bottom of a narrow ravine and plunges directly
down the hillside, straight at the mill. Columbine is a sad
looking street, a grim-looking street, a street hanging on by
the skin of its teeth. Dilapidated stores hug the narrow
sidewalks. Battered signs squeak in the wind. Sandwiched
between the stores and scattered on twisting roads along the
hillside are narrow Victorian houses. These houses, which run
to three stories or more in height, all seem on the verge of
toppling over, and undoubtedly would, except that they are
all connected one to another by a mad arrangement of utility
lines which cross and re-cross between them with occasional
aid from a leaning pole.

MUSIC COMES UP -- dissonant, rather frightening music -- as
we watch a car come charging up through the slush on
Columbine Street. As it nears CAMERA the car falters on the
slippery grade and slides out of sight. A figure appears,
huddled against the driving snow. The figure disappears AS
CAMERA HOLDS ON THE STEEL MILL AT THE END OF THE EMPTY
STREET.

MAIN TITLE COMES UP:

THE DEER HUNTER

INT. STEEL MILL - DAY

A white-hot ingot shoots out of an ejecting mechanism and
comes ripping down a track. Another ingot follows it, and
another and another and another. The ingots are huge,
trembling with heat, and they come on with a terrifying
rumble.

CREDITS ROLL

UNDER CREDITS we see STEELWORKERS catching the ingots with
tongs and deftly swinging them into troughs. The STEELWORKERS
wear leather aprons and are stripped to the waist. Warped in
heat waves and glistening with sweat they seem like figures
in some hellish ballet. Since they all wear goggles it is
hard to distinguish between them, but there are three, who
are young, who seem to work with particular grace. These are
NICK, SAL and MERLE.

CREDITS END. CAMERA CLOSES ON NICK, SAL AND MERLE. The noise
is deafening, the heat is unbelievable and the ingots come on
with murderous speed. Taking advantage of a slight pause
MERLE jabs NICK and they both make cuckold's horns at SAL.
SAL blushes and waves them off with his hand. MERLE and NICK
make the horns again and now SAL puts both hands on his hips,
gives a thin smile and studies the corner of the shed. MERLE
and NICK begin laughing. SAL can't hold out and he starts
laughing too, but now the ingots begin roaring down the track
again and they all grab their tongs.

INT. GREEK ORTHODOX CHURCH - ALTAR - DAY

A very old PRIEST is making preparations for a wedding
ceremony. SAL'S MOTHER hovers around him as he unlocks a
cabinet and takes out white tapers and a golden crown which
will be used in the service. The PRIEST moves with agonizing
slowness and SAL's MOTHER is in the midst of a bad case of
nerves.

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 into
tears.

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 and
comforts her.

EXT. COLUMBINE STREET - DAY

Another car lunges up the hill, gets about halfway and slides
back. As the car disappears, the door to one of the houses
bursts open and a group of giggling BRIDESMAIDS begin
scampering across the street. They have all been working on
their dresses, which are not completely finished, and they
all carry ribbons and scissors and pieces of material. As
they make their way to the other side of the street they all
wave away the snowflakes and grab each other for support. One
of the BRIDESMAIDS loses her dress entirely and with everyone
laughing she rushes back to retrieve it in her slip. When the
garment is repossessed a door comes open and the BRIDESMAIDS
disappear inside.

CAMERA HOLDS ON COLUMBINE STREET. The snow slants across the
little stores and piles on the gables of the tipsy little
houses. Another car appears, lunges at the hill and slides
back. Suddenly the door to the bakery comes open and a group
of OLDER WOMEN emerge carrying a huge wedding cake with a
miniature bride and groom standing on the top. The WOMEN are
all 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 - DAY

The time clocks are lined against both walls. As a whistle
screams to mark the end of the shift thousands of men begin
checking out. NICK, SAL and MERLE are right up in the front
ranks and once they have clocked their cards they gather
together 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-bound
STEELWORKERS.

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, grabs
VINCE and they all push out together.

EXT. STEEL MILL - PARKING LOT - DAY

The snow is still falling. It covers the ground. It covers
the acres of parked cars. It swirls and tosses and blows. As
the five friends come bursting out of a side exit they all
stop dead in their tracks.

VINCE
Snow... Holy shit, snow!

SAL gives a look at the others. Something is going on. VINCE
is 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 NICK
exchange looks. ALBERT chortles.

SAL
What are you guys...? Are you guys
going hunting?

The others nod, shrug, shuffle their feet. They are all a
little 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 arm
around 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 - DAY

The place is large and drafty and rundown. A huge American
flag hangs from the middle of the ceiling. Under it WOMEN are
laying white table cloths on trestle tables. Off to one side
a half dozen OLD MEN wearing VFW hats are Scotch-taping paper
ribbons to the brick wall. Two OLD MEN are on stepladders,
two more are bracing the ladders and the operation is under
the direction of a pair of World War I VETS standing side by
side. Their hands tremble. Their four eyes loom huge behind
corrective 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 up
the tables all rush to the door as the OLDER WOMEN come in
with the wedding cake. The OLDER WOMEN look half-frozen and
as they move toward a table the cake receives a great chorus
of Uhh's and Ahh's. Suddenly one of the OLDER WOMEN
collapses. Friends rush to her aid, seat her in a chair and
give her wine. The WOMAN takes the glass, tosses it off in
one swallow and grins. EVERYONE laughs.

EXT. COLUMBINE STREET - BOTTOM OF HILL - DAY

A big, battered old shark-finned black Cadillac approaches,
coming fast.

INT. CADILLAC - DAY

NICK, SAL, MERLE, VINCE and ALBERT are all laughing. NICK is
at the wheel.

VINCE
Hit it, Nick!

OTHERS
Go Nick! Hit it, baby!!!

EXT. COLUMBINE STREET - DAY

The car bangs over potholes and slams into the grade. We
watch as it reaches the half-way point, then the three
quarter mark...

INT. CADILLAC - DAY

NICK bends forward over the wheel, peering out through the
slapping 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 throw
themselves 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 - DAY

The Cadillac inches up the last ten feet, gains level ground
and skids to a stop. From inside comes a MUTED CHEER.

INT. BRIDE'S HOUSE - BEDROOM - DAY

ANGELA is dressed in her white bridal gown and veil. She is
plump, 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 and
unrelievedly forlorn. Bursting into tears she throws herself
on the bed. Someone has slipped a photograph under the
pillow. The photograph is face down and as ANGELA pulls it
out 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 of
Michaelangelo's "David". ANGELA stares at the figure for a
long, long moment...

ANGELA (CONT'D)
Oh, wow.

INT. JOHN'S BAR - DAY

The place is packed with boisterous STEELWORKERS drinking
boilermakers. Deerheads are mounted in a long row over the
bar, and hand-painted murals decorate the walls. The murals
depict hunting scenes and display an eerie tone -- at once
comical and frightening -- as if the animals held some secret
from the hunters, some power beyond their own.

JOHN bangs out from behind the bar with a tray of beer. At
the same moment SAL comes in with NICK, MERLE, ALBERT and
VINCE. JOHN, who is a great bear of a youth, puts down his
tray, wraps his arms around SAL and begins jumping him around
the floor, grinning ear to ear. The STEELWORKERS turn, desert
their places and swarm around SAL, joking and shouting
congratulations.

INT. LINDA'S HOUSE - KITCHEN - DAY

LINDA is thin -- a skinny slip of a thing with a hauntingly
lovely face. Wearing her bridesmaid's dress she stands alone
in the kitchen, staring at the ceiling. Thumping noises are
coming from the room above. The thumping gets louder.
There is a crash, then another crash, as if furniture were
being thrown around. A MAN'S VOICE begins cursing and there
is more thumping and crashing. Suddenly there is a thud...
and then silence.

LINDA bites her lip. She crosses to the stove, ladles stew
into a bowl, butters bread, pours a cup of tea and puts it
all on a tray.

INT. LINDA'S HOUSE - FATHER'S BEDROOM - DAY

The room is a wreck of broken furniture. Chairs are turned
over, lamps are smashed and the pictures hang cockeyed on the
wall. In the middle of the room, face down on the floor, is
LINDA'S FATHER. His coat is torn, one shoe is missing and he
holds a half-empty bottle in his hand. Behind him, through
the open window, snow is blowing in.

LINDA comes in with the tray. She stands for a moment
expressionless, looking down at her father. Then she sets the
tray on the bureau and kneels beside him.

LINDA
Daddy?

FATHER
(mumbles)
Go... fucking hell!

LINDA reaches down, takes her FATHER by the shoulder and
rolls him over. It takes some effort and the face that comes
up is gray, unshaven and implacably bitter. Saliva dribbles
from his mouth, there is a cut with the stitches still in it
seaming his forehead and as LINDA looks at him he begins
cursing again.

FATHER (CONT'D)
Fucking shit... all around, like a
sea! Like an ocean!

LINDA gets up and closes the window. She comes back, gets
down on the floor beside her father and pushes him toward the
bed. Then, hiking up her bridesmaid's dress, she takes him by
the shoulders again and heaves him onto the coverlet. The
effort is almost too much for her. Tears begin to burn in her
eyes, but when he slips back she tries again. The father
groans, begins to mumble, and then, when she almost has him
on the bed, he suddenly lifts his hand, catches her full in
the face and pushes her violently across the room.

LINDA crashes backwards over a fallen chair and smashes into
the 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 and
falls on the floor. LINDA stands looking at him, holding her
jaw. She is crying. Tears are streaming down her face.

EXT. COLUMBINE STREET - TOP OF HILL - DAY

Seven MUSICIANS, carrying their instruments, file silently
through the falling snow.

EXT. ALLEY BEHIND JOHN'S BAR - DAY

The WOMEN are all gathered, some fifteen or twenty, ranging
from grandmothers to young wives. About half of them wield
rolling pins or heavy pans. As the last reinforcements arrive
-- TWO HEFTY LADIES WITH TRUNCHEONS -- a roar of laughter
comes from inside.

INT. JOHN'S BAR - DAY

NICK, SAL, MERLE, VINCE, ALBERT and JOHN are dancing. The
MUSIC is at top volume and the smoke is thick enough to cut
with a knife. Suddenly, from the back, comes a CHORUS OF
SCREECHES AND FEMALE RECRIMINATIONS. The door to the alley
bursts open and the HEFTY LADIES WITH TRUNCHEONS appear. The
STEELWORKERS take one look, gulp their drinks, grab their
heads in their hands and rush for the front door.

EXT. JOHN'S BAR - FRONT ENTRANCE - DAY

The STEELWORKERS stream into the snow with the WOMEN close
behind. Several blows are delivered and the howls of
complaint are met with angry commands to hurry and get
dressed for Sal's wedding.

CAMERA CLOSES ON SAL, who emerges with NICK and MERLE. The
snow 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 with
sympathy 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 - DAY

The trailer is a dented two-tone pink and cream job which
looks as if it had been purchased third-hand off a
construction site. It stands on cinder blocks in a small lot
which has been cut out of the side of the hill. A wrecked
school bus decorates it to the right. On the left is a bare
branched tree. NICK's black Cadillac is parked in front and a
light shows from inside the trailer.

CAMERA PICKS UP MERLE who is strolling toward the trailer
whistling through his teeth. He is wearing his tuxedo and
carries a knapsack and a deer rifle. He mounts the cinder
block steps and pounds on the trailer door. NICK opens the
door and waves him in.

INT. NICK'S TRAILER - DAY

The place is cramped, littered with camping paraphernalia. A
deer head is mounted above the sink and NICK, who is half
into his tuxedo, is applying waterproofing to a pair of heavy
boots. 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 oil
off 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. JOHN
and ALBERT, both in tuxedoes and loaded down with gear, are
pounding 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 snaps
open.

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 totally
disorganized 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 end
of 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 the
church bell begins ringing down the street and a group of
excited 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 on
carnations, NICK hears someone call his name. He turns to
find LINDA standing beside the trailer where she can't be
seen. She looks pale and very frightened and she holds a
small 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 looks
around, pulls her inside the trailer.

INT. NICK'S TRAILER - DAY

NICK clears a place on the couch. LINDA sits, holding her
suitcase 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 and
she 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 radiantly
happy. She takes the suitcase off her lap and throws herself
in 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 - NIGHT

SAL and ANGELA stand facing each other as the PRIEST reads
the 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 PICKS
UP FACES IN THE CONGREGATION. We see SAL'S FAMILY. We see
ANGELA'S FAMILY. We see the VETS from the V.F.W. Post. We see
the STEELWORKERS from the bar and the WIVES and MOTHERS who
chased them home to change. They are hard faces -- working
class faces -- but we sense a fortitude among the
congregation, a community of both heart and spirit.

CAMERA PICKS UP NICK, MERLE, VINCE, ALBERT and JOHN standing
in a row opposite the BRIDESMAIDS. The guys all look slightly
disheveled. Their tuxedos are all too small and their shoes
are soaking wet from walking in the snow.

NICK catches LINDA's eye and they hold each other across the
intervening space like two children who are amazed.

The PRIEST hands white tapers to the bride and groom. CAMERA
CLOSES SLOWLY ON THE PRIEST. The man is impressive -- gentle
yet full of power. The PRIEST lights the tapers -- first
ANGELA's, then SAL's -- and looks out across the assembled
congregation.

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 - NIGHT

Save for a lone figure trudging home, the street is deserted,
left to the gently falling snow. In the background the
massive silhouette of the steel mill is plainly visible, lit
with fire.

INT. GREEK ORTHODOX CHURCH - NIGHT

NICK, MERLE, VINCE, ALBERT and JOHN join with the BRIDESMAIDS
to 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 SAL
and ANGELA around the analoy. The movement is very precise,
very formal, a circling to represent eternity.

INT. V.F.W. POST - DANCE FLOOR - NIGHT

The Band is going full blast and the whirling COUPLES, young
and old, are laughing.
We see SAL and ANGELA, NICK and LINDA, VINCE, ALBERT and
JOHN. The only one of the group not dancing is MERLE. MERLE
is drinking, standing alone on the side of the floor chugging
beer in tense, rapid-fire gulps. We sense immediately that he
feels out of place, at a loss to join spontaneously in the
spirit of the party. MERLE finishes the beer, crumples the
can and starts on another. As he picks up the second can he
notices that a SAD-LOOKING GIRL is sitting against the wall
behind him, waiting for someone to ask her to dance. The SAD
LOOKING GIRL gives MERLE a smile. MERLE pretends not to see
and moves behind a post.

INT. V.F.W. POST - TRESTLE TABLES - NIGHT

The wedding cake that was carried in earlier has now been
attacked from all sides, but the miniature bride and groom
are still standing in the middle. Unnoticed by each other
SAL'S MOTHER and ANGELA'S MOTHER eye the little figures. Both
women are in rather teary condition and begin moving toward
the cake. Suddenly, as the CROWD shifts, they encounter each
other face to face. Smiles are exchanged -- strained smiles,
which get stretched and stretched and stretched. Then, in
unison, they desert the smiling and remove their respective
offspring from the cake. SAL'S MOTHER looks down at her sugar
coated groom and ANGELA'S MOTHER looks down at her sugar
coated bride. Then they eye each other, burst into tears and
throw themselves in each other's arms, moaning and sobbing.

INT. V.F.W. POST - COAT ROOM - NIGHT

Another 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 - NIGHT

NICK comes off the floor with LINDA and throws an arm around
MERLE.

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 to
the cooler to get a Miller's. He gropes around in the tub,
finds one and pops the tab. Suddenly he notices that NICK has
crossed to the SAD-LOOKING GIRL by the wall. He has stopped
in front of her and is asking her something. The SAD-LOOKING
GIRL gives a blush, gets out of her chair and NICK takes her
in his arms and begins to dance. The SAD-LOOKING GIRL looks
transformed. She begins chattering and laughing.

MERLE crosses back to LINDA and gives her the beer. As he
pulls up a chair to sit down beside her he stumbles and
nearly 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 be
trying 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 - NIGHT

The rack is still jammed with COUPLES but the laughing and
giggling has now given way to the sound of heavy breathing
and low moans.
What light there is comes from the colored glass ball
revolving above the dance floor, where the MUSIC is now
playing sweet and low.

The front door comes open and a U.S. Army SERGEANT steps into
the darkened hallway. The man wears his dress green uniform.
On his chest is a row of battle ribbons and his shoes are
brightly polished.

SERGEANT
Pow!

The SERGEANT gives a beery chuckle and moves toward the dance
floor.

INT. V.F.W. POST - TRESTLE TABLE AREA - NIGHT

The SERGEANT passes between groups of celebrating GUESTS,
plucks a beer from one of the coolers and sits down alone at
the end of one of the white trestle tables.

INT. V.F.W. POST - DANCE FLOOR - NIGHT

ALBERT gives his Tarzan cry, suddenly picks his GIRL off her
feet and marches around holding her above his head.

GIRL
Albert, what are you doing...
Albert!

INT. V.F.W. POST DANCE FLOOR - ANOTHER LOCATION - NIGHT

VINCE and JOHN are standing together. VINCE is going bananas
because 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 releases
MARSHA. MARSHA waits, one hand on her hip, while the two of
them exchange words. VINCE turns MARSHA, points to her ass.
FRED turns MARSHA, pints to the small of her back. VINCE is
hopping up and down now. So is FRED. MARSHA, who is getting
bored, points to the door. VINCE and FRED bang out. As soon
as they have gone MARSHA is taken by someone else who puts
his hand right back where FRED had it.

INT. V.F.W. POST - TRESTLE TABLES - NIGHT

NICK, SAL and MERLE are standing together, looking at the
SERGEANT.

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 to
the 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 begin
scratching their heads, trying not to laugh.

MERLE
Well, thanks a lot.

They turn away and then, when they are out of earshot, they
all 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 - NIGHT

The GUESTS have formed in a long double line which extends
from the dance floor right out into the street. Everyone is
pretty drunk and they are all armed with streamers and bags
of rice. As SAL and ANGELA appear from out of a back room
there is a great rowdy CHEER. The MUSICIANS strike up a
MARCH. Followed by the MUSICIANS, showered with streamers,
rice, advice and encouragement, SAL and ANGELA walk the
gauntlet toward the street, where a glossy, bright red
Pontiac with headers and straight pipes is being revved in a
series of ear-splitting crescendos.

EXT. V.F.W. POST - STREET - NIGHT

JOHN, ALBERT, MERLE and VINCENT are standing by the door.
Their tuxedos are stained and torn. Their carnations are
squashed and their clip-on bow ties are either missing
entirely or dangling from the open collars of their shirts.
VINCE looks the worst, with a black eye and half his pant leg
torn 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 - NIGHT

SAL and ANGELA emerge to more CHEERS and a shower of
streamers and rice. ANGELA is helped into the Pontiac on the
right. NICK throws an arm around SAL and walks him around to
the 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 - NIGHT

SAL looks over at ANGELA.

SAL
All set, hon?

ANGELA nods. SAL puts the car into gear and starts slowly
off. Fists pound on the car. Rice and streamers shower down.
Suddenly, through the front windshield, MERLE appears, stark
naked, running in front of the car with colored paper
streamers floating out from his upraised right hand. For a
split second SAL cannot believe what he is seeing. He throws
a look at ANGELA. ANGELA covers her mouth in amazement and
then quickly shifts the hand to cover her eyes.

EXT. STREET - NIGHT

MERLE weaves down the street in front of the growling red
Pontiac. MERLE is not just running. He is leaping and
bounding, as if released from gravity and entered into a
realm of pure ethereal space.

NICK, ALBERT, VINCE and JOHN pound down the street behind the
Pontiac, ALBERT carrying MERLE's clothes.

GUYS
Look at that! Fuckin' guy! Fuckin'
Merle!... Unbelievable!

EXT. STREET - NIGHT

The road forks, one road going high to a parking area, the
other descending to the valley below. MERLE swerves up the
incline toward the parking area, while the Pontiac goes
straight 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 the
hill.

EXT. HILLSIDE PARKING AREA - NIGHT

MERLE stands motionless, looking out across the valley as
NICK approaches. The night is brilliantly clear and the fires
from 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 he
gives 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 had
been pressing on him.

MERLE
(with a laugh)
Let's go huntin'. I mean let's do
it!

DISSOLVE TO:

EXT. THRUWAY - NIGHT

NICK'S battered old shark-finned Cadillac comes screaming
past.

INT. CADILLAC - NIGHT

NICK, MERLE, VINCE, ALBERT and JOHN, all of them still in
tuxedos, are jammed in the car between knapsacks, sleeping
bags, 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 - NIGHT

Tale Cadillac comes blasting by...

INT. CADILLAC - NIGHT

NICK is hunched over the wheel, his eyes gone completely
glassy. MERLE and VINCE are on the nod, while ALBERT and
JOHN, both half asleep, are having a lead-voiced
conversation.

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