DRIVE ANGRY
Written by
Todd Farmer & Patrick Lussier
March 28, 2009
EXT. LAUGHTER, COLORADO - DAY
Half a dozen abandoned shacks and a boarded up gas station
make up the central hub of Laughter, Colorado. She'd be a
ghost town ‘cept the ghosts considered her a shithole ages
ago and baled. The buck ten for leaded sign gives us an idea
how long ago this place went dry.
Suddenly an old Chevy RIPS around the corner, wheels sending
PLUMES of dust skyward.
INT. OLD CHEVY - DAY
Three grimy looking fuckers are stuffed into the cab.
FUCKING DRIVER looks as though he may piss himself. FUCKING
MIDDLE twists around, glares through the back glass and
FUCKING PASSENGER white-knuckles a tire iron.
FUCKING DRIVER
Goddamned old man!
FUCKING PASSENGER
I thought he was dead! She said he
was dead!
FUCKING MIDDLE
I don't see him. Just go. I think
we lost him.
EXT. LAUGHTER - MAIN STREET - DAY
They race through the dusty derelict little town, peeling for
the main road in the distance when they round a corner --
--to face a ‘70 PLYMOUTH ROADRUNNER, beat to shit, engine
screaming. SPEEDING head on. This ain't chicken because
these three Fuckers don't even have time to react before:
MILTON
“The Old Man”, shock of white hair, drives the Roadrunner,
locks the tires and spins the wheel.
The Roadrunner fishtails, slides sideways AT THEM!
The truck's gonna ram the driver's side. At least it would
BUT:
MILTON AIMS A SHOTGUN through the driver's side window.
Fearless. Pissed off. He FIRES!
2.
The shot BLOOMS right at us! Then SLOWS TO NEAR FROZEN -
Hanging in mid-air - suspended, like we could touch it:
TITLE CARD appears--
"DRIVE ANGRY"
--then the shot BURSTS through the title! SHATTERING the
words right at us!
ANOTHER ANGLE
...EXPLODING into the hood of the Chevy! The hood RIPS up,
SLAMS the windshield.
Truck CAREENS out of control!
Milton GUNS the Roadrunner away from truck...but...
KRAACK - The Truck nails the Roadrunner's rear quarter panel.
Roadrunner and truck go into a spin. A tornado of dust
SWIRLS around the two vehicles.
The Roadrunner SPLINTERS into a boarded store front!
The Truck HITS a ditch and UPENDS. Flips. SLAMS into the
dirt on its roof, wheels SPINNING.
ANOTHER ANGLE
Smoke HISSES from the totalled Roadrunner. Door creeks open.
Milton emerges slow and sure. He crosses toward the Chevy.
Fucking Passenger rises from behind the truck and rushes
Milton, tire iron held high over his head!
Milton spins and KUH-FOOM!
--blows Fucking Passenger's hand clean off! Passenger
screams as Milton snatches the iron out of the air and --
KER-ACK!
-- slams it across his face! Passenger drops. Hard.
Milton stoops, removes Passenger's wallet, digs the cash out.
OVER MILTON'S SHOULDER
Fucking Driver scrambles from behind the wheel, springs to
his feet and runs.
3.
Milton spins, BLOWS his knee apart from 20 paces. Driver
SCREAMS and face-firsts the cracked pavement.
ANOTHER ANGLE
As Fucking Middle drags himself from the passenger side. He
got the worst of it. Looks like his face went through the
windshield. He looks up --
-- into the barrel of Milton's shotgun. A beat.
FUCKING MIDDLE
I'll never tell you where they've
taken her...NEVER.
MILTON
I know.
The EXPLOSION vaporizes what's left of his face.
ON FUCKING DRIVER
As he tries to stand but his lower leg dangles from a piece
of cartilage. He falls, WRITHES on the ground. He looks up
at Milton standing over him.
FUCKING DRIVER
You...you took my leg you fuck!
Milton presses the shotgun barrel into the man's good knee.
FUCKING DRIVER
Wait. Wait!
MILTON
Where is she?
FUCKING DRIVER
I...I don't...
Suddenly Fucking Passenger, flattened by the tire iron, sits
up, dazed. Sees Milton. Spots the iron. Goes for it.
Milton spins and KAFOOM!
Blows Fucking Passenger to hell.
FUCKING DRIVER
Stillwater! Stillwater Marsh! I
don't know where exactly. They
call it Wolf Deer Run, that's all I
know. I swear!
4.
Milton digs Driver's cell phone out...stares at it for a
moment, drops it, finds wallet, takes cash.
FUCKING DRIVER
But you're too late. You gotta
know that. Next full moon she's
dead. Nothing you can do. She's
dead and hell will walk the earth--
WHAM!
Milton shoves the barrel of his shotgun into the man's mouth,
breaking a couple teeth in the process.
Milton hisses, his throat dry, like a man who hasn't quenched
his thirst in a decade.
MILTON
You tell him I'm coming. You got
that? I'm coming to get her back.
You tell him. Tell him I'm gonna
kill every last one of you fuckers.
Milton turns on his heels. Walks into the dust and doesn't
look back.
EXT. FAT LOU'S ROADSIDE DINER - DAY
Black smoke billows from the BBQ of this shithole diner.
It's the only building as far as the eye can see. The lot
dotted with vehicles past their prime. A muscle bound ‘67
GTO stands out.
INT. FAT LOU'S ROADSIDE DINER - DAY
Covered in a thick layer of cooking grease, this is one of
those diners where white trash goes to die. Half a dozen
PATRONS sit at bar and booth as a young American Indian
couple, MARY and DALE, enter with their children 2, 4 and 7.
Two waitresses, PIPER (25) and NORMAJEAN (57) stand at the
kitchen pick-up window. Through which we can see the
joint's owner, FAT LOU, dripping sweat into a pile of
scrambled eggs. Fat Lou is fat. Holy fuck fat.
PIPER
So I tell him, I says, “Frank,
that's it. No more free milk. You
gonna have to buy the cow you son
of a bitch.”
5.
NORMAJEAN
But you're not fat, Piper
PIPER
Wha? No, NormaJean, “buy the cow.”
Marry me? He's got to marry me.
I'm sayin I cut him off.
NORMAJEAN
You cut him off?
PIPER
Not just yes but hell yes! No
tits, no ass. And I told him if I
see that big ol' dick of his
anywhere near my face I'm gonna
bite it in half.
Normajean giggles with embarrassment.
NORMAJEAN
You said that? How long's it been?
Piper frowns.
PIPER
Well, it's only been two days but
that's like a decade in horny
fucker years.
NORMAJEAN
So he bought you a diamond?
PIPER
A diamond? God no. If Frank had
money for a diamond I would have
jacked his sorry ass ages ago and
put this shithole life in the rear
view. But he did get down on his
knees and ask me to be his bride.
NORMAJEAN
No way.
PIPER
Yes way!
NormaJean grabs Piper in a great big hug.
NORMAJEAN
Oh! Piper!
6.
PIPER
I KNOW!
FF-FF-FFUMP!
Something yellow peppers them both. The girls look up as --
Fat Lou SLAMS two plates of food into the window.
PIPER
Did...did you just throw scrambled
eggs at us?
FAT LOU
I don't pay you bitches to stand
around. Now get the fuck back to work!
Piper snatches one of the plates.
She delivers it to a Patron sitting at the bar, then turns
toward the newly arrived customers.
The American Indian couple scans a menu...
...and Milton (the old guy from our opening) scans her...he
quickly looks down at an unfolded map of Colorado as --
NormaJean steps up to Milton.
NORMAJEAN
Hello beautiful, coffee?
MILTON
That'd be great. Tell me,
Stillwater Marsh around here?
NORMAJEAN
(shrugs) Stillwater...doesn't ring
a bell. I'll get that coffee.
But Milton makes eye contact with Mary, the Indian mother.
She quickly looks away. She knows something...
Milton opens his mouth to speak as--
--Piper approaches the American Indian couple.
PIPER
Hi guys, I'm Piper. Can I bring
you something to drink?
MOTHER MARY
We'll take this.
7.
Mary points to the menu, Piper leans in, reads.
PIPER
“She's a Brickhouse” breakfast.
Ten monster flapjacks for 4.99.
MOTHER MARY
And five waters.
PIPER
Five waters. And what can I get for...
Father averts his eyes. He's embarrassed.
MOTHER MARY
That's it. Just the pancakes. If
that's okay?
Piper stares at them as if for the first time. Shit...
they're hungry. And broke.
PIPER
Oh. Of course. Coming right up.
Piper shoots Milton a look as she crosses to the kitchen.
Milton rises slightly. He's clearly trying to get Mary's
attention. She's ignoring him.
Piper calls through the window to Fat Lou.
PIPER
One brickhouse.
She turns and stops suddenly. Stares at a pile of muffins
kept fresh within a glass cake stand.
ANOTHER ANGLE
Mary can no longer avoid Milton's stare.
MILTON
Stillwater Marsh? You know it?
Dale, the father, keeps his back to Milton as he speaks.
DALE
No. We don't.
MILTON
It's important.
8.
MOTHER MARY
You're in the wrong state.
DALE
Mary!
MILTON
And what state Should I be in?
Dale turns, glares at Milton.
DALE
Nevada. Catch the 50 and cut across.
It's a two day drive from here.
MILTON
And Wolf Deer Run?
DALE
Never heard of it.
The 7 year old LITTLE GIRL'S eyes brighten.
LITTLE GIRL
Yes you have daddy. Wolf Deer Run,
that's where The Smiling Man takes
the wicked children to see the
Mother of all things.
Mary SHUSHES her Little Girl and pulls her close.
MILTON
Mother of all things, that sounds
very interesting.
LITTLE GIRL
Oh it is! The Mother of all things
bleeds black tears unto those who
CUT HER--
Mother places her hand over her daughter's mouth.
MOTHER MARY
It's nothing. Just a story parents
tell to their children. Like the
boogey-man or the tooth-fairy.
A plate filled with muffins thumps down before them. Piper
leans in with three kiddie cups.
PIPER
And three milks.
9.
MOTHER MARY
But we didn't order--
PIPER
(whispers) --On the house.
She winks and moves away...eyeing the kitchen window. She
doesn't notice...
MILTON
staring at her again. An impressed smirk on his face.
Suddenly NormaJean steps in front of him.
NORMAJEAN
So, aren't you gonna ask what time
my shift ends? Full moon tonight.
I'm always a little ‘randy' during
full moon.
MILTON
Full moon's three days off.
NORMAJEAN
(she touches his hand)
You sure ‘bout that, sweetie?
MILTON
Pretty sure. (looks outside) Hell
of a ride out there. Yours?
NORMAJEAN
The GTO? I wish.
MILTON
(glances at Piper)
Hers?
NORMAJEAN
Sure but if you're lookin' for a
ride...
MILTON
And would you be gentle?
NORMAJEAN
Life's too short for that, sweetie.
INT. FAT LOU'S ROADSIDE DINER - KITCHEN - DAY
Piper enters with two dirty plates, scrapes them and drops
them into a soapy sink. She turns right into --
10.
FAT LOU
He glares down at her.
PIPER
Jesus Lou, back the fuck off.
FAT LOU
“On the house”? On the fucking
house?
PIPER
Oh relax. We gotta toss them
muffins out today anyway.
She sidesteps him, exits the kitchen.
INT. HIGHWAY 50 - FAT LOU'S ROADSIDE DINER - DAY
As Piper crosses toward the bar, Lou grabs her from behind,
spins her around.
PIPER
Get your hand off of me!
His fat fingers tighten around her shoulder.
FAT LOU
You get over there and you charge
them for those muff...
Piper strikes. Like a snake. Her hand reaches beneath the
fat of his belly and vice grips his balls. Hell, we even
hear the CRUNCH.
Fat Lou GASPS and doubles over allowing Piper to SLAM her
forehead into the bridge of his nose!
KER-RACK!
PIPER
I told you, you fat fuck son of a
bitch, never to touch me again!
His nose seeps blood.
FAT LOU
Let...go...of...my...
She SLAPS him across the face with her free hand.
11.
PIPER
Shut up.
She takes a step backwards, but keeps her hand clamped to his
nuts. He has no choice but follow.
She pulls him up to the American Indian family.
PIPER
Tell'em.
FAT LOU
Wha...what?
We see it in her face. She squeezes. Lou's eyes go
wide...flutter...he's about to pass out.
PIPER
Tell them...the muffins...are on
the house.
FAT LOU
On. The. House.
She lets go. Lou drops to his knees, then timbers to the
floor as Piper turns to the family.
The children are huddled, terrified against their parents.
PIPER
I'm sorry your kids had to see
that. Put some honey butter on
those bran muffins and they taste
an awful lot better.
Piper turns and crosses toward the door.
NormaJean is pale as she watches her go.
Piper brushes past Milton's booth. His cup is there but
Milton is gone.
EXT. FAT LOU'S ROADSIDE DINER - DAY
We're close on a car door as it SLAMS.
CLOSE ON GLASS PACK EXHAUST PIPES as the car RUMBLES with
life. An “I brake for pussy” bumper sticker stands out.
THE BACK GLASS vibrates as MUSIC blares from within.
12.
INT. GTO - DAY
Piper's French manicured hand wraps the floor-mounted gear
shift like a cock and SLAMS it into drive.
EXT. HIGHWAY 70 - DAY
With Piper behind the wheel the GTO tears onto the highway...
...and blows passed Milton, as he walks west, duffle bag
thrown over his shoulder.
INT. GTO - DAY
Piper SINGS. She's empowered. Then...
KA-THUNK.
She grips the wheel.
The RPMS drop.
EXT. HIGHWAY 70 - DAY
The GTO pulls off the road...white smoke HISSES from beneath
the hood.
CLOSE ON ENGINE as the hood POPS.
Piper waves a hand in front of her face as the smoke devours
her. She COUGHS. Stares. It's clear she don't know jack
shit about engines.
FOOTSTEPS. Piper slips the keys between her fingers. Ready.
Milton appears through the smoke.
MILTON
Car trouble?
Piper stares. It's the way he said it. Too knowing.
Milton glances at the engine.
MILTON
Oh, that's not so bad. I can fix
that for you if you like.
13.
PIPER
I would. Thank you.
MILTON
If you give me a lift.
PIPER
I'm only going as far as Blackfoot
Falls. The truckstop there.
MILTON
And I'd be much obliged.
Milton leans in, flicks something then rises and THUMPS the
hood shut with a smile.
MILTON
Shall we?
INT. GTO - DAY
Piper behind the wheel focuses on the road. Milton sits in
the passenger seat, hugs his duffle bag, glances at Piper.
Suddenly Piper turns on him.
PIPER
Get it straight old man. I ain't
sleeping with you.
Milton chuckles.
MILTON
Darlin, my days of bedding a gal ten
minutes after I meet her are over.
PIPER
Yeah. Well, that's good to hear.
MILTON
(TO HIMSELF)
For now, anyway.
EXT. HIGHWAY 70 - LAURA'S TRUCK STOP MOTEL - DAY
Several big rigs are parked near the truck stop. A few
derelict vehicles outside the adjacent run down old motel.
Piper's GTO pulls in and parks near the road.
14.
Piper climbs out. Milton rises stiffly and crosses toward
her as he tosses the duffle over his shoulder. He offers his
hand, gives her a smile.
MILTON
‘Preciate the ride, ma'am.
Milton crosses toward an old Superman style phone booth.
EXT. LAURA'S MOTEL - DAY
Piper inserts her key, glances back at Milton.
He's in the booth now, his back to her.
Piper turns the key and opens the door.
INT. LAURA'S MOTEL - ROOM 9 - DAY
First thing we see is MONA'S naked ass and back. Long red
hair, she is riding a naked FRANK. Neither realizes Piper
has opened the door.
MONA
Oh Frank, you know how long I've
wanted to feel you inside me?
FRANK
Faster.
MONA
Oh, you want it faster?
Mona thrusts her pelvic the tiniest bit faster.
Suddenly Piper's hand clinches a handful of red hair and
yanks! Mona SCREAMS in pain, Frank YELPS in fear as Piper
drags Mona backwards off the bed.
EXT. LAURA'S MOTEL - DAY
Piper drags Mona, KICKING and SCREAMING, into the lot, then
drops her and whirls toward the room--
-- where Frank struggles, desperate to find his pants.
MONA
What's the matter with you?! You
psycho bitch from...
15.
Piper spins on Mona, points a finger in warning.
PIPER
Don't.
It shuts Mona up.
Piper storms back toward the room.
HER POV
Frank hops with one leg in his jeans. He sees her coming.
Although he's a big fella, he looks scared.
Suddenly Mona steps in front of Piper and SLAPS her across
the face!
MONA
Fuck you, Piper, we're in lo--
WHAM!
Piper clocks Mona!
Mona stands there...dazed. Swaying. Confused.
PIPER
What was that? I didn't catch that
last word.
MONA
Oh...I...I said...we're in lo--
WHAM!
This time Mona stumbles backwards and CRASHES into a metal
chair on the motel porch.
Piper brushes passed her.
INT. LAURA'S MOTEL - ROOM 9 - DAY
Piper stuffs a gym bag with clothes.
FRANK
Now baby, just hold on.
PIPER
I'm warning you, Frank. Don't come
near me.
16.
FRANK
Look, sooner you accept this is
your fault, the better.
Piper stops, turns, stares.
FRANK
Baby, I can't just turn it off.
Now you know that. I gotta have
it. At least once a day. It's in
the wiring. You did this. You
made me cheat on you. You're lucky
I'm not more pissed about it.
Piper stares for a moment. It's like she's been sucker
punched. Then she zips her bag and crosses to the door.
FRANK
Piper! Now cut it out. Enough
with the drama!
INT. HIGHWAY 70 - LAURA'S MOTEL - PHONE BOOTH - DAY
Milton watches Piper's room. It's clear the phone to his ear
is a fake out.
Suddenly a look crosses his face. He jerks around.
HIS POV
THE GAS STATION ACROSS HIGHWAY 70
...the garage. A grimy looking GREASE MONKEY is staring at
Milton, cell phone to his ear. He sees Milton see him,
quickly backs into the shadows.
FRANK (O.S.)
Piper!
EXT. LAURA'S TRUCK STOP MOTEL - DAY
Piper exits, glances at Mona, sprawled out unconscious in the
metal chair, an ASIAN MAN in a Hawaiian shirt SNAPS pictures
of her.
Piper snatches the camera and flings it against the wall
where it SHATTERS.
ASIAN MAN
Hey?!
17.
PIPER
Pervert.
Piper stomps across the lot as Frank exits, calls to her.
FRANK
Baby, Please. Now hold on. Can we
talk about this?
Piper keeps walking. Never looks back.
FRANK
Piper, stop this! You got nowhere
to go and you know it.
PIPER
I'll go to San Francisco and stay
with my cousin.
FRANK
(Realization) Whoa. You ain't
taking my car.
Piper pulls out the keys, twirls them on her finger.
FRANK
I said, you ain't taking my car, bitch.
Frank grabs her by the shoulder. Piper spins and --
WHAM!
-- punches him in the face. Caught off guard, Frank
stumbles, nearly goes down.
PIPER
Your car?! Who's been making the
payments you out of work, skanky
Mona fucking piece of shit?!
She drops the gym bag and launches into him. A blur of FISTS
and CLAWS. The tears flow. Heartbreak, anger, humiliation.
Frank stumble backwards. Tries to block the blows. WHAM!
FRANK
Stop...
WHAM!
FRANK
...hitting me!
18.
She swings but this time Frank lashes out.
KUH-RACK!
He punches her in the face. Hard. She drops to her hands
and knees. When she looks up, her teeth are caked in blood.
FRANK
You're insane, you know that? Look
what you made me do!
She staggers to her feet, sways before him.
FRANK
Come on, I'll get you some ice--
She SPITS blood in his face and SWINGS!
He blocks the blow and BACKHANDS her with the force of
thunder. She spins and SLAMS into the ground. Doubtful
she'll get up this time, then --
QUIET LAUGHTER
Frank stares as Piper rolls over.
PIPER
Frank. Sweetie. I'm gonna tell
everybody what I caught you doing
with my pink dildo.
Her laughter becomes a hysterical fit.
FRANK
That's it.
He drops on top of her, his fingers curl into a fist.
FRANK
You don't wanna fuck me? Fine.
When I'm done nobody's gonna wanna
fuck you. Ever.
PIPER
Go to hell.
Frank raises his fist into the air. Then...
MILTON (O.S.)
Hey.
Frank looks up as a boot catches him under the chin, lifting
him off Piper.
19.
Piper stares through blurry eyes as Milton drops on top of
Frank, pounding him with his fists.
FADE TO BLACK.
FADE UP ON:
EXT. COLORADO PLAINS - DUSK
The sun is a glow to the west. The horizon dances and
shimmers. Then...is that...yes. Someone is out there.
Walking toward us. As if they appeared within the heat.
ANOTHER ANGLE
We start close to the ground. Dress shoes. Suit pants.
PULL BACK TO REVEAL
The ACCOUNTANT. Least he sure as shit looks like an
accountant in blue suit and purple power tie. Not especially
large. Nice looking face. Something trustworthy about him.
Friendly even.
He loosens his tie, slips his jacket off and tosses it over
his shoulder. There's a bounce in his step.
INT. FAT LOU'S ROADSIDE DINER - DUSK
NormaJean looks up as the Accountant enters.
NORMAJEAN
Have a seat sweetie. Mary there
will be right with you.
Indian Mother Mary turns. Piper's replacement. She stops in
her tracks. Stares at the Accountant.
He winks at her.
A shiver runs through Mother Mary. She backs away then
rushes from the diner.
NORMAJEAN
Mary?!
Fat Lou leans from the Kitchen window.
FAT LOU
Where's she going?
20.
The Accountant turns to Lou. Stares. Then --
ACCOUNTANT
You. Fat fuck. Come here.
Lou stares.
FAT LOU
What did you call me?
The Accountant smiles.
Fat Lou vanishes from the window then BURSTS from the kitchen.
FAT LOU
I said, what did you call--
ACCOUNTANT
--I called you ‘fat fuck' and we had
better leave it at that unless you'd
prefer I call you ‘dead fat fuck.'
FAT LOU
Wha-what?
ACCOUNTANT
I'm looking for someone. An old
man. White hair. Five-eleven.
The Accountant smells the air, embraces it.
ACCOUNTANT
He was here earlier. Traveling
light. Likely on foot.
FAT LOU
Who are you?
ACCOUNTANT
I'm the Accountant.
FAT LOU
That's supposed to mean something
to me?
ACCOUNTANT
It will if I add you to the books.
And if you don't tell me what I
want to know...
NormaJean opens her mouth to speak. Shuts it.
21.
The Accountant turns to her, quickly. So quickly she takes a
step back.
ACCOUNTANT
You had something to say?
NORMAJEAN
He was here. Earlier.
ACCOUNTANT
Yes. We've established that.
NORMAJEAN
Terrible tipper.
ACCOUNTANT
I'm sure he was. Where did he go?
She points.
NORMAJEAN
That way. West. On foot.
EXT. HIGHWAY 70 - NIGHT
The GTO THUNDERS past.
INT. GTO - NIGHT
Piper is curled up in a fetal position in the big back seat.
She sits up slowly. Her eyes are blackened. But clearly
Milton has cleaned her up. She props herself on an elbow,
looks at the jacket covering her.
Milton is driving. He gazes out the window...up to the sky.
Piper looks.
The MOON hangs a few days from full.
Piper slides over the seat, drags Milton's jacket with her,
then slips into it, wrapping herself as if cold.
MILTON
Want me to roll the window up?
PIPER
You didn't kill him did you?
22.
MILTON
No but he'll likely piss blood for
a day or two.
PIPER
Thanks for that.
MILTON
Hungry?
He gestures through the windshield as they pass a “Welcome to
Utah” sign. Beyond, there are lights ahead.
PIPER
Utah?
MILTON
You mentioned San Francisco.
PIPER
Appreciate what you done for me
back there but I ain't takin you
all the way to--
MILTON
--My business is in Nevada. Can
you get me that far?
PIPER
What business?
MILTON
I'm looking for someone. You
hungry or not?
Piper considers for a moment, then--
PIPER
Yeah. I could eat.
MILTON
Name's Milton. You're Piper,
right?
PIPER
You try to kill me and dump me in
the desert I'll cut your nuts off.
MILTON
Fair enough.
23.
INT. BULL BY THE BALLS BAR AND GRILL - NIGHT
Pool tables, old pin ball machines and an odd mix of BIKERS,
COWBOYS and the SLUTS who love them.
Piper and Milton slide into a booth. Piper eyes a Latino
BUSBOY, nice biceps, jeans too tight.
ROY, a greasy fella in his fifties approaches, big happy
looking fucker, owns the joint.
GREASY FELLA
Greetings folks, welcome to the
Bull by the Balls...
He stops. Smile fades. Stares at Milton, mouth agape.
MILTON
Roy.
ROY
Milton?
Roy doesn't even try to hide his dislike of Milton.
ROY
Thought you were dead.
MILTON
You hoped I was dead. Not the same.
ROY
You planning on staying?
Milton eyes a door marked “Motel Guests”.
MILTON
Got a problem with that?
ROY
Your money's good as any I‘spect.
But be gone by dawn.
With Roy turns his back on them and walks away.
PIPER
What was that all about?
MILTON
Back in another life I used to
drive a truck through these parts.
24.
PIPER
And you'd spend the night here?
MILTON
I'd spend the night here fucking
his wife.
Suddenly Milton twists around, stares toward the bar.
PIPER
What's wrong?
MILTON
I...nothing I guess.
A large breasted waitress, fuckin' hot for a woman in her
fifties, approaches with chips and salsa. Eyes Milton.
CANDY
Well, hello. I'm Candy. Start you
off with some drinks?
MILTON
Beer.
PIPER
Same.
Candy plops two pens and index cards on the table.
CANDY
And I'll need to see your IDs.
Piper pulls her license absently and slides it over, begins
filling out the card.
MILTON
What is this?
PIPER
Guess it's been awhile since you
drove that truck through here.
CANDY
You want a drink? You gotta be a
member. Dry county.
MILTON
You're kidding.
CANDY
Welcome to Utah, Mr...
25.
She takes his license.
MILTON
Call me Milton.
CANDY
This license isn't just expired.
It's an antique.
MILTON
Fine, then bring me a milk.
She tosses his card on the table.
CANDY
For you, gorgeous, we'll break the
rules. Shhhh, don't tell nobody.
Milton watches her go. Drinking her up.
PIPER
You gonna tap that?
MILTON
Tap what?
PIPER
Jeez, Milton, how long's it been?
Sounds like you used to stick it in
anything with a crack.
MILTON
Yeah. Well. I've been distracted.
PIPER
Suit yourself. But nobody reaches
the end and says, “Wish I hadn't
fucked so much.”
Milton's gaze returns to Candy. Even a man as driven as he
needs a reboot sometimes. Candy catches his look, smiles.
Piper slides from the booth.
MILTON
Where are you...?
PIPER
I'm gonna do my nails, take a hot
bath and sleep in a warm bed.
MILTON
What about your beer?
26.
PIPER
You drink it. See you at dawn.
But she walks right passed the “Motel Guests” door and
approaches the Busboy, who's already eyeing her.
As she does, our focus settles on a shadowy area at the back
of the bar. JONAH KING steps into the light. Ruggedly good
looking. He wears a necklace with something bulky hidden
beneath his shirt. There's an old scar under his left eye
but a scar on this guy simply adds to his fuckabilty factor.
He glances at Milton then --
JONAH KING
It's Roy isn't it?
Roy spins from the bar, smiles a friendly smile.
ROY
Sure is. Get you a drink friend?
JONAH KING
Fantastic place you have here. You
don't happen to rent it out for
parties do you?
ROY
We sure do. You planing a party?
Again Jonah glances at Milton.
JONAH KING
Oh yes. Tonight, in fact.
INT. LAURA'S MOTEL - ROOM 9 - NIGHT
The Television chatters away with local nightly news. Frank
ignores it, paces on the phone. As he does, we see Jonah
King's face on the TV. The same guy from the bar. Archive
footage of him preaching, warm, friendly.
27.
FRANK TV NEWS
Mom...Mom...Mom! Would you Reverend Jonah King, the self-
shut up and listen?! I've proclaimed prophet whose
lost her for good this time. church has come under fire
She's gone. I just want my for his anti-establishment
car back. (a beat) messages, is wanted for
Because...because...arrrg! questioning in the brutal
Because I smacked her one, murder of the young parents.
okay?!. Smacked her a couple While police say this is a
of times, in fact. (a beat) routine questioning witnesses
You don't think I know that?! place King in the area and we
Mom...Mom! It's over! End of have recently learned that
story. She ain't coming King had a prior relationship
back. Mom...mom...Mom! with one of the deceased.
KNOCK KNOCK
FRANK
I gotta go.
Frank clicks his phone shut, jerks the door open to find --
The Accountant smiling at him.
ACCOUNTANT
There was an old man, yes?
FRANK
Wha?
The Accountant sniffs the air.
ACCOUNTANT
White hair. Angry with attitude.
FRANK
Sumbitch kicked me in the face.
Who are you?
ACCOUNTANT
I'm the Accountant.
FRANK
The wha? I called the cops, not a
bean-counter?
ACCOUNTANT
The old man? Where did he go?
FRANK
Fuck should I know where he went?
I woke up and all three were gone.
28.
ACCOUNTANT
All three?
FRANK
The bitch, the old man and my car!
ACCOUNTANT
What kind of car?
FRANK
You know what, fuck you. You ain't
no cop. I'm done talking.
Frank starts to close the door but the Accountant grabs his
wrist, twists him around and shoves him into the room!
Frank doesn't stumble forward. He flies. Lifted off the
ground his toes drag the floor, Frank SLAMS into the opposite
wall and bounces into the dresser.
FRANK
You son of a --
Frank staggers to his feet. Dazed. Mouth bleeding. He
wipes blood onto the back of his hand.
FRANK
You...you made me bleed.
Frank pulls a baseball bat from behind the dresser.
FRANK
You leave me no choice but to beat
you with this Louisville Slugger.
Frank takes a step, swings at the Accountant.
The Accountant dodges.
Bat SMASHES down on the TV. SPARKS & GLASS fly.
The Accountant STOMPS on the bat, SNAPS it in two.
SLOMO: The short end rips from Frank's hands, knocks him
backwards. The piece spins in the air - for a second, hangs
there until...
The Accountant snatches it, letting his follow-through gather
momentum.
Frank can only watch as the Accountant -
HURLS THE JAGGED TIP OF THE BAT RIGHT AT HIM --
29.
The tip STRIKES Frank in the shoulder with such force, it
impales him up to the knob. Drives him backwards where it
embeds into the wall!
The Accountant grabs the broken barrel end of the bat, tosses
it from hand to hand with a loud SLAP of flesh on wood.
ACCOUNTANT
What kind of car?
FRANK
(dazed) I...what?
ACCOUNTANT
Your car. What kind is it?
Frank stares down at the bat protruding from his shoulder.
FRANK
Wha...what did you do?
The Accountant reaches out and twists the bat. Frank SCREAMS
out in pain.
ACCOUNTANT
Answer the question.
FRANK
A ‘67 GTO! Arrgg!
The Accountant turns and walks toward the door. Stops to eye
a framed photo of Piper and Frank on the dresser.
FRANK
Hey! Just hold on!
The Accountant pivots and flings the barrel of the bat.
FRANK'S POV
It's coming right at his face. Frank tries to dodge...twists
his head...no good.
The other end of the broken bat RAMS through his face, PINS
his head to the wall. The words Louisville Slugger just
visible where Frank's face should be.
EXT. LAURA'S MOTEL - NIGHT
The Accountant exits as two STATE TROOPERS approach, their
vehicle parked behind them.
30.
TROOPER #1
Frank Raimi?
TROOPER #2
You called about a stolen car?
The Accountant gestures over his shoulder.
ACCOUNTANT
In there.
Trooper #1 moves toward the opened door. The Accountant
steps in front of Trooper #2.
ACCOUNTANT
I'm looking for someone. Five-
eleven. White hair. Driving a ‘67
GTO. He's traveling with her.
He hands Trooper #2 the framed photo.
TROOPER #2
Excuse me?
The Accountant pulls a shiny, ancient coin, worn from being
worried over the years, from his pocket. He tosses it, the
coin catching the light, glinting madly. Trooper #2 stares at
it. Can't seem to take his eyes off it.
Trooper #1's eyes widen as he stares into Frank's room.
TROOPER #1
Jesus.
He pulls his gun. Points it at the Accountant.
TROOPER #1
Keep your hands where I can see them!
ACCOUNTANT
Troopers, this is your lucky day.
Trooper #2 is watching the hypnotic glinting coin.
ANGLE - High looking down on the trio as the coin spins right
in front of us - we glimpse the ancient face in the worn
silver - Roman maybe?
TROOPER #1
Show us your hands, asshole.
(to his partner)
What's the matter with you?! Draw
your weapon!
31.
Trooper #2 slowly reaches for his gun until...
The Accountant snatches the coin from the sky, thrusts it at
the two cops.
ACCOUNTANT
Here. Look at this.
They don't see a coin. But a badge. Letters F.B.I. on it.
TROOPER #1
You're... you're a Fed?
ACCOUNTANT
In pursuit of a white haired man. John
Milton. He's travelling with the girl
in this picture.
Trooper #1 fixes his eyes on the photo of Piper & Frank in
his partner's hand. Lowers his weapon.
TROOPER #1
But, that guy, in the room. He's -
ACCOUNTANT
--Dead. Yes. I'd say it's
unfortunate, but I'd be lying.
World won't miss him. Look,
troopers. I need your help with my
pursuit of this fugitive. If we,
we three, can apprehend him...you
are ambitious, correct.
TROOPER #2
I guess...
TROOPER #1
Yes, we are...
ACCOUNTANT
Wasn't actually a question. I can
tell you are. Success will mean
promotion. Pay raise. I guarantee
it. Now we are going to hunt this
Milton, we are going to find the
GTO he's driving and when we find
him, you will shoot to kill. You
understand? Shoot. To. Kill.
The Accountant's voice is velvet. Hypnotic. Seductive.
Purposeful. Promising glory with a hint of damnation.
32.
TROOPER #1
That's against protocol...
ACCOUNTANT
This man is highly dangerous. He
has killed and will kill again. He
must be taken down on sight. The
time it takes you to follow your
protocols is the time it takes him
to end your life.
The Accountant crosses to the cruiser's back door, the coin
disappearing back into his pocket.
ACCOUNTANT
Shall we?
INT. BULL BY THE BALLS MOTEL - NIGHT
We're staring into two motel rooms. We're cheating...the
wall that divides the rooms...divides the screen. The beds
in each room butted up against the dividing wall.
On one side we see Piper, on her back. Still clothed. At
her feet, on his knees and completely naked, the Busboy.
He's painting her toenails.
On the other side we see Milton, on his back. Candy riding
him like a fucking big-tittied stallion. Candy is a SCREAMER.
The Busboy looks up, timidly. Then...
BUSBOY
Uh, are we gonna do it?
PIPER
Well, I don't know, baby. Depends
on how well you do those nails.
Now pay attention. You might need
to redo that one.
He hunches over and gets back to work. As Piper ties her
hair up with a pink bandanna. Candy's SEX SCREAMS are
starting to annoy the fuck out of her.
She twists around with frustration and POUNDS the wall.
PIPER
Shut the fuck up in there!
Milton twist and POUNDS the wall right back.
33.
MILTON
You shut the fuck up!
That's it!
Piper swings her legs off of the bed. Busboy wasn't prepared
and topples backwards to the floor.
PIPER
(giggles) Oh! Sorry, I didn't
mean...
She stops. Stares.
Movement. Someone stepped quickly away from the window.
INT. BULL BY THE BALLS BAR AND GRILL - NIGHT
Piper BURSTS into the room ready to kick ass and take names.
But...the place is...empty. Food still on the plates. Beer
in the mugs. The TV over the bar is still on.
We see footage of a Nevada Amber Alert. “Baby Tabitha still
missing” A photo of a baby in pink onesie. Then appearing
beside it...the photo of Jonah King.
TV NEWS
...issued an all points bulletin for
Jonah King's immediate detention in
connection with the murder of a young
married couple in Loveland, Colorado.
Their infant girl is believed to have
been abducted by this religious sect.
A nation-wide Amber Alert is now in
full effect.
Piper stares at the TV for a moment, then scans the bar.
What the fuck?
She eyes the EXIT sign where an assortment of athletic
equipment hangs from the wall.
EXT. BULL BY THE BALLS BAR - BACKLOT - NIGHT
Piper exits with a hockey stick.
A few cars are left in the lot. A black Chevy van with flames
stands out, parked in front of a barn/storage building.
Piper crosses to a window in the bar/motel.
34.
THROUGH WINDOW
Busboy sits on Piper's bed. Still naked. He holds her nail
polish to his nose. Sniffs. Jerks his head back.
PIPER
Imbecile.
A NOISE
Piper spins, grips the hockey stick.
No one. The cars are empty. The barn looks undistur...
A light GLOWS within the barn, bleeding through the wood
slats. Then...
CRREEEEEEEK...barn door slowly swings open.
...revealing THREE SILHOUETTES backlit by a hanging lamp.
One holds a shovel. The other heaves an ax over his
shoulder. The third holds a shotgun.
The side door on the flamed van slides open. TWO SILHOUETTES
step out. Baseball bat and machete.
FOOTSTEPS
Piper spins as THREE DARK FIGURES appear around the side of
the bar/motel. Sledge hammer, iron pipe, sickle.
Surrounded. All seven begin walking toward her.
Piper rushes back inside.
INT. BULL BY THE BALLS BAR - NIGHT
Still empty. Piper turns toward the door marked “Motel
Guests” then hesitates.
Instead she dives under a booth table...as...
The back door opens.
PIPER'S POV
LEGS. Three sets. Beat up sneakers. Work boots. Cowboy
boots with a duct tape patch.
A door opens. Piper sucks in breath. More legs appear.
ANOTHER ANGLE
35.
Shadows approach the desk counter near the “Motel Guests”
door. There's an open guest book on the counter top.
CLOSE ON GUEST BOOK
As a weathered hand comes into view. A finger traces down to
the last two entries.
Piper Lee RM 111
John Milton RM 112
INT. BULL BY THE BALLS MOTEL - MILTON'S ROOM - NIGHT
Candy's still on top. She is, as we say in the fuck
industry, “close”.
CANDY
Close'm'close'm'close'm'close.
Suddenly Milton's head jerks toward the door.
His hand shoots beneath his pillow as--
The door BURSTS OPEN!
MAN WITH AN IRON PIPE held high rushes into the room.
Milton comes up with a 357 hand cannon!
KAFOOM!
IRON PIPE is BLOWN backwards into MAN WITH MACHETE!
Milton thrusts upright, suddenly Candy finds herself beneath
him as --
Machete HEAVES Iron Pipe to the side and rushes toward Milton
as -- KAFOOM! He's blown off his feet!
KER-SMASH!
The window shatters as a MAN WITH BASEBALL BAT dives, hits,
rolls and comes up swinging!
Milton snakes an arm beneath Candy and rolls from the bed
with her! As they fall--
The bat SLAMS onto the mattress just missing them as --
KA-BOOM!
36.
Milton turns Baseball Bat's head into a canoe!
Milton on bottom again as they crash to the floor, still
intertwined.
FWOOM!
The door adjoining Milton and Piper's room EXPLODES open at
his feet!
MAN WITH AXE and MAN WITH SHOTGUN enter!
Milton, presses Candy's face into his chest, twisting his
body to shield her as his 357 THUNDERS twice!
Shotgun's eye vaporizes in a mist! He drops to his knees.
Man with Axe clutches his throat...blood gushing...turns and
flees back into the adjoining room as --
KUH-FWAM!
The bathroom door flies open!
MILTON'S POV
Staring under the bed, Cowboy boots with duct tape patch
appears.
Chamber opens. Shells drop to dirty carpet. Milton rolls
Candy over, still connected. Fumbles in his bag on the floor.
COWBOY with SLEDGE HAMMER freezes at the carnage. Can't see
Milton. Because he's hidden by the bed.
COWBOY WITH SLEDGE
Old Man. You know you can't stop
what's comin' That little girl's
as good as dead.
TWO BULLETS slide into the 357. Chamber SNICKS shut.
Milton aims under the bed. FIRES!
Half the man's foot is blown to hell! He hops then crashes
to the floor!
He and Milton make eye contact beneath the bed...a nanosecond
before Sledge Hammer's forehead implodes.
A NOISE
Milton rolls Candy beneath him again and raises his head just
in time to see--
37.
MAN WITH SICKLE enter!
He stares at his dead comrades in rage then glares at Milton.
The glare becomes fear.
Milton's already aiming the 357, then --
CLICK. CLICK-CLICK-CLICK
Sickle smiles, raises the bladed weapon and--
KUR-RUNCH!
The top of his head SPATTERS BLOOD as a hockey stick crashes
down from above and behind.
Sickle drops to the floor revealing Piper, white knuckling
the hockey stick...her face pale.
MILTON
Thanks. Apparently I shot my wad.
Milton stares down into Candy's face.
Her whole body QUAKES...CONVULSES. She sucks in breath and
opens her eyes.
CANDY
Jesus Christ. You're the best fuck
I've ever had.
Piper crosses to the adjoining room.
CANDY
Hello? Do you mind?! We're...
Candy sits up and suddenly takes in her surroundings. She
SCREAMS, wraps herself in a sheet and flees from the room.
PIPER'S POV INTO HER ROOM
Man with Axe is lying face down in his own blood. Dead. But
it's Busboy who draws Piper's attention. Lying beneath blood
drenched white sheets. He never saw it coming.
PIPER
Aw, hell.
Milton, in pants, pulls his shirt on, rolls Man with
Shotgun's face with his boot. Reloads the 357.
MILTON
I definitely got their attention.
38.
PIPER
What. The fuck? You know these people?
Milton flings his duffle over his shoulder.
MILTON
Come on. There are probably more.
EXT. BULL BY THE BALLS BAR - FRONT - NIGHT
Jonah King slips from the bar and rushes toward a parked
Sedan. He POPS the trunk and grabs a gym bag. As he crosses
toward the Driver's side door...
The gym bag starts to CRY.
JONAH KING
Shhhh. Don't cry little precious.
FF-FFUMP! Two doors shut.
Jonah King turns, freezes.
Our two State Troopers stand near their parked cruiser,
staring from Jonah to the CRYING gym bag.
For a cop, this is that one in a life time event. A career
maker. News. Media. Leno. Then--
The cruiser's back door opens. The Accountant steps out. He
ignores Jonah King and the crying gym bag.
ACCOUNTANT
Troopers. Remember why we're here.
He walks by them towards the front door of the bar.
Both Troopers turn and move around the side of building.
Jonah King...stares...stunned, he absentmindedly scratches at
the old scar on his face then leaps into the Sedan with the
gym bag, engine ROARS to life.
EXT. BULL BY THE BALLS BAR - BACK LOT - NIGHT
Milton and Piper exit into the back lot.
PIPER
Milton, I'm serious! I want some
answers!
39.
They turn as the SPEEDING Sedan tears onto the highway. As
it disappears behind the barn it reveals --
--Man With Shovel. He FLINGS the barn doors open, stares at
Milton and Piper for a moment then vanishes within.
MILTON
Yeah, we both want some answers.
Milton moves toward the barn as--
The State Troopers walk around the bar.
Everyone freezes.
The Troopers stare from Piper to Milton, then back to Piper.
Recognition.
MILTON
Aw fuck.
Milton grabs Piper, places himself between she and the
Troopers as they go for their guns.
MILTON
Come on!
Milton pulls the 357 and opens fire!
The Troopers, emboldened and fearless, stand their ground and
shoot back!
FFFUMP!
Milton staggers, clutches his side. A crimson spot spreads
across his belly. Piper tries to catch him as he stumbles,
falls to one knee, his duffle tumbles to the ground, clothes
spilling from within.
PIPER
No!
The Troopers keep FIRING!
Piper stares down at Milton's open duffle. There's a gun
lying within the spilled clothes. An ancient six shooter.
We get just a glimpse, but we can tell this isn't just any
old gun. There's detailed inscriptions scrawled into the
metal. The steel of it is thick, tarnished and somehow angry.
She reaches for it.
40.
MILTON
No! Not that one.
He shoves the 357 toward her. Piper snatches it without
hesitation, rises and --
KUPOW!
Trooper #1's chest EXPLODES. The force spins him...still
firing...he SHOOTS Trooper #2 in the ear!
Both men crash to the ground. Dead.
KAFOOM!
The barn doors explode outward as a big Dodge truck powers
toward the highway, Man with Shovel behind the wheel.
Piper turns to find Milton struggling toward the GTO.
PIPER
What are you doing?!
MILTON
Have to stop him...
PIPER
Milton! Those cops weren't trying
to arrest us!
MILTON
No. They weren't. Get in.
Milton climbs behind the GTO's wheel.
PIPER
I'll drive.
MILTON
You gotta patch me up. I'll drive.
Piper fumes but climbs into the passengers seat.
INT. GTO - NIGHT
The car RUMBLES to life!
PIPER
They were trying to kill us!
MILTON
Yes.
41.
PIPER
They were trying to kill you.
MILTON
Yes.
Milton floors it! As the GTO fishtails toward the highway--
THROUGH WINDSHIELD
The Accountant steps from the back door of the bar.
Hunter and Hunted glare.
MILTON
Christ.
Piper's attention is still on the dead cops.
PIPER
Christ is right! They start
shooting with no warning?! What
are you, a murderer? You escape
from prison or something?
The GTO tears onto the highway!
IN REARVIEW MIRROR
The Accountant just stands there...fading into the darkness.
PIPER
Well?! Which is it?!
MILTON
Both.
Piper raises the gun, points it at Milton.
PIPER
What have you gotten me into? I
should...I should...Jesus, I just
killed a cop! I'm going to prison.
Give me one good reason I shouldn't
shoot you in the face.
MILTON
Because I'm driving.
PIPER
You know what I mean!
42.
Milton gestures through the windshield, toward the distant
brake lights ahead.
MILTON
They took my grand-baby. Took my
grand-baby and killed my...
He breaks off. Looks away.
THROUGH WINDSHIELD
We see the lighted Amber Alert sign come into view and
quickly blur passed.
Piper stares at Milton.
PIPER
The little girl on the news? The
baby girl they're looking for?
Milton nods.
PIPER
But the news said the baby's
parents were...
Piper stops.
Milton's eyes glisten. He speaks in a whisper.
MILTON
Sons of bitches killed my daughter.
Piper stares. Milton steadies himself.
MILTON
So Yeah. I busted out. And I'm
gonna get my grand-baby back. I'm
gonna get her back and I'm gonna
kill every last one of the fuckers.
(A BEAT)
You want out, I'll understand.
Piper considers, then --
KUH-FWAM!
They both slam into their seats as the GTO is rear-ended.
43.
EXT. GTO - NIGHT
It's the Trooper's cruiser. The Accountant, face blank, sits
behind the wheel.
INT. GTO - NIGHT
Milton fights with the wheel as the muscle car fishtails. He
mashes the accelerator pulling out of the spin!
MILTON
In the back seat. Now.
PIPER
What? Why?
MILTON
Now!
Piper scrambles into the back seat as Milton watches the
cruiser pull up along side him.
MILTON
Shotgun. It's already loaded.
Piper digs the shotgun from the duffle and heaves it into the
front seat.
MILTON
Have the other one ready. Not the
357. The OLD one.
THROUGH PASSENGER WINDOW
The cruiser pulls up and matches the GTO's speed. After a
beat the Accountant turns and smiles at Milton.
Milton smiles back, lifts the shotgun, shoves the barrel
through the passenger window.
BOOOM!
EXT. HIGHWAY 70 - DRY GORGE BRIDGE - NIGHT
The cruiser's driver's side window explodes.
INT. GTO - NIGHT
MILTON'S POV
44.
The Accountant brushes shattered glass from his shoulder.
When he looks back at Milton its with a face of arrogance. A
cat toying with a three-legged mouse. He pulls the cruiser
next to Milton. Matches the GTO's speed. Shouts across.
ACCOUNTANT
It's over, Milton. Stop the car.
MILTON
I can't do that.
ACCOUNTANT
Really? What makes you think you
have a choice?
MILTON
I got something I gotta do first.
ACCOUNTANT
Then you should have done it a long
time ago.
MILTON
I didn't have to do it a long time ago!
ACCOUNTANT
Milton, I will kill that nice woman
in the backseat to get to you.
MILTON
I won't let you do that.
ACCOUNTANT
Again. What makes you think you
have a choice?
MILTON
(TO PIPER)
Now.
Piper hands Milton the ancient Six Shooter. Milton snatches
it, points it across the gap between cars, pulls back the
hammer with a thunderous...KUH-THUNK.
MILTON
This does.
The Accountant's eyes widen.
SSHHU-BOOOM!
45.
It's as if God tripped, fell and the entire earth shook as a
result!
The recoil nearly rips Milton's arm off.
We travel with the slug, fire trailing it, as it SLOMOs
toward the Accountant...his eyes continuing to widen...the
muscles in his face contracting.
INT. CRUISER - NIGHT
The Accountant cuts the wheel. Hard.
He wracks his head around as the slug just kisses his cheek.
EXT. HIGHWAY 70 - DRY GORGE BRIDGE - NIGHT
The Cruiser SLAMS into the guard rail! The back-end rockets
forward as the cruiser goes into a spin.
The GTO fishtails away.
INT. GTO - NIGHT
Milton fights with the wheel as --
IN REARVIEW MIRROR
The Cruiser bucks up and over the guard rail.
EXT. HIGHWAY 70 - DRY GORGE BRIDGE - NIGHT
The Cruiser, spins like a top, helicopters out over the
nothingness and plummets to the dry valley below.
KER-FRUNCH!
And flattens sending out a dusty shockwave in all directions.
INT. GTO - NIGHT
Milton manages to stop the GTO before it slams into the rail.
The GTO BUCKS and STALLS.
He breathes a sigh, then turns and stares in the direction
they'd been going.
He can just make out the fleeing Cultist's tail lights.
46.
The back door opens. Piper leaps out.
MILTON
Piper! Wait!
Milton watches the taillights vanish over a distant ridge.
He starts the engine...then hesitates...
THROUGH BACK WINDOW
Piper approaches the destroyed guard rail.
EXT. HIGHWAY 70 - DRY GORGE BRIDGE - NIGHT
Piper stares into the valley below.
HER POV
We can just make out the flattened Cruiser in the light of
the three quarter moon. No fireball. No smoke. No sign of
movement. Just flattened metal.
PIPER
He's not one of the ones who took
your granddaughter, is he?
MOVE TO REVEAL
Milton stands behind her. Shakes his head.
MILTON
Someone else.
PIPER
Is there anyone not trying to kill you?
Milton stares up the road. Piper considers, then --
PIPER
Come on. I'll help you. But
we're dealing with that first?
She points to his blood soaked shirt.
EXT. HIGHWAY 70 - NIGHT
The GTO THUNDERS beneath a starry sky.
47.
INT. GTO - NIGHT
CLOSE ON SPEEDOMETER
The needle hovers at 95 mph.
PULL BACK TO REVEAL
Piper behind the wheel. Milton, shirtless, his stomach
wrapped in homemade bandages, grabs his shotgun, reloads.
MILTON
My daughter got mixed up with the son
of a bitch right out of college.
PIPER
She knew him? She knew Jonah King,
the man they think killed...
She stops herself.
MILTON
She knew him. The world was in a
fuckin tailspin and King was
preaching quiet revolution.
He places the shotgun on the dash, grabs the 357.
MILTON
It was four months before she
realized ‘quiet' meant hiding in
the basement, cutting the heads off
chickens.
PIPER
Jonah King was into voodoo?
Milton reloads the 357, slowly, methodically.
MILTON
Voodoo, the occult, not much he
wasn't into. When she told him she
was leaving, he helped her pack.
Gassed up her car. Cooked her a
hot meal. Then while she slept he
broke her leg in three places with
a tire iron.
PIPER
Jesus.
She twists her pink bandanna nervously in her hands.
48.
MILTON
She learned her lessen. Was a good
little follower for eighteen
months. That's when they met with
some witch doctor bullshit artist
in Chinatown. It was Chinese New
Year so the place was wall to wall
slants. She saw her chance,
stabbed Jonah in the face with a
souvenir corkscrew and vanished
into the crowd.
PIPER
Milton. Your daughter was in a
cult for two years and you didn't
know? Why didn't you help her?
Milton grabs the ancient six shooter. It's got real weight.
His blood-stained fingers run down the scrolled steel. The
gun almost seems alive. Pops the chamber.
MILTON
I didn't find out about any of this
until...until I got locked up.
Only two bullets left. He SNAPS the gun shut.
Shoves it into his duffle.
PIPER
Not gonna reload?
MILTON
Only had three bullets to begin...
PIPER
Milton.
THROUGH WINDSHIELD
Lights ahead. Several. And road flares. There's been an
accident.
Milton eases the shotgun into his lap.
EXT. HIGHWAY 70 - CRASH SITE - DAWN
Several vehicles and an RV block the road. The PASSENGERS
scramble back and forth. There's a jack-knifed flatbed, a
crumpled Station Wagon and the Cultist's Dodge truck is
overturned on the shoulder.
49.
INT. GTO - DAWN
PIPER
That's his truck.
MILTON
Stay put. I won't be long.
EXT. HIGHWAY 70 - CRASH SITE - DAWN
Milton climbs from the GTO and crosses toward the overturned
Dodge. He lets the shotgun dangle at his side, keeping it
hidden behind him.
TATTOOED GUY and SKANKY GAL stand near the RV with MAN IN
LEATHER JACKET. BUSINESS WOMAN paces on her cell phone.
Milton glances at MAN WITH WIG sitting in the driver's seat
of his station wagon, his face in his hands. LADY IN
LEOPARDSKIN HOTPANTS kneels beside him. In the passenger
seat, BURLY DUDE's on his phone. Watching Milton.
There's a couple near the overturned Dodge. TRUCK DRIVING
WOMAN gazes into the upsidedown cab. THIN OLD MAN rises and
nods as Milton approaches.
THIN OLD MAN
I think he's gonna be okay.
MILTON
Is that right?
In a swift move, Milton RATCHETS a shell into the chamber,
drops to one knee, aims into the cab.
MILTON'S POV
The cab is empty.
Somewhere near, we hear a MUFFLED BABY'S CRY.
CLOSE ON MILTON'S FACE
Realization. Shit. But it's too late.
A snub-nosed .38 appears at his temple.
THIN OLD MAN
I wouldn't.
50.
PIPER (O.S.)
Milton!
Milton rises slowly and takes in the situation.
Tattooed Guy comes up fast behind the GTO. We get a good
look at him. It's Man with Shovel. Piper's getting out,
doesn't see Tattooed Guy until he's grabbed her. Presses the
pistol in her ribs.
PIPER
Hey! Let me go, fucker!
She goes to fight but Man in Leather Jacket approaches her
with an axe. Burly Dude is with him.
MILTON
Don't Piper! (to Thin Old Man)
Let her go. She's a pain in the
ass you don't want.
Milton still hasn't let go of his shotgun.
THIN OLD MAN
Drop it. Or we'll gut her.
To emphasize the point, Truck Driving Woman pulls a Rambo
Knife from her purse and smiles a missing toothed smile.
Milton drops the shotgun as --
--Man With Wig steps from his car with a scoped hunting
rifle. Lady in Leopardskin rises revealing a baseball bat
with nails and spikes protruding from the end.
Skanky Gal and Business Woman open the RV's door.
Jonah King steps from within then smiles down at Milton. He
cradles a baby in his arms.
JONAH KING
Milton, isn't it? Why are you here?
Why are you making such a fuss?
MILTON
Isn't that obvious, you sick fuck?
I'm here for her.
Milton gestures toward the baby.
JONAH KING
What's obvious is that you clearly
abandoned your daughter.
(MORE)
51.
JONAH KING (cont'd)
Crushed her so completely that she
told everyone you were dead. No,
Milton, I cannot in good faith hand
over this child to you.
MILTON
But sacrificing her under the full
fuckin moon, that's okay?
JONAH KING
Okay? Milton, your granddaughter is
unbelievably blessed. Look around.
The world's on fire. Companies own
our governments and the people
suffer. Daily. And will continue to
suffer until change comes. And
change will come. Thanks to your
granddaughter, Milton. She will open
the door to a new world order.
MILTON
Your BS don't work on me. You
killed my daughter but I won't let
you kill my grandbaby.
JONAH KING
Your daughter's death was an
accident.
MILTON
No shithead, it wasn't. I saw the
whole damn thing. I saw who you
are when no one's lookin'. And I
saw what that night cost ya.
Jonah's armor cracks a little as Milton faces the others.
JONAH KING
Milton, you're embarrassing your--
MILTON
(to the crowd)
--What was it three or four days
before he showed after killin my
little girl? You jerkoffs didn't
notice he was walking a little stiff?
Milton glances at Skanky Gal and Business Woman.
MILTON
When's the last time he shared a
bed with either of you? Before
that night, right?
52.
The girls shoot a nervous glance at Jonah.
MILTON
You forced my daughter onto her
knees, you sonofabitch. And she made
you pay for it.
Jonah stares at Milton in shock. How does he know?
MILTON
But don't take my word for it. Ask
him. Leather Jacket was there.
Jonah made him swear not to tell.
Jonah lifts a .38 auto from within the baby's blanket and
shoots Leather Jacket in the forehead.
Piper SCREAMS. The Baby starts CRYING.
Jonah shoves the baby into Skanky Gal's arms then swings the
gun toward Milton.
JONAH KING
Put the blonde in the RV.
Tattooed Guy shoves Piper toward the RV as Skanky and
Business woman climb in with the baby.
Jonah aims the gun at Milton's face.
MILTON
I'm only gonna make this offer
once. Give me my granddaughter and
I'll let you liv--
KAPOW!
He shoots Milton in the left eye! Milton's head snaps, he
falls to the ground on his back.
PIPER
No!!!
Tattooed Guy shoves Piper into the RV.
INT. RV - DAWN
Skanky tries to calm the crying baby. Tattoo shoves Piper
onto the travel couch then hands the gun to Business Woman.
BUSINESS WOMAN
Please. Try something.
53.
Jonah climbs into the RV, closes the door.
JONAH KING
Let's go.
PIPER
You killed him! You bastard you --
WHACK!
Piper's head rocks back as Business Woman pistol whips her.
BUSINESS WOMAN
Next time I shoot that mouth right
off your face.
Jonah gazes out the window as the RV pulls away, Piper's SOBS
rising behind him.
JONAH'S POV
Milton's body lays there. Unmoving. His one eye staring
skyward. Void of life as the RV pulls away, leaving the
cluster of cars, the wreck and body of Milton behind.
EXT. HIGHWAY 70 - CRASH SITE - DAWN
Man With Wig pops the back of the Station wagon. Truck
Driving Woman and Thin Old Man lean in, snatch two shovels.
Burly Dude drags Leather Jacket's body next to Milton's as
the others join him.
They gaze down at Milton, his one eye open and unseeing. A
single tear runs from it. The other, pools blood where the
bullet entered.
MILTON'S GOOD EYE TWITCHES.
Everyone stares. Did they just see that right?
THE 357 COMES UP IN MILTON'S HAND - FIRES!
The bullet RIPS BURLY'S SCALP WIDE. He stumbles back.
The others recoil.
Burly ROARS, blood streaming from his head wound - charges
Milton with the ax.
MILTON unleashes rapid fire lead from the 357!
54.
Burly's blown back! The others scatter as Milton staggers to
his feet! He grabs the shotgun, leans on it for support.
ON GTO
AS Milton stumbles to the open passenger door.
ANOTHER ANGLE
MAN WITH WIG comes from the back of the Station Wagon with
the scoped hunting rifle. Aims.
BLAM - His shot rips into the GTO, blows the side mirror off.
Milton FIRES back with the shotgun - forcing Man with Wig
back behind the wagon.
INT. GTO - DAWN
Milton falls heavily across the front seats. Ties Piper's
bandanna around his head, covers his now gaping eye.
EXT. HIGHWAY 70 - CRASH SITE
Man with Wig hasn't had enough yet. He aims the rifle.
Moves into the road. Can't see Milton in the car, but that
doesn't matter. He knows he's there.
BLAM.
INT. GTO - DAWN
The windshield SHATTERS. Glass splinters down on Milton. He
reaches for the keys.
EXT. HIGHWAY 70 - CRASH SITE - DAWN
The Cultists jump at the sound of the GTO's GLASS PACKS!
Dust rips skyward as the GTO barrels toward them!
They scramble, clawing at one another to get out of the way.
All except Man With Wig. He's playin' hero, lines Milton in
his sights. But what he sees shakes him to his core.
POV THRU SCOPE
MILTON, face bloody and twisted with rage.
55.
Man with Wig screams, falls, tries to roll out of the way.
FU-FUMP!
The wheels pound over both of his legs, SHATTERING them!
INT. GTO - DRIVING - DAY
Milton flips open the 357 as he FISHTAILS the GTO back onto
the highway. He dangles the 357 out the window.
EXT. GTO - DAY
Empty shells DANCE onto the blacktop, several SKITTER down
onto the cracked Earth and OS.
ANGLE - moving fast, the GTO's wheels consume the frame.
MATCHING TO:
A bicycle tire SKIDS to a stop before us. Then a second.
PULL BACK TO REVEAL
EXT. VALLEY FLOOR - DAY
Two TEENAGERS sit on beat-to-shit mountain bikes, staring.
THEIR POV
The cratered cruiser lies on its crushed roof, both doors
shut. No windows visible.
TEEN #1 lights a chillum pipe, inhales. Holds it, passes the
pipe, then speaks as only a pothead can.
TEEN #1
Think anyone's in there?
TEEN #2
(inhales, holds, passes)
I guess. Doors is still closed.
TEEN #1
(inhales, holds)
Bet it's sick. Wanna look?
KWU-FOOM!
The driver's side door launches right at us!
56.
...nails Teen #2 in the chest, knocking him ten feet
backwards where he skids on his back.
TEEN #1
Jesus!
The Accountant rolls from the cruiser, stands, brushes
himself off as he strides forward.
ACCOUNTANT
Carpenter and despite what you've
heard, prefers short hair.
Teen #2 sits up suddenly, coughing.
TEEN #2
You...you nearly killed me!
ACCOUNTANT
Not even close. I won't see you
again until...
He tilts his head, as if reading a sign too far away.
ACCOUNTANT
...until you're seventy-three.
He glances at Teen #1, then --
ACCOUNTANT
You, I'll see in three months.
And with that the Accountant turns and strides away.
EXT. HIGHWAY 70 - MOVING - DAY
The RV RUMBLES past, running faster than an RV should.
INT. RV - DAY
Jonah glances through the back window. Double takes.
HIS POV
A rapidly growing black blotch on the road. In seconds that
blotch reveals itself as the GTO ripping up the highway,
gaining fast. The baby SCREAMS in the background. When
Jonah speaks...it is with wonder.
JONAH KING
Look at this. He's still coming.
57.
TATTOO
Who's still coming?
JONAH KING
The old man. He's alive.
TATTOO AND PIPER
What?
Piper tries to stand. Business Woman backhands her!
BUSINESS WOMAM
Stay down! That's impossible!
TATTOO
You shot him in the face! He can't--
JONAH KING
Don't you see? We stand at the
crossroads! Did you think we would
just idly change the world? The
forces of evil challenge us! This is
wonderful! We show ourselves to be
worthy. I'm so very proud of each
one of you.
Tattoo and Business Woman beam.
Skanky pulls her tit out, shoves it in the baby's face. The
kid goes quiet as --
The back glass SHATTERS.
Everyone ducks!
EXT. GTO - DAY
Milton leans out the driver's side with the shotgun in his
left hand, his one good eye squinting as --
KAFOOM!
He fires at the RV!
He RATCHETS another shell into the chamber, takes aim
then...hesitates...
IN REARVIEW
The front end of a fast approaching vehicle!
WHAM!
58.
Milton's head snaps back as a 90 Corvette slams into the back
of the GTO.
EXT. 90 CORVETTE - DAY
Lady in Leopardskin behind the wheel, her eyes insane.
Behind the Corvette we see a ‘92 Lincoln, Thin Old Man
driving. Truck Driving Woman in a ‘95 Viper.
INT. GTO - DAY
Milton struggles to pull the shotgun back inside...struggles
to keep the big GTO on the road.
Distracted by the newcomers...we see what Milton does not.
THROUGH WINDSHIELD
The RV pulls off the road to the left.
Milton looks up just as he passes the turn off.
MILTON
Shit!
He SLAMS on his brakes.
INT. 90 CORVETTE - DAY
Leopardskin's eyes go wide. Survival kicks in. She jerks
the wheel.
EXT. HIGHWAY 70 - THE CHASE - DAY
The Corvette slams into the side of the Viper!
The Lincoln cuts hard right.
All three cars shoot pass the GTO.
Milton cuts the wheel left and floors it!
INT. RV - DAY
Piper watches as the bucking RV forces Jonah and Business
Woman to turn their backs on her.
59.
Piper leaps from the couch, rushes up behind and shoves them
toward the shattered back window!
Jonah snatches a cabinet, drops his gun!
It slides beneath the foldout bed.
But Business Woman hits the giant opening and flips up and
out of the RV!
INT. GTO - DAY
Milton looks up as Business Woman SLAMS into the ground and
TUMBLES just out of his path. She sits up...dazed. Alive.
Milton swerves...just enough...to...
KAFWAM!
What doesn't explode from the force KUH-THUMPS as the GTO
bucks over her body.
Milton grits through the pain. A bloody angry smile.
INT. RV - DAY
Jonah stares out the back glass in shock.
PIPER
Oops.
JONAH KING
I am patient and forgiving, but
that was wrong of you.
He turns to her.
JONAH KING
I'm going to kill you now. And
then I'm going to rape your corpse.
So that in the afterlife you might
consider your sin this day.
Piper CRACKS her knuckles.
PIPER
Great. Between now and then.
I'm'a fuck you up.
He takes a step and swings a punch.
60.
But she leaps at his face, closing the gap too quickly. Her
French Manicure digs in. Jonah screams. They both go down!
The baby WAILS.
Skanky crawls into the cramped sleeper-bunk above the driver.
Pulls the baby with her, tucks back into the corner, away
from the battle in the RV's cabin.
INT. GTO - DAY
Milton is gaining when --
BOOM!
The back glass SHATTERS.
EXT. DIRT PATH - DAY
Truck Driving Woman gains on Milton in her Viper. She's
being blanketed in dust. BOOM! She fires a .44 Magnum.
INT. GTO - DAY
The radio and dash explode!
MILTON
Son of a bitch.
Milton snatches the 357, points it out the back glass and
opens fire.
BOOM!
Milton's POV
A white dot spider webs the Viper's windshield left.
BOOM!
Windshield middle!
BOOM!
The windshield suddenly turns red from the inside as a dot
appears in front of the driver.
The Viper jerks right drifts off of the dirt path!
FOOM
61.
The Lincoln bursts through the dust cloud behind it. Thin
Old Man leans from the driver's window, FIRES.
Slugs PEPPER the GTO.
Milton spins in his seat.
THROUGH WINDSHIELD
The RV has pulled ahead and vanishes over a hilltop.
Milton FLOORS it!
INT. RV - DAY
Piper on top, Jonah's face looks like he ran into a barbed
wire fence! He howls in pain and manages to slip a hand
around her throat!
Piper feels it. His fingers tighten. He shoves her away
from him...she can no longer dig into his face.
Her arms flail. Reaching for anything. Grasping.
Her face turns red. Eyes bulge. Fuck.
She claws his shirt open.
And there...hanging around his neck is a small corkscrew.
Chinese in design.
She snatches it and --
SHUNK!
Stabs it into Jonah's shoulder, twists it deeper in.
He SCREAMS. Releasing her!
EXT. DIRT PATH - HILL TOP - DAY
Quiet.
FOOM!
GTO rockets over the hill top, clears the ground ten feet!
The moment the GTO touches down, Milton BRAKES!
Milton JOLTS the car into reverse! Tires SCREAM in protest!
62.
The GTO jerks backwards...climbing toward the top of the hill
in reverse when Milton SNAPS the wheel.
The GTO 180s, comes to rest just on this side of the hilltop.
Milton casually leans out of the driver's side window with
the shotgun in hand. He points it skyward as--
FOOM!
The Lincoln ROCKETS over the hilltop...and passes directly
over the top of Milton.
Milton's one good eye zeroes in on the massive gas tank
beneath the back of the car.
Milton squeezes the trigger.
The back end of the Lincoln EXPLODES as --
--The Corvette rockets over the hilltop!
INT. CORVETTE - DAY
Lady in Leopardskin's face drops.
THROUGH WINDSHIELD
The Lincoln fireball SLAMS into the ground before her!
Lady in Leopardskin shields her face as --
EXT. DIRT PATH - HILL TOP - DAY
KER-FWAM!
She slams into the burning vehicle and spins out of control!
INT. GTO - DAY
Milton kicks the car into drive, jerks a 180 and speeds off
toward the RV.
INT. RV - DAY
Jonah sits up...he pulls at the corkscrew and screams. It
won't budge.
He glares at Piper.
63.
She scans for a weapon. Nothing. She snatches an umbrella
from a coat rack. It'll have to do...
There's a machete hanging beneath it.
She drops the umbrella grabs the machete. Smiles at Jonah.
PIPER
Give me the baby and I'll make the
pain go away.
Suddenly everyone SLAMS into the side of the RV!
EXT. RV - DAY
Tattoo pulls the RV back onto Highway 70!
INT. RV - DAY
Piper clings to the old stove. She watches in horror as --
Jonah's gun slides from beneath the foldaway bed. It slides
right up to him.
He snatches it.
Piper leaps through the door.
INT. GTO - DAY
Milton is gaining as --
THROUGH WINDSHIELD
Piper swings out, clinging to the door for dear life!
EXT. RV - DAY
Piper SLAMS into the side of the RV. She tries desperately
to hold on as --
Jonah leans through the door. Gun in hand.
JONAH KING
Goodbye, child.
MILTON (O.S.)
Hey, dickless.
64.
EXT. HIGHWAY 70 - CHASE FINAL - DAY
Jonah looks up. Milton is driving beside them, shotgun in
hand, barrel aimed right at Jonah!
KUH-FWAM!
But before Milton can get his shot off --
The Corvette SLAMS into the back of the GTO!
Milton fires! Blowing a hole in the side of the RV a foot to
the right of Jonah's head!
Jonah leaps back inside the RV.
Piper clings on for dear life but she's slipping.
INT. GTO - DAY
Milton jerks the wheel.
INT. CORVETTE - DAY
Lady in Leopardskin slows as Milton's GTO goes into a spin.
There's a smile on her face. She thinks he's lost control!
Until the GTO does a 180. Milton now driving in reverse.
His shotgun pointing through the remnants of windshield...
...directly at Lady in Leopardskin.
BOOM!
Her head goes buh-bye.
EXT. HIGHWAY 70 - CHASE FINAL - DAY
The Corvette swerves off of the road, jumps a ditch and flips
thirty or forty times.
EXT. RV - DAY
Piper slips. Slips again. It's over. She knows it. Damn.
She falls.
FUMP.
65.
And lands on the hood of the GTO.
EXT. GTO - DAY
She looks up, through the GTO's windshield into Milton's
battered face. He stretches his hand out to her. Piper
snags it before slipping off into oblivion.
MILTON
Got ya.
Piper nods, crawls toward the windshield, Milton tries to
pull her in as --
KUH-THUNK....CRUNCHCHCHCH...
A horrible sound of grinding metal roars from beneath the
GTO's hood.
EXT. HIGHWAY 70 - CHASE FINAL - DAY
The GTO pulls to the side of the road.
Milton leaps out and stares.
He can just make out Jonah standing in the back window...
holding his granddaughter.
Piper eases from the hood.
She stares at her bandanna, at the blood on his face.
PIPER
Jesus, Milton. How?
She pulls him close...looks at the back of his head.
MILTON
It's still in there. The bullet. I
can feel it.
PIPER
But how...how are you still alive?
He stares back toward the RV. Just a dot on the horizon now.
MILTON
Ain't got time to die.
66.
PIPER
I tried, Milton. I tried to get
her back.
MILTON
I know, baby. I know. Jonah only
had about twenty followers. We
hurt him good today.
PIPER
Fuckin devil worshipers freak me
out. They mess with powers that
should be left alone. Turns my
shit white.
MILTON
Powers. It's all bullshit.
PIPER
No, Milton. It's real. Ghosts,
UFOs, bigfoot, that's the bullshit.
The Devil and demons? Once those
doors are opened you're fucked.
Milton rolls his one good eye.
Piper turns back to the GTO. Smoke hissing from the engine.
PIPER
What do we do now?
MILTON
I used to know a guy lived out this
way. You got one of them portable
phones?
PIPER
Portable phones? You mean a cell
phone? Yeah, in my bag.
EXT. HIGHWAY 70 - CRASH SITE - DAY
WE ARE CLOSE ON THE CRACKED EARTH
As a hand slams into view, fingers with dirt crusted nails
curl...dig into the ground.
PULL BACK TO REVEAL
Man With Wig crawls toward us. He's pale. Eyes dim.
PULL BACK FURTHER TO REVEAL
67.
His busted, mangled legs have left a slug trail of blood and
fluid stretching back to the highway.
Left hand hits the ground, right hand digs into the dirt. He
drags himself forward a few inches.
HIS POV
He's crawling toward the Station Wagon.
Someone...somewhere...is HUMMING
Wig turns, squints.
A SILHOUETTE APPROACHES
Back lit by the early day sun. There's a bounce in his step.
Wig holds his hand out to the savior as--
The Accountant's smiling face becomes clear.
ACCOUNTANT
Scorcher today, huh?
He takes a big long swing from an oversized water bottle.
MAN WITH WIG
Help me...
ACCOUNTANT
Christ on a cracker. My apologies.
The Accountant grabs the man by the collar and drags him into
the shade of the Station Wagon where he flips him around into
a sitting position.
Wig's shirt falls open revealing a pentagram tattooed above
his left breast.
ACCOUNTANT
What's that supposed to mean?
MAN WITH WIG
It's a symbol of our pact with Lord
Satan.
ACCOUNTANT
Pact huh? That's cute. Funny he's
never mentioned you.
Wig stares down at his mangled legs. The Accountant notices.
68.
ACCOUNTANT
Yeah, those are fucked. Here, have
some water.
Wig takes the offered water as Accountant kneels before him.
ACCOUNTANT
Milton's work I take it?
MAN WITH WIG
Ran me over with his...how do
you...? Who are you?
ACCOUNTANT
I'm the Accountant. I'm curious.
And I never get curious. What do
you people want with Milton?
MAN WITH WIG
You're the who?
The Accountant smiles, places his hand around Wig's clearly
shattered femur and squeezes.
Wig's body convulses! He SCREAMS.
ACCOUNTANT
Does it matter? Milton. Why is he
important to you?
MAN WITH WIG
He isn't! He's the one chasing us!
ACCOUNTANT
Why?
Wig stares...searches for an answer.
The Accountant snatches a mangled ankle and twists. Wig's
body stiffens and he SCREAMS.
MAN WITH WIG
Because! Because of what we did.
Because of who we took.
ACCOUNTANT
Color me curious. What DID you do
and who DID you take?
EXT. HIGHWAY 70 - DEAD GTO - DAY
CLOSE ON
69.
The blood stained pink bandanna. The wind pushes it gently
down the black asphalt.
PULL BACK TO REVEAL
Milton sits on the GTO's hood. Piper stands between his legs
cleaning his wound.
PIPER
Lemme know if I hurt you.
MILTON
Do what you gotta do. You get used
to the pain.
Piper pulls a black bandanna from her pack, there are white
skulls on it. She folds it, ties it around Milton's head.
PIPER
There. That's better.
When she moves aside we see she's lined up a skull over his
missing eye.
A VEHICLE APPROACHES.
Milton slides from the hood, steps protectively in front of
Piper as a banged up wrecker pulls toward them, pulls to the
side of the road.
POV FROM APPROACHING VEHICLE
From this angle it looks as though an innocent old man and
his granddaughter are having car trouble.
POV FROM BEHIND THE GTO
From this angle we can see Milton concealing the shotgun
behind him. Piper stands close, her hand on the handle of
the 357 protruding from his waistband.
ON WRECKER
As the DRIVER steps out...stands half hidden by the door as
WE --
MOVE TO REVEAL
Like Piper, the Driver has his right hand tucked behind his
back, wrapped around the handle of a .44 Magnum.
DRIVER (O.S.)
Thought you were dead.
70.
Now we get a good look at him. His name's WEBSTER. An old
black man, as tough as Milton is angry.
PIPER
Why does everyone keep saying that?
WEBSTER
Because he IS dead. Sure as shit
supposed to be anyway.
Webster and Milton eye one another for a long beat then --
WEBSTER
I carried your coffin, old man. I
was there the day we put your ass
in the ground.
Piper stares at Milton. Milton stares at Webster.
MILTON
Webster, you gonna yank that .44 or
just keep stroking it?
WEBSTER
That depends. How's this possible?
MILTON
You heard about my daughter?
WEBSTER
(SOFTENS SLIGHTLY)
I did.
MILTON
Then you know why I'm back.
PIPER
Back? Back from where? What. The
Fuck. Are you two talking about?!
WEBSTER
It true they took the little one?
Milton nods.
Webster considers for a long beat, then releases the .44.
WEBSTER
Put her in neutral. I'll pull the
truck around.
But Piper can't tear her eyes away from Milton.
71.
EXT. BULL BY THE BALLS BAR AND GRILL - DAY
Police tape, half a dozen state and county cruisers. Three
meat wagons and a news van. Humans buzz the scene like
insects. The two dead State Troopers lie where they fell.
Undisturbed. ROOKIE stands out. Young, county uniform, wide
eyed. Very busy at having no idea what he should be doing.
He scans the ground. His eyes go even wider.
ROOKIE
Sarge! Sarge look at this!
Rookie squats to the ground as SARGE, leather skin,
approaches, stares, frowns.
SARGE
Yeah?
ROOKIE
Cigarette butt.
SARGE
I see that.
ROOKIE
Sarge! It's less than twenty feet
from the victims!
SARGE
And less than three feet from the
ash bin.
Sarge points to an ash bin filled with sand. Over a hundred
cigarette butts salute the sky.
SARGE
Pay attention, Rookie.
But Rookie's attention has quickly OCD'd elsewhere.
ROOKIE
Hey!
HIS POV
CAP, an American Indian man walks the crime scene. Jeans,
cowboy boots, a “Dumbledore Dies On Page 596” sweatshirt.
His dress may look out of place but his face and attitude are
all business.
72.
ROOKIE
You! You can't be here!
Rookie rushes forward.
SARGE
Rookie!
ROOKIE
Sarge, this joker can't just stomp
around the crime scene.
Sarge catches up, nods with respect to Cap.
SARGE
Captain. Sorry about that.
Cap looks up then stares at Rookie's feet.
CAP
One of yours?
SARGE
Yessir, I won't let it happen
again.
CAP
Get him out of here.
SARGE
Cap, he's green, that's all.
CAP
He's standing on evidence.
Rookie leaps back revealing two shell casings.
Cap kneels, stares.
CAP
357.
Suddenly a Unformed Officer leans from within the bar.
UNIFORMED OFFICER
Cap! We got a live one.
INT. BULL BY THE BALLS BAR AND GRILL - DAY
Several officers motion Cap behind the bar toward an open
cabinet. Cap crosses to the cabinet and kneels.
73.
Candy hides within. Naked, hugs her knees. Shivers.
CAP
(TO MEN)
Get me a blanket. And get a medic
in here.
He turns to Candy, offers a comforting smile.
CAP
You're gonna be okay now. I won't
let anything happen to you.
CANDY
He...he killed them. He killed all
of them.
CAP
Who did?
CANDY
No. You don't understand, we was
fuckin'. He killed them while we was
fuckin'. That's never happened to me
before, has it happened to you?
Cap turns to Sarge who is standing near.
CAP
Let's get a shrink in here too.
EXT. WEBSTER'S WRECKER - DUSK - EST.
A giant barn surrounded by an army of muscle car's laid to
rest on cement blocks.
INT. WEBSTER'S GIANT BARN - DUSK
Engines dangle from assorted winches. Auto tools hang from
the walls. Stacks of tires, a pile of carburetors.
Webster throws a lever.
The wrecker winch lowers the GTO.
Piper crosses to the front, pops the hood. Webster joins
her, stares at the engine. Frowns.
WEBSTER
Engine's shot to hell.
74.
PIPER
Can you fix it?
He leans close, hands caress the engine, searching.
Somewhere near a fire CRACKLES. Piper turns.
HER POV
Milton stands just through the barn doors, stokes a fire
within a 50 gallon drum. Flames rising.
PIPER
I don't...how is this possible?
WEBSTER
He loved his daughter.
PIPER
Lots of daddy's love their
daughters, doesn't explain
shattering reality.
WEBSTER
That one loved his little girl
enough to make her hate him.
(off her stare)
Like Timmy yellin' at Lassie to go
home?
Piper looks even more confused.
WEBSTER
You never watched...forget it.
Milton was a bad husband but he was
a good father. Used to say it was
the only thing he was ever good at.
Then we went and got mixed up with
the wrong crowd. Power and money
and once you're in there ain't no
gettin' out. So to keep her safe
he vanished the year before she
went off to college.
PIPER
Obviously you got out.
Webster glances at Milton for a moment.
WEBSTER
The bastards we were workin' for, they
were gonna kill us when the job was
done.
(MORE)
75.
WEBSTER (CONT'D)
So the day before, Milton paid'em a
little visit. He went alone you see.
I didn't know. I would'a gone with him
but I didn't know.
Webster goes very quiet.
WEBSTER
Being a daddy wasn't the only thing
Milton was good at. Sumbitch was
good at being a friend.
EXT. WEBSTER'S GIANT BARN - DUSK
The sun's setting to the West. Milton stands dangerously
close to the fire. Stares at the dancing flames.
WEBSTER (O.S.)
That fire makin you homesick?
Piper and Webster approach with a six pack.
WEBSTER
Cold beer?
Milton gazes up at the moon. It isn't full but it's close.
The fire CRACKLES, POPS. He stares at it.
MILTON
You know the pain and suffering
ain't the worse part, right?
That's what they tell ya, what they
want you to believe. But it's all
a big fuckin lie. Nosir, worst
part's the goddamn video feed.
Webster and Piper exchange a glance.
MILTON
It ain't about the fire and brimstone.
Ain't about your suffering. It's
about the suffering of them you love.
Cuz you see it. You see it all. In
full goddamn detail. And there ain't
nothin you can do about it.
Milton chunks a 2x4 into the fire. Sparks SWIRL into the air.
MILTON
Fuckin son-in-law. He looked like
one of them tree-huggin piece of
shits. Wore sandals. What kind of
man wears fuckin sandals?
(MORE)
76.
MILTON (CONT'D)
(A BEAT)
But I saw how he died. Fought like
a fuckin banshee.
Milton goes quiet.
MILTON
He loved that daughter of mine.
Loved that little baby too. He
kept fightin long after he should'a
been dead. But some people's
better at killin than others. Just
how they're wired.
Milton's finding it harder to speak.
MILTON
Then them sons of bitches turned on
my...nosir, physical pain is nothin
compared to watching your baby
girl...watchin those fuckers...I'm
gonna kill'em. I'm gonna kill'em
all. And...and then I'll be done.
Milton finally goes silent.
Piper makes a noise. Involuntary. Tears stream down her
cheeks. She's trying not to sob.
Webster looks steely. Determined.
WEBSTER
Milton, I can't fix that car. But
I can get you were you need to be.
INT. WEBSTER'S GIANT BARN - NIGHT
A huge sliding barn door opens into a giant stall revealing a
1969 Chevrolet Nova 396 L-78 and a 1969 Chevrolet Camaro.
Milton and Piper stare. Webster smiles.
WEBSTER
Milt, if memory serves you were
always partial to the Nova, yes?
EXT. WEBSTER'S GIANT BARN - DISTANT RIDGE - NIGHT
We're staring down over the barn from a distant ridge as we
hear the GLASS-PACKED RUMBLE of the Nova's engine.
MOVE TO REVEAL
77.
JONAH standing on the ridge top, cell phone to his ear.
JONAH KING
Yeah, about that fella who killed
all them people at the Bull by the
Balls last night. The fella who
killed two of your cops. I know
where you can find him.
EXT. WEBSTER'S GIANT BARN - DAWN
The sun rises to the east burning off the Utah dew.
INT. WEBSTER'S GIANT BARN - CAR STALL - DAWN
Milton crosses to the 69 Nova. Stops. Stares.
HIS POV
Piper is curled up beneath a quilt in the front seat.
MILTON
What are you doing?
Piper pops awake, sits up. Already angry.
PIPER
Fuck are you doing?!
Milton stares.
PIPER
Think you were gonna sneak off by
yourself?! Go it alone?!
MILTON
Uh, no. I need your help. If
you're still willing.
Piper stares for a moment.
PIPER
Oh.
A beat.
PIPER
Well if I'd known that I would have
slept in a bed!
78.
EXT. WEBSTER'S GIANT BARN - DAWN
Milton opens the big barn doors as Piper drives the Nova out
into the sun light.
Webster approaches with a shotgun and a box of shells.
WEBSTER
Mapquest says it's an eight hour
drive and we got twelve until
midnight so we should be fine. And
get this, “The Mother of all
things”? “Bleeds black tears unto
those who cut her”? Take a guess
what's really bleeding like a stuck
pig from the marsh?
MILTON
Black tears of oil?
WEBSTER
Damn right.
MILTON
Webster, I need you to stay here.
WEBSTER
Wha? No. You went alone last time.
MILTON
I'm not going alone this time.
Piper's coming with me.
WEBSTER
You take that little girl over me?
MILTON
Give me the fuckin shells. And the gun.
Milton snatches both and hands them to Piper. He then
quickly places an arm around Webster's shoulders and walks
him out of earshot.
Piper places the gun and shells in the backseat then stares
at the two men.
They glance back at her several times. Then Webster nods.
Milton returns, slides into the passenger seat.
MILTON
Let's go.
79.
Piper stares out the window as Webster slips quietly into the
barn. He does so reluctantly.
PIPER
He's not coming?
MILTON
He's too old. He'll just slow us
down. Get himself killed.
PIPER
That's what you told him?
MILTON
That's what Timmy told Lassie isn't it?
PIPER
Who the fuck is this Timmy and
Lassie you two keep talking about?!
MILTON
This ain't gonna be easy, Piper. I
need you. That's no lie. But are
you sure about this?
PIPER
Just drive the damn car.
EXT. HIGHWAY 50 - BORDER - DAY
We see a “Welcome to Nevada” sign as --
The Nova THUNDERS past.
INT. 69 NOVA - DAY
Milton behind the wheel, Piper has her bare feet on the
windshield as she loads shotgun shells into the slits on a
hunting vest.
PIPER
I never knew him. Momma said he
was a drifter.
MILTON
I ain't your daddy.
PIPER
Fuck you if you are.
Milton notices something in the rear view.
80.
MILTON
Shit.
Piper sits up, stares.
THROUGH BACK GLASS
There's a State Trooper's car way back there. Fuck. There
are two. No lights yet but they are coming up fast.
PIPER
What do we do?
MILTON
Nothing yet. Not until...
The lights come on.
PIPER
Oh shit. They know.
MILTON
We can't stop.
Milton mashes the peddle to the floor.
PIPER
Milton, this will never work.
MILTON
It'll work.
PIPER
No. It won't. Nobody gets away
anymore. In fifteen minutes there
will be choppers, we'll be all over
the news...
She breaks off. Her mouth drops.
THROUGH WINDSHIELD
As the NOVA tops a ridge, in the distance we see a police
barricade. Several State Trooper Cruisers line the roadway
in front of a bridge crossing a dry ravine. Cruisers line
the side of the road.
EXT. HIGHWAY 50 - DRY RAVINE BRIDGE - DAY
Twenty cruisers. Thirty TROOPERS are set up behind their
vehicles, shotguns and assault rifles in hand.
81.
Cap, the American Indian Police Captain, stands in front, a
radio to his mouth.
CAP
Just keep driving him to us. We'll
do the rest. And make sure you
peel off before the fireworks.
He lowers the handset, addresses the men.
CAP
Gentlemen, these two killed two of
our own. I know you'd like them to
pay. Therefore, when I tell you to
aim for the tires, what I mean is
aim for their heads. Are we clear?
The men nod with steely determination.
CAP
Very good. Please aim for the tires.
INT. 69 NOVA - DAY
The barricade is approaching stupidly fast. For the first
time on this adventure, Milton looks...concerned.
PIPER
Just don't stop.
MILTON
Too many of them.
PIPER
Just keep driving.
MILTON
I'm...I'm sorry I got you into--
PIPER
--They took your granddaughter,
Milton, and now these badge-wearing
fuckers are trying to stop you.
You crawled out of the Goddamn
abyss...and a few fat-assed county
Mounties are giving you pause?
Your grand-baby needs you.
Milton nods. Turns back to the road.
PIPER
You know what happens to her if
they stop us.
(MORE)
82.
PIPER (CONT'D)
You lose the last connection you
will ever have to this world. You
gotta drive.
A scowl crosses his face.
PIPER
No. You don't just drive. Drive
angry! Drive with the motherfuckin'
rage that'll take us through that
motherfuckin' roadblock!
EXT. HIGHWAY 50 - DRY RAVINE BRIDGE - DAY
Sarge from earlier approaches Cap.
SARGE
He ain't stopping.
CAP
Good. Makes our job easier.
Suddenly a noise catches them off guard. They turn behind
them. Their eyes widen.
THEIR POV
A Mack Truck RUMBLES over the bridge approaching from behind
them. It's pulling 80mph at least.
CAP
Well...this is unexpected.
INT. MACK TRUCK - DAY
The Accountant is driving. Calm. Whistling.
INT. 69 NOVA - DAY
Piper and Milton stare.
PIPER
Uh...what is that?
MILTON
Get down!
83.
EXT. HIGHWAY 50 - DRY RAVINE BRIDGE - DAY
Cap and Sarge scatter! Several Troopers leap or slide down
into the ravine as --
KU-FWAM!
The Mack BARRELS THOUGH THE BARRICADE!
Several Cruisers go airborne, sailing directly at us!
INT. 69 NOVA - DAY
Milton cuts the wheel hard as one of the Cruisers ROCKETS
right at them.
EXT. 69 NOVA - DAY
The Cruiser's front end, hits the blacktop, digs in and flips
over! The Nova SCREAMS beneath it!
The radio antenna SNAPS!
INT. MACK TRUCK - DAY
The Accountant smiles. Then cuts the wheel. Hard.
EXT. HIGHWAY 50 - DRY RAVINE BRIDGE - DAY
The Mack jackknifes.
It slides sideways down the road toward the Nova!
INT. 69 NOVA - DAY
THROUGH WINDSHEILD
There's nowhere to go!
MILTON
Shotgun!
Piper shoves the shotgun in his hand. He quickly shoves it
out the window and --
84.
EXT. 69 NOVA - DAY
QUICKFIRES three blasts!
EXT. MACK TRUCK - TRAILER HITCH - DAY
The hydraulics line BURSTS! Hydraulic fluid bleeds like a
stuck jugular!
The metal brackets holding the trailer in place...RELEASE!
EXT. MACK TRUCK - DAY
Truck and Flatbed separate!
The back of the flatbed catches on a cruiser. The front
flips around.
INT. 69 NOVA - DAY
THROUGH WINDSHIELD
We can just make out the Accountant's face. He's smiling.
EXT. 69 NOVA - DAY
The Nova rips through the opening between truck and trailer!
And then blazes past the scattered and overturned cruisers
and tears onto the bridge!
EXT. HIGHWAY 50 - DRY RAVINE BRIDGE - DAY
Cap staggers into the road, FIRING at the Nova!
CAP
Hurry! After them!
Those men still near, scramble toward the working vehicles as
SCRRREEEECH.
The Mack skids to a stop behind them, now parallel across the
blacktop. Driver's side angled back at the bridge.
Every gun in the area spins as the driver's side door opens.
The Accountant steps out, big smile on his face.
85.
CLOSE ON SARGE AND CAP
SARGE
You want us to shoot out his tires?
ON ACCOUNTANT
As he smiles and flips his coin high into the air.
The surrounding Troopers stare.
The Accountant catches it. Holds it high between thumb and
forefinger for all to see.
POV FROM TROOPERS
He's holding an FBI badge in the air.
CAP
No Goddamn way. No ever-loving way
in God's good heaven are you a...
The Accountant steps down, thrusting his ‘badge' into Cap's
face stopping him cold.
ACCOUNTANT
Need you boys to stand down. Captain,
you know what this badge means, right?
Not a single gun lowers. All trained at The Accountant.
Itching to blow him out of his expensive shoes.
ACCOUNTANT
Federal Bureau of get the fuck
outta my way. You boys have
blundered into an on-going Federal
case. Now, lower your...
He stops, turns...sniffs the air.
His focus settles on a YOUNG FACED TROOPER.
ACCOUNTANT
You.
ANGLE - Looking down on The Accountant surrounded by armed
angry troopers. He steps from the truck, nudges Cap aside
like he wasn't there. Cap can't believe it.
Shot continues, moving down, closer and closer until the
Accountant is face to face with a Young Faced Trooper.
The kid keeps his gun aimed, nervous, excited and confused.
86.
Suddenly the Accountant moves fast. He bats the gun aside,
snatches the kid's uniform shirt and pulls it open, popping
two buttons.
YOUNG-FACED TROOPER
Hey, Hey!!! Cap!
And there...above the kid's left breast...a pentagram tattoo.
ACCOUNTANT
It seems you're serving two masters.
The kid says nothing stares. Every cop's gun is sighted on
the Accountant. He doesn't seem to notice.
ACCOUNTANT
Take out your phone and call him.
Call Jonah King. Tell him the old
man is dead.
The kid stares until...
CAP
Go ahead, Trooper. Do as the agent
says. Rest of you. Stand down. Now!
Guns lower. The kid removes his cell phone and dials.
EXT. HIGHWAY 50 - NEVADA - DAY
We tear West down the highway as we catch up to the Nova and
dive down...toward the back glass until --
INT. 69 NOVA - DAY
Piper stares through the back window.
PIPER
I don't think...why aren't they
following us?
Milton slips into his hunting vest. A scowl on his face.
MILTON
They're likely scared of you.
PIPER
Now what?
MILTON
Now we drive.
87.
We pull back...
EXT. HIGHWAY 50 - NEVADA - DAY
...out of the back glass as the Nova speeds up.
Faster...faster. The sun suddenly time lapses across the
sky. The landscape blurs. Only the Nova and the moving sun
remain...until the sun dips into the Western horizon and
vanishes...replaced by one hell of a bright full moon.
EXT. SOMEWHERE IN NEVADA - NIGHT
Suddenly our view veers off the highway and rips toward a
rocky outcropping in the distance.
We slow and drop toward the ground until we're mere inches
above the cracked earth...we come to a stop.
FOOM
A BOOT slams into view.
PULL BACK TO REVEAL
EXT. STILWATER MARSH - NEVADA - NIGHT
Milton climbs from the Nova. In the distance we can hear
DRUMS. BONGOS. There's CHANTING. And LAUGHTER.
Piper rises and gazes at him over the roof. She's scared.
Milton shoves the 357 into his back waistband, slides the
ancient revolver into a leather hip-holster then he leans in
and grabs his shotgun.
MILTON
Stay here.
Piper nods.
Milton moves toward the jagged rocks in the distance but soon
we can make out the flicking light of fire ahead as Milton
moves toward a cliff's edge.
EXT. STILWATER MARSH - CLIFF'S EDGE - NIGHT
Milton lowers to the ground and crawls to the edge.
MILTON'S POV
88.
A twenty foot drop off to the ravine floor below. The ravine
is filled with giant oil derricks, like metallic T-Rex's,
rising and falling to the SHRIEK of oiled metal.
And in the center of this Jurassic gathering, a CROWD of
people dance and sway around a giant bonfire. It is
celebration, ritual and orgy rolled into one.
Brawny cultists erect a makeshift stone altar. On the
opposite side of the Oil-Rig ravine - the battered RV sits
like a mobile command post.
CLOSE ON MILTON'S FACE
He was expecting less than twenty followers. There are forty
down there. Fuck.
EXT. STILWATER MARSH - NEVADA - NIGHT
Milton walks slowly back toward the Nova. His head lowered
in deep thought. How does one man and a kid take on forty?
Suddenly a look of alarm crosses his face!
He jerks the ancient revolver and aims it ahead.
HIS POV
Piper sits on the hood of the Nova next to the Accountant.
MILTON
Get away from her.
ACCOUNTANT
I think not.
MILTON
I shoot you with this, you know
what it means. No heaven. No
hell. You cease to exist.
ACCOUNTANT
All the more reason to keep Ms.
Piper in close proximity. You are
old, Milton. You might miss again.
MILTON
You can't stop me.
89.
ACCOUNTANT
Stop you? Milton, you wouldn't be
here without me, you ungrateful
shit. That roadblock back there,
that would have stopped you. So I
want you to drop that iron God-
Killer and say thank you.
Milton stares.
The Accountant, moves. Quickly. With a crisp flick,
suddenly there's a blade at Piper's throat. She GASPS.
ACCOUNTANT
I said, drop it and thank you.
Milton puts up his hand, flings the revolver into the
darkness behind him.
MILTON
Don't hurt her. Th-Thank you.
ACCOUNTANT
That's better.
He lowers the blade, but keeps Piper close.
ACCOUNTANT
You're not the first to get out and
I doubt you'll be the last but I
gotta know, HOW did you get out
with the God-Killer?
MILTON
(CHUCKLES)
I just walked in and took it.
ACCOUNTANT
You did not.
MILTON
I'm an old washed up lifer. Never
occurred to'em that I was up to no good.
ACCOUNTANT
Wouldn't wanna be you when he finds
out.
MILTON
What's he gonna do? Not let me
back in? Now, I gotta know. Why?
Why help me?
90.
PIPER
I know why. It's because of those
crazy fucks out there isn't it?
They figured something out didn't
they? Somehow they know how to
summon a piece of hell to earth.
The Accountant laughs.
ACCOUNTANT
That's cute. You haven't told her?
MILTON
She don't listen.
ACCOUNTANT
Young Ms. Piper, let you in on a
little secret. The Dark Lord?
Satan? Beelzebub? Lucifer? Simply
the warden of a very large prison.
Quiet man, actually. Thoughtful.
Well read. I happen to know the
idea of sacrificing children in his
honor annoys him greatly.
MILTON
Then why? Why help me?
ACCOUNTANT
Simple. Like the warden, we all
have jobs to do. Getting you here
makes my job easier. You get what
you want, I get what I want.
MILTON
Then help me, now. There are forty of
them down there. You and I could--
ACCOUNTANT
--No.
MILTON
BUT--
ACCOUNTANT
--No. You want to save her then go
do it. If you win, I win. If they
take you down, I win.
He hugs Piper closer.
91.
ACCOUNTANT
You like butter on your popcorn?
It's sure to be a grand show.
Piper doesn't know what to say.
The Accountant glances back at Milton.
ACCOUNTANT
You're still here? Milton, the clock
is ticking. Midnight approaches.
MILTON
Then get off my fuckin car.
EXT. OIL RIG RAVINE - NIGHT
The RV door flings open revealing Jonah King. He walks with
arrogance through the orgy around him, his followers turn to
him with reverence. His name is WHISPERED like a secret.
He approaches the make-shift stone altar where Skanky Gal
holds the baby within a bundle of blankets.
HIGH ABOVE: the moon is full and ripe.
JONAH KING
It's almost time.
Skanky Gal nods. But there is hesitation in her eyes. She's
grown attached to the baby.
Jonah takes the baby, places her on the stone altar.
JONAH KING
My brothers and sisters, we have come
so far. To this place where the
dying earth bleeds its corrupt soul
at our feet. From its death, it shall
be reborn. As we will be. We who
have survived the slings. The
arrows. The revulsion of those too
weak to believe. We have been cast
out. And hunted. But no more.
Followers gather, move in unison, dance, writhe, fuck.
Tattoo approaches with an old rusty knife. It was probably
elegant once. Now it is worthless. He hands it to Jonah.
The Followers GASP in holy awe.
92.
JONAH KING
(raising the knife)
With this sacrifice, no more will
we be shunned. They say the meek
will inherit. They LIE. We are
not meek. We are chosen. The
hounds of perdition will howl at
our command. For now we...
A HOWLING noise.
No. An engine. Distant but thunderous.
Heads turn. The sound echoes throughout the ravine then --
FOOOM!
The NOVA ROCKETS from the cliff's edge!
It plummets straight at the cultists!
They scatter! But three are not so lucky, they vanish as the
giant Chevy turns them to PULP!
Jonah's jaw drops. This can't fuckin' be.
Skanky Gal, grabs the baby and flees toward one of the giant
oil derricks!
INT. 69 NOVA - NIGHT
Milton wears a mask of rage as he rips the Nova into a 180,
his 357 aimed out the window.
KABOOM! BOOM! KUHFWOOM!
He's shooting Cultists in a barrel.
But the Nova is the better weapon. He FLOORS it, then LOCKS
the brakes, fishtailing.
EXT. 69 NOVA - NIGHT
The Nova's ass-end veers like a dragon's tail SMACKING
cultists aside with BONE-SHATTERING brutality.
EXT. OIL RIG RAVINE - NIGHT
Jonah grabs a shotgun from behind the altar, opens FIRE.
93.
JONAH KING
Kill him! KILL HIM!
Followers produce an assortment of firepower and RIDDLE the
Nova with lead!
Milton sights Jonah, ready to blow him to fuck, catches the
reverend while he cocks the pump.
JONAH can see Milton's got him.
MILTON grits and pulls the 357's trigger: Click. Click.
BLAM!
Jonah fires a fresh round - barely missing as--
Milton GUNS the engine - SMASHES two followers head on. They
fly up the hood, SMASH the glass - but shield him from
another frontal assault. Their bodies RIDDLED with lead.
The Cultists circle him to get a better shot.
A Magnum is thrust into the driver's side window - right in
Milton's face.
He leans back just as the gun is FIRED. Milton yanks the
wheel, reverses the Nova - wrenches the Magnum from the
fucker's hand. The Cultist hangs on. Claws at Milton.
Milton twirls the Magnum, gunslinger style. Jams the barrel
into the Cultist's face and FIRES.
Milton runs down any that get in his way.
EXT. STILWATER MARSH - CLIFF'S EDGE - NIGHT
The Accountant stands above the battle, Piper at his side.
He can hear her heartbeat.
ACCOUNTANT
You want to help him.
PIPER
Yes.
ACCOUNTANT
He chose you, you know that. Fast
car, spunky attitude. He put your
life at risk and you still want to
help him?
94.
PIPER
Yes.
ACCOUNTANT
Then go.
She rushes toward a goat path leading down to the valley
below. Suddenly something catches her eye.
CLOSE ON GROUND
The Ancient Revolver.
Without the slightest pause, Piper snatches it, spins and
aims it right at...
The Accountant's smiling face.
ACCOUNTANT
Hold on tight. It has quite a kick.
PIPER
If I kill you, you can't take him.
ACCOUNTANT
Someone else will come...someone
else always comes.
Piper considers, the SOUNDS of battle rising from below.
ACCOUNTANT
Piper, he didn't steal that gun to
kill me. He stole it to slow me down.
He's getting what he wanted. Now, go
to him. Before it's too late.
Piper turns and scrambles down the goat path.
INT. 69 NOVA - NIGHT
Milton is ROARING in anger as the NOVA is PEPPERED with
bullets and shotgun blasts. GLASS, SPARKS and CHAOS rain
down on him. Steam and oil SPEW from the engine.
EXT. 69 NOVA - NIGHT
Ducking in the seat, unable to see, Milton fights to keep
CONTROL UNTIL:
Jonah BLASTS the front driver's side tire, SHREDDING it -
95.
The NOVA pitches hard to the left, PIN-WHEELING right into an
oil derrick.
The SCREAM of metal on metal rips through the ravine. The
Nova SCREECHES to a halt, tires SPIN, smoke spews, gas drips
from the wreck.
Jonah and the half a dozen remaining Cultists zero in around
the Nova, guns trained on the driver's door.
Jonah nods to Tattoo who approaches close to the ground,
reaches out slowly and YANKS the door open.
KA-FOOM!
Tattoo is blown backwards by a shotgun blast!
JONAH KING
Kill him!
Jonah and his men open FIRE!
INT. 69 NOVA - NIGHT
Milton SCREAMS as the Nova's cab turns into a warzone. He
clambers deep inside the wreck. Praying they don't ignite
the leaking fuel. Then the firing stops.
EXT. 69 NOVA - NIGHT
Jonah and his men draw closer and closer.
THEIR POV
Soon they'll have a direct shot right into the Nova's open
driver's side door.
PIPER (O.S.)
HEY!
The men spin to find Piper standing behind them, ancient
revolver aimed into their group. She pulls the trigger.
KAFOOM!
Jesus wept. The KICKBACK blows Piper off her feet, the gun
jerked from her hands.
She lands on her back. Hard. The wind KNOCKED out of her.
96.
The GOD SLUG slams into a cultist's stomach. It EXPLODES
through him, and into the BATTERED RV BEHIND:
KABLAAAAM!
The RV goes nuclear - blows shrapnel and cultists helter
skelter across the ravine, shredding the remaining five.
JONAH is spattered with his men's blood, dives behind the
wreck of the Nova.
JONAH KING
Well...this has all gone to shit.
He steadies himself, grips the shotgun and shoves it into the
Nova's open driver's side door.
HIS POV
Empty. The passenger door is open. Milton is gone.
Jonah spins in all directions. Expecting a trick. But
nothing. He rushes around the Nova to find...
Milton crawling. Bleeding.
MILTON'S POV
Skanky Gal cowers twenty yards away beneath an oil derrick.
The baby wrapped in pink blankets in her arms.
Jonah walks up oozing arrogance. He knows he's won.
He places the barrel of the shotgun to Milton's chin.
JONAH KING
You lose.
(LOOKS UP)
Get over here!
Skanky continues to cower. Doesn't budge.
JONAH KING
I said get over here! I want him
to watch me kill the kid!
Skanky doesn't move.
JONAH KING
(TO MILTON)
Stupid bitch. Fine. Then just
know I promise to kill her slowly.
97.
Jonah raises the barrel to Milton's forehead then...
Someone near CLEARS HIS THROAT.
Jonah turns, stares.
The Accountant leans against the Nova's hulk. He winks.
At Jonah's feet, Milton scrambles forward and we realize he
wasn't crawling toward his grand-baby.
He was crawling toward the ancient revolver.
He snatches it, rolls onto his back as--
Jonah swings his gun toward Milton --
KAFOOM!
The burning God Slug HITS JONAH IN THE FACE!
Jonah's head is obliterated. The force yanks his headless
body into the air, spins it sky-wards in a plume of flame.
The Accountant moves away, watching as --
The burning corpse slaps onto the leaking wreck of the Nova.
THE GAS IGNITES
FLAMES ERUPT with THUNDER clear to the heavens - the Nova
ROARS one final time, living up to it's name in a furious
ball of fire that consumes whatever's left of Jonah King.
ANOTHER ANGLE
Piper SUCKS in air. Sits up. Fire lighting her face.
PIPER
Milton?!
He lies on his back several yards away.
Piper rushes up, falls beside him.
He's alive, mouth filled with blood. She takes his hand.
ANOTHER ANGLE
Skanky Gal looks up to find...
...the Accountant standing over her. He holds out his arms.
98.
She hands him the baby.
ACCOUNTANT
I'm curious. Would you have let
him do it?
She opens her mouth to speak, says nothing...
ACCOUNTANT
That's what I thought.
He turns and walks away from her.
ACCOUNTANT
See you. Soon.
Skanky bolts. Races off into the darkness.
ON MILTON AND PIPER
PIPER
Milton...no...
Milton struggles. His head lolls back and forth. Eyes flick
around. Searching.
MILTON
Where...where is she?
ACCOUNTANT
She's here.
The Accountant hands the baby to Milton.
Milton stares at the tiny face. The big bright eyes.
Innocent. Beautiful in every miraculous way.
He places her in Piper's arms.
MILTON
Keep her safe.
PIPER
I will. Anyone tries to hurt her
and I'll kill'em.
MILTON
I know. That's why I chose you.
A HORN BLARES.
They all turn toward the high cliff.
99.
THEIR POV
WEBSTER climbs from the 69 Camaro.
MILTON
Webster will look after you both.
As long as he can. And he'll keep
trying long after he can't.
PIPER
Milton. This can't...you can't
just give up. There's gotta be
something we can do to...
MILTON
Beat the devil? Nah. Never gonna
happen. I'm askin more than I have
a right to. I know it. But love
her for me, Piper. Love her and
make her yours. I don't have any
right to ask for your promise...
PIPER
(WITHOUT HESITATION)
I promise. Milton. I promise.
Milton coughs.
MILTON
Thank you.
And like that. The life fades from his eyes.
Piper holds the baby close, SOBS.
She looks up at the Accountant. But he is gone.
EXT. STILWATER MARSH - NEVADA - DAWN
The sun glows to the east as --
--Piper cradles the baby as she climbs the goat path where
Webster is waiting. He rushes to her, places an arm around
her. Leads her toward the Camaro as --
EXT. OIL RIG RAVINE - DAWN
CLOSE ON MILTON
He twitches.
100.
His one good eye opens. It rolls around then settles on
something above.
MILTON
How was that?
MOVE TO REVEAL
The Accountant stands over him.
ACCOUNTANT
I've seen better. Guess she
doesn't know you can beat him, slow
him, shoot him, even stop him...
MILTON
...But you can't kill a dead man.
Milton sits up slowly. Bones CREAK. He holds his hand out.
The Accountant takes it. Pulls him to his feet.
They turn and walk toward the rising sun.
They walk until they are just silhouettes against a bright
yellow glow...then...
...they fade into the shimmering heat...
...and they are gone.
FADE TO BLACK.
THE END
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