THE DESERT

by Anthony Kirkwood

Screenplay
Email: anthonykirkwood@hotmail.com

After spending fourteen years in jail for armed robbery, Richard Aldrich, aka Hatchet, seeks revenge upon those who put him behind bars, and makes a journey across New Mexico to collect the money he is owed.

                      THE DESERT
                    
                      SCREENPLAY
                          BY
                    ANTHONY KIRKWOOD

CREDITS
FADE IN:
SUPERIMPOSE: FOURTEEN YEARS AGO
INT. JANE AMBERFIELD'S HOUSE - DAY
It is early morning. About eight o'clock.
JANE AMBERFIELD is in the kitchen. She is wearing a smart business dress. At the kitchen table are her two children, eating toast with jam. Jane has a cup of coffee in her hands. Her handbag is on the table. She is hurrying to finish her coffee, while putting a couple of odds and ends in her handbag.
The two CHILDREN, a boy and a girl, munch happily on their toast.
JANE AMBERFIELD
(to children)
Finish your breakfast. The bus will be here in five minutes.
BOY
Mum, we've never missed the bus once, in the whole time we've been at school.
JANE AMBERFIELD
Then today won't be any different. Eat up.
Jane drains her cup of coffee.

GIRL
What are you doing today mum?
JANE AMBERFIELD
Just the usual stuff that mum's do.
BOY
What does that mean?
JANE AMBERFIELD
Come on, get your bags, and brush your hair. It looks like you just got out of bed.
This is to the Boy. He tries to smooth his ruffled hair. Jane watches him.
BOY
Better?
JANE AMBERFIELD
It'll do. Next time, use a comb. Try not to look a mess all the time.
Jane smiles, and the Boy smiles.
EXT. JANE AMBERFIELD'S HOUSE - DAY
The two children exit the house, carrying their schoolbags, followed by Jane. Jane shuts the door and locks it.
They walk to the bus-stop, only metres from the house.
The school bus turns a corner down the street and drives slowly towards them.
JANE AMBERFIELD
Here it comes.
The bus stops and the door opens for the two children.
BOY
Bye, mum.
GIRL
Bye, mum.
JANE AMBERFIELD
Bye. Have a good day.
BOY
We will.
Jane kisses both children on the cheek. They climb onto the bus, the door closes and the bus pulls out.
Jane walks to the garage, where her car is parked. She opens the garage with a small electronic gadget, gets into the car, starts it and backs it out of the garage and the short driveway. She turns into the street, the garage closes, and Jane drives down the street.
EXT. CAFE - DAY
It is early morning.
JUSTINE PROPINSKI is a waitress in a cafe. Her MANAGER, the cafe owner, is busy working.
Justine retrieves two plates of scrambled eggs from the kitchen. She weaves through the cafe to a table in the corner of the room. Two men in business suits are sitting there, talking. Justine stands next to the table, holding the plates.
JUSTINE
Two scrambled eggs on toast. One with tomato, one with extra bacon.
BUSINESSMAN #1
Thanks. Just put them down there.
JUSTINE
Whose is whose?
BUSINESSMAN #2
Just put them down. We'll fix it up.
Justine puts the plates down on the table. She puts one plate in front of each of the businessmen. They switch plates. Justine smiles and returns to the counter, where the Manager is still working.
MANAGER
Justine, table five said their coffee was cold. Table three said they've been overcharged.

JUSTINE
Anything else?
MANAGER
Go sort them out, would you?
JUSTINE
Sure.
MANAGER
When you've done that, I want you to take this to the bank and deposit it for me. Okay?
The Manager puts a bag on money on the counter.
MANAGER
It's this weeks takings.
JUSTINE
Sure.
Justine weaves her way to table five. The lone man, sitting by himself, watches Justine walk up.
MAN AT TABLE FIVE
Excuse me miss, my coffee was cold.
JUSTINE
I'll get you a new one. What was it? Cappuccino?
MAN AT TABLE FIVE
No. Forget it. I already drank it.
JUSTINE
We won't charge you for it.
MAN AT TABLE FIVE
I should hope not. Thank you.
The MAN AT TABLE FIVE hands Justine the empty coffee cup.
MAN AT TABLE FIVE
Take this away please.
Justine takes the cup.
JUSTINE
Anything else I can get you?
MAN AT TABLE FIVE
No. That's all.
Justine walks to table three. There are two rough-looking men seated at table three.
JUSTINE
Can I help you? The manager said you had a problem.
MAN AT TABLE THREE #1
Yes. You've overcharged us for breakfast.
JUSTINE
How much?
MAN AT TABLE THREE #1
About six dollars. We ordered toast, coffee, orange juice.
JUSTINE
Can I see the bill?
MAN AT TABLE THREE #1
What, you don't believe me?
JUSTINE
Sir, I just have to check.
MAN AT TABLE THREE #1
Go ahead.
Justine picks up the bill off the table. She reads it. The two men wait.
JUSTINE
You didn't have waffles?
MAN AT TABLE THREE #1
No.
JUSTINE
Yes, you're right. I'll fix this up for you.
Justine takes the bill and the empty coffee cup to the counter. She puts them down on the counter.
MANAGER
All sorted?

JUSTINE
Almost.
MANAGER
Here, I'll fix that up [the bill]. Take this over to the bank.
The Manager pushes the bag of money across the counter to Justine. Justine, feeling run off her feet, smiles a thankful smile.
MANAGER
Take the car. Be careful. It's a lot of money to be carrying around.
JUSTINE
Okay.
MANAGER
Car's out back. Be careful.
Justine takes the bag of money and exits through a back door.
EXT. BACK OF CAFE - MORNING
Justine walks out of the cafe. She stands for a moment and breathes in the fresh air. She walks to the Manager's car, unlocks the car, gets in and starts the engine. She drives off.
EXT. SUPERMARKET - MORNING
CLARE HARRADAY is working in a supermarket. She is a cashier. Clare is twenty years old. She is in the middle of an argument with a man.
SUPERMARKET CUSTOMER
I don't care what you think, miss. You're slow, you're rude, and your pack too much in each bag. I mean, look at that!
Clare looks at the bag in question. It is packed full of heavy objects.
SUPERMARKET CUSTOMER
How am I supposed to carry that? You think my muscles are made of steel? Huh? You think I'm superman? I suppose next you're going to overcharge me.
Clare doesn't respond through any of the man's tirade.
CLARE HARRADAY
Are you finished?
SUPERMARKET CUSTOMER
I beg your pardon!
CLARE HARRADAY
I said, are you finished? You see the time. It's five past eight. I finished my shift at eight. I've been here since four this morning. Because of you and your complaints I'm now running late.
SUPERMARKET CUSTOMER
Oh, oh, I'm sorry! I'm sorry for holding you up all of five minutes!
CLARE HARRADAY
Look, just pay for the groceries and we can both get out of here.
The Supermarket Customer reaches into his wallet and slams some money down on the counter.
SUPERMARKET CUSTOMER
There.
Clare puts the money in the register and politely hands him his change.
SUPERMARKET CUSTOMER
Thank you.
CLARE HARRADAY
You're welcome.
EXT. SUPERMARKET - DAY
Clare walks out of the supermarket into the supermarket carpark. She walks to a small, old car and gets in. She backs the car out and drives away.
EXT. CITY STREETS - DAY
We see Jane, Justine and Clare in turn in their cars, driving through the city streets.
EXT. BANK CARPARK - MORNING
The bank's car park is at the back of the bank, away from the main road and the front entrance.
Jane, Justine and Clare drive into the car park of the bank at the same time. They all park near each other. The three woman step from their cars, almost simultaneously. They all walk towards the bank.
INT. BANK - MORNING
The bank is busy. There are queues of people waiting to be served.  The BANK TELLERS are working quickly and efficiently.
Jane, Justine and Clare all enter the bank within seconds of each other. They join the same queue, and are now standing next to each other. They stand and wait quietly.
A BANK TELLER finishes serving a customer.
BANK TELLER
Next.
The man at the front of the queue in which Jane, Justine and Clare are waiting approaches the bank teller. Everyone in the line shuffles forward a couple of steps.
EXT. DOWN THE ROAD FROM THE BANK - DAY
Three men are sitting in a car. They are MAN #1, MAN #2 and a third man, named HATCHET. MAN #1 is at the wheel. They are holding balaclavas in their hands. They each have a shotgun on their laps.
The three men are watching the bank entrance, which is about twenty metres up the road.
MAN #1
(gruffly)
Ready?
MAN #2
Ready.
HATCHET
Ready.
They each put on a Balaclava. They pull the balaclavas down over their faces.
MAN #1 starts the car and eases it up to the entrance doors of the bank. He stops the car directly outside the bank.
Man #1 nods to Man #2 and Hatchet.
The three men step from the car. They are carrying their shotguns. Each man also has a revolver strapped to his waist.
Two passers-by, who are walking past the bank, see the three men in balaclavas as they get out of the car.
The three armed robbers point their shotguns at the two passers-by.
MAN #1
(to the two passers-by)
Get lost. Now.
The two passers-by turn and run. The three armed robbers turn and enter the bank.
INT. BANK - MORNING
Man #1, Man #2 and Hatchet burst into the bank. There are screams from the people in the bank.
MAN #1
(shout at the crowd)
Everyone stay where you are!
The first person they encounter, standing near the entrance doors, is a BANK GUARD, the only bank guard on duty. He is a middle-aged man.
Man #2 puts a shotgun to the BANK GUARD'S head before the Bank Guard can react or pull his gun.
MAN #2
(to the bank guard)
Move and I'll kill you.
The Bank Guard raises his arms.

BANK GUARD
Please don't kill me. I have a family.
We see a Bank Teller press a silent alarm button under the desk. A red light under the desk starts flashing, indicating the alarm has been activated.
Man #1 and Hatchet run to the cash desks. They toss bags to the Bank Tellers. The Bank Tellers all raise their arms, faced with the shotguns.
MAN #1
(to the Bank Tellers)
Fill them up. Press any buttons and you're dead. Call for assistance, you're dead. Try to escape, you're dead. Disobey my order, you're dead. Got it?
The Bank Tellers nod. They all obey the robber's instructions and start to fill the bags with cash from the cash drawers.
MAN #1
Hurry up.
The Bank Tellers stuff money into the bags as quickly as they possibly can.
MAN  #1
All of it.
A CUSTOMER, standing nearby, is watching the two armed robbers at the bank desks. He is almost shaking with fear. Hatchet looks around and notices this customer staring at him. He turns to the frightened Customer. Hatchet points his shotgun at the customer.
HATCHET
(loud and threateningly)
Got a problem?
CUSTOMER
No.
HATCHET
(more threateningly)
Then why are you looking at me?
CUSTOMER
(terrified)
I, I don't know. Where should I look?
HATCHET
I don't care. Look somewhere else.
Jane, Justine and Clare are standing in a queue, right next to Man #1 and Hatchet. They are terrified as they watch the robbery taking place.
CUSTOMER
(to HATCHET)
Please, don't hurt me. I'm not going to stop you. I'm not a hero and I don't want to be one. I just want this to be over with quickly.
HATCHET
Who said I was going to hurt you?
Keep looking at me and I might.
Suddenly, a second Customer, standing in a queue, jumps from the queue and lunges at Hatchet. He tackles Hatchet to the ground, Hatchet drops his shotgun, and they scuffle on the ground. The rest of the bank customers see the customer's heroics and there are gasps of horror. There are cries of 'No, don't do it'.
Customer #2 and Hatchet wrestle on the ground. In the scuffle, Customer #2 manages to rip off Hatchet's Balaclava.
MAN #1
(to BANK TELLERS)
Don't stop. Hurry.
Man #1 moves quickly to the pair wrestling on the ground. With sheer strength, he lifts Customer #2, who is fighting with Hatchet, roughly to his feet.
Man #1 hits Customer #2 squarely in the face with his shotgun. It connects with a sickening blow. Blood spurts from Customer #2's face.
Hatchet stands up, minus his Balaclava, a look of anger on his face. He confronts Customer #2. Customer #2 raises his arms. Hatchet picks up his shotgun. He aims it at Customer #2.

HATCHET
(to Customer #2)
You want to be a hero?
CUSTOMER #2
(his face bleeding)
No. I don't.
HATCHET
Then why did you jump me?
CUSTOMER #2
That money doesn't belong to you.
Hatchet rams the end of his shotgun into Customer #2's stomach. Customer #2 groans and falls to the floor. Hatchet aims his shotgun at Customer #2 on the ground. He looks as though he is about to shoot Customer #2. The crowd watches in shock and horror.
MAN #1
(to Hatchet)
Your mask.
Hatchet is missing his Balaclava. It is on the ground. The whole bank is watching him. He looks around the bank, at all the watching faces. The closest to are Jane, Justine and Clare.
MAN #1
(to Hatchet)
They've seen your face.
HATCHET
(to Man #1)
What do you want me to do? Kill all the witnesses?
Hatchet picks up his Balaclava and puts it on. He does this directly in front of the Jane, Justine and Clare. He looks directly at Jane, Justine, and Clare. They stare at him.
HATCHET
(to Jane, Justine and Clare)
Did you get a good look at my face?
The Bank Tellers hand Man #1 the bags filled with money. Man #1 takes them. Before the three women can answer Hatchet, Man #1 interrupts.
MAN #1
Come on, lets' go.
Man #1 tosses a bag to Hatchet. Carrying the money bags, Man #1 runs towards the bank doors. Hatchet lingers in front of Jane, Justine and Clare.
Hatchet raises his shotgun and points it at the three women. He waits a second, letting them think he is going to shoot them.
HATCHET
(to Jane, Justine and Clare)
You didn't see me.
Jane, Justine and Clare nod in fear. Hatchet turns and follows Man #1 and Man #2 out the doors.
EXT. BANK - MORNING
Man #1, Man #2 and Hatchet jump into their parked car and speed off. They drive to the end of the street and turn a corner.
As their car turns the corner and disappears from view, two police cars come speeding around a corner at the other end of the street, their lights flashing and their sirens blaring. They skid to a stop outside the bank. Police officers leap from the car and run into the bank, their guns raised.
INT. BANK - DAY
Later that day. Police officers fill the bank. Many of the witnesses to the robbery are standing around, being questioned by various police officers. Some are visibly shaken.
Jane, Justine and Clare are seated next to each other. They are still in shock. A police officer stands guard near them. 
Two detectives, who are in charge of the bank robbery investigation, walk into the bank. They stop and survey the bank. DETECTIVE WIKINS, the lead investigator, talks to his partner, DETECTIVE HOWTON.
DETECTIVE WIKINS
What do we know? What happened?
DETECTIVE HOWTON
Three men came in. They robbed the bank.
DETECTIVE WIKINS
I got that part, Detective. What happened while they were in the bank?
DETECTIVE HOWTON
Each man was heavily armed. A shotgun each and a revolver on their belts.
Detective Howwon points to Jane, Justine and Clare.
DETECTIVE WIKINS
Those three women got a good look at one of the robber's faces.
DETECTIVE WIKINS
Just one?
DETECTIVE HOWTON
The robbers were all wearing balaclavas. One of the robbers got in a scuffle with one of the customers, and the balaclava came off. The whole bank got a pretty good look at his face. But these three women were right there next to him. They saw his face clearly.
DETECTIVE WIKINS
What does the bank's security footage show?
DETECTIVE HOWTON
It gives us an okay look. I mean, we can put out the face. Someone is sure to see him on TV, recognize him, and turn him in.
DETECTIVE WIKINS
I want to speak to the three women.
DETECTIVE HOWTON
Okay.
Detective Howton checks his notebook.
DETECTIVE HOWTON
Names are Jane Amberfield, Justine Propinski, Clare Harraday.
DETECTIVE Wikins, followed by Detective Howton, walks up to Jane, Justine and Clare.
DETECTIVE WIKINS
My name's Detective Wikins. I'm in charge of this investigation. I need you to tell me what you saw.
JANE AMBERFIELD
We already gave statements to the other policemen.
DETECTIVE WIKINS
Yes, but I need to hear it from you.
JUSTINE PROPINSKI
We got a good look at one of them. His mask came off right in front of us.
DETECTIVE WIKINS
You got a good look? Clear? You could identify him if you saw him again?
JUSTINE PROPINSKI
The whole bank saw him.
DETECTIVE WIKINS
From what I've been told, you saw him best.
CLARE HARRADAY
Doesn't the bank have security cameras? They'd have picked up his face too.
DETECTIVE WIKINS
That's true.
CLARE HARRADAY
So why do you need us? We just want to go home.
INT. BANK SECURITY OFFICE - DAY
Detectives Wikins and Detective Howton are watching the black and white security footage of the bank robbery.
DETECTIVE HOWTON
Here, this is where he rips off the Balaclava.
They watch on the screen as Customer #2 rip off Hatchet's Balaclava.
DETECTIVE WIKINS
Rewind it.
A police officer rewinds the tape. They replay it.
DETECTIVE WIKINS
Pause it there.
The tape is paused. Frozen on the screen is a fairly clear picture of Hatchet's face.
DETECTIVE WIKINS
(to Detective Howton)
Get them in here.
INT. BANK SECURITY OFFICE - DAY
A few minutes later.
The bank security tape is paused on Hatchet's face. Jane, Justine and Clare look at Hatchet's face on the screen.
DETECTIVE WIKINS
This is a good picture. We can do a lot with this. But you three saw him up close, face to face. We'll want you to testify.
CLARE HARRADAY
But you have the tape. That's enough. You have him right there.
JANE AMBERFIELD
I'll do it. I'll testify.
JUSTINE PROPINSKI
Me too.
They all look at Clare.
CLARE HARRADAY
I don't see why it's necessary. That tape should be enough to convict him.
They all continue to look at Clare. No one says anything.
JUSTINE PROPINSKI
Clare, if the police can arrest him, that might lead to them arresting the other two. That's what we all want.
JANE AMBERFIELD
Clare, we have to get these men off the streets. They're a danger to everyone.
JUSTINE PROPINSKI
You saw how close we came, all of us, to getting hurt. Imagine if they did hurt us.
DETECTIVE WIKINS
Clare, if they get away, they'll do this over and over again, until they really hurt someone.
CLARE HARRADAY
Alright! Alright! I'll do it.
DETECTIVE WIKINS
You're doing the right thing Clare.
(to DETECTIVE Howton)
Put this picture out on the evening news. Someone who knows him will see it.
INT. POLICE OFFICE - NIGHT
It is evening. Detective Wikins and Detective Howton are sitting in Wikins' office. Detective Wikins switches on a small TV.
DETECTIVE WIKINS
It should be coming on.
The TV news starts. The lead story is about the bank robbery.

NEWSREADER
In a daring robbery today, three masked men, each carrying a shotgun, stormed into a busy city bank. For several minutes they held everyone in the bank hostage before fleeing with a large amount of money. However, one of the robbers faces was captured on one of the bank's security cameras. It shows that his mask was pulled off during the robbery, giving the police a clear picture of his face. The police have released this picture of the wanted man.
The black and white picture from the bank security video appears on the TV screen.
NEWSREADER
This man, his identity unknown, is wanted for the robbery. If you know or have seen this man, please contact the police immediately. Please be warned, this man is considered to be extremely dangerous. Do not attempt to apprehend him.
Detective Wikins switches off the TV.
DETECTIVE WIKINS
So we wait.
DETECTIVE HOWTON
I think we'll get something. Someone has to recognize him.
EXT. HATCHET'S APARTMENT - NIGHT
It is late at night. Hatchet walks up the dark stairwell to his apartment. The stairwell is dirty. There is rubbish strewn on the stairs.
HATCHET
(to himself)
Jesus, someone should clean this mess up.
Hatchet reaches the third floor and walks up to his apartment door. He inserts his key, turns the key in the lock and enters.
INT. HATCHET'S APARTMENT - NIGHT
Hatchet sits down in a chair. His apartment is small. There isn't a lot of furniture. He has a phone but no television.
The phone rings. Hatchet reaches across the the nearby table and answers it.
HATCHET
(into phone)
Yep? What is it? My face? Jesus. That's not good. Yeah, I'll be careful. Don't worry.
Hatchet hangs up the phone. He looks at his watch.
INT. HATCHET'S APARTMENT - NEXT MORNING
Hatchet is asleep on the couch. He wakes up. He sits up then stands. He yawns and walks to the window. He looks down at the dull view - a brick wall and concrete yard.
EXT. HATCHET'S APARTMENT - MORNING
Hatchet closes his front door. He is about to walk down the stairs when his neighbour's door opens. Hatchet stops. A middle-aged man, HATCHET'S NEIGHBOUR, steps out. The neighbour seems apprehensive about Hatchet's presence.
HATCHET
Hello.
HATCHET'S NEIGHBOUR
Hello.
HATCHET
Just going for a walk.
HATCHET'S NEIGHBOUR
Right.
There is a silence. The neighbour looks suspiciously at Hatchet.
HATCHET
Is something the matter?
HATCHET'S NEIGHBOUR
No. I just remembered. I left something in my apartment.
The Neighbour disappears back inside his apartment.
HATCHET
Well, good day.
Hatchet walks down the stairs.
EXT. CITY STREET - DAY
Hatchet is walking down the city street. He is wearing a baseball cap to help hide his face.
EXT. MAN #1'S APARTMENT BUILDING - DAY
Hatchet is standing outside a slightly run-down apartment building. He presses an intercom button. Man #1 answers.
MAN #1
(V.O.)
Yes?
HATHCET
It's me. Hatchet.
MAN #1
(V.O.)
You shouldn't be out.
HATHCET
I want to speak to you.
There is a pause and then the door buzzes and Hatchet pushes it open.
INT. MAN #1'S APARTMENT BUILDING - DAY
Hatchet is inside Man #1's apartment. He is standing near MAN #1 and MAN #2, who are also standing.
HATCHET
Why shouldn't I be out?

MAN #2
It isn't safe yet.
MAN #1
You have to stay hidden. Your face is on the TV. It's all over the news. Every channel. Anyone can identify you.
MAN #2
You make it worse for both of us by coming here. You put us in danger as well.
MAN #1
Go back to your apartment. Stay there until we decide our next move. And don't talk to anyone.
HATCHET
What about the money?
MAN #1
We have the money. When we're ready, we can run. But we need to know where we're running to.
HATCHET
I thought we were just going to take it and split. Go live in Bahamas or somewhere.
MAN #1
Hatchet, go back to your apartment and wait for word from us. Don't do anything until you hear from us.
INT. FRUIT SHOP - DAY
Hatchet is buying fruit from a fruit shop. He is at the counter, paying for his fruit. The Shopkeeper looks at him, and seems as though something is on is mind.
SHOPKEEPER
Hey, don't I know you?
HATCHET
No. I don't think so.
SHOPKEEPER
Were you in here yesterday?
HATCHET
No.
SHOPKEEPER
Your face looks familiar.
HATCHET
I got one of those faces.
Hatchet hands over the money and smiles.
HATCHET
I'll be seeing you.
Hatchet picks up the bag of fruit, turns and walks out.
EXT. HATCHET'S APARTMENT BUILDING - DAY
Hatchet walks into his apartment building.
EXT. HATCHET'S APARTMENT - DAY
Hatchet is climbing the stairs to his apartment. There is a stillness and quietness that him. He walks up the stairs slowly.
He reaches the floor of his apartment. He stops and looks at his neighbour's door. The door creaks open and the middle-aged neighbour looks out. Hatchet smiles and waves.
HATCHET
Hello again.
HATCHET'S NEIGHBOUR
I thought I heard something.
The neighbour closes the door. Puzzled, Hatchet enters his own apartment.
INT. HATCHET'S APARTMENT - DAY
Hatchet puts the bag of fruit down on a table. He takes out an apple and takes a bite. He sits down in a chair, holding the apple in one hand, and looks out of the window, thinking of the unusual behaviour of his neighbour.

EXT. HATCHET'S APARTMENT BUILDING - DAY
It is a short time later. Police cars pull up quietly outside Hatchet's apartment building. Detective Wikins, Detective Howton, and three police step out of the cars. They move to the building, led by Detective Wikins, and enter the building, their guns by their sides.
INT. HATCHET'S APARTMENT BUILDING - DAY
The police climb the stairs quietly. Detective Wikins leads the way.
The police reach the third floor, Hatchet's floor. They move to Hatchet's door. Detective Wikins signals for the other policemen to be silent.
Hatchet's Neighbour's door opens. The police turn and raise their guns.
DETECTIVE WIKINS
(to neighbour)
Are you the neighbour of Richard Aldrich that called us twenty minutes ago?
HATCHET'S NEIGHBOUR
He's inside. I haven't heard him leave.
DETECTIVE WIKINS
(quietly)
Go back inside and wait. Don't come out until we say it's safe.
Hatchet's neighbour closes his door.
Detective Wikins steps up to Hatchet's door. He knocks. The police behind him raise their guns.
DETECTIVE WIKINS
Mr. Aldrich? It's the police. Would you open up please?
There is no response.
DETECTIVE WIKINS
Mr. Aldrich. There's no way out for you.
The police wait. After five seconds, the door opens. Hatchet is standing there, the apple in his hand. He takes a bite of the apple, looking unafraid. He examines the crowd of police.
DETECTIVE WIKINS
Mr. Aldrich?
HATCHET
That's my name. But people call me Hatchet.
DETECTIVE WIKINS
You're under arrest.
INT. MAN #1'S APARTMENT - NIGHT
Man #1 and Man #2 are watching the television. The news is on.
NEWSREADER
The police said today they've arrested one of three men responsible for the armed robbery that took place at a busy city bank yesterday. Three men burst into the bank carrying weapons and escaped with an undisclosed amount of money. The robbery took place in front of dozens of stunned onlookers. The two other men involved in the robbery are still at large. Their identities are unknown.
MAN #1
Hatchet, you stupid fool.
Man #1 switches off the TV.
MAN #2
What do we do?
MAN #1
There's no way in hell I'm hanging around here any longer than I need to. Hatchet could talk.
MAN #2
Hatchet talk to the cops? No chance. He'll never give us up.

MAN #1
You don't think he'll cooperate to cut his prison sentence? He'll be looking at ten to fifteen years. Of course he's going to talk. He'll give us up in a second.
MAN #2
No way. Not Hatchet. We've known Hatchet since we were kids. He won't tell the cops anything.
MAN #1
I say we get out and we get out now. Pack a bag.
INT. POLICE INTERROGATION ROOM - NIGHT
Hatchet is sitting at a small table in a small interrogation room. He is being questioned by Detective Wikins and Detective Howton. The two detectives are both standing.
DETECTIVE WIKINS
We're putting you away for a long time, Richard.
HATCHET
I told you. You can call me Hatchet. Everyone else does.
DETECTIVE WIKINS
I'd prefer Richard, or Mr. Aldrich. If you give up your two friends, you're almost certain to get a reduction in your sentence.
Hatchet doesn't reply.
DETECTIVE WIKINS
Isn't that what you want? You'll be out of jail sooner. Richard, you'll be out before you know it.
Hatchet still doesn't reply.
DETECTIVE WIKINS
Richard, you've had a hard life. In an out of child and juvenile homes. A string of misdemeanors. Theft, assault, vandalism. Give yourself a break. Just give up your friends. Don't try and protect them.
DETECTIVE HOWTON
Just tell us who your accomplices are. Tell us where they are. That's all you have to do.
HATCHET
I've got nothing more to say. You know I did it. I know I did it. So put me away and let's get it over with.
DETECTIVE WIKINS
Fine. If that's what you want.
EXT. JAIL - DAY
An exterior shot of the jail. Some time later.
INT. JAIL - DAY
Hatchet has been charged and sentenced to jail.
Hatchet steps into a small jail cell. A PRISON GUARD closes the cell door. Hatchet looks around the small cramped room. It has a bunk, a small sink, a toilet and nothing else.
FADE TO BLACK.
EXT. PRISON ENTRANCE - DAY
SUPERIMPOSE: PRESENT DAY
Hatchet is being freed from jail, having served his fourteen year jail sentence.
The large entrance gates of the prison open and Hatchet walks out, a free man. The PRISON GUARDS on duty, heavily armed, watch him as he leaves the prison.

INT. DETECTIVE WIKINS' CAR - DAY
Detective Wikins and Detective Howton are sitting in a car across the street from the jail entrance. They each have a cup of coffee. They both sip their coffee.
DETECTIVE HOWTON
There he is.
DETECTIVE WIKINS
Jesus, he looks like he looked fourteen years ago.
DETECTIVE HOWTON
Do we follow him?
DETECTIVE WIKINS
No. I just wanted to see him one more time.
DETECTIVE #2
You don't think he'll make contact with his pals?
DETECTIVE WIKINS
No. I think Richard is reformed. His record in jail for the last fourteen years is pretty good. He's done surprising well. Better than I thought he'd do. I don't think he'll re-offend. He just got out of jail. He sure as hell won't want to go back.
DETECTIVE HOWTON
Yeah, he's reformed, but, if you remember, there were three men in the bank that day. Two still haven't been found.
DETECTIVE WIKINS
I remember. I'm confident we'll get them soon enough.
DETECTIVE HOWTON
How? We have no leads. Hatchet is our only lead.
DETECTIVE WIKINS
We know he won't talk. We pressed him in jail for fourteen years and he didn't say a word.
DETECTIVE HOWTON
But if we follow him, he might lead us to . . .
DETECTIVE WIKINS
No. Let's cut Hatchet a break. He won't go looking for his friends. I know it. Trust me, I know it. He's a reformed man.
EXT. STREET OUTSIDE JAIL - DAY
Hatchet looks around the area outside the jail. He puts on his baseball cap, turns and walks down the street away from the jail.
INT. CAFETERIA - NIGHT
Hatchet is sitting at a counter in a cafeteria. He is drinking a cup of coffee. A WAITRESS walks up, holding a coffee pot.
WAITRESS
More coffee?
HATCHET
Yes, please. This is the best coffee I've had in years.
WAITRESS
I'm glad you like it.
The Waitress refills his cup. Hatchet takes a sip. He then reaches into his pocket, takes out some change and walks to the corner of the cafeteria where there is a small public phone. He puts in the money and dials a number for Man #1. The phone rings a few times and then Man #1 answers.
MAN #1
(V.O.)
Hello?
HATCHET
Yeah it's me.
Momentary silence on the other end of the line.
MAN #1
(V.O.)
You out?
HATCHET
Yes.
MAN #1
(V.O.)
Where are you calling from?
HATCHET
A cafeteria. Don't worry.
MAN #1
(V.O.)
Who's with you? You alone?
HATCHET
Don't worry. I'm alone. Relax. No one's followed me.
MAN #1
(V.O.)
What are you going to do?
HATCHET
I thought I'd come and see you. Where are you?
Long silence on the other end of the phone.
HATCHET
Come on. Tell me where you are.
MAN #1
(V.O.)
We're in Fredell.
HATCHET
Where the hell is Fredell?
MAN #1
(V.O.)
You ever been to the desert?
HATCHET
The desert? No.
MAN #1
(V.O.)
That's where it is. In New Mexico.
HATCHET
Why are you in New Mexico?
MAN #1
(V.O.)
We're just . . . it's a nice place.
HATCHET
Come on, New Mexico? You lying low?
MAN #1
(V.O.)
No. Nothing like that. It's not a bad place. You might like it.
HATCHET
I might like it? What! Come one, you serious? I mean . . . can't we meet somewhere else? I mean, New Mexico? How do I get there?
MAN #1
(V.O.)
Rent a car.
HATCHET
Do you have my money?
There is another long pause on the other end of the line.
HATCHET
Do you have my money?
MAN #1
(V.O.)
Yes. We'll give it to you when you find us. You can do what you like after that.
HATCHET
I thought we'd stick together. Maybe do a couple more robberies. I've thought of a lot of banks we can hit. We can move around from state to state.
MAN #1
(V.O.)
Jesus, Hatchet, you just got out.
HATCHET
Alright. Fredell. In New Mexico. I'll find it. But I have a couple of friends to meet first. I should be there in a couple of days.
MAN #1
(V.O.)
Good.
Man #1 hangs up. Hatchet hangs up. Hatchet turns and walks back to his seat at the counter. He resumes his seat and picks up his coffee cup and drinks his coffee.
EXT. CAR RENTAL DEALERSHIP - DAY
Hatchet is at a cheap car rental dealership. He is standing outside in the car lot, talking to the CAR RENTAL OWNER.
CAR RENTAL OWNER
I don't have much in your price range.
HATCHET
I'm not picky. I'll take whatever you've got.
CAR RENTAL OWNER
I can show you a couple of cars that I could let you have. They're not in mint condition, but they go.
HATCHET
Anything will be fine.
CAR RENTAL OWNER
Follow me.
The Car Rental Owner and Hatchet walk through the car lot. They arrive at two run down, rusted cars, in the back of the lot. The Car Rental Owner stands next to the two cars. Hatchet stares at the cars.
HATCHET
What? These?
CAR RENTAL OWNER
This is it. I could let you have either of these. How long do you want it for?

HATCHET
A couple of weeks.
CAR RENTAL OWNER
I see. A lot of driving?
HATCHET
Yes.
CAR RENTAL OWNER
Where are you going? Holiday?
HATCHET
Don't worry where I'm going. As far as you know, I was never here. You never met me, you never saw my face.
CAR RENTAL OWNER
There will be paperwork to fill out.
HATCHET
No. No paperwork.
CAR RENTAL OWNER
I see.
HATCHET
Do we have a deal?
The Car Rental Owner hesitates.
HATCHET
Do we have a deal?
CAR RENTAL OWNER
Okay.
(pause)
So which one of these do you want?
HATCHET
I'll take the grey one.
EXT. CAR LOT - DAY
Hatchet pulls out of the car lot in a rusted grey car. He turns onto the main street and merges with the traffic.

INT. HARDWARE STORE - DAY
Hatchet is walking through a hardware store. He finds what he is looking for - axes. He stops and stands in front of a shelf full of different types of axes, all of differing sizes. He takes one off the shelf. He holds it up and examines it and feels its weight. He looks around, sees no one in the aisle he is in, and does a couple of practice swings. Then he steps up to a wooden pole on the shelf and swings the axe, hard, and hits the pole. The axe sticks in. He pulls it out. He looks down the aisle and sees and elderly lady watching him.
HATCHET
(angrily)
What are you looking at?
The elderly lady walks away. Hatchet turns around and almost bumps into a HARDWARE STORE ATTENDANT who has just appeared, ready to help.
HARDWARE STORE ATTENDANT
That's a nice axe you've got there. You're a man who knows a good axe. I can tell.
HATCHET
What can I say?
HARDWARE STORE ATTENDANT
Use them a lot in your line of work?
HATCHET
It's not for work.
HARDWARE STORE ATTENDANT
What's it for?
HATCHET
Personal use.
HARDWARE STORE ATTENDANT
Anyone who knows good axes comes to us. That one you're holding, it's one of our best sellers.
HATCHET
It's a nice axe.
HARDWARE STORE ATTENDANT
Will you take that one?
HATCHET
You know what? I think I will.
INT. AISLE IN HARDWARE STORE - DAY
The Hardware Store Attendant is leading Hatchet to the cash registers.
HARDWARE STORE ATTENDANT
So, what line of work are you in?
HATCHET
All you need to know is that I like axes. Axes feel like they're a part of me when I use them. They're an extension of my hand. An axe strikes a much better blow than a fist. You know what I mean? A fist can hurt, but an axe, an axe is something different.
HARDWARE STORE ATTENDANT
(confused)
Right. This way.
HATCHET
Yep, I've always used axes. Always.
Hatchet follows the Hardware Store Attendant.
EXT. HARDWARE STORE CASH REGISTER - DAY
Hatchet hands the small axe to a REGISTER CLERK in the hardware store.
HARDWARE STORE ATTENDANT
(to Register Clerk)
Put this through.
(to Hatchet)
Have a good day.
The Hardware Store Attendant smiles pleasantly at Hatchet and walks off. The Register Clerk silently processes the sale of the axe. She punches some buttons on the register.
REGISTER CLERK
Thirty five dollars.
Hatchet puts the money on the counter. He picks up the axe.
HATCHET
(admiring the axe)
Yep, I'm going to have some fun with this.
Hatchet walks off carrying the axe.
REGISTER CLERK
(calling out after Hatchet)
Do you want your change?
Hatchet isn't listening and continues to walk away.
EXT. HARDWARE STORE CARPARK - NIGHT
HATCHET walks through the hardware store carpark to his rusted grey car. He drops the axe onto the front passenger seat. He climbs into the car, starts the engine and drives off.
EXT. JANE AMBERFIELD'S HOUSE - NIGHT
An exterior shot of Jane Amberfield's house.
INT. JANE AMBERFIELD'S HOUSE - NIGHT
Jane is inside, in the kitchen, washing up dishes. She has aged slightly over the last fourteen years.
EXT. JANE AMBERFIELD'S HOUSE - NIGHT
Hatchet's grey car pulls up outside Jane's house.
INT. HATCHET'S CAR - NIGHT
Hatchet looks at Jane's house through the car window. He looks through the front window in the kitchen. He sees Jane at the sink, washing up dishes.
INT. JANE AMBERFIELD'S HOUSE - NIGHT
Looking through the kitchen window, which overlooks the street, Jane has seen the car pull up. Curious but unconcerned, she continues washing. While she washes up, she peers through the kitchen window and tries to examine the car in the darkness. But she can't see inside the car.
INT. HATCHET'S CAR - NIGHT
Hatchet reaches for the axe. He grips it in his hands. He gets out of the car.
INT. JANE AMBERFIELD'S HOUSE - NIGHT
Jane watches on curiously. She peers at the figure of Hatchet in the darkness. She hasn't see the axe yet. Then she sees the axe in his hand. She tries to focus on the face and then the axe. There is alarm on her face.
EXT. JANE AMBERFIELD'S HOUSE - NIGHT
Hatchet walks towards Jane's front door. He holds up the axe, and casts causal glances up and down the street.
INT. JANE AMBERFIELD'S HOUSE - NIGHT
Jane drops the dish she is drying. It shatters on the floor. She hurries into the next room and runs to the phone. She dials 911 and waits.
VOICE ON LINE
(V.O.)
You've reached the police. Please hold the line.
There is a loud knocking at the front door. Jane stands and listens, worried.
The knocking is repeated.
HATCHET
(O.C.)
Hello? Is there anyone home?
(pause)
Jane, are you there?
Jane gasps.


HATCHET
(O.C.)
Jane? I've got a surprise for you. If you come and open the door I'll show it to you.
(pause)
Jane?
Jane looks around in a panic. A voice on the police line finally answers.
VOICE ON POLICE LINE
(V.O.)
Police. What's the nature of your emergency?
JANE AMBERFIELD
There's a man at my door. It's him.
VOICE ON POLICE LINE
(V.O.)
Who, miss?
JANE AMBERFIELD
(she can't think clearly due to her fear)
Him. The man I reported.
VOICE ON POLICE LINE
(V.O.)
You'll have to be more specific miss. What's his name?
JANE AMBERFIELD
I think it was Robert or Richard. No, wait! Richard Aldrich.
The door is suddenly kicked open and Hatchet enters, wielding his axe. Jane screams, drops the phone and runs. She runs from room to room. Hatchet follows close behind her. Hatchet catches Jane in one of the rooms and grabs her. Jane screams and struggles.
HATCHET
No Jane. There's no way out for you.
Hatchet pushes her away. Jane stands in fear, cornered and with no escape. She is backed up against a wall in the corner of the room.
JANE AMBERFIELD
What . .. what do you want?
HATCHET
What I've wanted for fourteen years.
Hatchet takes slow steps towards her and he raises his axe.
EXT. JANE AMBERFIELD'S HOUSE - NIGHT
There is a terrified scream from Jane.
EXT. JANE AMBERFIELD'S HOUSE - NIGHT
A short time later.
Hatchet emerges from Jane's house, carrying the axe. The axe is covered in blood.
Hatchet walks to his grey car, climbs in and puts the axe on the front passenger seat. He starts the car and drives off.
EXT. CAFE - DAY
The next day.
An exterior shot of the cafe where Justine Propinski still works. It is late in the afternoon.
INT. CAFE - DAY
The cafe is practically empty. Taking a break from work, Justine is making a cup of coffee from the coffee machine. The Manager of the cafe is sitting at a table, doing routine paperwork.
EXT. CAFE - DAY
Hatchet's grey car pulls up outside the cafe. Hatchet looks inside. Through the cafe front window, he can see Justine, making her coffee at the coffee machine.

EXT. CAFE - NIGHT
A little later. It is now night.
Justine turns the OPEN sign to CLOSED on the front door. She looks through the door, outside into the darkness, but sees no one.
The Manager is in the background, closing up, and putting things away.
The grey car is not parked outside.
INT. CAFE - NIGHT
Justine walks to the counter. The Manager is putting away glasses.
MANAGER
Good work today, Justine. It's been a good week.
JUSTINE PROPINSKI
I'm beat. Do you mind if I call it a day?
MANAGER
Sure. Just let yourself out the back.
EXT. BACK OF CAFE - DAY
The street at the back of the cafe is lit by dim lights.
Justine exits through the back door of the cafe. Hatchet's grey car is parked nearby. Hatchet is sitting inside, waiting for Justine.
Justine sees the car. She looks at it for a second and thinks nothing of it. She walks to her own car, which is parked nearby.
Hatchet gets out of his grey car. He walks slowly through the dim light towards Justine. Justine is now near her car. Justine hears the footsteps of Hatchet behind her. She turns briefly to look. She sees the dark figure of Hatchet walking towards her. She squints in the darkness.
JUSTINE PROPINSKI
Can I help you?
Hatchet keeps walking towards Justine.
JUSTINE PROPINSKI
Can I help you?
Hatchet stops near Justine.
JUSTINE PROPINSKI
Do I know you?
HATCHET
(his face is in half-darkness)
We were once acquainted. Actually, no, we weren't acquainted. But we've met. I'm sorry you don't remember me.
JUSTINE PROPINSKI
I'm sorry. I usually have a good memory for faces.
HATCHET
Then you should know mine.
Hatchet steps forward and his face becomes visible to Justine. Hatchet pulls the axe from behind his back. Justine, seeing the axe, screams and fumbles for her car keys. Hatchet moves quickly towards her.
INT. CAFE - NIGHT
The Manager is still sitting at the table, doing paperwork. There is the sound of a scream from the back of the cafe. He looks up, wondering what the sound was. He puts down his pen and stands up. He walks towards the back door of the cafe.
INT. HATCHET'S CAR - NIGHT
Hatchet is back in his grey car. He starts the engine of and drives away. The dead body of Justine is lying where she fell.
EXT. BACK OF CAFE - NIGHT
The Manager pushes open the back door and steps out into the darkness at the back of the cafe. He looks around.

MANAGER
Jane?
There is no reply. Only silence. He looks around and then sees Jane's car and next to it, the body of Jane. She is lying in a pool of blood.
INT. HATCHET'S APARTMENT - NIGHT
Hatchet is back in his apartment. His clothes are bloody from the murders of Jane and Justine. Hatchet takes off his bloody shirt. He takes out a clean T-shirt and puts it on.
Hatchet picks up the phone and dials Man #1's number. He waits.
MAN #1
(V.O.)
Yes?
HATCHET
It's Hatchet.
MAN #1
(V.O.)
Yes?
HATCHET
I got two of them. Jane Amberfield and Justine Propinski. They're both dead.
MAN #1
(V.O.)
And the third?
HATCHET
I haven't gone to see her yet. I'll wait until tomorrow. I've found out where she works. She's usually at the law courts.
MAN #1
(V.O.)
Find her. Then come and meet us. You know where we are. Fredell.
HATCHET
I will.

MAN #1
(V.O.)
Make sure no one can tie you to these crimes. Don't leave any evidence. Be very careful.
HATCHET
There might be a connection.
MAN #1
(V.O.)
What connection?
HATCHET
The police might see the connection between my release from jail and the deaths of the three witnesses who put me away. Maybe I should have waited.
MAN #1
(V.O.)
Are you sure no one followed you from the jail? No police? No surveillance?
HATCHET
No. No one. The cops don't care about me anymore. As far as their concerned I did my punishment.
MAN #1
(V.O.)
Just don't bring any cops with you when you come. The investigation was never closed. You know that. They got you, but they didn't get us. Make sure no one follows you to Fredell. Okay?
HATCHET
Okay.
There is a click on the other end of the line as Man #1 hangs up. Hatchet puts down the phone.


EXT. LAW COURTS - DAY
Hatchet is sitting on a bench outside the city law courts. He has sunglasses and his cap on and is watching the entrance. Crowds of people walk in and out.
Clare Harraday, now a lawyer, exits the building with a legal colleague, carrying a case full of legal documents. She is smartly dressed.
Hatchet spots her. He turns his head and watches her walk down the main stairs from the law courts. Clare, who is talking to her colleague, passes by Hatchet. She doesn't see notice him. Hatchet watches her walk past.
When Clare is ten metres past Hatchet, Hatchet stands up and follows her. On the corner of an intersection, Clare bids farewell to her colleague and walks towards her car, which is parked down the road. Hatchet follows ten metres behind.
EXT. CLARE'S CAR - DAY
Clare unlocks her car and gets in. A moment later, Hatchet, still wearing his sunglasses, appears at the window. He taps on the window. Clare winds it down.
CLARE HARRADAY
Can I help you?
HATCHET
Is your name Clare Harraday?
CLARE HARRADAY
Yes.
(puzzled)
How did you know that? Who are you?
Hatchet, saying no more, turns and walks away. Clare, still puzzled, watches Hatchet as he walks away. She starts the car and drives off.
INT. CLARE'S HOUSE - NIGHT
Clare is lying on the couch in her lounge room. The television is on. She is only half watching it.
Clare glances out the window and sees a grey car parked outside. She hasn't seen the grey car before. She looks back at the TV.
EXT. HATCHET'S CAR - NIGHT
Later. Hatchet is sitting in his grey car, in the darkness. He is watching Clare through the lounge room window. He can see her watching television.
EXT. CLARE'S BEDROOM - NIGHT
Later. Clare is lying in her bed in the quiet darkness. She is thinking of the grey car. After a while, she sits up, opens the blinds a fraction, and looks out at the street. She sees the grey car is still parked in the same place. She closes the blinds.
Clare sits up and reaches for a nearby phone. She dials the police. The phone rings and then a police officer answers.
POLICEWOMAN
(V.O.)
Police. What is your emergency?
CLARE HARRADAY
(into phone)
Hello. My name is Clare Harraday. There's a suspicious car parked outside my house. It's been there all evening. I've never seen it before. I thought I ought to report it.
POLICEWOMAN
(V.O.)
Is there anyone in the car?
CLARE HARRADAY
I can't see. It's too dark.
POLICEWOMAN
(V.O.)
We can send an officer around to check for you.
CLARE HARRADAY
Thank you.
POLICEWOMAN
(V.O.)
What's your address?
EXT. HATCHET'S CAR - NIGHT
Hatchet is sitting in his car, watching Clare's house. He reaches across to the passenger seat and picks up the axe. Hatchet, holding the axe, gets out of his grey car. He walks towards the house.
INT. CLARE'S BEDROOM - NIGHT
Clare is lying in bed. She sits up again, agitated, and checks through the curtains again. She sees the grey car, and squints into the darkness outside, but there is no sign of anyone.
EXT. BACK DOOR TO CLARE'S HOUSE - NIGHT
Hatchet is moving around the side of Clare's house to the back door. He stops at the back door. He tries to the door handle gently but the door is locked. He takes a step back, swings his axe at the lock and smashes it. He pushes the broken door open.
INT. CLARE'S BEDROOM - NIGHT
Clare, hearing the sound at the back door, sits up quickly and switches on the light. She listens. There is silence at first, but then she hears the creaking of Hatchet's feet on the floorboards in the next room. Terrified, she grabs the phone. She dials the police again.
POLICEWOMAN
(V.O.)
Police. What's the nature of your emergency?
CLARE HARRADAY
This is Clare Harraday. Somebody's in my house.
POLICEWOMAN
(V.O.)
Miss, can you repeat that?
CLARE HARRADAY
Someone's in my house.
Clare's bedroom door creaks open and Hatchet steps into the room, holding the axe. Clare looks at him with horror on her face. Hatchet stands at the door.

HATCHET
Put down the phone.
POLICEWOMAN
(V.O.; still on the phone)
Miss? Miss? Are you there?
HATCHET
Do as I say.
Clare hangs up the phone.
CLARE HARRADAY
(horrified)
Who are you?
HATCHET
Well, well, well. We meet again.
CLARE HARRADAY
The police are already on their way.
Hatchet appears to hesitate a second.
CLARE HARRADAY
Didn't you hear me? They're on their way.
HATCHET
Then I'll make this quick.
Clare looks at the axe in Hatchet's hands. Suddenly, she jumps up and runs to the door, but Hatchet is blocking it. Hatchet grabs Clare as she tries to lunge past him.
HATCHET
No. No. No. Sit.
Clare struggles in Hatchet's grip.
HATCHET
(angry shout)
Clare! Sit!
(calmer)
Be good and be quiet. This will all be over with soon.
Clare continues to struggle.

CLARE HARRADAY
(scream)
Let me go! Let me go!
HATCHET
Stop struggling. Clare, stop it. Stop struggling.
CLARE HARRADAY
Wait. Wait. I've got money. I'll give it to you. All of it. I won't say anything. I'll tell the police I made a mistake. Okay? When the police come I'll tell them I made a mistake!
HATCHET
Money? How much?
CLARE HARRADAY
A lot. You can have it. Just don't kill me, please.
A police siren wails in the distance. They both hear it. Hatchet looks at the window, slightly alarmed.
HATCHET
You're coming with me.
CLARE HARRADAY
No. Please.
HATCHET
There's no other way.
CLARE HARRADAY
I can send you the money.
HATCHET
Move. No screaming, or I use the axe.
Hatchet pushes Clare out the door.
INT. CLARE'S HOUSE - NIGHT
Hatchet forces Clare through the front lounge room towards the front door. At the front door Hatchet has the axe in one hand and holds Clare with the other.
HATCHET
Open it.
Clare doesn't obey.
HATCHET
(angrily)
Open it!
Clare reaches for the doorknob at opens the door. Hatchet pushes Clare out the door and into the street.
EXT. STREET OUTSIDE CLARE'S HOUSE - NIGHT
Hatchet pushes Clare to the grey car.
HATCHET
You scream and I'll kill you now, right here. Get in.
The police car siren is getting closer. The police car will turn into Clare's street any second. Clare doesn't obey Hatchet's order.
HATCHET
I said, get in.
Clare opens the front door and gets into the front passenger seat. Hatchet moves around the car to the driver's side and jumps into the car. Hatchet turns on the engine, pulls out into the street, and speeds down the street. His car disappears around a corner, just as a police car turns into the street at the other end.
INT. HATCHET'S CAR - NIGHT
Hatchet is driving through the city streets.
Clare is shaking and crying.
Hatchet looks from the street ahead to Clare and back at the street.
HATCHET
Don't try any funny stuff. One move from you, and I'll kill you.
Hatchet slows down slightly and drives more slowly now, so as not to attract any attention.
A police car, its sirens blaring drives past him in the opposite direction, but does not stop.
HATCHET
I guess you're coming with me.
CLARE HARRADAY
Where are you taking me?
HATCHET
That depends on how well you behave.
CLARE HARRADAY
But you'll kill me anyway.
HATCHET
I may and I may not.
CLARE HARRADAY
Why?
HATCHET
You don't remember me?
CLARE HARRADAY
No.
HATCHET
It was a long time ago. About fourteen years.
Clare doesn't reply, not remembering yet.
HATCHET
You don't remember meeting me in a bank?
CLARE HARRADAY
The robbery?
HATCHET
Yes.
CLARE HARRADAY
You were there too?
HATCHET
Come on Clare. You got to remember. You saw my face during the robbery. I was identified and you testified against me. You sent me to jail for fourteen years.

CLARE HARRADAY
There were others. Two others. Why are you picking me?
HATCHET
I've already visited Jane and Justine. You were last on my list.
CLARE HARRADAY
What did you do to them?
HATCHET
They're dead. But of course, they didn't make me an offer like you did.
CLARE HARRADAY
Oh my god.
(she starts crying again)
Oh, my god.
HATCHET
Stop that. Prayers won't help you.
EXT. HATCHET'S CAR - NIGHT
The grey car drives on through the city streets.
INT. HATCHET'S CAR - NIGHT
Hatchet sees an exit to the freeway and turns off the road.
EXT. OUTSIDE THE CITY - NIGHT
Later. Hatchet is driving along a freeway.
INT. HATCHET'S CAR - NIGHT
Hatchet is driving. Clare has fallen asleep. She has her head resting against the window, fast asleep. Hatchet looks across at her. He looks back at the road.

EXT. DESERT ROAD - DAY
The next day, early in the morning.
Hatchet has reached the New Mexico desert. He is driving down a road that makes its way through the desert, sometimes straight, sometimes winding.
Clare is still asleep in the front seat. Hatchet looks at her while he drives. He reaches across and pushes her with his hand.
HATCHET
Hey, wake up.
Clare stirs, then wakes. She looks out the window and sees the desert. She watches it pass by.
CLARE HARRADAY
Where are we?
HATCHET
We're in New Mexico.
CLARE HARRADAY
New Mexico? How long have I been asleep?
HATCHET
About ten hours.
Clare is silent.
HATCHET
Yeah, you slept pretty soundly. You just nodded off. I thought it'd be easier to let you sleep.
CLARE HARRADAY
Why are we in the desert?
HATCHET
No reason. I just felt like seeing it. I've never been to the desert before.
Clare looks out the window and watches the scenery pass by.
CLARE HARRADAY
Can we stop? I need to go.
EXT. DESERT ROAD - DAY
Hatchet pulls the car to a stop at the side of the road. They are surrounded on all sides by the desert.
INT. HATCHET'S CAR - DAY
HATCHET
Make it quick.
Clare gets out of the car, followed by Hatchet.
EXT. DESERT ROAD - DAY
Clare walks a little distance away from the car, but the landscape is open and there is nowhere to conceal herself. Hatchet looks at the desert around them, and then he looks at Clare and watches her. Clare looks around and sees Hatchet watching her.
CLARE HARRADAY
Can I have some privacy please?
Hatchet turns his back. Clare finds a spot to go to the toilet.
Hatchet hears the sound of a car in the distance. As he looks down the road he sees a police car coming in their direction. It is some distance away but the police car is approaching quickly.
HATCHET
Quick, back in the car.
CLARE HARRADAY
I'm not ready. If I don't go now . . .
HATCHET
Get in the car. Now.
Clare, seeing Hatchet's alarm, looks down the road and sees the police car. She looks at Hatchet. Then Clare takes off running as fast as she can. She starts running across the desert, a little distance from the road.
HATCHET
Damn it!
Hatchet takes another look at the approaching police car. Seeing he is out of time, and a getaway is necessary, he jumps into his car and speeds off, leaving Clare behind.
Clare is running through the desert.
INT. HATCHET'S CAR - DAY
As Hatchet drives away, he looks through the side mirror at the police car in the distance. He looks back out his window and catches a last glimpse of Clare running away.
EXT. DESERT ROAD - DAY
Clare is running across the desert, away from the road. She sees Hatchet's car drive past and away from her. She stops running and looks to the police car.
Clare runs quickly back to the road. She reaches the road, stands on the side of the road and waves her arms at the police car.
INT. OFFICER BLIGHT'S CAR - DAY
The policeman in the car, OFFICER BLIGHT, sees Clare and pulls the car to a stop near her. Officer Blight gets out of the car.
EXT. DESERT ROAD - DAY
CLARE HARRADAY
(still panicked)
Officer, you've got to help me.
OFFICER BLIGHT
What are you doing out here by yourself?
CLARE HARRADAY
There was a man. He saw you coming and drove away. He abducted me. He was just here a second ago. He went that way.
Clare points down the road.
CLARE HARRADAY
You have to go after him.
OFFICER BLIGHT
Who is he?
CLARE HARRADAY
It's a long story. But he's driving a very old grey car.
Officer Blight walks back to his car and reaches inside for his police radio. He speaks into it.
OFFICER BLIGHT
(into radio)
This is Officer Blight.
POLICE RADIO VOICE
(V.O.)
Go ahead.
OFFICER BLIGHT
(into police radio)
We've got a grey car, old, heading west on Adstol Road. The man inside is a possible suspect. We need to find him as soon as possible.
POLICE RADIO VOICE
(V.O.)
Got it. We'll keep our eyes open.
Officer Blight puts down the police radio. He turns back to Clare.
OFFICER BLIGHT
They'll keep a watch out for him.
CLARE HARRADAY
What? No! You have to follow him now. He's dangerous. You can't let him get away. He was just here, for god's sake.
OFFICER BLIGHT
Miss, please calm down.
CLARE HARRADAY
Every second you stand here talking, he's getting further away.

OFFICER BLIGHT
Miss, please.
CLARE HARRADAY
He's a killer. He's a murderer. He's already killed two woman. He was going to kill me too. That's what I'm doing out here. He was going to kill me.
OFFICER BLIGHT
Alright, get in.
Officer Blight hurries and gets into his police car. Clare follows and gets in the front passenger seat. Officer Blight pulls the car back onto the desert road and drives after Hatchet.
INT. HATCHET'S CAR - DAY
Hatchet is driving quickly. He looks in his rearview mirror for the police car he expects to see chasing him. He doesn't see a police car.
INT. OFFICER BLIGHT'S CAR - DAY
Officer Blight and Clare are speeding down the desert road in the police car, on the lookout for Hatchet's grey car.
CLARE HARRADAY
His name's Richard Aldrich.
OFFICER BLIGHT
Who is he?
CLARE HARRADAY
He was in jail, as far as I knew. I didn't know he'd been released.
(pause)
I helped to put him away.
OFFICER BLIGHT
So he kidnapped you? Why? Revenge?
CLARE HARRADAY
Yes.
OFFICER BLIGHT
Don't worry. He won't get far. Not out here.
INT. HATCHET'S CAR - DAY
Hatchet is driving down the road. He sees a small roadside service station with a small diner attached to it. He pulls into the small carpark out the front of the diner. A sign out the front reads BAILEY'S ROADSIDE DINER.
Hatchet realizes that his car needs to be hidden from the pursuing police. He drives it slowly around the side of the diner, where it can't be seen from the road, or from the front of the diner. Hatchet gets out of the car, walks to the front entrance of the diner, takes another look down the desert road for the police, sees none, and walks inside.
INT. BAILEY'S ROADSIDE DINER - DAY
The diner is empty, except for a man, the owner, named BAILEY. Bailey is wearing an old shirt and trousers. He is standing behind the counter. A small jukebox against a wall is playing a quiet ballad. There are tables spread around the room. All are empty. Bailey watches Hatchet enter. Hatchet stands at the front window of the diner and looks out through the large window, still waiting for the police.
BAILEY
Hey there.
Hatchet turns.
HATCHET
I need to make a phone call.
BAILEY
Go ahead. The phones over there.
Bailey nods to the phone in the corner of the diner.
BAILEY
Can I get you anything?
Hatchet glances out of the diner window again, watching for the police car.
HATCHET
Yeah, how about a coffee?
BAILEY
Coming right up.
Bailey starts to make the coffee. Hatchet walks to the phone. He reaches into his pocket, takes out some change, and puts the change into the phone. He dials Man #1's number. He turns his back so Bailey can't her the conversation. He waits while the phone rings. Man #1 answers.
MAN #1
(V.O.)
Yes?
HATCHET
Hey, it's Hatchet. I'm in a fix.
MAN #1
(V.O.)
What is it?
HATCHET
I think I've got the cops on me.
MAN #1
(V.O.)
I told you, no cops.
HATCHET
Yeah, but I couldn't avoid it.
There is a pause on the other end of the line.
MAN #1
(V.O.)
Do they know who you are?
HATCHET
They do now. I had Clare Harraday in the car. I was bringing her along until I figured out what to do with her. She got away and she's with the cops.
MAN #1
(V.O.)
What does she know? Does she know where we are?
HATCHET
No. I didn't tell her anything. She only knows me.
There is another pause on the other end of the line. Hatchet waits.
MAN #1
(V.O.)
Come to us. Come to Fredell. How far away are you?
HATCHET
I don't know how far. A hundred miles. Maybe more.
MAN #1
(V.O.)
Where are you?
HATCHET
I'm not sure. Somewhere in the desert. This place is something, isn't it?
MAN #1
(V.O.)
Listen, avoid the police. Find a way to Fredell. We'll be waiting for you. But do not bring the cops with you. Understand?
HATCHET
Yes. I understand. Don't worry. They can't follow me all the way. I'm smarter than the cops. I'll be able to dodge them. I was thinking when I get to Fredell we can go somewhere with sun and beaches. What do you think?
MAN #1
(V.O.)
We'll decide when you get here. Be careful. Here's where we are . . .
We don't hear the location. Instead, we see Hatchet reaching for a pen from a nearby counter and writing in down on a piece of paper. We see Bailey watching Hatchet from the counter.
Hatchet, now he has the location, puts down the phone. Hatchet walks back towards the diner counter. He looks out the diner window. He sees the police car speed past. He stops and watches. He sees the police car keep going. Hatchet smiles at this. He now thinks he is safe. He walks to the counter.
HATCHET
How about that coffee?
Bailey puts the cup of coffee on the counter. Hatchet sits down on a stool at the counter.
INT. POLICE CAR - DAY
Clare has seen the service station and diner as they pass by along the road.
CLARE HARRADAY
Officer, we just passed a roadside service station. Didn't you see it?
OFFICER BLIGHT
I saw it.
CLARE HARRADAY
Aren't you going to stop and check?
OFFICER BLIGHT
No need. If Richard Aldrich is running from the police he won't be stopping at the first diner he passes. If this man is what you say he is, he'll keep on going, and try to lose us somewhere. There are lots roads running off this road. They all lead into the desert. He could take any of them. Besides, I didn't see any grey cars parked outside.
CLARE HARRADAY
You should at least check.
Officer Blight considers the situation for a second.
CLARE HARRADAY
Please.
Officer Blight slows the car and does a U-turn. He drives back down the desert road towards the road-side diner.
INT. BAILEY'S ROADSIDE DINER - DAY
Hatchet is sitting at the counter, drinking his coffee.
BAILEY
Long drive?
HATCHET
Yeah. Fair way. This is good coffee. Thank you.
BAILEY
You're welcome. My name's Bailey.
Hatchet nods, but doesn't offer his own name.
HATCHET
Do you get many customers here?
BAILEY
A few.
Hatchet continues to drink his coffee.
BAILEY
Where are you heading?
HATCEHT
Can't say.
BAILEY
You know the way?
Hatchet nods while he takes a drink of his coffee.
BAILEY
Some of these desert roads can be a bit tricky. Do you take this one or that one? A lot are badly sign-posted too. If you haven't been through before, you can get lost easily. I've seen it happen.
HATCEHT
I'll be fine. I know the way.
Bailey looks past Hatchet and out to the road. He has seen something. Hatchet notices this and turns his head and looks. Hatchet sees Officer Blight's police car pulling up in the diner's carpark. Hatchet stands.
HATCHET
I've got to go. Sorry. Thanks for the coffee.
BAILEY
Is there a problem?
HATCHET
No. Is there a back way out of here?
BAILEY
Through there.
Bailey points to a back door of the diner.
HATCHET
Do me a favour. Don't tell the police I was here.
Hatchet turns and looks outside again. Officer Blight is getting out of the car. He checks the gun on his belt with his hand. Clare remains inside the car.
HATHCET
You know that police officer?
BAILEY
That's Officer Blight. Say, are you in some kind of trouble?
HATCHET
A little. Nothing serious. I didn't pay a parking fine. That's it. Thanks again for the coffee.
Hatchet hurries to the back door and disappears outside.
EXT. BAILEY'S ROADSIDE DINER - DAY
Officer Blight strides towards the diner. He reaches the front door and pushes it open.
INT. BAILEY'S ROADSIDE DINER - DAY
Officer Blight enters through the front doors. Officer Blight surveys the empty diner.
BAILEY
Hello, officer. How's things?
OFFICER BLIGHT
What can I say Bailey? It's been a quiet week. You had any customers in the last few minutes?
Bailey hesitates a second.
OFFICER BLIGHT
Well?
BAILEY
Just one. He came in about five minutes ago.
OFFICER BLIGHT
Who's that?
BAILEY
The man who just ran out the back door when he saw you pull up.
Officer Blight quickly takes out his gun. He looks back at the car and at Clare, who is sitting inside.
Officer Blight walks to the back door and slowly pushes it open. He looks out. He sees the desert stretching into the distance. He steps outside.
EXT. BACK OF BAILEY'S ROADSIDE DINER - DAY
A gun flashes in the sunlight, it connects with the back of Officer Blight's head, and Officer Blight collapses to the ground. Hatchet is standing against the wall, behind the door. He lowers the gun. He looks at the unconscious Officer Blight. Hatchet takes the police radio from Officer Blight's belt.
EXT. BAILEY'S ROADSIDE DINER - DAY
Hatchet runs around the side of the service station, gets into his car, starts the engine and drives out to the front of the diner and to Clare.
INT. POLICE CAR - DAY
Clare sees Hatchet in his car suddenly appear from around the side of the diner. She scrambles to open the door of the police car. She has trouble gripping the car door handle in her panic. She manages to open the door. She jumps from the car.
EXT. BAILEY'S ROADSIDE DINER - DAY
Clare starts to run away. Hatchet jumps from his car and runs after her. He takes out his gun as he runs. 
There is a short foot chase. Hatchet catches Clare before she gets far. He grabs her tightly and roughly. Clare struggles and tries to hit Hatchet with her fists.
HATCHET
Don't struggle. Just calm down.
Clare struggles a little more, sees it is futile and finally she stops struggling. Hatchet waits until he is sure she is calm.
CLARE HARRADAY
Okay, I've stopped.
HATCHET
Go back to the car.
They walk back to the cars, Hatchet not relinquishing his grip on Clare.
CLARE HARRADAY
Did you have a gun the whole time?
HATCHET
Yes.
CLARE HARRADAY
Why didn't you shoot me?
HATCHET
Get in the car.
CLARE HARRADAY
You could have shot me before. Why didn't you?
HATCHET
Get in the car.
Clare moves to the police car.
HATCHET
No. Not that car, my car.
Clare gets into Hatchet's grey car. Hatchet gets into the driver's seat.
INT. HATCHET'S CAR - DAY
Hatchet looks at Clare.
HATCHET
Now, a few rules. Run again, try to escape, or try to get someone's attention, especially the police, and next time I will shoot you. From now on, you do exactly as I say.
Clare nods.
HATCHET
Okay. So we understand each other?
A gunshot cracks. It puts a hole through the window of Hatchet's car. It is Bailey, holding a revolver. He has it pointed at Hatchet's car. Hatchet starts the car. Bailey fires another shot at Hatchet's car. It hits the side. Hatchet sticks his hand, holding his gun, out the window and fires two quick shots at Bailey. Bailey ducks and runs for cover inside his diner.
Hatchet drives away as quickly as he can. He drives back onto the desert road.
INT. HATCHET'S CAR - DAY
Hatchet and Clare are driving along the desert road. They are now miles away from the road side diner.
CLARE HARRADAY
Did you kill the policeman?
Hatchet doesn't reply.
CLARE HARRADAY
You did.
Clare looks out the window.
CLARE HARRADAY
What do you need me for?
Hatchet is silent.
HATCHET
No more talking. No more questions. Just do as I say.
INT. BAILEY'S ROADSIDE DINER - DAY
Officer Blight is sitting in a chair at a table in the diner. He is dazed from the hit from Hatchet. He has an ice pack on the back of his head. Bailey is standing next to him.
BAILEY
He must have given you a mighty hit.
OFFICER BLIGHT
I was out cold. What happened to them?
BAILEY
He got away and took the woman with him.
OFFICER BLIGHT
He took my radio. Do you have a phone? I need to call this one in.
BAILEY
Over there.
Bailey points to the phone.
OFFICER BLIGHT
She told me his name. It was . . . Richard something. Richard . . . Richard.
BAILEY
I think that hit on the head has muddled your memory.
OFFICER BLIGHT
It'll come to me. Anyway, I know he just got out of jail. And I know the girl's name. No, wait, she didn't give it to me. God damn it.

EXT. DESERT ROAD - DAY
Hatchet's car drives down the desert road, which is surrounded on all sides by the ever-extending desert.
INT. HATCHET'S CAR - DAY
Hatchet is driving down a desert road. Hatchet sees a small road off to the left. He slows down and takes the turning. He starts driving down the new road. A small wooden sign that is falling apart reads DEADWYLER ROAD.
CLARE HARRADAY
Do you know the way to wherever you're going?
HATCHET
No.
CLARE HARRADAY
So how do you know this is the right turning?
HATCHET
I don't.
CLARE HARRADAY
Then why did you turn?
HATCHET
I guessed.
CLARE HARRADAY
Guessing won't get you where you're going.
HATCHET
You never know.
CLARE HARRADAY
Oh, the car. You have to get off the main road. The police will be looking for it.
HATCHET
Correct.
Clare is silent for a little while. Hatchet drives.
CLARE HARRADAY
I still need to go.
HATCHET
What?
CLARE HARRADAY
I didn't get the chance.
HATCHET
And you won't get another.
Hatchet keeps driving.
CLARE HARRADAY
Please.
Hatchet reluctantly slows the car and pulls over. He reaches into the glove compartment and takes out a gun. He checks the bullets.
HATCHET
This time I'll be watching.
CLARE HARRADAY
Where will I go?
HATCHET
Just hurry up.
EXT. DEADWYLER ROAD - DAY
Hatchet and Clare get out of the car. Hatchet has his gun by his side. He looks around and sees a small bush.
HATCHET
Over there.
Clare goes behind the bush and is out of sight. Hatchet turns away and examines the desert. After a while Clare emerges. She walks back to the car.

HATCHET
Done?
CLARE HARRADAY
Yes.
Clare now joins Hatchet in looking around the wide desert.
HATCHET
It's something, isn't it?
CLARE HARRADAY
Yes. It is. Where are you going anyway?
HATCHET
What?
CLARE HARRADAY
What's the purpose of this trip? Why are you in the desert to begin with?
Hatchet doesn't stop looking at the desert.
HATCHET
Never mind.
Clare is looking at Hatchet who is still looking at the desert.
CLARE HARRADAY
Come on. Why not tell me? You're probably going to kill me anyway, so what does it matter?
Hatchet looks at Clare.
HATCHET
If you have to know, I'm owed about twenty thousand dollars in cash. My share of the bank robbery fourteen years ago. Since I went to jail, I couldn't spend the money. It's been held for me all that time.
CLARE HARRADAY
By who? Your accomplices?
HATCHET
I can't say who.
CLARE HARRADAY
You honestly think after fourteen years it's still going to be there, waiting for you? In crisp fifties and hundreds?
HATCHET
I don't doubt that it is.

CLARE HARRADAY
You have a lot of faith in human nature.
HATCHET
What does that mean?
CLARE HARRADAY
It means your friends would have had an extra twenty thousand dollars to do with as they pleased. You seem to think they'll just hang on to it for you, for fourteen years. I don't think many people in your position would share your optimism.
HATCHET
My 'accomplices' would never spend what doesn't belong to them. Trust me, the money will be there.
CLARE HARRADAY
What will you do with it?
HATCHET
Look, think of something else. Just stop asking me questions.
CLARE HARRADAY
Seriously, what will you do with it? Spend it? The money is probably useless anyway. It's stolen. The money has serial numbers on it, which banks are told to look out for.
HATCHET
I don't plan on putting it into a bank. And who the hell cares about numbers anyway?
CLARE HARRADAY
I suppose you're right. No one will check. I just read about it somewhere, that's all.
They sit in silence for a few seconds. Hatchet decides to answer Clare's question, to Clare's surprise.

HATCHET
I plan on leaving. If you have to know.
CLARE HARRADAY
I already guessed that. All the crooks run once they have the cash. I've seen it happen a hundred times. They take the money and run.
(pause)
Where to? To somewhere nice, I bet.
HATCHET
I'll go somewhere where no one can find me and no one can bother me.
CLARE HARRADAY
The money will run out. Twenty thousand isn't that much to live on.
HATCHET
I'll find a way to make more money.
CLARE HARRADAY
You can't rob banks the rest of your life. Look at your record already. One bank, one conviction.
HATCHET
Who said it was the first bank? I didn't.
CLARE HARRADAY
I was just saying, you got caught for one, you may get caught for another. Another fourteen years, you'll have missed the prime of your life. You'll be over the hill by the time you get out. What then?
HATCHET
Let me worry about it.
CLARE HARRADAY
You should be worried.
HATCHET
Come on, enough talk, get in. We have to move.
CLARE HARRADAY
Are you afraid the police will find you out here?
HATCHET
In. Now.
Hatchet opens the car door and gets in the car. Clare walks to her door and opens it. She gets in.
INT. HATCHET'S CAR - DAY
Hatchet starts the engine. It stalls for a moment and then goes. Hatchet eases the car onto the road again and they drive onwards.
CLARE HARRADAY
What made you want to rob banks?
HATCHET
No more talk about me for now. What about you? You're a lawyer now, right? Some step up from that supermarket.
CLARE HARRADAY
I did that to pay the bills. Like everybody else.
HATCHET
If you were my legal counsel, what would you tell me?
CLARE HARRADAY
I'd say if you mess up from here on, if you get caught, you're looking at multiple life sentences for murder, probably the gas chamber. So, my advice would be, don't get caught.
HATCHET
People pay you for that? Tell me something I don't know.
CLARE HARRADAY
You asked. Your chances aren't good from here on.
HATCHET
So, I won't get caught. All I have to do, is keep my eyes open, stay one move ahead of the cops, and I'm a free man.
Clare sits and ponders. She looks at the petrol gauge.
CLARE HARRADAY
Look.
Hatchet looks at her.
HATCHET
What?
Clare is still looking at the petrol gauge. Hatchet looks at it. The petrol gauge reads almost empty.
CLARE HARRADAY
You're low on fuel.
HATCHET
God damn it.
CLARE HARRADAY
This isn't the place to break down.
HATCHET
Damn it. It doesn't matter. We'll stop at the next service station.
CLARE HARRADAY
On this road? How do you know there will be one?
HATCHET
I don't.
CLARE HARRADAY
If you run out of fuel and there isn't a petrol station, you'll be stuck.
HATCHET
Thank you Einstein. You'll be stuck with me.
CLARE HARRADAY
How many cars have we passed in the last hour?
HATCHET
One or two.
CLARE HARRADAY
That's right. Two. That would indicate that these roads aren't travelled much. So if we do happen to break down, there might be no one passing by to help us. Where is there to go? Nowhere, because it's all desert.
HATCHET
We'll be fine.
Clare looks back out the window.
Hatchet's police radio crackles to life.
POLICE RADIO VOICE
(V.O.)
Officer Blight. Are you there?
Hatchet picks up the police radio.
HATCHET
(into radio)
Who's this?
POLICE RADIO VOICE
(V.O.)
This is Officer Straden. Who is this?
HATCHET
If you want to find Officer . . .
(to Clare)
what did you say his name was?
CLARE HARRADAY
Blight.
HATCHET
If you want to find Officer Blight, you'd better check at one of the service stations back at . . . shit, I don't know where it was. Somewhere out in the desert.
POLICE RADIO VOICE
(V.O.)
Where?
HATCHET
I don't know where it is. There can't be that many service stations in the desert. He's in one of them.
There is a pause on the police radio.
POLICE RADIO VOICE
(V.O.; quietly)
Is he okay?
HATCHET
Yeah, he's fine. Slight bump on the back of his head, but he'll be okay.
POLICE RADIO VOICE
Would you identify yourself please?
HATCHET
No. Can't do that. Sorry.
CLARE HARRADAY
(scream into radio)
Help me! Help! I'm . . .
Hatchet switches off the police radio at the first sound of Clare's screams. He drops the radio on his lap. He takes out his gun with one hand and points it at Clare's head.
HATCHET
(loudly)
I said, no crying out for help! No trying to escape!
Clare doesn't reply. She ignores him. She looks out the window.
HATCHET
Hey, I'm talking to you! Hey!
Clare doesn't look at him.
HATCHET
What? You think I'm not genuine? You know what I did to Jane Amberfield and Justine Propinski. I'll do that to you too.
(angrily)
Look at me!
Clare looks at him.
CLARE HARRADAY
What?
HATCHET
This is your last warning. Don't test me. Don't push your luck.
CLARE HARRADAY
My being here is pointless. You have no reason to drag me along on your trip across the desert.
You don't even seem to know where you're going. Why don't you let me go?
HATCHET
I let you go out here, you'll die before you reach help. And if you do reach help before you die, the first thing you'll do is call the police and identify me. You'll tell the police everything you know. That would put every policeman in the country after me.
CLARE HARRADAY
I won't. I promise.
HATCHET
I don't believe you. That's what I'd do. That's what everyone would do.
CLARE HARRADAY
Who are you?
HATCHET
Who am I?
CLARE HARRADAY
Yes. Who are you? Tell me something about you. Anything. I'd like to know something about the man who is going to kill me. For instance, how did you become an axe-wielding criminal?
HATCHET
You don't need to know who I am. It'd be worse for you if you knew who I was.
CLARE HARRADAY
How many times have you been in jail?
Hatchet doesn't reply.
CLARE HARRADAY
How many people have you killed?
HATCHET
It's not important.
CLARE HARRADAY
Maybe not to you. But it matters to me. How many?
Hatchet doesn't answer. Clare gives up.
CLARE HARRADAY
Don't forget petrol.
Clare looks out the window.
EXT. OLD CONVENIENCE STORE - DAY
On the side of this virtually unused desert road, there is an old shambles of a convenience store. It is dilapidated and cluttered. There are crates and barrels out the front.
MICK, the owner of the store, sits on chair outside the store. He is an around seventy years old. He has an old grey shirt on.
Mick hears a car engine coming towards him in the distance. He looks in its direction, squinting in the sun. He sees dust. Then he sees Hatchet's car coming towards him.
Mick stands up.

INT. HATCHET'S CAR - DAY
Hatchet's car is approaching the convenience store.
HATCHET
See I told you. We'll get petrol here.
CLARE HARRADAY
That doesn't look like a petrol station.
HATCHET
You stay in the car.
CLARE HARRADAY
I need to stretch my legs. You can't keep me sitting in this car all day and night. It's not humane.
HATCHET
Alright. But no games, no tricks, no calling for help. You know what will happen if you try anything. Just stay quiet. I'll do the talking.
EXT. OLD CONVENIENCE STORE - DAY
Hatchet's car comes to a stop outside the store. Hatchet and Clare get out of the car. Hatchet takes the car keys and puts them in his pocket. Mick is standing up to greet them.
MICK
It's not everyday I get visitors. Where are you folks from?
HATCHET
Don't think me rude, but we've got a problem and we need some help.
MICK
What can I do for you?
HATCHET
I need petrol.

MICK
Petrol? Sorry. I don't have any petrol.
HATCHET
None at all?
MICK
No.
HATCHET
Do you know where I can get some?
MICK
I don't know if you've noticed, but you're in the desert, not the city. There aren't petrol stations every twenty miles along this road.
HATCHET
Yeah, I noticed that.
MICK
Where are you heading?
HATCHET
Just about.
MICK
Anywhere in particular?
Hatchet doesn't respond to this question. Mick keeps talking.
MICK
Okay, your business is your business. But you should come prepared.
(he looks at Hatchet's car)
You shouldn't come in a little old run down car like that. A lot of people that come through the desert, they're like you. They don't know what to expect. You ever been in the desert before?
HATCHET
No.
MICK
Then you have no idea, like the others don't, of what's out here. It's hot, dry, empty. That's the desert for you. If you come to the desert you need petrol, food and water. And a good car helps. Not like that thing you're driving. Something good and strong.
Hatchet is getting impatient.
HATCHET
Well, I don't have a better car. I just need petrol.
MICK
People need to realize that out here in the desert there isn't much. That's what I tell everybody. I must have said it a thousand times. You're not the first to come through here you know. Along this stretch of road, there's maybe one or two places to stop.
HATCHET
Where? I'll go there.
MICK
Well, if your tank's almost dry and you're running on fumes, then I don't think you'll make it. The next petrol station is maybe one hundred and twenty miles. Your best bet is to backtrack. Go back the way you came. Stock up and then come back. You'll lose a lot of time, but you have no other choice.
HATCHET
I can't go back. I have to keep going.
MICK
Then it's a hundred and twenty miles. Give or take.

HATCHET
I won't make it that far. Are you sure you don't have any petrol lying around? I'll take anything.
MICK
Not a drop.
HATCHET
So I'm stuck.
MICK
Yes, you're stuck.
HATCHET
Do you have a car?
MICK
No. Why don't you come inside, and take a break? It's hot out here. I have cold drinks inside.
(he looks at Clare)
Miss, you thirsty?
CLARE HARRADAY
Yes.
HATCHET
(to Mick)
She's fine.
CLARE HARRADAY
(to Hatchet)
I need something to drink.
MICK
Come on in.
Mick turns and enters his shop. Hatchet nods to Clare to go in. Hatchet follows.
INT. OLD CONVENIENCE STORE - DAY
Mick's old shop is cluttered. It is filled with crowded shelves, which run down the centre of the shop and against the walls. These shelves are stacked with all sorts of things - food, drinks and objects of various sorts. Many are old and out of date.
HATCHET examines the cluttered shop.
An old man sits next to the counter on an old plastic chair. This is JACK. Jack has dementia and his mind seems gone. He stares at nothing. He doesn't register the entry of Hatchet and Clare. Mick notices that Hatchet is looking at Jack.
MICK
That's Jack.
HATCHET
Jack. Do you have a car?
MICK
No point asking Jack. He's not really with it anymore. He just sits there all day. He doesn't even know what time of day it is. Sad really. Poor guy.
Mick takes two bottles of soft drink from a small fridge and as he talks he unscrews the caps and hands them to Hatchet and Clare.
MICK
(while he opens the bottles)
I'll tell you then, your only real option is to wait out here for a while, hope someone comes driving through with some petrol in their boot. You can flag them down when they pass and ask them. You never know. You might get lucky.
HATCHET
How often do people come past your shop? I don't have that much time.
MICK
If you're lucky, maybe two or three a day. The occasional truck, carrying some stuff somewhere. Maybe they could help. This road isn't much used these days.
HATCHET
And if I'm not lucky?
MICK
It could be days.
HATCHET
Days?
MICK
Yep.
HATCHET
Do you have a phone?
MICK
No. Sorry.
HATCHET
Jesus, how do you survive out here? It's a hot, isolated hell. And you've got no petrol, no car, and no phone.
MICK
You're not from around here, are you?
HATCHET
Good guess.
MICK
What about the lady?
HATCHET
She's not from here either.
MICK
What's your name?
HATCHET
People call me Hatchet.
MICK
Hatchet? What's that? Some sort of tool? Wait, a hatchet, that's like a small axe. Yeah, I used to have one. Why Hatchet?
HATCHET
I really need a phone.
MICK
No. There are no phones here. Why don't you cool down and have a rest. Enjoy the cold drink.
HATCHET
Look, if you need to make a call, or go somewhere, what do you do?
MICK
I don't usually need to do either.
HATCHET
Yes, but if you did need to. What would you do?
MICK
Hitch a ride I suppose. But I'm happy here. I don't need to leave.
Hatchet reaches into his trousers and takes his gun out of his belt.
CLARE HARRADAY
(quietly)
No, Hatchet. Don't do it.
MICK
What's that for? You going hunting? There's not much to hunt in the desert. I'll tell you that. You've got more chance of getting bitten by a snake than hitting one.
Hatchet points it at Mick.
HATCHET
How much is in the till?
Mick's face changes.
MICK
About two hundred dollars.
HATCHET
Take it out. Put it in a bag.
Mick does what he is told. He opens the till and puts the money from the till into a small paper bag. Jack shows no reaction, unaware of anything around him.
Mick hands Hatchet the paper bag containing the contents of the till.

HATCHET
Okay. Now, do you have a gun?
Mick is silent.
HATCHET
(angrily and impatiently)
I said do you have a gun?
Mick reluctantly reaches under the counter and pulls out an old rifle. He puts it on the counter. Hatchet takes it and examines it.
HATCHET
What's it for?
Mick remains silent.
HATCHET
I said, what's it for? Do I have to repeat everything for you? You like to shoot things, right? Old bottles on the fence? Wild animals? You like to shoot animals. Is that it?
MICK
It's for my protection. You never know if you'll need it out here. You get some crazies coming through. You never know who'll turn up at your door.
HATCHET
Yeah, you never know.
Hatchet checks the rifle and finds it has no bullets.
HATCHET
There are no bullets.
MICK
I ran out last week.
HATCHET
Then it's a pretty useless gun, isn't it?
Hatchet puts the rifle back on the counter.
HATCHET
I know you have bullets. You don't keep a gun way out here, and not have bullets.
MICK
I don't want no trouble. None at all.
HATCHET
Where are they?
Mick reaches under the counter and takes out a small carton of bullets. He puts them on the counter next to the rifle.
HATCHET
Why did you lie to me?
MICK
I mean what I said. I don't want any trouble. Why not just take what you got and walk out of here?
Hatchet raises his revolver and fires three rounds into Mick's chest. Mick winces and falls to the ground. Clare screams at the sound of the gunshots. Hatchet swings the gun on her.
HATCHET
Keep it down.
CLARE HARRADAY
What did he do?
HATCHET
Just don't scream. Okay?
CLARE HARRADAY
Why! You think someone's going to hear us, all the way out in the desert?
HATCHET
Just keep it down. No screaming.
Hatchet lets the smoke clear, regains his composure and then looks at Jack, who has not moved.
Hatchet keeps his gun raised and points it at Jack. He approaches Jack and stands in front of him. Hatchet considers the situation.
HATCHET
(to Jack)
Hey.
Hatchet waves a hand in front of Jack's face but gets no response. Jack stares at nothing. Hatchet reaches inside Jack's jacket pocket and pulls out a wallet.
HATCHET
Let's see what you have in here.
Hatchet checks Jack's wallet for money. There are just a few dollars.  He leaves the money and tosses the wallet onto Jack's lap.
HATCHET
Keep it, Jack.
Hatchet grabs a few provisions from the shop shelves - some food, a bottle of drink and some cigarettes from the counter. He puts them in a plastic bag. Clare watches on. Hatchet then picks up the rifle and the small carton of bullets.
HATCHET
Come on, time to go.
Hatchet points the gun at Clare and she obediently exits the shop. Hatchet follows her outside.
EXT. MICK'S SHOP - DAY
Outside the store the sun is bright. Clare walks over to the car. She leans against it.
Hatchet stands just outside the door of the shop. He pulls out a cigarette and lights up and starts smoking. He stares at the bright sun and the desert.
Hatchet lingers a minute to smoke. Clare watches him.
HATCHET
You smoke?

CLARE HARRADAY
No.
Hatchet continues to smoke.
As Hatchet is standing outside the shop contemplating where he is he hears a hiss and looks down. A snake is slithering two metres in front of him. He looks at the snake and then pulls out his gun. He points it at the snake. We see him fire two shots at the snake. They both miss. The snake slithers away.
Hatchet walks to the car.
CLARE HARRADAY
What's your plan?
HATCHET
We try our luck.
CLARE HARRADAY
That's it?
HATCHET
We keep going and see how far we get.
CLARE HARRADAY
We won't get far. Not without petrol.
Hatchet opens up the boot. He puts the provisions inside. He throws in the rifle and bullets. Clare watches him.
CLARE HARRADAY
That doesn't seem enough. Think about it. Think ahead. If we get stuck somewhere, we'll need more supplies than that. What if we get stuck and no one finds us for days?
HATCHET
You're probably right. I'll get some more. I mean, no one's going to stop me, are they?
Hatchet walks back to the shop. He enters.
Clare suddenly comes to life. She looks in the car window, and looks to see if the keys are in the ignition, but they aren't. Hatchet has them. She then remembers the rifle. She runs to the boot, takes out the rifle and takes two bullets. She fumbles with the rifle, her hands shaking, trying to figure out how to put the bullets in. Finally, she succeeds. She loads the gun.
INT. OLD CONVENIENCE STORE - DAY
Hatchet gets a cardboard box from the floor and starts to fill it with bottles of water and food supplies. When he is satisfied he has enough he walks out of the shop into the sunlight.
EXT. OLD CONVENIENCE STORE - DAY
Hatchet comes out of the shop. Clare is standing across from him, next to the car, pointing the rifle at him.
HATCHET
It's not loaded.
Clare doesn't move.
HATCHET
Stop fooling around. Put it down.
CLARE HARRADAY
I don't have a choice. If I want to live I have to kill you.
Hatchet puts down the cardboard box full of provisions. Hatchet looks like he is going to reach into his trousers for his gun.
CLARE HARRADAY
Don't move. Don't move. Don't reach for your gun.
Hatchet doesn't reach for his gun.
HATCHET
So what do we do Clare?
CLARE HARRADAY
I want the keys to the car.
HATCHET
You won't get far.
CLARE HARRADAY
I'll try my luck. Like you said.
Hatchet reaches into his pocket and takes out the keys. He is about to toss them over. He pauses.
CLARE HARRADAY
Toss them over.
HATCHET
On second thought, you come and get them.
CLARE HARRADAY
Don't make me shoot you.
HATCHET
You'll have to if you want the keys.
There is a pause. Neither of them moves. Then Clare pulls the trigger suddenly. A loud rifle shot rings out, Hatchet is hit in the arm, and he falls to the ground. He sits up, holding his arm. The bullet has only grazed him, but his arm is bleeding.
CLARE HARRADAY
Now give them to me.
Hatchet looks up at Clare, one hand on his bleeding arm.
HATCHET
Come and get them.
Clare takes aim again.
She fires, the crack of the rifle sounding loud, but the bullet misses. The bullet hits a wooden pole next to Hatchet.
Clare stands where she is, knowing she has no more bullets. Hatchet stands up. Clare drops the gun on the ground. Hatchet removes his hand from his bleeding arm, and sees the blood on his fingers. He looks at Clare. He stands for a minute, containing his anger. Hatchet pulls out his gun. He holds it by his side. Hatchet has a look of anger on his face.
CLARE HARRADAY
What now?
HATCHET
I warned you Clare. I told you what would happen. You didn't listen to me.
Hatchet raises the gun and points it at Clare.
CLARE HARRADAY
NO!
Hatchet pulls the trigger twice and Clare is hit in the chest. She collapses to the ground. She is dead.
Hatchet puts his gun back in his belt. He walks to Clare's body. He moves the body with his foot to make sure she is dead. She is. Hatchet looks around him, up and down the road. He then lifts up Clare's body, carries it to the car, and puts it in the car boot.
Hatchet checks Clare's pockets, something he didn't think about before. He finds nothing of importance, except her wallet. He takes it out of her pocket, opens it up and looks through the contents. The only form of identification is her driver's licence. He examines it. We see a close-up of her name - CLARE HARRADAY. He puts the driver's licence in his pocket. He walks a short distance off the road, into the desert. He hurls the wallet as far as he can into the desert. He then walks back to the car.
Hatchet retrieves the box of provisions and the rifle and puts them in the back seat. He gets into the car, starts the engine and drives on down the desert road.
INT. HATCHET'S CAR - DAY
Hatchet drives along Deadwyler Road. He reaches for a cigarette while he drives and lights up. He looks out across the desert around him. He drives onward.
EXT. HATCHET'S CAR - DAY
Hatchet drives along the empty desert road.
EXT. POLICE STATION IN DESERT - DAY
There is a small desert police station, in an isolated area. It is around fifty miles from Mick's shop.
INT. POLICE STATION IN DESERT - DAY
A police officer, KALE, is sitting at his desk. He is doing paperwork. Another officer enters from the next room.
OFFICER
Kale!

KALE
What is it?
OFFICER
We just received a report. An officer was assaulted by an unknown man at Bailey's service station.
KALE
That's about forty miles from here.
OFFICER
The officer was knocked out cold and the perpetrator escaped. The owner, Bailey, you know Bailey, [Kale nods], took a couple of shots, but the guy got away. They want us to keep an eye open for anyone driving a grey car. That's all they've got. They also think the guy's got someone with him and he's holding her against her will. A young woman.
KALE
I was just leaving to do my a patrol. I've got a couple of things to finish though.
Kale gestures to the paperwork on his desk.
OFFICER
I'll do it. You take the car and see what you can find. He might be coming this way.
KALE
And idea where he was heading?
OFFICER
No. None at all. Officers are already out looking. They're stopping all grey cars.
KALE
I can check down Deadwyler Road.
OFFICER
There's nothing down Deadwyler Road for a hundred miles except Mick's shop, Bill's and the motel.
KALE
Then it'd be a good way for this guy to avoid attention. He'll think no one will look there. Anyway, he's got as much chance going down there as he has anywhere else.
OFFICER
Alright, check it out.
EXT. POLICE STATION IN DESERT - DAY
Kale walks out of the small isolated police station. There are two police cars parked outside. He gets into one and starts the engine. He pulls out and onto the desert road. He drives off.
INT. HATCHET'S CAR - DAY
Hatchet is continuing down Deadwyler road. His car splutters and starts to slow to a stop. He looks at the fuel gauge. It reads EMPTY.
HATCHET
Shit.
EXT. DEADWYLER ROAD - DAY
Hatchet guides the car to the side of the road. He gets out and stands in the hot afternoon sun. He looks him in all directions. There is nothing but ever-extending desert.
He pulls out a cigarette and lights up. He moves to the middle of the road and looks both ways. He puffs on his cigarette.
HATCHET
Looks like I'm walking.
EXT. DEADWYLER ROAD - DAY
Kale is driving down the desert road, in the direction of Mick's shop. He has one hand on the wheel, the other resting by his side. He reaches for his police radio.
KALE
Station, this is Kale. I'm about twenty miles from Mick's shop. I'll stop by and see if anyone's been through.
OFFICER AT STATION
(V.O.)
Okay. And tell Mick I think it's about time he got himself a phone.
Kale chuckles.
KALE
Will do.
Kale puts down the police radio.
EXT. DEADWYLER ROAD - DAY
Hatchet is walking down the middle of Deadwyler Road. He is surrounded on all sides by the desert. He walks slowly.
EXT. MICK'S CONVENIENCE STORE - DAY
Kale's car pulls up outside Mick's store. He gets out of his car and looks around.
KALE
(calls out)
Mick!
No response.
KALE
Mick! It's Kale.
No response.
Kale walks up to the shop and enters.
INT. MICK'S CONVENIENCE STORE - DAY
Kale sees Jack.
KALE
Hey Jack. How are you today?
Jack doesn't move. He continues to stare at nothing.
KALE
Jack, where's Mick? Mick!
Kale gets no response. He then looks over the counter and sees the body of Mick, three bullet in his body. There is a pool of blood around him.
KALE
Shit.
Kale pulls out his gun and checks the shop. He finds nothing. He puts his gun away. He takes out his police radio.
KALE
(into police radio)
It's Kale. Out at Mick's.
OFFICER AT STATION
(V.O.)
Found anything?
KALE
Yeah, we've got a problem.

EXT. DEADWYLER R0AD - DAY
Hatchet is lying in the middle of the road smoking a cigarette. Everything is quiet. Hatchet puffs on his cigarette. He stares up at the sky.
There is the rumbling of a truck in the distance.
Hatchet stands up. He watches the large truck approaching. He waves to it, standing in the middle of the road. The truck slows to a stop.
Hatchet walks to the driver's door. The TRUCK DRIVER leans out.
TRUCK DRIVER
Got a problem there?
HATCHET
My car broke down.
TRUCK DRIVER
Where?
HATCHET
Back the way you came.
TRUCK DRIVER
I didn't see it.
HATCHET
Could I get a ride somewhere? Nowhere out of your way. Just somewhere I can get help.
TRUCK DRIVER
I won't leave you out here. You'll cook in a matter of hours.
HATCHET
Yes, it is hot.
Hatchet smiles.
TRUCK DRIVER
Hop in.
Hatchet walks around the front of the truck. He climbs in the passenger side door. The truck drives away.
INT. TRUCK - DAY
TRUCK DRIVER
So, what in hell are you doing out here anyway?
HATCHET
I'm driving across the desert.
TRUCK DRIVER
There are better and easier ways to travel.
HATCHET
I'm not from around here. I've heard so much about the desert, I just had to see it for myself.
TRUCK DRIVER
I guess we don't get too many tourists out here. Maybe the odd few, you know. Where are you heading?
HATCHET
I'm visiting some people. I'm not sure exactly where they are.
TRUCK DRIVER
Friends?
HATCHET
Yeah, just a couple of old friends.
TRUCK DRIVER
What do you do? For a living.
HATCHET
I'm between jobs at the moment.
TRUCK
What line of work are you in?
HATCHET
Banks, mostly.
TRUCK
Nice.
Hatchet and the Truck Driver are silent for a minute. Hatchet breaks the silence.
HATCHET
I thought I'd be stuck out there forever.
TRUCK DRIVER
Yeah, you're lucky I came by. There's not too much traffic around these parts. Your best option is to get to the nearest place, find a phone, call for help, and somehow get your car working again.
HATCHET
Yeah, most of my stuff's still in the car. All my clothes, belongings, everything I was taking with me.
TRUCK DRIVER
Well, the nearest petrol station is about another seventy five miles, but there's an old bed and breakfast place, run by an old lady, Aunty Grace they call her, about thirty miles from here. You could stay there, get help and then get your car back.
HATCHET
Thirty miles? Yeah, that would be fine.
TRUCK DRIVER
What's your name?
HATCHET
People call me Hatchet.
TRUCK DRIVER
Hatchet. What's that, some sort of nickname?
HATCHET
Yep.
TRUCK DRIVER
Why Hatchet? Isn't that some type of axe?
HATCHET
My weapon of choice.
TRUCK DRIVER
Are you kidding me? What, you some sort of killer?
HATCHET
No, I'm just joking. I can't remember where the name came from. It just stuck.
TRUCK DRIVER
Not that I'd care. I won't tell anyone. If anyone asks I'll say I didn't pick up anyone today. I didn't see a soul anywhere in the desert.
HATCHET
Its okay, no one's after me.
INT. KALE'S CAR - DAY
Kale is driving along the same desert road. He speaks into his police radio.
KALE
(into police radio)
This is Kale. I'm heading west from Mick's. I'm going see if anyone's around. Or if anyone's been seen. You never know, maybe our killer is still around here. Send someone to Mick's. It's messy. Get someone out there quick.
OFFICER AT STATION 
(V.O.)
Other officers are already on their way.
Kale switches off the police radio and continues driving.
After a few seconds, he sees, in the distance, a grey car by the side of the road. It is Hatchet's broken down car. Kale pulls up behind it.
EXT. DEADWYLER ROAD - DAY
Kale gets out of his car and pulls out his gun. He approaches the grey car cautiously, his gun extended. He examines the inside of the car. He sees no one. He looks around the area, searching for anyone, and then calls out.
KALE
(shouting)
Hello . . . hello . . . is there anyone out here? Hello.
There is no response, only silence. Kale scans the desert with his eyes. He sees no one. Kale goes to the boot of the car. He manages to break it open and slowly opens it.
KALE
Oh my God.
Kale sees the dead body of Clare Harraday inside. Her face is frozen in death. Her chest is red with blood. He looks away. He looks around again, double-checking to make sure he hasn't missed anything.
Kale takes out his police radio again and speaks into it.

KALE
(into police radio)
It's Kale again. I've found something else. We've got ourselves another body. A woman. Blond hair. Maybe thirty five years old. We've got a real problem.

OFFICER AT STATION
(V.O.)
Where?
KALE
Further down from Mick's. The body's in a grey car.
OFFICER AT STATION
(V.O.)
Is there anyone there?
KALE
No. It looks like the car's broken down or run out of petrol.
OFFICER AT STATION
(V.O.)
So the driver's hitched a ride?
KALE
Maybe. I'm going to keep going. I'll see if I can find anyone.
INT. TRUCK - DAY
The truck pulls up at Aunty Grace's Bed and Breakfast.
TRUCK DRIVER
This is it.
HATCHET
Thanks for the ride. I appreciate it.
TRUCK DRIVER
No problem. Will you be okay? You got money?
HATCHET
Yeah, I've got enough. I think I'll stay here the night. If there's a vacancy.
TRUCK DRIVER
I think you'll find that won't be a problem. There isn't jack shit out here.
HATCHET
Thanks again. Maybe I'll see you round sometime.
TRUCK DRIVER
Maybe, and stay out of trouble.
Hatchet climbs out of the truck and the Truck Driver continues on his way. Hatchet watches the truck leave. Then he walks to the Bed and Breakfast.
EXT. AUNTY GRACE'S HOTEL - DAY
Hatchet looks at the old building. It has a BED AND BREAKFAST sign on the wall, and a hanging wooden sign reading VACANCY. Hatchet goes inside.
INT. AUNTY GRACE'S HOTEL - DAY
AUNTY GRACE, an elderly lady, is at the front desk. There is a small TV nearby, which she is watching. Hatchet enters and Aunty Grace looks at him.
HATCHET
I need a room.
AUNTY GRACE
For how many people?
HATCHET
Just one.
AUNTY GRACE
How long will you require a room?
HATCHET
Let's say one night. I hope to be out of here by tomorrow.
AUNTY GRACE
One room. That's thirty dollars. Here's the key.
Hatchet takes out thirty dollars and hands it to Aunty Grace. He takes the key.
AUNTY GRACE
Room 3. Down the hall, second on the right.
HATCHET
Thank you. Listen, I'm in a little trouble. My car broke down about seventy miles back. You don't have any petrol here, by any chance?
AUNTY GRACE
Petrol. No, no petrol. About twenty miles you can get petrol. But there's a little tavern about three miles on. Someone there might be able to help you.
HATCHET
Is that right?
AUNTY GRACE
Bill runs the place. He might be able to help you.
HATCHET
I'll check it out. Thanks for your help.
Aunty Grace is distracted by the TV. She is looking past Hatchet at the TV. Hatchet turns around to the TV.
HATCHET
Anything interesting?
Aunty Grace has a remote control. She turns up the sound. The news report immediately catches Hatchet's attention.
NEWSREADER
And the brutal deaths of two women yesterday, Jane Amberfield and Justine Propinski are now being investigated. They appear to have been killed in identical fashion.
(we see close up photos of the two woman on the TV)
The killings indicate that the killer used a sharp heavy object, most likely an axe. Police fear the disappearance of a third woman - Clare Harraday - could be the work of the same killer. The investigation has so far revealed one crucial fact. It appears that fourteen years ago these three women were all eye-witnesses to a daring and violent bank robbery. The three women were all able to testify at trial of one of the robbers, the only one who was caught. Police suspect that the killings are linked to the release of this robber from jail just two weeks ago. Police fear it is a revenge killing.
HATCHET
Well, good night.
NEWSREADER
If you're going to see Bill, please be back by eleven. I shut up shop at eleven and I don't like getting out of bed. Your key will get you into your room, but it won't open the front door. I hope you understand.
HATCHET
That's okay. I'll be back before eleven.
INT. HATCHET'S MOTEL ROOM - NIGHT
Hatchet is sitting in his motel room. He is sitting on the bed. He checks his gun and sticks it in his trousers. He looks at his watch. It reads seven o'clock.
EXT. DEADWYLER ROAD - NIGHT
Hatchet is walking along the side of Deadwyler road. It is getting dark. Hatchet is heading towards Bill's tavern, which is three miles from Aunty Grace's Bed and Breakfast.
EXT. BILL'S TAVERN - NIGHT
Hatchet is nearing Bill's tavern. He sees it in distance. It is now dark. The lights from the tavern are the only lights in the night. Except for one other source of light. About two hundred metres from the tavern, Hatchet comes to a public phone box. It is lit up with a yellow glow. It stands out in the darkness. Hatchet is slightly bewildered by the presence of the phone box. When he reaches it, he pulls out some change and puts it into the phone. He dials Man #1. He waits for Man #1 to answer.

MAN #1
(V.O.)
Yes?
HATCHET
(into phone)
Hey, it's me . . . Hatchet. Yeah, I've got a problem.
MAN #1
(V.O.)
What sort of problem?
HATCHET
What sort of problem? . . . A big fucking problem . . . My fucking car broke down.
MAN #1
(V.O.)
Where?
HATCHET
In the fucking desert that's where. I'm stuck here . . . in the middle of the fucking desert, with snakes and who knows what else. I'm staying overnight . . . But my car . . . It's out there for anyone to find . . . I'm gonna find some petrol and go back tomorrow and pick it up before anyone finds it.
MAN #1
(V.O.)
Make sure no one knows where you're going.
HATCHET
Don't worry about it. No one will. There's no one out here anyway. I . . .
Suddenly the phone goes dead.

HATCHET
Hello? . . . Hello? What the fuck?
Hatchet is left holding the telephone receiver.
HATCHET
Fuck.
Hatchet is angry. He smashes the phone angrily against the phone box. Then he rips the phone receiver out of the phone and throws it away. He attacks the phone. He destroys the phone and kicks in the glass from the windows in a fit of anger. He stands there, waiting for his anger to subside.
HATCHET
Fucking useless phone. Shit.
Hatchet looks towards Bill's tavern. He walks away from the phone towards the tavern.
INT. KALE'S CAR - NIGHT
Kale is in his police car, driving. He is on the radio again.
KALE
(into radio)
I haven't found anything yet. So far, I've stopped a car and two trucks. They're clean and the drivers say they haven't seen anyone along the road at all. Not a single person. I let them go, they were clean. Anyway I'm still heading west. I'm going to check out Aunty Grace's place, see if anyone's been through, any suspicious characters. I'll check out Bill's tavern as well. See if anyone's stopped there this afternoon . . . Whoever was in that car has to be here somewhere. He can't be on foot, no one's stupid enough to set out on foot in this desert. Anyway, I'll check in shortly.
POLICEMAN AT STATION
(V.O.)
Okay Kale. Be careful.
Kale puts down the radio and keeps driving.
EXT. BILL'S TAVERN - NIGHT
Hatchet is at the tavern. He pushes the door open and enters.
INT. BILL'S TAVERN - NIGHT
Hatchet enters the tavern and sees that it is almost deserted.
There are two old men at the bar, drinking beer.
BILL, the bartender, is behind the bar. Hatchet approaches the bar and faces Bill.
HATCHET
Are you Bill?
BILL
Who's asking?
HATCHET
I need petrol. Do you have any?
BILL
Petrol? I might. Let me check out back.
Bill leaves through a back door. Hatchet is left standing at the bar. Hatchet looks around.
HATCHET
(to himself)
Why doesn't anybody in this desert have petrol?
Hatchet takes a seat at the bar. Next to Hatchet is a cranky, senile old man. They stare at each other before Hatchet looks away. Hatchet waits.
Bill returns after a minute. He moves back behind the bar.
BILL
Sorry, nothing. No petrol. Normally I should have some lying around.
HATCHET
Shit.
BILL
Can I get you a beer?
HATCHET
Yes. Seems I'll be stuck here tonight.
BILL
Where are you staying?
HATCHET
A small bed and breakfast about three miles up the road.
BILL
Oh, yeah, Aunty Grace's place.
HATCHET
That's the one.
Bill pours a beer and hands it to Hatchet. Hatchet takes a long drink. Bill watches him drink. Hatchet puts down his glass of beer.
HATCHET
So, how do you survive out here? I can't imagine you'd get many customers. The people I've met so far, they've got no car, no petrol and no phones.
BILL
I get a few. Mainly travelers, people driving across the desert. Sometimes they stop in and rest a while. Like yourself.
HATCHET
But in the middle of nowhere? Why not pack up, move to the city? What keeps you here? At least to a town, somewhere where there are other people. Where there's a petrol station on every block, where there's a phone in every house, and where everyone owns a car. People in the city need to drink too.
BILL
The desert has a kind of hold on me. I've been running this place for sixteen years. Sixteen years. Can you believe it?
HATCHET
Yeah, that's a while.
BILL
I didn't always live here, in the desert. I drove trucks for eleven years and before that I lived in the city. The desert, that was foreign territory to me. I drove trucks back and forth. I kind of got used to the desert. I saw it everyday. One day, I said to myself, I've had enough. I want a change. I want something different. I came here, and opened this place. Seems crazy, doesn't it? I thought about leaving a few years ago. I was arrested as a suspect in a murder investigation.
HATCHET
Out here?
BILL
A hitchhiker disappeared about ten miles from where we are now. And what happened? The cops came knocking at my door. Did I see anything? Were there any strange people around? No, I told them. Then, before I knew it, I was the prime suspect. I had no alibi and they found the girl's backpack in an unused box behind the tavern. So the police took me in and tried to force a confession from me, so they could close the case. The body was never found, the case was never solved. Eventually, the police let me go. But I don't forget. I'll never forget what they did to me.
HATCHET
The cops don't forget either I bet. You're still a suspect to them.
BILL
Now I avoid the cops as much as I can. Most of the old cops from that time are gone. They got old and retired. They were replaced by a younger lot. Some of the new guys are alright. They're friendly enough. They come in every now and again, just patrolling, they tell me, making sure everything is okay. But young or old, I know they still have their eyes on me. These new cops, they know all about me. I guess they hope I'll finally feel guilty and confess to something I didn't do. I know some of them want me to pack up and leave, but I said no. I'm staying. They're not forcing me out of here. Never. This is my home too.
HATCHET
Did you do it?
BILL
The hitchhiker? No, I didn't do it. And I have no idea who did. I don't know how her god damn backpack ended up on my property. Maybe it was just some guy passing through here picked her up. I never even saw the girl. I guess no one will ever really know what happened. The guy who did it is probably long gone. But the cops, they had no other suspect. So I was an easy target. I was their best chance of getting a conviction.
HATCHET
An unsolved murder in the desert. How intriguing.
BILL
I've made it clear that I don't want the cops coming in here anymore, snooping around, trying to find some evidence to frame me. But I can't stop them. It's part of their turf, and if they're going to come here, I can't stop them. The funny thing is, whenever anyone comes into this tavern now, I think, could this be the guy, could this guy be the clue that the cops could never find?
HATCHET
What about me? Do you think I did it?
BILL
How the hell do I know?
HATCHET
But it's in your mind. I mean, it's possible.
BILL
Maybe, but I doubt it. It was a long time ago.
HATCHET
What sort of man do you think I am Bill? Wait, before you answer, I have to relieve myself. Is there a toilet here?
BILL
Through there.
Bill points to the toilet. Hatchet gets up from his bar stool and goes into the toilet.
EXT. BILL'S TAVERN - NIGHT
Kale pulls up outside Bill's tavern in his police car. He gets out, walks up to the tavern and enters.
INT. BILL'S TAVERN - NIGHT
Bill sees Kale enter.
BILL
Kale! What the hell are you doing all the way out here tonight? I didn't think I'd see you for another couple of weeks. Still looking for some evidence? You going to keep sifting through the desert sands with a comb until you find something?
HATCHET
I'm looking for someone Bill. I don't have any description, no age, looks, no name, nothing at all. I'm looking for someone that might be traveling through the desert, someone that might have passed through the area this afternoon, maybe yesterday. Have you seen any suspicious or unusual people here today? Anyone out of the ordinary? Any strangers?
BILL
Why, is something wrong?
KALE
There's been a double murder Bill. Poor Mick took three in the chest. I found him dead in his shop, three bullets in his chest.
BILL
You think I had something to do with it?
KALE
Of course not, Bill. I know you had nothing to do with it. But I found a car about seventy miles east of here. Looks like it broke down or ran out of petrol. But there was no one around. I checked the whole area. There was a body in the boot. A woman. I don't want to alarm you, but it looks like we have another killer on the loose in the desert. It's not going to look good if there's a body count of ten, you know what I mean? We have to find this guy, now, while he's still around.
BILL
Another?
KALE
I may be young Bill, but I know what happened a long time ago. The girl that disappeared.
BILL
You know? If you knew, you'd have a conviction.
KALE
Bill, I just need to know. Has anyone come in here today, or yesterday? Anyone you haven't seen before.
Bill looks at the empty seat where Hatchet had been sitting.
BILL
Like someone looking for petrol?
KALE
Have you seen someone? Was someone here today?
Bill pauses.
BILL
Sorry Kale, I haven't seen anyone new in here for three days. The only people that have been in here are these two guys here. They've been in here all afternoon. And I can vouch for them both. They haven't left their stools all afternoon. And they're from around here. They're my best customers. I wish I could help. But I haven't seen anything unusual. At all.
KALE
Business is booming as usual.
BILL
Sure is. Can I get you a beer Kale?
KALE
I don't drink while I'm on duty. You know that Bill. If you see someone or something strange, something unusual, anything at all, call me straight away. You understand. This is serious. If anyone at all comes in here tonight, or tomorrow or the next day, or the day after that, you call me straight away. We think the guy's on foot. He has to turn up somewhere. Okay?
BILL
Will do.
KALE
Thanks Bill.
Kale leaves. A moment later Hatchet emerges from the toilet. As he is walking his shirt is raised a little and his gun in visible tucked into his trousers. Bill sees it and Hatchet realizes that Bill has seen it. Hatchet casually covers the gun with his shirt. He sits back down and finishes his glass of beer in one go. Bill watches him.
HATCHET
It looks like I'm going to be here awhile, Bill. Pour me another one.
EXT. AUNTY GRACE'S MOTEL - NIGHT
Kale arrives at Aunty Grace's motel. He parks his police car, gets out, walks to the front doors and enters.
INT. AUNTY GRACE'S HOTEL - NIGHT
Aunty Grace is still behind the counter. The TV is still on. Aunty Grace looks up when Kale enters.
KALE
Evening Grace.
AUNTY GRACE
Why, hello Kale. How are you tonight?
KALE
Good. Listen, have you seen anything unusual tonight? Any strangers, anything at all?
AUNTY GRACE
No, not really.
KALE
Anyone staying here tonight?
AUNTY GRACE
Well, just one man. He arrived tonight. He said his car was playing up.
KALE
A man? Really?
AUNTY GRACE
He was standing where you are not two hours ago.
KALE
Is he still here?
AUNTY GRACE
Um, I'm not sure. Actually, I think he said he was going out. I think he was going out to look for some petrol. I forget. My memory's not what it used to be. I'm sorry Kale.
KALE
Where did he go?
AUNTY GRACE
I'm not sure. Maybe to Bill's.
KALE
Bill's? I just came from Bill's. There's no one there.
AUNTY GRACE
Well, I don't know where else he could be. There's not many places you can go.
KALE
Do you mind if I wait here for this man to return? I need to speak to him.
AUNTY GRACE
Sure.
KALE
Did he leave a name?
AUNTY GRACE
No. I didn't ask. I don't bother these days. There's no need. I just gave him the key. But he'll be back. I said be back by eleven because that's when I go to bed.
KALE
Okay, I'll wait.
AUNTY GRACE
Make yourself comfortable. Can I offer you anything?
KALE
No. Thanks. I'll just wait outside.

INT. BILL'S TAVERN - NIGHT
Two hours have passed. Bill is getting ready to close up. Hatchet is still sitting at the counter. The other two patrons have gone.
BILL
I'm closing up now.
HATCHET
Alright, I should be on my way anyway.
HATCHET gets up from his stool at the bar. Hatchet walks to the door.
BILL
Have a good night. Maybe we'll meet again some time.
Hatchet turns and looks at Bill.
HATCHET
I don't think so.
Hatchet walks out.
EXT. DEADWYLER ROAD - NIGHT
Hatchet is quite drunk and he is walking in the middle of the road. He is only a little way from Bill's tavern. He walks slowly in the darkness.
HATCHET
(to himself)
So, Hatchet, things are looking good for you. Apart from these hiccups along the way, things are going work out just fine. You'll get your money, and you'll be back where you belong. Who knows what will turn up next? Maybe a few more banks. Maybe something bigger.
A car is approaching in the distance, its headlights shining. It is coming down the road, in Hatchet's direction.
HATCHET is too drunk to notice the car and the driver can't see Hatchet in the dark. Hatchet now sees the car coming fast at him. He stops walking, and squints at the car.
HATCHET
What the fuck?
Hatchet doesn't move. He is too drunk to think clearly and he stands in the middle of the road.
The car driver hasn't seen Hatchet and doesn't slow down. Then, at the last second, the driver sees him and hits the brakes. The skidding car hits Hatchet, there is a loud groan from Hatchet as he is hit, and he rolls off the bonnet.
The car comes to a halt about ten metres from HATCHET, who is now lying on the road. No one gets out. The brake lights are on. Everything is silent, except the car engine.
Hatchet is writhing on the ground. The car waits a few more seconds and then drives away.
Hatchet is left on the road. He groans in pain, trying to breath.
Hatchet crawls to the side of the road and sees, about five metres from where he is, the illuminated telephone box. He crawls slowly and painfully over only to see that it is destroyed, by his hand. He rolls onto his back, struggling to breath.
EXT. OUTSIDE AUNTY GRACE'S HOTEL - NIGHT
Kale is sitting in a chair outside the motel, smoking a cigarette. It is very peaceful. Aunty Grace emerges from the hotel.
AUNTY GRACE
Well, Kale, it's eleven o'clock. Time for me to go to bed. A lady like me needs her sleep. I'm sorry.
KALE
Yeah. I guess so.
AUNTY GRACE
Haven't found your man yet?
KALE
Not yet.
AUNTY GRACE
Well, you're welcome to wait here. I'm sure he'll turn up sooner or later.
KALE
Yeah, I'll wait here.
AUNTY GRACE
Okay, good night.
KALE
Good night.
Aunty Grace goes back inside and closes and locks the door.
Kale is left sitting outside smoking his cigarette.
CAMERA PULLS BACK TO REVEAL THE HOTEL WITH KALE SITTING OUTSIDE WITH NOTHING AROUND HIM BUT THE DESERT.
EXT. DEADWYLER ROAD - MORNING
It is the next morning. The sun is rising. Hatchet is lying on the side of the road. He can barely move. He rolls onto his back and lies there. Things start to fade in and out and his vision blurs.
Hatchet hears the sound of a car engine in the distance. He rolls onto his side. The car approaches and drives past. Hatchet sees it pass. Then, it slows down and comes to a stop about thirty metres down the road, the direction of the motel. Hatchet looks at it with blurred vision. The car reverses and stops near Hatchet. A MAN steps from it. He walks across the road up to Hatchet.
MAN
Jesus Christ. Are you hurt bad?
HATCHET
(softly, it is too painful to talk)
I think so.
MAN
What the hell happened? No, don't try to speak. I'll get you help. I'll call the police.
Hatchet manages to express his adversity to this idea.
HATCHET
(softly)
No. No police. Can you help me to my feet?
MAN
Sure. If you think you can stand.
The Man bends down and lifts Hatchet. Hatchet winces with extreme pain as he stands. He is helped up, his wobbly legs about to give out.
HATCHET
Get me to your car.
MAN
There's a tavern just over there. You see it? They'll be able to help you.
HATCHET
Don't take me there. I need a lift.
MAN
Where?
HATCHET
The nearest town.
MAN
That's about a eighty miles.
HATCHET
Are you going there?
MAN
I'm going through there. But you need immediate help.
HATCHET
No. Take me there. I can pay you. I have some money.

MAN
It's not that. I don't want you to die on the way.
HATCHET
No. No. I won't die. I'm fine.
The Man helps Hatchet to his car. Hatchet lies down in the back seat. The Man gets into the car, and they drive off.
INT. MAN'S CAR - MORNING
The Man is driving. Hatchet is lying on the back seat.
MAN
Jesus, what the hell happened to you anyway?
HATCHET
I don't remember. I think I got hit.
MAN
Christ. That's not the place to get hit. No one's around to help.
HATCHET
No shit.
Hatchet moves a little, and winces with the pain.
MAN
Just relax back there. Take it easy. We'll be there in an hour.
EXT. TOWN OF HOLLIDGE - DAY
The car drives into the small desert town of Hollidge. They pass a road sign that reads: HOLLIDGE.
They drive through the almost empty streets of this small town.
The Man pulls the car to a stop on the side of the road. He turns to Hatchet.
MAN
How are you doing?
HATCHET
Much better. I think I can walk.
Hatchet starts to sit up. He is still in a lot of pain.
MAN
Let me help you up.
HATCHET
No. It's okay. Thanks for your help. I'll be okay from here.
MAN
What? No. You need medical assistance.
HATCHET
No. It's probably just a couple of broken ribs.
MAN
I can't leave you on your own.
HATCHET
I'll be fine.
MAN
Do you know anyone here?
HATCHET
No.
Hatchet sits up and opens the back door.
MAN
Are you sure you'll be okay?
HATCHET
I'll be fine. Thank you again.
Hatchet climbs out of the car. He closes the door. The man drives the car away. Hatchet watches the car leave.
Hatchet looks around the empty streets of Hollidge.
HATCHET
(to himself)
Where the hell am I?
EXT. AUNTY GRACE'S HOTEL - MORNING
Kale is fast asleep in his chair outside Aunty Grace's motel. The motel is still closed. Aunty Grace hasn't opened the front door yet.
Kale's police car is parked nearby.
A voice on Kale's police radio wakes him up.
OFFICER AT STATION
(V.O.)
Kale! Are you there? Kale!
Kale stirs and wakes up. He stands up and looks around him.
OFFICER AT STATION
(V.O.)
Kale!
Kale takes his radio off his belt and speaks into it.
KALE
(into radio)
This is Kale.
OFFICER AT STATION
(V.O.)
Kale! Where the hell are you? You've been gone all night.
KALE
It's alright. I'm at Aunty Graces. I fell asleep.
OFFICER AT STATION
(V.O.)
Did you find anything last night?
KALE
Our suspect was definitely here. He checked in yesterday afternoon.
OFFICER AT STATION
(V.O.)
The police in Hollidge just got a call. A driver passing through the town said he picked up a man on the road early this morning, right near a tavern, that has to be Bill's, at first light, and drove him to Hollidge. It has to be our suspect. Do you want to go and check it out?
KALE
Yeah. I'll go. Make sure the Hollidge police start a search for him. If he's on foot, he can't get far.


OFFICER AT STATION
(V.O.)
The man who picked up our suspect said he was badly hurt. He'd been hit by a car.
KALE
Okay. I'll go to Hollidge now.
OFFICER AT STATION
(V.O.)
Okay. Check in if you find anything.
Kale puts the police radio back on his belt. He walks to his car, gets in, and drives away.
EXT. SMALL TOWN OF HOLLIDGE - DAY
Hatchet is walking through Hollidge. Hollidge has around five hundred inhabitants. There is one main street containing a few shops and businesses. Hatchet walks slowly down this street. He is unsure of where to go. He sees a doctor's premises a little further along the road. He walks up to it and looks through the front glass window. He pushes the door, it opens, and he walks in.
INT. DOCTOR'S OFFICE - DAY
A woman, the DOCTOR'S RECEPTIONIST, is sitting at a desk in the front waiting room. There are a few chairs in the room for waiting patients. The Doctor's Receptionist looks up at Hatchet as he enters.
DOCTOR'S RECEPTIONIST
Can I help you?
HATCHET
I need to see a doctor.
DOCTOR'S RECEPTIONIST
Do you have an appointment?
HATCHET
No. I just need to see him. As soon as possible please.
DOCTOR'S RECEPTIONIST
Take a seat. It'll be a few minutes.
Hatchet walks painfully to a seat and sits down. The Doctor's Receptionist returns to typing at a computer. She pays no further attention to Hatchet. Hatchet waits. While he waits, he examines the undecorated room.
A door in the room opens and a MAN ON CRUTCHES hobbles out. The DOCTOR follows him out.
DOCTOR
(to Man on Crutches)
Take it very easy for a few days. Get plenty of rest.
MAN ON CRUTCHES
Whatever you say.
The Man on Crutches looks at Hatchet momentarily and then hobbles out of the doctor's office. The Doctor looks at Hatchet.
DOCTOR
Come on in.
Hatchet stands and walks into the Doctor's room. The Doctor closes the door behind him.
INT. DOCTOR'S ROOM - DAY
Hatchet sits down. The Doctor takes a seat at his desk. The room has the usual medical objects and charts found in any doctor's office.
DOCTOR
What's the problem?
HATCHET
A car ran me over.
DOCTOR
In Hollidge?
HATCHET
No. On a desert road about a eighty miles from here.
DOCTOR
Eight miles? How did you get here?
HATCHET
Someone helped me.
DOCTOR
Sore?
HATCHET
Yes.
DOCTOR
Where?
HATCHET
Everywhere.
DOCTOR
Anywhere in particular?
HATCHET
My ribs.
The Doctor stands, walks to Hatchet and does an examination of Hatchet's body. The Doctor presses his ribs and Hatchet winces with pain.
DOCTOR
Do you have any severe pain?
HATCHET
No. Just the ribs.
DOCTOR
They may be broken. Not all of them, just a few. I can give you an injection for the pain.
HATCHET
No. Forget that. There's another reason I'm here.
DOCTOR
What's that?

HATCHET
I have to get to Fredell to meet some friends. But my car is out of gas, and I'm kind of stuck.
DOCTOR
Fredell?
HATCHET
You know it.
DOCTOR
Yes.
HATCHET
It's urgent I get there as soon as possible.
DOCTOR
I can't help you there. You could try and find someone to drive you, but that would be difficult, and it's unlikely anyone will help you. There is a train line that runs near here. It may go quite close to your friends in Fredell. That's probably your best option.
The phone rings.
DOCTOR
Excuse me.
The Doctor answers the phone.
DOCTOR
(into phone)
Hello?
The Doctor listens. As he listens, he turns his eyes to Hatchet and holds them there for a few seconds, and then looks away. Hatchet watches the Doctor suspects something is up.
DOCTOR
(into phone)
Yes. Yes. I can answer yes to that question. Yes, I'll do my best. Thank you for calling.
The Doctor hangs up.
HATCHET
One of your patients?
DOCTOR
Yes. He's quite ill.
There is a silence between them. The Doctor has suddenly become slightly nervous. Hatchet perceives this.
HATCHET
Will he make it?
DOCTOR
I hope so.
HATCHET
I should get going. Thanks for your help, doctor. I feel better already.
DOCTOR
I didn't do anything.
HATCHET
I'll have to figure out some way of getting to Fredell. I might try the train.
DOCTOR
No need to rush off. You're welcome to stay here, in my office, and rest a while.
Hatchet takes a look out the window onto the street outside. Nothing seems out of the ordinary.
HATCHET
I'm really feeling a lot better now.
DOCTOR
Still, a little rest won't hurt you.
There is another silence.
HATCHET
Who was really on the phone?
DOCTOR
What?
HATCHET
Who was really on the phone?
DOCTOR
One of my patients. He's ill.
HATCHET
Was it the police?
DOCTOR
The police?
HATCHET
They were asking if an injured man has come in to see you this morning. Right?
DOCTOR
I don't know what you're talking about. It was patient of mine. Like I told you.
HATCHET
Call him back. I want to speak to him.
DOCTOR
My patient? I'm afraid that's impossible.
The phone rings again. The Doctor freezes. They both look at the phone. The Doctor looks from the phone to Hatchet.
HATCHET
Another patient?
DOCTOR
I have to answer this call. It may be important.
HATCHET
It may be the police again.
Hatchet pulls out his gun and points it at the Doctor.
HATCHET
Don't touch the phone.
The Doctor freezes. Hatchet stands, walks around the desk, and picks up the telephone.
HATCHET
Hello?
POLICE VOICE
(V.O.)
The Hollidge police will be at your office in about five minutes. Can you hold the suspect there that long?
HATCHET
I think so.

POLICE VOICE
(V.O.)
Good. Remember, he's highly dangerous, probably still armed. Just talk to him. Make him think everything is normal. We'll come in and take him by surprise.
Hatchet hangs up. He looks at the Doctor.
HATCHET
The police will be here in five minutes.
DOCTOR
Why not give yourself up?
HATCHET
Out of the question. It means, though, that I have about three to four minutes to decide what I'm going to do with you before I make my escape.
The Doctor is silent. He looks at Hatchet's gun, which is still pointed at him. Hatchet lowers the gun. The Doctor breathes a sigh of relief.
HATCHET
Five minutes! It should take them two, tops.
DOCTOR
The police wanted me to stall you until they arrived. You were right. They asked if I'd treated a man this morning, suffering from various injuries sustained by being hit by a car. They told me you were a dangerous criminal. A murderer. Recently released from jail. What was I supposed to do?
HATCHET
Do you have a car?
DOCTOR
Yes. It's parked outside.
HATCHET
Give me the keys.
The Doctor opens a desk drawer and reaches for this car keys. He takes them out and puts them on the desk. Hatchet walks over to the desk and takes them. Hatchet doesn't speak. He puts his gun back in his trousers and walks out the Doctor's room.
INT. DOCTOR'S OFFICE - DAY
Hatchet walks out of the Doctor's offices, past the Doctor's Receptionist.
DOCTOR'S RECEPTIONIST
Hey!
Hatchet lifts his shirt to reveal his gun. The Doctor's Receptionist doesn't move. Hatchet walks out the front door.
EXT. DOCTOR'S OFFICE - DAY
Hatchet walks out of the Doctor's office and up to the Doctor's car. He unlocks the door, opens it and gets inside. He starts the car and drives off.
INT. DOCTOR'S ROOM - DAY
The Doctor sits in shocked silence. He hears police sirens outside. He stands, exits his office and enters the waiting room.
INT. DOCTOR'S OFFICE - DAY
From the waiting room, the Doctor sees the police cars pulling up outside his office. Three officers get out of the cars.
The three HOLLIDGE POLICEMEN enter the office, guns out.
HOLLIDGE POLICEMAN #1
Where is he?
DOCTOR
He's gone. He left in my car.
HOLLIDGE POLICEMAN #1
How long ago?
DOCTOR
A minute.
HOLLIDGE POLICEMAN #1
Doctor, any idea which way he went?
DOCTOR
He said he was going to Fredell. He has some friends there who are waiting for him.
HOLLIDGE POLICEMAN #1
(to HOLLIDGE POLICEMAN #2))
We'll send out as many officers as we've can.
(to DOCTOR)
Doctor, what type of car do you drive?
INT. DOCTOR'S CAR - DAY
Hatchet is speeding along a desert road in the Doctor's car. He is just outside Hollidge.
He sees a sign on the side of the road saying HOLLIDGE TRAIN STATION. Hatchet takes a turn off the main road and follows a track towards the Hollidge train station.
EXT. DESERT TRACK - DAY
Hatchet follows the track to the train station.
EXT. HOLLIDGE TRAIN STATION - DAY
Hatchet arrives at the Hollidge Train Station. He stops, gets from the car, and walks onto the empty platform. He looks up and down the empty station. The station is small. There is a station-guard's office in the middle of the station. Hatchet walks up to it.
INT. STATION GUARD'S OFFICE - DAY
The HOLLIDGE STATION-GUARD is dozing. Hatchet knocks on the door to wake him. The Station-Guard wakes and looks up at Hatchet.
HATCHET
When's the next train due?
STATION GUARD
You've missed the morning train. Next train's not till lunch. Then afternoon. Then evening.
HATCHET
Is the next train going to Fredell?
STATION GUARD
Yes. Fredell is the sixth stop on the line from here.
Hatchet looks at a clock on the wall. It reads: 10.24.
HATCHET
How long?
STATION GUARD
Three hours, assuming it's running on time.
HATCHET
What about freight trains?
STATION GUARD
There's one in twenty minutes, but you can't get on that. They're for transportation of cargo only.
Hatchet takes out his wallet. He has about one hundred and fifty dollars. He takes out the money and offers it to the station guard.
HATCHET
I'll give you this. Here, take it. It's about a hundred and fifty dollars. It's yours if you get me on that freight train.
STATION GUARD
Sorry. There's no way. It's not for passengers. You'll have to wait.
HATCHET
I'm in a real hurry to get to Fredell. If there's anyway you could get me on that freight train . . .

STATION GUARD
I can't do it. It's against regulations.
Hatchet looks at the Station-Guard for a minute. The Station-Guard shrugs.
STATION GUARD
Sorry. There's nothing I can do.
HATCHET
Thanks for your time.
Hatchet disappears from the door.
STATION GUARD
Hey, do you want a ticket or not?
EXT. TRAIN STATION - DAY
Hatchet is hiding in some bushes next to the train station, waiting. He is watching the road to the station for any sign of the police. The track is empty. No police come.
Hatchet hears the rumbling of the freight train coming towards the station. He runs to the tracks as the train passes. He grabs onto a metal ladder on the side of one of the carriages and climbs onto the train.
The Station Guard, standing outside his station office, sees Hatchet climb onto the freight train.
STATION GUARD
Hey! Hey! You can't do that!
Hatchet ignores him and climbs into a cargo carriage.
The train passes through the station. The angry Station-Guard watches the train leave, unable to do anything to stop Hatchet. He waves his arms in frustration as the train passes the station.
The train moves further and further away from the station.
INT. STATION GUARD'S OFFICE - DAY
The Station-Guard enters the station guard office. He picks up the phone and dials the Hollidge police.
EXT. HOLLIDGE POLICE STATION - DAY
An exterior shot of the small Hollidge Police Station. There is an sign out front which reads: POLICE.
INT. HOLLIDGE POLICE STATION - DAY
Kale is in the Hollidge police station, with the other Hollidge policemen.
HOLLIDGE POLICEMAN #1
(to Kale)
We'll put every man we have on this. But you got to understand. This is a small town. We don't have that many officers.
KALE
Whatever you can do.
HOLLIDGE POLICEMAN #1
Plus, we don't even know if he's still here. My bet is he's gone. You said he's going to Fredell. That's the place to look.
The phone rings. The HOLLIDGE POLICEMAN #1 answers it.
HOLLIDGE POLICEMAN #1
Yes?
(he listens)
Yes. Thank you.
Hollidge Policeman #1 turns to Kale.
HOLLIDGE POLICEMAN #1
It seems a man just boarded a freight train at the Hollidge train station. He jumped on board while the train was passing through the station.
KALE
(frustrated)
Why weren't we watching the train station?
HOLLIDGE POLICEMAN #1
We thought he was in a car.

KALE
Is the freight train going to Fredell?
HOLLIDGE POLICEMAN #1
Yes. Fredell is the train's next stop on the line.
KALE
I'll take my car. Call Fredell's police and get them to meet the freight train when it arrives. Tell them to apprehend the suspect. Tell them he's armed and dangerous.
HOLLIDGE POLICEMAN #1
Shoot to kill?
KALE
No. Take him alive.
INT. CARGO CARRIAGE ON FREIGHT TRAIN - DAY
The train has picked up speed. Hatchet is standing at an open door, watching the desert go past.
Hatchet lights up a cigarette. He smokes it.
INT. KALE'S CAR - DAY
Kale is speeding along a desert road, heading towards the town of Fredell. He is trying to arrive before the freight train and Hatchet.
EXT. FREDELL TRAIN STATION - DAY
The freight train is approaching the station. It is about two hundred metres away. Hatchet climbs down the side of the carriage and then jumps off. He lands on his feet but winces with pain and grabs his ribs.
He runs the other way, and disappears into some trees and bushes.


EXT. FREDELL TRAIN STATION - DAY
There are three Fredell police cars, with flashing lights waiting at the station. The freight train pulls to a stop.
The Fredell police sent to the station, six in all, have their guns out.
FREDELL POLICEMAN #1/OFFICER BURROWS
(shout to the police)
Alright, search the train. Every carriage. Our man is here somewhere.
The Fredell police spread out and board the train. They look through the carriages in search of Hatchet.
A screeching of tires is heard. The police all turn and see Kale in his car speeding towards them. He brings his car to a halt nearby. He jumps out.
OFFICER BURROWS
You must be Kale. We were told you were on your way. I'm Officer Burrows.
KALE
Is he here?
OFFICER BURROWS
We've just started our search. He may be on this train. If he is we'll get him. But don't hold your breath. Who's to say though he didn't jump off the train somewhere along the track?
KALE
No. Fredell is his destination. He's got friends here. He's got to meet them. He's here, somewhere.
OFFICER BURROWS
Can you fill us in. We've been wondering - what did he do?
KALE
He's killed three women so far that we know of, plus one other victim.
OFFICER BURROWS
What about his friends?
KALE
We don't know yet. We think they might be the people he robbed a bank with fourteen years ago. He got caught and went to jail. His two friends didn't. But we just don't know at this point.
Kale turns and looks at the train and the six police who are searching carriage by carriage.
INT. FREIGHT TRAIN - DAY
The Fredell police search of all the carriages, while Kale and Officer Burrows wait. They find nothing.
The Fredell policemen all climb off the train one by one.
FREDELL POLICEMAN #2
(shout from the train to Officer Burrows)
Nothing.
KALE
Damn it. He did get off somewhere.
OFFICER BURROWS
No. If what you said is true - if Fredell is where he wants to be - he'll turn up.
Kale turns away slightly and thinks hard. He turns back to Officer Burrows.
KALE
Do you have any new residents in town by any chance?
OFFICER BURROWS
I don't know. Fredell's a small town. I'm sure new faces would be noticed. You could check with the real estate agent.
KALE
Which?

OFFICER BURROWS
We've only got the one.
INT. FREDELL REAL ESTATE AGENT'S OFFICE - DAY
The REAL ESTATE AGENT is sitting at his desk. Kale is sitting opposite him.
REAL ESTATE AGENT
We've had two places sold in the last month. Plus we've rented out two more places. An apartment and a house.
KALE
Do you have the names?
REAL ESTATE AGENT
Yes.
KALE
Can I see them please?
The Real Estate Agent hands over four sheets of paper, one for each house and apartment. Kale reads them.
REAL ESTATE AGENT
As you see, the two houses are both occupied by families. One of the rental properties is long term. A couple. The last place, the rental house, is occupied by two men. Their's is a short term lease. They've been here two weeks. They'll be staying, according to their rental agreement, for another week.
KALE
(stunned)
Two men?
REAL ESTATE AGENT
Yes.
KALE
Do you have their names?
REAL ESTATE AGENT
No. They wouldn't give their names.
KALE
Did you meet them?
REAL ESTATE AGENT
Yes.
KALE
What were they like?
REAL ESTATE AGENT
You have to understand, I was just happy to have the place rented. I didn't concern myself with who they were.
KALE
Thank you for your time.
EXT. REAL ESTATE AGENT'S OFFICE - DAY
Kale walks out of the Fredell real estate office. He gets into his car. Officer Burrows is waiting in the car.
KALE
I've got a lead. Two weeks ago two unidentified men, they wouldn't leave their names, rented a house in Fredell. They have it for another week.
OFFICER BURROWS
You think it's your suspect's friends?
KALE
Has to be. I'm going to check it out.
OFFICER BURROWS
I'll come.
KALE
Sure. Fine.
EXT. ROBBER'S HIDEOUT - DAY
Hatchet rings the bell. A curtain is pushed aside in a window and a face looks out. It disappears. A moment later the door is opened.
Man #1 is standing in the doorway.
MAN #1
Hatchet. You made it.
HATCHET
Yes, I made it.
MAN #1
Come in. Before someone sees you.
Hatchet enters. Man #1 glances around the street and closes the door.
INT. ROBBER'S HIDEOUT - DAY
Man #1 leads Hatchet into a lounge area. Man #2 is standing, smoking a cigarette.
MAN #2
Hatchet. I didn't think you'd make it.
Hatchet looks puzzled.
HATCHET
What? The police? They never got close.
MAN #1
Hatchet, you've brought a lot of baggage with you. There are cops looking for you everywhere.
HATCHET
It doesn't matter. Right? Because we're not staying. This is just a temporary hide-out. We're leaving as soon as we can. Right?
MAN #1
Yes, but with every cop out looking for you, it won't be easy.
HATCHET
Then we wait. We just lie low for a while. We let things cool down. We wait until the cops ease up on their search for me.
Man #1 and Man #2 look at each other. They look back to Hatchet.
MAN #1
Hatchet, you're practically front page news. We can understand your wanting to get revenge against those women who put you behind bars for fourteen years, but you haven't handled it well at all.
HATCHET
What are you talking about?
MAN #1
You've drawn too much attention to yourself. You've put us in danger too.
HATCHET
(to both men)
You wanted them dead as much as I did.
MAN #1
I wanted it done in time. Quietly. So that no connections could be made to us. By the time the police did figure it out, we'd be long gone.
MAN #2
But what did you do? Two in one day.
MAN #1
Hatchet, you've become a liability to us. You've put us both in danger.

HATCHET
What are you saying?
MAN #1
We're saying, it's safer for you to not hang around. Safer for us too.
HATCHET
You'd toss me back out there?
MAN #1
It's the only way to ensure our own safety. You understand that, right?
HATCHET
(to both men)
I thought, I thought we were a team. We were always a team. We've been a team since we were children. That's what we always said. We'd never give each other up, no matter what happened. Don't you remember?
MAN #1
No any more, Hatchet. You're on your own.
Hatchet is silent. He's stunned and hurt.
HATCHET
I guess I have no choice.
MAN #2
I'm glad you understand our position.
HATCHET
I'm tired. And injured. Let me rest here for a while. Then I'll go. I'll find my own way.
Man #1 looks at Hatchet.
MAN #1
Okay. For a while. There's a bed in the back room.
Hatchet smiles.
HATCHET
Thanks. I know things will work out. The cops will lose interest and then they'll leave us alone. Then we'll be safe.
MAN #1
Through there.
Man #1 gestures to a door to the back room.
Hatchet walks to the back room to rest. When he is gone, Man #1 turns to Man #2.
MAN #2
Is it worth the risk? I say we just do it now.
MAN #1
I don't know. I'd feel guilty killing poor Hatchet. Especially after all he's been through. Besides, we're old friends. All of us.
MAN #2
It's the only way.
MAN #1
It would be more fun to let him loose again and see how long he can last.
MAN #2
No. No stupid games. Let's just end it here. We can get away. With Hatchet, the police will always be able to get to us. They'll follow him until he's caught. If he gets caught, we'll get caught. Is that what you want?
EXT. ROBBER'S HIDEOUT - DAY
Kale and Officer Burrows are sitting in their police car. It is parked across the street from the robber's hideout.
INT. KALE'S CAR - DAY
OFFICER BURROWS
You want to go, or do you want me to do it?
KALE
I'll go, you back me up.
OFFICER BURROWS
Technically, this is my town. Your jurisdiction doesn't extend this far. I should go.
KALE
Fine. Go. I'll back you up.
Officer Burrows checks his gun. He puts it back in his holster under his jacket. He gets out of the car.
EXT. ROBBER'S HIDEOUT - DAY
Officer Burrows crosses the street and walks up to the house.
He knocks on the door. Kale is watching his every move from across the street.
INT. ROBBER'S HIDEOUT - DAY
Man #1 and Man #2 hear the knocking on the door.
MAN #2
Who's that?
MAN #1
I don't know. Go and check.
MAN #2
Do I open the door?
MAN #1
It's probably no one. Don't worry.
Man #2 goes to the door. He opens it.
EXT. ROBBER'S HIDEOUT - DAY
Officer Burrows is standing at the door. Man #2 looks at him.
MAN #2
Can I help you?
Officer Burrows shows Man #2 shows his police badge. MAN #2 looks at it.
OFFICER BURROWS
I have a few questions.
MAN #2
About what?
OFFICER BURROWS
May I come in?
MAN #2
It's a bad time.
OFFICER BURROWS
You got company?
MAN #2
A friend just dropped by.
OFFICER BURROWS
I'd like to come in nonetheless.
Kale can't hear the conversation. He watches on nervously from the car.
MAN #2
Why can't we talk here?
OFFICER BURROWS
I suppose we can. How long have you been in Fredell?
MAN #2
About two weeks.
OFFICER BURROWS
What's the purpose of your visit? You thinking of moving here, or what?
MAN #2
No. Just passing through.
OFFICER BURROWS
Where are you going?
MAN #2
Haven't decided. Somewhere hot. I like the heat.
OFFICER BURROWS
Anyone else in the house at the moment?
MAN #2
Yeah, my friends.
OFFICER BURROWS
How many?
MAN #2
Two.
OFFICER BURROWS
Can I meet them?
MAN #2
I guess.
(calling over his shoulder)
Hey, get over here. There's someone wants to speak to you.
(to Officer Burrows)
He'll be out in a minute. He's kind of shy. He doesn't like strangers too much.
INT. ROBBER'S HIDEOUT - DAY
Man #1, out of view of Officer Burrows, picks up a gun off a table and loads it. He puts it behind his back. He walks towards the door. He sees the obscured figure of Officer Burrows behind Man #2. He walks up close to Man #2.
EXT. ROBBER'S HIDEOUT - DAY
Officer Burrows is waiting. Man #1 waits too. Neither or them speak.
MAN #1
(V.O)
Step aside.
MAN #2
(to Officer Burrows)
This is him.
Man #2 steps aside. Crouched about five metres inside the house, gun aimed directly at Officer Burrows, is Man #1. Officer Burrows goes for his gun. MAN #1 fires three shots. They all hit Officer Burrows in the chest. He falls dead.
Kale heard the shots and sees Officer Burrows is shot. KALE is out of the car in a flash. He pulls his gun and runs across the street. He aims his gun at Man #2 who is still at the door of the house.
KALE
Freeze!
Man #2 pulls a pistol from his trousers and fires four shots at Kale. They all miss.
After firing the shots, Man #2 quickly closes the door and locks it. Kale runs up to Officer Burrows, who is lying dead outside the house. Kale checks Officer Burrows' pulse.
Kale stands and tries the front door. It is locked.
Kale runs around to the back of the house. He is cautious and he still has his gun out. He tries to the back door. It too is locked. There is a car at the back of the house. Kale bends down, takes out a small knife, and cuts the front tires. They start to deflate.
Kale runs back around to the front of the house. Two gunshots ring out from a window. Kale runs for cover. He sees a car and takes cover behind it. He waits, no one more shots come.
A voice calls out from the house. It is Man #1.
MAN #1
(V.O.)
We're walking out of here. Leave now, or you'll join your friend.
Kale thinks what to do.
INT. ROBBER'S HIDEOUT - DAY
Man #1 and Man #2 are at the window, peering out at Kale. Hatchet emerges from his room.
HATCHET
What the hell's going on?
MAN #1
We told you specifically not to bring cops. Isn't that what I said? More than once. They must have followed you all the way. Jesus, Hatchet.
HATCHET
How many are there?
MAN #1
Just two, so far. We got one, but the other's outside, across the street.
HATCHET
Two?
MAN #1
Yes. Two.
HATCHET
Let me see.
Hatchet looks through the window. He sees the car, behind which Kale is taking cover.
MAN #1
There's got to be more on the way.
HATCHET
We could make a run for it.
MAN #1
No. He'd get us.
HATCHET
Then we shoot our way out.
MAN #2
Hatchet, this is your fault. We were doing fine without you. Fourteen years and no cop bothers us. Not even for a fucking parking ticket. And what do you do? You're here ten minutes and the cops are already here. We should never have agreed to let you come back.
HATCHET
But we're a team.
MAN #1
Hatchet, we don't want to be a team anymore. That's what he's saying.
HATCHET
Look, it's simple. I'll act as a diversion. It's me they've followed. It's me they want. You can get away.
MAN #2
He's right. One cop can't cover all sides of the house at once.
HATCHET
Exactly.
MAN #1
Alright. Do it.
EXT. ROBBER'S HIDEOUT - DAY
Kale is hiding behind the car. He is waiting for the robbers to make the next move.
KALE
(to himself)
Where the hell is my backup? Didn't anyone hear the shots?
The front door of the robber's house creaks open. Kale swings his gun around and takes careful aim at the door. His view is from side on, and part of the house obscures his aim at the door. There is silence. Kale waits, his gun aimed at the door.
An arm appears in a flash around the door and a succession of gun shots ring out, aimed at Kale. Kale ducks back behind the car.
EXT. BACK OF ROBBER'S HIDEOUT - DAY
The two robbers, hearing the gunshots, see that Kale cannot cover two sides of the house at once. They run out of the back door of the house, jump into the car, and start the engine. They do not realize that the tires have been slashed.
EXT. ROBBER'S HIDEOUT - DAY
Kale hears the engine start. He curses and runs from his place of cover.
EXT. ROBBER'S CAR - DAY
The two robbers back out of the carport behind the house. They soon realize the tires are deflated.
INT. ROBBER'S CAR - DAY
MAN #1
Can we drive?
MAN #2
I think so.
Man #2 backs the car out as fast as he can. Kale appears from the side of the house. Kale takes aim and fires at the car, hitting Man #2 behind the wheel. Blood splatters the window. Man #2 slumps forward.
Man #1 jumps from the car, points his gun in the direction of Kale and fires off several shots at Kale, who ducks behind another car.
Hatchet, who has come from the front of the house, now sees Kale behind the car. Kale hasn't seen Hatchet, his attention is focused on stopping the car.
Hatchet takes aim and fires at Kale, but misses. Kale curses, seeing the shot has only just missed him, and swings his gun around at Hatchet. Hatchet takes off running down the street, jumps a fence and disappears into a backyard.
Man #1 takes cover around the side of the house. He can look around and has a clear view of Kale and the car he is hiding behind.
Kale has to make a decision, whether to follow Hatchet or stop Man #1.
MAN #1
(shout to KALE)
You can't catch both of us at once, officer. You know that. Which of us do you want more?

KALE
(shout)
Back up is on the way.
MAN #1
We'll see.
KALE
Come out now. Give yourself up. Try and run and you'll only end up dead.
Man #1 sticks his arm around the side of the house and fires at Kale and the car, putting a series of bullet-holes in the side of the car.
Suddenly, there comes the sound of police sirens approaching the house. Finally, back up has arrived.
KALE
(shout)
You see? You hear that? There's no where for you to go.
Man #1 thinks quickly about what to do. Kale waits.
KALE
(shout)
There's no way out now. The police are here. Anywhere you run, they'll catch you. Why make this more difficult? Give yourself up.
Long silent pause. Kale waits.
MAN #1
Alright. I'm coming out. Just don't shoot.
Man #1 steps from the side of the house. He raises his arms, but he hasn't dropped the gun yet.
Kale emerges from his cover behind the car. His gun is pointed at Man #1. Kale approaches him carefully, his gun never leaving Man #1.
KALE
Drop it.
Man #1 doesn't drop the gun.
KALE
(shout)
Drop it!
Man #1 drops the gun.
KALE
(shout)
On your front. Lie down.
(MAN #1 doesn't move)
Lie down!
Man #1 lies down on his stomach, his arms outstretched on the ground. Kale cuffs Man #1's hands behind his back.
Three police cars come down a nearby street and pull up at the house. Six police jump from the car. They see Officer Burrows, dead. They see Kale, and Man #1 on the ground. They run up. Two officers run to the body of Officer Burrows.
OFFICER
(to KALE)
What the hell happened?
KALE
(to policemen)
Our suspect got away. He jumped a fence.
HEAD POLICEMAN
(to his men)
Go.
The Policemen run off and start the search for Hatchet.
The Head Policeman looks at Officer Burrows' body.
HEAD POLICEMAN
Jesus Christ.
KALE
I couldn't do anything.
Kale bends down and lifts Man #1 to his feet. Man #1 doesn't resist. He stands up.
KALE
(to MAN #1)
Why did he [Hatchet] come?
MAN #1
What can I say about Hatchet? We're friends.
KALE
Why?
MAN #1
Officer, you think I'm stupid? I tell you about Hatchet, I incriminate myself. I'm not telling you anything.
The Head Policeman steps up to Man #1, a look of anger on his face.
HEAD POLICEMAN
(to MAN #1)
You'd better start talking, or you're going to be hurting.
For a moment, a look of fear comes onto Man #1's face. There is a tense moment.
KALE
Why?
Man #1 thinks of his options. He looks from Hatchet to the Head Policeman and back to Hatchet.
MAN #1
He wanted his cut of the money. Hatchet believed for a long time that the money was waiting for him.
KALE
The robbery money?
MAN #1
Yes.
KALE
From fourteen years ago?
MAN #1
Yes.
KALE
Where is it? In the house?
MAN #1
There is no money. Not any more. It's all gone. While Hatchet was locked up we had a party. We spent every cent.
KALE
So he came all this way for nothing.
MAN #1
You could say that. You could say he wasted his time.
KALE
It doesn't sound like you're very good friends.
MAN #1
Hatchet was foolish to get caught in the first place. We didn't. And now, what does he do? He brings cops to our hideout. He did exactly what we told him not to do. We were splitting after this.
KALE
If you had no money, what were you going to tell him? Why make him come all this way for nothing?
MAN #1
It was over for Hatchet, officer. Over. Finished. He wants to murder those women, for revenge or whatever, fine, I can accept that. But coming back to us, after all this time, asking for his cut of the money from fourteen years ago? What would you do?
KALE
You were going to kill him?
MAN #1
Yes, officer, we were.
KALE
I'm sure he'll be glad to hear that when we catch him.
MAN #1
I don't care what he thinks.
EXT. BACKYARD - DAY
Hatchet is running through a backyard. He stops, jumps over a fence, and is in another backyard. He crouches down and take cover against a wall. He checks his gun for bullets. He reloads it.
EXT. FREDELL STREETS - DAY
The Fredell Police are searching for Hatchet. Their guns are out as they patrol the town streets. A couple of people are walking down the street.
POLICEMEN
(to the people walking past)
Go back inside. Go. Don't come out until we say its safe.
The people hurry away.
POLICEMAN #1
Where do you think he is?
POLICEMAN #2
He's around here somewhere. Spread out. Check everywhere.
The police spread out.
The police look into yards, over fences, and behind walls.
EXT. KALE'S CAR - DAY
Kale is in his police car, driving slowly through the streets of Fredell, on the lookout for Hatchet.
INT. KALE'S CAR - DAY
Kale is looking out the window of the car, looking for any sign of Hatchet.
KALE
(to himself)
Where are you?
Kale sees a police officer, with his gun out, looking in a yard. Kale slowly drives up level with the policeman and winds down his window.
KALE
(to policeman)
Has anyone seen him?
POLICEMAN
Not yet.
KALE
Keep looking.


POLICEMAN
He can't go far. There's nowhere to go. You leave this town and you're in the desert again.
KALE
He's looking for a way out. Keep your eyes peeled. Check every yard, every house, every car. Anywhere he could hide, I want you to look there.
POLICEMAN
Don't worry, we'll find him.
Kale nods and drives slowly on.
EXT. BACKYARD - DAY
Hatchet is hiding in a backyard. He has no real means of escape. He knows that he has to return to the town streets in order to find a way out of the town. But the police are searching all the town streets.
Hatchet quietly stands up and peers over the wall of the yard. He sees two policeman about twenty metres down the road. They are doing a thorough search of every yard and car. Hatchet ducks back down. Hatchet sees he has no way out. Soon, the two police will reach him.
Hatchet hurries to the house and tries the back door. It is open. He opens the door and steps quietly into the house. He looks around. He hears footsteps in the next room. He waits. A YOUNG WOMAN, about thirty years old, steps into the room. She comes face to face with Hatchet. She sees his gun. She freezes, frightened and speechless. Hatchet raises his gun.
HATCHET
Do you have a car?
The Young Woman shakes her head. Hatchet thinks for a second.
HATCHET
Come with me.


EXT. STREET IN FREDELL - DAY
Kale is driving slowly down the street in which Hatchet is hiding. He passes the two policemen doing their search.
KALE
(out the window)
Anything?
POLICEMAN
Nothing yet. He could be hiding in any of these houses.
There is a scream from a backyard nearby. The two policeman turn instantly. Kale looks too.
YOUNG WOMAN
(O.C., scream)
No! Let me go!
Hatchet steps from the yard into the street, about fifteen metres from Kale and the two policemen. He has the Young Woman as a hostage. He is holding her from behind and has his gun sticking in her back.
The two Policemen raise the guns in a flash. They point them at Hatchet. Kale pulls his gun too.
HATCHET
(to Kale)
Get out of the car.
Kale hesitates.
HATCHET
Get out of the car. Now! I'll kill her.
Kale gets out of the car. He has his gun by his side.
Hatchet looks around him very quickly, checking for other officers. He looks up and down the street.
KALE
There's no escape from here, Hatchet. Let the woman go.
HATCHET
We'll see. I want the keys to the police car. I'm driving out of this town and you're not going to stop me.
KALE
Hatchet, even if you take the car, there's no where to go. We'll pick you up somewhere in the desert.
HATCHET
(shout)
Shut up and give me the keys.
(to the policemen)
Put down your guns!
KALE
We can't do that Hatchet. Let her go. Come quietly and you won't get hurt.
HATCHET
I'll kill her. I'll shoot her in the back.
KALE
And then what? We'll shoot you. Think about it. You kill her, and we'll kill you.
HATCHET
(shout)
Stop stalling! Put the keys in the car, drop your weapons and move away from the car!
Kale sees a movement in the distance, behind Hatchet, which Hatchet can't see. A POLICEMAN is hiding behind the corner of a wall. Kale doesn't react. The Policeman who is hiding starts to step slowly towards Hatchet from behind. The two policemen see him too. The approaching policeman has his gun out.
KALE
Hatchet, this is a delicate situation. We don't want anyone to get hurt. All you have to do is let her go, put down your gun and . . .
HATCHET
Shut up. Listen to me. Either I drive out of here, now, or she dies.

YOUNG WOMAN
(scream at police)
God, help me! Do something!
HATCHET
(to YOUNG WOMAN)
Shut up!
The Policeman creeping up behind Hatchet takes up a position of cover behind a large crate outside an unused shop, the windows of which are boarded up. He crouches and takes aim from the side of the crate. Kale watches, the movement of his eyes from Hatchet to the policeman imperceptible.
HATCHET
This is your last chance. Drop the guns or I shoot her.
The Policeman crouching behind the large crate has his sight aimed directly at Hatchet. He takes careful aim. Kale waits for the gunshot.
One of the two policeman see the policeman taking aim too. One shifts his head slightly as he looks away from Hatchet to the policeman behind the crate. Hatchet sees this. He spins around and the gunshot finally comes. The crouching policeman pulls the trigger as Hatchet turns. The shot hits Hatchet in the chest and he grunts, releasing his grip on the Young Woman. Hatchet, dazed and in shock, swings around to Kale, his gun still in his hand. Kale has his gun out and fires two shots at Hatchet. Hatchet is hit and falls to the ground.
The two policemen and Kale run to Hatchet. The Young Woman runs away. The policeman behind the crate stands up and comes towards Hatchet too.
Hatchet has dropped his gun and is lying on the ground. Blood is seeping from the chest wounds. Hatchet is still alive. Kale kicks away Hatchet's gun.
Kale crouches down next to Hatchet. He looks at the chest wounds. Kale looks to the police.
KALE
Get a doctor. Quick.
One of the policeman nods.
POLICEMAN
You got it.
The policeman turns and hurries to the car to the police radio.
KALE
(to Hatchet)
How you doing?
HATCHET
Not so good officer.
KALE
Tell me. Did you really think you'd make it out of here?
Hatchet laughs. His chuckles continue. Then he stops laughing and looks at Kale.
HATCHET
I had my hopes. The desert's a big place. There's plenty of places to disappear.
Hatchet winces and looks at his gunshot wound.
KALE
It's over Hatchet.
HATCHET
I just wanted my money.
KALE
(lying, as he knows from Man #1 there was no money left)
Hatchet, you almost got it. What would you have done with it?
HATCHET
I find a paradise somewhere and live out my days in blissful happiness.
Hatchet chuckles again.
KALE
You'll be alright. Stay with us.
Hatchet shakes his head.
HATCHET
No. It's over.
Blood is dripping from Hatchet's mouth.
HATCHET
I never thought I'd die in the desert. What happened to my friends?
KALE
(lying)
They didn't make it.
HATCHET
It's over then.
KALE
Yes, it's over.
Hatchet, with difficulty and in obvious pain, moves his hand to his pocket. Kale watches him. Hatchet reaches into his pocket and searches for Clare's driver's licence. He finds it. He takes it out of his pocket and holds it up to Kale. Kale takes it and reads it.
KALE
Did you kill her?
Hatchet tries to laugh, and he does for a second. It turns into a splutter and a cough as he dies. Then he closes his eyes and dies.
Kale stands up from his crouching position. The two other police officers are standing next to Kale.
KALE
(quietly)
Well, that's it.
POLICEMAN
What's your name?
KALE
Kale.
POLICEMAN
Good work Kale.
Kale nods, turns and walks away from the policeman and the body of Hatchet. He walks slowly down the town street, his job done. He looks one more time at Clare's drivers licence and then puts it in his pocket.
EXT. KALE'S POLICE STATION IN DESERT - DAY
An exterior shot of Kale's police station in the desert. It is several days later.
A police car approaches in the distance down the desert road. Inside is Detective Wikins, who has come from the city to visit Kale. The car pulls to a stop outside the police station.
Detective Wikins steps out of the car. He looks around, admiring the desert around him, and then he walks up to the police station entrance and enters.
INT. KALE'S POLICE STATION IN DESERT - DAY
Kale is sitting at a computer, typing in reports. The other police station officer is nearby, doing the same on his computer.
DETECTIVE WIKINS
(O.C.)
Am I interrupting?
The two policemen look up from their computers. Kale sees Detective Wikins and his police badge, which is pinned to his chest. Kale stands up.
KALE
Can I help you, Detective?
DETECTIVE WIKINS
Are you Kale?
KALE
Yes.
DETECTIVE WIKINS
I'm Detective Wikins. I wanted to come in person to congratulate you. Good job with Richard Aldrich, or Hatchet, if you prefer. I believe you, Kale, are the one responsible for his capture.
KALE
It was all of us. I just did my duty alongside my colleagues.
DETECTIVE WIKINS
Yes. Well, well done anyway. Pass on my congratulations to all involved. Hatchet was my case. I put him behind bars fourteen years ago. For bank robbery.
(pause)
I couldn't know what Richard would do when he was released. But now, it looks like he had it planned all along. For fourteen long years he had it in his mind. He had it all worked out. At least now we can close the case. We know who Hatchet's two accomplices were. Turns out Hatchet relationship to his two friends goes back to when they were kids. They had problems. They did it tough. They were in and out of child homes, all three of them. They were moved from one place to the next. But they stuck together through it all. They all have a list of misdemeanors dating back to the ages of twelve. But we got them all now. I just wanted to thank you, for doing your duty.
KALE
Thank you.
DETECTIVE WIKINS
If you ever want a position in the city, I can arrange it for you.
KALE
No. The desert is where I want to be. Thank you though. Can we get you something to drink, Detective? Or maybe you'd like a scenic tour. We can provide that.
DETECTIVE WIKINS
A scenic tour would be good. I would like to see more of the desert. It's not often us city cops get the chance.
KALE
My car's outside.
DETECTIVE WIKINS
Then let's go.
Kale stands up and leads Detective Wikins outside.
EXT. POLICE STATION IN DESERT - DAY
Kale and Detective Wikins walk to Kale's police car. Kale takes out his keys as they walk.
DETECTIVE WIKINS
(looking around the wide desert)
You wouldn't want to break down in the desert, would you?
KALE
No, sir, you wouldn't.
They get into the car. Kale starts the engine and they drive away.
THE CAMERA SHOWS THE WIDE DESERT WITH KALE'S CAR DRIVING DOWN IT.
THE END
Anthony Kirkwood, December 2007
This script is registered with the Writers Guild of America, West.

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