| HUNTER
“BAD COMPANIONS”
(The title was later changed to “BAD COMPANY”)
Written by Dick Nelson
ACT ONE
FADE IN
EXT. GUN STORE - DAY
The store is large and built like a fort. Heavy steel bars
are permanent fixtures over the display windows... the door
has a steel grating that is rolled to one side during
business hours. The neighborhood is semi-commercial and
run down - an unreconstructed area of Culver City would
be right on. Not much traffic at this mid-morning hour.
EXT. STREET - DAY
A dusty van is pulling to the curb at the corner in front
of the gun store. (NOTE: the space directly in front of
the gun store's door is still vacant.) A young man and a
girl can be seen in the front seats. The man, HATCH, who
is driving, is in his mid-20s...the girl, ANGIE, in her late
teens, though she seems younger. Now, as the van stops,
Angie gets out and heads into the store. She carries a
large shoulder-sling bag.
INT. GUN STORE - DAY
The clerk, YANK, 40s, a redneck type, has his back to
CAMERA, stacking an ammo display behind the counter. He's
tricked out in bush jacket and fatigue pants, very
paramilitary, like most of the weaponry displayed in the
store. Angle enters, moves far enough inside to be able
to size up the place, and check for other customers or
clerks - there aren't any. She's about to start out again
when Yank notices her.
YANK
Hi, Little Lady...do you want
something?
Angie flashes a too-bright smile.
ANGIE
Yes, but I forgot my credit card be right back.
EXT. GUN STORE - DAY
Angle comes out, takes a position out of Yank's sight beside
the gun shop door. She reaches into her shoulder bag,
brings out a small walkie-talkie, switches it on.
ANGIE
(into
walkie-talkie)
This is Lookout...it's all clear!
Simultaneously, she signals "thumbs up" to Hatch in the van.
ON VAN
As Hatch gets out of the van, runs along the sidewalk, past
Angle, to take up a lookout position at the far corner of
the building. He, too, carries a small walkie-talkie.
ON STREET - TRUCK
A medium-sized truck (its cargo area has a canvas cover),
comes barreling down the street, brakes sharply directly
in front of the gun store, and backs up onto the sidewalk,
right to the gun store's open front door.
BACK OF TRUCK - "COMMANDOS"
Three men in paramilitary uniforms, armed with assault
rifles, jump out of the back of the truck, rush into the
store. Their leader, the man in charge of this group, is
RANDY, 28, big and muscular. As he and the other two dash
past Angle at her lookout post, ANGLE IN ON HER to see her
nervousness as she watches the operation unfold.
INT. GUN STORE - DAY
With Randy in front, the three commandos run in, two take
positions on either side of the door as Randy runs toward
the counter and the clerk, Yank.
ON COUNTER
Yank has stepped over to a silent floor-alarm as he throws
up his hands.
CLOSE ANGLE - FLOOR-ALARM
The alarm button is located on the floor under the
counter... Yank's foot comes INTO SHOT, stepping on it.
A ball light mounted above the alarm button begins
Blinking, Indicating the alarm has been triggered.
TWO SHOT - RANDY AND YANK
YANK
Take it easy, buddy...
RANDY
Turn around - face the wall!
Yank does as he's told.
RANDY
We want all your full-automatic
M-16s, and any other good stuff
you got.
YANK
You kidding me? We don't sell
automatic weapons - it's against
the law...
He trails off as Randy suggestively works the bolt of his
rifle, putting a round in the firing chamber.
RANDY
Want to try again?
Yank rethinks his answer.
YANK
We keep 'em in the storeroom...
(indicates rear
door)
...through there. It's unlocked.
RANDY
There you go...
Her reverses his rifle and drops Yank with a crisp butt
stroke to the back of the head. As Yank hits the floor,
stunned, Randy shouts toward the front door:
RANDY
(calls toward door)
Go-go-go!
EXT. GUN STORE - TRUCK - DAY
Four more men, unarmed and dressed in coveralls, jump from
the back of the truck, hurry inside. ANGLE IN ON Angie,
watching as before.
INT. GUN STORE - DAY
As the four men hurry toward the back of the store, with
Randy directing them through the rear door.
ON YANK
on the floor behind the counter, stirring feebly.
CLOSE ON
the alarm light, still blinking.
EXT. L.A. STREET - DAY
A Police black-and-white unit is cruising - we HEAR OVER:
DISPATCHER'S VOICE (V.O.)
(on radio)
All cars in vicinity Twelfth and
Elm, respond to silent alarm -
"Arms Unlimited" gun store -
possible robbery in progress...
The black-and-white does a smoking U-turn, speeds off, siren
blaring.
EXT. GUN STORE - ANGIE
Reacts as she hears the distant SIREN approaching. She
hurries to the gun store door, calls inside:
ANGIE
I hear a siren - could be cops
on the way!
She makes way as the four unarmed men return, struggling
with heavy wooden crates of a size to contain rifles. They
wrestle the crates onto the back of the truck. A moment,
then Randy appears, his rifle slung over his shoulder,
carrying an ammo box.
ANGIE
We'd better split, Randy...
RANDY
We got time for another load*••
(up)
Coae on, you guycl
He hustles the men back inside as Angle frets, looking off
toward the approaching siren...now another siren joins the
first. Angle looks toward:
HER POV - DOWN THE BLOCK - HATCH
Looking worriedly down the street, expecting the police to
appear at any moment. He looks toward Angie, shakes his
head, indicating they aren't yet in sight.
BACK TO ANGIE
Moves down the sidewalk in the opposite direction, peering
off down the street.
INT. GUN STORE - DAY
As Randy and the four nen move out with another load...the
two armed commandos follow them out, guns at ready. We
watch them EXIT, then CAMERA PANS BACK TO the counter where
Yank is struggling to stand. He's half out of it, but
feisty. He pulls a twelve-gauge riot gun from its rack
under the counter, works the slide to arm it.
EXT. GUN STORE - AT TRUCK
Randy and his men are loading the rest of the gun crates
onto the truck, then begin scrambling aboard themselves.
Randy-yells:
RANDY
Let's get rolling!
ON HATCH
He starts running back toward the van as the truck pulls
off the curb.
ON ANGIE
Trotting toward the van. Hatch catches up with her and they
reach the van together; he moves to the driver's door.
Meantime the SOUND of police SIRENS is louder than ever -
they're only a few blocks away.
THE GUN STORE
Yank staggers out, shotgun ready, SHOOTS toward the
retreating truck.
ON TRUCK - RANDY
Ducking as buckshot rips the canvas a few feet from his
head.
ON VAN
Angle is frozen on the sidewalk, staring toward Yank as
Hatch reaches into the van, bringing a carbine out from
under the driver's seat. Before he can get into action with
it:
ON YANK
Turns and FIRES three fast shots toward the van.
ON HATCH
He's hit solidly and blown backwards into the street.
ON ANGIE
She has opened the van's passenger door, which shields her
body...but she is hit along the side of the head, spins and
falls.
ON RANDY IN TRUCK
Aims his assault rifle toward Yank, FIRES a lethal burst.
ON YANK
Hit hard and thrown back into the store's doorway.
BACK TO RANDY
staring toward:
HIS POV - ANGIE AND HATCH - MOVING SHOT
as the truck continues to pull away from the scene, it
appears that both Angie and Hatch have been killed -
neither move.
ON RANDY, OTHERS IN TRUCK - AS IT SPEEDS AWAY
Exchanging grim, helpless looks, then they pull the canvas
curtain to conceal themselves inside the truck's cargo area,
CLOSE ON ANGIE
Stirs feebly, opens her eyes, reacts to:
HER POV - THE TRUCK
as it skids around a corner and vanishes.
BACK TO ANGIE
Reacting, hurt and angry at being left behind.
EXT. STREET - TRUCK AND POLICE CARS
As the truck rolls along, then dutifully pulls over as a
couple of black-and-white units scream past on their way
to the gun store. When they're gone, the truck continues
on.
EXT. GUN STORE - ANGIE
Angie is trying to sit up. We HEAR the police cars arrive,
stop, footsteps approach.
ANOTHER ANGLE
As two Officers move to stand over Angie, covering her.
A trickle of blood courses down her cheek from a scalp
wound, but she still manages to smile wanly up at then.
INT. HEADQUARTERS - HOLDING ROOM - DAY
Angie is seated at an interview table, her scalp wound
bandaged. She seems fully recovered, bright and cheerful.
She's looking expectantly toward the door.
ON DOOR
as HUNTER and MCCALL enter, shut the door behind them.
MCCALL
Hi...Angela Holly, right?
ANGIE
Uh huh... I bet you're the two
detectives they said were going
to ask me some questions.
HUNTER
I'm Sergeant Hunter, this is my
Partner, Sergeant McCall...
MCCALL
Did the arresting officers read
you your rights yesterday, Miss
Holly?
ANGIE
Oh, yeah, I got my rights read
at the gun store, and in the
hospital jail ward, too. And
listen, call me Angie, okay?
HUNTER
(friendly smile)
Angie, huh? I like that.
Angle smiles back, charmed and attracted. McCall gives
Hunter a look, then:
MCCALL
Okay, Angie - are you waiving
your right to have a lawyer
present during questioning?
ANGIE
Sure, who needs lawyers? I'm not
telling you anything, anyway.
MCCALL
That's right - we can't make you
tell us a thing. Only, if I were
you, I wouldn't feel much like
protecting a bunch that'd run away
and leave me wounded.
Angie reacts to this - a fleeting look of hurt and
resentment, which she covers quickly.
ANGIE
Maybe they didn't have any choice.
HUNTER
They were long gone when the
black-and-white cars showed up
- they had plenty of time to get
you out of there if they wanted
to.
Angle shrugs - she doesn't want to talk about being left
behind - it's a sore subject.
ANGIE
The guy who was with me in the
van...did he make it?
MCCALL
(checks case
report)
Kenneth Hatch? I'm sorry, he was
dead on arrival.
ANGIE
Poor Kenny... he never had much
luck.
HUNTER
The gun store clerk didn't make
it either... your friends left you
holding quite a bag.
ANGIE
(resentfully)
And that's between them and me,
right?
HUNTER
That's it?
ANGIE
That's it!
Hunter and McCall exchange a look. It's obvious Angie won't
budge - they decide to call it a day.
MCCALL
Okay...let us know if you change
your mind - or if you need
anything.
ANGIE
What I need is - you know - out
of here. Like now.
HUNTER
(sympathetic smile)
Can't help you with that one.
ANGIE
Didn't think you could.
(looks at them)
I might as well tell you - you'll
find out anyway.
HCCALL
Find out what?
ANGIE
My last name isn't Holly, it's
Hobarts...and I'm wanted up north,
Pinon County, on a
bank-robbery-murder charge.
HUNTER
(holds up a hand)
Angie - don't say another word
till you talk to a lawyer.
ANGIE
It's okay, I trust you. Anyway,
I didn't do what they want me for,
I've just got this talent for
being in the wrong place at the
wrong tine.
She gives him a rueful, little-girl grin, seemingly with
no real understanding of the seriousness of her problem -
she's more interested in flirting with Hunter.
INT. DEVANE'S OFFICE - DAY
ON DEVANE looking up from his desk in disbelief.
DEVANE
You want to drive her where?
WIDEN
to include Hunter and McCall, across the desk from Devane.
HUNTER
Pineville - it's the Pinon County
seat - she's wanted there.
DEVANE
Let me guess: you figure it'll
help our case if you take a
ten-hour drive with her.
HUNTER
You got it. She thinks I'm on her
side - and in a way she's right.
I think she's a victim. She sure
isn't a hard-nosed criminal.
DEVANE
You expect her to roll over on
her friends, is that it?
HUNTER
They dumped her. I think we could
turn her around before we hit
Fresno.
MCCALL
(to Devane)
You could see it in her eyes -
she was mad as hell and trying
to pretend she wasn't.
DEVANE
(looks at report)
I don't know...you say her "want"
up there is murder?
HUNTER
She sat outside in a truck while
her friends hit a bank. They wore
masks but she didn't - you can't
sit in a look-out car wearing a
mask. These people are pretty
careless with this kid and I think
we can sort of point that out to
her.
DEVANE
(looks at report)
It says here she was in custody
when four men -
(looks up)
- same number as hit the bank;
same number as hit the gun store.
Four men took the Pineville jail
and broke her out.
DEVANE (Cont'd)
(sits back)
How aad could she be at these
guys? And even if you get
anything out of her, it won't be
admissible..•
HUNTER
Why not? She's had her rights
read to her - I'll read 'em again
when we start the trip. It's
worth a try, isn't it?
DEVANE
What's the D.A.'s office say?
Are they willing to let Pinon
County have her?
MCCALL
They're willing. You might even
say "relieved" - something about
behind understaffed.
Devane looks from McCall to Hunter, thinks for a moment,
then:
DEVANE
Okay. Go for it.
EXT. COURTHOUSE PARKING LOT - DAY
Hunter and McCall stand waiting near an unmarked police
car...not Hunter's usual junker. Hunter is taking it in
stride, but McCall is somewhat in awe.
MCCALL
This thing looks almost new! I
don't know, Hunter - maybe I'd
better drive.
HUNTER
Don't start, okay? There's
nothing wrong with my driving,
it's the bad guys that drive bad.
Before McCall can respond, Angle and a Matron come from the
courthouse building, move to join Hunter and McCall at the
car. Angie is handcuffed, hands behind her back.
ANGIE
Hi. You guys come to say goodbye?
HUNTER
You don't get rid of us that
Easy... we're driving you to
Pineville.
ANGIE
You are? Fantastic!
McCall and Hunter grin at the girl's enthusiasm.
MCCALL
(to Matron)
You can take the cuffs
off...she'll be good, won't you,
Angie?
ANGIE
(grins)
Well, I'm sure not gonna attack
you with my fists.
The Matron removes the cuffs, then heads back to the
Courthouse.
MCCALL
How do you want it to go,
Hunter...Angie and me in the back
seat?
HUNTER
Let her ride up front with me...
(winks at Angie)
give the kid a break.
Angie bounces into the front passenger seat, Hunter holding
the door for her. When he shuts Angie in, McCall pulls him
aside for a quiet exchange:
MCCALL
What're you doing, big guy?
Screwing with her head? She's
just a kid.
HUNTER
(grins)
That's what this trip is all
about, isn't it?
MCCALL
(shrugs)
Well, she is eighteen.
McCall shakes her head, then moves to get into the back seat
as Hunter goes around to get in the driver's door. As the
car starts away:
DISSOLVE TO:
EXT. HIGHWAY - HUNTER'S CAR - DAY
A stretch of highway in hilly country - a section of the
Ridge Route would be right. Hunter's car rolls along at
the legal limit...traffic is light.
INT. CAR - DAY - MOVING
In the back seat, McCall leans forward, resting her arms
on the top of the front seat, to take part in the
conversation with Hunter and Angie. The mood among the
three is pleasant - almost playful.
ANGIE
(grinning)
So that's why it isn't going to
work. Friends are friends.
Loyalty, that's all that matters.
(grins)
So you're taking a long, dull
drive for nothing: I'll never
sell out my friends.
MCCALL
How do you like that, Hunter?
She saw right through us.
ANGIE
So why don't we all just relax
and enjoy the scenery?
HUNTER
(shakes his head)
I don't buy it, Angie...you keep
a smile on that pretty face when
you talk about your friends, but
it doesn't wash. They ran out
on you. And you don't like it
one damned bit.
ANGIE
(a flash of anger)
Cause they don't matter! I
belong to a movement, a cause,
I believe in something -
something bigger than you or me
or my friends!
Hunter throws Angle a puzzled look. So does McCall, and
then glances at Hunter. Both are hoping Angle will go on,
but she is looking out the window. She sees:
A HIGHWAY SIGN (46)
BACK TO SCENE
ANGIE
Hey, you're going the wrong way!
- this route is way outta the way!
HUNTER
Yeah, we know.
Angie stares at him, then suddenly breaks into laughter.
ANGIE
(laughing)
So, while you're putting my
friends down, you're afraid they
might try 'n grab me, huh?
She laughs with delight, shakes her head, and looks out the
window again.
MCCALL
I like rap sessions about
philosophy, Angie. Can you talk
about yours? Or are you afraid
it might incriminate you?
ANGIE
Incriminate me?
(grins)
Nothing personal, guys - you're
nice, but you're on the wrong
side, the criminal side.
During this and what follows, we'll becmne aware that Hunter
is keeping an eye on the rearview mirror.
MCCALL
You can't just leave it there...
Go on.
ANGIE
You know your problem? You look
at the world the way it is, and
you think it's going to be the
same way tomorrow. But it isn't
...it's all going to change.
Abruptly Hunter pulls off the highway onto the shoulder of
the road.
ANGIE
What's wrong - why are we
stopping?
HUNTER
Just checking out this car that's
been behind us the last forty
miles.
EXT. HIGHWAY - CAR
ANGLE from Hunter's car, we WATCH as an older model sedan
rolls past, driven by a middle-aged man in a business suit.
PAN WITH the car as it passes, and ZOOM IN ON its license
plate: California license number VAH-266.
INT. HUNTER'S CAR
FAVORING Hunter who already has radio microphone in hand,
and is transmitting:
HUNTER
(into mike)
...requesting owner I.D. of a
(describe vehicle), California
license number Victor-Adam-Henry,
two-two-six...over.
RADIO VOICE
Roger, two-Charlie-thirty...
HUNTER
(to Angie)
So, Angie, you were about to tell
us how the world is going to
change.
ANGIE
That's right. As soon as all the
sleepers wake up...
HUNTER
Sleepers? What're sleepers?
ANGIE
All the people who believe the
same way my father does - but
haven't done anything about it
yet.
RADIO VOICE
Two-Charlie-thirty...vehicle is
registered to A. W. Pruitt, 2719
Ridgeway Road, Mountainview...no
wants or warrants...over.
MCCALL
Mountainview is a little town off
the highway a few miles farther
on - the guy's a local, Hunter.
HUNTER
(into mike)
Roger, Control - over and out.
He gets the car rolling again. Angie seems amused.
ANGIE
You have a very high opinion of
my friends, Rick, don't you?
HUNTER
No. I just don't want to lose
you to them. Next tine they might
get you killed.
ANGIE
You know what my father says?
"An undedicated life isn't worth
living."
HUNTER
And who's your father?
ANGIE
(a big, triumphant
smile)
Wouldn't you like to know!
HUNTER
We do know, Angie.
That stops Angie. She looks at Hunter. She turns and looks
at McCall.
MCCALL
(nods)
He's Brother Harold Hobarts of
the National Aryan Order.
Angie stares at McCall a moment. Then:
ANGIE
Okay. Then you know where I'm
coming from - and where you can
go!
MCCALL
No, I don't know where you're
coming from. What does the N.A.O.
stand for exactly?
Angie studies McCall's face, decides the question is
sincere:
ANGIE
"McCall", that's a good Aryan
name. And "Hunter", another one.
You're probably both sleepers and
don't know it.
MCCALL
What's a sleeper?
ANGIE
People who agree with us...and
just haven't faced it yet.
MCCALL
Okay, maybe I am a sleeper. What
haven't I faced yet?
ANGIE
That you, and Rick, and I - all
of us - are being overwhelmed
and by the mud races.
MCCALL
Who are they?
ANGIE
The non-Aryans, from blacks to
Orientals to Jews to Hispanics.
(looks from Hunter
to McCall)
We're going to be a minority in
this country in a dozen years or
less - unless we face it and stop
it!
HUNTER
Is that what the money was for?
From the bank robbery? To help
stop it?
ANGIE
(glares at Hunter)
And I thought you liked me! I
thought you were my friend I!
HUNTER
I do like you, Angie! And it
breaks my heart to hear you
sounding off like some
brain-washed idiot!
Angie turns angrily away from Hunter and stares out the
window again.
DISSOLVE TO:
EXT. HIGHWAY JUNCTION - HUNTER'S CAR - DAY
Hunter's car slows, turning off the main highway onto a
secondary road.
INT. HUNTER'S CAR - DAY
Angie is reacting to the turn-off.
ANGIE
What're you turning off here for?
We'll never get to Pineville!
HUNTER
We're taking the scenic route.
Hunter is pulling over to the side of the road, stopping
again.
HUNTER
But first we'll wait here a while
to see if anybody's behind us.
Angle stretches and yawns, settling back, bored.
EXT. ROAD - DAY
Hunter's car resumes traveling, passing a run-down gas
Station.
EXT. GAS STATION - DAY
The ATTENDANT sits in the doorway, watching closely as
Hunter's car goes past. He's in his forties, wears
dungarees with an American flag shoulder patch. He gets
up, moves inside to a phone.
INT. GAS STATION - DAY
As the Attendant dials a number, waits, then:
ATTENDANT
This is Wally - that car you said
to watch out for just went past
here...Hey, glad to help out.
As he hangs up,
DISSOLVE TO:
EXT. ROAD - HUNTER'S CAR - DAY
Time has passed - the terrain is a little rougher and more
barren. Hunter's car appears to be the only vehicle on this
stretch of road.
INT. HUNTER'S CAR - DAY
The conversation has resumed, McCall again leaning forward
in the back seat to participate.
MCCALL
Where's home these days, Angie?
We hear the N.A.O. kind of
disappeared a couple years back.
ANGIE
We didn't disappear - and I don't
want to talk to you - about
anything.
HUNTER
Can't budge the girl, McCall...
her friends run off and leave her
bleeding on the street, but that's
okay - it's the cause that
matters.
ANGIE
(grins)
You're never going to give up,
are you? Why don't you tell me
again how brain-washed I am -
that's even funnier.
MCCALL
Angle - I want to say something
to you, and you don't even have
to answer if you don't want to...
ANGIE
Thanks for letting me know what
I already know.
MCCALL
You've got a view of the world
that you're very sure of...but
has it ever occurred to you that
you never had a chance to see
things any other way?
ANGIE
I had plenty of chances!
For the first time, Angie seems defensive, upset.
ANGIE (CONT'D.)
You don't know what you're talking
About!
She turns her back on McCall, staring through the windshield
at the road ahead.
POV - THROUGH WINDSHIELD
Far ahead on a straight stretch of road, a truck is
approaching on the narrow two-lane blacktop. Truck and
Hunter's car approach at a combined speed of about 100
m.p.h., so what happens next happens fast.
ON HUNTER AND ANGIE
As Hunter eases over to allow the truck ample room to pass
then, Angie straightens, abruptly recognizing the truck.
Hunter stands on the brake as:
EXT. ROAD - SLO-MO EFFECT SHOT
The driver of the truck brakes sharply, sending the truck
into a sideways skid that blocks both lanes of the road.
Hunter's car goes into a controlled skid, but there's no
way Hunter can avoid the truck - his car slams into it
behind the truck cab.
INT. HUNTER'S CAR - DAY
Hunter and McCall are both stunned by the impact.
EXT. ROAD - ON BACK OF TRUCK - DAY
The canvas curtain on the back of the truck is yanked aside
and ten armed commandos jump out, with Randy in the lead.
As they converge on Hunter's car. Randy shoots out a rear
passenger-door window, another man lobs a tear gas grenade
through it.
INT. HUNTER'S CAR - BACK SEAT - DAY
McCall has slumped forward so that the bullets miss her,
and the grenade goes over her to the empty seat beside her,
where it begins belching gas.
WIDER - THE SCENE
Hunter, still pretty much out of it, struggles out of his
seat belt and reaches for his gun. Before he can get it
into play, his door is yanked open, and two or more carbine
muzzles are at his head.
RANDY
Drop it and get out of there!
Simultaneously, other commandos have moved around to help
Angie out of the passenger side of the front seat.
ON HUNTER
Eyes streaming from the tear gas, he eases out of the
car...then moves to get McCall out of the back seat.
RANDY
Freeze or you're dead!
HUNTER
My partner's in there...
He has the rear door open before Randy comes in behind him,
dropping him with a butt stroke to the head. McCall
stumbles out to fall to her knees, as Hunter goes down,
stunned but not completely out. McCall is blinded by the
gas, feels for him.
MCCALL
Hunter? I can't see...
Hunter struggles to rise.
RANDY
This one's a real hardhead.
And he applies a second butt stroke that knocks Hunter out.
We GO TO BLACK along with Hunter.
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
EXT. CAMPSITE - DAY - ON TRUCK
as it bounces along over a rutted dirt track, pulling into
a grove of trees where a tent encampment is concealed.
CAMERA FOLLOWS the truck as it drives into the center of
the camp, stopping in front of a large tent (Hobarts') which
is set apart from the others. There is an area of open
ground in front of this tent, dominated by an American flag
flying from a flagpole.
ON REAR OF TRUCK
Angie is one of the first ones out - she turns to help a
blindfolded McCall. Randy and another man roughly bring
Hunter out of the truck...he's also blindfolded, hands tied
behind his back - conscious now, but unsteady.
ON HOBARTS' TENT
BROTHER HOBARTS emerges from the tent. He's a rough-hewn
man with an air of authority...a born leader.
WIDEN
As Angie sees him and moves to accept his welcoming hug.
HOBARTS
Thank the Lord you're safe, child
- I thought I'd lost you.
ANGIE
I'm okay - the two cops could
use some first aid, though.
HOBARTS
(nods, calls to
men)
Bring our guests inside.
As Hunter and McCall are steered inside Hobarts' tent and
OUT OF SHOT, Angie looks off, reacts happily, then quickly
suppresses her reaction to:
ANGIE'S POV - JENNINGS
moving off.
ON RANDY
Aware that an assignation is in the works, and angry about
it.
INT. HOBARTS' TENT - DAY
Hunter has been untied, he and McCall are seated on a cot.
Their blindfolds are off, and both are swabbing their eyes
to relieve the tear gas aftereffects. Angie stands behind
Hunter, holding a cold compress to the back of his head.
He winces as she bears down a bit.
ANGIE
Sorry - that's some goose egg
you've got back here.
HUNTER
Yeah, a goose egg, all right.
Sounds like my score.
ANOTHER ANGLE
To INCLUDE two commando GUARDS standing at either side of
the open tent entrance, holding automatic carbines. Hobarts
can be seen just outside the entrance, winding up a
conversation with Randy. He gives Randy an approving slap
on the back, comes inside the tent as Randy moves off, OUT
OF SHOT. Hobarts picks up a camp chair, moves to sit
opposite Hunter and McCall.
HOBARTS
I see you two are recovering...
welcome to our camp - we like
to call it New Valley Forge. I'm
Angle's father.
MCCALL
Oh, yes... Brother Hobarts.
Hunter takes over application of his own cold compress.
HUNTER
Thanks, Angie - feels better.
She moves away from Hunter, looking toward her father.
ANGIE
I'd like to go to my tent and
clean up a little, Daddy...
HOBARTS
You're excused...
EXT. HOBARTS' TENT - DAY
Angie looks around quickly, hurries off, heading away from
camp. When she's OUT OF SHOT, PAN to DISCOVER Randy,
watching her from concealment. He moves off to follow her
at a distance.
INT. HOBARTS' TENT - DAY
Hobarts has Hunter's and McCall's i.d. wallets, refers to
them.
HOBARTS
I see by your identification that
you're Sergeant McCall - and
Sergeant Hunter.
He tosses them their wallets in turn.
HOBARTS
You can keep those for now.
HUNTER
(dryly)
Thanks - do we get out guns back,
too?
HOBARTS
(smiles)
For the time being, your status
is that of prisoners of war. But
don't worry - we're not cruel
or inhumane. You'll be treated
well.
MCCALL
How long do you plan to hold us?
HOBARTS
It so happens we have an operation
planned for a few days from now
- you two could be useful as
hostages, if we happen to need
any.
HUNTER
That's bad news - hostages
frequently get hurt - or killed.
HOBARTS
(a big smile)
Well, if that happens, you can
take comfort in knowing you've
died in a very good cause.
(laughs; to guards)
Take them to the lockup, men.
The guards move in to take charge of Hunter and McCall.
EXT. WOODED AREA - DAY
Angie is moving through the woods, hurrying. Abruptly
Jennings steps out from behind a tree, startling her, as
he takes her in his arms.
ANGIE
Mark - you scared me...
JENNINGS
Baby - you scared me! Randy came
back from that gun store thing
in L.A. and told us you
were...dead.
He chokes on the word - we can see how deeply he cares for
Angie, and how much pain he felt when he thought she was
dead. Angie sees it, too, and kisses him, gently at first,
then with rising passion to which he responds eagerly.
ON RANDY
Many yards distant, watching from concealment.
RANDY'S POV - ANGIE AND JENNINGS
Their embrace is becoming more urgent - abruptly, Angie
breaks free, taking his hand, drawing him with her, deeper
into the woods.
ON RANDY
His face is a study in jealous rage. Abruptly he turns
away, heading back toward camp.
EXT. PATH TO LOCKUP - DAY
Hunter and McCall are being moved at gunpoint by the guards
up a rocky path in a narrow draw to the lockup.
THE LOCKUP
The lockup is an old, steel-plate water tank, of the type
used by cattlemen in earlier days to hold what little water
they could squeeze out of low-yield springs. It's
cylindrical, about twelve feet in diameter, and eight feet
high, with a recently-cut security door in the side facing
the camp. This has a bolt on the outside, an eye-level
grating to observe prisoners, and a slot to pass in food
and water.
Hunter and McCall are moved to the open door and shoved
inside. ANGLE IN CLOSE on the door as the guards shut and
bolt it, securing the bolt with a heavy padlock.
INT. LOCKUP - DAY
The inside of the lockup is dark, with a half dozen
quarter-sized shafts of sunlight finding their way in
through empty bolt holes near the top of the tank. There's.
no plumbing, just the empty tank with sand partially
covering the iron floor. Hunter and McCall stand a moment,
till their eyes adjust to the dim light. They HEAR the
guards footsteps moving away outside. Hunter moves around
the inside of the lockup, checking it out. He reaches up
and touches the low ceiling, pulling his hand away quickly.
HUNTER
Hot. This thing's like a solar
heater.
MCCALL
I noticed. I also noticed the
shower isn't working.
Hunter raps his knuckles on the steel wall of the tank.
HUNTER
Quarter inch at least - the way
they used to make 'em.
He moves to sit on the dirt floor...McCall sits opposite
him.
MCCALL
Got any guesses on our chances
here?
HUNTER
Staying alive, you mean? I'd say
about a three.
McCall nods, she has the same opinion.
MCCALL
I wonder what the big operation
is that Hobarts was talking about.
HUNTER
Ask him next tine you see him,
he likes to talk.
MCCALL
You are kidding, aren't you?
HUNTER
Sometimes a guy like that will
tell you more than he should,
trying to convince you he's not
crazy.
McCall and Hunter exchange a grim look as we go to:
EXT. HOBARTS' TENT - DAY
Jennings is approaching Hobarts' tent, a worried look on
his face.
INT. HOBARTS' TENT - DAY
FAVORING Jennings as he comes in...Hobarts stands just
inside the open tent flap.
JENNINGS
Brother Hobarts, you sent for
Me?
He trails off as he sees that he and Hobarts are not alone
in the tent.
ANOTHER ANGLE
To INCLUDE Angie, seated tensely on a camp stool in the
middle of the tent. Randy paces restlessly nearby, shooting
Jennings a sidelong, black look. Hobarts is closing the
tent flap. When it's closed, he faces Jennings, cold rage
simmering close below the surface.
HOBARTS
We'll keep this conversation
private - Jennings. Randy tells
me he observed you meeting with
my daughter in the woods - he
says you were behaving in a carnal
fashion...and for all he knows,
it may have become even more
carnal, because he felt shame for
the two of you, and couldn't go
on watching...
ANGIE
Oh, Daddy, Randy's jealous because
it wasn't him -
HOBARTS
(sharply)
You be still - I'll get to you
later! Jennings...I'm waiting
to hear from you.
JENNINGS
(nervous, but
sincere)
Well - the explanation is, I'm
in love with Angie, sir.
HOBARTS
Are you? Is that a fact. Then
the moment you decided you were
in love with my daughter, that
was the moment you should have
come in here and talked to me.
JENNINGS
I know, sir - I realize I should
have done that, and I'm deeply
sorry I didn't.
HOBARTS
Sorry's not enough, boy. Not by
a long shot. You're going to have
to prove yourself - prove that
you're worthy...of my daughter,
and this brotherhood.
JENNINGS
How can I do that?
HOBARTS
Randy has asked permission to test
you, and I agreed. Tonight, the
two of you will meet in The
Circle, and what will be will be.
Jennings swallows, scared. Randy outweighs him by a good
fifty pounds. His eyes meet Angie's, she is anguished.
JENNINGS
Yes, sir - I'll be there.
HOBARTS
All right - get out of here.
You too, Randy.
Jennings and Randy move to exit - Randy holds the tent flap
for Jennings, giving him a contemptuous look as they go out.
As soon as the flap closes behind them:
ANGIE
Daddy, please - please don't do
this. It isn't fair.
HOBARTS
Randy has the right to challenge
him.
ANGIE
Please - I've never asked you
for anything before...
HOBARTS
Damn it, child. Randy and I broke
you out of that jail! He's earned
the right to test Mark Jennings!
ANGIE
I'm grateful to you, and to Randy,
but don't I have any rights?
HOBARTS
(overriding)
Let's find out if the boy's
worthy. I don't expect Mark to
beat Randy; he doesn't have to.
I just want to make sure he can
stand up to Randy like a man!
Angie sags, knowing it's no use. ANGLE IN ON her face,
afraid and helpless as we go to:
EXT. CAMPSITE - THE CIRCLE - NIGHT
On the outskirts of the camp, a dry arroyo serves as the
field of combat. A circle of torches and tires burning in
metal drums marks out an area about fifteen feet in
diameter...the spectators - everyone in camp - sit or
stand outside this circle. There are maybe twenty-five men,
all white of course, from early 20s through 50s. Strange
is the best word to describe them.
ON HUNTER AND MCCALL
They're escorted to the edge of the rinq by a couple of
guards, find a pair of camp stools waiting for them. They
sit down, looking over at:
THEIR POV - HOBARTS AND ANGIE
Hobarts sits nearby - he nods pleasantly to Hunter and
McCall. Angie doesn't even look at them, she's wide-eyed
with fearful anticipation.
MCCALL
What is this...the evening
entertainment?
HUNTER
Whatever it is, Angie doesn't look
happy about it.
WIDER - THE SCENE
There's a mixture of cheers and hoots as the combatants
appear...both are stripped to the waist. Randy is built
like a linebacker, Jennings is not. They move into the
arena from opposite sides, stand waiting as:
ON HOBARTS
He stands, holds up a hand for silence. The men obediently
quiet down.
HOBARTS
These two men are here because
of a disagreement. What that
disagreement is is a private
matter between them. The outcome
of their meeting in The Circle
will settle the matter. Once and
for all.
He looks toward them, nods encouragement to Randy.
HOBARTS (CONT'D.)
Get on with it.
He sits again...there's an anticipatory stirring among the
other men as:
VARIOUS ANGLES - THE FIGHT
(NOTE: Most of the fight will be OFF CAMERA, played off
the reactions of the spectators.) Jennings begins circling
Randy, trying to make a boxing match out of it. Randy bores
straight in, belting Jennings with huge roundhouse swings,
most of which miss. Jennings is not soft, he is lean and
fast, and gets in his share of punches. But the final
outcome is pre-ordained: this is a fight between a
heavyweight and a middleweight.
REACTION SHOTS
Hunter and McCall quietly rooting for Jennings.
Hobarts is loving every moment of it, slamming his fist into
his palm, enjoying Randy's punches, surprised when Randy
gets punched.
Angie, barely able to watch, stricken as she sees that
Jennings must eventually lose.
Reactions in the crowd, some favoring Randy, many rooting
for Jennings but loathe to reveal it.
THE FIGHT
Finally Randy puts Jennings down for good with a series of
wild punches, some of which land and do their damage. As
Jennings stands limp, barely moving, Randy picks him up,
about to slam him to the ground.
ON ANGIE
We HEAR the O.S. impact of Jennings' body being slammed to
the ground. Angie stands slowly, staring toward Jennings.
She attacks Randy, her father pulls her off.
ON JENNINGS
as one of the men, LEW, moves to kneel beside him, checking
for vital signs. He looks up at Randy, shakes his head.
LEW
I think you broke his neck, Randy.
RANDY
He had it coining.
ON HUNTER AND MCCALL
stunned by the outcome of the fight. Their guards begin
to move them away from the arena, back to the lockup.
ON HOBARTS
He moves off. The rest of the crowd begins breaking up.
Randy and Lew move off together. Finally, only Angie is
left, at the edge of The Circle, kneeling beside Jennings'
dead body.
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
INT. DEVANE'S OFFICE - NIGHT
Devane is putting on his coat, about to leave for the night,
as LT. FINN, in shirtsleeves, enters.
FINN
I just got off the phone with
Highway Patrol, they've got
nothing, no reports at all on
Hunter's car.
DEVANE
The same people who broke her out
of jail up there must've got to
them.
FINN
Then we oughta get a search
started, like now.
DEVANE
It's nine p.m. and it's dark out
there. We'll start looking for
them tomorrow.
Finn reacts, frustrated, though he knows Devane is right.
DEVANE
But we can start setting it up
for daybreak.
(taking off his
coat)
Get Willards in here.
EXT. CAMPSITE - DAY (DAWN)
It's daybreak...shadows are long as we PAN the scene,
arriving at the open area in front of Hobarts' tent. The
flag is being raised. The men of the camp have gathered
for an informal morning assembly. As the flag reaches the
top of the flagpole, Hobarts appears from his tent to lead
them in the Pledge of Allegiance. The men recite with him:
HOBARTS
I pledge allegiance to the flag
INT. LOCKUP - DAY
Hunter and McCall are up and standing together to peer out
the observation grating in the door, looking toward the
camp. O.S. we HEAR the salute continuing.
MEN'S VOICES (V.O.)
- of the United States of
America, and to the Republic for
which it stands...
MCCALL
(overlapping)
Can you believe that? They're
pledging allegiance to the flag.
EXT. CAMPSITE - CLOSE ON HOBARTS
as he delivers the final lines, the others with him:
HOBARTS
...One nation, under God,
indivisible, with liberty and
justice for all!
INT. LOCKUP - DAY
As McCall and Hunter react, looking at each other.
HUNTER
I figured they'd do a little
re-write there. They didn't.
MCCALL
I think the re-write's in their
heads.
They move back from the door. As CAMERA MOVES WITH THEM,
we see a pair of sleeping bags, a canteen, and a covered
tray... remnants of last night's meal. They sit on their
sleeping bags.
MCCALL
These people scare the hell out
of me. What do you think they're
planning to do with us?
HUNTER
McCall, I can't handle tough
questions before breakfast.
EXT. HOBARTS' TENT - DAY
Hobarts and Randy are moving into Hobarts' tent. PAN AWAY
to PICK UP Angie, moving toward the tent. Her face is hard
with anger...we watch her follow the other two into the
tent.
INT. HOBARTS' TENT - DAY
FAVORING Angie as she moves in to confront Randy.
ANGIE
You're really something, Randy
- you outweighed Mark by fifty
pounds...and you killed him. He
was already beaten and helpless,
but that wasn't enough for you
- you had to kill him...
HOBARTS
Angie, that just happened...heat
of battle...you know.
ANGIE
(ignores him? to
Randy)
You know what you are? You're
a rotten, lousy coward!
(to her father)
In L.A. he drove off and left me
lying in the street! He was too
scared to come back for me!
RANDY
(angry, defensive)
The cops were on top of us and
I thought you were dead! I had
to put the mission and the rest
of my men first!
ANGIE
Like hell you did! You chickened
and ran!
(to her father)
He's a bully and a coward!
RANDY
(overelaps, blowing
up)
Nobody calls me a coward!
He grabs her, slaps her across the face and storms out of
the tent. She turns to her father.
ANGIE
(screaming)
You going to let him get away with
That!?
HOBARTS
(confused, and
angry because he's
confused)
It's not a woman's place to talk
to a man like that! Randy told
me about leaving you behind -
it tore him apart - but he
thought you were dead, and he had
the success of his mission to
think about. Men do what men have
to do.
CLOSE ON ANGIE
Staring at her father as though she's seeing and hearing
him for the first tine.
EXT. RAVINE - DAY
On Hunter's car, a burned-out shell, as it's being towed
up out of a deep ravine.
EXT. TWO-LANE BLACKTOP ROAD - DAY
At the top of the ravine, a tow truck is winching the
wrecked car up. Nearby, parked along the narrow, two-lane
blacktop are two Highway Patrol cruisers and Lt. Finn's car.
Finn reacts grimly as the wreck lurches over the edge, onto
flat ground. ANGLE IN for a closer TWO SHOT on Finn and
one of the Patrolmen.
FINN
That's their car all right. I
hope to God they weren't in it!
PATROLMAN
They weren't. We checked it out
before the tow truck got here.
Searched the area, too - no sign
of anyone, alive or dead.
FINN -
That's the good news. The bad
is, the car's forty miles off the
highway they should've been on.
He contemplates his next move, facing the overwhelming task
of looking for Hunter and McCall.
INT. LOCKUP - DAY
It's around noon... Hunter and McCall are feeling the midday
heat, sitting with their backs against the wall of the tank.
They react as they HEAR footsteps approach outside, then
the sounds of the door being unlocked and unbolted.
ON DOOR
as it opens and Hobarts appears, backed by two armed guards.
HOBARTS
Whoa! Hot as hades in here! I'm
sorry we can't provide more
comfortable quarters for you
folks.
MCCALL
You can solve that by letting us
go.
HOBARTS
(ignores her, looks
at Hunter)
I decided you two should have the
opportunity to refresh yourselves,
and we'll supply a change of
clothes for both of you - and
then I'd be pleased if you'd be
my guests for lunch.
Hunter and McCall react, look at each other.
EXT. ANGIE'S TENT - DAY
A guard stands watch outside Angle's tent - it's small and
set apart from the others.
INT. ANGIE'S TENT - DAY
McCall is emerging from a small, canvas-walled shower stall
attached to the back end of the tent. She's in a borrowed
terry cloth robe, and is toweling her hair. Angle sits
on her cot - she has laid out a fatigue outfit and a pair
of rugged hiking shoes.
MCCALL
I never thought a cold shower
would feel so good. Thanks for
letting me use it, Angle.
ANGIE
(distracted)
Here's some stuff that's too small
for me - should fit you okay.
MCCALL
Looks fine - a lot more practical
around here than the skirt and
heels I was wearing when we
started this trip.
(a beat)
Angie, are you okay?
ANGIE
Yes. I'm tougher than I look.
MCCALL
That boy who was killed - he was
special to you, wasn't he?
Angie can only nod - she can't talk about Jennings, but
she seems on the verge of letting out some of her feelings.
ANGIE
You'd better get dressed. Daddy
expects people to be on time.
INT. HOBARTS' TENT - DAY
A table has been set up in the tent - the tent's side flaps
have been raised to let air circulate. Hunter and Hobarts
are seated at the table - both get up now as McCall
appears, tricked out in her fatigues and heavy shoes. She
looks like a model in an L.L. Bean catalog. Hunter is
dressed similarly, and has showered and shaved.
(We'll be aware of guards patrolling outside the tent, but
they'll remain fairly unobtrusive through the following:)
Hobarts rises and gives McCall a big smile.
HOBARTS
Sergeant McCall. You're right
on time. Sit here, please...
He pulls out a camp chair for her, seating her on his right.
Hunter sits across from her. As they all settle down,
Hobarts indicates a pitcher in the middle of the table.
HOBARTS
I don't allow alcoholic drinks
in camp, but the fruit juice is
fresh and cold. Help yourselves
...our lunch will be served in
a few minutes.
Neither McCall nor Hunter says anything. They are prisoners
and they aren't about to act like guests.
HOBARTS
I must say, you both look like
you'd fit right in here with us.
In fact, I'd bet my last dollar
that you two are really on our
side and just don't know it yet.
HUNTER
What side is that?
HOBARTS
Angie's our very best spokesman,
didn't she explain our philosophy
to you?
MCCALL
She mentioned the "mud races" and
the "sleepers", but I think she
decided we weren't too receptive.
HOBARTS
You should hear her out, Miss
McCall, you might learn something,
like the truth about what's
happening to people like us right
here in our own country.
HUNTER
You think there's a lot of people
like you in America?
HOBARTS
You bet there are! Those are the
sleepers Angle spoke of, the
people who agree with us and are
just waiting for leadership! And
there are dozens and dozens of
groups and organizations like nine
- that are being pulled together,
coordinated by me, and that's
something no other man has been
able to accomplish. I'm not a
prideful person, but I do take
pride in that.
HUNTER
"Coordinated" sounds kind of
ominous - like "D" Day...does
this have something to do with
us?
HOBARTS
As a matter of fact, it does, and
when the time comes, if you obey
all the rules, you could both come
out alive and free - and I use
that word "free" in its
philosophical sense.
(afterthought)
Providing all goes off as planned,
of course...
(looking off)
Here's our lunch - I was
beginning to think they weren't
going to feed us.
(laughs heartily)
ANOTHER ANGLE
As two men bring in covered trays and place them on the
table. Hunter and McCall aren't thinking about food -
they're reacting to Hobarts' ominous reference to their
chances for survival.
DISSOLVE TO:
EXT. LOCKUP - DAY
Several hours have passed - it's late afternoon. The door
of the lockup is bolted and padlocked again.
INT. LOCKUP - DAY
Hunter and McCall have been back in the lockup for some
time, it appears. They sit on their Bleeping bags, in the
midst of a disjointed conversation.
MCCALL
But would he tell us all that
stuff if he isn't planning to kill
us?
(a beat)
Unless he really thinks we're
"sleepers". You think that's why
he told us about the other groups,
Hunter? Because he thinks he can
recruit us?
HUNTER
No.
MCCALL
Then why tell us how he's
organized the other white
supremacist groups?
HUNTER
Because he doesn't want us to
think he's crazy.
MCCALL
But why would he care whether we
think he's crazy if we're going
to be dead anyway?
HUNTER
(patiently)
Because he is crazy.
MCCALL
Oh. Yeah...right.
A beat, then:
HUNTER
How you feeling, McCall?
MCCALL
Me? I'm fine.
HUNTER
You don't look so good.
MCCALL
What're you talking about? I feel
semi-terrific, all things
considered.
HUNTER
I hate to tell you, but...
(looking at her
closely)
...you're really looking bad.
Worse by the minute in fact. You
better lie down.
MCCALL
Hunter, don't you go crazy on me,
I won't stand for it!
EXT. CAMPSITE - DAY
Outside a large barracks tent. We HEAR a loud, metallic
clanging O.S. and Hunter's voice shouting:
HUNTER'S VOICE (O.S.)
My partner's sick! I need help!
I want to talk to Brother Hobarts!
Randy and a couple of other commandos hurry out of the tent,
carrying guns. They start toward the lockup at a run.
EXT. LOCKUP - DAY
Hunter is yelling through the grating, pausing every now
and again to kick at the iron door, which accounts for the
clanging.
HUNTER
Somebody get up here! My
partner's sick! She needs help!
Randy and the other two men arrive.
RANDY
What's going on here!?
HUNTER
Look at her - she's got a
terrible pain in her side, and
she's burning up with fever. I
think it's appendicitis...
He steps aside as Randy peers through the grating.
INT. LOCKUP - DAY
McCall writhes on her sleeping bag, doubled over...now she
looks bad.
HUNTER
Get Brother Hobarts up here! You
got to do something for her...
RANDY
(hard as nails)
I'll take a look at her myself.
He motions to one of the men who produces a key for the
padlock, unlocks it. When they get the door open, Randy
and the two move inside.
INT. LOCKUP - DAY
As soon as the three are inside, Hunter gives Randy a
tremendous gut punch, doubling him over. He grabs for
Randy's gun as McCall jumps up and throws sand in the eyes
of the other two men. For a moment, it looks as though
Hunter may get Randy's gun away from him, but then one of
the other men manages to shove McCall aside, and FIRES a
couple of warning shots into the floor. The iron lockup
rings like a bell.
EOT. PATH TO LOCKUP - DAY
Hobarts is running up the path to the lockup.
ON LOCKUP
Randy and the other two men are bringing Hunter and McCall
out at gunpoint. Hobarts moves INTO SHOT to join them.
HOBARTS
What is this!
RANDY
They pretended the woman was sick
- when we went inside, they
jumped us.
HOBARTS
Sergeant Hunter?
HUNTER
(shrugs)
We figure we don't have much
chance of surviving here - so
we decided to make a run for it.
HOBARTS
You strained your luck - and my
patience.
(to Randy)
If they try anything like this
again...shoot them.
As he turns away, Randy speaks up.
RANDY
Borther Hobarts?
Hobarts turns back to face bin.
RANDY
He hit me a real sucker punch,
after lyin' to me, sayin' this
woman here was sick.
HOBARTS
I see...
RANDY
I want him, Brother Hobarts. In
The Circle.
HOBARTS
I don't want him killed. We may
have a use for both of them.
RANDY
I won't kill him...
HOBARTS
All right, Randy - you can have
him - short of killing him.
As Hobarts moves off back down the path. Hunter and McCall
are shoved at gunpoint back inside the lockup. The door
is shut, bolted and padlocked.
FADE OUT
END OF ACT THREE
*************************************************************
ACT FOUR
FADE IN
EXT. RURAL ROAD - DAY
Finn's car drives slowly along a road in farm country. He
stops in front of a dilapidated mailbox.
ON FINN AT MAILBOX
Finn looks out his car window at the box, which is crudely
lettered with the name "Hatch".
WIDER - THE SCENE
As Finn turns into the rutted driveway beside the mailbox.
He drives past a large sign lettered by the same hand: "NO
TRESSPASSING". (Misspelling intended.)
EXT. HATCH HOUSE - DAY
Finn's car stops in front of the run-down farmhouse. A
beatup old pickup truck rusts away in the front yard. Finn
gets out of the car.
ON FRONT PORCH
The screen door rasps open, and DWAYNE HATCH comes out,
preceded by the muzzle of his 30-30 lever-action rifle.
Hatch is 50, ugly and hostile.
DWAYNE
What you want here, Mister?
ON FINN
Reacting to the gun, he brings out his i.d. wallet, holds
up the badge.
FINN
I'm a police officer...I'm here
to talk to the parents of Kenneth
Hatch.
WIDER - THE SCENE
Finn begins walking slowly toward the house, though Hatch
keeps the rifle on him.
DWAYNE
You're too late if you cone to
hassle our boy...Kennie's dead
in L.A.
FINN
I know about that, and I'm real
sorry...
He trails off as a woman, EDITH HATCH, frail, older than
her years, comes out onto the porch.
EDITH
What's going on, Dwayne - for
pity's sake, put up that gun.
Hatch grudgingly lowers the rifle.
FINN
I'm Lieutenant Finn, ma'am, with
the Los Angeles Metro police.
We think two of our officers may
have been kidnapped by the group
your son was with when he...died.
DWAYNE
You better hope not, Mister. That
bunch eats cops for breakfast.
EDITH
If you can't talk civil, just go
on back in the house.
DWAYNE
We don't have to tell him nothing,
Edie...no law says we got to.
EDITH
Please just go inside.
Hatch shoots a last angry look at Finn, then goes into the
house. When he's gone:
EDITH (CONT'D.)
I'm sorry about Dwayne, Mister.
We been through some hard times,
what with Kennie killed and what's
happenin' to farm folks in this
country...
FINN
I understand. Is there anything
you can tell me about the group
your son was with?
EDITH
He never talked about them. Said
he wasn't allowed to.
FINN
Did he ever give you any idea
where they might be located?
EDITH
No... except for the postmark on
this last letter...
She reaches into the pocket of her apron, brings out a
letter in its envelope. She squints at it:
EDITH
I believe it says "Willow Creek".
(hands him
envelope)
If that helps you any, good luck
to you - you'll need it.
FINN
(looking at
envelope)
That's what it says: Willow
Creek, California. Thank you.
EXT. CAMPSITE - THE CIRCLE - NIGHT
As before, torches and fires in steel drums mark the combat
area. Hunter and Randy, both stripped to the waist, are
already facing, each other from opposite sides of the arena.
ON HOBARTS
On his feet, doing his spiel:
HOBARTS
Two men face each other here.
One is our enemy, the other is
our friend. One of them would
destroy us if we gave him the
chance - the other would die for
our good cause. The outcome of
this contest will show us how all-
our enemies will fare at our
hands.
ON MCCALL AND ANGIE
During the last of this speech, PAN AWAY to the two women
seated together nearby.
BACK TO HOBARTS
He gives his palm an anticipatory bash with his fist, sits
down, calling:
HOBARTS
Explain it to him, Randy!
THE FIGHT
Randy rushes at Hunter who sidesteps and trips him, sending
him sprawling. From there it's all downhill for Randy.
When he gets up. Hunter belts him, counters all of Randy's
karate ploys with devastating counter moves. Randy is
systematically dismantled.
REACTION SHOTS
Hobarts' enthusiasm for the match waning quickly as he sees
his champion getting the shit kicked out of him.
Angie and McCall enjoying it. Angie in particular delighting
in Randy's downfall, and in her father's vicarious
humiliation.
Several of the men reacting with disappointment, but perhaps
some private enjoyment of the camp bully's comeuppance.
THE FIGHT - FINALE
Randy goes down for the last time, on his back, beaten.
Hunter could kick him, kill him, or spare him any further
humiliation. He takes the final choice and looks at:
HOBARTS
who gets up slowly, disgusted.
HOBARTS
All right - somebody tend to
Randy...take the prisoners back
to the lockup.
He turns and moves off as guards come forward to collect
Hunter and McCall and take them away.
ON ANGIE
Looking after Hunter and McCall, her expression thoughtful.
EXT. CAMPSITE - NIGHT - ESTABLISHING
It's late, no lights showing in any of the tents.
INT. LOCKUP - NIGHT
Hunter and McCall are asleep in their sleeping bags. They
rouse, listening as we HEAR quiet footsteps move to the
outside of the door - then a stealthy sound of a key in
the padlock. Hunter eases over to the door.
EXT. LOCKUP - NIGHT
Angie has the lock off, is working on the bolt, trying to
open it without the telltale rusty squeal. Hunter looks
out through the grating.
HUNTER
(sotto)
Angie, what're you doing?
ANGIE
(sotto)
Getting you out, before Randy can
get to you. He'll kill you for
what you did to him...both of you.
She continues working on the bolt. Play this for suspense
as she eases the bolt open. It still makes considerable
noise, though nothing like before. Finally she has it open,
carefully opens the door. Hunter and McCall come out.
MCCALL
We'll never forget you for this,
Angie.
HUNTER
How'd you get the key to the
padlock?
ANGIE
Randy had it... I swiped it out
of his pants pocket. He was too
far out of it to know what was
happening. Oh, just in case...
She reaches into the pockets of her fatigues, brings out
a pair of .45 pistols, hands them to Hunter and McCall.
ANGIE
Be careful - they're loaded.
HUNTER
McCall, I think I love this girl.
MCCALL
Makes two of us.
ANGIE
Come on, we've got to be long gone
by daylight.
MCCALL
We?
ANGIE
I sure can't stay here, I'd be
executed.
She leads then off on a route that circles the camp
perimeter.
EXT. EDGE OF CAMP - NIGHT
One of the trucks is parked under a camouflage net.
ESTABLISH, then PAN AWAY to:
HUNTER, MCCALL AND ANGIE
emerge from rocks or brush and start across open ground
toward the truck. Abruptly work lights strung around the
area go on, catching them flat-footed. They freeze.
RANDY'S VOICE (O.S.)
You're a traitor, Angie - selling
out to our enemies.
WIDEN
To INCLUDE Randy as he limps out of the shadows, an
automatic carbine trained on them. His face is a mass of
bruises, but he's confident; Angie isn't armed, and he
hasn't seen Hunter's and McCall's pistols.
RANDY
I saw you take that key. I knew
if I played it right, you'd bring
him right to me...I guess what
I got to do now is just about
going to break your Daddy's heart.
ANGIE
Get out of our way, Randy...
HUNTER
(sotto, urgent)
Go, McCall! Break right!
Hunter dives left, McCall dives right, both hit the dirt
with guns out, SHOOTING at Randy, who is FIRING and missing!
Bullets spray dirt inches from Hunter's head, but Randy is
hit solidly by both Hunter and McCall and is blown off his
feet.
ON CAMP
We HEAR shouts of alarm, lights begin showing, men emerging
from tents.
BACK TO SCENE
Hunter and McCall are up, running with Angle to the truck.
As they jump in, Hunter behind the wheel, Angie passes him
the keys. He shoves the key in the ignition switch, hits
the starter. The starter grinds but doesn't catch.
ON HOBARTS' TENT
He hurries out, dressed, pulling on a jacket, carrying an
automatic carbine. As he and several other men run toward
the truck, we HEAR its starter grind again, the engine
firing up.
ON TRUCK
As Hunter puts the truck in gear and they take off.
Automatic gunfire hits the truck cab, shattering the
windshield.
CAMP - LIGHTED AREA
Hobarts reaches the lighted area, starts shooting after the
truck which is moving off, picking up speed.
CLOSE ON TRUCK - GAS TANK
The tank takes a bullet near the bottom, fuel begins spewing
out.
WIDER - THE SCENE
The truck rolls out of sight, and Hobarts yells to his men:
HOBARTS
Move! We've gotta get 'em!
As he and his men start toward other vehicles, Hobarts
pauses, finding Randy. He glances down at him, sees he's
dead, flashes a wild look after the escaping truck and
hurries on.
VARIOUS ANGLES - VEHICLES
As the men pile into a jeep and another truck, and take off
after the escapees. Hobarts, in the lead, drives the jeep.
EXT. DIRT ROAD - NIGHT
The escapees' truck turns onto a dirt road, accelerates,
its headlights switching on.
INT. THE TRUCK - NIGHT
McCall is looking back for signs of pursuit. Angie is
shaking her head in disbelief.
ANGIE
We made it - we really made it!
HUNTER
Not yet.
(indicates
dashboard)
They must've hit the gas tank,
the fuel gauge is dropping like
a rock.
MCCALL
We better get off the road! -
We'll be sitting ducks if we run
out of gas here.
HUNTER
You read my mind!
He turns off the road, shifting down as the truck lurches
over rougher ground. He switches the headlights off.
ANGIE
How can you see where you're
going?
HUNTER
I can't, but the lights make us
too easy to spot.
EXT. FOOTHILL COUNTRY - NIGHT
The truck is climbing low foothills, moving through scrub
oak and brush.
INT. TRUCK - NIGHT
As Hunter negotiates the rough terrain. He pumps the pedal
as the engine begins to sputter. The truck lurches a few
more yards, then quits.
HUNTER
That's it - out!
EXT. DIRT ROAD - NIGHT
The jeep leading the other truck, steaming along the road.
They begin slowing.
ON JEEP
Lew is in the passenger seat beside Hobarts, who now raises
a hand, signaling the truck behind him that he's stopping.
LEW
What's wrong?
HOBARTS
Can't see their tracks! They
turned off the road!
EXT. FOOTHILL COUNTRY - NIGHT
Hunter, McCall and Angie are at the rear of the truck,
looking toward the road.
MCCALL
They're stopping.
POV - TOWARD THE ROAD - LONG SHOT
The two sets of lights on the road make the vehicles appear
to be at least two hundred yards or more distant from
CAMERA. The lights begin moving again, the vehicles turning
around to retrace their route.
HUNTER, MCCALL AND ANGIE
HUNTER
They'll know in about one fast
minute, let's go!
ANGIE
Wait!
ON ANGIE
She jumps into the shadowy interior of the truck and quickly
reappears with three canteens and backpacks.
ANGIE
Food and water, flashlights -
I put this stuff on the truck
before I got you out of the
lockup.
Hunter grins as Angle passes the stuff to him and McCall.
EXT. DIRT ROAD - NIGHT
The jeep and truck have now found the place where Hunter
turned off, and both vehicles move slowly along the same
route taken by the escapees' truck.
EXT. FOOTHILL COUNTRY - NIGHT
Hunter, McCall and Angle are setting out on foot, leaving
the truck.
HUNTER
Angie, how far are we from the
highway?
ANGIE
It's pretty far - forty miles
on the dirt road, maybe thirty
if we cut across the hills.
MCCALL
Yeah, if we cut across where their
jeeps and trucks can't go.
As they move off into thicker brush, CAMERA PANS BACK to
pick up a rising glow as headlights approach behind them.
ON TRUCK
As Hobarts' jeep and the second truck pull up behind the
abandoned truck and stop. Hobarts and the others get out,
examine the ground with flashlights. One of the Ben,
BAXTER, finds footprints.
BAXTER
They took off this way!
HOBARTS
Trying to get to the highway!
(raises his voice)
Listen, we've got to get them -
no mtter what! We can't let then
make it!
LEW
You know Angle's with them.
HOBARTS
And I know she's gone over to
their side! We have to stop her!
Alive, if we can...but stop her!
EXT. RIMROCK - NIGHT
Hunter is leading the way, McCall and Angie behind, as he
pushes through brush. They step out onto a rocky shelf,
and McCall almost goes over the edge of a steep drop. She
slips several feet, grabs a bush to save herself, and Hunter
gets hold of her wrist. When she's back on top, Hunter
brings out his flashlight, plays it along the rock.
POV - RIMROCK AND DROPOFF
The flashlight beam shows a dangerous drop and rimrock
stretching in both directions from where they stand.
BACK TO SCENE
As Hunter switches off the flashlight.
HUNTER
Damn - we're stuck here. We'll
have to move like snails now or
risk breaking our necks.
ANGIE
What chance will we have if they
catch up with us?
HUNTER
Not much - two pistols against
automatic weapons don't go. We
won't use our guns unless they've
got us nailed.
MCCALL
If we can't run and can't fight,
we sure better hide.
HUNTER
You got it.
EXT. RIMROCK - NIGHT
Baxter is in the lead, with Hobarts and the other men
following, as he uses his flashlight to pick up the
fugitives' trail through brush. He emerges onto the rocky
shelf, and nearly takes the same fall McCall did. He pulls
back just in time.
BAXTER
Careful, there's a cliff here...
As Hobarts and the others move up to join him, Baxter
kneels, playing his light on the disturbed dirt and rock
at the edge, where McCall had her near miss.
BAXTER
Hell, it looks like one of 'em
went over.
Hobarts picks up a loose rock, tosses it over. It's a wait
of three or four seconds before they HEAR it hit far below.
HOBARTS
Can you see anything down there?
Baxter leans over, plays his light downward.
BAXTER
No.
HOBARTS
Even if one of 'em fell, there're
two more left. Spread out along
the rimrock - see if you can pick
up their tracks again - and take
care!
The group splits up, moving in both directions along the
rimrock edge.
IN BRUSH
as men with flashlights move past, we PICK UP glimpses of
Hunter, McCall and Angle, flat on the ground, burrowed into
dead leaves and under heavy brush. They're barely visible,
waiting tensely as light touches them briefly, and moves
on. Play this for tension and suspense. Finally the
searchers are well away, their flashlight beams distant and
dwindling.
EXT. HILL COUNTRY - SUNRISE - ESTABLISHING
The sun coming up over rugged hill country.
EXT. RIMROCK - DAY
Hunter, McCall and Angie are working their way down a steep
but negotiable section of the rimrock. They reach bottom,
move off on their original course - toward a distant high
ridge. They move into a grove of trees and OUT OF SHOT.
UP ANGLE LONG SHOT - TOP OF RIMROCK
Hobarts and his men have found where the fugitives climbed
down the rimrock, start down after them.
EXT. RUGGED COUNTRY - DAY
VARIOUS SHOTS of Hunter, McCall and Angie traveling through
rugged terrain, pausing to drink from their canteens, eating
on the move, helping each other over whatever natural
barriers the location provides.
EXT. RUGGED COUNTRY - SPRING - DAY - HOBARTS AND MEN
A email, running spring of fresh water. Lew appears, flops
belly down and eagerly sucks up water; other men arrive
behind him, start crowding in. Hobarts arrives, nods in
satisfaction.
HOBARTS
Everybody drink your fill - it'll
be a long ways to the next water.
He shades his eyes, trying to see the fugitives ahead of
them. Then he moves to take his turn at the spring.
EXT. ROCKSLIDE - DAY
FAVORING Angie as she follows Hunter and McCall across a
steep rockslide, her footing gives way, she slides and
tumbles down into a ravine...a bad fall.
ON HUNTER AND MCCALL
Reacting, then starting down after Angle.
ON ANGIE
In ravine, holding her left knee, face taut with pain.
Hunter and McCall reach her, move to kneel on either side
of her.
MCCALL
What is it - your knee?
ANGIE
Yes.
HUNTER
Let's see if you can walk.
He stands, helps her up. Angie tries to walk, doesn't make
it. McCall moves to Angle's other side, she and Hunter
support her between them.
ANGIE
You go on - they'll find me...and
my Dad'll -
MCCALL
(cutting her off)
Come on, Angie - you've still
got one good leg...
They start moving - awkwardly, but soon picking up a
rhythm. As they move away:
ANGIE
You're both crazy...you can't
carry me to the highway - it's
still miles away.
She gets no answer.
EXT. LOW RIDGE - HOBARTS AND MEN
Hobarts and his group reach the top of a low ridge. Lew
stops to look ahead, points excitedly. Hobarts moves beside
him, following the line of his pointing finger.
POV - VERY LONG SHOT - HUNTER, MCCALL, ANGIE
Three tiny figures far away, struggling up an open slope,
heading for the crest of the high ridge. CAMERA ZOOMS IN
on them to make sure the audience knows what they're looking
at.
BACK TO HOBARTS AND MEN
Hobarts' eyes narrow, he squints up at the sun.
HOBARTS
Maybe two more hours of daylight.
We can catch them if we push it.
LEW
Why push? We'll catch 'em easy
in the morning.
HOBARTS
Can't wait till morning - the
highway's on the other side of
that ridge they're on.
He looks around at the men, worn out and sitting or
sprawling on the ground.
HOBARTS
(urgent)
If they get to that highway and
get help, we'll be hounded out
of these hills like bunch of
rabbits!
He starts off, leading the way, breaking into a trot. One
after the other, the rest of the men move out after him.
VARIOUS SHOTS - THE CHASE
Hunter and McCall struggle up the ridge, supporting Angie
between them.
Behind them, Hobarts and the men inexorably narrow the gap
that separates them.
BACK TO HUNTER, MCCALL, ANGIE
Finally, Hunter, McCall and Angie reach the top of the ridge
and look back.
McCall shakes her head, concerned.
MCCALL
They're catching up fast.
HUNTER
They've still got to climb this
ridge. For us it's downhill all
the way. Angie, get on my back.
He squats down, shedding canteen, backpack, etc.
ANGIE
Look, my dad won't kill me!
HUNTER
Don't argue. Give her a hand,
McCall.
McCall helps Angie onto Hunter, piggyback fashion. He
stands, adjusts the balance, then takes off down the ridge,
loping at a good clip. McCall follows.
LONG SHOT - HUNTER, MCCALL, ANGIE
Hopping and skipping down the slope, leaving a trail of
dust, it almost looks like fun.
EXT. RIDGE TOP - HOBARTS AND MEN
With Hobarts in the lead, the men struggle to the top of
the ridge. They're panting, sweating and exhausted.
Hobarts looks down the far slope, reacts, brings up his gun,
starts firing.
ON HUNTER (ANGIE ON HIS BACK) AND MCCALL
As they hear the firing.
FULL SHOT
We see that our people are several dozen yards out of range
of the FIRING.
ON THE RIDGE - HOBARTS AND MEN
Those with rifles are all firing at:
HUNTER, ANGIE, MCCALL
Hunter is moving at a good clip.
HUNTER
(over shoulder to
Angie)
So much for your dad not wanting
to kill you!
The FIRING stops and McCall looks back.
HER POV - HOBARTS AND MEN
They are coming down off the ridge at a good clip, trying
to get into killing range.
ON HUNTER, ANGIE, MCCALL
No FIRING. Hunter's face is bathed in sweat; he is moving
fast. Suddenly the FIRING begins again.
FULL SHOT
The SHOTS are much closer now, but still out of range.
HOBARTS AND MEN
Stop firing and continue half-running down the ridge.
INTERCUT BOTH GROUPS
Hobarts and men stop at intervals and FIRE. And each time
the SHOTS GET CLOSER.
ON HOBARTS AND HEN
On the move again.
Suddenly Hobarts stops, his red-rimmed eyes staring out of
his swollen, sweating face in rage at:
EXT. HIGHWAY - POV - FUGITIVES AND TRUCK
A big trailer truck is slowing to a stop. Hunter, with
Angie still on his back, moves to it, McCall with him. As
we watch, he helps Angie into the truck cab.
ON HOBARTS AND MEN
FIRING! The SHOTS are CLOSE, too close:
THE TRUCK DRIVER
reacts in astonished fright, but McCall and Hunter are in
the cab as the truck takes off FAST.
ON HOBARTS
as he watches the truck ROAR OFF down the highway.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. MOUNTAIN AREA - DAY
We are at the place where Hobarts and his men left their
trucks and jeeps.
ON HOBARTS AND MEN
They are tired, hungry, thirsty, bedraggled and defeated,
loping up the hill toward their trucks.
ON HOBARTS
as he suddenly stops, as if hearing something. As he does
so, the others stop too, and we begin to HEAR helicopters.
Hobarts looks up.
HOBARTS' POV
Three helicopters coming in on then at high speed. One of
the helicopters drops to a slightly lower altitude and heads
directly toward then.
ON HOBARTS AND MEN
No one is making any effort to take aim and fire at any of
the helicopters.
POV - FROM HELICOPTER
BULLHORN VOICE
(from Helicopter)
THIS IS THE STATE POLICE. DROP
YOUR WEAPONS, YOU ARE UNDER
ARREST.
ON HOBARTS AND HIS MEN
The nen look to Hobarts to see what he is going to do.
BULLHORN VOICE
(over Hobarts)
DROP YOUR WEAPONS! NOW!
Hobarts drops his rifle. His men now drop theirs. All
three helicopters now begin to descend.
THREE QUICK SHOTS - HELICOPTERS LANDING
As the helicopters land, armed men jump down out of them
and run toward the bedraggled unarmed captives.
ON HELICOPTER
The doors open and Hunter and McCall jump down and start
toward Hobarts.
In the scene that follows between Hunter and Hobarts, the
armed State Troopers will round up the dropped weapons and
herd the captured up the hill toward the trucks.
ON HOBARTS
As Hunter and McCall enter to him.
HOBARTS
How is Angie?
As Hunter comes to a stop a few feet in front of Hobarts,
McCall beside him:
HUNTER
She's alive, through no fault of
yours.
Hobarts does not respond.
MCCALL
And if we can do anything about
it, Mr. Hobarts, she won't be
going to prison.
HUNTER
You will, though, and about half
the men you'll meet in there
belong to those "mud races" you
were talking about. They're gonna
just love you.
ON HOBARTS
As his sweat-stained face reacts to the awful impact of what
Hunter has just said, we:
FREEZE FRAME
FADE OUT
THE END
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