I can still remember seeing The Deer Hunter for the first time. I was living in Aspen, Colorado. Had a rare night off from playing music. Came out of the theater just gutted by the movie – and in particular the two Russian roulette scenes. Michael (Robert DeNiro), Steven (John Savage), and Nick (Christopher Walken) are three long-time buddies and factory workers from Pennsylvania. They enlist in the Army and find themselves fighting in Vietnam. Captured by the Viet Cong, they have been abused and beaten. Steven (named Sal in the script) is in bad shape. Michael (named Merle in the script) has to convince Nick to do something seemingly insane, as you will see as the scene unfolds:

EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAY

As 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.

 MERLEIt's up to you, Nick. Now it's upto you.

EXT. CLEARING IN THE JUNGLE - THE "PITS" - DAY

SAL 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 hold him up.

EXT. CLEARING IN THE JUNGLE - WAITING PRISONERS - DAY

NICK 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.

 MERLEHim 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 - DAY

MERLE 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.

 MERLEThis is it, motherfuckers! Now he'sgoing 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 heknows it!

Side bets begin changing hands.

 MERLE (CONT'D)Last chance to lose your moneythere, 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 understandstupid? On and on! At this ratewe'll still be here tomorrow!(throws the revolver onthe table)Wait a minute. I know! Hey, I gotit. More! Put in more! Youunderstand more? More! Morebullets!(he mimes with hisfingers)Three bullets! You understandthree? That way BLAM! BOOM!

MERLE hops up and down, laughing maniacally.

 MERLE (CONT'D)KA-POWIE!!! BA-ROOM!!!... 'Cause Iwant 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 onthis, so get your shit in fuckin'shape!!!(to the GUARDS)Him or me!!! Now we got it, him orme!!!(he rubs his hands andsits back down)Place your bets, motherfuckers! Nowwe'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 getit. 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.

 MERLEYou 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 betting 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'sin your mind! Just put that emptychamber 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 thetable)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...

Notice how the sequence begins in crisis, describing Sal (Steven’s) deteriorating condition:

SAL 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.

This description drives home the reality to Nick – that in order to have any chance to save Steven and themselves, they have to act now: First step is to get the captors to allow Nick and Michael to face each other, not an American and Vietnamese prisoner as before. Crazy move, but necessary for what Michael has in store.

With both Americans participating, the odds of one of them dying increase exponentially. And see how the scene description infuses the moment with that threat:

NICK almost loses what little control is left and his handbegins shaking violently.

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.

The shaking of his hand reflecting the tension, even insanity of the moment. But then the second part of Michael’s plan: Coax their captors to put three bullets in the pistol, thereby almost ensuring somebody’s death in the first go-round. Worried that the Viet Cong will catch on, Michael does his best to distract them by acting crazy:

MERLE hops up and down again, then screams at NICK, jabbinghis finger at him, as if in fury.

Then amazingly, two rounds of roulette – no gunshot. Which means that it’s virtually certain there’s a live round loaded and ready to go – and it’s Michael’s turn. Then this description:

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 thetable)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.

Michael’s performance “captivated” the men, an ironic choice of words because these are the captors. Then the pay-off:

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...

What a scene. What an ending. And its own denouement: “…BODIES lie in a bloody, tangled mess… rain drones on — uninterrupted, undiminished, eternal…”

It’s almost as if in this incredible twist pulled off by Michael and Nick – including somehow willing away two bullets which by all rights should have been loaded to go – they have taken this ‘profane’ moment and transformed it into a ‘sacred’ event through the blood sacrifice they make by slaughtering their captors.

This is a terrific example of using scene description to help build the tension in a scene to a powerful climax.

I couldn’t embed the scene, but you can see it here.