Deer Hunter

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. In
the flash we see that a red American car is stranded in the
middle of the road. There is another explosion and another
flash. The car is dusty, spattered with mud, but otherwise it
appears miraculously unharmed.

NICK'S breath rattles in his throat. MERLE, who lies beside
NICK, holding him, has closed his eyes. SAL, who is the only
one who has seen the car, stares at it hard, and for a long
time, 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 the
automobile. When he gets to within a foot of it, he reaches
out and touches it.

SAL (CONT'D)
Merle. Merle, a car!

As the flashes continue to light up the sky, SAL peers at the
tires and begins kicking them.

SAL (CONT'D)
Hey! Hey, gee!

SAL crosses to the window and looks in. There is no damage
whatsoever, the keys are dangling from the ignition. SAL
pulls 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 CAR
GOES UP IN A FIREBALL OF FLAME.

EXT. CRATERED ROADSIDE - BURNING CAR - NIGHT

MERLE has dragged SAL from the car and thrown him in the
ditch below NICK. SAL is horribly burned and MERLE kneels
over him -- out of breath, tears streaming from his cavernous
eyes -- howling with helpless rage.

MERLE
Damn it!!! God damn it!!!

MERLE looks down at SAL. SAL'S face in a mass of raw flesh
but 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 DAY

REFUGEES are streaming down the road in a desperate,
frightened human torrent. There is every imaginable means of
conveyance -- from bullock carts to motorbikes -- but the
vast majority, carrying their meager belongings, are fleeing
on foot. The burned-out car is still in the middle of the
road and the great human tide streams around it, as if it
were an island. In the distance comes the sound of machine
gun fire and mortars are coming in nearby. MEDVAC helicopters
clatter overhead with wounded strapped to baskets on the
skids. Now and then an ARMY CONVOY comes through, blasting
the 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 fresh
bandage packages and throw-away medical supplies. Suddenly a
jeep pulls up with a two-star GENERAL in it.

GENERAL
Where's your unit, soldier?

MERLE stares at the GENERAL -- blankly, without
comprehension. Finally, after a long moment, he gives a
slight shrug.

GENERAL
(to his DRIVER)
C'mon. We'll take him along.

The GENERAL and the DRIVER get out and start up the
embankment 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 pearl
handled revolver and he cocks the hammer with an audible
click.

GENERAL
Uh-oh.

The GENERAL and the DRIVER turn tail, scramble back down the
embankment 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 below
the REFUGEES stream past -- by the hundreds, by the
thousands, by the tens of thousands. For a long moment MERLE
watches, then he jams the gun in his pants and stands.

EXT. EVACUATION ROUTE - DAY

MERLE is walking with the fleeing REFUGEES. CAMERA PANS,
HOLDING ON MERLE as he grows smaller and smaller -- to a
speck in the vast human torrent.

DISSOLVE TO:

INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - SAIGON - DAY

The room is tiny, a cubicle furnished with a chair. NICK is
alone, standing at the window looking out. He wears ill
fitting civilian clothes whose colors are too bright for-the
pallor of his skin. Around his neck is a piece of plastic on
which is stapled a colored paper marker. Departing aircraft
thunder overhead and there is the sound of some nearby
hydraulic mechanism.

EXT. LOADING RAMP (NICK'S POV) - U.S. MILITARY HOSPITAL - DAY

Black BODY BAGS are laid out in countless rows on the hot
concrete TWO PFC's are stacking them on pallets and MORE
PFC's, driving hydraulic LIFTERS, are loading the pallets
into the cavernous hold of a huge JET TRANSPORT.

INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - DAY

NICK 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 thunders
overhead. The hydraulic LIFTERS on the loading ramp shriek
and whine...

NICK reaches for the new paper marker on his neck and peers
down at it from the corner of his eye. It seems to remind him
of something and he takes out his wallet. In his wallet is a
PHOTOGRAPH of LINDA. NICK peers at the photograph intently,
then closes his wallet and puts it away.

INT. U.S. ARMY TELEPHONE CENTER - SAIGON - DAY

Banks of telephones line the wall. Stretching out from the
telephones are long, ragged lines of SERVICEMEN waiting to
call home. The room is huge, full of echoes. Re-enlistment
posters are plastered everywhere and CANNED LATIN MUSIC is
playing.

NICK stands in one of the lines with only one person in front
of 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 heads
for the exit under a long row of CLOCKS.

EXT. BUSY STREET - SAIGON - DAY

NICK comes along the sidewalk in a CROWD OF PEDESTRIANS. He
is drunk and he moves aimlessly, as if he had been drifting
along for hours. As he comes to a stop, staring at a SOUTH
VIETNAMESE who has lost both legs, he fumbles in his pocket
for a pint of whiskey, empties the bottle and drops it in the
gutter. Suddenly, across the street, something catches his
eye.

NICK
(calling)
Sal...! Sal!!!

NICK throws himself into the traffic, headlong, without even
looking.

Vehicles swerve and screech to a stop. NICK dodges between
them, gains the sidewalk on the other side and claps his hand
on the back of a passing SOLDIER. The SOLDIER turns. It is
not 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 sea
of bobbing, brilliant color. NICK gropes in his pocket and
produces another pint bottle. He unscrews the cap and downs a
long swallow.

INT. BAR - SAIGON - NIGHT

The place is very dark. LOUD MUSIC is playing. Partially-clad
BAR GIRLS are dancing with the CUSTOMERS, while above, on a
kind of trapeze, NAKED GIRLS are performing obscene
contortions.

NICK sits at one of the tables. By now he is very drunk and a
BAR 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 - NIGHT

The BAR GIRL comes around the corner with NICK, guiding him
to a flight of narrow stairs. She has one hand around his
waist 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 at
the end of the corridor. He tears himself loose from the BAR
GIRL and pushes up against the glass.

EXT. NARROW STREET (NICK'S POV) - NIGHT

Seated on the sidewalk against the wall of the opposite
building is an OLD MAN surrounded by a collection of white
ceramic elephants. A truck roars by in front of him.
Motorcycles sputter past and PEDESTRIANS hurry in both
directions. The OLD MAN sits motionless, like the guardian of
some timeless, silent kingdom.

INT. CORRIDOR - BAR - NIGHT

NICK 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 BAR
GIRL hot on his tail.

BAR GIRL
Wait! First I give you special
fuck!

NICK
Elephants! Make way... I gotta get
elephants!

EXT. NARROW STREET - NIGHT

NICK paces up and down in front of the OLD MAN and his
ceramic 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 are
covered with sores. One of them ~as lost an eye and another
has 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 - NIGHT

The place is as dark as the one before. MUSIC BLASTS from a
jukebox and two vaseline-covered GIRLS are dancing. As NICK
crosses to the bar to get change there is a WHISTLING SCREAM
and then the FRONT WALL OF THE BUILDING DISINTEGRATES IN A
ROAR OF NOISE.

NICK pulls himself out of the debris. There is absolute
silence in the WRECKED BAR but rockets are coming in all over
the city and the EXPLOSIONS rumble and roar.

EXT. NARROW STREET AFTER ROCKET EXPLOSION - NIGHT

A nearby building is burning fiercely. The street is deserted
except for the sprawled CORPSES of the STREET URCHINS which
lie this way and that, like broken dolls.

NICK walks out past the CORPSES. The street is littered with
fragments of broken ceramic -- gleaming, pure white, like
chunks of snow.

EXT. DESERTED STREET - SAIGON - NIGHT

The sky is alight with fires. Now and then HUGE EXPLOSIONS
rock 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 the
PHOTOGRAPH OF LINDA and peers at it with a kind of ferocious
determination, as if this link were the last, as if by
staring 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 NICK
spins, staring at a shuttered building, there is the
unmistakable sound of APPLAUSE.

NICK stares at the building for a long moment, then he
crosses toward it.

EXT. YARD BEHIND BUILDING - SAIGON - NIGHT

A tiny light glows inside a paper lantern. Lying on the
around are three CORPSES, all of them Asian, all of them
expensively dressed and all of them with their heads blown
off. As NICK stands looking at them a door comes open on the
back of the building,and TWO BURLY MEN bring out another
corpse. The body is that of a young American. Like the Asians
he is expensively dressed and he is dead from a bullet in the
right 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 grape
arbor, eyeing him with a look of cold amusement. The MAN'S
accent is French. Beside him, on a small white table, is a
bottle 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 a
pistol. 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 of
APPLAUSE.

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 is
as 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 comes
again.

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 of
his FOOTSTEPS fades away. The TWO BURLY MEN come lurching
with another CORPSE. Laughter comes from inside the building
and there is a glimpse of AN ELEGANTLY DRESSED WOMAN seated
at a cafe table. The BURLY MEN return to the door and shut it
tight. In the distance the sky goes up in a huge flash of
fire and then the sound of the EXPLOSION rolls across the
city like a great dead wind.

DISSOLVE TO:

EXT. NICK'S TRAILER - WINTER - DUSK

The trailer is all decked out with bunting and stuck, like a
plum cake, with tiny American flags. Stretching from the
trailer to the side of a house across the street is a huge,
hand-lettered banner which says "WELCOME HOME NICK!" and it
whips 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 coming
from all directions, spilling in and out of the trailer and
congregating in excited, foot-stomping, half-frozen groups.

EXT. SERIES OF SHOTS - COLUMBINE AREA - DUSK

We see the OLD PRIEST on his way from the church. We see the
OLDER WOMEN, wrapped in shawls and carrying cakes and
cookies, trudging up the hill. We see ALBERT, JOHN and a
bunch of STEELWORKERS, all of them half-bombed, dragging two
cases of beer on a child's sled. We see LINDA peering out the
trailer window, pale and anxious-looking. We see VINCE, who
is unofficial lookout, jumping up and down at the approach of
every car and screaming, "This is it! This is Nick!" and
then, 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 VFW
Post come tottering. The VETS are all in their old uniforms.
While three of them attempt to make MUSIC on a BASS DRUM, a
FIFE 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 - DUSK

NICK sits hunched forward in the back seat surrounded by
unwrapped cartons containing electric appliances he has
bought for LINDA. NICK looks nervous, VERY NERVOUS.

Suddenly, as the cab comes over the crest of a hill, the
trailer looms into sight, straight ahead, with VINCE hopping
up and down in the snow and the OLD VETS all marking time
under 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 - DUSK

LINDA 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 all
watch 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 - DUSK

A huge neon sign stands against the grey sky, buzzing
angrily, as if it were full of bees.

The TAXI DRIVER comes out of one of the units, gets back in
his cab and pulls away.

INT. MOTEL - NICK'S UNIT - DUSK

NICK stands in the doorway where the driver has left him. His
duffle bag and the cartons of electric appliances are piled
along the wall by his feet. His head is thrown back and he is
draining a bottle of whiskey, gulping it down in great raw
swallows. .

NICK lowers the bottle, catches his breath and goes at it
again. This time, as he lowers the bottle, the stark panic is
gone, but there is still fear -- blind, nameless fear, like
that of an animal run to the ground.

NICK crosses to the window, grips the frame with both hands
and looks out.

EXT. THE STEEL MILL FROM THE MOTEL (NICK'S POV) - DUSK

The five great stacks trail ribbons of black smoke across the
pale winter sky, Steam billows upward in huge, silver-edged
clouds and there is the flash and gleam of fire.

INT. MOTEL - NICK'S UNIT - DUSK

NICK 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 begins
gulping down whiskey -- gulping it hard, fast, as hard and
fast as he can.

EXT. NICK'S TRAILER - NEW ANGLE - DAWN

The banner stretching to the house across the street has been
whipped to shreds by the wind. In the yard, parked beside
NICK's black Cadillac, is another car of about the same
vintage. There is a case of beer on its roof, the windows are
entirely frosted over and the engine is running. After a
moment TWO STEELWORKERS come down the street and knock on the
trailer door. TWO OLDER WOMEN emerge, putting on their coats,
and then LINDA comes to the door and tells the STEELWORKERS
she has no news. The STEELWORKERS and the OLDER WOMEN start
off, but now one of the WOMEN points to the frosted up car.
The STEELWORKERS go back, pound on the roof of the frosted up
car, pull open a few doors and go on their way. First thing
out is a GIRL. Next thing out is a SECOND GIRL. Their dresses
are rumpled and half-undone. Neither one has a coat and the
SECOND GIRL is missing a shoe. The GIRLS both plunge back
inside the car, where howling and cursing can now be heard.
The GIRLS both retrieve their coats. The SECOND GIRL gets her
missing shoe, plus a bra and a pair of panties.
She returns the panties to the FIRST GIRL, puts on her shoe
and they both take off at a fast trot. As the two GIRLS leave
there is a cascade of empty beer cans and ALBERT, VINCE and
JOHN all stagger out -- bleary-eyed, hung-over, half
undressed and freezing. LINDA comes out of the trailer with
coffee, but just as she emerges the whistle at the mill goes
off. ALBERT and VINCE begin yelling at each other, yelling at
JOHN and yelling at LINDA. Then they throw themselves back in
the car and start off. The case of beer on the roof crashes
to the street. They stop, pile out, pick up the cans, heave
them 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 of
coffee.

EXT. ADJOINING OVERLOOK - DAWN

NICK stands half-way down a rickety wooden stairway,
watching.

EXT. NICK'S TRAILER - ORIGINAL ANGLE - DAWN

LINDA turns and goes back inside the trailer.

EXT. ADJOINING OVERLOOK - DAWN

NICK swallows and starts down the stairway toward the
trailer. 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 it
with his fingers. Then he starts down again.

INT. NICK'S TRAILER - DAWN

Cakes, cookies, six-packs of beer and bottles of wine cover
almost every inch of available space. LINDA sits on the
little settee, wedged between two cases of Coca-Cola and
hunched over a white sweater which she is attempting, with
painful slowness, to knit. LINDA is trying not to cry. She is
trying her God-damnedest.

There is a knock at the door. LINDA freezes. Then, trying to
be totally matter-of-fact, she puts down the sweater, crosses
to 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 pull
apart.

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 to
NICK'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 and
stuffs 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 - DAY

NICK and LINDA are some distance away. NICK is shaking hands
with an ENTHUSIASTIC MAN while LINDA stands to one side,
watching his face, and so full of love that she seems about
to burst. ANOTHER MAN comes over. LINDA takes the MAN's arm
and presents him to NICK.

WE CANNOT HEAR WHAT IS BEING SAID. THE ONLY SOUND COMES FROM
THE MILL WHICH LOOMS UP BEHIND THEM OUT THE FROZEN VALLEY
BELOW.

INT. PIZZA PARLOR - TABLE BY WINDOW - DAY

NICK and LINDA sit opposite one another. Across the street a
coal train is rumbling slowly by and NICK is watching it. The
cars are black, interchangable, and they roll on and on.
Suddenly the last car appears. The car passes and there is
silence.

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 to
respond. NICK forces a grin, gestures with his hand and
shrugs. 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 - DAY

The place is full of crates and boxes. ONE CREW is unloading
a tractor-trailer. ANOTHER CREW is stacking and unpacking.
NICK stands with LINDA and a red-faced, cigar-chewing MANAGER
who is pumping NICK's hand, slapping him on the back and
shouting 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 from
behind, 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 - DAY

NICK stands by the entrance to the mill. It is cold and he
looks as if he had been waiting for some time. Suddenly
STEELWORKERS begin streaming out the doors, heading for their
cars. NICK cranes his neck and then he catches sight of
ALBERT and VINCE.

NICK
Hey, Albert!

ALBERT turns. He grabs VINCE and pulls him through the
departing STEELWORKERS.

VINCE
What the --!

ALBERT
It's Nick!

VINCE
Nick...?
(sees him)
Jesus, Nick!

VINCE grabs NICK's hand, shakes it. Then ALBERT does the
same.

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, horns
blaring. VINCE pulls back his coat and shows a .38 Smith and
Weston 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 - NIGHT

NICK comes through the CROWD OF STEELWORKERS shaking hands.
The STEELWORKERS treat him with immense respect. There are no
cracks; there are no jokes. They squeeze his shoulder, pat
his 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 with
beer 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 - LATER

NICK sits at the bar flanked by VINCE and ALBERT. Both VINCE
and ALBERT are completely glassed out. Behind, in the booths,
three or four STEELWORKERS are sleeping. JOHN moves around
behind 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 - NIGHT

The room is very dark. ANGELA sits at a lace-covered table by
the window where a street lamp illuminates her in an eerie
glow. ANGELA holds a portable radio in tier hand, a very tiny
one, and she fiddles with the dial, going from one station to
another.

There is a sound from the hallway, then SAL'S MOTHER comes in
with 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 stands
up.

She stares at NICK for a moment, goes to a telephone pad and
writes down a number in a tiny, nearly illegible scrawl. NICK
comes up behind her. ANGELA finishes, puts down the pen and
stands with her back against the wall. NICK tears off the
piece of paper, looks at it, puts it in his pocket.

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