"FLIGHT" (2012)

FLIGHT

Written by John Gatins

White: Aug. 27, 2011 Blue: Sep. 25, 2011 Pink: Oct. 10, 2011 Yellow: Oct. 19, 2011 Green: Oct. 24, 2011 Goldenrod: Nov. 04, 2011 Buff: Nov. 08, 2011 Salmon: Nov. 22, 2011 Cherry: Dec. 06, 2011 Tan: Dec. 12, 2011

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IS ALSO PROHIBITED.

CHYRON -- ATLANTA 6:12 AM

It’s still more night than day as we look down on the HOTEL ATLANTA. The lit sign for the HOTEL ATLANTA may be the only source of light as we hear a metallic rattle.

We follow the metallic rattle to a door. The rattling stops and we watch the knob slowly turn.

Tight on a feminine arm with a tattoo that announces “hope.” We pull back to find that both arms are employed in the pulling of what looks like a large suitcase.

NICOLE MAGGEN, a beautiful but tired woman, finishes pulling the suitcase that we now surmise to be a folded-up massage table out of the motel room. With her bra in one hand and the rickety table resting against the wall of the exterior 2nd floor hallway of the motel, she assesses her situation.

She digs in her purse, lights a cigarette and continues digging in her purse. She finds a beat-up candy tin. She opens it and quickly sorts through a collection of burnt foils, heroin foils, looking for residue. Nothing.

She now finds and holds up the 100 bucks she just made.She flips open her cheap phone and makes a call...she thinks better of it and hangs up.

NICOLE forces the clumsy table into the hatchback of a 1988 Toyota Tercel and slams it shut.

We hear the electronic ring of her cheap cell phone on “speaker phone” mode. The phone rests on the passenger seat. We pull up to find NICOLE slumped with her head resting on the steering wheel. She is exhausted and irritated...

A MAN answers with music in the background...”Yo..” NICOLE quickly picks up the phone.

She hangs up the phone and catching herself in the rearview she tries to smile.

CHYRON -- ORLANDO 7:14 AM

The sun would be rising if the sky wasn’t swirling with grey clouds. We see the American Suites Hotel and recognize it as a decent commuters’ hotel near the airport in Orlando.The sound of a clock radio breaks the calm of our picture.

Through the clock radio we loudly hear two morning drive-time radio personalities spewing nonsensical patter...

An attractive YOUNG WOMAN wrestles free of the covers and gets out of bed. She crosses naked through the room as a cell phone starts ringing.

Back to the bed asWHIP WHITAKER rises into frame and inhabits the room like a lazy ape at the zoo. WHIP wears his 40 some years of life experience like a medal. Smoke hangs in the air and empty beers, a pint of vodka and two empty carafes of cheap hotel wine clutter the table as WHIP snatches up his phone and answers...

VOICE For the love of Christ! Look...just hold...HOLD ON.

He aggressively drains the last four inches of beer from a clear bottle and cracks the last fresh one that bobs in the hotel ice bucket.

The naked, YOUNG WOMAN bends over to pick up her clothes.

We witness her ass as a tanned glass vase with a perfect crack down the middle. Whip smiles, taking it all in...

The YOUNG WOMAN has re-lit the last half of a joint and is puffing it to life as WHIP is beckoning with his large hands.

The YOUNG WOMAN, looking more like a stripper by the second, hands the joint to WHIP who takes a masterful drag.WHIP shakes his head in violent disapproval to what he hears on the phone. He exhales in anger as he shouts into the phone.

WHIP hangs up and continues to make quick work of the last beer as he stares through his thoughts and out the window.

The YOUNG WOMAN we now know as TRINA smiles seductively...

TRINA is still naked but she holds a navy blue skirt and a white blouse as she hands WHIP his pants. WHIP can’t help but pat that perfect ass as TRINA tries to skip away.

ON THE RADIO We hear the opening bars of a familiar rock anthem...JOE COCKER’s “I’m Feeling Alright”

WHIP leans over the motel table, picks up a soda straw that's been cut in half. He efficiently sniffs up a line of coke.

WHIP wears his pilot Blues and carries his hat as he strides confidently down the hallway. JOE COCKER continues to wail, perfectly narrating the hero’s swagger that WHIP maintains while passing bad light fixtures and ornate wall paper.

WHIP leans against the landing gear of the JACKSON-RIDGEFIELD 88 PASSENGER JET -- He takes a swig from a small bottle of mouthwash -- gargles, then spits the green foam on the tarmac. WHIP wipes fatigue from his face as he stashes the mouthwash in his pocket, then quickly completes his visual walk around. He looks at the sky again as he steps on to the jet way ladder. His foot slips, sending his shoe SPLASHING in to a puddle.

Whip shakes the rain out of his shoe as he continues up the stairs.

WHIP enters the jetway from the exterior door at the entrance of the plane. TRINA is greeting a MAN and his SON.

WHIP waits as TRINA politely parts the stream of folks to allow WHIP to enter the plane.

WHIP exchanges a look with a MATURE FLIGHT ATTENDANT, MARGARET THOMASON. She can’t help but smile...

TRINA and CAMELIA SATOU, the other flight attendant, laugh.

The girls laugh at the familiar exchange.

WHIP enters the cockpit, removes his hat and nods toKEN EVANS, our clean-cut, young first officer.

Whip pulls his emergency oxygen mask off the bulkhead and takes a huge hit.

EVANS lets him hang...

WHIP studies this little Bible Thumper for a second before...

WHIP focuses on EVANS, trying to read into that statement.

MARGARET returns with the coffee, placing it down near WHIP’s chair on an airline cocktail napkin.

WHIP goes to the head. MARGARET and EVANS exchange a look.

NICOLE gets out of her Tercel and slams the door twice before it closes. She checks the address on her phone and looks up at the enormous mansion.

NICOLE pushes through the overly tall front door of the house. At first glance, it’s completely empty, unfurnished. A GUY in cargo pants and a baseball hat sleeps sitting up against the huge dual staircase that leads to the second floor. Random boxes of video equipment are now evident as are thick cables that lead to a staircase going down.

On the staircase she immediately encounters another YOUNG CREW GUY holding a tiny lap dog while standing next to a NAKED GIRL wearing a Shakespearean Military Helmet.The YOUNG CREW GUY holds up the “be quiet” finger to his lips.

NICOLE quietly makes her way down a few steps, stopping at the odd duo. We now hear activity downstairs, music. SUDDENLY the YOUNG CREW GUY frantically points at the NAKED GIRL.

And she grabs the TINY DOG and hustles downstairs. NICOLE waits with the YOUNG CREW GUY until we hear....

NICOLE is free to walk all the way downstairs now.

NICOLE enters to reveal a large porn set with a Shakespearean theme, specifically “Othello.” We see an Elizabethan Four- poster bed with a canopy surroundedby stone arches and cardboard Venetian Columns. In the bed we find an AFRICAN AMERICAN PORN ACTOR laying with TWO FEMALE ADULT ACTORS.

A GIRL WITH DYED-BLONDE HAIRstands naked next to the throne smoking a joint as she shaves her crotch with a man's electric razor.

NICOLE approaches aYOUNG TATTOOED MAN who only wears board shorts. He's talking with anOLDER ASIAN MAN as they groom a pile of coke for snorting.

He sniffs a quick line and gets up to kiss her, she turns her cheek avoiding the coke-frozen kiss.

KIP is flirting, seeing if she’ll consider it...

TIKI does a line and comes up babbling.

A tall thin kid joins them. He wears a Moorish Headdress and has a bath towel wrapped around his waist.

BRETT drops the towel...

NICOLE walks away. KIP follows her...at the door.

KIP pulls a small tin foil square from his vest pocket.

KIP hands her a tiny baggy of coke. He kisses her cheek.

Out the window...nothing...the rain pounds. WHIP leans close to the windshield in an attempt to improve his view.

EVANS reaches down and throws a switch. The windshield wipers go on. We can now see very clearly the path of lights the plane is to follow. WHIP looks to EVANS, smiles with stoned eyes.

EVANS looks out at the rain...

EVANS just stares at WHIP.

WHIP looks right at EVANS. EVANS keys the radio.

WHIP stares forward, not looking at EVANS.

Nervous passengers stare out the windowsas the JR-88 lumbers along the tarmac, headed for the runway.

We follow TRINA whose ass looks as good in a tight navy skirt as it does split bare with orange fluorescence. MARGARET speaks into the PA mic.

16 TRINA straps into her jump-seat. 16

Heavy rain lashes the nose of the plane. Lightning FLASHES. We watch the plane steer on to the GLOWING center-line.

Whip inhales his coffee and readies himself for take-off. EVANS tries to relax, continuing with the checklist.

One, two, three altimeters - set. Lights, pitot heat, de-ice - on. Transponders, set.

WHIP has razor focus as he places his hand on the throttle. EVANS sits upright and prepares for battle.

Whip pushes the throttles and the engines SCREAM as they spool up to full thrust. After a beat, he releases the brakes.

The passengers are pressed into their seats like blades of grass as the breeze of the plane's momentum moves them towards flight. The main lights in the cabin go out and the small glow of the aisle lights lead us back to the cockpit.

WHIP mans the stick as he squints his eyes and tries to keep the nose between the lights of the runway.

WHIP laughs and turns to his copilot. EVANS is visibly nervous as he begins the take-off check...

The JR-88 fishtails as the main gear begins to hydroplane.

Evans is jostled violently.

Whip’s eyes are focused on the end of the runway.

The RED THRESHOLD LIGHTS are approaching fast. The plane is not lifting off.

Whip snaps at him.

C.U. The airspeed indicator reads 145...

Now the air speed indicator climbs to 160...

Whip pulls back on the yoke, and...

The plane jerks up and we can hear the fuselage flex as we leave the ground. The plane is immediately buffeted by severe turbulence.

The passengers are rattled like a bag of marbles.

The plane is loping up as the rain continues to pound the windshield. The ascent is very bumpy as the turbulent wind tosses the plane side to side. Copilot EVANS is communicating with Air Traffic Control...

EVANS quickly dials the heading and altitude into the auto- pilot.

Before EVANS can answer, WHIP jumps on the radio.

WHUMP!! The plane hits a severe bump! EVAN’s headset turns sideways and he quickly rights it. WHIP chokes back a nervous chuckle.

Whump!! Once again the plane is violently rocked.

The passengers audibly HOWL as the roller coaster dip lifts most of their stomachs into their throats. A few overhead luggage bins fly open and bags and coats rain down.

The THREE ATTENDANTS calmly collect the luggage and stow it in the kitchen. They talk loudly for the benefit of the passengers.

MARGARET grabs the cabin mic and addresses the passengers.

The plane rocks and shutters. WHIP seems oblivious as he continues to serenade Evans.

WHIP is interrupted by Air Traffic Control.

THE PLANE TAKES ANOTHER VIOLENT DIP

EVANS' headset flies off. His tie and all the loose equipment and coffee cups are thrown to the ground.

WHIP pushes the yoke forward. The plane pitches downward.

WHIP points to the MFD screen.

C.U. MFD screen: A narrow line of blue is visible between the two monstrous convective cells.

EVANS nervously squints at the screen.

EVANS jumps on the radio.

WHIP banks the plane to the right.

Suddenly -- the plane falls 200 feet in 2 seconds.

A huge air pocket pulls the rug out from under the JR-88. From the cockpit we can hear the passengers scream.EVANS holds on to his headset.

WHIP remains cool as he rides more bad air. The plane now bounces rapidly over a non-stop succession of speed bumps.

The passengers clutch each other as they rattle like bobble head dolls; it's getting worse.

WHIP pushes the throttle and the 17-year-old Jackson- Ridgefield JR-88 accelerates directly into a huge black cloud. He begins to dip the nose level to the ground.

WHIP pushes the 17-year-old Jackson-Ridgefield JR-88 directly into a huge black cloud. He begins to dip the nose towards the ground.

The passengers howl in fear as the plane pitches forward.

EVANS calls out to WHIP...

The AIRSPEED INDICATOR moves from GREEN right up to the YELLOW line.

WHIP banks the plane steeply to the right. From the cabin we HEAR the passengers SCREAM!

Now ATC comes on the radio...

EVANS looks at WHIP -- panicked.

Center. This is SouthJet 227, we’ve encountered some bad air here. Some pretty severe downdrafts. We’re in our climb now.

The shaking gets incredibly violent. WE HEAR SCREAMS from the cabin. Evans points to Whip’s airspeed indicator.

WHIP starts to hum the Joe Cocker song again as he cranes his head up close to the windscreen -- looking intently at the dark sky.

Suddenly, we see a beam of light breaking through the black clouds -- 12 o’clock high. A God ray.

WHIP banks the plane hard, lifting the nose -- pointing it directly at the crack in the darkness. He shoves the throttles to full power.

The plane is banking, rising and accelerating.

The screaming passengers go quiet with the strange new development. The shaking has eased from a 10 to a 5.

Whip keeps the plane climbing steeply. The Vertical Speed Indicator shows we’re ascending 2,000 feet per minute. The altimeter spins up past 12,000 ft.

The murky grey outside becomes lighter and brighter, until suddenly, in a dramatic reveal...

WE BREAK THROUGH THE CLOUDS!

Instantly the air becomes perfectly smooth.

Whip levels off and maneuvers between the two towering cloud walls -- smooth as silk.

Gliding over the fluffy white clouds and through the shimmering rays of the sun -- it feels like WHIP just flew the JR-88 into heaven.

A joyous CHEER ERUPTS from the passenger cabin

WHIP pulls the power back and switches on the auto-pilot. EVANS is cheery, almost giddy...

WHIP, however, is very shaky and beaded with sweat.

EVANS looks at him and nods.

WHIP hangs up, puts on his pilot hat and exits the cockpit.

NICOLE has her keys out as she hustles for her door.She looks to find the door slightly open. She pushes it fully open to see FRAN, the building manager, standing in her living room holding her camera. He tries to be casual...

She is scared and pissed by his invasion of her space.

She grabs the full-bodied 35 MM camera from him.

He takes a slimy step towards her. She steps away.

FRAN leans against the door frame, trying to strike a seductive pose. NICOLE smiles and holds up her camera.

FRAN steps outside and on to the landing.

NICOLE kicks the door shut and locks it, escaping FRAN who calls through the door.

NICOLE puts her camera down gently on the table.

She now flings her purse on the ground in frustration...the contents spill on to the carpet. Amidst the flotsam we focus on yet another candy tin that springs open. NICOLE fixes her stare at the hypodermic needle resting inside.

WHIP exits the lavatory drying his hands with a towel.He looks down the aisle to see TRINA far down the cabin. TRINA sees WHIP, comes back up the aisle and stands with her back to him watching the passengers.

WHIP opens a bottle of orange juice and takes a big swig.He then pours half of it in the sink. WHIP places the open juice bottle on the liquor cart, reaches up, and grabs the cabin mic to address the passengers.

WHIP steps into the aisle so the passengers can see him. WHIP waves with a calm smile that would put anyone at ease.

Titters of laughter from the passengers as WHIP moves the half step he needs to put himself behind the liquor cart.

We now watch from behind WHIP as his free hand reaches into the top drawer of the liquor cart and pulls three small vodka bottles out.

WHIP puts the mic to its hook. Alone in the galley and out of view, he quickly empties the vodkas into the orange juice bottle and replaces the cap. Whip shakes the juice as he tosses the little empties into the galley trash. Whip takes a healthy pull from the spiked juice, downing nearly half.

WHIP knocks on the cockpit door. MARGARET emerges and WHIP disappears in to the cockpit.

Framed photos on a bureau show: Christmas around the tree with Mom (30) and Dad (33) and a girl who’s 8 and a boy who’s 5. (In the reflection of this photo we see a flame cooking heroin in a spoon.)

Another photo depicts an 8 year-old girl’s birthday party. (In the reflection of this photo see wee Nicole tying off.)

A last photo shows NICOLE (30)and her mom (54). They are both wearing kerchiefs. We can see that her mom is gaunt and has no hair under her kerchief. (In the reflection of this photo we see the needle injected into her arm.)

A HYPODERMIC NEEDLE is placed in front of that picture.Next to the photos is a small CD station that NICOLE taps to life and turns up. The opening bars ofMichael Fitzpatrick’s “Medication” begin to play.

We pull wide to see NICOLE pull the bra from her arm that she used to tie off with. Her face is pure happiness.

Clothes and a peach crate filled with camera equipment join a suitcase on its side that acts as a coffee table. NICOLE picks up her camera and admires it before putting it down.

She picks up the cigarette she had staged pre dope fix and reaches for the lighter. She laughs and hums, pulls out gum, a brush...She's holding the brush when the first heavy wave of narcotic death washes over her. She leans back and uses the wall for support. “Medication” is hitting its chorus...

She puts her arms out at her sides, euphoria. A slow, sloppy smile breaks across her face. She exhales slowly. She reaches for the now burning cigarette when the second wave of heavy drugs hits. NICOLE looks up with fear.

She reaches for the little bag of coke that KIP gave her. Next she grabs her phone, flipping it open. As she tries to dial it, she crumbles to her knees. NICOLE somewhat controls her fall to the ground, but her eyes are fading. The little bag of coke falls from her fingers.

There's no way to stem the tide of the oncoming overdose. NICOLE’s arms stretch out in a frozen reach as her body sinks to the floor. On her back like a girl making angels in the snow as her eyelids flutter, she slips away.

We hear a pounding on the door. FRAN is on the other side...

WHIP is now passed out in the seat next to EVANS. He has two approach plates (charts) folded and tucked between his sunglasses and eyes, creating a makeshift sleeping mask. His lower jaw hangs open as his head bobs in deep sleep.

Margaret leans in through the cockpit door talking to Evans.

EVANS maintains a military posture as he monitors the plane's progress. The flight is smooth and the sky appears clear.

The radio interrupts...

Evans dials 30,000 into the auto-pilot, but just as he rolls the thumb switch to the “Descend” position...

BANG! THE PLANE SUDDENLY PITCHES SIDEWAYS

Instantly the autopilot’s Shut-Off SOUNDS.

WHIP jolts awake and pushes up his sleeping “shades.”

Evans grabs his yoke and pulls.

EVANS does, we HEAR a big mechanical SNAP.

Margaret runs to the PA, leaving the cockpit door open.

BANG! THE PLANE PITCHES DOWN VIOLENTLY AND BEGINS A NOSE DIVE.

The instrument panel LIGHTS UP like a Christmas tree -- A WARNING HORN BLARES.

WHIP pulls on his headset and keys his mic.

Evans pulls the throttles to idle.

Evans engages the emergency hydraulic pumps.

The plane starts to bank to the right, WHIP puts his hand against the wing-window to stay in his seat. EVANS grabs his harness with both hands. The passengers shriek with terror.

MARGARET stumbles into the cockpit.

The plane suddenly pitches up, begins to roll, and dives again.

MARGARET rushes to the bench in the galley.

Whip grabs his yoke and pulls. The plane inches up.

Whips keeps back pressure on his yoke.

Whip continues to give orders to Evans.

Evans deploys the landing gear and applies the speed brakes.

The wind ROARS as the gear doors drop. The airframe shakes and rumbles violently.

Evans hesitates.

Evans quickly throws the “EMRG FUEL DUMP” switch.

The airplane bucks and drops violently -- A chorus of terrified SCREAMS ERUPTS from the main cabin.

Whip pulls on his yoke with all of his strength and the dive shallows out a bit.

The yoke pressure pulls Whip hard against his harness.

The yoke is ripping away from Whip’s hands.

Evans dumps in the flaps. The JR-88 slows dramatically and balloons up.

Whip is interrupted by the radio.

Evans is confused and panicked, he throws his hands up.

Evans sees it.

Evans does exactly that, then pulls back on his yoke -- nothing!

Once again, the plane pitches into a dive. Whip strains to hold on.

Evans strains to reach Whip’s Reversion Pull-Handle -- but can’t.

Evans moves to release his harness, but Whip stops him.

Margaret tumbles into the cockpit, catching herself on Whip’s chair. She’s crying.

Margaret opens the jump-seat and starts to pull on her harness. Throughout the scene she is struggling with her harness.

With tears streaming down her cheeks, she gives Whip a brave nod.

Whip releases back pressure from his yoke, pushing it forward -- the plane noses downward 20 degrees!

MORE TERRIFIED SHRIEKS come from the back. Margaret quickly disengages then re-engages the large red handle.

Whip pulls back on his yoke. The plane pitches up.

Evans pushes up the throttles. Whip gingerly applies pressure to his stick. His face fills with worry.

Then suddenly... WHAP! Whip’s yoke flies out of his hands and SLAMS forward!

The plane banks right and drops! Margaret SCREAMS!

Now, ATC comes on the radio...

The plane continues to drop, increasing its nose-down attitude and speed.

WHIP pushes both of his feet forward, stretching his body to get leverage as we can see him pulling on the yoke, trying to get the plane out of the dive it’s in.

Evans is starting to lose it.

Whip takes Margaret’s hand and puts it on the throttle levers.

WHIP’s body is fully extended as he pulls back on the yoke and turns into a steep bank.

The G-force of the roll presses Evans away from the console.

Margaret bends forward and pulls the lever.

Whip quickly retracts the speed brakes, then PUSHES HIS YOKE FULL FORWARD! The clumsy liner does a slow, ungraceful roll.

WE WATCH as the PASSENGERS scream as the plane rolls over and they are suspended upside down.

The JR-88 finishes its barrel-roll, skimming over suburban rooftops and trees. A CLOUD-TRAIL of Jet-A SPEWING from its wings.

As the INVERTED PLANE ROARS overhead the CAMERA PANS to find -

NICOLE

Being rushed out of her apartment on a stretcher. The TWO PARAMEDICS and Fran (the landlord) instinctively duck as the jet SCREAMS over.

THE PLANE IS COMPLETELY INVERTED!!

THRU THE WINDSCREEN -- THE PLANE LEVELS OFF -- IT’S INVERTED NOSE RISES TO MEET THE HORIZON.

EVANS hangs in his harness straps as dust and smoke swirl around him. The inverted wings make an EERIE WHISTLING SOUND as the plane SHUDDERS violently side-to-side.

WHIP reaches over and pulls the throttles back. He suddenly seems strangely calm, comfortable with his fate...

MAIN CABIN -- WE WATCH OVER TRINA’S SHOULDER AS SHE HANGS

TRINA struggles to stay in her seat as she looks at the passengers hanging. She watches as a YOUNG BOY loses his grip and flops to the ground.

TRINA unhooks and flops to the ground. We follow her as she runs on the ceiling of the cabin towards the BOY. She gets there and starts lifting him towards his FATHER.

COCKPIT -- SAME TIME

The ATC voice now plays loudly through the entire cockpit.

It takes Whip a second to find the mic key on his inverted yoke...

There’s a very pregnant pause...

EVANS seems calmed by WHIP’S workaday attitude about their insane tragedy. But suddenly...

WARNING LIGHTS BEGIN FLASHING!

WE HEAR A HORRIBLE, METALLIC GRINDING SOUND as the engines become oil-deprived.

WHOOP, WHOOP, WHOOP! -- THE ENGINE FIRE ALARM SOUNDS!

Evans pulls the Fire Bottle handle.

Whip BARKS at air traffic control.

WHIP’S POV -- THRU THE INVERTED WINDSCREEN --

A small white church on a hill -- 100 yards past the church is a soy bean field and a two-lane blacktop.

BACK TO ACTION -- CLOSE ON WHIP -- HE CALMLY FIGHTS ON.

EVANS is breathing heavy as his face is beet red from the blood rushing to it.

THE NERVE-WRACKING ALARMS CONTINUE TO SOUND!

Evans deploys the right engine Fire Bottle.

WHIP’S POV -- WE’RE HEADED TOWARD THE CHURCH --

A NEW ALARM SCREAMS!

WHIP PULLS HARD ON HIS YOKE -- THE PLANE SLIPS SIDEWAYS AS IT STARTS TO RIGHT ITSELF. Whip yanks back the throttles!

Evans and Whip deploy every bit of drag they can think of.

We follow WHIP’s eye line that takes us off the control panel and to the windshield.

THROUGH THE WINDSHIELD WE SEE -- the landscape and the church steeple getting closer and closer.

The plane does a clumsy roll to the right -- AND GETS STUCK PERFECTLY ON ITS SIDE!

EVANS pushes the power to full thrust AND THE PLANE FINISHES ITS ROLL!

THE PASSENGERS HOWL!

TRINA is still struggling to strap herself in to her jumpseat. The plane rolls! She sees Camelia...

P.O.V. -- Camelia is tossed across a row of SCREAMING passengers.

TRINA loses her grip and is violently thrown against the galley wall!

Like a rag doll, CAMELIA is hurled down the cabin aisle as the plane plummets!

Trina slides across the galley floor and CRACKS her head on the jumpseat.

Whip frantically spins the trim wheel!

THRU THE WINDSCREEN --

THE CHURCH SPIRE IS COMING RIGHT AT US -- BOOM! -- THE RIGHT WING CLIPS THE STEEPLE, SHEARING OFF THE CROSS!

WE HEAR A HORRIFIC, METALLIC GRINDING -- followed by a TERRIFYING SILENCE -- RIGHT ENGINE STOPS.

An unnerving quiet descends over the passenger cabin. The only SOUND is the wind RUSHING past the air-frame.

CLOSE ON WHIP --

THROUGH THE WINDSCREEN --

WE’RE DROPPING RAPIDLY TOWARD THE GROUND -- A GROUP OF PEOPLE GATHERED NEAR A POND IN THE CHURCHYARD SCATTER -- some are wearing long white robes.

CLOSE ON WHIP --

CLOSE ON THE YOKE --WHIP PULLS WITH ALL HIS MIGHT --

CLOSE ON THE TRIM WHEEL -- WHIP SPINS IT “TRIM UP” --

THROUGH THE WINDSCREEN -- THE BEAN FIELD RUSHES UP AT US...

CLOSE ON WHIP --

ALL SOUND FADES AWAY AS THE SCREEN BLEEDS HOT WHITE -- OVEREXPOSED.

IN GRAPHIC SLOW-MOTION -- THE INSTRUMENT PANEL CRUMPLES AND COLLAPSES AROUND WHIP --

And in a final, ironic, cosmic gesture --

WHIP’S CONTROL YOKE HURDLES TOWARD HIM -- IMPACTING HIM BETWEEN THE EYES --

CUT TO BLACK:

NOW WE HEAR -- SHOUTS, SCREAMS -- A WOMAN SOBBING.

FADE IN:

WHIP’S POV --

WE SEE Whip’s lower torso being pulled from the wreckage -- There is swirling SMOKE AND DUST, SMALL FIRES --

Evans strapped in his chair, bleeding --

Margaret SOBS uncontrollably --

FADE IN:

WHIP’s being pulled up a grassy hillside. In the distance WHIP can see the shattered airplane lying in a crater.Fires smoulder around the impact zone. Passengers are joined by first responders as they frantically carry, drag and walk the injured and the dead from the plane. WHIP sees a fire truck fly by him, down the grassy slope towards the burning plane.

FADE IN:

WHIP’S POV --

LOOKING UP at the sky -- WE SEE black, oily SMOKE billowing across the shattered church steeple --

WE GLIMPSE PEOPLE rushing past, some are wearing white flowing robes --

WE HEAR DISTANT SIRENS APPROACHING AND PEOPLE PRAYING --

FADE IN:

A LOUD SIREN SCREAMS --

WHIP’S POV --

LOOKING UP at the ceiling of an ambulance --

TWO EMTS are urgently attending to him --

FADE IN:

WHIP’S POV -- NIGHT

A halogen overhead light and an air-conditioning vent -- brown-stained acoustic ceiling tiles --

WE HEAR the rhythmic BEEP of a heart monitor --

WHIP’s eyes open to see the halogen overhead lights of a hospital room. He turns his head slightly to see the flicker of a TV with no sound.

TELEVISION -- NEWS - NO SOUND -- GRAINY CELL PHONE FOOTAGE

A news show runs a loop of eye witness cell phone footage of the plane turning over and crashing belly down.

A MAN who has been watching the TV turns to see that WHIP is awake. The MAN turns off the TV, gets up and approaches WHIP’s bedside. WHIP knows him.

CHARLIE ANDERSON is a late 50’s former military pilot who carries that familiar air of Texas comfort and entitlement.

WHIP is moved by the first realization of survival.

CHARLIE moves close to deliver the news.

A NURSE enters the room. CHARLIE nods to her.

CHARLIE ducks out of the room. WHIP is alone and still getting his bearings. He goes to scratch his head and catches sight of his left hand. It’s swollen and sore --his wrist is bandaged with a splint-brace. He now looks at both of his hands in wonder.

WHIP hears a muffled conversation that gets clearer as do the images of MANY PEOPLE entering the room. A POLICE OFFICER accompanies a DOCTOR and TWO NTSB AGENTS.

An NTSB AGENT holds a small voice recorder towards WHIP.

NTSB OFFICER #1 Captain William Whitaker? Nod if you can hear me and understand me. (Whip nods) I’m Craig Matson from the NTSB and I’m required as the lead on the Go Team to make an initial contact with you after a major incident like the one you had today.

WHIP nods as his senses are getting sharper.

NTSB OFFICER #1 (CONT’D) You are in a hospital in South Atlanta. Are you aware that you were piloting a plane that went down? (Whip nods) I have a doctor here who can explain your medical situation.

WHIP offers a “thumbs up” gesture. The DOCTOR steps in.

You have some deep bruising in your left thigh and you have a few torn ligaments in your left wrist. Nothing serious. So as soon as we clear you from the concussion, and you feel well enough -- you can go home. That could be a day, could be 3 days. Okay?

WHIP quietly nods. The DOCTOR leaves and WHIP begins to study his body. His left leg is wrapped, his left wrist has a splint-brace --

NTSB OFFICER #1 I won’t ask too much of you tonight, but as I said, the NTSB is required to make initial contact. How much do you remember about the flight?

WHIP looks at the NTSB OFFICER and slowly speaks.

WHIP’s voice is failing him as his throat is sore and dry.

NTSB OFFICER #1 Okay Mr. Whitaker, that’s fine. I am required to inform you that this incident did result in the loss of life. (checks an index card) The most current information states that of the 102 souls on board we lost 6. 2 crew members and 4 passengers. 59 people were treated and released. 37 people remain in the hospital and 3 of those cases are listed as critical.

NTSB OFFICER #1 Two flight attendants; (checks a note card) Camelia Satou and Katerina Marquez

WHIP tries to exhale as the loss of TRINA sinks in.

NTSB OFFCIER #1 The rep from your Pilot’s Union, Mr. Anderson, will act as our contact for you. It’s important to follow your Union’s guidance on press and media. The pilot’s union works closely with the NTSB. So, I’m gonna head out. Good luck Mr. Whitaker.

WHIP nods as the NTSB OFFICER leaves with the police and other officials in tow. CHARLIE returns to WHIP’s side.

CHARLIE tries to put a reassuring hand on WHIP’s shoulder.

WHIP lets that information land as his head is swirling.

WHIP starts to weep as he needs to begin the long process of expressing this trauma.

WHIP nods as he wipes his eyes on his heavily bandaged hand.

WHIP

WHIP thinks about his long since fractured family...

CHARLIE has a zip-locked bag with his phone, keys, sunglasses and wallet. WHIP looks at them, odd to see them encased in plastic.

CHARLIE hands WHIP his card.

WHIP nods trying to pull it together. CHARLIE pats WHIP’s shoulder before he leaves. WHIP sits up and pulls his phone from the plastic bag. Dials, waits...

I don’t know -- clothes -- and smokes, I really need smokes. Tee shirt, sweat pants....Harling? I’ll put you on the visiting list. Yeah...and smokes. Just be low key, no fucking around, Harling. Cigarettes. Okay? I need cigarettes. Yeah. Good.

WHIP closes his eyes and exhales. He now stares at the foot of the bed for a long, long moment. WHIP squeezes his eyes shut tight -- holding back tears. Then quietly, as if whispering a prayer...

The Stones “Sympathy for the Devil” kicks up as we wait...

The doors split open andHARLING MAYS steps out. HARLING has a pony tail and a goatee and is probably wearing a Tommy Bahama button down shirt.

We follow HARLING as he strides down the hall. With ear buds in, HARLING points a Sanyo pistol-shaped cam corder at the ATTENDING NURSE at the nurses’ station, recording her...

The Stones continue to wail as Harling strolls on, adjusting the duffel bag he has slung over his shoulder.

HARLING stands in the doorway looking in. He sees...

The MORNING NURSEis helping WHIP to stand. HARLING points his camcorder at WHIP and the NURSE.

HARLING immediately goes to WHIP and supports him.

HARLING boxes her out. She steps away.

No reaction as the NURSE collects the trash and towels. HARLING focuses his camcorder on the NURSE and leaves WHIP in an unsteady stance. HARLING films her and comments...

And she’s gone. HARLING turns to WHIP.

HARLING helps WHIP to the window...

From WHIP’s window we can see a slew of news vans with signal towers as well as reporters milling about -- a small zoo.

HARLING and WHIP stare for a moment at the circus below. WHIP doesn’t last long and slowly returns to the bed as HARLING continues to gawk.

HARLING pulls an iPad out of his knapsack and flips it open. He lets a collection of videos run...

On HARLING’s iPad we see footage of PRESS swarming outside WHIP’s condo. We also see the crash scene footage.

WHIP’s hands shake as he grabs the bed frame. HARLING takes notice and stashes the iPad...

HARLING helps him get settled. We see the beads of sweat on WHIP’s lip and forehead.

HARLING immediately picks up the small paper cup that holds WHIP’s pain meds. He fishes out the two pills and stares at them. HARLING shakes his head.

HARLING casually tosses the pills down his gullet and expertly swallows them without water. He grabs WHIP’s medical chart and scours it as he prattles on...

Or just some fucking Palladone would suffice. What is this? Fucking amateur hour over here? Get that goddamned doctor in here. You just saved a 100 people from death, they should get your fuckin’ meds right. (calls to the door) YO! ROOM SERVICE!

HARLING hands WHIP a pack of smokes from his pocket.He also pulls out a carton of smokes from his backpack.

WHIP motions with his hands to “calm down.”

HARLING pulls something from his vest pocket and puts it in WHIP’S hand. WHIP looks at it and back at HARLING.

HARLING continues to pull items from the bag.

HARLING freezes his frenzied energy with this odd command.

HARLING hears him this time and raises his hand and nods, putting the VODKA back in his own duffel. HARLING tosses a tee shirt, sweat pants and flip-flops on the bed, then...

HARLING holds up a silk Japanese Happi Coat, with elaborate stitching depicting colorful birds flying around Mt. Fuji.

WHIP pulls his keys from the bag that CHARLIE gave him.

HARLING puts his hand on WHIP’s forehead in an attempt to reassure him. A quiet moment before HARLING slips out.

WHIP wakes up in a cold sweat. He is breathing heavy as he scans the room. LIGHTENING FLASHES from outside the window. Thunder RUMBLES.

WHIP looks to the night stand where we see a pack of nicotine gum has been chewed through. WHIP uses his hands to get to the edge of the bed. He roots through the duffle bag that HARLING left and finds a pack of smokes and a Bic lighter still in its package.

Determined to smoke, WHIP eyes a WHEEL CHAIR that has been placed next to his bed. Leaning against the wheelchair is a medical cane.

Wearing his Happi Coat (or robe), WHIP limps in to the empty hallway with the use of his cane. He checks the quiet corridor as he begins his quest...

The door swings open, and no one appears to be on the other side. Now WHIP fights to push the heavy door open again to slip through. A hand grabs the door and holds it. WHIP walks into the sanctity of the stairwell.

We find the owner of the helping hand was NICOLE who returns to a quiet spot along the wall of the stairwell as she demurely smokes a cigarette.

WHIP leans his cane against the wall and carefully pulls a pack of smokes from his pocket.

NICOLE smiles and looks down, awkward around men when she is not loaded. She drops her cigarette which we see was barely smoked as she maneuvers to leave.

He offers her a cigarette, she takes it.

And they do. They sit in silence as the stairwell fills up with smoke. After a long beat...

WHIP studies her, she’s beautiful in an exhausted way...

Nicole shakes her head.

Again it falls silent as we let them smoke and think in the sanctity of the fire stairs.

A VOICE breaks their silence.

VOICE (O.S.) Tobacco's but an Indian weed, Grows green in the morn, cut down at eve; It shows our decay, We are but clay;...I love the smell of Nicotina in the morning. Smells like...victory.

We hear a metallic rattle and WHIP and NICOLE look to the stairs.

VOICE (CONT’D) Don’t flee dear comrades! Really, wait for me, please.

A GAUNT YOUNG MANmakes his way to their landing. He is dressed in a hospital gown and carrying an I.V. pole on which hangs a small bag of clear liquid. The man’s hair has completely left him. His skin is gray. Eyes hollowed from his battle with cancer.

WHIP offers him a cigarette. He takes it and fires it up with a lighter he keeps stowed in the pocket of his gown.

WHIP looks at the ground as the GAUNT YOUNG MAN studies him.

Nicole gives Whip a look.

GAUNT YOUNG MAN laughs.

The GOD topic has silenced the stairwell...

No...because I assure you I have begged for God to take it away - and guess what? I have no control over that.

GAUNT YOUNG MAN smokes the cig to the nub and rubs the remains against the smooth concrete wall.

NICOLE looks at him. She nods.

She laughs, what a question.

NICOLE laughs to keep from weeping.

The men watch as NICOLE quietly cries, it’s powerful.

GAUNT YOUNG MAN starts laughing. WHIP joins him.

The GAUNT YOUNG MAN leaves, clanging away with his I.V. pole.

NICOLE wipes away her tears, we see her hospital bracelet as well as her track marks.

It’s quiet.

NICOLE steps on her cigarette and puts the nub in her pocket. She begins to leave. WHIP stops her.

NICOLE laughs.

WHIP laughs.

NICOLE’s laugh tapers off as she senses his honesty.

She measures him.

There is strong tension between them. An orderly busts through the down the stairs. This breaks their stare.

WHIP leaves NICOLE where he found her.

WHIP is wheeled out of a service exit by an ORDERLY who also holds the duffle bag of WHIP’s stuff around his neck. Whip no longer wears the eye patch but has a butterfly bandage over his left eye brow.

HARLING jumps out of his 2001 Cadillac STS and immediately takes over, grabbing the duffel bag.

The ORDERLY tries to hand WHIP a medical file. HARLING snatches it.

HARLING hugs WHIP who hangs on tight. The ORDERLY spins the chair around and heads back inside.

HARLING uses his key fob to remotely pop the trunk and stow Whip’s duffel.

HARLING helps him into the front seat and they pull away.

The Stones, “Gimme Shelter” starts to play...

53 As they drive off, we see media mayhem collected in front of53 the hospital. Trucks with towers, cameramen, stringers and newscasters add to catering trucks and coffee stands as the vultures wait for the carrion of sound bytes and footage of survivors.

Whip watches through the rear window -- the “Media Circus” disappears as the Caddy rounds a corner. The back seat is piled with Whip’s clothes, most of them still on hangers.

HARLING lights a cigarette and hands one to WHIP who takes it.

HARLING pulls a cold Becks from a cooler on the floor of the back seat and uses a bottle opener that’s been screwed to the dash of his car next to the radio to open the beer.He offers the beer to WHIP who waves it off. HARLING gladly keeps it for himself... “Gimme Shelter” continues to play...

Harling tosses Whip a freezer bag marked:”VEAL” -- Whip begins to open it.

Whip finishes opening the freezer bag -- it’s full of cash.

HARLING starts to laugh...

HARLING MAYS

58 Veal? Really? Don’t you know the 58

first place every two-bit thief looks is in the freezer?

WHIP’s BUICK turns off the blacktop past a small weathered billboard: WHITAKER CROP DUSTING. Also a real estate “FOR SALE” sign is posted in front.

Whip pulls into a long, dirt driveway that approaches a one- story farm house. He gets out of the car. With his cane in one hand, he uses his free hand to toss the grocery bags close to the steps and heads inside.

WHIP ambles in and we see the interior of the house bears the fading patina of a proud American Family. We see PHOTOS -- WHIP in his NAVAL FLYER UNIFORM. A GROUP MILITARY PHOTO -- a SQUADRON of NAVAL FLIERS on a carrier. WHIP’s PARENTS next to the farm house. WHIP’s FATHER stands next to WHIP who is holding his infant son.

WHIP empties his pockets onto the desk top. His keys, wallet and his cell phone are placed next to an old rotary phone attached to an old answering machine. WHIP plugs in his cell phone charge, dials in for his messages and puts it in “speaker mode” as we hear...

WHIP again deletes the message and decides to just shut the phone down. He continues to empty his pockets. In his jacket pocket he finds a prescription bottle of pain pills.

WHIP holds it up, opens it and pours a few out in his hand.

WHIP pours the pain pills into the toilet. He then opens the medicine cabinet and starts to empty all of the bottles into the toilet.

WHIP goes to the collection of liquor bottles next to the sink that act as a makeshift bar. He picks up a bottle of vodka. He unscrews the cap and sniffs the contents.He slowly tips the bottle and pours it into the sink.

Whip opens the refrigerator and removes an assortment of beers. He pops them open and pours them in the sink. The faucet running to offset the pungent smell.

Whip opens a dresser drawer and finds a couple of zip-lock bags of “bud” hidden under the socks.

Whip dumps the weed into the toilet and FLUSHES it.

A cigarette dangles from WHIP’s mouth as he ferrets around the room, showing the focus and determination of a serial killer cleaning his kill site. He finds rolling papers, roaches, more liquor and weed -- he reaches into the Shell Bag that’s hanging next to the shotgun rack and finds another “pint.”

Whip opens the freezer to put in his frozen dinner and his “packet of veal” and finds another fifth of vodka.

He pours the vodka in the sink and tosses the bottle into the trash -- which is piled high with empties.

Through the kitchen window, Whip sees the farm’s old weathered barn. Whip furrows his brow.

WHIP slides open the heavy barn doors to reveal -- A VINTAGE CESSNA 172 -- covered in dust and bird shit from the years of stagnant storage.

WHIP lights a smoke as he marvels at the little piece of aviation history resting in his barn.

Whip walks past the plane and starts to examine the large, two-story, open-ceilinged barn that is junked full of farm equipment and old furniture. He finds...

A WALL OF PHOTOS -- WHIP WITH HIS FATHER NEXT TO A PLANE. HIS GRANDFATHER, FATHER and WHIP pose next to the barn.

A CROP DUSTER acts as the background for a picture with a 15 year old WHIP and his father next to a small plane.

A series of pictures feature the PLANE in flight and SHOTS TAKEN FROM THE PLANE, aerials of the farm, etc.

WHIP holds the framed shot of he and his dad as he walks back to the plane, resting his arm on the wing.

WHIP pulls himself from the wall of photos and stares at his stuff. We recognize what must be the stuff he took from his house after his divorce. We see bikes, weights and fishing gear.

Whip rummages through a box of things packed from his home office. Trophies, sports memorabilia, citations -- A PHOTO OF HE AND HIS WIFE from happier times. THEIR WEDDING PHOTO.

Now Whip comes upon A FRAMED BLACK AND WHITE PHOTO of he and Charlie in their younger, Navy days -- wearing flight suits and standing on a carrier flight deck in front of an F-14 Tomcat. Big smiles, full of hotshot pilot swagger.

WHIP puts the photo back and spots his golf bag. He roots out a pint of cheap vodka from the inner pocket.

Next he finds a fifth of bourbon in his bicycle saddle bag.

He goes to the workbench and removes a couple of bottles from the paint shelf.

63 Whip dumps out the liquor onto the grass as he hobbles back63 to the house.

65 WHIP uses just his cane now as he drags a garbage bag full of65 empty liquor bottles to his garbage cans. He tosses the bag of empties in a can. His work done, WHIP lights a smoke and stares at the empty fields that run forever as does the landscape of his mind. He quietly tries to grasp the horror he endured and the reality of his survival.

We hear the microwave beep and WHIP retrieves a frozen dinner.

WHIP sits at the coffee table eating his frozen dinner while watching news coverage of the crash.

PHONE RINGS

WHIP is startled by the phone that never rings. He snaps off the TV using the remote.

WHIP is in no hurry to answer the phone as the old time ring continues. WHIP goes to the desk where the phone rests and he watches the old answering machine click on. We hear...

WHIP’S FATHER’S VOICE You’ve reached the Whitaker Crop Dusting Company, flying lessons and plane rides. Please leave a message and it will be returned. Thank you.

WHIP reaches for the phone but decides to just listen to CHARLIE...

CHARLIE sits at a beautiful wooden table in a modern glass- walled office above a baseball field. The table is populated with casually-dressed businessmen and lawyers as this after- hours meeting was called on the fly.

CRASH SCENE PHOTOS and FILES fill the table top. We also see a photo or two of the WHITAKER FARM.

There’s an executive buffet on the 16th floor - 10 o’clock, okay? If you get this, please come. Some important stuff to cover. Be good.

WHIP stands still as a beep sounds, ending the message.

The executive buffet is a staple at the ST. REGIS. A long center table with silver trays houses eggs and breakfast meats. Fruit, bagels and a staff of servers cater to the business elite of Atlanta.

CHARLIE ANDERSON sits at a corner table with HUGH LANG, a young, well-dressed African American man. CHARLIE and HUGH are chatting in jocular spirit when WHIP approaches, walking much more confidently with his cane.

WHIP studies HUGH as he pulls out his chair.

HUGH stands and shakes hands with WHIP.

WHIP and HUGH remain standing, both feeling a little “alpha.”

She smiles and nods. She’s off to get the coffee.

WHIP just stares at the two men who have large buffet plates surrounding them.

WHIP is quiet, anxious to hear the purpose of the meeting.

The WAITRESS returns with the coffee. It’s quiet as they wait for her to finish. She does.

WHIP studies the two men, trying to read their poker hands.

WHIP looks at CHARLIE and then to HUGH...

The WAITRESS checks in.

An awkward silence as they wait for her to clear out.

-- one of the most lenient drunk driving countries in the world -- you go to jail for driving with a number over .08. And by driving, I mean a car.

They all digest the information as the WAITRESS delivers the cinnamon rolls. She leaves. It’s still quiet.

Can I now do my job on your behalf and kill this tox report?

WHIP is listening. CHARLIE tries to reign it in.

68 The WAITRESS returns with a coffee pot. WHIP leaves. 68

Close on TV -- A SPLIT SCREEN -- CNN’sPIERS MORGAN on one side of the screen asking questions of JIM TILMON, an aviation expert.

WE NOW SEE A PHOTO OF WHIP IN HIS SOUTHJET AIRLINE UNIFORM.

WIDER...WHIP STEPS UP TO THE BAR, GLANCING AROUND.

The BARTENDER steps up to serve WHIP...

The BARTENDER leaves to grab the orange juice.

TELEVISION -- The transcription and AUDIO of the cockpit recording continues...

The BARTENDER returns with the orange juice.

The BARTENDER nods and turns in acknowledgement of the order.

The BARTENDER returns with a frosted glass and pours two shots over the ice.

WHIP downs the vodka in a flash.

The OTHER BARTENDER has the remote and starts searching for more coverage of the crash. He stops at a local report.

ON TELEVISION WE SEE

A REPORTER gives a lead in at the crash site.

CRASH SITE REPORTER #1 Kevin, it’s still chaotic here at the site. Apparently a small ministry was conducting services near to where the plane came down. So the scene here is a mix of survivors and first responders, I was able to catch up with an actual passenger moments ago...

A YOUNG SHORT HAIRED BLONDE MAN GIVES HIS ACCOUNT

CRASH SITE REPORTER #1 More details and more reports of the casualties are continuing to fly around. I can tell you that there appears to be many, many survivors. That’s all I have for now. Kevin?

Another reporter has a passenger’s account.

CRASH SITE REPORTER #2 Rebecca, surviving passengers are being put in ambulances, police cruisers and even first responder vehicles and they are being taken to local hospitals for treatment. Some of the injured appear serious and it’s safe to assume at this point that there are at least a few fatalities. Let’s roll the tape of the passenger I caught up with earlier.

A MAN with SHORT DARK HAIR explains his experience.

CRASH SITE REPORTER #2 Obviously a harrowing ordeal for those on the troubled plane. This is Callie J Kenner for News 5.

A third Reporter gets a FEMALE NEIGHBOR’s perspective.

CRASH SITE REPORTER #3 Folks in the houses that border this field came running from their houses...

CRASH SITE REPORTER #3 Just like that plane, this community is shattered. Folks here remain on edge as media trucks continue to line their small road and crowd the field where the plane still lies. Back to you, Tom.

A news light shines on a lone reporter who stands atop a small hill above the crash field.

CRASH SITE REPORTER #4 We’re gonna take another look at the cell phone footage that captured the last moments of SouthJet’s Flight 227.

WE SEE THE GRAINY CELL PHONE FOOTAGE OF THE PLANE

After the PLANE levels off and smacks down in the field, we return to REPORTER #4 in the crash field.

CRASH SITE REPORTER #4 (CONT’D) Many hours have passed since the footage you just watched but the crash site remains active as investigators work through the night. Using flood lights and miners’ caps, teams continue to comb the crash field looking for the answers to the hard questions as to what brought down SouthJet’s flight 227. Those answers remain in darkness as do the broken pieces of the aircraft. Hopefully sunlight will bring answers. For now this is Kent Johnson reporting.

A 12-pack of beer hits the passenger seat as Whip climbs behind the wheel. Whip cracks open a “handle” (half-gallon) of vodka and takes a liberal pull. Whip’s shoulders relax as the alcohol kicks in.

71 After a moment, he starts the car, shifts into gear -- downs71 another huge slug of vodka -- and pulls out.

Whip is at the wheel. A cigarette in one hand, an open beer in the other. He cruises slowly -- searching street signs with his beer-buzzed eyes.

Whip rolls the Buick to a stop and scans the street.

P.O.V. THROUGH DRIVER SIDE WINDOW

WHIP spots a SIGN: “Georgian Gardens Apartments” Suddenly, NICOLE flies into frame and tosses a box into the back of her Toyota. She hustles off leaving the hatchback open.

72 WHIP raises an eyebrow, and drives toward the building. 72

WHIP parks his car at a fire hydrant right in front of NICOLE’s building and gets out with his cane. He pops a fresh beer and looks at the building, looking for a proper entrance. He notices Fran walking quickly along the second story balcony -- carrying a baseball bat.

Whip thinks nothing of it and begins casually poking through the stuff in Nicole’s car -- a random collection of junk including clothes and photographs -- mostly of rock bands performing.

Now, WHIP HEARS an argument escalating between Fran and NICOLE.

He heads off...

WHIP does a decent job of making his way up the exterior staircase. That beer is making his leg feel a little better.

WHIP moves more aggressively up the stairs as the ARGUMENT GROWS LOUDER...

WHIP PICKS UP THE PACE OF HIS LIMP TOWARDS THE FRACAS.

WHIP crests the top of the staircase to see...

SCENE 75 COMBINED WITH SCENE 74

FRAN, the landlord, wielding a baseball bat as he berates NICOLE. NICOLE has her full-bodied 35 MM camera hanging from a strap around her neck. FRAN points the bat at her head.

Whip WHACKS Fran with his cane.

FRAN stumbles and falls as the bat goes flying to the ground and rolls away. WHIP licks the foaming top of his excited beer.

Whip jabs him again with his cane.

NICOLE who is crying, now laughs in relief. She can’t believe it. “America’s Hero” has just come to her rescue.

WHIP moves to comfort her..

She points to a camera tripod and a box of broken portfolios with photos dripping out.

FRAN has gotten up and stands a safe distance from WHIP...

Whip flings his beer at Fran’s head, then pulls out his billfold.

Whip throws the money on the floor.

FRAN sorts the options...none...he tentatively bends down and picks up the cash. Keeping a wary eye on Whip.

Fran smirks. Whip drills Fran with his eyes...

FRAN’s smirk fades. He relents and picks up the box as WHIP grabs the lighter shoulder bag and they head downstairs.

NICOLE stares out the window as the city disappears.

WHIP pulls a beer from the box and offers it to Nicole. NICOLE smiles, thinks about it...she shakes her head, “no.”

WHIP pops the top and takes a drink.

WHIP looks to her, she to him. They begin to laugh at the absurdity. When it subsides...

NICOLE nods. A long moment quietly passes.

Smokey Robinson and the Miracles’ “You Really Got a Hold on Me” plays as WHIP eases himself into a recliner using his cane. On the small table next to him rests his beer and an unopened bottle of bourbon with a glass of ice. WHIP cracks the seal on the bourbon bottle and pours a drink. He takes a sip and chases it with his beer.

WHIP now starts to remove the brace that we clearly see under his basketball shorts. As he takes it off he tries to massage his aching leg.

NICOLE enters the living room, fresh from a shower.WHIP studies her -- she’s beautiful and innocent.

WHIP takes another sip before returning to massaging his leg.

NICOLE walks over to WHIP and kneels down and gently takes over massaging his leg. WHIP exhales.

78 NICOLE continues to soothe his aching leg. After a moment, 78 NICOLE stands and takes the drink out of WHIP’s hand and sets it down. She now bends down and kisses him softly. She now stands and takes his hand, leading him in to the bedroom.

WHIP’s been awake for hours as he sits at the foot of the bed. Whip’s wearing a long sleeve tee shirt and sweat pants and no shoes. He looks at NICOLE -- sleeping angelically on her side of the bed. Whip watches her sleep for a long moment, until...

80 He hears something. He gets up and goes to the window. It’s a80 car pulling up the driveway.

WHIP opens the door to find HUGH in his driveway.

WHIP casts a strange figure with his bare chest, boxers and brandishing a shotgun. They stare at each other.

HUGH walks closer to the porch. WHIP questions him.

HUGH nods as the explanation lands.

WHIP measures HUGH’s intention...

82 HUGH nods and recedes from the door as WHIP goes to get 82 dressed.

WHIP joins HUGH on a rectangular platform on top of a two- story scaffolding frame. The platform provides a perfect view of flight 227’s final resting area. We see the awesome devastation that 50 tons of metal flying at 140 miles an hour can do to a hillside.

WHIP looks at HUGH expecting him to finish his thought.HUGH holds his look for a beat before changing thoughts.

We hear voices; a low murmur that gets louder, chanting. WHIP looks to the top of the hill to see...

PENTECOSTAL MASS IN PROGRESS

A MINISTER in a dark purple cloak calls from the new testament as the CONGREGATION responds in unison.

There are at least 50 people sitting in white folding chairs at the foot of the hill. A small brook babbles behind them.

WHIP continues to take in the bizarre scene.

WHIP is overwhelmed by the magnitude of the crash field and the WORSHIPPERS. WHIP looks back at the crash site to see...

NTSB INVESTIGATORS

Inside the crash site, a small group of INVESTIGATORS with NTSB jackets following the lead of a CONFIDENT WOMAN.HUGH answers the question in WHIP’s mind...

WHIP continues to stare at the awesome dent in the earth.

It’s quiet before HUGH makes his case.

WHIP’s had enough. He starts to walk away. HUGH stops him.

A huge office with a glass wall that looks out over the diamond. We are high above the outfield; if GOD was a baseball fan, this would be his office. We now meet AVINGTON CARR, a very righteous and self-satisfied, wealthy, southern gentlemen.

CARR scans the room, reading faces, holding court.

Ornate, wood furniture helps to announce the political feel of MR. CARR’s world. Presidential photos and commendations pepper the walls. It’s quiet...

Everyone looks to HUGH as it gets oddly silent... We get our first look at LEN CALDWELL, the president of the pilots’ union. LEN tries to wrest some control and exude some confidence.

(shakes his head) And everyone is curious about Captain Whitaker.

Through a glass wall we see...

WHIP SITS ON A COUCH READING A MAGAZINE IN A RECEPTION AREA.

Everyone steals glances at WHIP as CARR continues to dominate.

CARR’S BUSINESS GUY The awards to the families could kill the airline.

EVERYONE goes quiet as CARR’s anger commands silence.

They’ve got their boot on the neck of this girl Ellen Block runnin’ the show for the NTSB and she is pissed. Can you handle that?

HUGH can’t stifle a laugh. They look to him.

CARR looks to his lawyer who nods...

CARR’S ATTORNEY I wish you luck, but we’re still sorting out the best way to go forward legally. We might split from you and go it alone.

CARR stands to signal the end of the meeting. HUGH stands to stop him.

CARR’S ATTORNEY Last time I checked, 6 counts of manslaughter is life in prison.

It goes quiet as everyone reflects on that reality.

WHIP stands up as the meeting spills into the waiting room. Handshakes are exchanged as CARR walks to WHIP and offers his hand to shake.

86 CARR nods, sizing WHIP up. WHIP returns the nod as HUGH 86 quickly puts a hand on WHIP’s back and leads him away like a heavyweight being returned to his corner after pre-fight instructions.

THE TELEVISION IN WHIP’S LIVING ROOM - NIGHT

We are now in WHIP’s living room watching HOME MOVIES...

WHIP’S VOICE Get up! What? You can’t get up?! (Whip is laughing...) C’mon, Knuckles Whitaker drags himself up and goes long...go.

We watch an 8 year-old WILL WHITAKER run long as the ball flies to him. He catches it and on-screen WHIP hollers.

WHIP’S VOICE (CONT'D) Touchdown Whitaker! Atta boy! C’mon back. What? Come back and do it again. Tired? Junior, you don’t know tired. I’m not going out. You go out. Keep running.

We pull away from the screen to find WHIP who sits on the couch. A large bottle of vodka appears empty amidst many dead beers and an ashtray that overflows.

WHIP moves in drunken slow motion as he attempts to free a cigarette from the pack and light it. He freezes at one point and places his hands straight out in front of himself, a strange, involuntary, drunken reset. His stare is a 1000 miles offshore; he is anywhere but on this planet. Oblivion.

The light from the HEADLIGHTS of a car in the driveway wash across the walls of the living room. We hear a car door open and women exchange good byes.

87A We hear them laugh as WHIP still stares in to space. 87A

The door pushes open and NICOLE comes in with the Big Book of AA in her hand.

NICOLE goes close to see WHIP look at her with a non-focused stare. She sees the table and reads the situation.

NICOLE watches as WHIP stands up. In his oblivion he tries to focus.

NICOLE backs away as she watches the blacked-out ballet play itself out in slow, tragic fashion. WHIP motions to his lips as if he is smoking. He freezes and then steps forward and trips in to the coffee table. Whip falls to the ground.

NICOLE checks WHIP’s face to see his eyes partially opened but passed out. NICOLE goes to the bedroom and returns with a blanket that she covers WHIP with. She also places a pillow under his head making sure that his head is titled to the side so he doesn’t choke.

NICOLE looks around the room. She begins to collect the bottles and straighten up.

CLOSE ON WHIP’s FACE as he struggles with a thick hangover. He rubs his face and smacks his lips, he’s dry as a bone. WHIP shakes his head as he tries to focus his look through the bedroom window. He looks out to see NICOLE sitting on a chair enjoying the landscape. WHIP rubs his head before walking to the kitchen.

WHIP pulls open the door to the fridge and pulls out a gallon of water in a plastic jug. WHIP stands and takes a long pull of the cold water.

NICOLE sits with her camera staring at a candle on the table in front of her. An AA Book rests on the table. She snaps a picture of the flame and then focuses out to the grassy landing strip and the rolling hills.

WHIP enters carrying the large plastic bottle of water from the kitchen.

WHIP coughs and rubs his eyes.

It’s quiet as they let the awkward exchange pass.

WHIP reaches for the camera. She hands it to him.

NICOLE takes a moment to tamp down some emotions.

WHIP still holds the camera as he sits down.

NICOLE lights a cigarette as the memories are tough.

NICOLE leans over and blows out the candle.

WHIP lifts the camera and points it at NICOLE. She contorts her face into a sly smile. WHIP snaps it...she laughs.

89A A CHURCH BELL SWINGS INSIDE A STONE BELFRY 89A

The blue sky is the perfect backdrop as we reveal...

WHIP in a dark suit walks amidst mourners who file out of the church. The center of attention is a large, distraught woman in her 60’s being consoled by what appears to be her son and his wife. The WOMAN wears a pin that holds a photo of TRINA.

WHIP stands at the bottom of the steps, watching folks, looking for someone. Suddenly, a 9 year-old BOY stands in front of him. The BOY locks eyes with him.

WHIP looks up to see MARGARET THOMASON walking towards him. She has her left arm in a sling underneath her jacket.We can see a bandage along her hairline. WHIP smiles, obviously uncomfortable. MARGARET hugs him.

MARGARET is sensing WHIP’s struggle.

It’s quiet. MARGARET smiles and leans in and kisses WHIP on the cheek.

She starts to leave...WHIP stops her with...

MARGARET appears speechless...

MARGARET fights tears as WHIP has struck a blow.

The tears flow now as MARGARET can’t hold them in. WHIP realizes he’s gone too far. Not knowing what to do, WHIP walks away.

PHARMACY -- PARKING LOT - DAY

WHIP watches an airliner fly over head as he stands by his car smoking a cigarette. He wears his suit from the funeral. NICOLE approaches. She’s in a great mood.

A beat.

She sorts through her shoulder bag...

WHIP nods, playing with the lighter.

She is bubbling with happy spirit; she’s hot. She’s hard to deny as WHIP can’t help but smile at her.

A MAN stands at a podium wearing a coat and tie. He is lost in the energized retell of a story.

A.A. SPEAKER # 1 The cop is shining his flashlight on me. I’m standing there behind the dumpster, wearing nothing but my girlfriend’s panties, vomit on my chest and I say to the cop...about two beers.

The room erupts with laughter. NICOLE is really taken by the candor of the speaker as she joins the room in laughter.

A.A. SPEAKER # 1 (CONT’D) That’s why they call me “Two-Beer” Barry.

BARRY makes eye contact with a STERN LOOKING OLD TIMER. BARRY holds up a loose leaf binder and addresses the man...

A.A. SPEAKER # 1 (CONT’D) Don’t worry Ed, I got the format right here. I’m sorry, Ed’s giving me the stink eye. Let me get back to the format... (reads from the format) I’m Barry. I’m an alcoholic.

A.A. SPEAKER # 1 Are there any other alcoholics present?

WHIP glances around to find himself in a sea of raised-handed alcoholics. A few look at WHIP with no judgement.

A.A. SPEAKER # 1 (CONT’D) I like meetings that have us all identify. Because it makes me tell the truth about who I am. It reminds that I never ever told the truth. I lied about everything. My whole life had been a lie. And I was told that I would never get sober if I kept lying.

WHIP is very reserved, poker-faced.

A.A. SPEAKER #1 I mean, lying’s what I’m good at. If I know anything in this life it’s how to lie, especially about my drinking.

We pan the faces and everyone seems immediately connected. Except WHIP who leans over to NICOLE.

WHIP shakes her hand before quickly escaping as if from a fire. We stay close on WHIP’s face as he walks out.BARRY continues his pitch.

A.A. SPEAKER #1 Like I said, I would lie about everything. It didn’t matter what it was. My whole life had been a lie. A series of lies strung together by me. And when I drank? It was worse. What I came to understand was that, my lies were killing me. And that remains the great fact for me...My lies will kill me.

93 WHIP is gone. 93

WHIP enters the bar and we hear off camera a voice coming from the TV above the bar.

WHIP looks up to the TV.

CLOSE UP TELEVISION -- KEN EVANS IS ON TV LIVE FROM HIS HOSPITAL BED.

WHIP exits as fast as he arrived. He’s gone. PIERS MORGAN continues from the TV...

WHIP steps off an elevator and walks down the quiet hospital hallway toward a room where a few TECHNICIANS are packing up the last bits of TV equipment.

WHIP stands in the doorway and addresses EVANS...

EVANS stares at WHIP with a blank look.

WHIP senses an unwelcome undercurrent. He locks eyes with EVANS trying to read him. Silence before EVANS speaks to the ATTENDING NURSE...

The ATTENDING NURSE files out placing a chair next to the bed as she leaves. WHIP enters. It’s again quiet.

EVANS smiles at WHIP.

VICKI nods, holding her cross with the chain across her lips.

WHIP goes white and drops his head.

WHIP gets up.

WHIP sits and studies EVANS.

EVANS begins to mist up with sincere inspiration.

WHIP stares into EVANS’ eyes and sees a believer’s conviction. EVANS reaches out his hand to WHIP.

WHIP slowly moves out of his chair and kneels at the side of EVANS’ bed. WHIP takes EVANS’ hand and bows his head as he reaches for VICKI’s at the same time. It’s quiet before...

It is quiet for an extended beat. Finally...

97 WHIP looks at EVANS and his WIFE whose heads are bowed with97 reverence.

A small pickup truck rambles to a stop in the driveway.We hear music and laughter as NICOLE gets out.

They all laugh; Nicole waves as they drive off. She walks towards the house which is dark. She hears music and looks towards the barn to see bright light escaping through the sagging doors and split wood walls.

NICOLE slowly approaches the almost glowing barn door.Her curiosity compels her to pull it open.

The door swings open to find the plane pointed towards the driveway with an aged patina but revitalized shine. Lenny Kravitz, “Fly Away” blares from the stereo...

WHIP emerges from the cockpit. He’s still in his suit but with his jacket off and sleeves rolled up. He’s energized like an excited kid. He runs up and kisses her.

NICOLE notes the cloud of smoke hanging in the air and the burning cigarette in the ashtray, empty beers.

WHIP wipes at his nose.

NICOLE takes in this cool trinket of aviation history.

WHIP laughs, remembering...

NICOLE laughs thinking they’re playing a game.

NICOLE realizes he’s serious as he opens another beer.

NICOLE walks away, leaving WHIP with his plane and his dream of freedom. WHIP calls after her.

We follow WHIP as he enters the house and approaches the doorway of the bedroom. WHIP sees NICOLE sitting on the bed. She quickly tucks her cell phone away as WHIP holds up his hand to signal a truce.

NICOLE looks at the sincere love in his eyes.

This is the most sincere plea she’s ever heard.

WHIP wraps his arms around her. We stay on NICOLE’s face as he holds her tighter and tighter.

NICOLE is dressed and sitting at the kitchen table.Past NICOLE we can see WHIP lying in bed.

She has all her possessions in a crate and a duffel bag at her feet. She finishes a handwritten note and places it down. NICOLE picks up the note and begins to reread it.

She hears a car in the driveway -- she picks up her stuff and takes one last look at the sleeping WHIP. She leaves, careful not to make a sound.

NICOLE quietly exits the house, carrying a crate of her stuff. She has a duffel bag of clothes over her shoulder as she makes her way to SHEILA’s car that we see parked at the top of the driveway, far from the house.

WHIP stirs, wakes up and looks around. WHIP walks around looking for NICOLE. He finds the note and reads it. The reality of her disappearance sets in and he moves to the window and stares out at the barn.

WHIP returns his look inside the house and he sees the big book of AA on the table near where the letter was left.WHIP picks it up and throws it across the room. He then grabs the back of a chair and tosses it against the wall.

After wiping photos off of the wall he picks up an empty beer bottle and fires the bottle at a shelf on the opposite wall. The bottle explodes and WHIP stops as he realizes he came within an inch of shattering a framed photo of he and his son.

We hear the antiquated ring of the OLD HOUSE PHONE.WHIP relaxes his shoulders as the ringing phone distracts him.

Whip is now drawing heavy breaths as the ringing phone is answered by the old machine...

WHIP’S FATHER’S VOICE You’ve reached the Whitaker Crop Dusting Company, flying lessons and plane rides. Please leave a message and it will be returned. Thank you.

The beep concludes...

WHIP snatches the phone of the hook.

104 WHIP listens as CHARLIE talks... 104

WHIP sits in his car. Rain pounds the windshield as we watch him expertly add vodka to a half-full bottle of orange juice. WHIP gives the bottle a shake before taking a long drink.

WHIP takes another drink before re-capping the bottle and stowing it in the glove box. WHIP gets out and we watch him walk in the rain towards the door of the hangar. A SECURITY GUARD meets him and takes him inside.

WHIP is now alone in the huge, brightly lit hangar. He sees the plane.

The JR-88 has all of its pieces laying as close together as possible. Like the skeleton of a T-Rex in a museum.The sight is awesome, breathtaking. WHIP walks closer to the twisted wreck and stops. WHIP is overwhelmed by the sight and as he is about to leave...

CHARLIE steps out of the passenger door and calls down to WHIP.

WHIP walks towards a ramp that leads up to the hole in the plane where the door used to be. CHARLIE stands at the top of the ramp. Suddenly HUGH steps out of the plane...

WHIP doesn’t move as HUGH starts down the ramp.

CHARLIE and HUGH reach the bottom of the ramp.

This picks directly at the scab of WHIP’s guilt.

This stops WHIP cold.

They let that land. WHIP nods.

HUGH explodes in frustration.

HUGH gets big as he has to add the final piece of credence to the coronation.

HUGH is so loud and emotional even WHIP lends focus.

Everyone waits for the response as HUGH acknowledges the debris around them...

WHIP pulls out his cigarettes and frees a smoke from the pack.

CHARLIE steps between them as this exchange spirals.

WHIP starts to walk away.

WHIP turns and walks. HUGH wheels on CHARLIE and lights him up.

106 WHIP walks away from them -- away from the bright, clean, 106 shiny floor of the hangar and into the growing rain storm.

The rain has subsided as WHIP pulls up to his driveway.

Whip turns into the driveway and spots a NEWS VAN in front of his house. He makes a U-turn and speeds away.

The rain has completely stopped but everything remains wet as WHIP bangs his front tire in to the curb as he attempts to park in front of a well-maintained house.

111 WHIP checks the mirrors before taking a long drink from a 111 large orange juice bottle.

WHIP gets out of his car and makes his way across the street and towards the house. We notice...

The DRIVER OF A BLACK PRIUS that has been parked farther down the street gets out of his car, talking on a cell phone.

WHIP walks up the steps and knocks on the door. He waits a beat and knocks again. Finally, it opens -- DEANA, an attractive, well-dressed woman in her 40’s, stands there staring.

DEANA takes a moment before stepping aside to allow WHIP in.

WHIP glides into the kitchen of this fastidiously kept home.

WHIP turns to see his 16 year old son,WILL, standing at the foot of the stairs near the door.

DEANA now steps between them and pushes WILL towards the stairs as she puts her hand on the doorknob.

WHIP turns quietly. He opens the door and walks outside to find...

A GROWING GALLERY OF NEWS RATS START JOSTLING FOR PICS

WHIP is completely caught off guard. They step right onto the tiny landing with him.

Through the fracas we hear a variety of questions lobbed at WHIP.

DEANA’S PORCH REPORTER #1 How come you won’t talk to the press?

DEANA’S PORCH REPORTER #2 A lot of people are going out of their way to keep you out of the media, are you hiding something?

We hear the squelch of a police siren as a COP CAR lands on the scene.

DEANA’S PORCH REPORTER #3 Do you still live here, Captain Whitaker?

DEANA’S PORCH REPORTER #1 How well did you know Katerina Marquez, the flight attendant that died?

A REPORTER trips down the stairs. WHIP grabs one of these news rats and just before pounding him, he breaks in to a relaxed smile.

The GALLERY quiets to listen and record his words. WHIP again is incredibly smooth and intuitive while drunk and under pressure. We can hear the squawking of POLICE SIRENS approaching.

WHIP starts to head down the porch and the frenzy erupts again.

The POLICE begin to disperse the NEWS RATS. WHIP pulls an officer aside.

WHIP walks with the YOUNG COP who shields him from the fray.

We can see the YOUNG COP standing in front of the driver side door, shielding WHIP from the press who stay away.

116 WHIP exhales, trying to slow his racing heart and head.He’s116 drunk but controlled. He looks at his hands. They are shaking.

We see WHIP on the TV repeating the speech he gave reporters on DEANA’s front lawn...

A REPORTER now wraps up the piece...

Now a DESK ANCHOR changes stories...

We boom down to find WHIP who looks drained as he sits on CHARLIE’s couch in the fastidiously neat office. WHIP holds an unlit smoke.

The WOODEN POCKET DOORS SLIDE OPEN and CHARLIE’s WIFE gestures towards WHIP. WHIP stands as CHARLIE enters.

AMANDA slides the door shut as CHARLIE throws his bag and his coat down with gusto. He reaches up and pushes a button on the TV and it goes off.

CHARLIE takes a long look at his old, troubled friend.

118 CHARLIE nods, hoping that WHIP can deliver on that promise118

We watch a can of Coca Cola swing in WHIP’s hand. We pull out to find WHIP walking with CHARLIE down a hallway of THE ST. JEROME HOTEL. Time has passed as WHIP looks the best we’ve ever seen him look. He is well rested, well dressed and carrying a suit in a wardrobe bag.

As we approach the open door to a guest room, HUGH pops out. A plain clothes SECURITY GUARD follows HUGH out of the room and stands behind him.

CHARLIE addresses the SECURITY GUARD.

HUGH stands by the open door and gestures CHARLIE and WHIP inside...

HUGH walks in to the center of the room and turns to WHIP.

WHIP puts his wardrobe bag down on the bed.

WHIP is checking his phone. HUGH gestures to CHARLIE for him to leave so they can be alone.

CHARLIE leaves and HUGH joins WHIP at the window. HUGH hands WHIP a thick folder.

WHIP laughs a little.

The two respectfully nod. HUGH leaves and the door shuts behind him. WHIP puts the folder on the table and steps to the mini-bar. He bends down and opens the fridge...

WHIP sees the fridge is overly stocked with soda and juices. Every soft drink you can imagine. No booze, anywhere. WHIP chuckles about the alcohol removal as he grabs a coke.

WHIP unbuttons his shirt and pulls it out of his waist line.

Whip sits on the edge of the bed eating a room service steak. The File Folder sits on the table.

WHIP’S ROOM -- LATER

Now in his undershirt and shorts, Whip lies propped up on the bed watching television. The File Folder now rests on the bed.

WHIP’S BATHROOM -- LATER

Whip is meticulously shaving. He stares a long while at the disposable razor as the water runs over its blade. After a moment he goes back to shaving.

WHIP’S ROOM -- MUCH LATER

Whip sits at the small table looking through the file.He leafs through photos, with no recognizable emotion. He looks to the clock radio -- 12:37.

WHIP’S ROOM -- BATHROOM -- LATER AGAIN

We hear the shower running and steam fogs the mirrors.

WHIP’S ROOM -- LATER THAN THAT

WHIP wears boxers and a tee shirt with a towel around his neck. He looks to the clock -- 2:07

WE WATCH HIS SUIT BE PULLED FROM THE WARDROBE BAG.

WHIP lays the suit out neatly on the couch, separating the shirt which he hangs from a light fixture to relax any creases.

WHIP’S ROOM -- LATER YET AGAIN

The room is dark. A soft wind RATTLES the window sash. WHIP lies on the bed. He sighs, sleep is alluding him and the anxiety of tomorrow’s events on no sleep has his head spinning. He hears a metallic click. He stays quiet to listen for it...there it is again. An annoying click.

The clock reads “3:43”--

He sits up and switches on the LIGHT. He rubs his eyes and goes to the table and sees the file folder laying there.As he is about to pick it up he hears the metallic click again. He goes to investigate.

HOTEL ROOM CONNECTING DOOR -- SAME TIME

The connecting door is unlocked. WHIP arrives and waits.He now watches as the connecting lock-bolt CLICKS against the frame -- the door swinging in a draft. He looks up to see the culprit -- a heating vent. WHIP flips the vent closed.

Whip now pushes the door with his finger, opening it a few inches. Nothing. Darkness.

Whip enters.

The room is vacant. The bed is made. The drapes are pulled open.

WHIP walks quietly on the carpet towards the window. The night is clear. Quiet. Whip takes in the city lights.

WHIP’S POV --

Among the glass and steel office buildings, Whip spots a church spire. A simple cross is perched on top.

Whip looks at the church, deep in thought.

Then suddenly...

We HEAR A HUM. THE GENTLE HUM OF AN ELECTRIC MOTOR.

WHIP turns from the window and scans the room...

It’s the MINI-BAR refrigerator -- HUMMING to life.

Whip stares at the gleaming black box. The WHIR of the motor seems to get LOUDER. Calling Whip. Beckoning him...

Whip looks at the fridge. His face is blank, His eyes tell us nothing. Then...

Whip steps toward the box.

CLOSE ON THE MINI-BAR. Whip swings open the door.

WHOOSH -- OUR DARK SCREEN LIGHTS.

COLORS SPARKLE as a cadre of tiny liquor bottles GLOW like jewels in a chest.

WHIP stares at the “glimmering gems” for a long, long time -- vodka, gin, wine, bourbon. The bottles SHIMMER -- AMBER, CRYSTAL, EMERALD, RUBY.

WHIP reaches for a frosted vodka mini bottle -- he gently pinches the neck of the bottle and lifts it out of the fridge. He holds up the mini vodka and considers it.

Now Whip slowly removes the stopper and smells the White Whiskey. He looks at the bottle once more, then slowly twists the tiny cap back on.

With a look of solemn resignation, Whip places the frosted mini bottle on top of the fridge and walks away.

WE STAY CLOSE ON THE BOTTLE. The CAMERA FOCUSES on the small bottle as a small droplet of condensation runs down its side -- ever so slowly, slowly. Then suddenly...

WHAP!!! In a flash, WHIP SCOOPS THE VODKA OUT OF FRAME!!

The ELEVATOR DOORS open and HUGH and CHARLIE step out and head down the hallway.

We follow our guys as they approach WHIP’s room, finding OFFICER EDMONDS exactly where we left him -- in front of WHIP’s door.

OFFICER EDMONDS stands up as CHARLIE and HUGH approach carrying coffees.

CHARLIE knocks on the door and checks his watch as he waits for WHIP to answer. CHARLIE cocks his head, knocks again.

They all wait awkwardly as HUGH checks his watch and knocks on the door. More silence...

CHARLIE takes the room key and lets himself in.

CHARLIE carefully enters WHIP’s room. He is spooked by the silence. HUGH joins him as they take in the room. The bed looks slept in and the room service dinner tray rests politely on the dining table but WHIP is nowhere to be found.

CHARLIE tentatively walks around the empty room, the bathroom, the closet, until he finally sees the adjoining room door. He turns to HUGH with a surprised look.

CHARLIE knocks on the slightly opened adjoining door.No response, so CHARLIE lightly tosses the door open.

CHARLIE looks in to find the scene of the crime. Smoke still hangs in the air and empty bottles and cans cover every surface in the room. HUGH joins him...

CHARLIE closes his eyes and says a silent prayer as he heads for the bathroom...

BATHROOM -- ADJOINING ROOM -- MOMENTS LATER

CHARLIE is stopped by the sight of WHIP’s lifeless body wedged between the tub and the toilet.

CHARLIE turns WHIP over to see his non-responsive face.HUGH arrives and freaks out.

CHARLIE shows immediate relief that WHIP is breathing. OFFICER EDMONDS has joined them.

The two stare at each other and realize they are both breathing heavily from the shock and stress of their predicament.

Can you wait outside and don’t let anyone in here? Thank you.

EDMONDS leaves. CHARLIE and HUGH drag WHIP out of the bathroom and flop him on the bed. HUGH explodes.

HUGH grabs at WHIP’s collar and WHIP actually sits up and reaches for HUGH, a nice sign of life from WHIP.

CHARLIE pulls HUGH away from WHIP who falls back on the bed.

HUGH and CHARLIE exchange a desperate look...

WHIP

129 Tell him I need bananas... 129

CHARLIE prays for a voice on the other end...it appears...

CHARLIE hangs up and looks at WHIP who is mostly passed out again. CHARLIE looks to HUGH.

The elevator opens and we see HARLING step from the elevator with his knapsack over his shoulder. Teva sandals, sunglasses.

WHIP has a towel around his neck as he tries to sip coffee. CHARLIE sits opposite him at the small table by the window.

The door bursts open, and HARLINGstorms in.

HARLING places a leather doctor’s bag on the table. An anxious CHARLIE reaches for the bag which sets HARLING into a frenzy.

It’s quiet as HARLING gives orders.

As they step away, HARLING now pulls a beautiful silver- framed mirror from his bag and a blue coke grinder, he calmly but sternly delivers orders...

HARLING Tosses a pack of smokes to CHARLIE.

HUGH takes the smokes from CHARLIE and pulls out a cigarette.

HARLING stops grinding, opens the lid and pours out a nice smooth pile of coke. He begins a masterful ballet of cocaine manipulation.

HUGH is removing the last quarter of an inch of tobacco from the end of the cigarette.

HARLING uses the credit card to groom the coke into neat piles and lines. He has a system.

WHIP’s head sags as he again appears ready to pass out.

Using the mirror as a tray, HARLING holds the rolled up 20 dollar bill just above the line of coke. WHIP slowly manages to place his face in position to ingest the coke. It’s tense as his head wobbles. He finally zeroes in and snorts the first line. HARLING quickly switches nostrils. WHIP sniffs the other side.

CHARLIE puts the glass of water to WHIP’s mouth. WHIP drinks.

HUGH hands HARLING the cigarette with a slightly hollowed out tip. HARLING leans over the coke with the cigarette in his mouth and hoovers up a small pile, sucking the coke through the cigarette.

HARLING sits up, careful to keep the cocaine in the end of the cigarette. He tips it up and lights it.

WHIP’s head levels a look to Harling with a smile that leads us to believe that he is actually making a rally.

HARLING takes a puff and holds it as he extends the cocaine cigarette to WHIP. WHIP is more nimble now as he cocks his head in acceptance of the cigarette. WHIP takes a drag and holds it.

WHIP finally exhales the smoke, HARLING does too. WHIP smiles.

HARLING has crafted 4 big lines now, he snorts one himself in record time. Looks to HUGH and CHARLIE.

WHIP jumps in and sniffs 2 huge lines. He looks to HARLING.

HARLING gathers his things, stands and hugs WHIP.

HUGH and CHARLIE are quiet as they watch the strange but sincere drug-fueled emotion pass between two old friends. HARLING eyes CHARLIE before handing him a baggie.

HARLING leaves and our TRIO exchange looks, “Did that just happen?”

133 The opening bars of Joe Cocker’s “Feelin’ Alright” crackle133 just before we see WHIP step out of the hotel room and begin a relatively steady strut down the hallway. Deja Vu. Sunglasses on, WHIP is backed by HUGH and CHARLIE who flank him from a few steps behind. Further back we can see that OFFICER EDWARDS also exits the room wearing latex gloves, carrying a large plastic garbage bag that obviously holds any evidence of the debauched night or the morning’s resurrection.

WHIP, HUGH and CHARLIE ride the elevator. WHIP is buttoning his shirt and fixing his tie. It is miraculous how the coke has revived him. A MOM and her 8 year old DAUGHTER get on the elevator.

We watch as a small trickle of blood escapes from WHIP’s left nostril. HUGH pulls a handkerchief from his pocket, hands it to WHIP.

WHIP accepts the handkerchief and wipes his nose. WHIP sees blood on the cloth and tilts his head back.

We now see that there is a mirrored ceiling to the elevator. WHIP tries to study his reflection in the ceiling as he holds the hankie to his nose. WHIP begins to wobble and CHARLIE helps him regain his balance.

Our TRIO walk as tall as they can towards the hearing room.

HUGH hustles off as CHARLIE pulls close to WHIP.

WHIP wheels on CHARLIE and unloads with focused anger...

As we disappear in to WHIP’s weary eyes we hear the distinctive sound of a jetliner screaming through the air.

On TWO LARGE SCREENS we watch the grainy cell phone footage shot by a witness of SOUTHJET FLIGHT 227’s final moments in the sky. ACCOMPANYING the Video is the REAL AUDIO of the cockpit voice recording...

The room has a dais where the NTSB board members sit.A large blue curtain is the backing for the round NTSB shield that hangs above the proceedings. A large drop down screen will show images, graph and text as needed by the NTSB.

A confident woman, ELLEN BLOCK, approaches carrying a file which she lays on the podium.

We see WHIP who looks rough but stable in his witness chair.

ELLEN points to the screen...

An NTSB animation shows the plane pitching down and we follow it through the inversion of the plane while listening to the real audio of the flight crew.

The animation has a split screen that also shows the instruments and printed text of what’s being said.

We hear...“What’s your son’s name?” “Why?” “The black box” “I love you, Trevor. Be a good boy, Mommy loves you.” “What are we doing?! Why would I trim down?!” “We’re gonna roll it. Ready? Here we go. I’ve got control.”

That last statement seems to echo as the presentation stops and the lights come back up. We return to the hearing in progress.

WHIP is clearly struggling in his chair. The coke got him there but it may start to fail him soon.

We hear a smattering of applause as the facts of his actions are remarkable.

WHIP looks ashen as the booze and chemicals are still coursing through his exhausted frame.

WHIP glances towards HUGH and CHARLIE who are poker-faced.

WHIP takes a minute to digest this question.

WHIP goes quiet as ELLEN BLOCK looks at him over her glasses, seeing if he has any reaction. WHIP smiles.

HUGH is frozen in a steely gaze; CHARLIE seems to hold his breath.

ELLEN points her remote at the projector but it doesn’t work.

She shrugs and heads down onto the stage closer to WHIP where she can advance the slides by touching the projector.

We now see a screen where a slide is showing a long metal screw the size of a trombone.

Substandard thread life” is how we reported it. This part was suggested as a maintenance replacement in January of 2010. It was never replaced.

This had 1200 additional hours of flight on it. It finally failed.

AN ANIMATION SHOWS THE TAIL ASSEMBLY.

We watch the elevator acting as a wing on the tail that goes up or down and makes a plane get lift or descend.

Everyone goes quiet as those words resonate. ELLEN’s tone changes as she understands how hard this is for some people to hear as they think of their loved ones spending their last living minutes on this earth in sheer terror.

It is deathly quiet in the ballroom. Even the PRESS are silent.

A genuine applause spreads from the hearing room. ELLEN BLOCK allows this moment to happen.

WHIP is fading, dazed and uncomfortable with the unexpected adulation. He stands up.

The room gets quiet as WHIP’s demeanor seems terse.

WHIP stares at ELLEN, white with sweat and chemicals.We see HUGH grind his jaw as this line of questioning has him on tilt.

WHIP nods.

WHIP takes his time.

HUGH AND CHARLIE

Sit stone faced in the second row feeling the relief of months of hard work.

ELLEN BLOCK continues with a rote posture...

ELLEN wraps up this line of questions...

WHIP waits for her to look at him...this takes a while...

HUGH maintains a poker face; CHARLIE appears relieved.

ELLEN sorts through her notes one last time.

Slides now show the TWO SMALL VODKA BOTTLES in evidence.

A SOUTHJET CORPORATE PHOTO OF WHIP pops on to the large monitors. After ELLEN references a member of the flight crew, their photo pops on to the monitors...

KATERINA MARQUEZ PHOTO does not pop up on the screen...yet.

Hugh smiles -- satisfied.

A picture of Trina’s beautiful smiling face FLASHES UP ON THE BIG SCREEN.

WHIP smiles at the photo of TRINA as if she can see him.He then shakes his head to snap from the memory of her great spirit. He gets serious as he bears his look down on ELLEN.

Whip shakes. He runs his trembling hand through his hair.

Whip drops his head and MUTTERS SOMETHING INAUDIBLE.

A confused MUMBLE rises in the room. Whip’s response flusters ELLEN for a moment, but she recovers quickly.

Whip cuts her off...

Whip stops. His whole body trembles, his face tightens. He looks right at ELLEN...

The crowd gasps, unsure of what they just heard...

CHARLIE rockets out of his chair.

NTSB OFFICER #2 Please be seated sir. This is not a court room.

Now CHARLIE returns to his chair to find that HUGH is gone. CHARLIE looks around for HUGH, no sign. He’s vanished.

WHIP leans close to the microphone.

Chaos erupts further as REPORTERS outnumber SECURITY.Flash bulbs pop repeatedly and large lights are aimed at the fracas on stage as video is taken of the bizarre melee.

We have pushed into a tight shot on WHIP’s face as the sound in the room fades away. We stay tight on WHIP’s face as he lets the moments unfold.

Suddenly the noise cuts to silence. WHIP is looking at the assembly. WHIP wipes tears from his eyes. We hear WHIP’s voice as the dialogue pre-laps the image of his face.

A new angle shows WHIP speaking these words...

We hear laughter as we pull out from WHIP to realize that he is in fact wearing a white penal jumpsuit and leading an AA meeting in a Federal Prison.

A large room houses an AA meeting for about 50 inmates wearing white jumpsuits. WHIP continues his story.

Whip gives it to us straight...

We hold close on WHIP’s face as we hear the metallic clang of prison doors shutting. On the sound we cut to...

We pan across the concrete cell wall, looking at a small, personal photo collage. We see a photo of NICOLE and SHEILA and a few other AA FOLKS surrounding WHIP who sits in front of a birthday cake in the common room of the prison.We see a photo of WHIP’s DAD as an airman. We ultimately land on a photo of NICOLE. We recognize it as the photo WHIP took on the porch of the Whitaker Farm.

We pan down to find WHIP writing in a journal. A GUARD comes to the front of his cell.

WHIP looks at the GUARD and nods before taking a last glance at the photo of NICOLE.

WHIP sits at a lone picnic table in a fence-enclosed courtyard. He checks his watch and looks up.

WHIP stands and walks towards us, towards his visitor.As he gets closer we see a smile break across his face. A smile we haven’t seen since he first saw NICOLE. We reverse to see...

WILL -- WHIP’s 17 year old son stands next to a GUARD.

Another beat as they can’t find a way in to a conversation.

WHIP chokes up. WILL nods. It’s intense. WHIP motions to the table and they both sit. WILL pulls out a notebook.

WHIP studies him and laughs...WILL nods and tries to smile.

Again WHIP has to tamp down his emotions.

WILL pulls out a small voice recorder and clicks it on...

The two men just look at each other.

WILL nods, both men are struggling to keep it together.

WHIP nods, unsure as to where this is going.

WHIP smiles...a great, familiar question. He begins to alternately laugh and sob as there is great relief in the promise of a connection with his son.