THE BEE KEEPER
Written by
Kurt Wimmer
VAN MORRISON'S TUPELO HONEY plays as ...
THE Rolling Countryside of North Mississippi - unchanged
since it was created by God all those years ago, floats past.
VAN MORRISON
She's as sweet as Tupelo Honey
She's an angel of the first degree
She's as sweet as Tupelo Honey
Just like honey baby, from the bee.
Fields and forests cultivated and uncultivated that glisten
in that perfect Southern light.
WOMAN'S VOICE
I don't know how to thank you, Mr.
Clay. Those things scare me
literally to death ...
INT. GARAGE - DAY
In the corner of the garage, ADAM CLAY, protected in a white
BEE-KEEPER'S SUIT, first sprays a HORNET'S NEST with FREON,
briefly freezing it ...
CLAY
The freon will freeze the nest for
a few moments - but then ...
With the end of a rake, he dislodges the nest dropping into a
paper bag, which he closes tightly around the tube of a
FLOURESCENT LIGHT BULB, whose top remains sticking out after
he has tied the bag off around it.
CLAY (CONT'D)
The hornets - well they'll wake up.
Stopping near the ELDERLY BLACK WOMAN whose home it is - who
stands at the entrance of her garage, he touches his ear.
Listen ...
Turning up her hearing-aid, she turns her head, leaning
forward slightly, eyes widening behind her glasses as ...
CLAY (CONT'D)
(a small smile)
You've heard the term, `kicked the
hornet's nest'?
... an ANGRY BUZZING begins to emanate from the bag, along
with the sound and shadows of TINY BODIES visible furiously
slamming at the inside of the bag.
2.
ELOISE
What will you do with them?
CLAY
Unfortunately - destroy them. Not
only are they potentially damaging
to people, but they can be very
damaging to bees too. Even though
there are thousands of bees, just a
few hornets can cause what's called
`colony collapse disorder'. They
can destroy an entire hive.
(a smile)
And `Where the Honey Bee goes',
Eloise - so go we.'
Clay pulls off the helmet of his bee keeper's suit, revealing
a pleasant man in his early 40's.
CLAY (CONT'D)
By the way, Mrs. Lincoln - I do
appreciate it - you putting up with
all the bees?
ELOISE
What? Oh shush. They make the
flowers so sweet and beautiful.
CLAY
(a smile)
They do.
EXT. BACK HOUSE - DAY
Stripping off his bee keeper's suit as he goes, Clay walks
with the brown paper bag, that is literally rattling with
angry awakened hornets, back towards the small home he rents
on the property.
INT. SHED - DAY
Entering, he hangs up his bee suit, and setting the raging
paper bag onto the work-bench, he squeezes it, just below
where it is tied off - shattering that portion of the
fluorescent bulb that is inside the bag.
Taking a CATTLE PROD down from a HIGHLY ORGANIZED PEG-BOARD
of tools, he touches its two electrodes to the two electrical
nodes that dot the end of the bulb that still sticks out from
the bag. He pulls the trigger and instantly ... with a snap!
3.
The portion of the light that still protrudes out of the bag
lights - as does the entire bag, fwumping! with light and
inflation as electricity rips through the released mercury
vapor and ...
Just as instantly - both go dark - and the bag goes dead
silent and still. Everything inside electrocuted.
EXT. SHED - DAY
Exiting, Clay tosses the paper bag into the garbage as he
makes his way back thru the field of flowers behind his
little rental home and to ...
The small collection of BEE-HIVES he keeps there - swarms of
bees busily rising and returning, hard at work, doing those
things that busy bees do.
Going from one hive to the next, seemingly unconcerned about
getting stung, bees seemingly equally unmindful of him - he
lifts off the hive-tops, peering in, making sure all is well.
He sits down in the semi-circle of his hives, in the field of
flowers. Leans back on his hands, crosses his legs and looks
up into the blue sky, bees buzzing everywhere.
INT. ELOISE LINCOLN'S HOUSE - DAY
Puttering a cup of tea from the stove to the kitchen table,
Eloise opens her laptop and starts her Skype app. She takes
a sip of tea and is about to start a call to her daughter
when an ANGRY RED BOX materializes onto her screen.
She pauses. Cleaning her glasses, she leans in and, lips
moving, carefully reads what it says:
Warning! Your Computer's Hard Drive Is Infected. Call 1 888
333 2487 Immediately To Avoid Complete Shutdown.
Eloise blinks at it. She tries to close the window. But the
angry message aggressively rematerializes immediately.
She glances out her window. CLAY can be seen out in the
field, tending to the hives. She thinks.
With a sigh, she picks up the phone and carefully - one
number at a time - dials the number on the screen.
The other end answers immediately.
4.
PHONE
Data Group. Good afternoon, how
may I help you?
ELOISE
Well, I just got this message
saying that there was something
wrong with my computer?
PHONE
Yes, Ma'am. What were you doing
when you got this message?
ELOISE
I - nothing - I was ... about to
Skype with my daughter. It's our
regular time.
PHONE
I see, Ma'am. Don't worry. The
message you received was from our
own Data Group software that is out
of date and will no longer allow
your computer to function with apps
like Skype or Facebook or many
others that you use and enjoy. We
have upgraded our software and will
reinstall it on your computer at no
charge. In addition, because of the
inconvenience, we will directly
deposit $100 for you today for
having been such a loyal user of
our product.
ELOISE
Oh. Oh!
(she thinks)
What did you say the name of your
product was?
PHONE
Data Group. It's works in the
background to keep your computer
safe. We're licensed through
Microsoft and you received our
software in a bundle when you
purchased your computer. Now, in
order to continue - before you
computer shuts down and ceases to
work permanently, I need you to
uninstall our old non-working
software and replace it with the
latest version.
5.
ELOISE
`Uninstall' ... ? well ...
PHONE
If you cannot do it, you can take
it to an IT person or computer shop
in your town or neighborhood.
ELOISE
.... oh ...
PHONE
Or we can do it now at the same
time that I send you your $100.
Would you like to do it now?
ELOISE
Well ... yes. I guess that would
be best. Yes.
PHONE
Not a problem. I'll need you to
type in this website:
http.teamwork.com - can you do
that?
ELOISE
Ah ... let me see ...
(typing)
... yes ... yes ...
PHONE
Great. Please let me know when
you've done this.
ELOISE
Okay, I think ... okay, yes.
PHONE
Very good. Now I'm going to give
you my username and password so
that I can directly install the new
software onto your computer. Type
Username: Friendlyfriend ... and
password, HAPPYGOLUCKY123 - all
capitol letters, okay?
ELOISE
Um ... okay ... I think ...
PHONE
Yes, I can see your computer now.
Please stand by ...
6.
She waits. Looks out the kitchen window again. CLAY
distantly visible out at the bee hives.
When she looks back to her screen, her CURSOR is racing
across it, pages like Paypal and Amazon opening and closing
with great speed.
ELOISE
(phone)
Hello?
PHONE
Yes, Ms. Lincoln. I'm here. Do
not touch your keyboard. Do you
use Paypal?
ELOISE
Paypal? No, I don't think so.
PHONE
That is not a problem. Just a
convenient way for us to pay you.
But not a problem. I see here you
do your banking on-line with the
Bank of North Mississippi?
ELOISE
Well, I don't myself. My daughter
will sometimes do it for me on the
computer when she's here.
PHONE
Not a problem, Ms. Lincoln. Will
you please go ahead and sign into
your on-line banking account now.
ELOISE
Well I ... I'm not sure I remember
my password.
PHONE
Not a problem. Just think very
hard, Ms. Lincoln. It's important
we get you your $100 today before
the offer expires. I'll pull the
page up for you. You see, there's
your user-name but your computer
does not seem to have passwords
stored. Please go ahead and enter
your password now.
Eloise looks with slight panic at the keyboard. Types a few
characters, erases them, types them in again. Cringes. Hits
enter.
7.
Wrong Username or Password returns.
ELOISE
I ... I'm sorry but I - I really
really don't remember ...
PHONE
Ms. Lincoln. This important. Do
you have an Amazon Prime account?
What is the password to that?
Maybe they are the same.
ELOISE
I don't have Amazon. But maybe I
could call my daughter and...
PHONE
No Ms. Lincoln, don't call anyone.
Time is running out and if we hang
up we may not be able to reconnect
before the offer expires. Just
take a breath - and think hard.
ELOISE
But, these things make me very
nervous and ...
(rising)
If I can just...
PHONE
Ms. Lincoln - where are you going?
ELOISE
(blinks)
What do you mean?
PHONE
Ms. Lincoln, please sit back down.
Ms. Lincoln, do you want your
computer to shut down? Permanently?
ELOISE
No, of course n...
PHONE
And lose all of your files? All of
your pictures? Of children and
family? Everything?
ELOISE
No I...
8.
PHONE
Then I need you to sit back down,
right now, and work with me in
order to get your computer fixed
and you paid your $100. Do you
maybe have your passwords written
down somewhere? Maybe in a file on
the computer? Maybe your daughter
did it for you?
ELOISE
Well ... I ...
PHONE
I'll help you look.
(sound of typing)
This Computer... Documents... Files
... ah - `passwords', perfect ...
okay, Mrs. Lincoln - stand by ...
She sits, blinking, watching as a password is typed into the
home-page of the banking website ...
And suddenly, all of her banking information scrolls onto the
screen. Including her balance of just over $205,000.
ELOISE
(a clap)
Oh! Yay! We did it!
(a smile)
Well - you did it.
But silence. No reply. Abruptly, the screen goes black.
She blinks.
ELOISE (CONT'D)
My screen just went blank.
PHONE
It's all right. Just sit tight Ms.
Lincoln while we enter all of the
necessary banking information on
our end to transfer the money into
your account ... just sit tight and
don't go anywhere or do anything...
ELOISE
Uh. Okay.
She sits. Waiting.
ELOISE (CONT'D)
Are you still there?
9.
Again, she waits. Only now, the phone in her hand begins
BEEPING. She frowns. It sounds like the line disconnected.
ELOISE (CONT'D)
Hello?
Suddenly, her screen flashes back to life with her banking
information. Squinting, she leans forward, studying it.
ELOISE (CONT'D)
... oh ...
INT. FIELD - LATE DAY
CLAY cranks the handle on the EXTRACTOR, spinning the hive
frames inside, extracting the honey.
Placing a bucket with a sieve beneath the extractor, he opens
the valve.
He can't help but smile as pure, golden honey - with small
bits of beeswax in it, comes pouring out - catching and re-
amplifying the late day's rays.
EXT. ELOISE LINCOLN'S HOUSE - LATE DAY
Holding a QUART JAR of honey, CLAY stands on the doorstep of
Eloise's house out in front of his. He knocks again. Waits.
CLAY
(calls)
Ms. Lincoln?
He turns, looks into the driveway. Her 1977 Lincoln station
wagon is sitting there. He turns back. Studies the house.
Listening ...
Tries the doorknob. It is unlocked.
INT. ELOISE LINCOLN'S HOUSE - DUSK
He steps into the kitchen. Silent in the fading light.
Except for the distant BEEPING that is coming out of the
PHONE that lies on the kitchen table beside the computer.
He registers first the phone, number on the screen along with
the message, `Call Failed. Reconnect?' still on it.
10.
He looks to the computer screen. Takes that in. Then turns
his attention to the silent house.
CLAY
Ms. Lincoln?
Nothing. Setting the quart of honey onto the table beside
the computer and phone, he starts into the house.
INT. ELOISE LINCOLN'S HOUSE - DUSK
He stops in the doorway to the living room.
The day's fading light flows like a slow tide into thru all
the room's windows silhouetting ELOISE'S FIGURE dangling from
the lamp-cord attached to the light-fixture in the center of
the room, piano stool lying on its side beneath her.
VOICE
Don't move! Don't fucking move!
Clay remains one final instant taking in Eloise's hanging
body. Then, lacing his hands behind his head, he goes down
to his knees one at a time.
A FOOT kicks him square between the shoulder-blades and he
goes down, one hand yanking both his hands down behind his
back while another pushes a snub-nose .38 into the back of
his skull - and the first snaps handcuffs onto his wrists.
BLACK WOMAN
Who the fuck are you!? What are
you doing here??
He doesn't say anything. He just lies there, handcuffed,
silent. She digs a heel into his ribs.
BLACK WOMAN (CONT'D)
I said what the fuck're you doing
in my mother's house you asshole!?
Still he doesn't say anything. Just listens as she stops
looking at him and instead looks up into the room and ...
BLACK WOMAN (O.S.) (CONT'D)
... oh ... my ...
Forgetting about him, her feet go running past his head. He
hears the sounds of struggle. Of someone trying to lift the
weight of a hanging body.
BLACK WOMAN (O.S.) (CONT'D)
Mom! Mom!
11.
Clay closes his eyes.
EXT. ELOISE LINCOLN'S HOUSE - NIGHT
POLICE CARS - lights flashing - are everywhere. Clay sits on
the house steps, handcuffed while ...
VERONA LINCOLN stands talking to the police detectives.
POLICE DETECTIVE
It's preliminary - but I gotta be
honest with you Agent - right now,
no signs of struggle, it does - I'm
sorry - look like suicide to me.
VERONA LINCOLN
Then what the fuck was he doing in
my mother's house??
POLICE DETECTIVE
(looks over at Clay)
Well, I don't know. I'm gonna ask
him.
VERONA LINCOLN
No - we're gonna ask him.
He looks at her. Sighs.
POLICE DETECTIVE
All right then.
EXT. STEPS - ELOISE LINCOLN'S HOUSE - NIGHT
Verona and the two Police Detectives approach Clay seated on
the steps.
POLICE DETECTIVE
Mr ...
(consults notes)
`Clay', do I have that right?
Clay just looks at him.
POLICE DETECTIVE (CONT'D)
You've been advised of your rights,
right?
Silently, Clay shrugs.
POLICE DETECTIVE (CONT'D)
Do you? Wanna talk to us?
12.
CLAY
Don't have much to say.
VERONA LINCOLN
How about what the fuck you were
doing in my mother's house??
The Police Detective shoots her a look.
VERONA LINCOLN (CONT'D)
I want to know. What was he doing
there??
CLAY
I was bringing her a jar of honey.
VERONA LINCOLN
What? What? You were bringing her
a jar of honey?? What the fuck are
you? The Good Honey Man??
CLAY
(quietly)
I keep bees.
VERONA LINCOLN
You what?
CLAY
I keep bees. I'm a retired
professional bee-keeper.
The answer is so strange that the three law-officers stand
there staring at him a beat.
VERONA LINCOLN
Okay ... okay. So you keep fucking
bees. So you're a bee-keeper.
How did you even know my mother??
CLAY
I'm rent the small structure behind
this one from her.
(looks up)
You were present when I signed the
lease. You may not remember, but
we've met.
The two cops look to Verona - who looks from Clay - to the
small house standing at the edge of the field out back.
VERONA LINCOLN
Okay. Maybe that's true. But what
were you doing in her house?
13.
CLAY
Mrs. Lincoln and I were friends. I
liked her. I liked her lemon
meringue. And she liked my honey.
And I think she liked me. When she
didn't answer and I noted her car
in the driveway, I became
concerned.
POLICE DETECTIVE
`Noted'? Do you have law
enforcement background?
Clay takes in a tired breath. Looks up.
CLAY
I told you. I take care of bees.
The other three exchange another glance.
POLICE DETECTIVE
(closing his notebook)
All right. You're not under
arrest, Mr. Clay - but would you
mind coming down to the station so
we can fingerprint you; take your
statement? Just as a matter of
formality?
Clay sits there a moment. Looks up. Sighs.
CLAY
Let's go.
Together, the two Police Detectives pick handcuffed Clay up
off the steps - spare a look for Verona - and walk him to the
nearest cruiser. She watches at they push him into the car.
EXT. BACK RENTAL HOUSE - NIGHT
The door opens, Verona enters. Stops. The lights are low
and the place is sparely furnished.
But there are TELEVISION SCREENS everywhere. Each one tuned
to a different local and national NEWS CHANNEL.
INT. SHED - NIGHT
She enters. Surveys the VARIOUS WORK BENCHES, spread with
tools, diopters, swing-arm magnifiers.
14.
EXT. FIELD - NIGHT
She stops at the edge of the field. Reaching under her
jacket, she pulls out her mag-light. As she does, we get the
first glimpse of her FBI BADGE hanging by a chain from her
neck.
She shines her light across the BEE HIVES - that stand, along
with the flowers, bright spots under her light in the night.
INT. ELOISE LINCOLN'S HOUSE - NIGHT
FORENSIC investigators are combing through the house when
Verona enters. Spotting her, the lead Forensic Investigator
heads her way.
FORENSIC INVESTIGATOR
Agent. Good developments. We
managed to pull prints off both the
lamp cord and the light fixture it
was tied to ...
Verona looks at him.
VERONA
So - then we've got him ...
FORENSIC INVESTIGATOR
After we match the prints. In
theory, yes.
She nods.
VERONA
Okay. Thank you.
He nods, returning to his work. Her eyes sweep through the
kitchen. Settle on the QUART JAR OF HONEY sitting on the
kitchen table.
Pulling on a pair of disposable gloves, she carefully picks
it up - holds it up to the light. Golden, with bits of
beeswax suspended in it like tiny insects in amber.
Sets it back down. Picks up HER MOTHER'S PHONE. Someone has
turned it off. Powering it on, she pulls up `Recent Calls' -
scrutinizes them. Snaps a picture of the screen with her own
phone.
Her eyes settle on the LAPTOP sitting open on the table. She
touches the mousepad. The screen comes to life.
She blinks at it. Bends. Examines it ...
15.
Then straightens.
VERONA (CONT'D)
... oh ... my god ...
EXT. STEPS - ELOISE LINCOLN'S HOUSE - NIGHT
Late now. Verona sits on the steps when a car pulls up. CLAY
emerging out of the passenger, the Police Detective out from
behind the wheel.
As Clay, no longer handcuffed, heads wordlessly off towards
the back house, the Police Detective comes to Verona.
POLICE DETECTIVE
Agent Lincoln - I'm sorry - but the
prints - cord, light-fixture;
everything - all came back positive
for your mother.
(nods)
It seems - sadly - it was suicide.
Verona looks back.
VERONA
I know.
POLICE DETECTIVE
(surprised)
You do?
VERONA
(a beat/a nod)
Yeah.
POLICE DETECTIVE
Well ...
Not knowing quite what to say, he instead hands her his card.
POLICE DETECTIVE (CONT'D)
There'll still be an inquest,
obviously, but ... call me if you
have any questions?
VERONA
Yeah. Thanks.
A beat. He heads back for his car. She stares at his card,
staring through it with distant eyes as he pulls away.
16.
INT. BACK HOUSE - DAWN
Clay is pouring himself a glass of milk in the small kitchen
when Verona sticks her head in through the door.
VERONA
Mr. Clay? I'm - sorry about my
aggressive attitude last night ...
He pauses his pouring of the milk an instant. Then ...
CLAY
(continues pouring)
It's understandable.
She considers him. The milk.
VERONA
Could I - interest you in anything
stronger?
He looks at her now. Considers. Shrugs.
CLAY
No. But I'll sit with you if you
like.
INT. KITCHEN - ELOISE LINCOLN'S HOUSE - DAWN
She settles in across from him with a cup of coffee. His
milk sits in front of him.
VERONA
Look. I appreciate you taking an
interest and keeping an eye on my
mom. I do.
CLAY
(a beat/a sigh)
Being old can be lonely in this
country.
(a shrug)
Turn a certain age, you cease to
exist.
(shakes head)
I don't know if you've traveled but
- England, Italy, Germany - other
places - it's not like that. Older
people stay part of life. Part of
the family, the community...
(another shrug)
The hive, I guess you could say -
till the day they die.
(MORE)
17.
CLAY (CONT'D)
(shakes head again)
But not here. Not this country.
Verona looks down.
VERONA
Yeah I - guess I never thought
about it that way. I mean I -
tried to stay involved in her life.
Took care of all her business
but...
She wipes at a tear emerging in the corner of her eye.
VERONA (CONT'D)
Obviously I could have done a
better job.
She pulls herself back together.
VERONA (CONT'D)
I'm a federal agent, you know?
CLAY
(face registering nothing)
That's impressive.
VERONA
Cyber-crimes.
(shakes head/then)
I think my mom got scammed today.
By an outfit - a call-center - Data
Group - right up in Memphis where
my field office is. Cleaned out
her account; her entire savings.
Everything she and my dad worked so
hard all their lives for ...
(shakes head)
She would have lost everything else
too. This house; everything. And I
don't make enough that I could have
saved her even if I tried.
(a breath/looks at him)
I'm gonna get these mother fuckers.
(shakes head)
But these crimes are nearly
impossible to prove. They'll just
do what they always do - insist
that the elderly person signed into
their banking platform - which they
generally did do - and then wired
them - complete strangers - their
entire life-savings. And in some
cases, like my mom's?
(MORE)
18.
VERONA (CONT'D)
There's not even an elderly person
left to say it's not even true.
She closes her eyes. But then, opening them, she nods.
VERONA (CONT'D)
But I'm going to get them. If I
have fight through the courts for
30 years, I'm gonna get them. I
promise you that.
She reflects. Nods.
VERONA (CONT'D)
Sorry. Thanks for listening. I
just needed to say that out loud.
Clay looks back.
CLAY
Taking advantage of, hurting an
elderly person is as bad as hurting
a child. Maybe worse. Because
they have less time to recover from
the damage. And less time to fight
back.
(he nods)
And people protect young people.
When someone hurts a child, there
are parents - people who care,
ready to speak up.
(shakes head)
But when someone hurts an old
person - sometimes, because they've
been pushed out of society, or they
don't have kids or family and
they're all alone - it just goes
unnoticed. Or no one cares.
A beat. He nods. He rises.
VERONA
Get some rest okay?
He pauses at the door.
CLAY
I will. Thank you. But first I
have an appointment.
VERONA
But you've been up all night.
Looking back, he nods.
19.
CLAY
I have an appointment.
EXT. PARKING LOT - DATA GROUP - MEMPHIS - MORNING
It's on the early side in this business park, parking lot
entirely full, when CLAY pulls up in his pick-up truck, bed
scattered with bee-keeping implements, and getting out, he
pulls two GASOLINE CANS out of the truck-bed and heads for
the front doors of the glass and steel building.
EXT. ENTRANCE - DATA GROUP - MORNING
The TWO OFF-DUTY but uniformed POLICE OFFICERS standing at
the doors look with alarm when they see a man walking towards
them with TWO RED GAS-CANS.
OFF-DUTY COP 1
Whoa whoa! Where the hell do you
think you're going??
Clay stops in front of them.
CLAY
Is this Data Group?
OFF-DUTY COP 1
What? Who the fuck are you? Where
do you think you're going?
CLAY
If this is Data Group - the call
center - I'm going inside. I'm
going to burn it down.
The two cops exchange a glance. Almost have to laugh.
OFF-DUTY COP 1
Whoa whoa - okay - no you're not
buddy. You're not going any-
fucking-where as a matter of a fact
- except back the way you came.
That is if I don't bust your ass
down to a nub right here and now.
CLAY
What are you? Off-duty cops?
Moonlighting? Making a little
extra money. Do you know what they
do here?
20.
OFF-DUTY COP 1
Buddy - I'm gonna count to three.
CLAY
One two three. There, did it for
you.
He sets down the gas cans.
CLAY (CONT'D)
Do you know they call and target
the weakest in our society? The
ones with the least protection and
if they can, they steal everything
they have. Do you know that's who
you work for?
OFF-DUTY COP 1
All right. You had your chance.
He reaches for Clay, but Clay slaps his hand away without
moving. The cops look at him. Look at each other.
Suddenly the first cop goes for his SIDE-ARM, but Clay is
there first, slamming it back down into the holster before
it's even half-way out. He steps back.
The cops exchange a glance. The cop goes for his gun again -
but Clay slaps it back into its holster again.
CLAY
I'll ask you one more time. Then,
I'm warning you, if you don't give
me a direct answer - I'm going to
assume it's a `yes'. And you're
going to have to live with that.
(nods)
Do you know who you're working for?
The cops look at each other - him - and then go for him. But
he's faster, much faster. Before the first cop even knows
it, with one hand, Clay has unbuckled the man's gun/web-belt
and, ripping it off thru his belt-loops, spins the man as he
kicks him backwards thru the shattering glass doors and ...
Turning, smashes the other cop in the face with the heavy
leather strap - and equipment laden-belt ...
... handcuffs and pepper spray, magazines and tasers
exploding out of it with the impact as he whips the man
around the torso with it and re-buckling it as the skin-
cutting buckle comes lashing back around he ...
21.
Kicks the torso-bound man smashing back thru the other glass
panel to join his friend on the glass-strewn floor inside.
Picking up the gas cans, Clay proceeds inside.
INT. RECEPTION - DATA GROUP - MORNING
Clay stops at the astonished and frozen Receptionist.
CLAY
What floor is Data Group on?
Terrified, the Receptionist can only hold up 3 trembling
fingers.
CLAY (CONT'D)
Tell any other companies in the
building to evacuate now. There's
going to be a fire.
INT. CALL CENTER - MORNING
The elevator doors open and eyes rise from call stations as
CLAY steps in, two gas-cans in hand.
Phones frozen at ears, everyone watches as he enters. Setting
one of the cans on top of a desk in front of a call-station
he ...
CLAY
(call pitch rep)
Hang up the phone.
...starts splashing GASOLINE across the floor with the other.
DATA GROUP REP
What ... what are you doing?
Clay stops. Looks at him.
CLAY
I said hang up the phone.
The young man blinks back at him.
DATA GROUP REP
(then/into phone)
I'm ... sorry Mrs. Perkins - I'll
have to call you back ...
He hangs up. Clay goes back to spreading gasoline.
22.
CLAY
(everyone else)
Everyone. Hang up.
All up and down the rows of call stations, startled faces
hang up their phones. Clay picks up the other gas can.
CLAY (CONT'D)
Repeat after me. I will never steal
from the weak and vulnerable ever
again.
There is a collective swallow. Then, more or less together
they repeat ...
CALL CENTER EMPLOYEES
... we will never steal from the
weak and vulnerable again ...
CLAY
Good. And to help you keep that
promise, I'm going to now burn your
place of business to the ground. So
I'd get out of here if I were you.
There is the slightest beat. Then, as one, they all jump up
and go rushing for the exits as Clay continues dousing the
computers and call-stations with gasoline.
VOICE
What! The Fuck! Do you think you
think you're DOING!?
Clay looks to see a MAN IN HIS 30's there with the TWO OFF-
DUTY COPS and several other SECURITY OFFICERS.
CLAY
I'm a Bee-Keeper. Sometimes when I
want to smoke hornets - the natural
predators of bees - out of their
nests - I use fire.
GARNETT (THE VOICE)
The fuck you will! This a multi-
million dollar operation asshole.
(security)
Get his ass!
And they - all six of them charge for Clay down the aisle.
But Clay just reaches over one of the desks and yanks the
HANDSETS of TWO TELEPHONES out by their cords and ...
23.
Swinging them like maces, MEETS them in the aisle, laying
into them, TEETH, BLOOD and MUCUS flying until ...
He catches both handsets in his hands and proceeds to use
them a BATTERING TOOLS, hammering their ends in both
directions into every piece of hard and soft tissue that gets
in his way until ...
They ... everyone of them - bloody and brutalized - are down.
He turns to look to GARNETT (who spoke) - who stands
astonished - down the aisle.
CLAY
Now - I don't care whether your
friends here live or die. But the
next call that your little phishing
scam generates back to this call
center? It's also going to
generate an electrical charge in
the wires of the phones I just
ripped out of the wall and, given
all the gasoline fumes in here now?
(he nods)
I'd suggest - this place is gonna
go up like Nagasaki.
Heading up the aisle he passes Garnett and ...
CLAY (CONT'D)
Up to you.
Pushes out thru the emergency exit and disappears. Garnett
looks at him astonished. Then goes running for the men
rolling around in agony down the aisle.
INT. KITCHEN - DAY
An ELDERLY MAN, talking to his son on Skype pauses as his
screen fills with a box that says, `WARNING, YOUR COMPUTER
HAS BEEN COMPROMISED!
He tries to close it, but can't.
ELDERLY MAN
(at his computer)
Jack, Son - if you can hear me -
I'll call you back.
Picking up his house phone, he squints - and dials the number
there.
SIGNAL ripping away down the cord - into his kitchen wall ...
24.
Out thru the phone lines of his house...
Across the lines stretching across the country-side ...
All the way to a distant BUSINESS PARK, where the electrical
signal goes tearing into a building ...
Up thru it's 20-lane freeways of electrical wiring ...
And comes out the wall thru a ripped and torn PHONE WIRE ...
Igniting a spark ...
EXT. DATA GROUP PARKING LOT - MORNING
Clay is driving away as the building behind him EXPLODES.
INT. EVERMORE ENTERPRISES - DAY
A YOUNG MAN - handsome, perfectly and tastefully groomed in a
very nice suit sits doing paperwork at a large desk in a
large office with a fantastic view of downtown Atlanta.
Off to one side, an OLDER MAN, also well-groomed, sits in a
wing-back chair, reviewing some papers when the phone rings.
Annoyed, the young man picks it up.
DEREK EVERMORE
Yes, what is it?
He listens.
DEREK EVERMORE (CONT'D)
A regional office? Why would they
bother me with it? How did this
call even make it this far?
He listens. Then, face changing, he nods.
DEREK EVERMORE (CONT'D)
I see. Put him through.
Pushing speaker-phone, he hangs up the handset.
DEREK EVERMORE (CONT'D)
This is Derek Evermore.
25.
PHONE
Uh, Mr. Evermore, Sir - very sorry
to bother you Sir but - up, I'm
Eric Garrett, the manager of one of
your call-centers...?
DEREK EVERMORE
Yeah, Memphis, I got that. What
happened?
PHONE
Well, it - um - seems we had a
disgruntled customer?
DEREK EVERMORE
So? So?? What fucking what? All
of our so-called customers are
disgruntled after we get done with
them. Wait - is this line secure?
PHONE
I'm using the app.
DEREK EVERMORE
Okay, so why are you bothering me?
We have an entire legal team that
deals with this on a daily basis.
PHONE
Yes Sir, I appreciate that - but in
this case, I don't think a legal
department will help here.
DEREK EVERMORE
(blinks/then)
Okay. Okay. Then what will?
PHONE
Um. A fire department?
Evermore exchanges a sharp glance with the OLDER GENTLMAN in
his office - who lowers the papers he'd been examining.
DEREK EVERMORE
I beg your pardon?
PHONE
Yeah. This dude just strolls in
here this morning talking about,
lying and stealing, sucker-punches
a couple of my guys and ... and ...
DEREK EVERMORE
And - what?
26.
PHONE
Well, he burnt the place to the
ground.
DEREK EVERMORE
I'm sorry, he what?
PHONE
Yeah. I'm standing here looking at
it now. A 37 million dollar
building - burned right down to the
foundation.
Derek and the Elder Man sit looking at one another.
DEREK EVERMORE
Do we know who this - disgruntled
customer - is?
PHONE
Uh. No Sir. He didn't give a
name.
DEREK EVERMORE
I didn't ask if he gave a name! I
asked if you did your job and
figured out who burned down my
fucking building!?
PHONE
(cowed)
I ... I - well, I would - except -
all of the surveillance cameras
burned up in the fire and - well -
I don't know how to figure that
out.
Derek Evermore sits there fuming. The ELDER MAN speaks up.
ELDER MAN
What did you say your name was
again?
PHONE
Uh. Garrett? Sir. Eric Garrett.
ELDER MAN
Well listen to me Eric Garrett.
Clearly this was a crime of
passion. And passion indicates
spur of the moment action.
(MORE)
27.
ELDER MAN (CONT'D)
So what I highly suggest you do -
is go into our server up in the
cloud - and find out the last
`deals' we closed - and who they
were with.
(an eagle-eyed nod)
I suggest you start there.
There is a beat.
PHONE
Uh. And then what? If I figure
out who it was?
ELDER MAN
Then I suggest, using language that
this person understands, help him
to comprehend that these sorts of
business practices won't be
tolerated by either Data Group or
the larger Evermore Enterprises
Ltd. Am I using language that you
understand?
PHONE
Uh. I think so?
ELDER MAN
Good.
And picking up the receiver, he lets it drop back down.
Looks to Evermore. Shrugs.
ELDER MAN (CONT'D)
Cost of doing business, I suppose.
INT. VERONA LINCOLN'S APARTMENT - MORNING
There are no fewer than three bottles of Jack Daniels at
various levels of emptiness in various spots around the room
while, VERONA, mascara running down her face from crying,
lies tangled in her sheets passed out when her phone rings.
It takes several rings before she even hears it. Waking in a
sudden panic she digs around in the sheets till she locates
it and presses it quickly to her ear.
VERONA
Yes?
PHONE
(a beat/then)
Ver? You okay?
28.
VERONA
Yeah. I'm great. Why?
PHONE
(a beat/then)
Well. Ah - your mother did pass
away last night?
VERONA
(remembering)
Oh ... yeah ... thanks for
reminding me. Look - I ...
PHONE
Ver - it's okay. We're all human
right?
VERONA
(a beat/then)
What's going on?
PHONE
Remember Data Group?
VERONA
Yeah. Of course ...
PHONE
Well - you better get there.
EXT. PARKING LOT - DATA GROUP - MEMPHIS - DAY
Verona stands with MATT WILEY, her partner from the local FBI
Memphis Field Office. FIRE TRUCKS are spraying down the
smoking remains of the once-beautiful steel and glass
building.
Wiley refers to a group of FRIGHTENED-LOOKING PHONE-MARKETERS
the police have gathered in one part of the parking lot.
WILEY
They're the only witnesses. All
the CCTV footage fried in the fire.
Say some dude, maybe 40's, walks in
with a pair of gas cans, pissed off
about something, burns the place to
the ground.
VERONA
Did they say what he was pissed
about?
Wiley looks over at the tele-scammers.
29.
WILEY
(sighs)
No. Surprisingly, they say they
haven't the foggiest idea.
VERONA
Fucking scumbags.
(building)
Well - this lightens our case-load
significantly.
WILEY
That it does.
VERONA
Plus - whoever did this? My kind
of Samaritan.
WILEY
I heard that. But you know Data
Group doesn't just stop with this
one call-center right?
VERONA
(sighs)
Yeah. But can I just enjoy the
moment please?
WILEY
(a slight smile)
Yeah - sure you can. But when
you're done celebrating, let's go
interrogate these assholes?
EXT. ELOISE LINCOLN'S HOUSE - DAY
The house is quiet as a `71 MACH 1 MUSTANG rolls up on the
country road that fronts it, big cam in the engine guttering.
INT. 71 MACH 1 MUSTANG - DAY
GARRETT looks out with FOUR OTHER MEN. Not the ones from the
call-center. It looks like he up-graded - significantly.
They eye the house.
GARNETT
Last closed deal of the day?
The Driver consults his phone.
30.
DRIVER
Yeah. Eloise Lincoln, 83.
Garrett eyes the house.
GARRETT
How much we take her for?
DRIVER
207. African American and a widow.
Garrett studies the house another beat.
GARRETT
Well it definitely wasn't any 83
year-old bitch who torched us.
Next.
MAN
Wait, what's that?
He nods at a FIGURE in a head-to-toe HAZMAT-LIKE WHITE SUIT
who is coming from some white cubicle structures behind a
small house towards the back at the edge of the field.
ADAM CLAY removes the hood of his bee-keeping suit as he
enters the back house.
GARRETT
Whaddaya know. Bingo.
EXT. BACK HOUSE - DAY
With Garrett, the FOUR MEN, armed with PISTOLS and SHOTGUNS
advance on the small back house.
One of them nods towards the back.
MAN 1
What're those?
MAN 2
Bee hives.
GARRETT
Yeah. Asshole said something about
bees. Guess he's a bee-lover. Let's
announce our presence to Bee-Boy.
The others exchange a smirk. Step into a line in front of
the hives - and KA-BOOM - blow four of the five to pieces.
31.
INT. KITCHEN - BACK HOUSE - DAY
CLAY is packing his kitchen goods into boxes when the
explosions reach his ears. His eyes dart up.
The door behind him bursts open.
GARRETT
(stepping in)
Hiya Bee-Boy.
KABOOM!KABOOM! Clay dives over the counter as Two Gunmen with
SHOTGUNS step in beside Garret and OPEN FIRE - blowing huge
chunks out of the cabinetry as ...
SOMEHOW ...
Clay is suddenly coming at them from the side, grabbing hold
of the hot barrels of BOTH SHOTGUNS as they swing them round
toward him and...
Twisting them around, he ejects the shells with the guns'
lever-actions and as Garrett desperately swings a fist at
him, he catches the man's hand in between a lever-action and
the gun body and - like a giant pair of scissors ...
Cuts Garrett's fingers flying off - and as that man collapses
screaming back out of the house, Clay ejects the assembly pin
on both weapons, making them abruptly fall apart ...
Leaving him holding the two steel barrels - which he proceeds
to hammer the living shit out of the two men with until ...
He stabs one directly into his first assailant's rib-cage -
and then the second thru the second's throat, the ends of
both barrels suddenly erupting with spouting blood as he
turns ...
And grabs the next two men as they come charging up the
stairs into the house, guns drawn ...
And disassembling their weapons within instants - Clay jams a
RECEIVER smashing thru the teeth of the first attacker and,
cramming it into his mouth, turns it sideways with the grip,
forcing the man's jaw wide open and then slams his head chin-
first down onto the counter, forcing the business-end of the
receiver up into his brain while he takes the ...
EJECTION SPRING of the second man's gun and ducking behind
him, extends it, wraps its steel wire round the man's neck -
and twists it together - leaving the man strangling, gasping,
purple and kicking on his kitchen floor as he ...
32.
Moves immediately to pack a GO-BAG to get the fuck out of
there.
No sooner than the man strangling on his floor gives his
final gasp and his legs drum his kitchen floor in a death
rattle than is Adam Clay - the Bee Keeper - already stepping
over him, bag in hand, headed out the door.
EXT. PARKING LOT - DATA GROUP - DAY
VERONA is questioning one of the group of Tele-Scammers.
VERONA
Uh-huh. And so, I'm confused.
People - generally elderly - call
you because a warning with your
phone number appears on their
screen - and you have no idea how
it got there?
TELE-SCAMMER
No. Look - I mean - I ... look I
just work phones, okay?
VERONA
And then they just send your
company big chunks of money? Let's
be frank - sometimes all of their
money? Just because of your
winning phone personality?
Wrapping his arms around himself, the Tele-Scammer stares at
his feet, rocking from one foot to another.
TELE-SCAMMER
Data Group has attorneys that deal
with this sort of thing. I'd like
to talk to one of them.
VERONA
I'm sure you would and you will.
(a smile)
Cock-fuck.
TELE-SCAMMER
Wait - what'd you call me?
VERONA
Cock-fuck. But come to think of
it, that's an insult to women. So
how about pig-fuck? Or dog-fuck?
Or corpse-fuck. Or how about plain
old piece of rancid dog shit?
(MORE)
33.
VERONA (CONT'D)
(adds)
You cock-fuck.
VOICE
Uh, Verona?
She looks. Wiley.
WILEY
When you're done violating this
gentleman's civil rights - can I
speak to you for a moment?
EXT. PARKING LOT - DATA GROUP - DAY
A few yards away, Wiley turns to face Verona.
WILEY
How's your day?
VERONA
Apart from my mother's suicide last
night?
WILEY
Sorry. I meant...
VERONA
I know, I know - I'm an asshole.
Well it started out pretty shitty
but ...
(burned building)
Hey. It's looking up.
WILEY
So you like fires?
VERONA
Today I do.
WILEY
Well then today's your lucky day.
(nods)
Cause apparently your mom's house
is on fire too.
(shrugs)
And some other shit.
EXT. ELOISE LINCOLN'S HOUSE - TUPELO, MS -DAY
Verona and Wiley stand in the street - watching as fire
trucks douse the BACK HOUSE that is in FLAMES ...
34.
And PARAMEDICS wheel BODIES out under white sheets.
VERONA
Is any of them the bee-guy? Do we
know?
WILEY
Doesn't look that way. In fact, it
looks like its everyone but the bee-
guy. How you liking his style now?
Verona looks at the body under a sheet passing by them.
There is the large shape of the SHOTGUN BARREL that Clay
stabbed into the guy's chest sticking up under the sheet.
VERONA
More and more all the time.
(Wiley)
But ... ?
Wiley nods and waves a nearby POLICE OFFICER over - who hands
him a small square object.
WILEY
Yeah. They found this on one of
the bodies.
She looks. It's a SECURITY ID. It says, DATA GROUP Ltd.
WILEY (CONT'D)
Verona - do you think there's even
the remotest chance - that the dude
that burned Data Group to the
ground this morning ...
(house)
Was the guy renting the back house
from your mother?
Verona blinks at him.
VERONA
The Bee-Keeper?
INT. `71 MACH 1 MUSTANG - DAY
BLEEDING all over himself, RIGHT HAND, fingers amputated,
GARRETT drives with his left hand while holding his RIGHT
with its chopped fingers scrunched into his shirt against his
belly, whinging and panting as he pulls over and...
Fumbling out his phone he tries to dial, but without fingers,
just ends up smearing blood all over the touch-screen.
35.
Instead, easing the car to the side of the road on a bridge,
he switches the phone to his mangled hand and manages to hold
and position it while he dials with his good hand.
INT. OFFICE - EVERMORE ENTERPRISES - DAY
The phone rings on Derek's desk and he snatches it up.
DEREK EVERMORE
Yes?
(then)
Put him through.
Hitting speaker, he drops the phone back onto the receiver.
WESTWYLD - the SOPHISTICATED ELDER MAN - glances briefly up
from the documents he's reviewing.
DEREK EVERMORE (CONT'D)
I'm here. What do you have to say
to me?
PHONE
(a beat/then)
Uh. Mr. Evermore...
DEREK EVERMORE
Wait. Are you doing coke?
PHONE
What??
DEREK EVERMORE
You're sniffing. You're sniveling.
Like you've got a nose full of
snot. Are you doing coke? Are you
doing fucking cocaine and calling
me??
PHONE
Uh. No Sir, Mr. Evermore ... I do
do cocaine occasionally but ...
DEREK EVERMORE
Then what are you doing??
PHONE
I'm - bleeding - Mr. Evermore.
Evermore looks to WESTWYLD. Who arches a brow back.
DEREK EVERMORE
Bleeding like - what? You have a
tooth removed or something?
36.
PHONE
Um. No Sir. My fingers. On my
right hand.
DEREK EVERMORE
I'm - what? Sorry?
PHONE
My fingers. On my right hand.
They're gone. He cut them off.
With the lever-action of a shotgun.
Now Evermore and Westwyld really look at one another.
DEREK EVERMORE
Who - is ... he?
PHONE
Do you have a tv?
DEREK EVERMORE
You mean like a flat-screen?
PHONE
Yeah. Turn it on.
Derek looks to Westwyld. Picking up a remote, he flicks on
the giant flatscreen behind his desk. It's on CNN already
and the first image - is that of BODIES being hauled out of a
rural house that's partially on fire.
WESTWYLD
Hold on. Pause that ...
Evermore does. Rising, the older man goes to the screen -
examines it. Indicates a blurry WHITE SQUARE visible towards
the back of the image off to the right.
WESTWYLD (CONT'D)
What is that?
EVERMORE
(squints)
I dunno. It looks like ... a bee-
hive - or something. Why? What
does it matter?
PHONE
Uh. Yeah. It was a bee-hive. We
fucked up the rest real good ...
(weak laugh)
But, yeah, he said something about
that...
37.
Westwyld is instantly at the phone.
WESTWYLD
Said something about what?
PHONE
About what what?
WESTWYLD
About fucking bees you fucking
moron!
PHONE
(a shocked pause/then)
Well he said - I dunno - like - he
was talking bee shit.
WESTWYLD
What kind of `bee-shit'?
PHONE
I dunno. Like - how to protect
them. The bees.
Westwyld stands. Staring at the phone.
WESTWYLD
So - you're saying - to me - to us -
that this man - whose home you
rolled into - who cut your fingers
off...
PHONE
(interjects)
And killed the other four guys I
was with ...
WESTWYLD
(closes his eyes/then)
And killed the other 4 individuals
you were with - he was a Bee-
Keeper?
PHONE
Yeah. It would seem that way
but...
INT. `71 MACH 1 MUSTANG - DAY
In the Mach 1, Garrett suddenly goes flying as CLAY smashes
the window in with his fist and reaching in...
38.
GARRETT
(shrieks!)
Hey! Bro! No!
... shoves a COME-ALONG STRAP down around his torso and,
yanking it's ratchet-cam tight, turns and walks back to his
TRUCK - which Garrett had not noticed during the phone-call
that Clay had parked facing his car ...
Pausing to pull SEVERAL QUARTS OF HONEY out of the back and
toss them thru the Mach 1's open passenger window, he ...
Reaches in thru the pickup's driver's window, slaps it in
gear and steps back as the truck rolls forward and ...
GARRETT (CONT'D)
Bro! Bro No! Bro!
... crashes thru the railing and goes plummeting away into
the country river below ...
Come-along - attached to the trailer-hitch - whipping its
cable away after it ...
YANKING Garrett ripping out of the driver's side window and
vanishing sucking away over the railing of the bridge after
the truck and smashing down into the river below.
Getting into the Mach 1, Clay punches the tunnel-mount gear-
box and, fishtailing across the bridge, goes blasting away
down the country road.
INT. OFFICE - EVERMORE ENTERPRISES - DAY
EVERMORE and WESTWYLD sit/stand - frozen - not sure what they
just heard.
INTERCUT:
Clay fishes up Garrett's bloody PHONE off the floor.
CLAY
Who is this?
Evermore and Westwyld look at one another.
EVERMORE
(leaning angrily)
Fuck you. You burned down a multi-
million dollar facility of mine you
fucking cunt!
39.
CLAY
That stole from people. And now
I'm going to burn you down. What's
your name?
EVERMORE
Fuck. You. Who are you? You're
nothing? You're some bee-keeping
hick from the ... from the sticks!
You don't burn me down! I burn you
down!
CLAY
What's your name?
EVERMORE
Oh, and you have a hearing problem?
My name is `Fuck! You!' My name is
I'm going to make it my personal
hobby for the next three hours to
make you suffer and die.
CLAY
You sound young. You probably don't
have Estate Planning, am I right?
EVERMORE
What?
CLAY
Estate planning. Like a will?
What's going to happen to your
belongings after you're gone? You
don't have that, I'm assuming?
EVERMORE
I'm 28 fucking years old! Why
would I!?!
CLAY
You're about to find out.
He terminates the line.
INT. OFFICE - EVERMORE ENTERPRISES - DAY
Evermore stares at the phone.
EVERMORE
The fuck's that supposed to mean
Shit-face?? What the fuck's that
supposed to mean?!?
40.
Realizing he's been hung up on, he grabs the phone and
begins...
EVERMORE (CONT'D)
What the fuck's that supposed to
mean you shit-prick!!!
... smashing it on the desk. Until Westwyld, lays a hand over
his. Evermore stops, panting - looking at the older man.
EVERMORE (CONT'D)
What?
Westwyld looks back at him.
WESTWYLD
(finally)
The `what' is - you've fucked up.
(nods)
Even worse than usual this time.
EVERMORE
(blinks back)
Fucked up?? Me?? How did I fuck
up.
Westwyld takes in a deep breath. Holds it. Lets it out,
very, very - very - slowly.
WESTWYLD
He's a Bee-Keeper.
EVERMORE
What? What? He keeps bees? So
what??
WESTWYLD
No. You don't understand. He's a
Bee Keeper.
Evermore stares back, brain convoluting.
EVERMORE
You're right. You're right! I
don't understand. What does that
even fucking mean!
WESTWYLD
(another breath)
It means - I'm going to have a very
hard time keeping both you - and
myself - alive - for very much
longer.
41.
INT. CORRIDOR - EVERMORE ENTERPRISES - DAY
Westwyld is moving fast down the corridor with Evermore hot
on his heels.
EVERMORE
What? What? Wait? Bees? Bee-
Keeper?? What the fuck are you
talking about??
Turning on his heel, Westwyld heads directly into ...
INT. WESTWYLD'S OFFICE - DAY
... his office where he immediately and commandingly takes a
seat behind his desk.
WESTWYLD
(Evermore)
Shut the door.
Evermore blinks at him.
WESTWYLD (CONT'D)
Shut the fucking door you over-
privileged idiot!
Somewhat cowed, Evermore obeys. Westwyld closes his eyes a
moment. Then, composed, he picks up the phone.
WESTWYLD (CONT'D)
Brenda - get me the Secretary.
(a beat/then)
Yes. That Secretary.
He drums his fingers, looking angrily at Evermore while he
waits. Then ...
WESTWYLD (CONT'D)
Mr. Secretary. Sorry to be
bothering you - but you know, if I
am - it's important so ...
WE SEE: CLAY behind the wheel of the Mach 1, tearing down the
freeway.
WESTWYLD (O.S.) (CONT'D)
Yes Sir, well - how should I put
this - well, one of my charges has -
oh jesus - this is awkward - well,
somehow he both located and came at
cross-purposes with a - ahm ...
(MORE)
42.
WESTWYLD (O.S.) (CONT'D)
(gets it over with)
A Bee Keeper.
PHONE
(a beat/then)
Someone - who keeps bees?
WESTWYLD
Yes. And also a `Bee Keeper' as
well. If you get my meaning.
PHONE
(a beat)
A Bee Keeper ... ?
WESTWYLD
Yes.
PHONE
As in a `Bee Keeper' bee keeper?
WESTWYLD
Yes.
PHONE
Are you saying ... that he's -
angered the hive?
WESTWYLD
That's what I'm saying. Severely
pissed it off might be a better
term.
PHONE
(a long beat/then)
Well. That's not good.
WESTWYLD
No shit.
WE SEE: CLAY placing items at the register in a BAIT AND
TACKLE SHOP. Paying for HIGH-TEST FISHING LINE.
There is another long beat. Then a chuckle.
PHONE
Well then Clarence - this `charge'
of yours and you - I assume you're
working on funeral arrangements?
WESTWYLD
That is not a fucking productive
statement Wallace!
(MORE)
43.
WESTWYLD (CONT'D)
I've got a serious fucking problem
here and I need help!
PHONE
(a beat of silence)
Okay. Yeah. I can see that. That
you need help, I mean. But what's
it got to do with me.
WESTWYLD
(acid)
What it has to do with you,
Wallace, is the same thing it had
to do with you when your campaign
asked me, slash-'us', for help.
Money help. What it has to do with
is - when you asked for help - I-
slash-'we' - were there.
PHONE
Yeah - but Clarence. This sounds
like just a one-in-a-million
lightning strike of bad luck. What
can I do?
WESTWYLD
(a quiet sigh)
This Bee Keeper lives in Tupelo,
Mississippi. I need, simply, to
know the name of the Bee-Keeper in
Mississippi. And how to find him.
Before he finds me. `
(adds)
Slash-'us'.
PHONE
(a hesitation/then)
Clarence - this is high-level shit.
Like, treason. I can't do that.
WESTWYLD
Like I - slash-'we' - couldn't
donate 5 million fucking dollars to
your campaign?
PHONE
(another beat/then)
You said `his' name?
WESTWYLD
I did.
44.
PHONE
Well then - I can tell you - in
that case - `he's' not the active
Bee Keeper for that state. This
person must be moth-balled -
retired.
WESTWYLD
Well then give me the last Bee
Keeper's name!!
PHONE
(yet another beat)
Clarence, I appreciate all you've
done for me - but that's a line
even I can't cross. You realize
right, I start revealing the name
of the Bee Keepers - you realize
the kind of problem that could
create?
(then)
But what I can say - is this ...
(a breath)
It sounds like this individual is
creating a certain amount of chaos?
WESTWYLD
For me and those I have a fiduciary
responsibility to, yes!
PHONE
Well then - what I can do in that
case, within the boundaries of my
duty as a public servant ...
There is the longest beat.
PHONE (CONT'D)
Is to activate the current Bee
Keeper in that state - to address
the problem.
Westwyld sits a minute staring at the phone. Then nods.
WESTWYLD
That would be most appreciated
Wallace. You fucking asshole.
He slams the phone down. Looks to Evermore - who is staring
back.
EVERMORE
What the fuck is going on??
45.
WESTWYLD
Oh, shut up you fucking idiot.
Getting up, he pushes past the younger man and exits.
INT. TRUCK STOP FOOD MART - NIGHT
Clay heads out of the Bait-And-Tackle with his purchases into
the adjoining truck Food-Mart.
He pauses - then returns to an aisle - peruses the HONEY they
have for sale there. Picks up a bottle, examines its
contents closely. Holds it up to the light.
Abruptly, A WOMAN ...
A BEAUTIFUL YOUNG WOMAN, in sunglasses, a short purple
polyurethane coat, and a DRUM MAGAZINE MACHINE-GUN ...
Walks in, shooting first the CASHIER - then, in rapid
succession, FIVE TRUCKERS who are either waiting in line or
sitting eating ...
Before she turns to the store.
ANISETTE LANDRESS
Honey! I'm home!
And proceeds to shoot the living fuck out of the aisles.
CLAY in the aisle with honey takes a knee as high-caliber
BULLETS tear thru everything around him - cereal and cookie
debris raining down on him.
A moment later, everything goes silent as she quickly ejects
one drum magazine to slap in another.
CLAY
(standing)
I'm assuming you're my replacement?
ANISETTE LANDRESS
You'd assume correctly. And from
what I hear - the `buzz' is you've
been a busy bee. Causing all
sorts of trouble.
CLAY
Well, you know - us bees - we don't
think too much - we just do what we
were made to do.
(nods)
That's why it all works.
46.
ANISETTE LANDRESS
Well apparently it's not working.
Which is why I activated. Or got
activated.
CLAY
And I reactivated. Because
something was broken.
ANISETTE LANDRESS
You were retired. Why can't you
just `mind your own beeswax'?
CLAY
Very cute. Buzz off.
ANISETTE LANDRESS
I intend to. After I make you
`beehave'.
She OPENS FIRE, ripping the shelves to shreds as the entire
truck stop goes up into a Fallujah of flying carbohydrates
and debris as Clay ...
Begins winging QUARTS OF HONEY over the tops of the
shelves...
Exploding in glass and honey all around her. She frowns,
more annoyed than bothered, as she stops to change drum
magazines with expert precision and speed - which is when...
CLAY comes rolling out of the aisles and nails her first with
one quart of honey, glass shattering against her skull,
sending HONEY drizzling all over her ...
And the next explodes off her gun, drenching her - and her
gun in its viscous golden fluid. She looks down - appalled.
ANISETTE LANDRESS (CONT'D)
Do you!? Do you have any idea what
this coat cost me!?! At a vintage
clothing shop!?! That's not even
open anymore!?!
CLAY
Golly. I `hive' no idea.
ANISETTE LANDRESS
Well - aren't you just the bees
knees? Now - time to flame off.
And raising the gun, she pulls the trigger to cut him in half
- only - soaked in HONEY, the gun's hammer tries ...
47.
like an insect trapped in amber - to fall on the firing pin
of the next bullet ...
But slogged into a syrupy slow-motion by the thick golden
nectar - it cannot effectively strike.
CLAY
Hey. You know what else's
flammable?
Pulling one of the HARLEY DAVIDSON LIGHTERS off the counter
display rack beside them, he flicks it to life. Smiles.
CLAY (CONT'D)
You.
(shrugs)
Honey.
And tosses it into the HIGHLY FLAMMABLE pool of HONEY that
she stands in - sending her up like a roman candle, screaming
and smashing from the counter to the shelves, leaving traces
of BURNING HONEY everywhere she touches.
Seriously folks - this shit is like gasoline.
Clay picks up his purchases and ...
CLAY (CONT'D)
Careful Hon. Looks like you got a
bee in your bonnet.
... exits past the burning, screaming, dying woman.
INT. OFFICE - SAVANAH FBI FIELD OFFICE - DAY
AGENT VERONA LINCOLN sits in her office snapping her
attention back and forth between written records and her
computer when WILEY enters.
She looks up eagerly.
VERONA
Okay. This dude? Adam Clay? He
doesn't freaking exist.
WILEY
Who? The Bee Keeper?
48.
VERONA
The Bee Keeper. I ran his prints
thru the Federal database and every
state DMV database in the country -
and computerized birth records for
any male in his age range.
(shakes head)
So far as I can tell - no such
dude. He doesn't exist.
WILEY
Sure he does.
VERONA
(blinks)
What do you mean?
WILEY
Remember how I said - if you liked
fires today was your lucky day?
EXT. TRUCK STOP - MISSISSIPPI-TENNESSEE BORDER - DAY
Both Verona and Wiley stand stone-faced outside the burned-
out remnants of the truck-stop, fire-trucks and police still
present everywhere.
WILEY
Ready for the kicker?
VERONA
No, I don't think I am Wiley.
WILEY
It's apparently arson - in other
words, set by man - and the
accelerant apparently used?
(a nod)
Honey.
She looks at him.
VERONA
There's just no way.
He raises and shows her his phone.
WILEY
Yes. Way. This place's closed-
circuit was stored in the cloud
rather than on-site so it didn't go
up in smoke like everything else.
49.
He presses play.
WILEY (CONT'D)
And this is what we got.
She watches as the one-sided gun-battle plays out between
Anisette Landress and Clay. After he sets her on fire and
walks out, Wiley clicks it off.
WILEY (CONT'D)
Thoughts? Reflections?
VERONA
Uh. Nice jacket. Big gun.
WILEY
Name pulled off the registration
from the car she drove here ...
(he nods to it)
`Anisette Landress'.
Verona looks over to the INSECT GREEEN `70 Chevelle still
parked in the lot.
EXT. PARKING LOT - DAY
Stopping at the back of the car, they open the trunk.
Inside, it is WALL-TO-WALL guns, neatly arranged in custom
slings. Verona blinks.
VERONA
That's a chain-gun. A Vulcan
cannon.
WILEY
I know.
VERONA
It shoots 6000 rounds a minute.
WILEY
I know.
VERONA
That's 60 rounds a second.
WILEY
I know. I have a degree in math.
VERONA
You know a lot.
50.
WILEY
I know.
VERONA
So then do you also know who
Anisette Landress is?
WILEY
Yes, I do.
VERONA
Who?
WILEY
Someone who also doesn't exist in
any DMV or Federal database.
Someone who's also a ghost. Like
our good friend Adam Clay.
She looks back at him. Then reaching into the trunk, she...
VERONA
There's another way it seems like
Anisette Landress and our Adam Clay
are alike ...
... digs out a BOOK and holds it up. `BEE KEEPING FOR BEE
KEEPERS'. They look at one another.
VERONA (CONT'D)
What the fuck's going on Wiley?
WILEY
Okay. I admit it. This time I'm
stumped.
She looks at him. Looks one way down the freeway the truck-
stop sits on.
VERONA
You know what's that way?
WILEY
The small town your mother and Adam
Clay lived in?
She looks the other.
VERONA
You know what's that way? The way
he's headed?
WILEY
Atlanta, Georgia?
51.
VERONA
Right. You know what's there?
He blinks back a second. Then, his face changes.
WILEY
Oh. Yeah. I kinda do.
INT. CAR - DAY
Wiley drives while, Verona sits in the passenger, the BOOK ON
BEE-KEEPING on her lap while, on hold, her phone hangs at her
ear.
VERONA
(Wiley)
This is interesting stuff. Bees
are interesting little fucks, did
you know that?
WILEY
I know they pollinate a lot of shit
and we'd be fucked without them.
VERONA
Right. And there's been massive
die-off's in the bee-hives in this
country lately. No one knows why.
The hives - which are obviously
very complicated organizations of
social creatures, are very delicate
eco-systems. But nonetheless...
(reading)
`In a palace intrigue worthy of
Game of Thrones, some bees are
`QueenSlayers' who will rise up and
kill their queen if she produces
the wrong sort of male offspring.'
WILEY
Which sounds like it pretty much
fucks the hive.
VERONA
It can. But it appears in that
case, if the hive is lucky enough
to have a Bee-Keeper, he - or she -
can replace the dead queen with a
new, better one. Problem solved.
52.
WILEY
Very interesting. But what the
fuck's it got to do with what we're
doing Verona?
She looks at him. Shrugs.
VERONA
I dunno. I just thought it was
interesting.
(into phone)
Ah! Johnny. My spooky spook
spook.
PHONE
Ah - I don't think we use that term
anymore.
VERONA
Why? Are you black?
PHONE
You know I'm not.
VERONA
So I can call you that. You can't
call me that - but I can call you
it. See how it works?
PHONE
Uh, not really. What can I do for
you Verona? I only hear from you
when you need me.
VERONA
See? Just answered your own
question. I need you.
PHONE
For.
VERONA
John. What fuck is a Bee Keeper?
PHONE
Uh. Some dude who keeps bees?
VERONA
Women keep bees too. In fact,
according to a book I'm reading,
there are more female bee keepers
than male in America.
53.
PHONE
Fascinating. Okay, a non-gendered
individual who keeps bees.
VERONA
No. I mean a Bee Keeper.
PHONE
That's what I was talking about. A
bee keeper.
VERONA
(deadly serious)
No John - a Bee Keeper. Someone who
doesn't have a real name, doesn't
seem to exist and seems to kill
anyone and anything that comes at
him - or her - at will.
There is a beat.
PHONE
Oh. You mean a Bee Keeper.
VERONA
(a sigh)
That's what I've been saying. What
the hell is it? Or better - who is
it?
PHONE
I understand the question now.
VERONA
Great. So who is it?
PHONE
I can't tell you.
VERONA
John. We help each other. Remember?
PHONE
I do. But this one thing? I can't
help you with.
VERONA
(thinks/then)
Because it's classified?
PHONE
That, in itself, would be
classified.
54.
VERONA
So it's ... so classified? That
even the fact that it's classified -
is classified?
PHONE
That - also - is classified.
She blinks at the dashboard a moment.
VERONA
So it's a program?
PHONE
Classified.
VERONA
Of people ... ?
PHONE
Double-classified.
VERONA
Called Bee-Keepers ...
PHONE
Oh looky - someone bought me a
birthday cake! Gotta go!
VERONA
But it's not even your...
The line goes dead. Verona looks over at Wiley. He looks
back at her. Shrugs.
WILEY
I'm getting this weird feeling it
might be classified?
WESTWYLD (PRE-LAP)
A fucking Bee-Keeper - is a fucking
code-name!
INT. EVERMORE ENTERPRISES - DAY
WESTWYLD faces a ROOM OF MEN, all who appear to be ex-Special
Forces now working high-level security ops.
On a massive screen, CCTV FOOTAGE from the Truck-Stop
shootout is playing. Derek Evermore also sits - dejectedly -
at the table.
55.
WESTWYLD
For a program that was developed
back when I was running the Central
Intelligence Agency. You see, this
fucked country we live in is not
unlike a bee-hive. A complex
interconnection of workers, care-
takers and even royalty. An
extremely highly interconnected
social eco-system that the people
in it think runs all by itself.
(shakes his head)
But it obviously doesn't. Every
now and then some exogenous factor
occurs - sometimes human, sometimes
natural disaster - that makes the
whole thing - the whole hive, if
you will, go off the rails.
(he nods)
That's where the Bee Keepers come
into play. There was one placed in
every state of the union. 50.
Recruited from anywhere the person
with the right skills - and more
importantly - the right mind-set -
could be found. Didn't even have
to be America. Anywhere in the
world. That person's identity was
then washed and dry-cleaned at a
level that even I did not know who
was where - or where they came
from. Absolute and perfect
anonymity - and with a single
purpose.
He nods again.
WESTWYLD (CONT'D)
Normally, nothing. But when one
thing - any one thing - whether act
of terror or act of nature - raised
its ugly head to disturb the
equilibrium of the hive - the Bee
Keeper would step in and do
whatever was necessary to correct
it. And I stress: whatever was
necessary. Like with the hives,
the Bee Keepers are the invisible
hand of God that keep chaos at bay -
and order in society
He nods.
56.
WESTWYLD (CONT'D)
There are 50 active Bee-Keepers and
an equal number of retired ones on
post out there. And it appears one
of the retired ones has resurfaced -
and is acting according to what he
believes his social program to be.
The room exchanges a glance.
SEC-OP1
So why doesn't someone just pick up
the phone - and order this bumble-
bee headed asshole to stand-down.
WESTWYLD
Because that's one thing Bee
Keepers don't do - stand down.
That's the whole point. They're
not unlike the bees themselves.
They're on a program. They have a
job? They do it till they die - no
questions asked, none tolerated.
SEC-OP1
So basically he's ex-special ops -
like most of us. Just off the
reservation.
WESTWYLD
No. Not like most of you. There
is a difference. Most of you are
either ex-SEAL Team 6 or Army
Rangers or Airborne. You are, in
other words, pussies. He is not a
pussy. In a room, he will kill
you. All of you. You will not
kill him. This is a difference.
(a shrug)
But maybe - there's a chance - that
in a small enough room - if there's
a lot more of you - you may be able
to, in fact, kill him before he can
accomplish his goal.
SEC-OP 2
Which is - what?
WESTWYLD
To kill the people who matter!
Straightening, he touches the screen of his phone and they
pull out all of theirs as they ping.
57.
WESTWYLD (CONT'D)
That's where we think he's going.
(glances at watch)
That flight is 1 hour 11 minutes on
our jet from here - I suggest you
get moving.
INT. CAR - INTERSTATE - DAY
WILEY drives as VERONA sits in the passenger, still reading
from the Book on Bees as she waits on hold on her phone.
VERONA
Here's another interesting factoid.
WILEY
Oh thank god. I was getting sick
of just enjoying my own peaceful
thoughts.
VERONA
This book observes that the bee
hive is this massive organization
of individuals all working together
towards a common goal, but when the
lid comes off and this white-suited
dude lifts out the frames of honey -
or does whatever he does - they
don't even see him. They don't
even register that he's there.
Only that - sometimes - something's
changed.
She looks up at him.
VERONA (CONT'D)
It's almost like ... God ... or
karma ... a force that guides all
of our destinies that we don't even
realize is there - is doing it.
WILEY
My recommendation? Quit the FBI
immediately and get your doctorate
in theology.
VERONA
Noted. I will absolutely consider
that.
WILEY
You know this isn't really our
department, right?
58.
VERONA
Yeah it is. Any parallel case that
develops out of something we're
investigating becomes, in part, our
case. Or something to that effect.
WILEY
You know what - I was wrong about
theology. Stick with the FBI.
VERONA
Too late now. You got me thinking.
(into her phone)
Yes, yes - this is Verona Lincoln,
Mr. Deputy Director. I and my
colleague who is on speaker are
agents out of the Memphis office...
(listens)
Yes, we believe that 3 apparently
unconnected events, two of which
resulted in multiple deaths are
connected to a single person ...
EXT. FIELD - LATE DAY
The MACH 1 pulls to a halt in the grass of a field of flowers
beautiful in the late rays of day, the silhouettes of
hundreds of bees traveling from flower to flower as CLAY
steps out.
VERONA'S VOICE
We're not sure what his real name
is but he signed a rental agreement
with my mother a year ago under the
name `Adam Clay' ...
He stops at a series of a dozen or so BEE HIVES, locus of the
buzzing swarms of bees. They pay him little mind as he lifts
one of the lids and, like an organ player, lifts a particular
combination of frames ...
And the whole white hive drops back open, revealing a ROUGH
CONCRETE STAIRCASE descending down into darkness below.
VERONA'S VOICE (CONT'D)
It appears he could be part of a
defunct or operational government
program called `Bee Keeper' that no
one in our partner agencies seems
to want to acknowledge or discuss.
In any event, this individual seems
to be highly capable ...
59.
Clay descends down into the darkness, and flicking on a
light, reveals a small room that is SIMPLY PACKED WITH GUNS
AND WEAPONRY.
VERONA'S VOICE (CONT'D)
... not to mention extremely
motivated.
Pulling down a COLLAPSIBLE POLICE BATON, he snaps it open.
On it's pencil eraser steel tip - a bristling of TINY
NEEDLES.
Snapping it closed, he begins pulling WEAPONS down off the
walls.
VERONA'S VOICE (CONT'D)
And the thing is, Sir - he's on the
move. We don't think he's done yet.
EMERGING out from the underground bunker, Clay drops the
honey-bee hive back down, sealing the entrance - and stands a
moment in the fading light of day, holding a LARGE DUFFLE
BAG.
The bees buzz swarming around him, almost as if he is a kind
of religious icon to them. And he seems to bask in it, both
in the gloaming's light - and the feeling of the thousands of
infinitesimal wing-beats around him.
VERONA'S VOICE (CONT'D)
There's a statewide police APB on
him, but we don't think he's in
Tennessee anymore. We think he's
on his way to Georgia or already
there.
Opening the trunk of the Mach 1, Clay swings the heavy duffel
bag into it and slaps it shut.
VERONA'S VOICE (CONT'D)
Sir, we believe he is on the way to
the corporate offices of Data Group
- which myself and my partner have
been investigating for massive
interstate fraud for some time now.
Point is Sir, we think he's headed
there and because Data Group
operates late into the night hours,
because it works telephones all the
way to the West Coast and Hawaii,
we believe when he gets there his
intentions are going to be less
than salutatory for those present.
60.
Stepping into the Mach 1, Clay fires the engine, and, gently
rolls across the grass and pulls out onto the country road.
VERONA'S VOICE (CONT'D)
We're presently en-route. But we
think when we get there - we're
going to need support. A lot of it.
With the scream of the big-block 421, Clay crushes the
accelerator and the car goes fish-tailing across the road and
disappearing roaring away down the country road.
EXT. DATA GROUP CORPORATE HEADQUARTERS - ATLANTA - EVENING
FIVE VANS come skidding up to the beautiful glass and steel
entrance of this nationwide conglomerate, TWO DOZEN MEN
jumping out - most of them in suits, the remaining half-dozen
in TACTICAL GEAR.
The GUNS of the men in suits come out immediately in the
direction of the other men in tactical gear.
FEDERAL AGENT
Federal Officers! Identify
yourself!
SEC-OP1 (PETTY)
Power down Federal friend. We're
private security hired by Data
Group, here legally by special
order of the Governor ...
(hands him a document)
And licensed to carry by special
order of the State Department in
all 50 states.
He flashes the ID clipped to his flak-vest.
SEC-OP1 (PETTY) (CONT'D)
Call it in, if you need, but we're
entering this building and securing
the executive floor.
And without waiting for the surprised Feds to respond, he and
his five ex-Special Forces operatives head into the building.
61.
INT. EXECUTIVE FLOOR - 10TH FLOOR - DATA GROUP - NIGHT
A kind of Boiler Room, the floor bustling, people working
phones everywhere as one man - clearly running the show
stands at the top of the room with a MICROPHONE in hand at a
large ERASE-BOARD, quickly writing NUMBERS next to CITIES on
it.
HALPERN
(calling out)
Houston!
One of the Young Men in shirt and ties in the room working a
phone and computer shouts back.
MAN WITH TIE
122,000 for the day - but they're
open another two hours.
HALPERN writes that number - 122 - next to `Houston'.
HALPERN
Update me if more comes in from
that location. Chicago!
2ND MAN IN TIE
179 thousand. Open another hour.
HALPERN
(writes it on board)
Keep me updated. Come on people,
we have goals to meet! Goals mean
bonuses. Push! Your! Goddam!
Regional Offices!
The doors fly open and PETTY enters with his FIVE SECURITY
OPERATIVES.
HALPERN (CONT'D)
Who the fuck are you?
PETTY
We're your security. No one called
you?
HALPERN
Oh. Yeah. They called - but
you're security, you're not
supposed to be up here - you're
supposed to be guarding the place.
This space is for business.
62.
PETTY
Not tonite it's not. You're
shutting down and you and everyone
else is getting out of here.
HALPERN
Like fuck I am. We've got three
more hours of money-making left on
the clock and we are not going
anywhere. Parent company didn't say
anything about shutting off the
spigot.
PETTY
Yeah well, when I'm on the ground,
I'm in charge - and you are
leaving.
HALPERN
(the room)
Anybody so much as puts a phone
down, they're fired.
Petty glares at him a second.
PETTY
Hey. That your office down there?
(jerks head)
Come with me.
INT. HALPERN'S OFFICE - NIGHT
Entering Halpern's office at the top of the sales room, Petty
turns to Halpern.
PETTY
Listen idiot - did Parent Company
give you any picture of what might
be coming at you tonight?
HALPERN
No. They just said - disgruntled
customer - something like that. No
big deal. We've seen plenty.
PETTY
Not like this disgruntled customer
you haven't. And guess what? If
this `disgruntled customer' manages
to get through the Feds posted
outside? Your entire evening, if
not your entire life, is about to
get disgruntled.
63.
EXT. ENTRANCE - DATA GROUP CORPORATE HEADQUARTERS - NIGHT
The HEAD of the 12-man Federal operation massed at the
entrance, is going over building blue-prints on an Ipad.
CROENENBERG (FED HEAD)
What about the parking garage?
FEDERAL AGENT 1
Closed and locked. Steel gate.
CROENENBERG
Delivery dock?
FEDERAL AGENT 1
Same.
CROENENBERG
Okay - there's gotta be other back
entrances to this place - and trust
me, he's going to find and try to
use them - so we gotta find them
first. There's no way he's gonna
to try to come in here straight
through the teeth of the dragon.
VOICE
There are no other entrances.
They turn to see CLAY standing there. They blink an instant.
Briefly, Croenenberg flashes the badge that hangs around his
neck.
CROENENBERG
(brisk/dismissive)
Federal operation in progress. Move
along or at minimum retreat to a
safe distance and stay there. Thank
you.
He starts to turn back to the device-screen with the agent.
CLAY
The other option, obviously,
instead of going in, is to get them
to come out.
Croenenberg and his agent turn again to him. Frown.
CROENENBERG
What'd you say?
64.
CLAY
(shrugs)
But I figured I'd give the
firefighters a break. I've put
them through enough today.
The two Federal Agents blink at him again.
CROENENBERG
What'd you say your name was?
CLAY
I didn't. And I won't. But
currently I go by the name `Adam
Clay'.
They stare at him another blinking moment.
CLAY (CONT'D)
Trust me - if there were a back
entrance, I would have used it,
because I don't want to in any way
injure anyone's who's innocent or
non-involved ...
(a shrug/nods)
But it is what it is.
Abruptly, they go for their guns - but he is there first ...
The TELESCOPING BATON in his hand snapping open as he swats
Croenenberg across the face.
It's just the lightest touch - but as Croenenberg, surprised,
reaches to touch his face, a small grouping of PINPRICKS OF
BLOOD arise on the skin on his cheek.
His eyes snap, angered, to Clay ...
CROENENBERG
... why you mother...
But then - suddenly - eyes going blank - he drops.
And the rest of the Agents massed there - all come at Clay,
who responds in kind - ducking, dodging and batting them with
the baton ...
Each touch of it, no matter where on the body, dropping that
Agent slumping to the floor until, a moment later ...
Only Clay stands. Retracting the baton snapping back, he
continues into the building.
65.
INT. HALPERN'S OFFICE - NIGHT
Halpern stands anxiously listening on his phone. He nods.
HALPERN
Yes Sir. That's what I thought Sir.
With a smarmy smile he turns and hands the phone to PETTIS.
HALPERN (CONT'D)
It's for you.
Pettis eyes him. Takes the phone.
PETTIS
This is Pettis?
INT. EVERMORE ENTERPRISES - NIGHT
Derek sits at his desk in an empty office, phone to his ear.
DEREK EVERMORE
Uh, hi. So Bob Halpern tells me
you want to evacuate the building,
send everyone home?
INTERCUT:
PETTIS
Yeah, that's correct.
DEREK EVERMORE
Well - that's a money-making
enterprise - in fact, the money-
making enterprise in the Evermore
constellation of industries. Keeps
the lights on so to speak - and, if
possible, I'd rather not turn those
lights off.
PETTIS
Excuse me - did this character not
already burn one of your centers to
the ground today?
DEREK EVERMORE
Yeah, sure - but that was a
regional center - in Tennessee -
buncha fucking hicks - and they
didn't have you. Couldn't you, you
know, like - just surround the
place and fuck up anybody who shows
up - or whatever it is you do?
66.
A TELE-ASSOCIATE sticks his head into the office.
ASSOCIATE
Uh - Mr. Halpern Sir?
They both look. He nods and through the office window, they
see CLAY standing down at the entrance of the long room.
PETTIS
(hanging up)
I'll call you back.
INT. CALL CENTER CORPORATE FLOOR - DAY
At the head of the room, CLAY glances at, studies for a
moment, the Erase-Board of figures and cities. Takes up the
MICROPHONE Halpern was using. Taps it.
CLAY
Testing? Testing ... ?
(clears throat)
(addressing room)
One-time chance. Whoever doesn't
want to die this evening, can - in
an orderly fashion - leave now.
VOICE
Oh no! Hell no!
At the far end of the office, HALPERN has emerged with Pettis
to join his own Special Operatives gathered there.
HALPERN
Anyone who moves is fired
instantly! No bonus! No vesting!
No two weeks! No nothing! Zero!
All of the Associates freeze instantly - hovering in place at
their stations.
At Halpern's end, PETTIS and his OPERATIVES snap out and up
their guns.
HALPERN (CONT'D)
(hisses at Pettis)
Are you fucking nuts?? Every one of
these pricks between us and him
brings in between 75 and 200
million a year from our regional
centers. You will not shoot thru
them!
Pettis hesitates an angry moment. Then lowers his gun.
67.
PETTIS
(calls out)
Hey! Clay! All these people?
Let's not get them involved. Why
don't we, you know, `take it
outside' - as they say? And not
involve these innocent bystanders?
Down the long room full of people, Clay cocks his head.
CLAY
What - these assholes? They're not
innocent.
PETTIS
Okay, maybe not. But they're not
as guilty as some others either.
And they're between you and us -
and for either one of us to close
the distance - some of them will
get hurt - no way around it.
CLAY
No shit. Starting with this prick
right here ...
He COLD-COCKS the nearest tele-associate, dropping him and
then immediately starts down the line, punching and knocking
unconscious man after man as ...
HALPERN
Wait wait wait! No no no!
PETTIS
Screw this ...
Pettis and his men raise their guns and OPEN FIRE - a ripping
dragon's breath of automatic-weapons fire that churns the
room of desperately diving Tele-Associates - their computers
and phones - into a maelstrom of flying debris.
A moment later, they stop - hearts pounding, as the dust of
flat-screens and atomized phones settles. And they realize...
PETTIS (CONT'D)
Shit! He's gone! Go!
INT. CORRIDOR - NIGHT
Tactically, Pettis and his men move out of the room and into
the hallway. The corridor is silent. Pettis signals and
they split up in the hall like jets separating at an airshow.
68.
EXT. DATA GROUP CORPORATE HEADQUARTERS - NIGHT
POLICE OFFICERS are massed, guns drawn, at the entrance,
around the slumped bodies of the FEDERAL AGENTS when Verona
and Wylie arrive, their own guns coming out.
VERONA
What's the situation??
POLICE OFFICER
Bogie in the building. 9 down.
We're waiting on SWAT.
(then)
Obviously.
Verona looks to the bodies of the Federal Agents lying at
their feet - then to the POLICE PARAMEDIC there.
VERONA
Dead?
POLICE PARAMEDIC
(shakes head)
Paralytic shock; they'll come out
of it. This'll sound crazy - but
it literally looks like bee-venom?
Verona looks back, processing. Then nods.
VERONA
No. Not so crazy.
And, gun leading, she ...
WYLIE
Verona! No!
... moves into the building. Wylie hovers. Undecided.
WYLIE (CONT'D)
(then)
Fuck!
He moves in after her.
INT. CORRIDOR - DATA GROUP CORPORATE HEADQUARTERS - NIGHT
PETTIS moves, gun-sights of his MP-5 leading. He pauses just
behind the corner to the adjoining corridor - muzzle of his
gun just jutting around it before ...
SOMETHING - brushes the muzzle of his gun. He frowns. Then...
69.
Steps around the corner. To find CLAY standing there.
CLAY
Hey.
Pettis opens fire. But Clay just jerks his arm down and the
explosion of gunfire just rakes across the floor at his feet.
Pettis looks up - startled - realizing that Clay holds one
end of the MONOFILAMENT FISHING LINE Clay bought at the truck
stop. The other end has been looped and drawn around the
muzzle of his gun.
Enraged, he OPENS FIRE again - but Clay just jerks the gun
sideways, gunfire chewing up the hall behind him.
CLAY (CONT'D)
You fish? Practically invisible but
braided 550 pound test. Could haul
in a Mako on the Gulf Coast with
this.
Furious, Pettis tries to shoot again, but this time Clay just
yanks the gun out of his hands with the monofilament and
kicks him backward.
As Pettis climbs back to his feet, Clay discards the gun.
Laces his fingers together, turns them outward, and cracks
the 20 bones in them.
PETTIS
(grinning as he rises)
Oh. It's gonna be like that is it?
CLAY
It's gonna be like that. Do you
realize who it is you work for?
PETTIS
Sorry. After I note the color of
the money, my inquiries stop.
CLAY
No moral component whatsoever?
You'd work for Hitler?
PETTIS
Well, I didn't say that exactly.
Why? Who do you work for, Superman?
CLAY
Everyone.
(a shrug)
Just like Superman.
70.
He kicks Pettis stumbling backwards. But Pettis only sneers.
PETTIS
So you're everybody's bitch.
Congratulations.
From behind his back, he pulls a LONG GLEAMING KNIFE.
PETTIS (CONT'D)
Now you're gonna be mine.
He charges, slashing like a shark into Clay who only just
manages - several times - to barely sidestep.
They both stop. Clay looks down - several bloody slashes on
his chest and thighs. Pettis smiles.
PETTIS (CONT'D)
This knife will cut through your
braided 550 pound test like butter.
Or, better yet, 30 gauge steel
cable. Think of what it's gonna do
to you?
CLAY
Me?
He attacks - a flurry and a fury of brutal kicks and blows
that drive Pettis back until Clay can take control of the
knife in the man's hand and - twisting him and it around ...
He drives it to the hilt slamming down in the man's back.
CLAY (CONT'D)
Think of what's it's going to do to
you?
With a yank he pulls it out of the gurgling man's rib-cage,
letting him drop as ...
The REST OF PETTIS' TEAM enters the hall and OPENS FIRE,
lighting the corridor up as Clay ducks away.
INT. FOYER - DATA GROUP CORPERATE OFFICES - NIGHT
VERONA and WILEY edge up, gun-to-cheek, to the elevators.
Push the button.
71.
INT. CORRIDOR - 10TH FLOOR - NIGHT
When the remaining four operatives of Pettis's team edge into
the corridor Clay just ducked into - they see - at the end,
his feet just disappearing upward in the OPEN ELEVATOR there.
SEC-OP1
Go!
Rushing forward, they go skidding into ...
INT. ELEVATOR - NIGHT
The elevator where, raising their muzzles upwards, they
UNLEASH - full-auto - into the ceiling, ripping it into a
sieve of holes ...
INT. FOYER - DATA GROUP CORPERATE OFFICES - NIGHT
At the sustained sound of GUNFIRE echoing down the elevator
shaft - Verona and Wiley exchange a glance.
What the fuck??
INT. ELEVATOR - NIGHT
The mass of FIRE vomiting out of the muzzles of the Security
Operatives guns into the ceiling ceases - as they now stand,
watching the perforated ceiling of the elevator above - for
any tell-tale sign of remaining life.
Until - a VOICE - comes drifting down to them thru the sieve
of holes in the ceiling.
VOICE
You done?
Shocked - they exchange a glance - then quickly move to
RELOAD.
INT. ELEVATOR SHAFT - NIGHT
Flattened close onto the shaft wall, CLAY - lances of light
from the bullet holes beaming upward through the ventilated
ceiling of the elevator below his feet - shrugs.
CLAY
Yeah ...
72.
With PETTIS' KNIFE he reaches sideways and slices the
elevator cable running up the wall from the COUNTER-WEIGHTS
that hold it and ...
Cutting right through it - the elevator goes PLUMMETING down
away, 10 floors ...
CLAY (CONT'D)
... you're done.
INT. FOYER - DATA GROUP CORPERATE OFFICES - NIGHT
Verona and Wiley are BLOWN BACK as the elevator strikes the
bottom of the shaft, exploding literally like a bomb.
Recovering their feet, they look - astonished - thru the torn
steel of the doors into what's left of the elevator.
And what's left of Pettis's team.
INT. BATHROOM - SALES FLOOR - DATA GROUP CORPORATE - NIGHT
HALPREN ducks down, going ...
HALPERN
No no no no!
... squirming behind a toilet as CLAY comes marching in and
drags him up by the collar of his $2000 suit.
HALPERN (CONT'D)
No! Please! Don't kill me! I'm
innocent! I'm just a white-collar
criminal! I've never physically
hurt anyone in my life!
CLAY
(pulling him up)
And you want a cookie for that?
Because you've never had the stones
to look the man whose money you're
stealing in the eye?
He slams the man's head against the wall.
HALPERN
Ow! Oh my god! The violence! The
aggression! What are you doing!?
CLAY
Whatever I want. Do you have ...
73.
He slams his head into the wall again.
CLAY (CONT'D)
... a problem with that??
HALPERN
(a sniveling wreck now)
... no ... no ... hit my head into
the wall again - I don't care ...
CLAY
Great. We're on the same page.
He slams the man's head into the wall again - denting the
tile in. Pulls him up to face him.
CLAY (CONT'D)
Now. You are making a lot of money
here. And you are going to tell me
where it's all going?
HALPERN
But I don't...
Clay slams his head into the wall again.
CLAY
What is `who' - doing with all this
money? Which runs into the
billions - that you've stolen from
hard-working Americans who no
longer have the means to protect
themselves from parasites like you?
He slams the man's head into the wall again for emphasis.
Then, holding the dazed man with one hand, he opens the
cabinet under the sink and digging through the cleaning
supplies, pulls out a bottle.
CLAY (CONT'D)
You know - one of the worst
parasites to attack a bee-hive is
the Varroa Mite. You know how we
combat this threat to hive
equilibrium?
Biting the cap off the bottle he spits it out and begins
splashing it into Halpern's face.
CLAY (CONT'D)
Formic acid. Don't worry, it may
blind you - but it won't kill you.
74.
HALPERN
No! Please!
CLAY
Tell me - where is all the money
Data Group is making going!
HALPERN
I can't! They'll kill me!
CLAY
Yeah, but guess what - I'll torture
you. And then kill you. So there's
that.
He splashes more of the cleaning product into the man's face.
HALPERN
Okay! Okay! I'll tell you!
CLAY
No. You've stolen 100's of millions
from the people who built this
country. You're gonna show me.
INT. HALPERN'S OFFICE - NIGHT
Clay shoves Halpern in ahead of him to his desk where,
shakily, Halpern, blinking, desperate, keys his COMPUTER to
life. Types briefly, a SCREEN scrolling down.
VOICE
Clay!
Clay looks to see VERONA standing at the far end of the outer
office. GUN leveled at him.
VERONA
Let him go Clay.
Clay looks back at her.
CLAY
Why? This man is directly
responsible for your mother's
death.
VERONA
(hesitates/then)
I know. I - know but ...
(shakes head)
We have laws for these things.
75.
CLAY
No, Ms. Lincoln. You have laws for
these things until the laws fail to
fix the problem.
He nods.
CLAY (CONT'D)
Then you have me.
He ...
VERONA
No!
Smashes Halpern's head into his keyboard, keys exploding, and
as Verona OPENS FIRE, he ducks out the side door ...
INT. CORRIDOR - NIGHT
Directly into the corridor where ...
WILEY
Freeze!
Is drawn down on him. But Clay is way too fast for him,
stripping the gun away in an instant and twisting Wiley's arm
behind him and slamming him against the wall, he racks the
slide back on Wiley's gun and jams Wiley's pinky inside the
receiver - like a cigar cutter - and hits the slide-release.
Wiley grimaces at the razor pressure on his finger inside his
own gun.
CLAY
Do you want to lose it?
WILEY
No.
CLAY
Will you let me walk away?
Wiley hesitates.
WILEY
I don't want to.
CLAY
I know. Because you're a good man.
Yanking Wiley's gun away from his hand, he pistol-whips the
Federal Agent into black unconscious.
76.
An instant later, VERONA bursts thru the door. Clearing the
corridor in her gun-sights, she bends to feel Wiley's pulse.
WILEY
(squinting up)
... are you ... an angel?
VERONA
No. Sorry.
(half a smile)
Just FBI.
WILEY
... ah ... shit ...
INT. HALPERN'S OFFICE - NIGHT
Verona re-enters. POLICE OFFICERS are moving in, clearing
the outer office. She pauses for an instant on Halpern's
crooked and unconscious body there ...
Then the screen of his computer. Slowly, she holsters her
weapon as she clocks what she is seeing there.
VERONA
... holy ... shit ...
WESTWYLD PRE-LAP
... why I transferred to the
private sector ...
INT. UPSCALE RESTAURANT - NIGHT
WESTWYLD sits at a large round table at the center of what
appears to be a very expensive restaurant. Derek Evermore
and their wives along with several others are there.
WESTWYLD
In the public sector, you have
power but no money. In the
private, the wealth you create
makes you powerful - so, presto-
chango - you have both.
A polite tinkling of laughter from the glitterati around the
table. Pulling his phone, he glances at it. Raises a finger.
WESTWYLD (CONT'D)
One moment ...
Putting it to his ear, he listens - then nods.
77.
WESTWYLD (CONT'D)
... I see ... I see ...
(then/a grim sigh)
I see.
Hanging up, he gets up and walks away from the table without
a word - leaving the others - especially Derek Evermore -
sitting staring after.
EXT. OUTSIDE THE RESTAURANT - NIGHT
A few steps away from the valet, expensive European sports
cars lining the curb.
WESTWYLD
Sally ...
INT. WEST WING CORRIDOR - WHITE HOUSE - NIGHT
A WOMAN, poised, sleek, well-dressed, is moving quickly with
her own phone at her ear down a WEST WING CORRIDOR.
KELLY KRANE
Wallace ...
INTERCUT:
WESTWYLD
Have you been following the news?
KELLY KRANE
You mean this psychopath who's been
traveling across the country
wreaking havoc? Who hasn't?
WESTWYLD
Not a psychopath Kelly; a Bee
Keeper.
She slows briefly. Then continues.
KELLY KRANE
Bullshit. Bee Keepers don't cause
chaos - they contain it.
WESTWYLD
Well apparently this one believes
that by creating this chaos, he is
containing it. You know - the whole
break a few eggs to make an omelet
thing?
78.
She walks, thinking intently.
KELLY KRANE
So what do you want from me? Why
are you calling me?
WESTWYLD
Because. I need your boss to make
a statement.
KELLY KRANE
About a Bee Keeper??
WESTWYLD
Not specifically - but about the
fact that this is a national
emergency and her heart and prayers
go out to the victims and fervently
hopes law enforcement will stop him
swiftly, blah, blah, blah. A small
tweet even would serve the purpose.
KELLY KRANE
Tweet? I'm sorry, who do you think
my boss is? Yeah, `my boss don't
tweet'. And serve what purpose?
There is a beat.
WESTWYLD
To send the message to our
intelligence community that this
situation needs to be taken with
the utmost seriousness and `all'
that goes along with that.
KELLY KRANE
`All' like what Wallace?
Another beat. Then.
WESTWYLD
The other Bee Keepers need to be
activated.
KELLY KRANE
(blinks/then)
Activate... the other 49 Bee
Keepers??
WESTWYLD
This one's retired - so 50 - minus
the one he killed - plus her
replacement - so, yeah, 50.
(MORE)
79.
WESTWYLD (CONT'D)
Whatever - all of them - to the
east coast; pronto. Because the
only thing that's going to stop a
Bee Keeper...
(nods)
Is another Bee Keeper. Or 50 of
them. The hive's been kicked Kelly.
It's in chaos. It's time for the
invisible hand of the Bee Keepers
to step in and fix the problem.
Kelly Krane walks a stunned moment. Then ...
KELLY KRANE
You're fucking crazy, you know that
Wallace? You set loose 50 Bee
Keepers and you're looking at
potentially 50 times the problem
you have right now - plus Puerto
Rico.
WESTWYLD
And if you don't, in the next 24
hours you could end up with a
problem even bigger than all of
them combined!
KELLY KRANE
(silent an instant/then)
Why? You know something I don't
Wallace?
WESTWYLD
(sighs)
Just trust me Kelly.
KELLY KRANE
(walks/then)
No Wallace. I don't. I'll deliver
the message about a statement - but
I'm sure as hell not going to be
any part of setting the Swarm loose
in this country. Ciao Bella.
She hangs up, turning sharply thru Secret Service into...
INT. OVAL OFFICE - NIGHT
The Oval Office, where she addresses the PRESIDENT OF THE
UNITED STATES.
KELLY KRANE
Madame President - a moment ...?
80.
INT. UPSCALE RESTAURANT - NIGHT
As Westwyld re-takes his seat, EVERMORE is looking at him.
DEREK EVERMORE
What??
It is a moment before, with disgust, Westwyld turns his eyes
on the younger man. And hisses ...
WESTWYLD
You kicked the hive. And now we're
all going to reap the whirlwind
that's coming out of it.
INT. FBI JET - NIGHT
Flying low, VERONA watches the lights dotting the Virginia
countryside flowing past below. Beside her, big Wylie ...
WYLIE
You really sure you wanna go
through with this?
She looks. He's got an ice-pack against his head. He shrugs.
WYLIE (CONT'D)
These people flat-out robbed your
mother. And a lot of other people
who didn't deserve it. We've been
trying to build a case against them
for 4 years.
(shrugs again)
And he comes along and starts to
solve it in 12 hours.
She looks back. A breath.
VERONA
I like the ends. But I'm definitely
not so sure about his means Wylie.
(shakes head)
Plus - where is this headed? I
swore an oath. Wherever it is,
headed, I can't just stand by and
watch it happen.
WYLIE
Even if he's right?
VERONA
(a hesitation/then/a nod)
Even if he's right.
81.
INT. CORRIDORS - QUANTICO - NIGHT
Verona and Wylie, moving with purpose, make their way thru
the hallways - every ceiling mounted screen broadcasting the
PRESIDENTIAL ADDRESS ...
PRESIDENT DANSWORTH
... appears to be what the FBI is
terming `Lone Wolf' attacks ...
Turning to enter thru the open door of ...
INT. OFFICE OF THE DEPUTY DIRECTOR - NIGHT
... into the office of the Deputy Director of the FBI, who,
remote in hand, is watching the impromptu Presidential
address.
PRESIDENT DANSWORTH
... multiple locations across our
Southern states...
DEPUTY DIRECTOR PRIGG
(looking up)
Love this chick. Look at her. She's
already on it. And financing her
own campaign? Again? Definitely
voting for her again.
Flicking off the television, he spins in his chair to them.
DEPUTY DIRECTOR PRIGG (CONT'D)
Okay. So whadda we got?
VERONA
Well Sir, we're nearly certain he
traveled to the Data Group
Corporate headquarters in Atlanta,
not to necessarily wreak the havoc
he obviously did ...
(glance with Wiley/nods)
But to follow the money trail.
DEPUTY DIRECTOR PRIGG
Which `money-trail' is that?
82.
VERONA
Sir, Data Group - as you know,
through potentially fraudulent
means targeting the most vulnerable
sectors of our society, generates
100's of millions of dollars
annually. Fraud that's extremely
difficult to prosecute or trace...
WILEY
Which is why we've been trying to
build a tax case ...
VERONA
The question is - where is all of
that money going? And the answer
appears to be now - Evermore
Enterprises, a massive multi-
conglomerate ...
DEPUTY DIRECTOR PRIGG
Licensed and operating out of
Virginia Beach. Yes, I know it.
Everyone does. You're saying
Evermore owns Data Group?
VERONA
Through a very sophisticated and
complex series of shell companies,
yes. The buck, so to speak,
ultimately stops at Evermore.
DEPUTY DIRECTOR PRIGG
Then we need to scramble everything
we've got in that direction.
Evermore's run by Derek Evermore
and we all know who that is. This
Adam Clay will probably go after
him next - and we definitely can't
have that.
But Verona shakes her head.
VERONA
No. We don't think so Sir.
Prigg cocks his head.
DEPUTY DIRECTOR PRIGG
Why?
VERONA
Because Sir. We don't think Adam
Clay's intent here is to punish.
(MORE)
83.
VERONA (CONT'D)
Vengeance isn't in his
psychological profile so far as we
can tell.
DEPUTY DIRECTOR PRIGG
Then what is?
VERONA
(another glance to Wylie)
Morality, Sir. He is - or believes
he is - a moral force where and
when the universe becomes immoral
or unbalanced. He is the hand that
corrects, not punishes.
(shakes head)
Therefore we believe he's not
interested in symptoms ...
WYLIE
We think he's interested in the
disease.
Prigg frowns back.
DEPUTY DIRECTOR PRIGG
If Data Group is the carcinoma -
and Derek Evermore sits atop
Evermore Enterprises - and that's
the cancer ...
(he shrugs)
Isn't he the disease?
Shaking her head, Verona pulls out the BOOK ON BEE-KEEPING;
laying and tapping it on his desk.
VERONA
Sir, there's something in the
community of honey bees called the
`Queen Slayer'. That's a bee that
rises up and kills the queen if she
gives birth to defective young.
DEPUTY DIRECTOR PRIGG
Okay. Bees? You've officially lost
me.
VERONA
Mr. Deputy Director, Adam Clay
keeps honey bees. He admires their
purity. Their dedication to
purpose. Their willingness to
sacrifice themselves in the name of
the greater good.
84.
She nods.
VERONA (CONT'D)
Therefore we now think that he
believes that Derek Evermore is not
the disease itself, but the
defective offspring of a Queen.
And because of that, instead of
going for the defective offspring,
he will instead strike at what he
believes to be the heart of the
problem - and become a Queen
Slayer.
DEPUTY DIRECTOR PRIGG
(stares back)
Do you mean to say - that Adam Clay
might try next to kill Derek
Evermore's mother?
VERONA
President Danworth. Yes, Sir.
INT. CORRIDORS - QUANTICO - NIGHT
Verona and Wylie hot on his heels, PRIGG is veritably
charging down the hall.
VERONA
Sir, we think Clay now believes
that the monies funneled through
Data Group is at the basis of how
President Danworth self-financed
her successful independent run at
the White House three years ago.
DEPUTY DIRECTOR PRIGG
So basically stealing from her
constituents in order to get them
to vote her into office?
(shakes head)
Knowing what you know about this
President, do you believe that?
VERONA
(hesitates)
Sir I voted for her too but ... I'm
not sure what to believe anymore.
DEPUTY DIRECTOR PRIGG
Regardless ...
(Agent hurrying at them)
(MORE)
85.
DEPUTY DIRECTOR PRIGG (CONT'D)
Pike - we may have incoming
directed at the President in the
White House. We need to let our
sister agencies know and deploy
every asset immediately.
AGENT PIKE
Yes Sir but ...
DEPUTY DIRECTOR PRIGG
But what?
AGENT PIKE
(shakes head)
But the President isn't at the
White House Sir. She's boarding
Air Force 1 as we speak.
DEPUTY DIRECTOR PRIGG
(stopping)
Headed where?
AGENT PIKE
(a shrug)
To Virginia Beach. For a charity
fundraising brunch at her son's
compound on Virginia Beach tomorrow
morning.
Prigg, Verona and Wylie exchange a glance.
DEPUTY DIRECTOR PRIGG
Can we stop her?
AGENT PIKE
Uh. Sure. But ... luminaries and
some of the richest people from all
over the world are already on-site
so ...
(a shrug)
How?
EXT. EVERMORE COMPOUND - NIGHT
A massive compound of houses collected into a walled compound
that sits on a prime piece of Virginia Beach real estate.
Essentially, Mar-a-Lago North.
The exterior grounds are already crawling with SECRET
SERVICE.
86.
INT. DEREK EVERMORE'S HOME OFFICE - EVERMORE COMPOUND - NIGHT
WESTWYLD watches out the window as the Secret Service teams
work the grounds with dogs, searching and securing the
property.
WESTWYLD
I don't want them inside the house
during the event.
DEREK EVERMORE
But Wally...
WESTWYLD
(turning on him)
First of all, don't call me that.
Don't you fucking call me that.
You haven't earned that right and
you never will. Second, these
people ...
(the Secret Service)
They're the B or C Team - at best.
And if they're between you and what
might be coming down the pike at
you - or more importantly - us?
You're going to die and so are
they.
(nods)
And so am I.
He turns to EDELWEIS - a scarred and VERY TOUGH looking man
in his early 40's - who looks like he's seen heavy combat in
every corner of the earth. He's the COMPOUND SECURITY HEAD.
WESTWYLD (CONT'D)
That cunt of a Chief-of-Staff won't
activate the A-Team - the Bee
Keepers - so I want you to reach
out - DM every stone cold mercenary
killer you've ever met in a fox-
hole who'll murder for money, clear
them through Secret Service - and
get them here.
EXT. REAR SECURITY CHECK-POINT - EVERMORE COMPOUND - MORNING
The HEAD of the Secret Service Outer Security Detail stands
in front of the barrier at the back gate of the Evermore
compound - surveying the area with a keen eye.
BARRETT
What's that?
87.
He is speaking to his Second in Charge, and indicating a
MANHOLE COVER in the center of the road some 20 yards from
the barrier check-point.
SECRET SERVICE SECOND
Storm drain Sir. We checked. It
starts there - it doesn't run under
or go into the compound. It only
runs the other direction - out to
the sea.
Barrett nods. Squints. Raises the binoculars that hang
round his neck.
BARRETT
(handing field glasses)
What about that?
His second peers thru the glasses at the 71 MACH 1 MUSTANG
parked facing them at the curve in the road some quarter mile
distant.
SECOND
Car Sir. We've looked already.
Some idiot left the engine running,
but it's definitely unoccupied.
Barrett frowns, considering.
BARRETT
Getaway vehicle?
SECRET SERVICE SECOND
Possible, Sir. Do you want us to
disable and remove it?
BARRETT
(considers/then)
No. If it is, better not to alert
the John Doe that we know what he's
up to - in case he's got a Plan B.
Put snipers on it. Shit hits the
fan and anyone goes near it, light
up the engine block and we'll take
him.
SECRET SERVICE SECOND
Copy that.
(radio)
East-end, west-end snipers, come
back ...
A CAR PULLS UP to the crash-barrier - Barret raising his
hand. VERONA and WYLIE step out.
88.
BARRETT
Sorry, this is a private gathering.
I'm going to have to ask you to
leave.
Verona and Wylie flash their badges.
WYLIE
FBI. We're hip.
BARRETT
I don't think so. You're either
gonna have to do a lot better than
that or you can turn your car
around right now - because we're
about to have a very long line of
traffic here.
With a sigh, they both pull the lanyards from around their
necks and hand him their badges - which he scrutinizes.
BARRETT (CONT'D)
I'll have to call this in.
VERONA
Please do. In the meantime, we're
leading the Federal task-force on
this. Can you tell us what security
measures you have in place here?
BARRETT
(eyes them a second/then)
Yeah. Standard for Presidential
protection. Which is about as high
as it gets on this planet.
VERONA
Like what? Dogs? Bomb squad?
BARRETT
Absolutely. Every vehicle will be
thoroughly vetted and searched.
All cavities, under-carriage with
eyes-on, not just mirrors - and
sniffer dogs, of course.
(shakes head)
No one's coming in here concealed
in a vehicle, that much I can tell
you. It'll be virtually impossible.
Verona and Wylie exchange a glance. A breath, a nod.
89.
VERONA
Okay. Make your call. We'd like
to go in.
INT. DEREK EVERMORE'S HOME OFFICE - EVERMORE COMPOUND - DAY
Derek is doing LINES OF COCAINE at a small coffee table when
the DOOR is opened and HIS MOTHER, PRESIDENT DANWORTH enters.
Quickly, he wipes it all away onto the floor, jumping up.
DEREK EVERMORE
Mom!
Rubbing anxiously at his nose and upper lip, he rises and
goes quickly to and embraces her.
DEREK EVERMORE (CONT'D)
I didn't expect you so soon. You
look wonderful!
PRESIDENT DANSWORTH
(dismissively disengaging)
I'm exactly on the time I said I'd
be. And why're you talking so fast?
DEREK EVERMORE
What? Me? Am I?
She eyes the lightly white-dusted coffee table. Turns her
eyes back to him.
PRESIDENT DANSWORTH
Stop chewing your lips.
DEREK EVERMORE
Oh ...
He covers his mouth with a hand.
DEREK EVERMORE (CONT'D)
Sorry.
PRESIDENT DANSWORTH
(a sigh)
Derek ...
DEREK EVERMORE
Yes Mother ... ?
PRESIDENT DANSWORTH
Come with me.
90.
She heads for the WINDOW and he dutifully follows. Down below
on the lawn, tuxedoed BUTLERS are scurrying everywhere,
setting up.
PRESIDENT DANSWORTH (CONT'D)
You're aware that this is a charity
function for animal rights, right?
DEREK EVERMORE
Uh. Yes?
PRESIDENT DANSWORTH
And that wealthy and powerful
animal lovers from all over the
world will be here to attend and
contribute to this worthy charity?
DEREK EVERMORE
Uh. Yes?
PRESIDENT DANSWORTH
Then why - tell me - why - in fuck -
did you choose to roast a whole cow
for the event??
It's true - there's a WHOLE COW turning on a spit over a fire-
pit behind a white table where several men in chef's hats and
white gloves are holding knives with cutting boards.
DEREK EVERMORE
Well. At least it's not a live cow
Mom.
PRESIDENT DANSWORTH
You're a fucking idiot. You know,
sometimes I wish you father were
still alive. So I could slap him.
DEREK EVERMORE
Mom. Even animal lovers eat meat.
Meat's making a big comeback, you
know. Hunting too. It's almost
impossible to build lean muscle
without...
PRESIDENT DANSWORTH
Oh my god. You're a good looking
kid, you really are, you know that?
DEREK EVERMORE
(peers at her)
What's that mean?
91.
PRESIDENT DANSWORTH
(dryly)
It means that God doesn't give with
both hands.
Turning, she walks out.
EXT. GROUNDS - EVERMORE COMPOUND - DAY
SEVERAL BLACK VANS pull up, expelling some VERY ROUGH looking
customers - clearly ex Special Forces mercenaries from all
over the world. Every one of them looks like he - or she -
could win a bar-fight. With the whole bar.
The first one, who we've already met - EDLEWEISS - gives the
surprised SECRET SERVICE AGENTS working the grounds there a
look as he heads past towards the house.
EDELWEISS
Got something to say, Champs?
The Secret Service Agents - at a loss - don't.
MEANWHILE, a dozen yards away, by the white-clothed tables,
VERONA and WYLIE exchange a glance.
VERONA
Interesting.
WYLIE
Indeed.
SERVER BEHIND TABLE
Would the lady like some cow?
With a smile, he indicates the WHOLE COW turning crackling on
a spit behind him. It looks kind of horrific.
VERONA
Uh. No thank you.
WYLIE
(grabbing a plate)
Hey I'll have some.
EXT. BACK GATE - EVERMORE COMPOUND - DAY
SPECIAL AGENT BARRETT stands overseeing the inspection of
each of the NOW LONG LINE of vehicles waiting to get into the
compound by a small army of Secret Service Security Agents.
92.
They carefully search the trunks, the interior of the car,
while one agent, lying on a `creeper' rolls under the under-
carriage of each car, carefully inspecting with a mag-lite.
While a PORTABLE X-RAY is rolled along the sides of each
vehicle.
Even the engine-compartment is checked.
Cleared, Barrett raises the barrier arm and waves the just-
checked vehicle thru.
Raising his hand, he stops the next one, a STAKE-BED TRUCK.
DRIVER
Delivering. Ice-sculptures.
BARRETT
Identification please.
The driver hands it over and as Barrett's men go through the
search procedures, he matches the picture against the man's
face, then steps into the guard house there, scans the ID and
matches it manually against the written list of cleared
vehicles. Walking behind, he checks the license plate.
Looks to his Search Team Lead, who emerges from searching
beneath the truck.
SEARCH TEAM LEAD
All clear.
BARRETT
(driver)
All right, proceed 20 yards up to
the fork and follow the sign to the
loading dock.
DRIVER
(taking back ID)
Thanks.
BARRETT
(raising barrier)
Move it along. Got a lot of
vehicles here today.
With a nod, the driver puts it in gear and drives through the
check-point and up the short road to the fork in the road,
where he pulls to a halt. Frowns.
Because the SIGNS there - one pointing one direction, the
other in the opposite - are missing. Broken raggedly off.
93.
Almost like ... someone shot them off?
With a sigh, he glances in his side-rear-view mirror and
putting it into reverse, backs up down the road - back to the
barrier at the gate.
With annoyance, BARRETT comes from the car currently being
searched and around the barrier to truck window.
BARRETT (CONT'D)
Yes? What are you doing? We have
like 20 vehicles waiting here.
DRIVER
Yeah, sorry. But the signs are
broken off?
Barrett squints at him.
WHILE: 20 yards back from the gate, the COVER moves sideways
off the MANHOLE and CLAY crawls up under the vehicle waiting
idling on top of it, and begins crawling up under the line of
bumper-to-bumper cars waiting to get in.
WHILE AT THE BARRIER: Barrett's annoyance is undisguised. He
points up the road.
BARRETT
Look - just go to the fork and go
right - not left - that's the house
- but right - that's loading, okay?
DRIVER
Yeah, okay.
BARRETT
Chop chop. I got people waiting.
DRIVER
I'm going, I'm going.
And putting it in gear, he heads back up the hill.
EXT. LOADING - EVERMORE COMPOUND - DAY
The truck pulls up at loading. It's a madhouse here. A man
with a checkboard approaches as the driver debarks.
MAN WITH CHECKBOARD
Ice sculptures?
DRIVER
Yeah.
94.
The Man With the Checkboard peers into the stake-bed.
MAN WITH CHECKBOARD
Donald Trump?
DRIVER
It's all the living presidents.
Whaddaya want from me.
MAN WITH CHECKBOARD
But why's he so much bigger than
everyone else?
DRIVER
Look, I don't make the decisions, I
just drive them - capiche.
MAN WITH CHECKBOARD
Yeah, sure, whatever. Make yourself
comfortable. We'll take it from
here.
NEITHER OF THEM seeing CLAY as, having rolled out from the
undercarriage of the Stake-Bed, strolls away and up to the
house.
INT. HOUSE - EVERMORE COMPOUND - DAY
The FUNDRAISER is in full-swing when CLAY enters. Plainly
enormously wealthy people, laughing, chatting and drinking as
they are patrolled by EDELWEISS'S alert and eagle-eyed
SECURITY MERCENARIES.
VOICE
Champagne Sir?
He looks. A tuxedoed waiter with a tray.
CLAY
Milk if you have it.
The Waiter gives him a `does not compute' look.
CLAY (CONT'D)
Never mind.
He continues on. Taking in every detail of the layout.
There's THE PRESIDENT, out on the lawn, chatting liberally
with the guests.
95.
There's WESTWYLD, standing talking to a group of wealthy
attendees - but clearly acutely alert to everything that's
going on in the rest of the house.
There's Derek Evermore - chatting up some young attractive
female he seems to have cornered. Playfully toying with the
strap of her dress.
And there's VERONA LINCOLN and WYLIE. Wylie holds a plate
piled with RED MEAT. But either way, both of them are
staring right back at Clay.
They start for him, but turning, Clay pushes away,
disappearing into the packed crowd inside the house, Verona's
RADIO snapping to her mouth as her hand goes to her gun
inside her jacket.
VERONA
Bogie is on the premises!! East
wing by pool! Cargo pants and denim
shirt! He appears unarmed!!
EXT. BACK GATE - EVERMORE COMPOUND - DAY
BARRETT touches his ear, hearing - looks with surprise up to
the house.
EXT. LAWN - EVERMORE HOUSE - NIGHT
On the lawn, EDELWEISS touches his own ear and, suddenly - to
the shock of the wealthy guests around him, he draws his
CUSTOMIZED GLOCK, hissing into his throat-mike ...
EDELWEISS
He's in the house! Go! Go!
INT. HOUSE - EVERMORE COMPOUND - DAY
DEREK EVERMORE, still trying to toy with the young woman he
has cornered, looks up as a HAND touches his shoulder.
His MOTHER.
PRESIDENT DANSWORTH
(young woman)
Pardon me.
(Derek)
Speak to you a moment in private?
96.
INT. HOUSE - EVERMORE COMPOUND - NIGHT
VERONA and WYLIE are shoving through the crowd, searching
every face trying to re-locate Clay ...
VERONA
There!
Just ahead through the crowd, CLAY hears her and - turning -
ducks out through the nearest patio door.
VERONA (CONT'D)
(radio)
He's outside! He's outside!
She and Wylie go pushing through the crowd, rushing after.
INT. HOUSE - EVERMORE COMPOUND - NIGHT
Edelweiss hisses into his own mike.
EDELWEISS
Outside! Outside!
INT. DEREK EVERMORE'S HOME OFFICE - EVERMORE COMPOUND - DAY
When Derek enters after his mother, he is surprised to see
KELLY KRANE, the President's Chief-of-Staff, there.
DEREK EVERMORE
What's this?
PRESIDENT DANSWORTH
You remember Kelly right? Well
this whole chain of events? It got
her digging. And she has some
interesting things to say now about
where the money that financed my
last campaign may really have come
from ...
EXT. HOUSE - CLAMORE COMPOUND - DAY
THE WELL-HEELED GUESTS are just becoming conscious that
something is going on as EDELWEISS and his men go pushing
furiously through them - GUNS COMING OUT.
Abruptly, a HAND catches Edelweiss as he shoves his way thru
the patrons of the fundraiser.
Sharply, he swings - but it's VERONA.
97.
VERONA
(his gun out)
Are you crazy?? You start shooting
here you're gonna get people
killed.
EDELWEISS
Maybe. But if he makes it a
gunfight, you'd better believe I'm
gonna be shooting back.
VERONA
Yeah, but can we please make sure
he's gonna make it a gunfight
before the shooting starts?
He glares back - then, ripping his arm out of her grasp, he
goes charging on through the crowd.
EXT. FRONT DRIVE - DAY
Clay emerges from the cloud of guests and heads walking
quickly towards the exits when ...
VOICE
Don't move you fucking prick!
Clay slows. Then stops.
VOICE (CONT'D)
That's it. Now down.
Clay turns his head. EDELWEISS - AND HIS MEN all coming
running up, mini-machine-guns aimed at his head.
EDELWEISS
Fingers! Laced behind your head!
And down on your knees! Now!
A breath. Then, slowly, Clay RAISES HIS SHIRT - and complies.
Aggressively, Edelweiss and his people move in, a bristling
phalanx of bullet-filled guns converging on the back of
Clay's head.
EDELWEISS (CONT'D)
Bee Keeper my ass. You ain't shit.
Hope you're ready for the Great Bee
Hive in the Sky asshole.
He focuses the muzzle of his gun at the base of the Clay's
skull.
98.
VOICE
No!
Eyes rise. VERONA - running up.
VERONA
(Clay's naked/bare torso)
Can't you see!? He's not even
armed!
EDELWEISS
Are you fucking kidding me?? As
long as a mother fucker like this
has arms he's armed!
Subtly, his eyes rise - to a BALCONY back up at the house.
Where WOODWYLD stands. Acutely, he is watching.
Equally subtly, he nods at Edelweiss - who faintly smiles.
And gathering up the grip on his rifle, he sights back down
on the back of Clay's head.
VERONA
What the hell are you doing??
EDELWEISS
To `bee' - or not to `bee', Clay -
that's the question ...
His finger tightens on his trigger - but suddenly CLAY'S
HANDS unlace from behind his head - and everyone abruptly
realizes - that he HOLDS a BLACK TRIGGERING DEVICE.
MERCENARY
I'm might be a bomb!
Everyone freezes. Clay shrugs. Clicks the trigger.
CLAY
I think I'll take - `to bee'.
EXT. ROAD - DAY
ECU - on the REAR TIRE of the `71 MACH 1 - and the half-
submerged-in-sand CINDER BLOCK that it rests on - straining
against its own drive-train as ...
Suddenly that cinderblock - and its sister beneath the other
rear wheel - suddenly blow and WHEELS aruptly hitting earth,
the car...
TAKES OFF.
99.
Blasting accelerating down the small back road ...
STEERING WHEEL locked in place, CINDER BLOCK on the
accelerator as ...
EXT. BACK ENTRY GATE - EVERMORE COMPOUND - DAY
BARRETT spins as he - and the other special agents suddenly
realize - that the MACH 1 is speeding directly at them ...
BARRETT
(radio)
Light it up! Light it up!
EXT. COMPOUND WALLS - DAY
SECRET SERVICE SNIPERS open fire ...
EXT. BACK ENTRANCE ROAD - DAY
Heavy caliber bullets smacking and smashing and pounding the
classic car as it accelerates - WINDSHIELD exploding ...
Towards the back gate ...
EXT. BACK GATE - EVERMORE COMPOUND - DAY
BARRETT diving out of the way as the Mach 1 comes smashing
thru the barrier, going barreling past and up the service
entry road ...
EXT. BACK LAWN - DAY
To the astonishment of Edelweiss and Verona and Wylie and the
others, the Mach 1 comes careening up the service road and,
as they go falling away, comes crashing into the side of the
house there where, trunk exploding open ...
CLAY rises and calmly goes to it, reaches in - and pulls out
THE BIGGEST MOTHER FUCKING GUN YOU'VE EVER SEEN ...
And turning to the nearest startled Mercenary ...
He BLOWS that man away. Turning, he cuts the next nearest
Mercenary IN HALF, collapsing the window behind him.
And, as everyone goes diving, retreating away and for cover,
he turns back to the trunk and - into every nylon loop on his
shirt and the thighs, waist and hip of his cargo pants ...
100.
He shoves a GUN and ...
Almost literally COVERED IN PISTOLS, he turns back and
raising the rifle ...
BLOWS one of the retreating mercenaries out of his boots.
Stepping over that body - he enters the house.
VERONA and WYLIE, covering, guns drawn, behind an over-turned
lawn-table, exchange a glance.
WYLIE
Well he's certainly armed now.
VERONA
Shut up. Let's go.
And, rising, they move tactically towards the house.
INT. HOUSE - DAY
Clay moves swiftly thru the house, surgically identifying
between the matrix of screaming, running guests while blowing
ELDEWEISS'S MERCENARIES as they come at him thru the crowd.
He turns into a corridor - as whose end is massed A HALF
DOZEN MERCENARIES - guns bristling and triggers squeezing.
Clay fires from his hip, emptying a magazine into the CEILING
just above their heads, bringing down a RAIN of plaster.
For an instant, the Mercenaries' views is obscured by a
roiling cloud of white.
MERCENARY
Wait for it to clear! Wait for it
clear!
Still ... very still ... they do. And in a moment - the
white cloud of dust dissipates - revealing CLAY - standing
directly in front of them.
He grabs the muzzle of the first man and as his automatic
fire is dragged everywhere but at Clay, Clay, twists him
around and BLOWS out the back of his head ...
A favor that he now dives into the tightly packed mass of men
and repeats in knees, hands, hips, necks, faces and foreheads
- dropping one pair of guns when they are empty a drawing the
next with hardly a beat skipped in the continued allegro
assault of gunfire until ...
101.
They are all dead and he is still stands. Stepping out of
the hallways of dead, he continues on.
INT. DEREK EVERMORE'S HOME OFFICE - EVERMORE COMPOUND
DEREK, his MOTHER and KELLY listen to the screaming and
carnage that is coming from the house.
PRESIDENT DANSWORTH
(Derek)
You did this, you realize that
right? This is your doing. You
kicked a hive that never should
have been kicked.
DEREK EVERMORE
Mom I was just trying to get you
into office!
PRESIDENT DANSWORTH
I was gonna win anyway and we were
already rich! We have over 50
companies! This was greed! This
was overkill! Not to mention
excessive and nauseatingly immoral
you creep!
DEREK EVERMORE
Yeah! Great! Mom! We can get
into the who's holier than thou
crap if live through this!
(points at door)
The question is - what're you gonna
do about this now!
She sits there - looking blandly back.
PRESIDENT DANSWORTH
Tell the truth.
He blinks back.
DEREK EVERMORE
Truth? What truth? What do you
mean, `tell the truth'?
PRESIDENT DANSWORTH
I wouldn't expect it to be a
concept you'd understand. Tell him
the truth about what you did Derek.
In fact, I'm going to take the
political hit and tell everybody.
Because it's the right thing to do.
102.
Derek stares at her. At Kelly Krane - who stands there, arms
crossed.
DEREK EVERMORE
(quieter now/backing down)
... yeah... yeah... the truth...
INT. CORRIDOR - HOUSE - EVERMORE COMPOUND - DAY
Clay steps into a corridor and EDELWEISS kicks him back into
the collapsing wall and is on him, pummeling his liver and
kidneys until Clay manages to grab his ears and ...
Headbutts him stumbling back as Clay tackles him thru that
wall and ...
INT. LIVING ROOM - HOUSE - CLYMORE COMPOUND - DAY
... into the living room, smashing down onto a very expensive
mirrored table that explodes into reflective shards - one of
which Clay snatches up and slams down towards Edelweiss's
throat ...
But Edelweiss catches it and they both hover there as Clay
tries to lean the sharp shard of mirror into that man with
everything he has until ...
In the shard's reflection, he suddenly sees ...
A MERCENARY running at him with a MASSIVIE KNIFE.
Abruptly rolling off Edelweiss, he surprises the man by
rolling behind him and slicing both his Achilles with the
glass and, catching the man's OWN KNIFE as it falls ...
He jams it's point to Edelweiss's ear. Edelweiss looks back.
EDELWEISS
You don't have to do it clay.
Clay looks back.
CLAY
If I don't, you'll just come after
me till you kill me.
(he nods)
If I'm wrong - tell me.
Edelweiss's jaw works - but he doesn't deny it. Clay pushes
the knife thru his ear into his brain.
103.
INT. STAIRWAY TO DEREK EVERMORE'S OFFICE - NIGHT
When Clay steps into the narrow staircase leading up to Derek
Evermore's office, WESTWYLD is standing at the top with an AK-
47 which he lets go - tearing up the hall.
Clay falls back to cover. Touches the BULLET-HOLE in his
shoulder. Winces.
WESTWYLD
(calling out)
Why couldn't you just let it go!?
Go back to your little bee-hives
making honey for your neighbors!
CLAY
I might have. Except my neighbor's
dead.
Westwyld's features tighten. He understands what Clay means.
WESTWYLD
Clay goddamit! What the hell do you
care how President's get elected??
CLAY
I don't.
WESTWYLD
(frowns/then)
Then what do you care about.
CLAY
Right ...
He steps back into the staircase.
CLAY (CONT'D)
And wrong.
WestWyld's UNLOADS the rest of his clip wildly into the stair-
well - but Clay - un-hit - starts up.
CLAY (CONT'D)
There is an objective good in the
universe.
WestWyld tries to jam another magazine into his gun, but Clay
shoots it out of his hand as he comes up the steps.
CLAY (CONT'D)
I believe that natural good is
reflected in the natural order.
104.
WestWyld tries to jam another magazine into his gun, but
again Clay shoots that one out of his hand too as he comes up
the steps.
CLAY (CONT'D)
And when that order is disturbed -
I correct it.
Desperately, WestWyld tries to jam his last clip into his
gun, but Clay shoots it out of his hand too as he stops on
the steps in front of the man.
He raises his pistol and places it to the trembling man's
forehead.
CLAY (CONT'D)
I don't know why I do what I do.
It's just the way I'm built.
BLAM! he blows Westwyld's brains all over the outside of
Derek Evermore's office door.
INT. DEREK EVERMORE'S HOME OFFICE - EVERMORE COMPOUND - DAY
The shot reverberates all-too loudly here in Derek's office.
From his desk, he looks to his mother.
DEREK EVERMORE
(his mother)
You think what? You'll tell him the
truth and he'll kill me instead of
you?
PRESIDENT DANSWORTH
It's worth a shot. But that's not
why I'll tell him the truth.
DEREK EVERMORE
Well then why!?
PRESIDENT DANSWORTH
Because it's the goddam truth!
DEREK EVERMORE
Well guess what Mom. At the end of
the day, truth isn't what comes out
of your mouth ...
From the drawer of his desk, he takes out a NICKEL-PLATED
REVOLVER and SHOOTS Kelly Krane point-blank in the chest.
DEREK EVERMORE (CONT'D)
It's what comes out of your gun.
105.
As she topples he turns and points the gun at his mother.
DEREK EVERMORE (CONT'D)
Surprise.
PRESIDENT DANSWORTH
(with venom)
Not even remotely.
Instantly, the reinforced steel door of his office BLOWS
inwards off its hinges and, stepping in, CLAY levels his gun
on The President and her Son.
VOICE
Clay! No!
He looks to see VERONA on the veranda, in a shooting stance,
gun leveled at him.
VERONA
Don't.
CLAY
What do you work for Ms. Lincoln?
Law? Or Justice?
He nods.
CLAY (CONT'D)
Because I know which one I work
for.
As Derrek Evermore suddenly swings his gun around, Clay
shoots him dead and Verona shoots him.
As both men drop, Verona rushes to administer first aid to
the President's son while WILEY comes bursting in through the
door and comes sliding in to help too.
But after a few moments, it's clear - it's no good. Derek
Evermore is dead.
Verona looks to the President who is fighting back tears.
PRESIDENT DANSWORTH
He was a sleaze but ....
(shakes head)
I'm still a mother ...
Reaching, Verona squeezes her hand. Looks to Wiley.
VERONA
I guess I got it wrong - it's bees
that become Queen Slayers ...
(MORE)
106.
VERONA (CONT'D)
(shakes head)
Not the Bee Keeper.
They both look to CLAY'S BODY in the doorway.
Only - both of them rise to their feet because ...
It's gone. The stairway corridor is massed with LAW
ENFORCEMENT fighting to get in ...
He couldn't have gotten out that way.
Verona and Wiley exchange a glance. She rushes out onto the
open veranda overlooking the ocean.
EXT. VERANDA
Beneath the sea-oat dotted dunes, the blue-grey Atlantic
rolls away.
She looks every direction but - nothing. Just the vast
anonymity of the ocean.
And a SINGLE LIMPING SET OF FOOT PRINTS that lead down into
it ...
But do not return.
She notices a SINGLE HONEY BEE - sitting on the veranda rail,
fluttering its wings and cleaning it tongue with its front
legs.
She gazes at it in all its perfection, it's natural beauty -
for an extended moment.
It suddenly takes flight and flutters off - disappearing away
into the endless void of sand, oats and sea.
She smiles.
VEREONA
See you Adam Clay. See you very
soon.
She feels something in her pocket. Pulls out a BOOK.
`BEE-KEEPING FOR BEE-KEEPERS'. She smiles again. Looks out
over the ocean.
VERONA
I'm quite sure.
END
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