FLIGHT
Written by
John Gatins
Dec. 12, 2011
CHYRON -- ATLANTA 6:12 AM
EXT. SOMEWHAT SEEDY TWO-STORY HOTEL IN ATLANTA -- PRE-DAWN
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.
EXT. HOTEL ATLANTA -- SECOND FLOOR -- PRE-DAWN
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.
EXT. HOTEL ATLANTA -- PARKING LOT -- MOMENTS LATER
NICOLE forces the clumsy table into the hatchback of a 1988
Toyota Tercel and slams it shut.
INT. 1988 TOYOTA TERCEL -- PARKING LOT -- SAME TIME
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...
NICOLE
(as the phone rings)
Don't pick up...don't pick up...
don't pick up...
2.
A MAN answers with music in the background..."Yo.." NICOLE
quickly picks up the phone.
NICOLE (CONT'D)
It's Nic, do you have any? Good
morning to you too. You're what?
Well, where are you guys shooting
today? Where? Text me the
address. You have some...Okay.
She hangs up the phone and catching herself in the rearview
she tries to smile.
CHYRON -- ORLANDO 7:14 AM
EXT. AMERICAN VALUE SUITES - HOTEL -- ORLANDO -- MORNING
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.
INT. AMERICAN VALUE SUITES - HOTEL -- ORLANDO -- MORNING
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 as WHIP 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...
3.
WHIP
(into the phone)
I've been up since the crack 'a
dawn. What check? Tuition? How
much does it cost to go there?
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 (CONT'D)
NO! NO! NO! You decided he needed
private school...lemme talk to
Knuckles. He's not? Tell'em the
phone works both ways. Oh he's my
son because you need a tuition
check...that's great Deana. I'm
glad you tracked me down in Orlando
at 7 in the fucking morning to
shake me down for money. Does he
even like the fucking school? No
I've never seen it. Yeah I wonder
why not too. I gotta 9 o'clock
flight, sit tight 'till I get back
to Atlanta. How am I a liar?
What? No, I'll call you.
WHIP hangs up and continues to make quick work of the last
beer as he stares through his thoughts and out the window.
YOUNG WOMAN
Was that your wife?
WHIP
That was my ex-wife. But you
Trina, you could be my second or
third wife if you'd just C'mere.
The YOUNG WOMAN we now know as TRINA smiles seductively...
TRINA
Whip, don't even joke about that.
Our flight's at 9, let's hit it.
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"
4.
WHIP
Yeah, I'm feelin' a little light-
headed. I shoulda ate somethin'.
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.
INT. AMERICAN VALUE SUITES HOTEL-ORLANDO-HALLWAY-MORNING
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.
EXT. AIRPORT SOUTHJET TARMAC - AIRPLANE - MORNING RAINING
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
Son of a bitch!
Whip shakes the rain out of his shoe as he continues up the
stairs.
INT. ORLANDO AIRPORT TERMINAL - JETWAY -- DAY
WHIP enters the jetway from the exterior door at the entrance
of the plane. TRINA is greeting a MAN and his SON.
WHIP
Morning Miss Marquez.
TRINA
Morning Captain Whitaker.
WHIP waits as TRINA politely parts the stream of folks to
allow WHIP to enter the plane.
INT. AIRPLANE GALLEY -- MOMENTS LATER
WHIP exchanges a look with a MATURE FLIGHT ATTENDANT,
MARGARET THOMASON. She can't help but smile...
5.
MARGARET
Captain Whitaker, that sky gonna
hold? You're not gonna make me
spend another night in Orlando?
WHIP
Don't worry, Margaret I'm gonna get
you home for your prayer meeting
at...what is it? Jesus Christ
Superstar 27th Baptist King Church?
TRINA and CAMELIA SATOU, the other flight attendant, laugh.
MARGARET
That's right, Christ the King First
Baptist Church on Hazel and 9th
Street. And I'm still saving you a
seat next to me. Offer
stands...come on down.
WHIP
One of these nights, Margaret, I'm
comin'. You hold my seat.
The girls laugh at the familiar exchange.
INT. AIRPLANE COCKPIT - MORNING
WHIP enters the cockpit, removes his hat and nods to KEN
EVANS, our clean-cut, young first officer.
WHIP
G'morning. Walk around is complete.
Whip pulls his emergency oxygen mask off the bulkhead and
takes a huge hit.
WHIP (CONT'D)
Emergency oxygen, checks.
(offering the mask to
EVANS)
You want a hit?
EVANS
No thank you sir.
WHIP
(tries to break the chill)
My pleasure to share the chair with
ya'. Didn't we fly together...
EVANS lets him hang...
6.
EVANS
No sir, not that I remember. Ken
Evans, sir.
WHIP
Call me Whip.
EVANS
Yes sir.
WHIP studies this little Bible Thumper for a second before...
WHIP
(calls to the galley)
Margaret.
(SHE APPEARS)
Sweetie, will you get me a coffee,
black, lots of sugar. And some
aspirin. You want something?
EVANS
(looks to Margaret)
No ma'am. Thank you.
(SHE LEAVES)
Sir, it's 8:50.
WHIP
Then let's push. I got a great `on
time' record.
EVANS
Yes sir, you gottit. And how you
feeling today, sir?
WHIP focuses on EVANS, trying to read into that statement.
WHIP
Tired, sir. But, this is a quick
turn for me. Ten turns in three
days. Off tomorrow.
MARGARET returns with the coffee, placing it down near WHIP's
chair on an airline cocktail napkin.
MARGARET
Here's your coffee and the final
manifest. 102 souls on board.
WHIP
Thank you, thank you, thank you,
you're a life saver. And Margaret
gettem' tucked in, we're ready to
push.
7.
WHIP goes to the head. MARGARET and EVANS exchange a look.
CUT TO:
EXT. ATLANTA SUBURB - STONE MANSION - DRIVEWAY - DAY
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.
INT. ATLANTA -- STONE - MANSION - DAY
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.
NAKED GIRL IN HELMET
Othello you bastard!
And she grabs the TINY DOG and hustles downstairs. NICOLE
waits with the YOUNG CREW GUY until we hear....
KIP (O.S.)
CUT! CUT THAT!
NICOLE is free to walk all the way downstairs now.
INT. MANSION - OTHELLO PORN SET - BEDROOM SUITE - DAY
NICOLE enters to reveal a large porn set with a Shakespearean
theme, specifically "Othello." We see an Elizabethan Four-
poster bed with a canopy surrounded by 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 HAIR stands naked next to the throne
smoking a joint as she shaves her crotch with a man's
electric razor.
8.
NICOLE approaches a YOUNG TATTOOED MAN who only wears board
shorts. He's talking with an OLDER ASIAN MAN as they groom a
pile of coke for snorting.
NICOLE
KIP-
He sniffs a quick line and gets up to kiss her, she turns her
cheek avoiding the coke-frozen kiss.
KIP
Nicole, this is Tiki Pot. He's my
partner in this new series, he
knows a lot about porn.
NICOLE
Kip I need 2 grams of "h."
KIP
Tiki and I are trying to put the
narrative back in porn. Our
Desdemona hasn't shown yet.
(a great idea hatches...)
You should play Desdemona. FUCK
YEAH! You got that fair skin.
KIP is flirting, seeing if she'll consider it...
NICOLE
Desdemona? What the fuck?
TIKI does a line and comes up babbling.
TIKI POT
She do anal, two thousand, one
hour.
NICOLE
I don't do porn, Kip. Just lemme
see the "h."
KIP
Just listen, we're doing an Othello
theme where the Moor finds you in
bed with your nurse and-
NICOLE
He fucks me in the ass?
9.
KIP
Well...yeah. We're giving a whole
new meaning to the "beast with two
backs." That's actually a title
we're toying with...'beast with two
backs' or Hole-thelo or Butt Hole-
thelo...would you be up for it?
TIKI POT
College kid, very clean...BRETT?!
A tall thin kid joins them. He wears a Moorish Headdress and
has a bath towel wrapped around his waist.
TIKI POT (CONT'D)
Show her the pipe-
BRETT drops the towel...
NICOLE
Fuck you Tiki, you put that in your
ass and call me in the morning.
Kip, have I ever done that shit for
you? Never. Asshole.
NICOLE walks away. KIP follows her...at the door.
KIP
Nic...sorry, we're tweaked, okay
baby girl. Hey, c'mon you wanna
stay and shoot some stills for me,
you're pics are awesome. And
what's going on with you? You were
clean for a while and...
(she begins to cry)
Sweetheart, don't cry.
NICOLE
I just need a little to smoke.
(flashes the cash)
I've got 100.
KIP pulls a small tin foil square from his vest pocket.
KIP
No, keep your money, okay? But,
Nicole, this is the Taliban baby,
very big time. It will take you
down.
NICOLE
I can handle it.
10.
KIP (CONT'D)
Don't shoot this shit, it is way
too heavy.
NICOLE
I'm just gonna smoke it. I haven't
done needles in weeks.
KIP
Okay, no needles and take a little
coke and if you start going down
just whiff a little. Okay? I
wanna see you...
KIP hands her a tiny baggy of coke. He kisses her cheek.
CUT TO:
INT. COCKPIT -- MORNING
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.
WHIP
Thanks junior.
EVANS looks out at the rain...
EVANS
Looks pretty ugly, sir.
WHIP
A little rain never hurt anybody.
We're not made of sugar. What's
the RVR?
EVANS
Half a mile. Right at minimums.
Wind's gusting to 29. 30 is our
crosswind max.
WHIP
I know what our crosswind max is.
Tellem were good to go at the end.
EVANS just stares at WHIP.
11.
GROUND CONTROL
(ON RADIO)
SouthJet 227, say intentions.
WHIP looks right at EVANS. EVANS keys the radio.
EVANS
Orlando ground. SouthJet 227 will
be ready to go at the end.
WHIP stares forward, not looking at EVANS.
INT. PASSENGER CABIN - DAY
Nervous passengers stare out the windows as 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.
MARGARET
Ladies and gentlemen, the captain
has turned on the seat-belt sign.
Please be sure your seat-belts are
securely fastened, and all carry-on
items are safely stored in the over-
head bin, or under the seat in
front of you. Also, all personal
electronic devices must be switched
off, at this time. Today's flight
time to Atlanta should be 52
minutes. Flight attendants please
take your seats.
16 TRINA straps into her jump-seat. 16
INT. COCKPIT -- MORNING -- POV THROUGH THE WINDSHIELD
Heavy rain lashes the nose of the plane. Lightning FLASHES.
We watch the plane steer on to the GLOWING center-line.
INT. COCKPIT
Whip inhales his coffee and readies himself for take-off.
EVANS tries to relax, continuing with the checklist.
EVANS
(reading the check-list)
Elevator trim - set. Flaps, One,
two, three - set. Radios - set.
12.
One, two, three altimeters - set.
Lights, pitot heat, de-ice - on.
Transponders, set.
TOWER
(ON RADIO)
SouthJet 227, wind is one-zero-zero
at seventeen. Runway 18L, cleared
for take off.
WHIP has razor focus as he places his hand on the throttle.
EVANS sits upright and prepares for battle.
EVANS
(keys the mic)
Cleared for take off, SouthJet 227.
Whip pushes the throttles and the engines SCREAM as they
spool up to full thrust. After a beat, he releases the
brakes.
INT. PASSENGER CABIN - DAY
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.
INT. AIRPLANE COCKPIT - DAY
WHIP mans the stick as he squints his eyes and tries to keep
the nose between the lights of the runway.
WHIP
It's like a video game, right?
WHIP laughs and turns to his copilot. EVANS is visibly
nervous as he begins the take-off check...
EVANS
Airspeed's alive, both sides...
Engine instruments are in the
green...100 knots crosscheck...
The JR-88 fishtails as the main gear begins to hydroplane.
WHIP
Yep, nothing like a little 30 knot
cross wind to exercise that
sphincter muscle.
Evans is jostled violently.
13.
EVANS
That's wind shear! A micro burst!
Whip's eyes are focused on the end of the runway.
The RED THRESHOLD LIGHTS are approaching fast. The plane is
not lifting off.
EVANS (CONT'D)
Less than a thousand feet to go!
Whip snaps at him.
WHIP
Just watch my airspeed!
C.U. The airspeed indicator reads 145...
EVANS
V1...and...
Now the air speed indicator climbs to 160...
EVANS (CONT'D)
...rotate.
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.
EVANS (CONT'D)
That's wind shear for sure!
WHIP
Yeehaw! Ride `em cowboy.
INT. PASSENGER CABIN - DAY
The passengers are rattled like a bag of marbles.
INT. COCKPIT - DAY
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...
14.
EVANS
Orlando Departure...SouthJet 227,
climbing out of 2500 for 5
thousand, runway heading.
ATC
(ON RADIO)
Roger SouthJet 227. Turn left
heading one-seven-zero. Climb,
maintain niner thousand.
EVANS
Left to 170. Climb, maintain niner
thousand.
EVANS quickly dials the heading and altitude into the auto-
pilot.
WHIP
I don't want the auto-pilot. I'm
flying.
ATC
(ON RADIO)
What's your ride like, SouthJet
227?
Before EVANS can answer, WHIP jumps on the radio.
WHIP
Ah, Departure, we've got some rough
chop here. I'd say moderate to...
WHUMP!! The plane hits a severe bump! EVAN's headset turns
sideways and he quickly rights it. WHIP chokes back a
nervous chuckle.
WHIP (CONT'D)
(into his mic)
No, severe. Definitely severe
turbulence. No meal service today.
AIR TRAFFIC CONTROL
Roger that.
Whump!! Once again the plane is violently rocked.
INT. PASSENGER CABIN - DAY
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.
15.
The THREE ATTENDANTS calmly collect the luggage and stow it
in the kitchen. They talk loudly for the benefit of the
passengers.
TRINA
(to a passenger)
This happened last week, always
bumpy outta Orlando. Right Cam?
MARGARET grabs the cabin mic and addresses the passengers.
MARGARET
Ladies and Gentlemen, the captain
has asked that until we clear this
air you stay seated with your seat
belts fastened. Thank you.
INT. COCKPIT - DAY
The plane rocks and shutters. WHIP seems oblivious as he
continues to serenade Evans.
WHIP
(SINGING)
Feelin' alright -
Not feelin' too good myself -
Feelin' alright -
Not feelin' too good myself...
WHIP is interrupted by Air Traffic Control.
ATC
(ON RADIO)
SouthJet 227...Be advised there is
a large convective cell four miles
at your 11 o'clock. And another
cell, 2 o'clock, 10 miles. Both
moving rapidly.
EVANS
Copy, Center.
(TO WHIP)
Did you get that?
WHIP
Gottit Skippy. I'm just tryin' to
get birdie here outta this wind
bowl...What did they clear us to?
EVANS
We're cleared to Flight Level one-
eight-thousand.
16.
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
Goddamnit! Enough of this shit!
WHIP pushes the yoke forward. The plane pitches downward.
EVANS
What are you doing!?
WHIP
Leveling off.
EVANS
What!?
WHIP points to the MFD screen.
WHIP
See that sliver of blue sitting
between those two ugly bastards?
C.U. MFD screen: A narrow line of blue is visible between the
two monstrous convective cells.
WHIP (CONT'D)
That's a little pocket of smooth
air squatting right over Lake
Kissimmee...
EVANS nervously squints at the screen.
WHIP (CONT'D)
And we're gonna thread that fucking
needle. Turn me thirty degrees
right!
EVANS jumps on the radio.
EVANS
(into his mic)
Center. This is SouthJet 227, We
need to divert 30 degrees right...
WHIP
For weather.
EVANS
(into his mic)
...for weather.
17.
ATC
SouthJet 227, this is Jacksonville
Center. 30 Degrees, right,
approved. Report back on course.
EVANS
Report back on course.
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.
EVANS (CONT'D)
Oh, Lord!
WHIP
He can't help you now, brother.
WHIP remains cool as he rides more bad air. The plane now
bounces rapidly over a non-stop succession of speed bumps.
INT. PASSENGER CABIN - DAY
The passengers clutch each other as they rattle like bobble
head dolls; it's getting worse.
INT. COCKPIT - DAY
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.
EVANS
Why are you leveling off, sir?
WHIP
I'd like to spend less time in this
shitty air, Kenny. Is that alright
with you?
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.
EVANS
We're approaching maximum airspeed!
18.
WHIP
Fucking right! I'm gonna need some
speed to punch through this crap.
INT. PASSENGER CABIN - DAY
The passengers howl in fear as the plane pitches forward.
INT. COCKPIT - DAY
EVANS calls out to WHIP...
EVANS
You're over-speeding!
WHIP
Not yet!!
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...
ATC
(ON RADIO)
Uh, SouthJet 227, this is
Jacksonville Center. Say altitude.
WHIP
Tell `em we're climbing.
EVANS
(scared and lying badly)
Center...uh...SouthJet 227 is
leaving niner thousand...for Flight
Level 180.
ATC
(ON RADIO)
SouthJet 227, this is Center. You
need to check your Mode-C. Your
transponder indicates you're
descending.
EVANS looks at WHIP -- panicked.
WHIP
You're useless Evans, shit!
(keys the radio)
19.
Center. This is SouthJet 227, we've
encountered some bad air here. Some
pretty severe downdrafts. We're in
our climb now.
ATC
(ON RADIO)
Roger.
The shaking gets incredibly violent. WE HEAR SCREAMS from
the cabin. Evans points to Whip's airspeed indicator.
EVANS
(TERRIFIED)
Look at your airspeed! You're too
fast for this rough air!
WHIP
I'm right on the line Kenny. Right
on the line.
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.
WHIP (CONT'D)
C'mon sweetheart, show me the sun.
Suddenly, we see a beam of light breaking through the black
clouds -- 12 o'clock high. A God ray.
WHIP (cont'd) (CONT'D)
Finally, daylight.
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.
INT. PASSENGER CABIN - DAY
The screaming passengers go quiet with the strange new
development. The shaking has eased from a 10 to a 5.
INT. COCKPIT - DAY
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.
20.
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...
EVANS
Glad that's over.
WHIP, however, is very shaky and beaded with sweat.
WHIP
How tall are we?
EVANS
16 thousand. That was incredible
sir...
WHIP
Ken, turn us north and take us
home. Your plane.
EVANS looks at him and nods.
EVANS
My plane.
WHIP
(picks up the phone)
Margaret, I'm coming out.
WHIP hangs up, puts on his pilot hat and exits the cockpit.
EXT. NICOLE'S GEORGIAN GARDENS APTS FRONT DOOR-ATLANTA-DAY
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...
21.
FRAN
Where you been Nicole?
She is scared and pissed by his invasion of her space.
NICOLE
Fuck! Fran...get out.
FRAN
You're like a little ghost. I
never know when you're here.
NICOLE
Get the fuck out Fran!
She grabs the full-bodied 35 MM camera from him.
FRAN
As the building manager I have a
legal right to enter an apartment
if I believe the occupant is
unwell. Especially if said
occupant is not current on her
rent.
He takes a slimy step towards her. She steps away.
NICOLE
Fran, please just gimme a minute.
Get out. I have the rent. I will
bring it down to you. Just let me
shower.
FRAN
You could just bring the check down
now, use my shower. I got good
water pressure. You know that...
FRAN leans against the door frame, trying to strike a
seductive pose. NICOLE smiles and holds up her camera.
NICOLE
You're in the perfect light Fran.
(he smiles, preening)
Back up a little...little more.
FRAN steps outside and on to the landing.
INT. NICOLE'S APARTMENT FRONT DOOR -- ATLANTA -- DAY
NICOLE kicks the door shut and locks it, escaping FRAN who
calls through the door.
22.
FRAN (O.S.)
Tricky tricky, girl. Alright, so
you shower up and come down. For
real. We don't gotta talk about
the check. Hang out a lil bit...
NICOLE puts her camera down gently on the table.
NICOLE
(SOTTO)
In your fucking dreams.
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.
INT. CABIN - GALLEY - DAY
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
Folks, this is Captain Whitaker.
If you look up, I'm here in the
galley. I will wave to you.
WHIP steps into the aisle so the passengers can see him.
WHIP waves with a calm smile that would put anyone at ease.
WHIP (CONT'D)
Good Morning. I apologize for the
bumps, but Florida just doesn't
seem to like us Georgians. Must be
the beatin' the Bulldogs put on the
Gators last fall.
Titters of laughter from the passengers as WHIP moves the
half step he needs to put himself behind the liquor cart.
WHIP (CONT'D)
Stretch out and relax. The air
might stay a little cranky so I'm
gonna ask that you sit tight if you
can, with your seat belts fastened.
23.
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 (CONT'D)
We won't have beverage service but
the girls will walk through with
water and snacks and I'll have you
in Atlanta in about 40 minutes.
Thank you.
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.
INT. NICOLE'S APARTMENT -- ATLANTA -- DAY
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 of Michael 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...
24.
NICOLE
Oh man...
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.
NICOLE (cont'd) (CONT'D)
Oh no, oh no, oh no...
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...
FRAN (O.S.)
Open up, Nicole! I can smell that
shit cooking! Open Up! Nicole.
Nicole!
INT. COCKPIT - DAY
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.
MARGARET
How long has Sleeping Beauty been
out?
EVANS maintains a military posture as he monitors the plane's
progress. The flight is smooth and the sky appears clear.
EVANS
(looks at his watch)
26 minutes. We're going to start
descending any second now.
MARGARET
Well, I guess you'll need to
wake...
25.
The radio interrupts...
ATC
SouthJet 227, Atlanta Center.
Descend and maintain Flight Level
30 thousand.
EVANS
Descend and maintain 30 thousand.
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."
WHIP
The fuck was that?
Evans grabs his yoke and pulls.
EVANS
The stabilizer feels really stiff.
WHIP
Don't force it.
EVANS does, we HEAR a big mechanical SNAP.
MARGARET
(referring to the noise)
That came from the back!
EVANS
I have very little trim control
sir.
WHIP
Margaret, get everybody strapped in
tight.
Margaret runs to the PA, leaving the cockpit door open.
EVANS
It's pulling right. Hard!
WHIP
Shit! It's locked up, ease up on
the trim don't...
26.
BANG! THE PLANE PITCHES DOWN VIOLENTLY AND BEGINS A NOSE
DIVE.
EVANS
(PANIC)
I have no trim at all!
The instrument panel LIGHTS UP like a Christmas tree -- A
WARNING HORN BLARES.
WHIP
We lost our hydraulics!
WHIP pulls on his headset and keys his mic.
WHIP (CONT'D)
Center, this is SouthJet 227, we've
lost our hydraulics...and, ah shit!
(TO EVANS)
Power. Pull back the power!
Evans pulls the throttles to idle.
WHIP (CONT'D)
(into his mic)
...we lost hydraulics and looks
like...also our horizontal
stabilizer.
ATC
SouthJet 227, Atlanta Center.
Understand you've lost hydraulics
and stabilizer?
WHIP
(TO EVANS)
Turn on the back-up pumps!
Evans engages the emergency hydraulic pumps.
WHIP (CONT'D)
(INTO MIC)
Center, that's affirm. We are in a
descent, an uncontrolled...
WHOOOAAAAA!!!!
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.
ATC
SouthJet 227, do you wish to
declare an emergency!?
27.
MARGARET stumbles into the cockpit.
MARGARET
Everyone's belted in. Are we going
down?
The plane suddenly pitches up, begins to roll, and dives
again.
WHIP
Get belted in, everyone belt in.
Brace position!
MARGARET rushes to the bench in the galley.
Whip grabs his yoke and pulls. The plane inches up.
WHIP (CONT'D)
I've got some control on my side!
My plane!
EVANS
Your plane.
Whips keeps back pressure on his yoke.
EVANS (CONT'D)
It's stiff as hell. We're pitching
up. Slowing a bit.
ATC
SouthJet 227, say your condition.
Whip continues to give orders to Evans.
WHIP
We need drag. Throw out everything
we've got. Speed brakes. Gear...
(keys his mic)
Uh, Center we're in a dive...lost
vertical control.
ATC
SouthJet 227, Roger.
Evans deploys the landing gear and applies the speed brakes.
The wind ROARS as the gear doors drop. The airframe shakes
and rumbles violently.
WHIP
(TO EVANS)
...there enough hydraulics to drop
the gear?
28.
EVANS
Gear's down. I don't think
hydraulics is the problem.
WHIP
Throw out the flaps.
EVANS
Too fast for flaps.
WHIP
We need to start dumping fuel.
Evans hesitates.
WHIP (CONT'D)
Do it!
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.
ATC
(ON RADIO)
SouthJet 227, Atlanta Center. How
do you hear?
WHIP
(keys his mic)
Atlanta. This is SouthJet 227. We
are in an uncontrolled dive,
descending out of...shit I don't
know...
EVANS
(calls to Whip)
21 thousand!
WHIP
(into his mic)
...21 thousand. We are declaring an
emergency! We are dumping fuel! We
have a jammed stabilizer...or
something. We need a block of
altitude to work the problem...and
a heading to the nearest airport!
(YELLS to Evans)
I'm starting to lose it!
The yoke pressure pulls Whip hard against his harness.
29.
ATC
SouthJet 227. Hartsfield-Jackson
International is 10 O'clock and 20
miles from your present position.
Maintain block altitude, Flight
Level 10 thousand through Flight
Level 20 thousand. Turn left
heading 260.
WHIP
(KEYS MIC)
260...we'll do our best.
(TO EVANS)
It's getting away from me! I can't
hold...dump the flaps!
EVANS
We're still fast.
The yoke is ripping away from Whip's hands.
WHIP
DO IT! 30 percent!
Evans dumps in the flaps. The JR-88 slows dramatically and
balloons up.
WHIP (CONT'D)
That bought us a little time. We
need to revert to manual control.
Your side first, pul...
Whip is interrupted by the radio.
ATC
(ON RADIO)
SouthJet 227, Atlanta. Fuel dump is
approved.
WHIP
(KEYS MIC)
Thank you.
Evans is confused and panicked, he throws his hands up.
WHIP (CONT'D)
Evans, look at me! Manual
Reversion. Red lever, on the floor,
far side of the console.
Evans sees it.
EVANS
I got it.
30.
WHIP
Pull it up, turn it clockwise, push
it back down.
Evans does exactly that, then pulls back on his yoke --
nothing!
EVANS
Nothing! No control!
WHIP
Goddamn it!!
Once again, the plane pitches into a dive. Whip strains to
hold on.
WHIP (CONT'D)
I can't let go! Can you reach mine?
Evans strains to reach Whip's Reversion Pull-Handle -- but
can't.
EVANS
I can't reach it.
Evans moves to release his harness, but Whip stops him.
WHIP
No! Don't! Stay strapped in!
(calls over his shoulder)
Margaret! Margaret!
Margaret tumbles into the cockpit, catching herself on Whip's
chair. She's crying.
MARGARET
Oh God, Whip. What's happening?!
WHIP
Get strapped into the jump-seat. I
need your help.
Margaret opens the jump-seat and starts to pull on her
harness. Throughout the scene she is struggling with her
harness.
WHIP (CONT'D)
Margaret, see that red lever on the
floor next to my chair? The one
that says, Manual Control?
MARGARET
Yes.
31.
WHIP
On the count of three you pull it
up, turn it clockwise, then push it
back down. OK? You ready?
With tears streaming down her cheeks, she gives Whip a brave
nod.
WHIP (CONT'D)
Here we go. One, two...
Whip releases back pressure from his yoke, pushing it forward
-- the plane noses downward 20 degrees!
WHIP (CONT'D)
...three!
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.
WHIP (CONT'D)
Ok. OK. We got something. It's
still stiff as hell. Evans, put in
some power!
Evans pushes up the throttles. Whip gingerly applies pressure
to his stick. His face fills with worry.
WHIP (CONT'D)
I don't know. It feels like the son
of a bitch wants to nose over.
Then suddenly... WHAP! Whip's yoke flies out of his hands and
SLAMS forward!
The plane banks right and drops! Margaret SCREAMS!
WHIP (CONT'D)
SHIT! POWER BACK!
(he pulls back the power)
I CAN'T FUCKING BELIEVE THIS!
EVANS
OH NO!
Now, ATC comes on the radio...
ATC
SouthJet 227, Hartsfield-Jackson is
eleven o'clock and niner miles. I
see you below 10,000. How are you
doing?
32.
WHIP
(keys his mic)
Not good. You got anything closer?
We're in a rapid dive here...
ATC
Roger, SouthJet 227. Uh...Clayton
County is 2 miles at your 4
o'clock.
WHIP
Negative. We're too high...we can't
pitch for glide. We have no
stabilizer control.
ATC
Copy, SouthJet 227.
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.
EVANS
Oh Lord, we're descending at 4,700
feet per minute, out of 7,000. I
SEE NOTHING BUT HOUSES!
WHIP
OK! Here's what we're going to do!
(TO EVANS)
When I say, you retract the gear,
retract the flaps and trim both
ailerons. But every things gonna be
opposite, so be sure to trim down.
Margaret...
EVANS
Trim down?! What are you gonna do?!
Whip takes Margaret's hand and puts it on the throttle
levers.
WHIP
When I ask for power, push both of
these forward. Got it?
(MARGARET NODS)
What's your son's name?
33.
MARGARET
Trevor.
WHIP
Say "I love you Trevor."
EVANS
You mean trim up?! Right? You
want me to trim up?
MARGARET
Why?
WHIP
The black box.
MARGARET
I love you Trevor. Be a good boy.
Mommy loves you.
EVANS
What are we doing?! Why would I
trim down?!
WHIP
We're gonna roll it. Ready? Here we
go. I've got control.
EVANS
(TERRIFIED)
WHAT! WHAT DO YOU MEAN, ROLL IT?!!
WHIP
Just a little barrel roll. Don't
panic. Relax. Let it roll.
WHIP's body is fully extended as he pulls back on the yoke
and turns into a steep bank.
WHIP (CONT'D)
EVANS, FLAPS!
EVANS
FLAPS UP!
WHIP
MARGARET FULL POWER! EVANS, TRIM
US! GEAR UP!
The G-force of the roll presses Evans away from the console.
EVANS
I CAN'T REACH THE GEAR!
34.
WHIP
Margaret! Can you reach it?
Margaret bends forward and pulls the lever.
WHIP (CONT'D)
WHAT'S OUR ALTITUDE?
EVANS
3,000...I think.
WHIP
Let it roll. I got it!
Whip quickly retracts the speed brakes, then PUSHES HIS YOKE
FULL FORWARD! The clumsy liner does a slow, ungraceful roll.
INT. PLANE CABIN - SAME
WE WATCH as the PASSENGERS scream as the plane rolls over and
they are suspended upside down.
EXT. SKY OVER ATLANTA - SAME
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.
FRAN
(at the sight of the jet)
Jesus Christ! What the Fuck!?
INT. FLIGHT DECK - SAME
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.
35.
EVANS
Oh Lord Jesus! We're inverted!
WHIP reaches over and pulls the throttles back. He suddenly
seems strangely calm, comfortable with his fate...
WHIP
We're level. We can maintain
altitude like this.
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.
ATC
SouthJet 227, Atlanta Center. I see
your position 4 and a half miles
southeast of the airport.
Descending out of 1,800. Are you
OK?
It takes Whip a second to find the mic key on his inverted
yoke...
WHIP
Uh, Atlanta...we're inverted.
There's a very pregnant pause...
ATC
Uh, SouthJet 227...say again sir.
Did you say inverted?
EVANS seems calmed by WHIP'S workaday attitude about their
insane tragedy. But suddenly...
WARNING LIGHTS BEGIN FLASHING!
EVANS
WE'RE LOSING OIL PRESSURE! PUMP
FAILURE. BOTH ENGINES!
36.
WE HEAR A HORRIBLE, METALLIC GRINDING SOUND as the engines
become oil-deprived.
WHIP
We're flying!
WHOOP, WHOOP, WHOOP! -- THE ENGINE FIRE ALARM SOUNDS!
EVANS
FIRE IN THE LEFT ENGINE!
WHIP
PUT IT OUT!
Evans pulls the Fire Bottle handle.
Whip BARKS at air traffic control.
WHIP (CONT'D)
(into his mic)
HOW FAR'S THE AIRPORT!?
ATC
227, three miles, and one o'clock.
WHIP
(into his mic)
We're not gonna make that!
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.
WHIP (CONT'D)
(into his mic)
There's a field and a road
ah...we're gonna put it down in
that field.
ATC
Roger, SouthJet 227.
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.
EVANS
WE'RE LOSING THE LEFT ENGINE!
37.
WHIP
WE'RE COMING BACK OVER! EVANS, WHEN
I START THE ROLL, THROW EVERYTHING
BACK OUT!
THE NERVE-WRACKING ALARMS CONTINUE TO SOUND!
EVANS
FIRE IN THE RIGHT!
Evans deploys the right engine Fire Bottle.
WHIP'S POV -- WE'RE HEADED TOWARD THE CHURCH --
WHIP
(into his mic)
WHAT'S MY ALTITUDE!?
ATC
(ON RADIO)
Eight hundred, descending...
A NEW ALARM SCREAMS!
EVANS
WE LOST THE LEFT ENGINE!
WHIP
We have enough speed to fly!
EVANS
WE'RE LOSING POWER IN THE RIGHT!
WHIP
HERE WE GO!
WHIP PULLS HARD ON HIS YOKE -- THE PLANE SLIPS SIDEWAYS AS IT
STARTS TO RIGHT ITSELF. Whip yanks back the throttles!
WHIP (CONT'D)
FLAPS FULL! GEAR DOWN!
Evans and Whip deploy every bit of drag they can think of.
ATC
SouthJet 227, altitude 500
indicated, descending. Do you
concur?
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.
38.
The plane does a clumsy roll to the right -- AND GETS STUCK
PERFECTLY ON ITS SIDE!
WHIP
MARGARET, POWER!!!!
EVANS pushes the power to full thrust AND THE PLANE FINISHES
ITS ROLL!
THE PASSENGERS HOWL!
INT. MAIN CABIN -- GALLEY -- SAME TIME
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.
INT. COCKPIT -- SAME TIME
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.
EVANS
WE LOST ALL POWER!
An unnerving quiet descends over the passenger cabin. The
only SOUND is the wind RUSHING past the air-frame.
CLOSE ON WHIP --
WHIP
(to himself, incredulous)
Are we gliding?
39.
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 --
WHIP (CONT'D)
WE'RE IN A GLIDE! PITCH FOR GLIDE!
EVANS (O.S.)
Oh God.
CLOSE ON THE YOKE -- WHIP PULLS WITH ALL HIS MIGHT --
WHIP
TRIM IT!
CLOSE ON THE TRIM WHEEL -- WHIP SPINS IT "TRIM UP" --
WHIP (CONT'D)
PITCH FOR GLIDE!
THROUGH THE WINDSCREEN -- THE BEAN FIELD RUSHES UP AT US...
CLOSE ON WHIP --
WHIP (CONT'D)
BRACE! BRACE FOR IMPAC...
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 --
40.
Evans strapped in his chair, bleeding --
Margaret SOBS uncontrollably --
FADE OUT.
FADE IN:
EXT. CRASH SITE -- SLOW MOTION - HILLSIDE -- DAY
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 OUT.
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 OUT.
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 OUT.
FADE IN:
41.
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 --
INT. HOSPITAL ROOM -- NIGHT
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.
WHIP
Charlie Anderson.
CHARLIE ANDERSON is a late 50's former military pilot who
carries that familiar air of Texas comfort and entitlement.
CHARLIE
How you feelin' Whip? Initial
reports look like you pulled some
move up there, kid. You saved a
lot of lives.
WHIP is moved by the first realization of survival.
WHIP
How many?
CHARLIE moves close to deliver the news.
CHARLIE
102 souls on board including the
flight crew, and 96 of them
survived the crash. Six people
died. 2 crew, 4 passengers.
WHIP
4 passengers. Are the rest badly
hurt? Who'd we lose on the crew?
A NURSE enters the room. CHARLIE nods to her.
42.
CHARLIE
Listen, protocol is the NTSB has to
make the first contact with you and
the agent is here. Let me go get
him.
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.
DOCTOR
I'm Doctor Kenan and the good news
is that you are in good condition.
You did suffer a concussion which
is the reason you have a bit of
blurred vision and a headache. You
have numerous lacerations around
your left eye. We're going to leave
the patch on for a few days as a
precaution. But it seems your eye
is OK. MRI's show strained tendons
in your left knee and ankle but you
didn't break any bones.
43.
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
I remember everything until the
crash.
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.
WHIP
Who on the crew died?
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.
44.
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.
WHIP
I knew Trina Marquez. We spent
some time together.
CHARLIE
Apparently she wasn't strapped in.
A survivor reported that she was
assisting a kid.
CHARLIE tries to put a reassuring hand on WHIP's shoulder.
WHIP
How's Margaret Thomason?
CHARLIE
(checks his notes)
Broken collar bone, cuts, banged
up, but she's okay. She's here
too. Ken Evans your copilot took a
bad shot to the head. They're
keepin' him in a coma to let the
brain swelling go down. He's
listed as critical, but we feel
good about him. He's gonna be
okay.
WHIP lets that information land as his head is swirling.
WHIP
Charlie, why are you here?
CHARLIE
I'm flying a desk now. I'm a
regional rep for the IAP.
WHIP
You're the rep for the pilots'
union?
45.
CHARLIE
I'm one of a few union reps for the
southeast. When your plane went
down all the reps got a page and
since I know you I shot my hand up
and said I wanted to come and be
the first face you'd see.
WHIP
I'm glad it's you.
WHIP starts to weep as he needs to begin the long process of
expressing this trauma.
CHARLIE
It's good to see you too, Cowboy.
You're gonna be okay. We're gonna
take care of you. That's my job.
WHIP nods as he wipes his eyes on his heavily bandaged hand.
CHARLIE (CONT'D)
The union will put out a statement
on your behalf. Condolences to the
families who lost loved ones and
gratitude to the brave men and
women on the flight crew.
(WHIP NODS)
And I know you and Deana have been
divorced for a while but maybe she
and your son...?
WHIP
Yeah, Knuckles.
CHARLIE
Yeah, how old's he now?
WHIP
15.
CHARLIE
Wow, you weren't even married when
we flew for Delta. We're
dinosaurs, Whip. Do you want me to
reach out to Deana and see if she
and Will want to come? Any family
you want here, we'll get them here,
stat.
WHIP thinks about his long since fractured family...
WHIP
No, I'll call her.
46.
CHARLIE
Speaking of which, I have your
phone and some of your personal
effects from the plane.
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 (CONT'D)
Your clothes are toast. Do you
need me to get you some stuff?
WHIP
No, I'm okay. I'll take care of
it.
CHARLIE
I'm gonna head out, let you get
some rest. I'm coming back.
You'll see plenty of me.
CHARLIE hands WHIP his card.
WHIP
Thanks Charlie, I really...
(Whip begins to crack)
It means a lot to me that you came.
CHARLIE
Okay. Get some rest now.
WHIP
Charlie, that plane was fucked.
CHARLIE
I know. The way you landed that
plane was nothing short of a
miracle.
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...
WHIP
Harling...Harling...yeah, it's
Whip. I'm in a hospital in South
Atlanta...what? You know where I
am? Okay well fuck...yeah, I'm
okay. What? Well, I'm looking to
get outta here...hopefully
tomorrow. Yeah. But, listen, I
need you to bring me something to
wear.
47.
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...
WHIP (CONT'D)
Goddamn it...
INT. HOSPITAL -- ELEVATOR DOORS -- MORNING
The Stones "Sympathy for the Devil" kicks up as we wait...
The doors split open and HARLING 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...
HARLING MAYS
I'm on the list baby girl. Check
the list for Mr. Mays. Harling.
The Stones continue to wail as Harling strolls on, adjusting
the duffel bag he has slung over his shoulder.
EXT. HOSPITAL ROOM -- MOMENTS LATER
HARLING stands in the doorway looking in. He sees...
The MORNING NURSE is helping WHIP to stand. HARLING points
his camcorder at WHIP and the NURSE.
HARLING MAYS (O.C.)
If this is gonna turn into a sponge
bath, I'll come back.
NURSE
SIR-
HARLING immediately goes to WHIP and supports him.
48.
WHIP
It's okay, Harling.
HARLING MAYS
That's right honey, I'm on the
list. Harling Mays. Some say they
Harling knew me.
HARLING boxes her out. She steps away.
HARLING MAYS (CONT'D)
Honey can you hustle us a couple of
daiquiris and a cocktail weenie?
On second thought just bring the
booze. I brought my own weenie.
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...
HARLING MAYS (CONT'D)
She's offended, and she should be.
I'm a pig. And I hate me. That's
what we have in common Nurse
Ratched...we both hate me.
And she's gone. HARLING turns to WHIP.
HARLING MAYS (CONT'D)
Whip? What the fuck my man?
They're sayin', "Sweet Jesus, what
a fuckin' stud that pilot is."
You're a hero, no shit. You will
never pay for another drink in this
life time. There is crazy news
people all over, look at this shit--
HARLING helps WHIP to the window...
EXT. HOSPITAL ROOM -- PARKING LOT -- DAY
From WHIP's window we can see a slew of news vans with signal
towers as well as reporters milling about -- a small zoo.
INT. HOSPITAL ROOM -- DAY
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.
49.
HARLING MAYS
Classic hero worship, you're a rock
star man. You gotta see the video
I've got -- I'm making a doc about
you, well us, y'know?
HARLING pulls an iPad out of his knapsack and flips it open.
He lets a collection of videos run...
HARLING MAYS (CONT'D)
This is outside your condo...
On HARLING's iPad we see footage of PRESS swarming outside
WHIP's condo. We also see the crash scene footage.
HARLING MAYS (CONT'D)
Look that's me, and that`s Mark
Mellon...you know that douchey
talking haircut from local Atlanta
channel 3? I said a few words.
Just straight talk, y'know?
WHIP's hands shake as he grabs the bed frame. HARLING takes
notice and stashes the iPad...
HARLING MAYS (CONT'D)
You okay Captain Whitaker? Easy...
HARLING helps him get settled. We see the beads of sweat on
WHIP's lip and forehead.
WHIP
The meds they're giving me are
fucking me up -- I'm all shaky and
dried out. I can't sleep good.
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 MAYS
Aprazolam? That's generic Xanax and
this Hydrocodone is generic
Vicodin. It's shit, prolly
Canadian.
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...
HARLING MAYS (CONT'D)
We want the premium stuff. Blue
label...not the fucking well shit.
Where's the dihydromorphinone?
50.
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!
WHIP
Listen Harling, leave it alone.
(HARLING CHILLS)
So you got my message and decided
not to call me back? Did you bring
me smokes?
HARLING MAYS
I decided to come by instead. And
yes I got your fucking message and
yes I brought you smokes.
HARLING hands WHIP a pack of smokes from his pocket. He also
pulls out a carton of smokes from his backpack.
HARLING MAYS (CONT'D)
Here is a fresh carton, enjoy. You
fucking earned it -- you smoke your
nuts off, champion. If I were you
I'd fire up right here in the God
damn room. Fuck'em, you're
immortal, you're a fucking God man.
WHIP
Harling...
WHIP motions with his hands to "calm down."
HARLING MAYS
Sorry Whip. It's just...this is
big time, man. You're a hero in a
time when we really need heroes.
WHIP
Shut the fuck up, Harling...Six
people died.
HARLING MAYS
96 people lived! When are you
gonna take yes for an answer? Pick
up the phone, man. Fuck.
HARLING pulls something from his vest pocket and puts it in
WHIP'S hand. WHIP looks at it and back at HARLING.
51.
HARLING MAYS (CONT'D)
Here's a pint of Smirnoff and a few
Red Bulls. You know what I'm
sayin'? I know my customer.
HARLING continues to pull items from the bag.
WHIP
Harling, take the vodka with you.
HARLING freezes his frenzied energy with this odd command.
HARLING MAYS
What?! Take the vodka? Dude, are
you insane? I'm gonna just tuck it
in the bottom of your-
WHIP
Take the fucking vodka!
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 MAYS
Okay man. Check it out.
HARLING holds up a silk Japanese Happi Coat, with elaborate
stitching depicting colorful birds flying around Mt. Fuji.
WHIP
Look, I'm tired man.
HARLING MAYS
I'm out. You rest up.
WHIP
You gotta come and get me,
tomorrow.
WHIP pulls his keys from the bag that CHARLIE gave him.
WHIP (CONT'D)
Here are my keys. Go to the condo
and bring me some nice clothes I
can wear, my phone charger and grab
the veal outta my fridge. It's
marked.
HARLING MAYS
The veal?
52.
WHIP
Yeah, the veal that's in my
freezer.
HARLING MAYS
Done and done. What time you need
me here?
WHIP
Tomorrow. I'll call you.
HARLING MAYS
Send the mayday and you're outta
here in 7 minutes.
(A SMILE)
I got you a few stroke mags too.
I've been in hospitals. I know
what you need. JUGS, HOT MILFS in
heat. ASSMASTERS. You should just
stroke it all day. You're a hero --
know what I'm saying? If I was in
here I'd be jerkin' it all day
long. See, there's a smile.
HARLING puts his hand on WHIP's forehead in an attempt to
reassure him. A quiet moment before HARLING slips out.
INT. HOSPITAL ROOM -- 11 PM -- SAME EVENING
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.
INT. HOSPITAL -- QUIET HALLWAY -- MOMENTS LATER
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...
53.
INT. HOSPITAL -- FIRE DOOR -- 11:38 PM
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.
INT. HOSPITAL STAIRWELL -- SAME TIME
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
Thank you.
WHIP leans his cane against the wall and carefully pulls a
pack of smokes from his pocket.
WHIP (CONT'D)
I didn't think anyone would have
the same devious thought about
using the fire stairs to have a
smoke...
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.
WHIP (CONT'D)
Don't go. I'll be quiet.
He offers her a cigarette, she takes it.
WHIP (CONT'D)
We don't have to talk. Be nice to
just smoke with someone.
And they do. They sit in silence as the stairwell fills up
with smoke. After a long beat...
NICOLE
Were you on the plane?
WHIP studies her, she's beautiful in an exhausted way...
WHIP
Yeah, I was. Were you?
Nicole shakes her head.
NICOLE
Where were you sitting?
54.
WHIP
Up near the front.
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 MAN makes 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.
GAUNT YOUNG MAN
Can I bum a smoke?
WHIP offers him a cigarette. He takes it and fires it up
with a lighter he keeps stowed in the pocket of his gown.
GAUNT YOUNG MAN (CONT'D)
I should quit, my cancer might get
cancer.
(SILENCE)
Joke. You guys in the plane crash?
NICOLE
He was.
WHIP looks at the ground as the GAUNT YOUNG MAN studies him.
GAUNT YOUNG MAN
(it hits him)
You're the fucking pilot.
Nicole gives Whip a look.
55.
GAUNT YOUNG MAN (CONT'D)
I saw you on TV. Holy shit, man.
Tough deal, but you walked away or
it looks like you limped away.
WHIP
Yeah, I'm lucky. Goin' home
tomorrow.
GAUNT YOUNG MAN
Home. Home for me is the basement,
they keep cancer treatment in the
basement. I'm livin' here.
WHIP
You're living here?
GAUNT YOUNG MAN
No. I'm dying here.
WHIP
What kind of cancer?
GAUNT YOUNG MAN
Fibro-mixzoid sarcoma, soft tissue
sarcoma. Very rare, God chose me.
GAUNT YOUNG MAN laughs.
WHIP
God chose you? You believe in God?
GAUNT YOUNG MAN
Fuck yeah bitch. You're a stupid
fucker if you don't believe in God.
The GOD topic has silenced the stairwell...
GAUNT YOUNG MAN (CONT'D)
As soon as you realize that the
random events in your life are
God...you will live a much better
life. You spend your life
believing that you have all the
control over what happens.
Bullshit. The plane you're flying
goes down? Out of your control.
God gives you cancer. I have no
control over that. Did God give me
cancer? You bet your ass God gave
me cancer. You think if I begged
for cancer God would have given it
to me?
56.
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.
GAUNT YOUNG MAN (CONT'D)
Can I get another smoke? What's
wrong with you honey? You're
beautiful, do you know that? Do I
scare you? People either have to
pretend they don't see me or
they're drawn to me. It's funny
because people see me as being
close to the other side -- they
feel like I have power or wisdom.
They think I have the answers. Who
knows? Maybe I do. Death gives
you perspective. I lived my life
so indecisive, in a haze. But now
that I'm dying everything is so
clear. It all makes sense somehow.
I'm sorry but I can't get over how
beautiful you are? Look at your
arm, you an addict?
NICOLE looks at him. She nods.
GAUNT YOUNG MAN (CONT'D)
What's your name?
NICOLE
Nicole.
GAUNT YOUNG MAN
What do you do in the world Nicole?
She laughs, what a question.
NICOLE
Not much. I was a photographer and
then I was a masseuse and I wash
hair at a salon sometimes.
GAUNT YOUNG MAN
Where is it? I'll come by, I'm
easy, you can wash my head.
(SHE SMILES)
Do you think you're gonna die?
NICOLE laughs to keep from weeping.
57.
GAUNT YOUNG MAN (CONT'D)
You're not. You're not gonna die.
The men watch as NICOLE quietly cries, it's powerful.
GAUNT YOUNG MAN (CONT'D)
Don't you love her?
WHIP
I don't know her.
GAUNT YOUNG MAN
Bullshit, I do. Random act of God?
Don't think so. Survive a plane
crash to meet a gorgeous girl in a
stairwell. Fuck you man.
(he reflects, then...)
I'm sure they're looking for me.
My family just showed up from Utah.
You know it's bad when they start
flying in. Every morning is
special now, I'm so grateful. It's
a trip, wish I could bottle this
feeling I have...about how
beautiful every breath of life is..
GAUNT YOUNG MAN starts laughing. WHIP joins him.
GAUNT YOUNG MAN (CONT'D)
Can I get a smoke for the road?
WHIP
Here's a pack.
GAUNT YOUNG MAN
Thank you, I'll pass them out in
the cancer ward. Take care Nicole,
you're gonna be okay.
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.
NICOLE
Chemo brain. Chemo makes you
pretty foggy.
WHIP
Yeah?
58.
NICOLE
They call it chemo brain, my mom
used to slur her words and get all
chatty.
WHIP
Your mom had cancer.
NICOLE
Breast cancer, she was only 54.
It's quiet.
WHIP
But why'd that guy ask you if you
were gonna die?
NICOLE
I dunno. I flat-lined twice in the
ambulance. Heroin addicts who use
needles tend to die. Especially
women for some reason.
WHIP
Is that right?
NICOLE
I have a pamphlet to prove it. A
girl from AA just came to see me --
(IT'S QUIET)
That guy was a trip. He made it
feel like, I dunno...we were the
last people left on the planet..
(drops her smoke)
...and together we should save the
world.
NICOLE steps on her cigarette and puts the nub in her pocket.
She begins to leave. WHIP stops her.
WHIP
Well, where should we live? If
we're gonna save the world, where
should we do that?
NICOLE laughs.
WHIP (CONT'D)
What?
NICOLE
You don't want me.
WHIP laughs.
59.
NICOLE (CONT'D)
What?
WHIP
You don't want me either.
NICOLE's laugh tapers off as she senses his honesty.
WHIP (CONT'D)
Where do you live?
NICOLE
Why you wanna come visit? It's
luxurious.
(silence between them)
I live in Bankhead, it's south
Atlanta, near the bus station.
WHIP
The luxurious bus station?
NICOLE
Yeah.
WHIP
I'll come visit you.
NICOLE
You're sweet.
WHIP
I will. What's your address?
She measures him.
NICOLE
I live at the Georgian Gardens on
Taylor street.
WHIP
Georgian Gardens?
NICOLE
Yeah.
WHIP
How long are you staying here?
NICOLE
Trying to stay as long as I can but
I don't have insurance to cover
rehab. I'll prolly be out
tomorrow.
60.
WHIP
Oh. Okay. And you're a masseuse?
NICOLE
Yeah.
WHIP
What kind of masseuse?
NICOLE
I've been every kind of masseuse
there is.
There is strong tension between them. An orderly busts
through the down the stairs. This breaks their stare.
WHIP
Good luck Nicole.
NICOLE
You too.
WHIP leaves NICOLE where he found her.
EXT. ST. FRANCIS REGIONAL MEDICAL HOSPITAL-LOADING DOCK-DAY
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.
WHIP
Thanks Mike.
The ORDERLY tries to hand WHIP a medical file. HARLING
snatches it.
HARLING MAYS
Yeah, thanks Mike.
(Harling tips him)
Here's 20 American.
ORDERLY MIKE
Thanks. Good luck, sir.
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.
61.
HARLING MAYS
This is how they get the Stones out
of Madison Square Garden, man. 4
smoked black limos fly outta the
VIP driveway and the fans jump on
the limos...mayhem. Those limos?
Empty. Meanwhile, Mick and the boys
go out the service exit into
delivery vans -- casual, rock star
type shit.
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 of 53
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.
INT. HARLING'S CADDY -- DAY
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 MAYS
I couldn't find any suitcases so I
just put your shit in grocery bags.
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 MAYS (CONT'D)
So you're stayin' with me down on
University, right? It's nice. A
lotta young people...good vibe.
Harling tosses Whip a freezer bag marked:"VEAL" -- Whip
begins to open it.
WHIP
No. I'm gonna go to the farm.
HARLING MAYS
The fucking farm?
62.
WHIP
My dad's place. I can't stay at my
condo.
HARLING MAYS
I thought you sold that fucking
place.
WHIP
Not yet.
HARLING MAYS
I'm not sure I wanna stay at the
farm.
WHIP
You're not. Just take me to the
airport to get my car.
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?
EXT. ATLANTA RURAL SUBURBAN ROAD - WHIP'S FARM - DAY
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.
EXT. WHITAKER FARM -- DRIVEWAY -- DAY
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.
INT. WHITAKER FARM -- LIVING ROOM - DAY
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.
63.
INT. WHITAKER FARM -- LIVING ROOM -- DESK AREA - DAY
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...
CELL PHONE
You have 127 messages.
(A BEEP)
Message one..."Captain Whitaker,
this is Jim Court I'm with CNN.
We'd like to schedule an
interview..."
(he deletes that message)
Message two..."This is NBC
affiliate KGAT in Athens we're
looking to contact William J.
Whitaker for..."
(he deletes and moves on)
Message three..."Captain Whitaker,
this is Karen James, media
relations with the pilots'
union..."
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.
INT. WHITAKER FARM -- BATHROOM -- MOMENTS LATER
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.
INT. WHITAKER FARM -- KITCHEN -- MOMENTS LATER
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.
64.
INT. BEDROOM -- MOMENTS LATER
Whip opens a dresser drawer and finds a couple of zip-lock
bags of "bud" hidden under the socks.
INT. BATHROOM -- MOMENTS LATER
Whip dumps the weed into the toilet and FLUSHES it.
INT. LIVING ROOM -- MOMENTS LATER
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."
INT. KITCHEN -- LATER
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.
EXT. WHITAKER FARM -- BARN -- DAY
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.
INT. WHITAKER FARM -- BARN -- AIRPLANE -- DAY
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.
65.
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.
EXT. BARN -- DAY
63 Whip dumps out the liquor onto the grass as he hobbles back 63
to the house.
EXT. WHITAKER FARM -- NIGHT
65 WHIP uses just his cane now as he drags a garbage bag full of
65
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.
INT. KITCHEN TABLE -- LATER THAT NIGHT
We hear the microwave beep and WHIP retrieves a frozen
dinner.
66.
INT. WHITAKER FARM--LIVING ROOM DESK AREA--MOMENTS LATER
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.
VOICE MAIL
...I think that was the beep. Hey
Cowboy, it's Charlie again.
WHIP reaches for the phone but decides to just listen to
CHARLIE...
CHARLIE
(speaking to voicemail)
I'm back in town and I stopped by
the hospital tonight but they said
you went home...so I guess you're
feelin' pretty good, but um we went
out to your condo and the manager
said you had not returned.
INT. CARR'S OFFICE -- ATLANTA BASEBALL STADIUM -- NIGHT
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.
VOICE MAIL
So...you may be with relatives,
which I understand. I was really
hoping to see you for breakfast.
I'm at the St. Regis downtown.
67.
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.
INT. WHITAKER FARM -- LIVING ROOM -- DESK AREA -- NIGHT
WHIP stands still as a beep sounds, ending the message.
INT. ST. REGIS HOTEL -- EXECUTIVE BUFFET -- MORNING
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.
CHARLIE
Whip, hey buddy. Glad you got my
message. Grab a seat.
WHIP studies HUGH as he pulls out his chair.
CHARLIE (CONT'D)
Whip this is Hugh Lang; he's an
attorney from Chicago.
HUGH stands and shakes hands with WHIP.
HUGH
Nice to meet you Captain Whitaker.
WHIP and HUGH remain standing, both feeling a little "alpha."
CHARLIE
Siddown. Coffee?
(Whip nods, sits)
Miss, can we get some fresh coffee?
She smiles and nods. She's off to get the coffee.
CHARLIE (CONT'D)
We were just talking about your
copilot's wife. She told a
newspaper that "God landed that
plane."
68.
WHIP
God landed the plane?
WHIP just stares at the two men who have large buffet plates
surrounding them.
CHARLIE
I too believe that God landed that
plane. The same way I believe that
God should hit the buffet, the
turkey sausage is excellent.
WHIP
I'm good with coffee.
CHARLIE
Len Caldwell was really trying to
get here this morning.
(Whip seems lost)
Len is the president of the pilots'
union and he wanted to be here with
us and meet with you but they
wanted him at the crash site. So..
WHIP is quiet, anxious to hear the purpose of the meeting.
CHARLIE (CONT'D)
Whip, as you know, when a plane
crashes, the NTSB sends a "go team"
to the crash site immediately.
WHIP
They find the flight data
recorders?
CHARLIE
Yes they found them, perfectly
intact.
WHIP
Great. That solves everything.
The recorders will tell the story.
Why do we need a lawyer from
Chicago?
CHARLIE
Hugh's an attorney who specializes
in criminal negligence-
WHIP
Criminal negligence?
The WAITRESS returns with the coffee. It's quiet as they
wait for her to finish. She does.
69.
HUGH
Death demands responsibility. Six
dead on that plane, someone has to
pay.
WHIP
The plane fell apart at 30 thousand
feet.
CHARLIE
The airline will try to prove
equipment failure. Which would
make the manufacturer responsible.
The manufacturer of the plane will
try to prove poor maintenance of
the equipment by the airline.
HUGH
Or pilot error.
WHIP
I had to fly that plane inverted,
that means upside down, Hugh. Do
you get the picture? 100
passengers hanging upside down, 500
feet off the ground. Do you have
any idea what that sounds like?
HUGH
I do. I heard the black box last
night.
WHIP
Are you a pilot?
HUGH LANG
No I'm not.
WHIP
Then you don't know what the fuck
you're talking about.
CHARLIE
Hugh's on our team and it's the
NTSB's ball game. They run the
investigation and they will
ultimately rule on the cause.
HUGH
They interview the entire flight
crew and the passengers. They hold
PUBLIC HEARINGS-
70.
WHIP
Charlie, what do I need to know?
I'm already tired of this guy.
HUGH
The NTSB `go team' collects blood,
skin and hair from the flight crew
for a toxicology report.
WHIP studies the two men, trying to read their poker hands.
WHIP
When did they do that?
HUGH
In the hospital. It's the first
thing they do. Do you remember
having your blood drawn on the
night of the crash?
WHIP looks at CHARLIE and then to HUGH...
WHIP
Do they have the results of these
blood tests?
HUGH
Yeah, they do.
The WAITRESS checks in.
WAITRESS
Anything else for you gentlemen?
WHIP
Did I just see warm cinnamon rolls
come out?
WAITRESS
Yes sir.
WHIP
Bring me one wouldya? Actually
bring me two, okay sweetie?
WAITRESS
Comin' up.
An awkward silence as they wait for her to clear out.
HUGH
An initial report shows alcohol in
your bloodstream at a level of .24.
In the U.S.
71.
-- 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.
WHIP
What does that mean? I had a beer
the night before I flew. And
what...That made the tail of the
plane explode?
CHARLIE
Separate issues Whip-
WHIP
I need a lawyer.
CHARLIE
Hugh is your lawyer.
WHIP
I need a bigger lawyer. A lawyer
who understands that I flew a
broken plane and without me at that
stick there'd be 102 funerals, not
6.
HUGH
We're talking about prison not
funerals. Somebody has-
WHIP
To write checks, well it's not me I
promise you that. And as long as
they're writing checks, write me
one because someone put me in a
broken plane. I'd love a check.
CHARLIE
EASY WHIP-
HUGH
This tox report states that you
were drunk and high on cocaine,
felonies punishable by 24 years in
jail. And if your intoxication is
proven to have caused the death of
the 4 passengers you'll get 4
counts of manslaughter. That could
be life in prison.
72.
Can I now do my job on your behalf
and kill this tox report?
WHIP is listening. CHARLIE tries to reign it in.
CHARLIE
He'll get it done, Whip. It's what
his entire life is about. Trust
me, trust him.
(Whip stares at Hugh)
Don't worry Whip, you're gonna walk
away the hero you deserve to be.
WHIP
I'm not worried, Charlie. I promise
you that. No one could have landed
that plane like I did, no one.
68 The WAITRESS returns with a coffee pot. WHIP leaves. 68
INT. ST. REGIS HOTEL -- LOUNGE -- DAY
Close on TV -- A SPLIT SCREEN -- CNN's PIERS 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.
PIERS MORGAN
Captain Tilmon, we wanna play a
portion of the black box that all
of the news outlets have grabbed
hold of...
WHIP
(ON TELEVISION)
When I ask for power, push both of
these forward. Got it? What's your
son's name?
WIDER...WHIP STEPS UP TO THE BAR, GLANCING AROUND.
The BARTENDER steps up to serve WHIP...
BARTENDER
What'll you have?
WHIP
Can I get an orange juice?
The BARTENDER leaves to grab the orange juice.
73.
TELEVISION -- The transcription and AUDIO of the cockpit
recording continues...
MARGARET (O.S.)
Trevor.
WHIP (O.S.)
Say "I love you Trevor."
MARGARET (O.S.)
Why?
WHIP (O.S.)
The black box.
MARGARET (O.S.)
I love you Trevor. Be a good boy.
Mommy loves you.
The BARTENDER returns with the orange juice.
BARTENDER
That's it?
WHIP
And a double shot of Stoli.
The BARTENDER nods and turns in acknowledgement of the order.
PIERS MORGAN
(ON TELEVISION)
Wow. That audio paints a strong
picture. Captain Whitaker is
surely a hero in my opinion.
JIM TILMON
(ON TELEVISION)
Absolutely. However, every
incident is different. The actions
of the pilots on SouthJet 227 will
be heavily scrutinized. It's
protocol for any investigation.
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
74.
EXT. CRASH SITE -- DAY
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
PASSENGER 1
We were in a nose dive and people
were screaming and yelling and then
the plane turned upside down and we
had to hold on to our seat belts to
keep from falling out of our chairs
-- I saw one kid fall to the floor
and this flight attendant picked
him up and handed him to his
dad...I didn't see her again.
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.
75.
PASSENGER 2
We turned like a corkscrew and all
I could think was, "this is really
happening, I'm going to die" and
then all of a sudden the plane was
upside down but steady and the
pilot must have known how to fly it
that way. He flipped it back over
and landed it hard.
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...
NEIGHBOR
I thought it was thunder at first.
But it shook the ground hard.
Thunder don't do like that. I ran
outside and I could hear people
yelling and I could see a small
fire at first. I just took the
dogs and headed down there. Then I
saw the plane crumpled on the
ground. I never seen nothing like
that in my life.
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.
EXT. CRASH SITE -- NIGHT
A news light shines on a lone reporter who stands atop a
small hill above the crash field.
76.
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.
INT./EXT. WHIP'S BUICK -- QWIK STOP LIQUOR STORE -- DAY
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 -- downs 71
another huge slug of vodka -- and pulls out.
INT. WHIP'S BUICK -- ATLANTA STREET -- DAY
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
(TO HIMSELF)
Taylor street, Taylor st...ah, here
we are.
Whip rolls the Buick to a stop and scans the street.
77.
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
EXT. THREE STORY APARTMENT BUILDING -- ATLANTA -- DAY
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.
FRAN (O.S.)
The guy in Unit 1 just told me you
stayed here last night?!
NICOLE (O.S.)
Franny relax, I'm just getting my
shit outta here, okay?
FRAN (O.S.)
What about the rent! YOU OWE ME
MONEY!
He heads off...
EXT. THREE STORY APARTMENT BUILDING -- STAIRCASE -- DAY
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...
FRAN (O.S.)
Who do you think broke down this
fucking door to let the paramedics
in there? Huh?! -- You gotta pay
for all this.
78.
NICOLE (O.S.)
I'm sorry. Just let me get my shit
and get outta here. I will pay you
when I can.
FRAN (O.S.)
I know, just take a shower with me.
How hard is that? C'mon.
NICOLE (O.S.)
No. I'm not doin' that.
FRAN (O.S.)
If I had a bag a dope you'd be on
your knees in my shower right now,
right? Come on...
NICOLE (O.S.)
DON'T TOUCH ME!
WHIP PICKS UP THE PACE OF HIS LIMP TOWARDS THE FRACAS.
FRAN (O.S.)
Gimme the camera, for collateral.
What's it worth?
NICOLE (O.S.)
No fucking way! I will kill you if
you touch this camera! I will pay
for all of this! I will pay, okay!
WHIP crests the top of the staircase to see...
SCENE 75 COMBINED WITH SCENE 74
INT. NICOLE'S APARTMENT -- SAME
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.
WHIP
The fuck are you doin'!?
FRAN stumbles and falls as the bat goes flying to the ground
and rolls away. WHIP licks the foaming top of his excited
beer.
79.
FRAN
(gives Whip a puzzled
LOOK)
Hey, don't I know you?
Whip jabs him again with his cane.
WHIP
Keep your fucking hands off her!
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..
WHIP (CONT'D)
You okay?
(SHE NODS)
Is this all the stuff you want from
here?
NICOLE
(nods again, recovering)
Just this stuff.
She points to a camera tripod and a box of broken portfolios
with photos dripping out.
WHIP
Okay, start taking that stuff down.
FRAN has gotten up and stands a safe distance from WHIP...
FRAN
She owes me 1100 bucks! Plus
damages!
WHIP
You wanna spend a thousand bucks
suing her and get jack shit? Or do
you want to make a cash deal with
me?
FRAN
Give me 700 in cash.
WHIP
You're a creep...with your baseball
bat bullshit...
Whip flings his beer at Fran's head, then pulls out his
billfold.
80.
WHIP (CONT'D)
(sorts through his cash)
I'll give you 400 in cash.
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.
WHIP (CONT'D)
Good boy. Now help her get that
box in her car.
NICOLE
Ah...my car doesn't run. It won't
start. I'm taking this with me.
WHIP
Your car doesn't run? What were you
gonna do?
NICOLE
I don't...I...I was...
I don't know what I was gonna do.
Fran smirks. Whip drills Fran with his eyes...
WHIP
(with deliberate malice)
Then put the fucking box in my car.
FRAN's smirk fades. He relents and picks up the box as WHIP
grabs the lighter shoulder bag and they head downstairs.
INT. WHIP'S BUICK -- DAY
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.
NICOLE
What's your name?
WHIP looks to her, she to him. They begin to laugh at the
absurdity. When it subsides...
WHIP
Whip.
NICOLE nods. A long moment quietly passes.
81.
NICOLE
Thank you, Captain Whip.
INT. WHITAKER FARM -- LIVING ROOM -- NIGHT
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
You okay?
NICOLE
I was gonna lay down, get some
rest.
WHIP
Okay.
WHIP takes another sip before returning to massaging his leg.
NICOLE
Is it really okay that I stay here?
WHIP
Yea. I want you to stay.
NICOLE walks over to WHIP and kneels down and gently takes
over massaging his leg. WHIP exhales.
WHIP (CONT'D)
That feels better.
NICOLE
It's throbbing because the blood is
having a hard time getting back to
your heart.
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.
82.
INT. WHITAKER FARM -- WHIP'S BEDROOM -- DAY
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 a
80
car pulling up the driveway.
INT./EXT. WHITAKER FARM -- KITCHEN DOOR -- DAY
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
Do you wanna shoot me or can I come
inside?
WHIP
C'mon in. I'll shoot you inside.
HUGH walks closer to the porch. WHIP questions him.
WHIP (CONT'D)
You just decided to drop by?
HUGH
Your voice mail is full and you
never answer your cell phone. I
called your cell 10 times.
WHIP
I turned it off.
HUGH nods as the explanation lands.
HUGH
I thought we'd take a ride.
WHIP measures HUGH's intention...
WHIP
Okay, gimme a minute. Wait here.
82 HUGH nods and recedes from the door as WHIP goes to get 82
dressed.
83.
EXT. CRASH SITE -- OBSERVATION SCAFFOLDING -- DAY
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.
HUGH
You can see the initial impact
sheared the right wing clean off.
If only the left wing had come off
at impact, I think everyone would
have walked off that plane.
WHIP
The left wing partially pulled away-
HUGH
It snapped but stayed connected to
the airframe. So it whipped back
towards the plane, hit the fuselage
in front of the tail. If you were
sitting in the last 6 or 7 rows on
the left side, it was like being
hit by a train.
WHIP
I drank a lot the night before that
flight. I drank that morning too
and I used coke to straighten up.
HUGH
I know, it's in the toxicology
report.
WHIP
But that's not the reason this
happened.
HUGH
I know.
WHIP looks at HUGH expecting him to finish his thought. HUGH
holds his look for a beat before changing thoughts.
HUGH (CONT'D)
The John the Baptist Pentecostal
Mission.
We hear voices; a low murmur that gets louder, chanting.
WHIP looks to the top of the hill to see...
PENTECOSTAL MASS IN PROGRESS
84.
A MINISTER in a dark purple cloak calls from the new
testament as the CONGREGATION responds in unison.
MINISTER
"He will wipe away every tear from
their eyes, and death shall be no
more, neither shall there be
mourning, nor crying, nor pain
anymore, for the former things have
passed away." -- Revelation 21:4
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.
HUGH
They helped pull survivors out of
the wreckage. Now they come out
here every day and have a mass 30
minutes prior to the crash. And
then they sit in silent prayer for
10 minutes at 9:42...which is when
you went down.
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...
HUGH (CONT'D)
Ellen Block, she's the head of the
investigation for the NTSB. She's
the one that's gonna ask the tough
questions.
WHIP
Why'd you bring me here?
HUGH
I needed you to see this.
WHIP
You trying to scare me?
HUGH
I need to know that you can handle
all this.
85.
WHIP continues to stare at the awesome dent in the earth.
HUGH (CONT'D)
Listen clearly. There was a
mechanical issue with the plane,
but what you and I know? Is that
this was an act of God. I'm gonna
fight to get the NTSB to place "act
of God" on the probable causes
list.
WHIP
Who's God would do this?
It's quiet before HUGH makes his case.
HUGH
So here's the deal. Avington Carr,
the owner of the airline, is on our
side...and he's got big friends in
Washington. He wants to sit down
with us. 10 O'clock tomorrow
morning.
WHIP's had enough. He starts to walk away. HUGH stops him.
HUGH (CONT'D)
You can't drink. You're under the
microscope. You can't be out
buying liquor. No bars, no drugs.
WHIP
I'll stop. I can stop.
(Hugh stays quiet)
I told you I can stop. I won't
drink.
HUGH
10 O'clock tomorrow morning with
Mr. Carr, the owner of the airline.
INT. CARR'S OFFICE - ATLANTA BASEBALL STADIUM -- DAY
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.
MR. CARR
I never wanted that fuckin'
airline. Neither did my brother.
86.
CARR scans the room, reading faces, holding court.
MR. CARR (CONT'D)
It was my father that wanted it. I
like baseball.
Ornate, wood furniture helps to announce the political feel
of MR. CARR's world. Presidential photos and commendations
pepper the walls. It's quiet...
HUGH LANG
I like baseball.
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.
LEN CALDWELL
Everyone in Georgia likes baseball.
MR. CARR
Yeah...so what's the deal Lenny?
Is your union gonna survive this
one? More importantly? How big a
check you think I'm gonna have to
write?
LEN CALDWELL
There were 6 fatalities on the
PLANE-
HUGH LANG
The 2 crew members don't get
settlements like the passengers.
That's a workman's comp claim, part
of the union contract -- they do a
dangerous job and they know it.
MR. CARR
You're the lawyer for the pilots'
union?
LEN CALDWELL
No, this is Hugh Lang, the attorney
we brought in to handle the
criminal side of Captain Whitaker's
situation.
MR. CARR
Yes, and what is Mr. Whitaker's
situation? NTSB is up my ass with
a flashlight. We had to give them
access to everything.
87.
(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.
CHARLIE
I flew with him. He's a great
pilot.
MR. CARR
Is he a drunk?
CHARLIE
He's a heavy drinker. Should I
bring him in?
Everyone steals glances at WHIP as CARR continues to
dominate.
MR. CARR
In a minute. Alright, so let's get
down to it, Lenny. What does the
union plan to do about this blood
test that says Whitaker was high on
booze and coke? This guy's a real
peach.
HUGH
I'm gonna kill the toxicology
report.
(feels eyes of disbelief)
It was done incompetently. The
last time the toxicology equipment
they used was calibrated was in
June of 2009, which is 18 months
past code. Their log that should
clearly state who labeled the blood
vials and when, is very incomplete.
And they aren't sure who stored
them. They used a preservative in
the vials that has in some cases
caused blood to ferment and
register higher in an alcohol test.
That's what I've done so far. I
can handle this.
MR. CARR
I like this guy Lenny. He makes me
wanna go out and sniff a few lines
and fly a jet.
88.
LEN CALDWELL
Mr. Carr, we're gonna fight to push
all the fault on Jackson
Ridgefield, the manufacturer.
MR. CARR
Oh and you think they're gonna just
open their check book and buy us
all lunch? Good fucking luck.
What's my exposure Jim?
CARR'S BUSINESS GUY
The awards to the families could
kill the airline.
MR. CARR
Fuck the airline. The insurance
companies can have the goddamm
airline. I just don't want them to
come sniffing in my other pockets.
LEN CALDWELL
Speaking for the pilots' union? We
don't want your airline to go away.
We enjoy your contract with us and
we will protect Captain Whitaker
and in turn protect your airline.
MR. CARR
That's sweet Mr. Caldwell, but if
the NTSB leaks that toxicology
report showing my pilot was flying
that plane drunk? We're all
fucked.
CHARLIE
So far we've been lucky.
MR. CARR
Lucky?! Are you that goddammed
dumb?! You think they're waiting
for a light news day to splash the
headline, "Drunk, coke-addled pilot
crashes a plane?!"
EVERYONE goes quiet as CARR's anger commands silence.
MR. CARR (CONT'D)
My brother's in DC on his knees at
the foot of the throne begging for
forgiveness. And so far it's
working.
89.
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.
HUGH LANG
Trust me, I'm gonna kill the
toxicology report. That's my job.
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.
HUGH LANG
To go it alone? Without us? That
would be what the French call "a
big fucking mistake."
MR. CARR
Does Whitaker know he's going to
jail?
HUGH LANG
I haven't had a client go to jail
yet.
MR. CARR
He's going to jail. He belongs in
jail. You bet your ass he's going
to jail, the question is...is he
gonna die in jail?
HUGH LANG
You're wrong, Mr. Carr.
CARR'S ATTORNEY
Last time I checked, 6 counts of
manslaughter is life in prison.
MR. CARR
Life in prison, what we in Georgia
call "all day long."
It goes quiet as everyone reflects on that reality.
90.
INT. CARR'S OFFICE -- WAITING ROOM -- DAY
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.
MR. CARR
They tell me you're some kind of
pilot.
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.
SHEILA (O.S.)
Keep coming back, Nicole. One day
at a time.
91.
NICOLE (O.S.)
I know, one day at a time.
87A We hear them laugh as WHIP still stares in to space. 87A
INT. WHITAKER FARM -- DOOR -- NIGHT
The door pushes open and NICOLE comes in with the Big Book of
AA in her hand.
NICOLE
Hey. Sorry I'm a little late, but
we went for coffee after the
meeting...
(Whip doesn't look)
Whip?
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.
WHIP
Don't, don't, don't! I'll get him.
Knuckles, junior. See him. Yeah.
I'm not calling again. Fuck him.
He didn't call. Not back. Not
calling back.
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.
INT. WHITAKER FARM -- BEDROOM -- MORNING
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.
92.
INT. WHITAKER FARM -- KITCHEN -- MOMENTS LATER
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.
EXT. WHITAKER FARM -- PORCH -- MORNING
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
Morning.
WHIP coughs and rubs his eyes.
NICOLE
Are you okay? You were in bad
shape when I got home.
WHIP
Tired. Guess I drank a bit.
NICOLE
A bit?
WHIP
You wanna count the fuckin' beers?
They're still in the garbage.
Vodka too, is that okay with you?
NICOLE
It's more than okay, Whip.
WHIP
Good.
It's quiet as they let the awkward exchange pass.
NICOLE
I've been watching the sky change
as the sun rises. Beautiful.
(holds up the camera)
Perfect light, I went out and took
some great shots.
WHIP reaches for the camera. She hands it to him.
93.
WHIP
Lemme see that camera.
NICOLE
My mom got it for me. Towards the
end, when she knew she wasn't gonna
recover. She maxed out her credit
card to buy me that camera and a
lighting kit.
NICOLE takes a moment to tamp down some emotions.
NICOLE (CONT'D)
It's just so beautiful here. Did
you grow up here?
WHIP still holds the camera as he sits down.
WHIP
It was my grandfather's farm, my
dad grew up here. He was a pilot
in World War II, flew with the
332nd. See the landing strip out
there? He built that. He ran a
crop duster outta here until the
EPA put an end to that.
(she nods, listening)
He traded the crop duster for a
used Cessna. He flew that damn
thing all over. It's still in the
barn. I was gonna sell this place
after my dad died. Then I got
divorced...
NICOLE
And your mom?
WHIP
Dead...she's dead. Your dad still
alive?
NICOLE
I'm pretty sure my father lives in
Colorado.
WHIP
You got no relationship with him.
NICOLE
He drank. It was my mom that
raised me. She was incredible.
NICOLE lights a cigarette as the memories are tough.
94.
NICOLE (CONT'D)
She held it together for so long, I
couldn't tell how sick she was.
Even through chemo she looked
beautiful.
NICOLE leans over and blows out the candle.
NICOLE (CONT'D)
They gave her very heavy meds for
pain. Dilauded, morphine,
oxycontin. I started taking them
with her. We would get all
medicated and sit in our back yard
and talk and talk and watch the sun
go down. We'd be so stoned that we
couldn't get up to go inside when
it got dark.
(laughs, fights the pain)
I know it sounds crazy to get
hooked on dope with your mom, but
she was dying and we spent her last
seven months together like
teenagers, trading stories about
boys and whatever. She loved me.
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...
INT. ST. THOMAS AQUINAS CATHOLIC CHURCH -- DAY
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.
BOY
I'm Trevor. You saved my mom.
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.
95.
MARGARET
It's great to see you, Whip.
WHIP
You too Margaret. Broken collar
bone?
MARGARET
Yeah, and some stitches but I'm
fine. I really am.
(she goes quiet)
It was a nice service. I mean,
look at all these people that
wanted to say goodbye. She looked
beautiful in there.
(Whip is blank)
Didn't you think so, Whip? Like
she was gonna wake up and smile.
WHIP
I didn't go in. I couldn't.
MARGARET is sensing WHIP's struggle.
MARGARET
Trevor, find Dad. He's by Mr.
Benton, there.
(TREVOR LEAVES)
Are you okay? You should come to
the counseling group. The union
has great people for us to talk to.
WHIP
No. I can't, really. I will, but
just not now.
It's quiet. MARGARET smiles and leans in and kisses WHIP on
the cheek.
MARGARET
Take care Whip, okay?
She starts to leave...WHIP stops her with...
WHIP
Yeah...y'know...I'm in the middle
of this investigation. The NTSB is
investigating the crash-
MARGARET
I know. I'm going in to see them
next week.
96.
WHIP
I'm nervous because I was out the
night before the crash at dinner-
MARGARET
With Trina...
WHIP
Yeah and I had two glasses of wine.
And they might ask you about my
condition that morning and if you
thought I had anything to drink.
MARGARET appears speechless...
WHIP (CONT'D)
What?
MARGARET
I've known you 11 years and you're
gonna stand here and tell me you
and Trina went to dinner and you
drank two glasses of wine? Sounds
like a nice restaurant Whip, which
one was it?
WHIP
You have to tell them it was an
ordinary day. I mean it was an
ordinary day. You know I was in
shape to fly. You have a problem
with saying that?
MARGARET
It's a lie. Whip, it's a lie.
Trina told me you two hadn't been
to sleep.
WHIP
My lack of sleep made the plane
fall apart, huh Margaret? I'm just
trying to get it straight. You
think that another pilot would have
been able to land that plane and
save more lives?
MARGARET
I didn't say that Whip. I can't
imagine another pilot doing-
97.
WHIP
Well can you imagine Trevor at this
same church looking at you in that
box in there? Or my son having to
come and see me in prison?
MARGARET fights tears as WHIP has struck a blow.
MARGARET
Please Whip, enough. Don't you
think we've all had enough.
(Whip is quiet)
What do you want me to say?
WHIP
It was an ordinary day. The storm
right after we took off was very
severe, but as far as the flight
crew was concerned it was a
perfectly ordinary day.
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.
EXT. PEACH STREET DRUGS - AZURE BLUE SKY OF AUTUMN --
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.
NICOLE
Are you okay? How was it?
WHIP
It was okay, okay. How're you
doin'?
A beat.
NICOLE
Well, I got through my first day.
They haven't fired me.
WHIP
That's good. Cause for a
celebration.
NICOLE
They needed someone to work the
night shift. They asked me and
it's time and a half so...
98.
She sorts through her shoulder bag...
NICOLE (CONT'D)
I gotta vest and here's my name
tag. Oh oh oh....I got you
something..
(hands him a nice lighter)
It's a P-51 mustang on there...
(flies her arms like
WINGS)
You're dad flew a P-51, right?
WHIP
(stares at the lighter)
He did. So should we get some
dinner?
NICOLE
I promised Sheila I would be at the
meeting tonight. She's the one
that's been helping me, my sponsor.
Can we do it tomorrow night? And
Please, Whip don't make me choose
between dinner with you and the
meeting.
WHIP nods, playing with the lighter.
WHIP
No, it's okay. You should go.
NICOLE
Why don't you come with me? We'll
eat after. It's an open meeting.
WHIP
Open meeting?
NICOLE
That means anybody can come.
Anybody.
WHIP
Even me?
She is bubbling with happy spirit; she's hot. She's hard to
deny as WHIP can't help but smile at her.
INT. ST. FRANCIS CATHOLIC CHURCH -- ATLANTA -- NIGHT
A MAN stands at a podium wearing a coat and tie. He is lost
in the energized retell of a story.
99.
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.
THE ASSEMBLY
(IN UNISON)
Hi Barry.
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.
100.
We pan the faces and everyone seems immediately connected.
Except WHIP who leans over to NICOLE.
WHIP
I gotta go. Okay?
(NICOLE NODS)
Can uh...
(points to Sheila)
NICOLE
Yeah, Sheila. She can take me back
to work.
SHEILA
(extends her hand)
I'm Sheila.
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
INT. ROUND TABLE RESTAURANT -- BAR -- MINUTES LATER
WHIP enters the bar and we hear off camera a voice coming
from the TV above the bar.
PIERS MORGAN (O.S.)
The NTSB is focusing their
investigation on the flight crew,
specifically Captain Whitaker.
KEN EVANS (O.S.)
Sir, I am not at liberty to discuss
Captain Whitaker or any of the
flight crew.
WHIP looks up to the TV.
101.
CLOSE UP TELEVISION -- KEN EVANS IS ON TV LIVE FROM HIS
HOSPITAL BED.
KEN EVANS
(ON TELEVISION)
And in truth, I don't have much to
say about him.
PIERS MORGAN
(on a split screen)
So, safe to say that he remains a
mystery.
KEN EVANS
(ON TELEVISION)
Sir, those are your words not mine.
WHIP exits as fast as he arrived. He's gone. PIERS MORGAN
continues from the TV...
PIERS MORGAN
(ON TELEVISION)
I've been speaking to some people
who are very close to the NTSB
investigation and they are very
confident that they will be able to
determine exactly what brought this
plane down.
KEN EVANS
(ON TELEVISION)
I'm sure they will sir.
PIERS MORGAN
(ON TELEVISION)
Thank you, Ken and Vicki Evans.
KEN EVANS
(ON TELEVISION)
Thank you, and God bless.
INT. HOSPITAL HALLWAY -- NIGHT
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.
INT. HOSPITAL ROOM -- KEN EVANS' ROOM -- NIGHT
WHIP stands in the doorway and addresses EVANS...
102.
WHIP
How're you feeling, Ken?
EVANS stares at WHIP with a blank look.
EVANS
Happy to be alive.
VICKI EVANS
Blessed to be alive.
WHIP
I'm Captain Whitaker, I was flying-
VICKI EVANS
I know who you are.
WHIP senses an unwelcome undercurrent. He locks eyes with
EVANS trying to read him. Silence before EVANS speaks to the
ATTENDING NURSE...
EVANS
Ma'am can you give us some privacy?
Thank you.
(TO WHIP)
Come on in sir. Shut the door.
The ATTENDING NURSE files out placing a chair next to the bed
as she leaves. WHIP enters. It's again quiet.
WHIP
Listen, how long have you been...
EVANS
Outta the coma? Two days.
WHIP
I didn't mean to disrupt your whole
day. I know they been swamping you
with interviews. You were great on
CNN...
EVANS smiles at WHIP.
EVANS
Both my legs were crushed and my
pelvis snapped. I'll probably
never walk again, least not without
a walker or braces. I'll certainly
never fly again.
WHIP
I'm sorry Ken.
103.
EVANS
That plane was doomed the second
you sat in the chair. You reeked
like gin or somethin'. I called
Vicki from the plane before we took
off. That's when the rain kicked
up.
VICKI nods, holding her cross with the chain across her lips.
WHIP
I don't know how much you remember,
but the plane started to fall
apart.
EVANS
I remember everything until we
crashed. I know what went on.
WHIP
What are we talking about?
EVANS
I don't know Captain Whitaker, what
are we talking about?
WHIP
I just wanted to get a sense from
you what you thought caused the
crash.
EVANS
Was it the fact that you got on the
plane drunk from the night before?
WHIP goes white and drops his head.
EVANS (CONT'D)
The NTSB is coming back tomorrow to
finish taking a deposition from me
about the events on the flight.
WHIP
You think you'd be alive without me
on that plane?
EVANS
No, we'd all be dead. But are you
gonna argue that your physical
state was tip top?
WHIP
I'm not gonna argue anything with
you.
104.
WHIP gets up.
EVANS
Sit, please sit.
(WHIP SITS)
I never shared my opinion about
your physical state the morning of
the flight. I've never said word.
WHIP sits and studies EVANS.
EVANS (CONT'D)
The flight was pre-ordained. I've
prayed on it Captain. Vicki and I
have prayed on it. There's only
one judge --
VICKI EVANS
Praise Jesus.
EVANS
And he has a higher plan for you
sir. This event although tragic in
its loss of life is also a
celebration of life.
EVANS begins to mist up with sincere inspiration.
EVANS (CONT'D)
Nothing happens in the Kingdom of
the Lord by mistake.
VICKI EVANS
Praise Jesus.
EVANS
Captain, will you pray with me?
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...
EVANS (CONT'D)
Jesus our Lord and savior we thank
you for blessing Captain Whitaker
with courage and wisdom. For
guiding his hand on that fateful
morning. In his divine light we
were saved. Praise Jesus.
105.
VICKI EVANS
Praise Jesus.
It is quiet for an extended beat. Finally...
WHIP
Praise Jesus.
97 WHIP looks at EVANS and his WIFE whose heads are bowed with 97
reverence.
EXT. WHITAKER FARM -- DRIVEWAY -- NIGHT
A small pickup truck rambles to a stop in the driveway. We
hear music and laughter as NICOLE gets out.
NICOLE
Thanks for the ride guys. I'll see
you tomorrow.
COWORKER
Keep it up Nicole, you could be
employee of the year.
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.
EXT. WHITAKER FARM -- BARN -- NIGHT
NICOLE slowly approaches the almost glowing barn door. Her
curiosity compels her to pull it open.
INT./EXT. WHITAKER FARM -- BARN -- NIGHT
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
Looks great right?
106.
NICOLE
It's kind of...beautiful.
WHIP wipes at his nose.
WHIP
It's a Cessna 172, it was my dad's.
He kept it perfect.
NICOLE takes in this cool trinket of aviation history.
NICOLE
Does it work...
WHIP
Yeah, he flew this plane a few
months before he died. I learned
to fly in this plane. You can land
it anywhere.
WHIP laughs, remembering...
WHIP (CONT'D)
My friend Harling and I flew it to
Jamaica.
NICOLE
Jamaica? In this?
WHIP
We set off for an overnight fishing
trip two hours south of here. We
ended up in Bethel, Jamaica.
NICOLE
You're insane.
WHIP
It was like a picture on a post
card. The white sand and sky blue
water. Most beautiful place I've
ever been.
NICOLE
Was the water warm?
WHIP
Yeah, really warm.
NICOLE
That's my kind of place.
WHIP
Let's go.
107.
NICOLE
Sure, why not.
NICOLE laughs thinking they're playing a game.
WHIP
Let's go tomorrow.
NICOLE
You're serious?
WHIP
We'll leave in the morning...we'll
just go. Start over.
NICOLE realizes he's serious as he opens another beer.
NICOLE
Whip, we can't.
WHIP
It's a beautiful beach, it's
paradise.
NICOLE
I'm worried about you.
WHIP
(laughs a bit lit)
I'm fine thanks.
NICOLE
No you're not, you're really not.
You need help, Whip. I think you
need rehab.
WHIP
You go to a couple of AA meetings
and all of a sudden you think
you're Jesus Christ? Worry about
yourself.
NICOLE
We're the same Whip, you and me,
we're the same-
WHIP
WE'RE NOT-
NICOLE
WE ARE-
108.
WHIP
I didn't suck dick to get high.
And don't give me a whole...
NICOLE
Never Whip, I never in my life-
WHIP
Your mom died and dad drank and
bullshit, bullshit, bullshit --
NICOLE
Stop. Please stop.
WHIP
Is that why you shot dope?
NICOLE
That's not fair-
WHIP
Well there's a lot of people out
there who lost their mom who've
never had a drink in their life.
NICOLE
You're sick, Whip.
NICOLE walks away, leaving WHIP with his plane and his dream
of freedom. WHIP calls after her.
WHIP
I choose to drink.
NICOLE
Do you? You choose it? I don't
see a lot of choice goin' on.
WHIP
I choose to drink! And I blame it
on me. I'm happy to. I've got an
ex-wife and a son I don't see.
Why? Because I choose to drink!
INT. WHITAKER FARM -- WHIP'S BEDROOM -- NIGHT
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.
109.
WHIP
Alright look, I was loaded when I
crashed that plane. With this
investigation going on, I don't
know what's gonna happen. Come to
Jamaica with me.
NICOLE
Whip. I'm afraid I'll use again.
WHIP
Come with me. I need help, I do.
NICOLE
I'd love for you to get help, Whip.
WHIP
When we get to Jamaica we can go to
the local hospital. I'll do it for
you. Anything you want.
NICOLE looks at the sincere love in his eyes.
NICOLE
I don't wanna use again. I can't.
I won't make it back.
WHIP
I'll be sober. I won't force you
to stay. I promise if you don't
like it or if I don't clean up?
You can leave.
This is the most sincere plea she's ever heard.
WHIP (CONT'D)
It's so beautiful there. We'll
leave before noon. I'm a great
pilot. You'll get to see so much.
WHIP wraps his arms around her. We stay on NICOLE's face as
he holds her tighter and tighter.
INT. WHITAKER FARM -- KITCHEN -- EARLY MORNING
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.
110.
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.
EXT. WHITAKER FARM -- FRONT DOOR -- EARLY MORNING
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.
INT. WHITAKER RANCH -- BEDROOM -- LATER SAME DAY
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...
CHARLIE
(speaking to voice mail)
Hey Whip, if you're there
pickup...I got some good news...
WHIP snatches the phone of the hook.
111.
WHIP
Yeah, I'm here. What's goin' on?
104 WHIP listens as CHARLIE talks... 104
EXT. NTSB HANGAR -- RAINING -- DAY
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.
INT. NTSB HANGAR -- THE REMAINS OF FLIGHT 227 - DAY
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.
CHARLIE
Here's our guy. C'mon.
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...
HUGH
Captain Whitaker, we've won.
WHIP doesn't move as HUGH starts down the ramp.
HUGH (CONT'D)
This is what we call in my
profession a "walk over."
CHARLIE
They've scheduled the hearing. It's
in 10 days.
CHARLIE and HUGH reach the bottom of the ramp.
112.
HUGH
But these hearings can be tough.
You just need to stay sharp and on
course and answer the questions
correctly. It's no longer a
question of your condition but the
condition of the plane.
This picks directly at the scab of WHIP's guilt.
HUGH (CONT'D)
I've had an "Act of God"
successfully added to the list of
probable causes.
WHIP
Look, it's simple. I flew a broken
plane.
CHARLIE
You got it. That's right.
WHIP
And what about my toxicology
report?
HUGH
(trying to stay calm)
I killed it. They have no physical
proof that you were intoxicated on
that plane. And no eye witness
claims. But there's a problem.
This stops WHIP cold.
HUGH (CONT'D)
Because of the turbulence at the
beginning of the flight and then
the crash, there was never any
drink service on the flight. But,
they found two little vodka bottles
in the galley trash bin. There was
no physical evidence found on the
bottles, no DNA, no finger prints.
But both the bottles were uncapped
and empty. The only people who had
access to those bottles and could
have drank them were the flight
crew. Margaret, Evans and Camelia
Satou all had clean tox reports.
That leaves you and Trina Marquez.
They let that land. WHIP nods.
113.
WHIP
Okay. I see...where this is going.
That's funny that they found two
bottles.
HUGH
Why?
WHIP
Because I drank three. One's
missing.
HUGH explodes in frustration.
HUGH LANG
When I met you I couldn't believe
what a flip, drunk, arrogant
scumbag you were.
WHIP
Fuck you too, Hugh.
HUGH LANG
But I did the research and heard
the analysis from the experts. I'm
in awe of what you did.
WHIP
Can I go now?
HUGH gets big as he has to add the final piece of credence to
the coronation.
HUGH LANG
THE NTSB AND THE FAA TOOK 10
EXPERIENCED PILOTS AND PLACED THEM
IN SIMULATORS. THEY RECREATED ALL
OF THE EVENTS THAT LED TO THIS
PLANE FALLING OUT OF THE SKY!
HUGH is so loud and emotional even WHIP lends focus.
HUGH LANG (CONT'D)
Do you know how many were able to
safely land these broken planes?
Everyone waits for the response as HUGH acknowledges the
debris around them...
HUGH LANG (CONT'D)
Not one. Every pilot crashed and
killed everyone on board.
114.
WHIP
Yeah. So?
HUGH
You have no capacity to accept the
responsibility for the miracle you
performed and the lives you saved.
WHIP
Great. I'm going home.
WHIP pulls out his cigarettes and frees a smoke from the
pack.
HUGH LANG
Do you want to go to prison? I'm
trying to save your life!
CHARLIE steps between them as this exchange spirals.
WHIP
What fucking life?! Don't kill
yourself on my account, Hugh.
WHIP starts to walk away.
HUGH
Okay, I'm done here. I'm running
out a faith that this guy's gonna
make it, Charlie.
WHIP
(turns on Hugh)
You wanna talk about me like I'm
not here? Like I'm fucking dead?
HUGH
(to Whip now)
This NTSB hearing is a Federal
Agency Hearing. Do you understand
that? It's in 10 days and if I
show up with you like this?!
WHIP turns and walks. HUGH wheels on CHARLIE and lights him
up.
HUGH (CONT'D)
Everything we've done? Everything
I've done? Goes out the window.
That's not on me. I did my job.
It's your job, Charlie, to get him
straight and get him to the church
on time.
115.
WHIP
Yeah Charlie just get him home.
Sober him up long enough to save
the union's contract and that fat
fuck's airline. Fuck you. I
shoulda died on that plane.
106 WHIP walks away from them -- away from the bright, clean, 106
shiny floor of the hangar and into the growing rain storm.
EXT. ROAD OUTSIDE THE WHITAKER FARM -- DAY
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.
EXT. NICE MODEST SUBURBAN NEIGHBORHOOD -- DAY
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.
INT. WHIP'S BUICK -- PARKED - SAME TIME
111 WHIP checks the mirrors before taking a long drink from a 111
large orange juice bottle.
EXT. NICE MODERN SUBURBAN NEIGHBORHOOD -- MOMENTS LATER
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.
EXT. FRONT DOOR -- NICE SUBURBAN HOME -- SAME TIME
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
What are you doing here?
WHIP
It's lovely to see you too Deana.
May I come in?
116.
DEANA takes a moment before stepping aside to allow WHIP in.
INT. SUBURBAN HOME -- SAME TIME
WHIP glides into the kitchen of this fastidiously kept home.
WHIP
Thought I`d come see you and Will.
(calls out, loudly)
KNUCKLES! YOU HERE?
(it's very quiet)
We haven't talked at all since this
whole thing happened and I just
thought we should talk.
DEANA
You know that I prefer that you
call us.
WHIP
Call you? Like anyone in this
house has called me in the last
three years to say anything other
than "Where's the money?"
DEANA
Have you been drinking?
WHIP
Well that took...what? 17 seconds?
(fake checks his watch)
It took 17 seconds for you-
DEANA
I'm gonna ask you to step outside
of the house, please.
WHIP
(has continued to rant)
LADIES and GENTLEMEN it took
EXACTLY 17 SECONDS FOR DEANA
COLEMAN to ask me if I have been
drinking! A NEW WORLD RECORD!
DEANA
I'm calling the police.
WHIP
You're asking me to leave the house
I bought for you?! Very good.
WILL (O.S.)
I'm telling you to leave.
117.
WHIP turns to see his 16 year old son, WILL, standing at the
foot of the stairs near the door.
WHIP
William Whitaker, junior. The man
of the house. Nice of you to call
me back.
WILL
I'm telling you to leave.
WHIP
You are? Are you the man of the
house?
WILL
You upset my mother. You gotta go.
WHIP
I'm your father, tough guy.
WILL
You're a drunk. Now get the fuck
out!
WHIP
You don't know who the fuck I am!
WILL
(pulling open the door)
I sure don't.
WHIP
What did you say?
WILL
I said, "I sure don't." Why don't
you tell me? Who the fuck are
you?! Who are you? Huh? WHO ARE
YOU?!
DEANA now steps between them and pushes WILL towards the
stairs as she puts her hand on the doorknob.
WHIP
I'm outta here. I'm outta here. I
know where I'm not wanted.
WHIP turns quietly. He opens the door and walks outside to
find...
118.
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.
WHIP
Folks, please give us some room.
(gets down the stairs)
At the appropriate time I will tell
my story. Now is a time for
grieving and taking care of those
injured. Thank you. I appreciate
your interest in me but I ask that
you leave my family in peace.
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.
119.
The POLICE begin to disperse the NEWS RATS. WHIP pulls an
officer aside.
WHIP
I'm Captain Whitaker, I was-
YOUNG COP
Yes sir, I know who you are.
WHIP
Can you get me to my car?
YOUNG COP
(STUDIES HIM)
Anything you need, sir.
WHIP walks with the YOUNG COP who shields him from the fray.
INT. WHIP'S BUICK -- DEANA'S STREET -- MINUTES LATER
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's
116
drunk but controlled. He looks at his hands. They are
shaking.
INT. CHARLIE'S HOUSE -- OFFICE - CLOSE ON TELEVISION - NIGHT
We see WHIP on the TV repeating the speech he gave reporters
on DEANA's front lawn...
WHIP
Now is a time for grieving and
taking care of those injured.
Thank you. I appreciate your
interest in me but I ask that you
leave my family in peace.
A REPORTER now wraps up the piece...
TELEVISION
A reasonable request from a quiet,
heroic man who's been through so
much. This is Tilda Banden
reporting from Devonwood.
Now a DESK ANCHOR changes stories...
120.
DESK ANCHOR
In a related story, tonight at 10
Cale Rawson talks with aviation
experts to see if the tragedy of
flight 227 could have been avoided.
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.
WHIP
Hey, Charlie. Thank you. Amanda
was so nice to let me in. It's
just...I couldn't find a safe
place.
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
What the hell is wrong with you? I
spoke to Hugh, he told me that you
went to your ex-wife's house?
Drunk as a skunk and the news crews
showed up?
(Whip just stares)
And the police escorted you out?
WHIP
I think it's okay. I've been
watching and I think it's okay.
CHARLIE
Hugh checked every media outlet
that covered it and it looks like
we're good. You come off fine.
WHIP
Okay. Good then. Listen Charlie,
here's the deal-
CHARLIE
No Whip. No deals. Look at you.
I have no idea what you're gonna do
or say, ever. You're all over the
place. I was the one guy in your
court. I was your apologist, your
defender. But not anymore.
121.
WHIP
No. I can do this.
CHARLIE
You're about to be questioned by a
Federal Agency about piloting an
airliner drunk...an airliner that
crashed. And you continue to drink
and stumble around. What kind of
crazy do you have to be to do that?
I'm scared of you.
WHIP
Let's just stick to the plan.
CHARLIE
You can't stick to anything.
WHIP
This whole thing has just been so
heavy, it's killing me. Tell Hugh,
I can do it. Look, I really wanna
fly again, get back to my life and
be done with all this shit.
CHARLIE
This hearing is 10 days away. Hugh
busted his ass to try to get you
excused, but there's no way. You
have to appear.
WHIP
Let me stay here. They have my
houses all staked out now. Let me
stay here until the hearing,
Charlie. I won't leave the house.
CHARLIE takes a long look at his old, troubled friend.
CHARLIE
You can't drink here, Whip. You
can't drink in my house. Can you
do that?
WHIP
I won't drink.
118 CHARLIE nods, hoping that WHIP can deliver on that promise 118
122.
INT. ST. JEROME HOTEL -- GUEST HALLWAY -- NIGHT
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.
HUGH
You look great, Whip. I mean that.
WHIP
Thank you. I feel really good.
HUGH
I heard you haven't had a drink in
8 days.
WHIP
9 days...
(checks his watch)
Two hours and 26 minutes...but
who's counting?
CHARLIE addresses the SECURITY GUARD.
CHARLIE
Officer Edmonds?
OFFICER EDMONDS
Yes sir.
CHARLIE
Whip, Officer Edmonds will be
staying here tonight. Any problems
he'll handle it.
HUGH stands by the open door and gestures CHARLIE and WHIP
inside...
INT. THE ST. JEROME HOTEL -- WHIP'S ROOM -- NIGHT
HUGH walks in to the center of the room and turns to WHIP.
HUGH
Well, Whip we just wanted to make
this as easy for you as possible.
WHIP puts his wardrobe bag down on the bed.
123.
CHARLIE
Just get a good night's rest.
Relax, order up a steak, get a
movie.
WHIP is checking his phone. HUGH gestures to CHARLIE for him
to leave so they can be alone.
CHARLIE (CONT'D)
Okay, cowboy, I'm out. The hearing
starts at 10, so we should plan on
9 for breakfast here in the room.
WHIP
Wait, Charlie, thanks for letting
me stay with you. I needed it.
CHARLIE
You did great cowboy.
WHIP
You've got a beautiful family.
CHARLIE
I'm very blessed.
CHARLIE leaves and HUGH joins WHIP at the window. HUGH hands
WHIP a thick folder.
HUGH LANG
I made you a copy of my entire file
on you and the investigation. I
also tried to anticipate what you
might be asked under oath and I
wrote out some non-damaging
responses. It's all in there;
photos, testimony, interviews...I
called Ellen Block let her know
that you're here and all tucked in.
WHIP
So does she have the knife out for
me?
HUGH LANG
Remember she's limited in what she
can ask you. You're not on trial
but you are under oath. She's
probably not happy that I killed
the tox report, but you'll be fine.
WHIP laughs a little.
124.
HUGH LANG (CONT'D)
I'll see you in the morning.
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.
INT. THE ST. JEROME HOTEL -- WHIP'S ROOM -- LATER
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
125.
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
Hello? Anyone?
Whip enters.
INT. CONNECTING HOTEL ROOM -- SAME
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.
126.
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!!
INT. THE ST. JEROME HOTEL - ELEVATOR DOORS - MORNING
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.
EXT. THE ST. JEROME HOTEL - HALLWAY - WHIP'S DOOR - DAY
OFFICER EDMONDS stands up as CHARLIE and HUGH approach
carrying coffees.
CHARLIE
Good morning, how's our man?
127.
OFFICER EDMONDS
Not a peep.
CHARLIE knocks on the door and checks his watch as he waits
for WHIP to answer. CHARLIE cocks his head, knocks again.
CHARLIE
I think your pilot overslept.
HUGH
You didn't let any girls in there
last night did you?
OFFICER EDMONDS
No sir, not a soul. No one came in
or out.
They all wait awkwardly as HUGH checks his watch and knocks
on the door. More silence...
OFFICER EDMONDS (CONT'D)
I have a room key.
CHARLIE takes the room key and lets himself in.
INT. THE ST. JEROME HOTEL -- WHIP'S ROOM -- MORNING
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.
HUGH LANG
Did he disappear?
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
Whip? Hello?
CHARLIE knocks on the slightly opened adjoining door. No
response, so CHARLIE lightly tosses the door open.
INT. ADJOINING ROOM -- SAME TIME
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...
128.
HUGH
Where is he?
CHARLIE
Whip? WHIP!
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
WHIP?!!! WHIP!!!
CHARLIE turns WHIP over to see his non-responsive face. HUGH
arrives and freaks out.
HUGH
Is he dead?
CHARLIE
I DON'T KNOW!!!
HUGH
IS HE DEAD?!
WHIP
Yes!!! I'm dead!!!
CHARLIE shows immediate relief that WHIP is breathing.
OFFICER EDMONDS has joined them.
OFFICER EDMONDS
Should I get an ambulance?
CHARLIE
Yes!
HUGH
Wait!...just wait, Charlie...let's
think about this.
The two stare at each other and realize they are both
breathing heavily from the shock and stress of their
predicament.
CHARLIE
Get him to the bed...
(to the Officer)
129.
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
Son of a bitch! You worthless
motherfucker, what a waste! I
cleared the decks for you...you
piece of shit. You just fucked it
all up like the piss drunk you are!
HUGH grabs at WHIP's collar and WHIP actually sits up and
reaches for HUGH, a nice sign of life from WHIP.
CHARLIE
WOAH!!! WOAH!!! WOAH!!! Enough!
CHARLIE pulls HUGH away from WHIP who falls back on the bed.
CHARLIE (CONT'D)
What time is it?
HUGH
9:14, the hearing is in 46 minutes.
CHARLIE
How much grace do you think we got?
WHIP
Amazing grace...how sweet the
sound...that saved a wretch like me-
HUGH
Shut the fuck up you drunk...
WHIP
I once was lost and now I'm found
was blind but...now...well I'm
still kinda blind.
CHARLIE
We probably have an hour before we
really need to get him to the
hearing and it's just downstairs.
HUGH
We need a wheel chair.
WHIP
Call Harling Mays.
130.
CHARLIE
Harling's got a wheel chair?
WHIP
Harling's got cocaine.
HUGH
Cocaine? Cocaine?!
HUGH and CHARLIE exchange a desperate look...
CHARLIE
WHAT'S HIS NUMBER!?
HUGH
This is fucking insane. And
criminal.
WHIP
609-237-1184. We're in 609 so
just...
CHARLIE
(DIALING)
237...1184...
WHIP
129 Tell him I need bananas... 129
INT. THE ST. JEROME HOTEL -- WHIP'S ROOM -- MORNING
CHARLIE prays for a voice on the other end...it appears...
CHARLIE
Harling? Harling this is Charlie.
I'm a friend of Whip's...yeah. We
need you to do a very early, very
discreet...uhm...Whip needs bananas
and you need to bring them to The
St. Jerome Hotel downtown...how
many bunches of bananas?
(Whip holds up 3 fingers)
3 is the answer I'm getting -- you
will be well compensated...the The
St. Jerome Hotel room 1027...
CHARLIE hangs up and looks at WHIP who is mostly passed out
again. CHARLIE looks to HUGH.
131.
INT. THE. ST. JEROME HOTEL -- ELEVATOR BANK -- SAME TIME
The elevator opens and we see HARLING step from the elevator
with his knapsack over his shoulder. Teva sandals,
sunglasses.
INT. THE ST. JEROME HOTEL -- WHIP'S ROOM -- MORNING
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 HARLING storms in.
HARLING MAYS
(SINGING)
Come mista tally man tally me
banana...Whip, what's the deal man
you look like you're hurtin' for
certain...shut the door, interior
lock!
HARLING places a leather doctor's bag on the table. An
anxious CHARLIE reaches for the bag which sets HARLING into a
frenzy.
HARLING MAYS (CONT'D)
YOU DO NOT TOUCH THE MERCH
MOTHERFUCKER!!!
It's quiet as HARLING gives orders.
HARLING MAYS (CONT'D)
Everyone except Whip and myself
take three steps away from the
table.
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 MAYS (CONT'D)
I need three things.
(focuses on Charlie)
Two glasses of water, a credit card
and a hundred dollar bill.
CHARLIE
All I have is a twenty.
HARLING MAYS
(takes the card and bill)
That'll do. And I need to make a
coco puff.
132.
HARLING Tosses a pack of smokes to CHARLIE.
CHARLIE
A what?
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
Millions of dollars hang in the
balance.
HUGH is removing the last quarter of an inch of tobacco from
the end of the cigarette.
CHARLIE
They hang on the consumption of a
300 dollar bag of cocaine.
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.
HARLING MAYS
Okay Whip, just two small whiffs
first...one on each side...just a
primer.
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.
HARLING MAYS (CONT'D)
Atta boy, head back now. Swallow.
Water, chief, you! Water.
CHARLIE puts the glass of water to WHIP's mouth. WHIP
drinks.
HARLING MAYS (CONT'D)
(snaps his fingers)
Coco puff...
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.
133.
HARLING sits up, careful to keep the cocaine in the end of
the cigarette. He tips it up and lights it.
HARLING MAYS (CONT'D)
Little coco puff buddy. C'mon
banana man. Who's the banana man?
WHIP's head levels a look to Harling with a smile that leads
us to believe that he is actually making a rally.
HARLING MAYS (CONT'D)
Good man, focus up big dog. Here's
the train comin' to you.
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.
HARLING MAYS (CONT'D)
(still holding the smoke)
Keep it down big dog, banana boat's
comin' tell me the banana boat's
comin'...
WHIP finally exhales the smoke, HARLING does too. WHIP
smiles.
WHIP
The banana boat is here.
HARLING MAYS
Nothing can keep you down dog.
Nothing keeps the big dog down.
CHARLIE
Okay, we gotta go.
HARLING has crafted 4 big lines now, he snorts one himself in
record time. Looks to HUGH and CHARLIE.
HARLING MAYS
You guys are up.
HUGH
No, I'm good. Charlie?
CHARLIE
Are you fucking crazy?
WHIP jumps in and sniffs 2 huge lines. He looks to HARLING.
WHIP
Thanks brother, I'm back.
134.
HARLING gathers his things, stands and hugs WHIP.
HARLING MAYS
I love you man.
WHIP
I love you too.
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 MAYS
There's a gram in here, you paid
for it and he might need it. My
work here is done. See you all on
the dark side of the moon.
HARLING leaves and our TRIO exchange looks, "Did that just
happen?"
EXT. THE ST. JEROME HOTEL -- GUEST HALLWAY -- DAY
133 The opening bars of Joe Cocker's "Feelin' Alright" crackle 133
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.
INT. THE ST. JEROME HOTEL -- ELEVATOR -- DAY
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.
CHARLIE
Morning.
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.
HUGH
Your nose...
WHIP accepts the handkerchief and wipes his nose. WHIP sees
blood on the cloth and tilts his head back.
135.
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.
INT. THE ST. JEROME HOTEL-ELEVATOR LOBBY-MOMENTS LATER
Our TRIO walk as tall as they can towards the hearing room.
HUGH
I'm gonna head in and tell Ellen
Block that we're here.
HUGH hustles off as CHARLIE pulls close to WHIP.
CHARLIE
You're gonna make it. Remember, if
they ask about your drinking, it's
totally acceptable to say, "I don't
recall."
WHIP wheels on CHARLIE and unloads with focused anger...
WHIP
Do not tell me how to lie about my
drinking. I've been lying about my
drinking my whole life.
As we disappear in to WHIP's weary eyes we hear the
distinctive sound of a jetliner screaming through the air.
INT. THE ST. JEROME HOTEL - BALL ROOM - NTSB HEARING-DAY
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.
ELLEN BLOCK
Those are difficult images to
watch. For the record, I'm Ellen
Block, Hearing Officer for this
hearing. Captain Whitaker, good
morning.
136.
We see WHIP who looks rough but stable in his witness chair.
WHIP
Morning.
ELLEN BLOCK
What was captured on that video is
that the aircraft was in a
relatively stable glide just prior
to the moment of impact.
However, according to the data we
retrieved from the cockpit data
recorders, at exactly 9:34, after
flying 27 minutes without incident,
the transponder recorded a loss in
altitude in excess of 4800 feet per
minute in what is considered a
"full pitch nose down" attitude.
Then at 9:42, according to the data
recorders, a decision was made to
invert the aircraft. The NTSB has
created animated simulation that I
would like to play at this point.
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.
ELLEN BLOCK (CONT'D)
That audio is tragic and
compelling. I chose to play that
part of the cockpit recording to
highlight a key moment aboard
flight 227, wherein you say "We're
gonna roll it, here we go, I've got
control." You made a very
conscious decision to invert the
airplane, to roll the plane upside
down. Is that correct?
137.
WHIP
I'm not sure it was conscious. It
was more of an instinct.
ELLEN BLOCK
What led to that decision?
WHIP is clearly struggling in his chair. The coke got him
there but it may start to fail him soon.
WHIP
I don't recall.
ELLEN BLOCK
Let me quote from an investigative
summary..."From 9:34 until 9:42 the
events on the aircraft are"...again
I quote, "bold and remarkable"...
"By inverting the plane, Captain
Whitaker arrested the descent and
allowed the aircraft to level off
enabling him to glide the aircraft
away from any populated areas and
allowing him to execute a forced
landing in an open field.
We hear a smattering of applause as the facts of his actions
are remarkable.
WHIP
I heard a metallic bang. We
pitched nose down. No control.
WHIP looks ashen as the booze and chemicals are still
coursing through his exhausted frame.
ELLEN BLOCK
You had no idea what was wrong with
the aircraft?
WHIP
There was a lot of things wrong
with that aircraft.
WHIP glances towards HUGH and CHARLIE who are poker-faced.
ELLEN BLOCK
As I said before you can add any
details you like to any comments I
make. Do you remember any thing
else that was out of the ordinary?
Did you feel the flight crew was in
their best shape?
138.
WHIP takes a minute to digest this question.
WHIP
Yes.
ELLEN BLOCK
It was raining very hard the
morning you took off, wasn't it?
WHIP
There was some convective activity
in the area. However, my first
officer and I discussed the
conditions on the field and
determined that we were safely
within our visibility and crosswind
minimums.
ELLEN BLOCK
Yes, first officer Evans' testimony
confirms the same.
WHIP goes quiet as ELLEN BLOCK looks at him over her glasses,
seeing if he has any reaction. WHIP smiles.
ELLEN BLOCK (CONT'D)
I want to show you something.
HUGH is frozen in a steely gaze; CHARLIE seems to hold his
breath.
ELLEN BLOCK (CONT'D)
Nothing's happening.
ELLEN points her remote at the projector but it doesn't work.
ELLEN BLOCK (CONT'D)
This remote is not working.
Apologies. I can do it manually.
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.
ELLEN BLOCK (CONT'D)
This is the jackscrew on the tail
assembly which articulates the
horizontal stabilizer--also known
as the elevator. As you can see,
the threads on this screw are
almost entirely gone. "
139.
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.
ELLEN BLOCK (CONT'D)
Our investigators have concluded
that the jackscrew snapped and the
elevator was frozen in a fixed
position, locking the elevator in a
down position which forced the
plane into a dive. The loss of the
elevator was, and I quote our
report, a "catastrophic event, from
which recovery was improbable and
stable flight impossible."
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.
ELLEN BLOCK (CONT'D)
Again I quote..."From 9:34 until
9:42 the piloting decisions made by
Captain Whitaker were bold and
remarkable. The fact that Captain
Whitaker commanded that the
aircraft stay inverted while
descending to an extremely low
altitude shows a miraculous
intuition that in this instance
saved 96 lives."
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.
WHIP
I appreciate that.
140.
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.
ELLEN BLOCK
Mr. Whitaker, I want to talk about
the days leading and hours leading
up to the accident. But before I
do, I want to remind you that you
are under oath and any testimony
that you give here today will be
considered admissable in any
subsequent hearings or criminal
proceedings, do you understand what
that means?
WHIP nods.
ELLEN BLOCK (CONT'D)
Captain Whitaker, for the record I
need you to verbalize your answer.
WHIP
Yes, I understand.
ELLEN BLOCK
On the three days leading up to the
day of the accident -- Tuesday,
October 11th, Wednesday, October
12th or Thursday, October 13th of
2011 -- did you consume any alcohol
or other intoxicating elements?
WHIP takes his time.
WHIP
No. I did not.
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 BLOCK
On the morning of the accident,
Friday, October 14th, did you
consume any alcohol or ingest any
chemicals or drugs that may have
impaired your ability to perform
your job?
141.
WHIP
No. I did not.
ELLEN wraps up this line of questions...
ELLEN BLOCK
Mr. Whitaker, do you now or have
you ever had a problem with alcohol
dependency, alcoholism or drug
addiction?
WHIP waits for her to look at him...this takes a while...
WHIP
No.
HUGH maintains a poker face; CHARLIE appears relieved.
ELLEN sorts through her notes one last time.
ELLEN BLOCK
Okay, Mr. Whitaker, we're about
done.
(She refers to her notes)
Due to the severe turbulence during
the early part of the flight, you
asked the flight crew to suspend
the beverage service on the plane.
Is that correct?
WHIP
Yes. I suspended the drink
service.
ELLEN BLOCK
Are you aware that our
investigators found two single-
service Vodka bottles in the galley
trash bin?
Slides now show the TWO SMALL VODKA BOTTLES in evidence.
WHIP
Yes.
ELLEN BLOCK
There were 5 crew members on board
the flight who would have had
access to the beverage trolley.
Less than an hour after the
accident, blood was taken from each
of the crew members. Yourself...
142.
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...
ELLEN BLOCK (CONT'D)
First Officer Evans, flight
attendant Margaret Thomason and
posthumously from Camelia Satou and
Katerina Marquez.
KATERINA MARQUEZ PHOTO does not pop up on the screen...yet.
ELLEN BLOCK (CONT'D)
A toxicology analysis was performed
and three of these tests came back
negative, one was disqualified for
technical reasons...
Hugh smiles -- satisfied.
ELLEN BLOCK (CONT'D)
And one tested positive for
alcohol. It registered a .17 blood
alcohol level. Are you aware of
that?
WHIP
I am now.
ELLEN BLOCK
Miss Marquez was not only a
colleague, but you knew her outside
of work? Correct?
WHIP
Outside of work? Not really.
ELLEN BLOCK
Did you know Miss Marquez had a
drinking problem?
WHIP
No. I did not.
ELLEN BLOCK
Did you ever see her drink to
excess?
WHIP
No. I did not.
143.
ELLEN BLOCK
Did you know that she was twice
treated for alcohol addiction? The
last time was 16 months ago and
paid for by SouthJet Airlines?
WHIP
No. I did not.
A picture of Trina's beautiful smiling face FLASHES UP ON THE
BIG SCREEN.
ELLEN BLOCK
Is it your opinion that Katerina
Marquez drank the vodka on the
plane?
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
Can you repeat the question?
ELLEN BLOCK
Your opinion Captain. Is it your
opinion that Katerina Marquez drank
on that flight?
Whip shakes. He runs his trembling hand through his hair.
WHIP
I'm sorry. My what...
ELLEN BLOCK
Since her toxicology report is the
only toxicology report that is
admissable in this hearing, and she
in fact tested positive for
alcohol, is it your opinion that
Katerina Marquez drank those 2
bottles of vodka on the flight?
Whip drops his head and MUTTERS SOMETHING INAUDIBLE.
ELLEN BLOCK (CONT'D)
I'm sorry Mr. Whitaker, I couldn't
hear you. What did you say?
WHIP
I SAID...God help me...
144.
A confused MUMBLE rises in the room. Whip's response
flusters ELLEN for a moment, but she recovers quickly.
ELLEN BLOCK
Yes, well. However, is it your
opinion...
Whip cuts her off...
WHIP
(EXCESSIVELY LOUD)
IT'S MY OPINION...
(lowers his voice)
It's my opinion...
Trina DID NOT...drink the vodka.
ELLEN BLOCK
Excuse me, Mr. Whitaker...
WHIP
(softly, to himself)
She saved that boy's life...
ELLEN BLOCK
Captain Whitaker can you speak
LOUDER-
WHIP
(LOUD AGAIN)
I KNOW FOR A FACT THAT SHE DID NOT
DRINK THAT VODKA...
Whip stops. His whole body trembles, his face tightens. He
looks right at ELLEN...
WHIP (CONT'D)
...because I did. I drank the
vodka.
The crowd gasps, unsure of what they just heard...
CHARLIE rockets out of his chair.
CHARLIE
OBJECTION!!!
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.
145.
WHIP
I drank the vodka bottles on the
plane.
ELLEN BLOCK
Mr. Whitaker, in light of that
remark, would you like to
readdress...
WHIP
You don't have to readdress
anything. I DRANK THE VODKA!
ELLEN BLOCK
On the three nights before the
accident, October 11th-
WHIP
On October 11th, 12th and 13th and
14th I was intoxicated. I drank
alcohol on all of those days. I
drank to excess.
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.
ELLEN BLOCK
Mr. Whitaker, on the morning of
OCTOBER-
WHIP
I was drunk. I'm drunk right now,
Miss Block...I'm drunk right...
(Whip finally breaks down)
I'm drunk now, because...
Because I'm an alcoholic.
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.
WHIP (V.O.)
That was it...I was done. It's as
if I'd hit my life long limit for
lies.
A new angle shows WHIP speaking these words...
146.
WHIP
I could not tell one more lie. And
maybe I'm a sucker. Because if I
had just told one more lie? I could
have walked away from that whole
mess and kept my wings and my false
sense of pride and most importantly
I would have avoided being locked
up here with all of you nice folks
for the last 13 months.
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.
WHIP (CONT'D)
It looks like I will serve every
day of the remaining 4 plus years
of my sentence. And that's fair.
I betrayed the public trust. I
did. That's what the judge
explained to me. I had betrayed
the public trust. The FAA took my
license. And that's fair. The
chances of me flying again are slim
to none. And I accept that.
INT. MCRAE FEDERAL PENITENTIARY -- GEORGIA -- DAY
A large room houses an AA meeting for about 50 inmates
wearing white jumpsuits. WHIP continues his story.
WHIP
I've had time to think about all of
it. Doing a lot of writing. I've
written letters to each of the
families that lost loved ones on my
flight. Some were able to hear my
apology, some never will.
I've also apologized to all the
people who tried to help me along
the way, but I couldn't or wouldn't
listen, like my wife, I mean my ex
wife...
(he gets emotional)
...and my son. Again, some were
able to forgive me...some never
will.
(COLLECTS HIMSELF)
But at least I'm sober, and I'm
grateful for that.
Whip gives it to us straight...
147.
WHIP (CONT'D)
And this is gonna sound really
stupid coming from a man who's in
prison...but for the first time in
my life...I'm free.
We hold close on WHIP's face as we hear the metallic clang of
prison doors shutting. On the sound we cut to...
INT. FEDERAL PENITENTIARY -- CELL -- DAY
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.
GUARD
Whitaker, you got a visitor.
WHIP looks at the GUARD and nods before taking a last glance
at the photo of NICOLE.
EXT. FEDERAL PENITENTIARY -- GUEST YARD -- DAY
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.
GUARD
You have 40 minutes.
WHIP
Knuckles, you're looking good.
(BEAT)
I sent you something for your
birthday.
WILL
Yeah. I got it.
Another beat as they can't find a way in to a conversation.
148.
WHIP
This is a real surprise; a great
surprise. I haven't seen you-
WHIP chokes up. WILL nods. It's intense. WHIP motions to
the table and they both sit. WILL pulls out a notebook.
WILL
College counselor thought I should
come and interview you.
WHIP
Great. An interview. Okay.
WILL
I'm writing essays for college
applications.
WHIP studies him and laughs...WILL nods and tries to smile.
WHIP
Listen Will, it means everything to
me that you came here. You are an
amazing kid and you deserve great
things...
Again WHIP has to tamp down his emotions.
WILL
So can you help me with this essay?
WHIP
Yeah. Of course.
WILL pulls out a small voice recorder and clicks it on...
WILL
This essay. I have to do an essay
called, "the most fascinating
person I've never met."
The two men just look at each other.
WHIP
And that's me?
WILL nods, both men are struggling to keep it together.
WILL
Can we pick up where we left off?
WHIP nods, unsure as to where this is going.
149.
WHIP
Okay.
WILL
Who are you?
WHIP
Good question.
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.
