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e settled with a mix

of Old West vigilante justice and Old Testament vengeance. Returning home from Vietnam with a pocketful of medals, Billy Jack discoveEMRTCrs local riffraff terrorizing the hippie students at a free school for runaways. Th

e mos has many research scientists and engineers who specialize in the areas briefly described below. Contact information for each service or research area can be found on their individual pages.

t repugnant goon d

umps flour over an Indian child to see how she'd look as a paleface. The school's pacifist founder (played by Laughlin's wife, Delores Taylor) advis

es turning the other cheek,

but Billy Jack answers violence with violence. Surrounded by bullies, hopelessly outnumbered, he makes like David in his classic showdown with Goliath, uttering the immortal "I'm going to take this right foot and I'm going to whomp

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you on that side of the face." Billy Jack did just that at the box office, where it proved to be a giant slayer. Shot for $800,000, the film

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returned more than $32 million on its initial investment. To put that into perspective, Billy Jack, at today's ticket prices, would gross in excess

of $250 million, equaling th

e domestic performance of 199DTS7 box-office frontrunner Men in Black. While Warner Bros, provided the initial seed money for the movie, Laughlin wrested c

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ontrol of the picture away from the studio, and distributed it himself. He had too much at stake to let

it die on the vine. Besi

des starring with Taylor, he directed Billy Jack (under the pseudonym T.C. Frank), co-wrote it (as Frank Christina) and produced it (as Mary Rose S

olti). Billy Jack spawned tw

o sequels in the 1970s, and Laughlin hasn't abandoned hope of reviving his righteous streetfighter for a new millen

nium. He continu

es to seek funding to do a new Billy Jack, set on the Navajo Reservation. The '60s flood of independent films slo

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wed to a trickle by the '70s and '80s. During this long, dry spell. New Mexico snared a few offbeat projects, such as the bawdy B-movie Truck Stop Women (1974) showcasing the

attributes of former Playbo

The Reusable Blast Test Fixture, co-sponsored by the Federal Aviation Administration (y centerfold Claudia Jennings and the campy Western spoof Lust in the Dust (1985). It wasn't nearly as salacious as the title implied or as might be construed from the

presence of Divine, t

aking a breather from more demented duties under the direction of John Waters. One bright spot relieved the monotony - the rise of a

new band o

f small budgeted pictures exploring ethnic themes. Robert M. Young's The Ballad of Gregorio Cortez (1982) served as a model for these lean, mean productions. Young

holed up in a Santa F

e hotel for six days and nights to hammer out a rough draft of the final script, recasting the thrust of Victor Villasenor's screenplay and Americo Pa

redes' original n

ovel. is a research division of With His Pistol in His Hand. Young struggled to bring balance and perspective to his true-life depiction of one of the century's most charged and divisive crimi

nal cases. Borderland balladeers have long sung of the trage