N.T.S.B.

TV PILOT ONE HOUR DRAMA

David B. Mendelsohn

Contact at
Cell(602)-696-6661
dbmmendelsohn@gmail.com
FADE IN:

ACT ONE

EXT. TRAIN TRACKS IN AN EMPTY GRASSY FIELD -- DAY

WE SCAN OVER THE TRACKS AND THE FIELD. THE TRACKS ARE EMPTY.
THERE IS NO ACTIVITY IN THE VICINITY. ONLY THE WIND BLOWING
THROUGH THE GRASS. THEN WE SEE THE ENGINE OF A SMALL PASSENGER
TRAIN. IT STARTS TO ROLL DOWN THE TRACKS PULLING SEVERAL
PASSENGER BEHIND IT. AEROSMITH'S "TRAIN KEPT A-ROLLIN" BEGINS
TO PLAY.

CUT TO

INT. TRAIN -- CONTINUOUS

WE SEE THAT THE TRAIN IS FULL OF HAPPY PASSENGERS. MEN,WOMEN

AND CHILDREN ARE ALL EATING AND LAUGHING. JUST HAVING THE
TIME OF THEIR LIVES.

CUT TO

EXT. TRAIN -- CONTINUOUS

WE GET ANOTHER SHOT OF THE TRAIN AS IT MOVES DOWN THE TRACKS

PICKING UP STEAM.

CUT TO

INT. TRAIN -- CONTINUOUS

THE PASSENGERS ARE STILL HAVING A GREAT TIME. LOVERS ARE

KISSING EACH OTHER. CHILDREN AND PARENTS ARE HUGGING.
STEWARDS ARE MOVING ABOUT THE CAR SERVING DRINKS.

CUT TO

EXT. TRAIN -- CONTINUOUS

THE TRAIN PICKS UP EVEN MORE STEAM. WE GET A LONG SHOT OF

IT GOING DOWN THE TRACKS AND SEE HOW REMOTE THE AREA IS. WE
ALSO BEGIN TO HAVE A SENSE THAT SOMETHING TERRIBLE IS ABOUT
TO HAPPEN.

CUT TO

INT. TRAIN -- CONTINUOUS

WE GET A TIGHT SHOT ON A JENNIFER GRAM,BLONDE,LATE TWENTIES.

NEXT TO HER IS DAUGHTER JANICE GRAM. (8). THEY ARE SITTING
ON THE RIGHT SIDE OF THE TRAIN EXCITEDLY LOOKING OUT THE
WINDOW. THE CAMERA PULLS OUT AND WE SEE FRED WATSON (54)
WALKING DOWN THE ISLE AWAY FROM THEM. WE FOCUS AGAIN ON THE
WOMEN AND CHILD. THE WOMEN LEANS FURTHER OUT THE WINDOW
SMILING. SHE TURNS HER HEAD AND HER SMILE FADES A LITTLE AS
IF SHE SEES SOMETHING UNUSUAL. THEN THERE IS A SMALL BUMP
AS THE TRAIN SEEMS TO HIT SOMETHING.
 2.

EVERYBODY REACTS TO IT. THEY ALL SETTLE DOWN AND LET OUT
NERVOUS LAUGHS AS THE TRAIN GOES ON LIKE NORMAL. EVERYTHING
SEEMINGLY FINE AGAIN. THEN ANOTHER BIGGER BUMP HAPPENS. A
FEW PEOPLE ALMOST FALL DOWN FROM IT. EVERY ONE BEGINS TO
HAVE A SLIGHTLY PANICKED LOOK ON THEIR FACES. SLOWLY THINGS
RETURN TO NORMAL. THEN THE LAST BUMP HAPPENS. IT IS MUCH
BIGGER THEN THE FIRST TWO. IT SENDS EVERYONE FLYING AROUND
THE CAR SCREAMING IN FEAR. PEOPLE PANIC AND SHOUT AS THE
TRAIN KEEPS HITTING BUMP AFTER TERRIFYING BUMP.

CUT TO

EXT. TRAIN -- CONTINUOUS

WE GET A SHOT OF THE TRAIN FROM THE SIDE AS IT SPEEDS DOWN

THE TRACK AND THEN GOES OFF CAMERA. THEN WE HEAR THE SOUNDS
OF A HORRIBLE CRASH. THE CAMERA LINGERS ON THE EMPTY GRASS
FIELD. THEN MOVES OFF TO A WIDER SHOT AS AEROSMITH'S "TRAIN
KEPT A-ROLLIN" PLAYS AT AN EVEN HIGHER VOLUME. OFF IN THE
FAR DISTANCE WE SEE A SMALL PASSENGER PLANE TAKING OFF.

CUT TO

INT. UNIVERSITY LECTURE HALL -- LATER

PROFESSOR WILLIAM WHITCOMB (40) TALL DARK IS UP ON STAGE

LECTURING TO A LARGE GROUP OF STUDENTS. HIS DARK HAIR AND
WELL KEPT BODY CONTRAST NICELY WITH HIS GRAY BEARD AND
DESIGNER READING GLASSES. IT GIVES HIM A SEXY PROFESSOR
LOOK THAT ATTRACTS MANY FEMALE STUDENTS. CURRENTLY IT IS
ATTRACTING A VERY SEXY BRUNETTE WHO IS SITTING IN THE FRONT
ROW CHEWING ON HER PEN. AS HE SPEAKS HIS EYES LOCK IN ON
HER.

WHITCOMB
In conclusion I would like to say
that it always excites me to be here
taLking to you young students. I
dare say that it gives me a thrill
just to look at you all.

THE AUDIENCE LAUGHS AS WHITCOMB STARES AT HIS INTENDED TARGET.

HE PICKS UP HIS NOTES AND WALKS OFF STAGE WHERE HE SLOWLY
GREETS A LINE OF STUDENTS. THE PRETTY GIRL HE HAD HIS EYES
ON IS IN THE BACK OF THE LINE.
CUT TO

INT. UNIVERSITY LECTURE HALL -- MOMENTS LATER

WE SEE THE DOOR AT THE FAR END OF THE LECTURE HALL OPEN AND
TWO MEN STRIDE IN. WHITCOMB SEES THEM AND SILENTLY WISHES
THEM AWAY. HE HAS ONLY TWO MORE MALE STUDENTS TO LET FAWN
ALL OVER HIM BEFORE HE REACHES HIS INTENDED TARGET. SADLY
HE NEVER GETS THE CHANCE. THE TWO MEN (EDWARD COOLIDGE 32
TALL DARK AND GILBERT DOUGLAS 23 THIN PALE} REACH HIM. THEY
WALK PAST THE LINE OF STUDENTS TO WHERE HE IS STANDING.
 3.

MALE STUDENT
Hey buddy the line starts back there.

HE JERKS HIS THUMB TOWARD THE BACK OF THE LINE. COOLIDGE

AND DOUGLAS JUST IGNORE HIM.

MALE STUDENT (CONT'D)

Hey I'm talking to you.

COOLIDGE TURNS TOWARD THE STUDENT WITH A SERIOUS LOOK ON HIS

FACE AND STARES AT HIM MENACINGLY. THE STUDENTS FACE TURNS
FROM ANGRY TO FEARFUL VERY QUICKLY WHEN COOLIDGE LETS HIM
SEE THE GUN UNDER HIS JACKET. THEN COOLIDGE SMILES AND GOES
IN TO A VERY BAD ROBERT DE NIRO IMPRESSION.

COOLIDGE
You talking to me? Are you talking
to me? Are you talking to me?

THE STUDENT DOESN'T KNOW WHAT TO MAKE OF THIS. COOLIDGE JUST

STARES AT HIM UNTIL WHITCOMB PUTS A HAND ON HIS SHOULDER.

WHITCOMB
Coolidge.

DOUGLAS-{TO THE STUDENT}

Don't worry about him. He's just
off his meds.

THE STUDENT QUICKLY WALKS OFF. WHITCOMB GIVES A LONGING

LOOK TO THE BEAUTIFUL STUDENT. THEN HE TURNS HIS COMPLETE
ATTENTION TOWARD COOLIDGE AND DOUGLAS.

WHITCOMB
So what are you here about?

DOUGLAS
An accident.

COOLIDGE
We don't know if it's an accident or
not. That's what we investigate for
a living. Remember?

WHITCOMB
So what happened?

COOLIDGE
A train wreck. Off of the Delta
passageway.

WHITCOMB
Dead?
COOLIDGE
So far they count twenty three.
 4.

WHITCOMB
Well then lets get moving.

WHITCOMB GIVES A LAST LONG LOOK AT THE GIRLS BEHIND AS SHE

HEADS FOR THE EXIT.

SMASH CUT TO:

"N.T.S.B."

FADE IN:

EXT. TRAIN TRACKS IN AN EMPTY GRASSY FIELD -- LATER

WHITCOMB,COOLIDGE AND DOUGLAS ARE THERE SURVEYING A LARGE

PILE OF WRECKAGE. ALSO PRESENT IS THE FOURTH MEMBER OF THE
INVESTIGATIVE TEAM. CELERINA COVERUBIOUS (28) LATIN SEXY.
ALSO PRESENT IS FBI AGENT RENALDO CHASE (42) BLACK TOUGH.

CHASE
Hey look. It's planes,trains and
automobiles.

DOUGLAS
The NTSB is an agency authorized to
investigate any and all incidents
related to transportation in the air
land or at sea.

CHASE
Wow I didn't know that. Hey where
did you get this rookie?

COOLIDGE
He came with the new apartment. But
I don't know if he's house broken?

WHITCOMB
Agent Douglas is fully trained and
ready to help in the investigation.

COOLIDGE
Thank you sir.

WHITCOMB
So why don't you start investigating?

DOUGLAS
Yes sir.
DOUGLAS GOES OFF AND BEGINS COLLECTING EVIDENCE.

COOLIDGE
Rookies.

WHITCOMB
You can help too Edward.
 5.

COOLIDGE
Happy to oblige el jeffe.

COOLIDGE GOES OFF TO HELP DOUGLAS AND COVERUBIOUS.

CHASE
So how goes the professor gig?

WHITCOMB
It's not a gig. But if you mean is
their a chance for me to become a
full professor and leave the law
enforcement life behind. Then yes.
Things are looking very good.

CHASE
Why would you want to teach about
criminal justice when you can get
justice for the victims of criminals.

WHITCOMB
I can reach more people by my teaching
then I ever could like this.

CHASE
Well it looks like someone touched
these people pretty hard.

WIDE SHOT OF THE DEBRIS FIELD.

CUT TO

TIGHT SHOT OF COOLIDGE,DOUGLAS AND COVERUBIOUS LOOKING

THROUGH THE WRECKAGE.

COOLIDGE
So rookie is this job everything you
thought it would be and more?

DOUGLAS
It's definitely living up to
expectations sir.

COOLIDGE
You don't have to call me sir.
COVERUBIOUS
Yes call him mam. He likes that.

COOLIDGE
Ha Ha. Celerina please tell him this
part of the job is no fun.

COVERUBIOUS
This part of the job is no fun.

COOLIDGE
Thank you dear.
 6.

COVERUBIOUS
Don't call me dear.

COOLIDGE
Oh c'mon Celerina. It was just a
joke. Like your mam crack.

COVERUBIOUS
I wasn't joking. But now I know why
you failed as a stand up comedian.

COOLIDGE
I have not failed. I'm a work in
progress.

WHITCOMB WALKS UP TO THEM AS THEY ARE ARGUING,

WHITCOMB
Then how about a little more work
and maybe we'll start making some
progress on this case.

COOLIDGE
We were just talking.

COVERUBIOUS
He was annoying me with his usual
bad jokes.

WHITCOMB
Then how about less talking. Less
joking and more investigating.

WE GET A WIDER SHOT OF THE FIELD WHERE THEY SEE DOUGLAS

KNEELING OVER A DEAD WOMEN AND GIVING THE SIGN OF THE CROSS.
THE THREE OF THEM WALK OVER TO WHERE HE'S SAYING A SILENT
PRAYER WITH HIS HEAD BOWED. WHEN THEY REACH HIM DOUGLAS
LOOKS UP WITH TEARS IN HIS EYES. THEY SEE THAT THERE IS A
YOUNG GIRL NEXT TO THE WOMEN'S BODY. THE TWO OF THEM ARE
HOLDING HANDS.

DOUGLAS
I've never seen a dead body before.

WHITCOMB GENTLY REACHES DOWN AND PUTS A COMFORTING HAND ON

DOUGLAS'S SHOULDER. THEN HE PULLS HIM TO HIS FEET

WHITCOMB
Look I know this part of the job is
the toughest part. But don't you
ever do that again.

THEY ALL TURN AND WE GET A WIDER SHOT SHOWING THE OTHER
EMERGENCY AND INVESTIGATIVE PERSONNEL{LOCAL POLICE,FIRE ETC}
STARING AT THEM.
 7.

WHITCOMB (CONT'D)
You have to act like a professional.
Rely on your training. Then you'll
be fine.

DOUGLAS
Thanks boss. It won't happen again.

WHITCOMB
Gilbert. It's okay ot feel those
things. But some things you need to
do in private and some things you
can let the whole world see.

WHITCOMB GIVES HIM A REASSURING PAT ON THE ARM.

WHITCOMB (CONT'D)
All right. Back to the job at hand.

WE SEE THE CREW WALKING AROUND EXAMINING,PHOTOGRAPHING AND

COLLECTING EVIDENCE.

CUT TO

EXT. SMALL REGIONAL AIRPORT -- DAY

WE SEE A SMALL PASSENGER PLANE COME IN FOR A LANDING. IT

TAXIS UP TO THE TERMINAL.

CUT TO

INT. AIRPORT TERMINAL -- CONTINUOUS

WE SEE SEVERAL PASSENGERS STANDING IN LINE WAITING TO BOARD

THE PLANE.

CUT TO

EXT. AIRPORT TERMINAL -- CONTINUOUS

WE SEE THE PASSENGERS WALKING OUT TOWARD THE PLANE AND GOING
UP TO THE STEPS THAT LEAD IN TO THE PLANE. A BAGGAGE HANDLER
IS LOADING THE LUGGAGE INSIDE OF THE PLANES CARGO HOLD. THE
CAMERA FOCUS ON A RED BACKPACK. A SMALL PUFF OF SMOKE RISES
OUT OF IT. THE GLOVED BAGGAGE HANDLER GRABS THE BACKPACKS
HANDLE AND TOSSES IT IN TO THE CARGO HOLD. THEN HE FINISHES
UP WITH THE REST OF THE LUGGAGE. HE CLOSES UP THE CARGO
HOLD AND DRIVES OFF. WE GET A WIDER SHOT OF THE LAST
PASSENGERS BOARDING THE PLANE.
CUT TO

INT. PLANE -- CONTINUOUS

THE PASSENGERS ARE HUSTLING TO GET IN THEIR SEATS. SEVERAL
PEOPLE ARE STUFFING THE LAST OF THEIR CARRY ON LUGGAGE IN TO
THE OVER HEAD BINS. AS SOON AS EVERYONE TAKES A SEAT THE
PLANE BEGINS TO TAKE OFF.
 8.

CUT TO

EXT. PLANE -- CONTINUOUS

WE SEE THE PLANE GET UP TO CURSING ALTITUDE.

CUT TO

INT. CARGO HOLD -- CONTINUOUS

THE CAMERA FOCUS ON THE RED BACKPACK. MORE SMOKE IS COMING

OUT OF IT. THEN IT CATCHES ON FIRE. THE FIRE QUICKLY BEGINS
TO SPREAD TO THE REST OF THE BAGGAGE.

CUT TO

INT. PLANE COCKPIT -- CONTINUOUS

THE PILOT THOMAS 52 AND Co-PILOT ROGER 47 ARE CHECKING THE

INSTRUMENTS WHEN A WARNING LIGHT AND LOUD SIREN GO OFF.

THOMAS
What is it?

ROGER
A fire in the cargo hold.

THOMAS
You sure?

ROGER
Let me do a reset.

THE CO-PILOT FLIPS A SWITCH AND THE LIGHT AND SIREN GO DEAD.

ROGER (CONT'D)
Here goes nothing.

THE Co-PILOT HITS THE SWITCH AGAIN AND THE LIGHT AND ALARM
INSTANTLY SWITCH BACK ON. THE TWO OF THEM IMMEDIATELY GO IN
TO THE EMERGENCY PROCEDURES. THE PILOT GETS ON THE RADIO
AND THE Co-PILOT BEGINS TO FLIP SWITCHES.

THOMAS
May day. May day. This is World
Wide airlines flight 426. We are
declaring an emergency. May day.
May day. This is World Wide airlines
flight 426. We have a fire on board
in the cargo hold.

AIRPORT TOWER CONTROLLER

Roger flight 426. We will begin to
initiate emergency landing procedures.
What is your eta till landing?

THOMAS TURNS TO HIS CO-PILOT.

 9.

THOMAS
How long till we can turn around and
make it back.

ROGER
Approximately seventeen minutes. We
can save a little time with a wider
turn. There's an open field in that
direction.

THE PILOT NODS HIS HEAD IN ACKNOWLEDGEMENT.

THOMAS
Langley field. Our eta is
approximately seventeen minutes.

AIRPORT TOWER CONTROLLER

Roger 426. Eta seventeen minutes.
We'll be waiting here for you.

THOMAS
Now lets just hope we can get to
where you are.

CUT TO

EXT. PLANE -- CONTINUOUS

WE SEE THE PLANE MAKING A WIDE TURN.

CUT TO

INT. PLANE -- CONTINUOUS

THE PASSENGERS ARE SETTLING IN TO THEIR SEATS AND THE

STEWARDESS JAMIE 28 ATTRACTIVE STARTS THE DRINK SERVICE.
SHE STOPS IN FRONT OF PAUL 35 HANDSOME. SHE FLIRTS WITH HIM
AS SHE TAKES HIS ORDER.

JAIME
Sir what can I get for you to make
your flight more enjoyable?

PAUL
A bloody Mary. I need something hot
and spicy.

JAIME
Coming right up. Something hot for
the handsome gentleman.

SHE STARTS TO MAKE HIS DRINK. THEN THE CAPTAINS VOICE COMES
IN OVER THE INTERCOM,
THOMAS
This is the captain.
(MORE)
 10.

THOMAS (CONT'D)
We are experiencing a little
mechanical difficulty. This will
necessitate our return to the airport
for repairs. It shouldn't take long
for us to get back in the air.

A COLLECTIVE GROAN GOES UP FROM THE PASSENGERS.

PAUL
Better make that a double. Extra
hot.

CUT TO

EXT. TRAIN TRACKS IN AN EMPTY GRASSY FIELD -- CONTINUOUS

WHITCOMB,COOLIDGE,COVERUBIOUS AND DOUGLAS ARE SPACED AROUND

THE FIELD EXAMINING TRAIN WRECKAGE. DOUGLAS LOOKS UP AND
SHIELDS HIS EYES FROM THE SUN AS SEES THE PLANE IN THE
DISTANCE,

DOUGLAS
Hey isn't that smoke coming out of
that plane?

ALL OF THEM LOOK UP AND SHIELD THEIR EYES AGAINST THE SUN AS
THEY LOOK AT THE APPROACHING PLANE.

COOLIDGE
A lot of it.

COVERUBIOUS
From one of the engines?

WHITCOMB
Maybe.

CUT TO

INT. PLANE COCKPIT -- CONTINUOUS

THOMAS
How's our turning radius?

ROGER
So far so good.

CUT TO
EXT. TRAIN TRACKS IN AN EMPTY GRASSY FIELD -- CONTINUOUS

DOUGLAS
Hey it's turning toward us.

COOLIDGE
It certainly is.
 11.

COVERUBIOUS
Probably heading back to the airport.

WHITCOMB
I don't think it's going to make it.

CUT TO

EXT. PLANE -- CONTINUOUS

WE SEE THE PLANE FLYING ALONG NORMALLY FOR A MOMENT. THEN

IT EXPLODES IN TO A BALL OF FIRE.

CUT TO

EXT. TRAIN TRACKS IN AN EMPTY GRASSY FIELD -- CONTINUOUS

DEBRIS RAINS DOWN FROM THE EXPLODING PLANE. EVERYONE IN THE

TRAIN WRECKAGE FIELD TRIES TO TAKE COVER ON THE GROUND.
SEVERAL SMALLER PIECES OF THE PLANE LAND IN THE FIELD WITH
THE TRAIN WRECKAGE. SLOWLY EVERYONE GETS UP AND SURVEYS THE
AREA.

COOLIDGE
This is going to be a mess to sort
out.

WHITCOMB
It could of been even messier if
that plane had made a complete turn

DOUGLAS
There can't be any survivors.

COVERUBIOUS
We're lucky we survived.

CUT TO

INT. LAB NTSB HEADQUARTERS -- LATER

A HUGE PILE OF THE TRAIN AND AIRPLANE PARTS FROM THE CRASH
ARE SET IN MIDDLE THE CAVERNOUS WORK ROOM.
WHITCOMB,COOLIDGE,COVERUBIOUS AND DOUGLAS WALK IN. A MAN
AND WOMEN ARE ALREADY THERE EXAMINING THE WRECKAGE. DANIEL
BARRENS WHITE REDHEADED 38 AND LYNN ONG ASIAN 35 BUSTY SEXY.

WHITCOMB
So is this all of it?
DANIEL
As far as we can tell. The first
thing we need to do is separate all
of the train parts from the airplane
parts.

DOUGLAS
How do we do that?
 12.

ONG
Trains and planes are made of
different materials. Trains are
made of heavier materials like iron.
Planes are made of composites.

WHITCOMB
After we separate all of them we can
check for traces of explosives or
corrosives? Train parts on the left
side of the room. Plane parts on
the right.

WE SEE A MONTAGE OF ALL SIX OF THEM GOING THROUGH THE

WRECKAGE. SLOWLY BUT SURELY THE BIG PILE BEGINS TO BE
SEPARATED IN TO SMALLER PILES ON BOTH SIDES OF THE ROOM.
ALL OF THEM STAND IN THE MIDDLE OF THE ROOM ADMIRING THEIR
HANDY WORK.

ONG
Well that was fun.

DANIEL
Yes a real barrel of laughs.

WHITCOMB
Now we get to test for corrosives
and explosives.

COOLIDGE
Explosives and corrosives. That
rhymes. Oh I'm so talented. Please
no applause.

COOLIDGE TAKES A COUPLE OF BOWS.

COVERUBIOUS
Oh please.

WHITCOMB
Okay lets divide up in to two teams.
COOLIDGE
Oh. I'm a team captain. Me the
boss and Daniel are skins.
Coverubious,Ong and Gilbert are skins.

COVERUBIOUS
You wish.
ONG
You really wish.

WHITCOMB
Edward why don't you work with
Gilbert. Teach him something. Daniel
you keep an eye on them. Coverubious
and Ong you're with me.
 13.

WE SEE ANOTHER MONTAGE OF THEM WITH Q TIPS AND BOTTLES OF

SOLUTION TESTING EACH OF THE PARTS.

DANIEL
Well no trace of explosives.

EVERYBODY ELSE NODS THEIR HEAD YES.

WHITCOMB
What about an acid or some other
corrosive?

ONG
Negative on that too.

THEY ALL NOD THE AFFIRMATIVE ON THAT TOO.

COVERUBIOUS
I know we can't reassemble the plane.

DANIEL
There isn't enough to reassemble.

COVERUBIOUS
But can we reassemble enough of the
tracks to see if there has been any
deliberate sabotage?

DANIEL
That should be our next step.

ONG
Absolutely. You read my mind. It's
almost like we're twins or something.

DANIEL
I already have one twin sister. Do
I really need two.

ONG (FLIRTING WITH DANIEL}

If she had a face and body like mine.
Of course it would be much better if
we were kissing cousins instead of
twins.

WHITCOMB
Children children. Focus on the
task at hand. The next part is the
really tough one.
DOUGLAS
What's that?

WHITCOMB
Putting together the bodies.

CUT TO
 14.

INT. MORGUE NTSB HEADQUARTERS -- LATER

PHILLIS BARRENS DANIEL'S TWIN SISTER IS WORKING ON THE BODIES

OF THE WOMEN AND CHILD THAT DOUGLAS WAS PRAYING OVER. THERE
ARE SEVERAL MORE TABLES IN THE ROOM WITH BODIES ON THEM.
WHITCOMB AND DOUGLAS WALK IN TO THE ROOM AND APPROACH PHILLIS
FROM BEHIND AS SHE PREPARES CUT OPEN A BODY.

PHILLIS
The children are always the hardest.

SHE LOOKS BACK AT WHITCOMB AND DOUGLAS BEFORE CONTINUING.

PHILLIS (CONT'D)
The women is approximately twenty
eight years of age. The little girl
six to seven. They both died from
blunt force trauma. Most likely
from the crash but I'll have to do
some more tests first to be sure.

WHITCOMB
Thanks.

PHILLIS
Then I'm on to the rest of them.

SHE TURNS TOWARD THE OTHER BODIES AND POINTS. THEY BOTH
TURN BACK TOWARD THE WOMEN AND THE LITTLE GIRL. THEY SEE
DOUGLAS STANDING OVER THE BODIES LOOKING LIKE HE MAY PRAY
AGAIN.

WHITCOMB
Gilbert.

DOUGLAS
I'm okay boss. Just checking the
evidence.

WHITCOMB
I know that. See anything unusual?
DOUGLAS
No.

WHITCOMB
Any distinguishing marks?

DOUGLAS
No. Nothing.

WHITCOMB
Make sure you look under the
fingernails,arms,back. See if there
is anything there that looks out of
the ordinary. You have to check the
entire body for clues.
 15.

DOUGLAS IS UNCOMFORTABLE WITH TOUCHING THE DEAD BODY AND

WHITCOMB CAN SEE THAT. HE PUSHES HIM FORWARD ON THE
EXAMINATION.

WHITCOMB (CONT'D)
You have to check the entire body
for clues. You must never assume
that because there was an accident.
That it was an accident. Phillis
can you go through this with him.

PHILLIS
Sure. Here. We'll start with the
fingernails

SHE HOLDS UP THE CORPSES HAND

PHILLIS (CONT'D)
This would mainly be in a murder or
assault case. But never assume that
because she was in a train wreck
that she wasn't murdered before the
train derailed.

DOUGLAS
Okay.

PHILLIS
I want you to scrape under her
fingernails for any dna evidence.

SHE HANDS HIM A Q TIP

PHILLIS (CONT'D)
That's good. Now we will turn her
over for further examination.

PHILLIS STARTS TO TURN THE BODY OVER AND DOUGLAS RELUCTANTLY

HELPS HER.

PHILLIS (CONT'D)
See the bruise marks on her back.
They could mean several things. The
first thing you want to determine is
how old are they. Then you can check
on her for broken bones. For
punctured organs etc to see how it
all adds up.

WE SEE A MONTAGE OF SHOTS AS PHILLIS AND DOUGLAS GO THROUGH

AN EXAMINATION OF SEVERAL BODIES INCLUDING THE LITTLE GIRLS.

CUT TO
 16.

INT. MORGUE NTSB HEADQUARTERS -- LATER

WHITCOMB AND PHILLIS ARE OFF IN A CORNER WATCHING DOUGLAS.

WE SEE DOUGLAS OVER IN THE FAR SIDE OF THE ROOM EXAMINING
THE BODIES AND GATHERING EVIDENCE.

WHITCOMB
So what do you think. Will this
rookie make it?

PHILLIS
It's hard to tell but so far he's
doing the job. The hard part of it.

WHITCOMB
Are you fishing for a complement?

PHILLIS
Even us moles buried here underground
in the morgue love a nice juicy
complement every once in a while.
It keeps us going on our appointed
rounds.

WHITCOMB
Like the mail man.

PHILLIS
Yay well show me the mail man that
could do this every day.

WHITCOMB
I'm sorry that I have neglected to
complement you on your fine..

PHILLIS
Extraordinary..

WHITCOMB
Extraordinary work.

PHILLIS
Apology and compliment are duly
accepted.

A YOUNG MAN WALTER BERINGER 26 WALKS IN WITH SEVERAL PIECES

OF PAPER IN HIS HAND THAT HE GIVES TO WHITCOMB

BERINGER
Her's the passenger manifests for
the train and the jet liner. The
survivors from the train are checked
off in blue.
WHITCOMB
Run a preliminary information check
on the survivors.
(MORE)
 17.

WHITCOMB (CONT'D)
Then give the list to Coolidge and
Coverubious to run down.

BERINGER
Right.

BERINGER EXITS THE ROOM.

PHILLIS
So come and visit me again sometime.
Not when you have to.

WHITCOMB
It will be my pleasure.

CUT TO

INT. HOSPITAL -- LATER

COVERUBIOUS AND COOLIDGE ARE AT THE LOCAL HOSPITAL. THE TWO

OF THEM WALK THROUGH THE LOBBY AND GO UP TO THE NURSES STATION
WHERE THEY BOTH FLASH THEIR BADGES.

COVERUBIOUS
We're investigating the recent
accidents. Are any of the patients
on this list able to speak with us
yet?

THE NURSE LOOKS AT THE LIST COVERUBIOUS HANDS HER.

NURSE
Most of them are still in surgery or
recuperating from it. But you can
talk to Miss Ketsuko in 310 and a Mr
Watson in 315.

COOLIDGE
Thank you.

THEY HEAD OFF DOWN THE HALLWAY AND ENTER ROOM 310. THEY
ENCOUNTER A SMALL ASIAN WOMEN SITTING IN A CHAIR BY THE
WINDOW. THEY WALK IN TO HER ROOM. SHE HEARS THEM ENTER AND
STOPS LOOKING OUT THE WINDOW. SHE HAS A WARY LOOK ON HER
FACE. COOLIDGE AND COVERUBIOUS BOTH PULL THEIR BADGES OUT.
SHE BECOMES FRIGHTENED AS SHE SEES THEIR BADGES.

COOLIDGE (CONT'D)
Hi Miss Ketsuko we with NTSB.

KETSUKO BECOMES VISIBLY AGITATED AS SHE NOTICES THE GUNS

UNDER THEIR JACKETS. SHE BEGINS SCREAMING IN JAPANESE.
COOLIDGE (CONT'D)
No no we're not here to hurt you.
 18.

COOLIDGE PULLS HIS GUN OUT OF ITS HOLSTER AND HOLDS IT OUT
TO HIS SIDE TRYING TO REASSURE HER. ALL THIS DOES IS ILLICIT
MORE SCREAMING IN JAPANESE. THE NURSE FROM THE DESK ALONG
WITH SEVERAL ATTENDANTS ENTER THE ROOM IN RESPONSE TO THE
SCREAMING.

NURSE
What are you doing!

COOLIDGE
Just trying to get a few answers
from her.

THE NURSE POINTS AT THE GUN.

NURSE
By shooting her?

COOLIDGE
Oh this. No. Ah we'll be going
now.

COVERUBIOUS
We'll send a japanese translator
back in a few days.

THE NURSE AND THE ATTENDANTS GLARE AT THEM AS THEY LEAVE THE
ROOM.

CUT TO

INT. HOSPITAL HALLWAY -- CONTINUOUS

COOLIDGE
We'll that went well. Lets see where
is room 315.

COVERUBIOUS
Try not to shoot the next one.

THEY ENTER ROOM 315 WHERE THEY FIND FRED WATSON. HE IS HOOKED
UP TO SEVERAL IV'S AND PIECES OF ELECTRONIC MONITORING
EQUIPMENT.

COVERUBIOUS (CONT'D)
Mr Watson.

HIS EYES ARE CLOSED AND HE BEGINS TO STIR AWAKE AT THE SOUND
OF HER VOICE.
P.O.V. MR WATSON'S

WATSON OPENS UP HIS EYES AND SEES THE BEAUTIFUL FACE OF

CELERINA COVERUBIOUS A FEW FEET FROM HIS.

WATSON
Am I dead? Am I in heaven?
 19.

WATSON REACHES OUT AND LIGHTLY TOUCHES HER FACE CAUSING HER
TO SMILE AT HIM.

WATSON (CONT'D)
Are you an angel?

COVERUBIOUS
No Mr Watson. I'm a federal agent.
You're in a hospital. You were in a
train crash.

WATSON SEEMS TO SEARCH HIS MEMORY.

WATSON
Oh right. I remember.

HE LOOKS UP AND SEES COOLIDGE STANDING IN THE CORNER

WATSON (CONT'D)
Who are you?

COOLIDGE
Satan.

COVERUBIOUS
No he's not. Satan would dress
better. Unfortunately he's a federal
agent too.

WATSON
No wonder this country's in such
terrible shape.

COVERUBIOUS
I agree. So do you remember anything
about the crash?

WATSON
Not much. This was the first train
ride for my daughter and
granddaughter. It was my
granddaughter's eighth birthday.
She loved trains. I used to work
for full time for Union Pacific. So
she must have got it from me.
HIS WORDS ARE PLAYED OUT AS A FLASHBACK SEQUENCE. WE SEE
JENNIFER AND JANICE GRAM TO WATSON ON THE TRAIN BEFORE THE
CRASH.
JANICE
Grandpa look its a bear.

WATSON
That's a big one all right.

THE TRAIN EXPERIENCE'S A BUMP AND WE HEAR SEVERAL PEOPLE

GASP AND SCREAM.
 20.

JENNIFER
What was that?

WATSON
Probably nothing. Just a little
rock on the tracks. Some debris.

JENNIFER
Are you sure?

WATSON
Yes I'm sure..

ANOTHER BIGGER BUMP HITS THE TRAIN.

JANICE
Mommy I'm scared.

JENNIFER
It's okay. We're safe.

SHE LOOKS OVER AT HER FATHER. THEN THE LAST BIG BUMP HITS
AND THE TRAIN CRASHES. FLASHBACK OVER.

WATSON
That's all I remember. How is my
family?

HE LOOKS AT COVERUBIOUS AND COOLIDGE WHO TRY TO LOOK AWAY.

WATSON UNDERSTANDS THAT LOOK TOO WELL. A LOOK OF SHOCKED
RECOGNITION COMES ACROSS HIS FACE

COVERUBIOUS
We're very sorry Mr Watson. They
didn't make it.

WATSON
No. Oh no. Not my babies.

TEARS BEGIN TO STREAM DOWN HIS CHEEKS.

COOLIDGE
Mr Watson we need to ask you a few
questions.

HE PUTS HIS FACE IN HIS HANDS AND BEGINS TO LOUDLY SOB.

COVERUBIOUS AND COOLIDGE LOOK AT EACH OTHER NOT SURE OF WHAT
TO SAY NEXT.

WATSON
Please just leave me alone.

THEY BOTH LEAVE THE MAN TO BE ALONE WITH HIS GRIEF.

CUT TO
 21.

EXT. LATIN NEIGHBORHOOD -- LATER

WE SEE COVERUBIOUS PARK HER GOVERNMENT ISSUE CAR ON THE

STREET. THE AREA IS AN OLDER LATIN NEIGHBORHOOD. THE
SIDEWALKS ARE ALIVE WITH PEOPLE WALKING UP AND DOWN THEM.
WE SEE SEVERAL FOOD VENDORS PUSHING THEIR CARTS UP AND DOWN
THE STREET. COVERUBIOUS STARTS WALKING DOWN THE BOULEVARD.
SHE STOPS AND WALKS OUT IN TO THE STREET TO GREET AN OLD MAN
WITH A DRINK CART. HER FATHER RAUL COVERUBIOUS 62. SHE
GIVES HIM A WARM HUG THEN SPEAKS TO HIM IN SPANISH.

COVERUBIOUS
Papa. How are you doing.

RAUL
Just fine. Business has never been
better. But child you don't come
around very often any more.

COVERUBIOUS
I know daddy but I'm very busy at
work.

RAUL
Bah. Work is for men not girls.

COVERUBIOUS
Then why did you help me finish
college?

RAUL
You wanted to go. You wouldn't take
no for an answer. Your mother made
me do it. She said the whole family
would be proud to have a college
graduate in the family.

COVERUBIOUS
Well aren't you proud of me?

HE DOESN'T ANSWER RIGHT AWAY.

RAUL
Do you have a boyfriend. Are you
planning on getting married any time
soon? Have children? You know all
of your older sisters are married.
They all have many grandchildren for
me. But you. You have nothing. A
government job with the gringos and
some nice clothes. Bah.

HE WALKS OFF IN TO THE STREET CLEARLY ANGERED AND DISGUSTED

BY HIS YOUNGEST CHILD'S LIFE CHOICES. SHE STANDS THERE
LOOKING HURT. SHE FINALLY CONTINUES WALKING UNTIL SHE GETS
TO AN OLDER APARTMENT BUILDING AND GOES INSIDE.

CUT TO
 22.

INT. APARTMENT BUILDING -- CONTINUOUS

THE INTERIOR OF THE BUILDING IS WELL WORN. A SMALL AMOUNT OF

GRAFFITI IS VISIBLE AS SHE WALKS UP THE THREE FLIGHTS OF
STAIRS THEN KNOCKS ON THE APARTMENT DOOR. AFTER A SHORT
WHILE THE DOOR OPENS. THERESA COVERUBIOUS 61 ANSWERS THE
DOOR. SHE IS OBVIOUSLY IN ILL HEALTH. THERESA SLOWLY TURNS
USING A CAIN FOR SUPPORT AND WALKS BACK TO THE RECLINER THAT
IS SET UP LIKE A BED IN FRONT OF THE TELEVISION. CELERINA
FOLLOWS HER INSIDE AND SHUTS THE DOOR.

CUT TO

INT. COVERUBIOUS PARENT'S APARTMENT -- CONTINUOUS

COVERUBIOUS PUTS THE QUILT OVER HER MOTHER AS THERESA GOES

BACK TO WATCHING HER SPANISH SOAP OPERA.

COVERUBIOUS
Mama you need to go see the doctor.

THERESA
Doctors are a waste of time. What I
need is for my youngest daughter to
come home and take care of me.

COVERUBIOUS
Mom I can't do that.

THERESA
Ah your work again. Since when is a
job more important then your own
family.

COVERUBIOUS
But-

THERESA
I could understand it if you were
married and had children of your
own. But-
COVERUBIOUS
Mother I didn't come here to fight
with you.
THERESA
Then what did you come here for?

COVERUBIOUS
To see how you were. Mama I worry
about you.

THERESA
And I worry about you too. All alone
in that big city with no one to love
you or care for you.
 23.

COVERUBIOUS
I have a cat.

THERESA
Ah the provence of every single women.

COVERUBIOUS
Mom you demanded that daddy help me
with college. What did you do that
for. So I could stay at home and
have lots of babies?

THERESA
Like me. End up a poor old pathetic
women with no money and no education?

THERESA STARTS TO LET OUT A HACKING COUGH.

COVERUBIOUS
No I didn't mean that.

THERESA
Oh yes you did. You were always
very head strong.

COVERUBIOUS
Just like my mother.

THEY STOP ARGUING FOR A MOMENT AS CELERINA SITS NEXT TO HER

MOTHER IN SILENCE. SHE LEANS HER HEAD ON TO HER MOTHERS
SHOULDER AND THEY SHARE THE BLANKET.

THERESA
You know I love you. You're my baby.
My last child. I just don't want
you to end up like those girls who
sleep around.

COVERUBIOUS
Believe me mama there has been no
action in that department in a long
time. Not since Steven.

THERESA
Mr CPA. What a stick in the mud.
COVERUBIOUS
He was pretty boring.

THEY BOTH LAUGH.

COVERUBIOUS (CONT'D)
So mama how about I take you to the
doctor. It will give you a chance
to bug me some more about getting
married.
 24.

THERESA
Okay. Maybe you'll meet a good
looking doctor.

COVERUBIOUS
Good. We'll make an appointment.

THEY BOTH LAUGH AGAIN AS CELERINA STARTS TO HELP HER MOTHER

TO HER FEET.

CUT TO

INT. CHURCH -- LATER

WE SEE THE INTERIOR OF A BEAUTIFUL CHURCH WITH A HUGH VAULTED

CEILING. A PRIEST FATHER TIM 58 IS AT THE ALTER CLEANING UP
WHEN DOUGLAS WALKS IN. THE PRIEST HAS HIS BACK TO HIM AS
DOUGLAS APPROACHES.

DOUGLAS
Hello.

FATHER TIM TURNS AROUND AND SMILES WHEN HE SEES DOUGLAS

STANDING THERE.

FATHER
Gilbert. It's so good to see you.

THE PRIEST WALKS OVER TO DOUGLAS AND GIVES HIM A BIG HUG.

FATHER (CONT'D)
So how have you been.

DOUGLAS
Fine. Just fine. I'm working for
the government now. I'm helping to
investigate the train wreck and the
plane crash.

FATHER
Yes terrible things.
DOUGLAS
We're not really sure that hey are
accidents yet.
FATHER
Of course.

DOUGLAS
Too soon to tell.

FATHER
So how is your new job?

DOUGLAS
Its going well
 25.

FATHER TIM CAN SEE THAT SOMETHING IS TROUBLING DOUGLAS.

FATHER
All of it.

DOUGLAS HESITATES TRYING TO GET THE WORDS OUT.

DOUGLAS
It was horrible. A dead women and
her child. Just lying there like
pieces of of-

FATHER
Meat.

DOUGLAS
I'm ashamed to say it but yes. Just
like that. I'd never seen a dead
body before. It was like nothing I
ever imagined it would be like.

FATHER
No it isn't

DOUGLAS
I don't think I can handle this job.
Maybe I could go back to the seminary.

FATHER
Death is all around us. You can't
escape it. It's a fact of life.
You're born. You live. You die.
If you became a priest you'd have to
deal with it on a regular basis.
Who do you think comforts their
families and helps them deal with
the death of their loved ones.

DOUGLAS
But you do so much good.

FATHER
So can you. We each have our place
in the world. We all have to do
battle with the devil on a regular
basis. Inside of ourselves and out.
Some of us do it in here. And some
of us do it out there.

DOUGLAS
But how do you keep your faith when
there is some much pain and ugliness
in the world?
FATHER
The world isn't a perfect place.
Why do you think they call it heaven?
 26.

THE FATHER POINTS TOWARD THE SKY.

DOUGLAS
But so many things are out of our
control.

FATHER
Then give the control of those things
over to somebody else. Remember the
prayer. God grant me the serenity
to accept the things I cannot
change.Courage to change the things
I can. And the wisdom to know the
difference.

FADE OUT:

END OF ACT ONE

 27.

ACT TWO

FADE IN:

CUT TO

EXT. UNIVERSITY -- LATER

WE GET A SHOT OF THE CAMPUS OF A LARGE LOCAL UNIVERSITY.

CUT TO

INT. UNIVERSITY CLASSROOM -- MOMENTS LATER

WHITCOMB IS SEATED AT HIS DESK IN THE FRONT OF THE ROOM.

THE CLASSROOM IS FULL. MOST OF THE ONES FROM HIS PREVIOUS

LECTURE ARE THERE INCLUDING THE PRETTY GIRL HE WAS PERSUING.

WHITCOMB
So can anybody tell me what you most
love about political science and its
application in criminal justice?

A MALE STUDENT IN THE BACK RAISES HIS HAND.

MALE STUDENT
Political science involves the
theories of political behavior,
political systems and politics in
general. Criminal justice is the
system all local,state and federal
governments use or control and to
deter crime..

WHITCOMB
I don't just want a text book
dictionary definition of them. I
want something more. Much more.

HE STARES AT THE PRETTY GIRL IN THE FRONT ROW. SHE RAISES

HER HAND.

PRETTY GIRL
Police and the courts dole out
criminal justice. While political
science tells them how to do it.

WHITCOMB
Very good. Give the lady in the
third row a gold star. Two in fact.
So does anybody else have a question?

SEVERAL MORE STUDENTS RAISE THEIR HANDS. WE HEAR THE BELL

RING SIGNIFYING THE END OF CLASS.
 28.

WHITCOMB (CONT'D)
Ah my poor old brain is saved by the
bell. But if anyone wants to stay
after class and ask me something I'm
all ears. Plus some hands and feet.
And a few other parts.

HE GETS A LAUGH OUT OF THE CLASS AS ALL OF THE STUDENTS

QUICKLY LEAVE EXCEPT FOR THE PRETTY GIRL. SHE STAYS IN HER
SEAT UNTIL THE ROOM IS EMPTY EXCEPT FOR HER AND WHITCOMB.
SHE GETS UP AND GOES OVER TO HIM.

CUT TO

INT. RESTAURANT -- LATER

THE PRETTY GIRL AND WHITCOMB ARE SITTING AT A SMALL CANDLE

LIT TABLE. THE LIGHTING IS DIM AND THEIR IS A BOTTLE OF
WINE ON THE TABLE. THE WAITER COMES OVER WITH A PLATE OF
APPETIZERS THEN LEAVES.

PRETTY GIRL
So how long have you been lecturing
here?

WHITCOMB
A long time. Maybe since before you
were born.

PRETTY GIRL
You aren't that old. Are you?

WHITCOMB
No. But I'm getting to that point
in my life where I look at things
differently.

PRETTY GIRL
How?

WHITCOMB
I'm trying to concentrate on my long
term goals while there is still time
to make a change in my life..

PRETTY GIRL
Like marriage and kids?

WHITCOMB
No. Been there. Done that. More
like how I can change from being a
part time professor and full time
law man in to being a university
president. Plus write a few best
selling books

PRETTY GIRL
You're a cop?
 29.

WHITCOMB
Federal officer.

HER SHOWS HER HIS BADGE.

WHITCOMB (CONT'D)
Supervisor of the best investigative
team that NTSB ever had. But it
wasn't what I set out to do in life.

PRETTY GIRL
Oh.

WHITCOMB
There's an old saying. Figure out
what you love doing. Then figure
out what you're good at. If they're
both the same things life will be
grand. I'm good at a lot of things.
But so far I haven't been able to do
the thing I love full time yet.

PRETTY GIRL
How come?

WHITCOMB
I need the money for child support
and alimony.

PRETTY GIRL
Oh.

SHE LEANS OVER THE TABLE AND GIVES HIM A WARM SMILE.

PRETTY GIRL (CONT'D)

So do you have a gun?

WHITCOMB
Yes.

PRETTY GIRL
How big is it?

WHITCOMB
Finish up that wine. Then I'll go
show you.

CUT TO

INT. COOLIDGE'S PARENTS ESTATE -- LATER

COOLIDGE IS SITTING IN THE LIVING ROOD OF HIS PARENTS MANSION.

HIS FATHER ROBERT COOLIDGE 64 TALL AND MOTHER MARTHA COOLIDGE
61 WELL PRESERVED ARE THERE. THE MAID BRINGS IN A TRAY OF
DRINKS.
 30.

MARTHA
So you look good son. Doesn't he
honey.

ROBERT
Yes he does. So what did you come
here for.

MARTHA
Oh Robert. That's terrible. Our
son doesn't need a reason to visit
us. He just does it because he loves
us.

COOLIDGE
Well actually Mom I did come here
for a reason. That doesn't mean I
don't love you but-

COOLIDGE IS SEARCHING FOR THE COURAGE TO SAY SOMETHING.

MARTHA
So what's up son?

WHITCOMB
I need some money.

ROBERT
What for? Don't you have a good
job. Did you get fired?

COOLIDGE
No Dad. I didn't get fired.

ROBERT
That what is it?

COOLIDGE
I want to start up my comedy act
again. You know. Get a tour bus.
Tour the country. Hit all of the
good clubs again.

ROBERT
I thought you got that silly notion
out of your head.

COOLIDGE
It's not a silly notion Dad. It's
what I wanted to do with my life.

ROBERT
Look. We put you through the best
prep school in the country. One of
the best colleges.

MARTHA
Paid for your masters degree too.
 31.

ROBERT
We even indulged you after you got
out. The deal was two years to try
your performing thing and then no
more. If you want to do that full
time again you need to pay for it
yourself.

COOLIDGE
I can't believe you feel that way.

ROBERT
Find what you're good at. Then find

COOLIDGE
Yay I know Dad. I've heard the saying
before.

ROBERT
It's time to grow up son.

COOLIDGE
I can't believe you feel that way
Dad. Thanks for nothing.

ROBERT
Look in my day-

COOLIDGE
You walked up hill to school both
ways.

ROBERT
No. But when I was your age I was
already in business,married and had
two children to support.

COOLIDGE
I'm sorry I'm not you Dad.

ROBERT
Well try harder. Then maybe you
could be!

COOLIDGE GETS UP AND ANGRILY STOMPS OUT OF THE ROOM. WE SEE

HIS PARENTS LOOK AT EACH OTHER AND HEAR THE FRONT DOOR SLAM
SHUT.

CUT TO
INT. LAB NTSB HEADQUARTERS -- LATER

DANIEL AND ONG ARE THERE. THEY ARE FINISHING UP THE

EXAMINATION OF THE WRECKAGE. DANIEL (WEARING EAR AND EYE
GUARDS) IS USING A LARGE SAW TO DISMANTLE SEVERAL OF THE
BIGGER PIECES. ONG IS EXAMINING THE BROKEN DOWN PARTS. SHE
STOPS TO ADMIRE DANIEL'S HANDY WORK AS HE REALLY GOES TO
TOWN ON A PARTICULARLY STUBBORN PIECE.
 32.

ONG{SHOUTING}
Hey Daniel. Hey Daniel. HEY DANIEL!

HE FINALLY HEARS HER AND SHUTS DOWN THE SAW.

DANIEL
What?

ONG
When am I gonna get to play with the
saw?

DANIEL
Girls don't get to play with saws.
This is mans work.

DANIEL HOLDS UP HIS RIGHT RAN AND FLEXES IT TO MAKE A MUSCLE

AS THEY STARE AT EACH OTHER FOR A LONG SECOND. THEN ONG
CONFIDENTLY STEPS OVER TO DANIEL AND TAKES THE SAW OUT OF
HIS HANDS. SHE MAKES SHORT WORK OUT OF THE PIECE OF METAL
THAT DANIEL WAS STRUGGLING SO HARD WITH. SHE TURNS TO DANIEL
WITH A BIG GRIN ON HER FACE. THEN HOLDS BOTH ARMS OUT WITH
THE SAW STILL IN ONE LIKE SHE IS EXPECTING APPLAUSE.

ONG
Well.

HE SHAKES HIS HEAD AND LAUGHS. THEN HE BEGINS TO APPLAUD AS

SHE TAKES A BOW. SHE TAKES ANOTHER BOW AND WE HEAR MULTIPLE
PEOPLE APPLAUDING AS WE SEE WHITCOMB,COVERUBIOUS AND DOUGLAS
WALK IN.

COVERUBIOUS
You go girl. Show these boys how we
do it.

WHITCOMB
You never cease to impress us Lynn.

ONG
I know.
DOUGLAS
Very professional work.

ONG
Thank you.

WHITCOMB
So what more have you found out?

WE SCAN AROUND THE ROOM AND SEE ALL OF THE DOZENS OF CUT UP
PARTS.
DANIEL
Still no signs of explosive residue
or corrosive agents.
(MORE)
 33.

DANIEL (CONT'D)
Not even minute traces on either the
train or the airplane parts. But I
did find this on one of the train
parts.

DANIEL HOLDS UP A PIECE OF METAL WITH A CUT IN THE JOINT.

WHITCOMB
This wasn't something you or Tarzan..

HE POINTS TOWARD ONG WHO HOLDS UP THE SAW AND SHAKES IT OVER
HER HEAD.

WHITCOMB (CONT'D)
Did in your zeal to dismantle it
all?

DANIEL
No. This was done by a different
kind of saw.

DANIEL NODS AT ONG WHO GRABS A FRESHLY CUT PIECE OF METAL

AND TOSSES IT TO HIM. DANIEL JUGGLES IT IN HIS HAND BECAUSE
IT IS STILL HOT. THEN HE BLOWS ON IT UNTIL IT'S COOL. HE
HANDS IT TO WHITCOMB WHO HOLDS IT UP FOR EVERY ONE TO SEE.

DANIEL (CONT'D)
See how the cuts are a completely
different style.

WHITCOMB
It looks like it was cut so that
eventually the whole piece would
come apart.

DANIEL
Right. Probably six to eight hours
of running time before it completely
collapsed.

EVERYONE TURNS AND LOOKS AS COOLIDGE WALKS IN OBVIOUSLY IN A

ROTTEN MOOD.

COVERUBIOUS
And speaking of complete collapses.

COOLIDGE
Hardy har har.
WHITCOMB
Nice of you to make it.

DOUGLAS
Bad day?

COOLIDGE
Aren't they all?
 34.

ONG
Sounds like somebody is in a funk.

COOLIDGE
Funk,monk,skunk. I wish I was dead
drunk.

WHITCOMB GIVES HIM A DIRTY LOOK.

COOLIDGE (CONT'D)
Not drinking and driving. No more
dui's. Never that. Only drinking
responsibly at home under adult
supervision.

WHITCOMB
That's right.

COOLIDGE
So what did I miss?

WHITCOMB
Besides the sixth grade and your
high school graduation. This.

HE HOLDS UP THE PIECE OF METAL FROM THE WRECK FOR HIM TO

SEE.

COOLIDGE
What's that?

WHITCOMB
Well Douglas if you hadn't been late
for class you'd already know.

DOUGLAS
It's a piece of metal from the wreck.

COOLIDGE
Even I could figure that out.

DOUGLAS
A piece of metal from the train wreck
with saw marks on it to cause it to
eventually fail.
COOLIDGE
And the train to crash.

COVERUBIOUS
Precisely dear Watson.

COOLIDGE
I think I'm more of the Sherlock
Holmes type. You know the smartest
guy in the room.
 35.

COVERUBIOUS
If you're the smartest guy in the
room we're all in trouble.

WHITCOMB
Children focus. Now in order to
pick the right piece of metal and
saw through it enough so it would
collapse so soon takes an extensive
knowledge of trains. Of their
engineering. Their stress points
etc.

COOLIDGE
Okay.

WHITCOMB
So who did you interview who fit
that description?

DOUGLAS RAISES HIS HAND.

DOUGLAS
I know.

WHITCOMB
You don't have to raise your hand
Gilbert.

HE PUTS IT DOWN AND BEGINS TO ANSWER.

WHITCOMB (CONT'D)
Not this time Gilbert. Edward why
don't you and Watson there go
interview him while Gilbert goes
with me to do a little back ground
check on our dear Mr Watson.

COOLIDGE
Right.

CUT TO

INT. HOSPITAL -- LATER

COVERUBIOUS AND COOLIDGE ENTER MR WATSON'S HOTEL ROOM AS HE

IS GETTING DRESSED.

COVERUBIOUS
Hello Mr Watson. Do you remember
us.

WATSON LOOKS UP AT THEM AND ACKNOWLEDGES THEIR PRESENCE

WATSON
Yes I remember you. The angel and
the devil.
 36.

COOLIDGE
Sherlock Holmes and Watson.

COVERUBIOUS
Forgive his bad joke Mr Watson.
What we were here for is to ask you
a few questions. See if there was
any information you might have
remembered between the last time we
talked that might help us to solve
this crime.

WATSON
You think it was a crime not an
accident?

COOLIDGE
We're still exploring all
possibilities. Somebody committing
a crime is one reason that the train
might have wrecked.

WATSON
So it could still be an accident?

COVERUBIOUS
Yes. Most definitely.

COOLIDGE
But we're probably leaning the other
way right now.

COVERUBIOUS GIVES COOLIDGE A DIRTY LOOK.

WATSON
So what has this all got to do with
me?

COVERUBIOUS
Maybe nothing.

COOLIDGE
Maybe everything. We're just starting
our investigation.

WATSON
Maybe I should get a lawyer.

COVERUBIOUS
Well that's up to you. But you're
not under arrest.

WATSON
Am I a suspect?

COOLIDGE
Do you want to be?
 37.

COVERUBIOUS
We're not even sure if their is
anything to suspect yet.

WATSON
I think I should get a lawyer.

WATSON SITS BACK DOWN ON THE BED AND LETS OUT A LOUD SIGH
THEN BEGINS TO CRY. COVERUBIOUS AND COOLIDGE WALK OUT IN TO
THE HALLWAY. WE SEE MR WATSON IN HIS ROOM LOOKING OUT OF
THE WINDOW.

COVERUBIOUS
So what do you think?

COOLIDGE
A guy lawyers up like that right
away. What do you think?

COVERUBIOUS
I think you rode him pretty hard.

COOLIDGE
Just trying to get some information.
You know. The old good cop bad cop
thing.

COVERUBIOUS
You know Satan would have made a
great bad cop.

COOLIDGE
I'm sorry I'm not an angel sent from
heaven above. We're federal agents
Celerina. Not social workers.

COVERUBIOUS
You can catch more flies with honey
then you can with dog shit.

COOLIDGE
Now your going to start insulting
me.

COVERUBIOUS
Start. I guess you weren't paying
attention before.

COOLIDGE
Look do you think this guy is hiding
something or not?

COVERUBIOUS
Something. But I'm not sure what it
is yet.

END OF ACT TWO

 38.

ACT THREE

CUT TO

INT. COMPUTER LAB NTSB HEADQUARTERS -- LATER

WHITCOMB AND DOUGLAS ARE IN THE COMPUTER LAB DOING A

BACKGROUND CHECK ON THE WATSON FAMILY. DOUGLAS IS SITTING
AT HIS DESK WHILE WHITCOMB PEERS OVER HIS SHOULDER.

WHITCOMB
So what do we see here Gilbert. Any
criminal records for Mr Watson?

DOUGLAS
Well boss I don't see anything so
far.

WE GET A SHOT OF THE COMPUTER SCREEN AS THE COMPUTER SEARCHES

A CRIMINAL DATA BASE.

DOUGLAS (CONT'D)
I'm checking the bigger ones now.

WHITCOMB
If you get nothing there. Check the
smaller ones. Check military. Check
everything. See if he was a
disgruntled employee when he worked
for the railroad. Also do a
background check on his daughter and
granddaughter.

COOLIDGE
Our victims?

WHITCOMB
Remember never assume anything.
Verify everything before you eliminate
anyone as a suspect.

DOUGLAS
Even if they're dead?

WHITCOMB
Even if they're dead Gilbert. Even
if they're dead.

CUT TO
INT. DOCTORS OFFICE -- AFTERNOON

CELERINA AND HER MOTHER ARE IN THE WAITING ROOM OF A DOCTORS

OFFICE. HER MOTHER LOOKS VERY ILL. CELERINA HAS A LOOK ON
HER IMPATIENCE ON HER FACE. SHE DIRECTS HER ANXIOUSNESS TOWARD
THE RECEPTIONIST AT THE FRONT DESK
 39.

COVERUBIOUS
Miss how much longer is my Mother
going to have to wait?

THE GIRL LOOKS UP WITH A LOOK OF ANNOYANCE ON HER FACE AND

GIVES A SLIGHTLY SMART ASS REPLY.

RECEPTIONIST
The doctor will be right with you.

COVERUBIOUS
That's what you said twenty minutes
ago!

THE RECEPTIONIST JUST SHRUGS HER SHOULDERS THEN PUTS HER

HEAD DOWN AND BEGINS TO IGNORE THEM AGAIN. CELERINA GETS
MORE AGITATED AT THIS SLIGHT.

COVERUBIOUS (CONT'D)
Hey. I'm talking to you. Do not
ignore us.

THE GIRL LOOKS UP BRIEFLY THEN GOES BACK TO HER PAPERWORK.

CELERINA CURSES AT HER IN SPANISH. THE ANGLO RECEPTIONIST
UNDERSTANDS HER. SHE GIVES CELERINA A DIRTY LOOK AND CURSES
BACK AT HER IN SPANISH. CELERINA EYES GO WIDE AT THIS AND
SHE STANDS UP. HER MOTHER GRABS HER ARM AND TRIES TO RESTRAIN
HER BUT SHE BREAKS AWAY AND HEADS FOR THE DESK. SHE STANDS
IN FRONT OF THE GIRL WHO GIVES HER A NASTY LOOK BACK. UNTIL
CELERINA OPENS HER COAT AND SHOWS HER NINE MILLIMETER
AUTOMATIC. THE GIRLS EYES GO WIDE AT THE SIGHT OF THIS.
THEN AFTER CELERINA HAS HAD HER FUN SHE PULLS OUT HER BADGE.

RECEPTIONIST
Hey look I only sold that coke for
my boyfriend. He needed the money
to start his band.

COVERUBIOUS
Well I'm a federal agent. So I
suggest you clean up your attitude
and get us inside asap or else you
and your boyfriend will be in a
federal prison by this evening.

CELERINA HAS CLEARLY SCARED THE HELL OUT OF THE GIRL.

RECEPTIONIST
Okay. Okay. Right away.
THE GIRL GETS UP AND HEADS TOWARD THE DOOR TO THE DOCTORS
OFFICE. SHE OPENS THE DOOR AND STOPS BEFORE GOING COMPLETELY
INSIDE.
RECEPTIONIST (CONT'D)
Sorry about what I said.
 40.

SHE QUICKLY SLIPS INSIDE OF THE DOOR AND SHUTS IT. CELERINA
WALKS BACK AND SITS NEXT TO HER MOTHER.

THERESA
Such a temper. You must get it from
your Father.

COVERUBIOUS
Yes. Because you never get mad about
anything.

THEY BOTH SMILE AT EACH OTHER.

CUT TO

INT. RESTAURANT -- AFTERNOON

WHITCOMB IS SITTING AT A BOOTH IN A COFFEE SHOP. HE'S NURSING

A CUP OF COFFEE. HE LOOKS AROUND LIKE HE IS WAITING FOR
SOMEBODY WHO IS LATE. FINALLY A WOMEN ACCOMPANIED BY TWO
GIRLS ENTER THE RESTAURANT. HI Ex-WIFE DEBRA 36 AND HIS TWO
DAUGHTERS MEGAN 16 AND LISA 12 SIT DOWN AT THE BOOTH ACROSS
FROM WHITCOMB.

WHITCOMB
Hi guys

MEGAN
Hi Daddy.

MEGAN STANDS UP AND LEANS OVER TO HUG HER FATHER WHO SEEMS
SURPRISED BY IT. LISA SAYS NOTHING BUT GETS UP AND
RELUCTANTLY HUGS HER FATHER TOO.

DEBRA
Hi William.

WHITCOMB
You guys look good. Everybody's
gotten so big.

DEBRA
Thanks!

WHITCOMB
You know what I mean.

DEBRA
Oh I know what you mean!
WHITCOMB ROLLS HIS EYES BUT CALMS DOWN AFTER HE SEES THE
PAINFUL EXPRESSION OH HIS DAUGHTERS FACES.

WHITCOMB
Look I'm sorry. Okay? Okay?

DEBRA
Sure. I'm sorry too.
 41.

BIG SMILE ON WHITCOMB'S FACE.

WHITCOMB
I humbly accept your apology.

NOW DEBRA ROLLS HER EYES AT HIM

DEBRA
Now I remember why we divorced!

MEGAN
Mom! Dad! Stop it.

LISA LOOKS LIKE SHE'S ABOUT TO CRY.

WHITCOMB
Don't cry baby. Mommy and Daddy
will be nice to each other.

LISA
All right.

WHITCOMB
So how is everybody?

MEGAN
I got a new boyfriend.

SHE HOLDS OUT HER HAND TO SHOW HIM THE RING ON IT.

MEGAN (CONT'D)
He's in college.

DEBRA
He's twenty two.

WHITCOMB
Well at least he's getting educated.

DEBRA
So is your daughter. Look what I
found in her bedroom.

SHE OPENS HER PURSE AND PULLS OUT A HANDFUL OF MULTI COLORED
CONDOMS. THEN DEPOSITS THEM ON THE TABLE IN FRONT OF
WHITCOMB.

MEGAN
Mom!
WHITCOMB
At least she's taking precautions.

DEBRA
Great parenting.

WHITCOMB
I do the best I can.
 42.

DEBRA
You mean as little as you can.

WHITCOMB
Maybe we should do this another time.

SHE MOTIONS FOR THE GIRLS TO LEAVE. AFTER THEY GET UP AND
RESEAT THEMSELVES IN A CORNER BOOTH.

WHITCOMB (CONT'D)
Debra what did you really come here
for?

DEBRA
I'm here to tell you I'm going to
get remarried.

WHITCOMB
To Bruce

DEBRA
Yes and he wants to adopt the girls
and..

WHITCOMB
What!

DEBRA
Move to Atlanta.

WHITCOMB
No way. I'd never see the kids again.

DEBRA
You never see them now.

WHITCOMB
Ahhh..

DEBRA
No more alimony and I'd give up any
future claims for child support.

WHITCOMB IS LOST IN THOUGHT AS HE LOOKS AT HIS TWO SMILING

GIRLS. THE TWO OF THEM ARE SITTING IN THE CORNER BOOTH
DRINKING MILK SHAKES AND BLOWING STRAW WRAPPERS AT EACH OTHER.
SUDDENLY HIS CELL PHONE RINGS BREAKING HIS TRAIN OF THOUGHT.

WHITCOMB
You have some new info on the airplane
investigation. All right. I'll be
over as soon as I can.

CUT TO
 43.

INT. LAB NTSB HEADQUARTERS -- LATER

WHITCOMB WALKS IN TO THE LAB WITH A SAD EXPRESSION ON HIS

FACE. DANIEL AND ONG ARE WORKING ON SEVERAL AIRPLANE PARTS.

WHITCOMB
So what's the exciting news you could
not wait to tell me about?

DANIEL
We recovered the black box.

ONG
The sheriffs department found it.

WHITCOMB
So.

ONG
But that's not important right. I
mean who really found it.

WHITCOMB
No. Not really.

ONG
So any how.

DANIEL RETRIEVES A LOCKED METAL BOX. HE PLACES IT ON THE

TABLE IN FRONT OF THEM AND PROCEEDS TO UNLOCK IT. HE PULLS
THE ARINC-404 ATR ALSO KNOWN AS THE AIRPLANES BLACK BOX OUT
OF IT.

DANIEL
Here it is. Funny how they call it
a black box but it's day glow orange.

WHITCOMB
The better to see it for recovery
purposes. Let's hope this sheds
some light on the explosion.
THE TAPE BEGINS TO PLAY STARTING OUR FLASHBACK SEQUENCE

THOMAS
May Day May day May day. This is
World Wide airlines flight 426. We
are declaring an emergency. May day
May Day. This is World Wide airlines
flight 426. We have a fire on board
in the cargo hold.
 44.

AIRPORT TOWER CONTROLLER

Roger flight 426. We will begin to
initiate emergency landing procedures.
What is your eta till landing.

THOMAS
How long till we can turn around and
make it back?

ROGER
Approximately seventeen minutes. We
can save a little time with a wider
turn. There's an open field in that
direction.

THOMAS
Langley field. Our eta is
approximately seventeen minutes.

AIRPORT TOWER CONTROLLER

Roger 426. Eta seventeen minutes.
We'll be waiting here for you.

THOMAS
Now let's just hope we can get to
where you are.

WE SEE THE CAPTAIN STRAINING WITH THE WHEEL AS HE BEGINS HIS

TURN.

ROGER
Oh yay.

THOMAS
This is the captain. We are
experiencing a little mechanical
difficulty. This will necessitate
our return to the airport for repairs.
It shouldn't take long for us to get
back in the air.

ROGER
Do you think they bought it?

THOMAS
Did you?

ROGER
Absolutely Captain. I believe we're
going o make it safely back with
room to spare.

We SEE THE PILOT AND Co-PILOT BEGIN TO RELAX AS THEY COMPLETE

THEIR TURN. FLASHBACK ENDS.
 45.

DANIEL JUMPS AS THEY HEAR THE EXPLOSION THAT WHITCOMB RECENTLY

WITNESSED.

DANIEL
Gone just like that.

WHITCOMB
Well the ending was quick. But the
build up to it must have taken a lot
longer. We need to find out how
long. If there is no residue for
explosives then we need to check the
wiring for an electrical failure.
Something caused that fire.

DANIEL
I'll get right on it.

WHITCOMB
You do that. Check every inch of
that wiring. Then check it again.
Then do it a third time. Get the
lovely miss Ong to help you.

DANIEL
Your wish is my command.

DANIEL BOWS AT THE WAIST AS HE BACKS OUT OF THE ROOM. HE

EXTENDS HIS LEFT ARM AND ROLLS HIS HAND AROUND LIKE SOME OLD
TIME MIDDLE EASTERN SERVANT.

WE SEE A MONTAGE OF SHOTS AS DANIEL AND ONG TEST AND RETEST

MILES OF ELECTRICAL WIRES AND CIRCUITS FROM THE DOWNED
AIRCRAFT.

ONG
Well so far I don't see any failed
wires or circuits. Do you?

DANIEL
Nope. Me neither.
ONG
I guess we'll have to tell the boss
to go in another direction.
DANIEL
He won't like that.

ONG
The evidence is what the evidence
is.

DANIEL
Or isn't.

CUT TO
 46.

INT. LAB NTSB HEADQUARTERS -- LATER

WHITCOMB,DANIEL AND ONG ARE STANDING OVER THE PILE OF WIRES

FROM THE AIRPLANE WRECKAGE.

WHITCOMB
So no luck finding an electrical
problem? You're absolutely sure?

DANIEL
Absolutely.

WHITCOMB TURNS STRAINING TO THINK OF SOMETHING.

WHITCOMB
So no explosive residue. No
electrical problem. Hmm. Smoke.
Fire. Explosion. We know by the
cockpit recording that the fire
started in the cargo hold. If it
wasn't electrical what else could
cause a fire to start there?

DANIEL AND ONG SEARCH THEIR MINDS FOR AN ANSWER WITH NO LUCK.

WHITCOMB (CONT'D)
Friction.

DANIEL
Friction?

WHITCOMB
Friction.

WHITCOMB SUDDENLY LEAVES THE ROOM WITHOUT EXPLANATION.

ONG
Friction?

CUT TO

INT. HALLWAY NTSB LAB -- CONTINUOUS

THE CAMERA FOLLOWS WHITCOMB AS HE EXITS THE LAB. HE GOES

DOWN THE HALLWAY IN TO HIS OFFICE AND BEGINS TO LOOK SOMETHING
UP. FIRST WE SEE ON THE COMPUTER SCREEN SOMETHING TITLED
PLANS AND BLUEPRINTS. THE WE SEE HIM GO IN TO A SUB HEADING
TITLED AIRPORTS. THEN WE GET A SHOT OF HIM WITHOUT SEEING
WHAT'S ON THE COMPUTER SCREEN AS WE HEAR THE PRINTER WORKING.
THEN WE SEE THE COMPUTER SCREEN AGAIN AND HE IS LOOKING AT
ADDS FOR LUGGAGE. WE GET ANOTHER SHOT OF HIM PRINTING
SOMETHING ELSE OUT.

CUT TO
 47.

INT. LAB NTSB HEADQUARTERS -- LATER

DANIEL AND ONG ARE STILL IN THE LAB AS WHITCOMB WALKS BACK
IN HOLDING A SET OF PAPERS IN EACH HAND. HE GIVES THE ONE
IN HIS RIGHT HAND TO THEM.

WHITCOMB
Here's a set of plans. I want you
to build this.

DANIEL
Okay. Right now?

WHITCOMB
Yes.

HE SHOWS THEM THE OTHER SET OF PAPERS.

WHITCOMB (CONT'D)
While I go out and buy these.

ONG
I'll go buy them. I luvvvv shopping.

WHITCOMB
This is not shopping. This is part
of a scientific experiment.

DANIEL
Yes boss.

WHITCOMB LEAVES THE LAB.

ONG
I still luvvvvvv shopping.

WE GET A MONTAGE OF SHOTS AS DANIEL AND ONG BUILD A REPLICA

OF AN AIRPORT LUGGAGE LANDING BELT. WE ONLY GET TIGHT SHOTS
OF IT AS THEY BUILD IT SO THE AUDIENCE CANNOT SEE CLEARLY
WHAT IS BEING ASSEMBLED.

CUT TO

INT. LAB NTSB HEADQUARTERS -- LATER

WHITCOMB REENTERS THE LAB. WE SEE HIM ENTER A TIGHT SHOT OF

DANIEL AND ONG NEXT TO THE BELT. THE CAMERA PULLS OUT AND WE
SEE THE FINISHED BELT. WE ALSO SEE THREE CARRY ON ITEMS
WHITCOMB HAS. TWO LARGE ONES AND ONE SMALLER ONE. HE IS ALSO
CARRYING A SHOPPING BAG FROM A DRUG STORE AND A CLOTHING
STORE.

ONG
Did your shopping trip. I mean your
scientific expedition go well.

WHITCOMB
Smashingly.
 48.

DANIEL
So what's the luggage for? You going
on a trip?

WHITCOMB
If only it were so. No. You're
going to take these.

HE PUTS THE TWO LARGEST PIECES OF LUGGAGE ON THE TABLE.

WHITCOMB (CONT'D)
And fill them wit these.

HE EMPTIES THE CLOTHING BAG ON TO THE TABLE.

ONG
Nice threads. But nothing appears
to be my size.

WHITCOMB
Now you'll take this.

HE PUTS THE SMALLEST PIECE LUGGAGE ON THE TABLE BETWEEN THE

TWO BIG ONES.

WHITCOMB (CONT'D)
And fill it with this.

WHITCOMB DUMPS OUT THE DRUGSTORE BAG. ALL MANNER OF

TOILETRIES FALL OUT OF THE BAG.

DANIEL
Okay.

DANIEL AND ONG FILL UP THE LUGGAGE AS INSTRUCTED.

DANIEL (CONT'D)
Now what?

WHITCOMB
We put these three bags on the belt
like this and start it up.

HE PUTS THE THREE BAGS ON THE BELT WITH THE SMALLEST ONE
STILL IN THE MIDDLE AND STARTS IT UP. WE SEE THE SMALL BAG
TRAPPED BETWEEN THE TWO LARGE ONES AS IT GOES ROUND AND ROUND.

WE HAVE AN INSERT. IT STARTS AT AN AIRPORT TICKET COUNTER.

WE FOLLOW A PIECE OF CARRY ON LUGGAGE AS IT GETS PUT ON THE
CONVEYER BELT AND WORKS ITS WAY THROUGH THE PASSAGE WAYS
TOWARD WORLD WIDE AIRLINES FLIGHT 426. WHITCOMB HAS VOICE
OVER.

V.O. WHITCOMB
 49.

Now luggage goes from the ticket

counter. Where it's placed on the
belt. It works its way down toward
the end of the line. What if a small
piece of baggage got trapped in
between two bigger ones. The friction
of that movement could very easily
super heat the bag. If one or more
of the toiletries was flammable.
Like anything with alcohol such as
nail polish. Maybe nail polish
remover. Or hair spray.

END INSERT

WHITCOMB
It could very well cause the bag to
burst in to flames...

THE THREE OF THEM STAND THERE WATCHING THE LUGGAGE MOVE ROUND
AND ROUND. THE SMALL BAG BEGINS TO SMOKE. THEN IT SUDDENLY
BURSTS IN TO FLAMES CAUSING DANIEL AND ONG TO JUMP BACK.
THEN THE SMOKE DETECTOR AND THE FIRE SPRINKLERS GO OFF. THE
ROOM IS FILLED WITH A DEAFENING NOISE AND A SHOWER OF
CONCENTRATED WATER. THE THREE OF THEM GET SOAKED AS WHITCOMB
CALMLY FINISHES SHOUTING HIS EXPLANATION.

WHITCOMB (CONT'D)
Then the rest of the luggage catches
fire and eventually it reaches the
60,000 pounds of jet fuel and goes
up in a fiery ball of flame.

COOLIDGE AND COVERUBIOUS ALONG WITH SEVERAL OTHER NTSB

PERSONAL RUSH IN TO THE ROOM. THEY STAND IN THE DOORWAY
WATCHING AS THE FIRE SLOWLY DIES DOWN.

ONG
Well I think we solved that case.

WE SEE DOUGLAS FRANTICALLY RUSH IN FIRE EXTINGUISHER IN HAND

AND JOIN COOLIDGE AND COVERUBIOUS.

END OF ACT THREE

 50.

ACT FOUR

CUT TO

INT. INTERVIEW ROOM NTSB HEADQUARTERS -- LATER

MR WATSON AND HIS ATTORNEY JARED LOFTUS 62 SILVER HAIRED ARE

SITTING IN THE INTERVIEW ROOM. COOLIDGE,COVERUBIOUS AND FBI
AGENT RENALDO CHASE ENTER. CHASE AND COVERUBIOUS SIT ACROSS
FROM THEM AT THE TABLE AS COOLIDGE STANDS IN THE CORNER WITH
HIS ARMS FOLDED.

LOFTUS
I've advised my client not to talk
to you. But against the advice of
counsel here we are.

CHASE
So what do you have to say to us Mr
Watson?

WATSON IS WORKING UP THE COURAGE TO TELL THEM SOMETHING.

CHASE (CONT'D)
If you don't want to talk to us. We
can just leave and these two will
keep investigating.

WHEN CHASE GETS NO RESPONSE HE BEGINS TO GET UP AND HEAD FOR

THE DOOR. COVERUBIOUS AND COOLIDGE DO THE SAME

WATSON
Wait. Wait. Please wait.

THE THREE OF THEM RESUME THEIR PREVIOUS POSITIONS.

WATSON (CONT'D)
I never meant to hurt anybody.

COVERUBIOUS
So what did you do?
WATSON
I didn't tell any one what was going
to happen.
COOLIDGE
No accomplishes? So you formed a
plan to derail the train all by
yourself?

WATSON
I didn't plan any derailment and I
had nothing to do with derailing the
train itself.

CHASE
So just what did you do Mr Watson?
 51.

WATSON
I got some information.

CHASE
You got some information?

WATSON
Yes.

CHASE
You care to share it with us?

WATSON
I was working part time for the
railroad in the traffic control
division. They handle everything in
regards to the railroad crossings.
their maintenance schedule. Their..

COOLIDGE
We get the idea.

WATSON
So one day I'm working my shift and
a tape comes in the mail. That's
part of my job too. So I play the
tape and I realize I can get even.

COVERUBIOUS
Even for what?

WATSON
For the way they treated me. Cheated
my out of money after the merger.

CHASE
So this mysterious tape. It showed
you how to get even with the railroad.
But you didn't have anything to do
with planning or executing the train
crash?
WATSON
That's right. I didn't even know
there was going to be any kind of
crash like that. Or I ever would
have taken my..

COVERUBIOUS
Your daughter and granddaughter?

COOLIDGE
Your deceased daughter and
granddaughter. Along with all those
other people.

CHASE
So just where is this tape?
 52.

HIS ATTORNEY GRABS HIS BRIEFCASE FROM UNDER THE TABLE. HE

OPENS IT UP ON HIS LAP AND PULLS LARGE ENVELOPE OUT.

LOFTUS
Before I hand it over I want a deal
for my client.

CHASE
You'll be lucky if he doesn't get
the death penalty if he really had
anything to do with the crash.

LOFTUS
He didn't he just did a stupid thing.
For a stupid reason and paid an awful
price for it.

LOFTUS HANDS CHASE THE ENVELOPE. CHASE PUTS ON SOME PLASTIC

GLOVES AND CAREFULLY OPENS IT UP AND PULLS OUT THE VIDEO
TAPE.

CUT TO

INT. NTSB LAB TAPE VIEWING ROOM -- LATER

WHITCOMB,COOLIDGE,COVERUBIOUS,DOUGLAS AND CHASE ARE SEATED

THERE. IN FRONT OF THEM IS A LARGE TELEVISION SET WITH A VCR
PLAYER UNDERNEATH IT. DANIEL AND ONG WALK IN. ONG HAS THE
TAPE IN AN EVIDENCE BAG. DANIEL SITS DOWN AS ONG WALKS UP TO
PUT THE TAPE IN.

ONG
everybody ready?

COOLIDGE
what no popcorn?

ONG POPS IN THE TAPE. AN ANGRY LOOKING WHITE MAN MICHAEL

MASON 46 IMMEDIATELY APPEARS ON THE SCREEN.

MASON
You God damn idiots. You people over
there are worthless. A touring mummy
could set the traffic lights around
a train crossing better! Well you
made me wait and it costs me plenty.
So now I'm going to make you wait!
Hope you like waiting in a grassy
field in the middle of now where for
repairs!!!!!

DANIEL
Somebody's mad.
DOUGLAS
Yes but it doesn't seem like he's
mad enough to kill.
 53.

WHITCOMB
Obviously he changed his mind.
Edward,Celerina and Gilbert lets
check and see if there were any
incidents of trains or tracks being
disabled. Most of the smaller
incidents will not even be reported
to us. So you'll all have to do
some leg work. Daniel and Lynn
analyze the tape and the envelope.
See if we can get a lead on this guy
that way.

CUT TO

INT. LAB NTSB HEADQUARTERS -- LATER

DANIEL AND ONG DUST THE TAPE AND ENVELOPE FOR PRINTS. THEY
TEST THEM BOTH FOR CHEMICAL RESIDUE. WE SEE A COPY OF THE
FRONT OF THE ENVELOPE AS THEY RUN IT THROUGH AN FBI
HANDWRITING ANALYSIS AND PROFILING PROGRAM. WHITCOMB WALKS
IN TO THE ROOM AFTER THEY'RE DONE.

WHITCOMB
So what did you two find out?

ONG
Well we found saliva on the envelope.

WHITCOMB
Enough for a DNA match.

ONG
Yep. Ran it through the criminal
data basis. No match.

WHITCOMB
Prints?

ONG
Found prints too. Same thing as the
saliva. No match.

WHITCOMB
What about handwriting analysis?
ONG
The graphologist found the subject
to be sane but harboring a deep seated
paranoia. Possibly also suffering a
depression do to a recent traumatic
event.

WHITCOMB
What about the tape itself?
 54.

DANIEL
Well we already know by the tape
that he was a white male in his mid-
forties. The FBI profiler reviewed
the tape. He said college educated.
Southern accent. Desperate.

WHITCOMB
I can see all of that from the tape.
Not just the white mid-forties part.
What else did he have that would
help us figure out who this guy is?

DANIEL
Well the phrase he uttered did.

WHITCOMB
And?

DANIEL
Well all though he said "touring
mummy" right.

ONG
I did. But what the hell is a
"touring mummy"

DANIEL
A mummy that goes on the road with
Aerosmith?

WHITCOMB
Probably a touring exhibition of
Egyptian culture.

DANIEL
Right. If he really said "touring
mummy". I ran the tape again as
slow as I could because something
caught my trained ear. It sounded
like "touring mummy" because of his
accent. Plus the fact he was rushig
his words out in extream anger. In
addition to that he may have been
under the influence of drugs and or
alchol.

WHITCOMB
So what did he really say.
DANIEL REACHES FOR A REPLAY DEVICE AND WE CLEARLY HEAR A
VERY SLOW DISTINCT UTTERANCE OF THE PHRASE "TURIN MUMMY"

DANIEL
Turin Italy has an Egyptian museum.
 55.

WHITCOMB
The second in the world after Cairo.
It's magnificent.

ONG
You've seen them.

WHITCOMB
Yes. Both the one in Egypt and the
one in Museo Egizio in Italy.

DANIEL
Well recently the Turin one had a
exhibition in the United States.
Guess where one of its stops was?

WHITCOMB
At the University of Pennsylvania?

DANIEL
Yep. How did you know that?

WHITCOMB
The University of Pennsylvania's
museum of archaeology and anthropology
has a world class selection of
Egyptian art.

DANIEL
Plus it's less then fifty miles from
our crime scene.

WHITCOMB
Beautiful Daniel! Good job.

ONG
Hey aren't I beautiful too?

WHITCOMB
You're always beautiful Ong. You're
both so beautiful.
DANIEL
Ahh gee thanks boss.

CUT TO

INT. NTSB SUV -- LATER

WHITCOMB,COOLIDGE,COVERUBIOS AND DOUGLAS ARE DRIVING IN TO

BRAXFORD. WE SEE A SIGN THAT SAYS WELCOME TO THE UNIVERSITY
OF PENNSYLVANIA.

DOUGLAS
I love a good road trip.

COOLIDGE DOES A BAD AL PACINO IMPRESSION FROM THE FIRST

GODFATHER.
 56.

COOLIDGE
This is business not pleasure rookie.

COVERUBIOUS
The line is this is business not
personal.

COOLIDGE
Pleasure. Personal. What's the
difference.

WHITCOMB
Look Mr Pacino.

COOLIDGE
You can call me Al.

WHITCOMB
Al please shut up and drive.

COOLIDGE
Yes boss.

THEY CONTINUE DOWN THE MAIN ROAD IN SILENCE UNTIL THEY COME
TO ENTRANCE FOR THE COLLEGE. A SIGN OUT FRONT SAYS THE
UNIVERSITY OF PENNSYLVANIA. THE DRIVE INSIDE AND START
CRUISING DOWN THE MAIN BOULEVARD. SEVERAL PRETTY COEDS LOOK
AT THE SUV AS THEY PASS BY.

COOLIDGE (CONT'D)
Ah college life. I remember it well.

COVERUBIOUS
The best twenty years of your life.

COOLIDGE
If only.

WHITCOMB
Did you know that there were nine
colleges before the American
revolution. They were called the
colonial colleges. The university
of Pennsylvania was one of them.
Founded in 1740
COOLIDGE PULLS UP RIGHT IN FRONT OF THE BEAUX ARTS BUILDING
THAT HOUSES THE MUSEUM. THERE ARE NO SPACES THERE EXCEPT IN
A NO PARKING ZONE. COOLIDGE PULLS IN TO IT.
DOUGLAS
That's against the law.

COOLIDGE
We are the law boy.

COVERUBIOUS
Spoken like a true intellectual.
 57.

THEY EXIT THE CAR AND COOLIDGE GOES TO LOOK AT THE PLAQUE IN
FRONT.

COOLIDGE
Well this is an interesting place.
Displays of both middle eastern and
African artifacts.

DOUGLAS
I remember seeing those mummy movies
when I was a little kid. I still
watch them sometimes.

COOLIDGE
You need to get out more Gilbert.

A FEMALE UNIVERSITY POLICE OFFICER (YOUNG PRETTY)DRIVES UP

NEXT TO THEIR ILLEGALLY PARKED SUV. SHE SHOUTS OUT THE WINDOW
AT THEM.

FEMALE OFFICER
Hey you can't park there.

WHITCOMB
We're federal officers maam.

COOLIDGE
Maam?

COVERUBIOUS
He's always so polite.

FEMALE OFFICER
You still can't park there.

SHE GETS OUT OF HER VEHICLE AND WALKS UP TO THEM. SHE REMOVES
HER SUNGLASSES AND SHOWS OFF HER PRETTY BLUE EYES. WHITCOMB
AUTOMATICALLY TURNS ON THE CHARM WITH HER.

WHITCOMB
I'm sorry. We'll move it immediately.
Edward.

COOLIDGE
Gilbert.
HE TOSSES THE SUV KEYS TO DOUGLAS.

WHITCOMB
Maybe you can help us.

FEMALE OFFICER
I'd love to.
COOLIDGE AND COVERUBIOUS JUST WATCH AND SMILE AT THEIR BOSSES
INSTANT CHARM.
 58.

WHITCOMB
We're looking for someone.

HE PULLS A PICTURE OUT OF HIS JACKET POCKET AND SHOWS IT TO

HER.

FEMALE OFFICER
Oh that's professor Barnsfeld.

WHITCOMB
And do you know where we might be
able to find professor Barnsfeld?

FEMALE OFFICER
Marty's not in any kind of trouble
is he?

WHITCOMB
Marty. Not really. We just need to
speak to him about some evidence.
We need his professional opinion on
it.

FEMALE OFFICER
Well he should be some where inside
the museum today.

WHITCOMB
Thank you. You've been most helpful.
Could I get your card. So I can put
in my report. You know Washington
is very particular about these things.

SHE PULLS A CARD OUT OF HER BREAST POCKET.

FEMALE OFFICER
Here let me put my home phone number
on the back. In case you think of
anything else you need. For your
report.

WHITCOMB
Of course.

WHITCOMB TAKES THE CARD. DOUGLAS GOES TO MOVE THE SUV AS

THE OTHER THREE HEAD IN TO THE MUSEUM.

CUT TO

INT. U OF P MUSEUM -- CONTINUOUS

THEY ENTER THE MAIN LOBBY AND LOOK UP AT THE TALL CEILING
AND MARVEL AT SOME OF THE EXHIBITS.
DOUGLAS
Wow. This is really incredible.
 59.

COVERUBIOUS
Just beautiful.

WHITCOMB
Art washes away the soul the dust of
everyday life.

DOUGLAS
Who said that?

WHITCOMB
Pablo Picasso.

COOLIDGE
Well there's the security guard.
Maybe he can tell us where professor
Barnsfeld is.

THEY WALK UP TO THE GUARD WHO WARILY NOTICES THEIR GUNS.

THEY FLASH THEIR BADGES AGAIN.

WHITCOMB
We're looking for professor Barnsfeld.

THE GUARD TAKES A LONG LOOK AT THEIR ID. THEN HE WORDLESSLY

TURNS AND WALKS OFF.

COVERUBIOUS
I guess we're supposed to follow
him.

THEY FOLLOW THE SECURITY GUARD AS HE EXITS THE LOBBY AND

HEADS DOWN A CORRIDOR TOWARD A GROUP OF OFFICES. THE GUARD
DISAPPEARS IN TO ONE OF THE OFFICE DOORS ON THE LEFT.

COOLIDGE
Gilbert you to go in first in case
their's some kind of portal to another
dimension.

COOLIDGE DOES A BAD ROD SERLING TWILIGHT ZONE IMPRESSION.

COOLIDGE (CONT'D)
A dimension of sight and sound unlike
any other.
WHITCOMB
You go first Edward.

COVERUBIOUS
Promise to write from that other
dimension

COOLIDGE SLOWLY WALKS UP TOWARD THE OFFICE THE SECURITY GUARD

JUST ENTERED WITH THE OTHER THREE IN TOW. BEFORE HE CAN
STEP IN TO THE OFFICE A SHOT RINGS OUT AND EVERYBODY REACTS
BY DRAWING THEIR WEAPONS AND TAKING UP DEFENSIVE POSITIONS
ALONG THE WALL.
 60.

WHITCOMB
Bransfeld. If that was you who just
fired off that shot. We're federal
agents.

WHITCOMB SIGNALS TO HIS OTHER TEAM MEMBERS TO GET READY TO

GO IN TO THE ROOM. HE SILENTLY COUNTS TO THREE. THEN THEY
RUSH IN TO THE ROOM. COOLIDGE FIRST. THEN
WHITCOMB,COVERUBIOUS AND FINALLY DOUGLAS.

CUT TO

INT. BRANSFELD'S OFFICE -- CONTINUOUS

THEY FIND BRANSFELD SITTING BEHIND HIS DESK WITH THE GUARDS
GUN IN HIS HAND. HE HAS IT LEVELED AT THE GUARDS HEAD.

COOLIDGE
Professor Bransfield put down the
weapon. You don't want to go out
this way.

WHITCOMB
He's right Professor. This is the
wrong way to end it all. You want
something more poetic then this.
Something that suits the station in
life you aspire to.

BRANSFIELD
Your right. But as you know.
Sometimes people are born great.
Sometimes greatness is thrust upon
them.

BRANSFIELD LOOKS LIKE HE IS GOING TO LOWER THE PISTOL THEN

HE TURNS IT TOWARD WHITCOMB AND COOLIDGE. BEFORE THEY CAN
RESPOND ANOTHER SHOT RINGS OUT. THEY LOOK BACK AND SEE THAT
DOUGLAS HAS DISCHARGED HIS WEAPON POSSIBLY SAVING THEIR LIVES.

CUT TO
INT. INTERVIEW ROOM NTSB HEADQUARTERS -- LATER

WHITCOMB AND FBI AGENT CHASE ARE SEATED AT A TABLE. ACROSS

FROM THEM IS PROFESSOR BRANSFIELD WHO HAS A LARGE BANDAGE ON
HIS RIGHT FOREARM. BRANSFIELD'S ATTORNEY IS ALSO PRESENT.

CUT TO
EXT. INTERVIEW ROOM NTSB HEADQUARTERS -- CONTINUOUS

COOLIDGE,COVERUBIOUS AND DOUGLAS ARE LOOKING THROUGH THE TWO

WAY MIRROR AND LISTENING TO THE INTERVIEW.

COOLIDGE
Gees rookie I didn't know you were
such a good shot.
 61.

COVERUBIOUS
Lucky for you he was.

COOLIDGE
Thanks.

DOUGLAS
My dad took us hunting all of the
time. We used to go to the pistol
range too.

CUT TO

INT. INTERVIEW ROOM NTSB HEADQUARTERS

CHASE
So why did you do it?

BRANSFIELD
The security guard?

CHASE
No the train.

BRANSFIELD
Oh that. I had the chance of a
lifetime. A chance to secure a
priceless treasure for the museum
that I've spent my life time building
up. I lost my wife. My home. My
children all in the pursuit of
excellence. The final crowning piece
I needed was in my grasp until those
idiots made me wait there for no
good reason.

FLASHBACK DAY WE SEE BRANSFIELD EXITING THE MUSEUM AND

ENTERING HIS CAR. HE MAKES A LEFT HAND TURN ON SEVENTY FIFTH
AVENUE. HE TRAVELS ON A WHILE OBVIOUSLY VERY HAPPY WHISTLING
NOT A CARE IN THE WORLD. JUST BEFORE THE NEXT INTERSECTION
WE SEE A SET OF TRAIN TRACKS CUTS ACROSS THE ROAD. ON THE
OTHER SIDE OF THE TRACKS IS ENOUGH ROOM FOR TWO CARS TO STOP
BEFORE THE LIGHT. ANOTHER ROAD CUTS DIAGONALLY FROM LEFT TO
RIGHT THROUGH THE INTERSECTION. BRANSFIELD IS THE SECOND
CAR OVER THE TRACKS AS THE LIGHT SUDDENLY GOES RED. HE HEARS
THE WARNING LIGHTS GO OFF AND THE GATE CLOSE TRAIN GATE CLOSE
BEHIND HIM KEEPING ANYBODY FROM STRADDLING THE TRAIN TRACKS
BEHIND HIM. THE TRAIN WHISTLES GOES OFF SIGNALING ITS
APPROACH. THEN HE FEELS THE TRAIN AS IT RUMBLES BEHIND HIM.
THE LIGHT TURNS GREEN FOR THE OTHER CARS WHO ARE NOT HEADED
IN TO THE TRAINS PATH. BUT THE LIGHT DOESN'T CHANGE FOR
HIM. HE IS STUCK WAITING FOREVER AS THE TRAIN KEEPS GOING
AND GOING.
END FLASHBACK
 62.

WHITCOMB
You sabotaged a train because you
had to wait for five minutes.

BRANSFIELD
It was fourteen. The damn light
should have changed for us. We were
on the other side of the tracks.
Even if the light changed the cars
on the other side of the tracks
weren't going to drive in to the
train. I needed to be somewhere in
less then an hour. Because of that
stupid light and those stupid
engineers that set up the lights.

WHITCOMB
You killed all of those people because
of a delay in the traffic lights?

BRANSFIELD
They sold my piece to some one else!
Don't you understand!

WHITCOMB
I understand you'll be waiting some
place a lot worse for a lot longer
then an extra fourteen minutes.

CUT TO

INT. WHITCOMB'S OFFICE -- LATER

WHITCOMB IS SITTING BEHIND HIS DESK.

COOLIDGE,COVERUBIOUS,DOUGLAS,DANIEL,PHILLIS AND ONG ARE ALL
ASSEMBLED IN HIS OFFICE

WHITCOMB
I just wanted to let you all know
how proud I am off you all.

EVERYONE APPLAUDS.

WHITCOMB (CONT'D)
The chief has authorized a unit
citation for us.

EVERYONE CHEERS.

WHITCOMB (CONT'D)
So is everyone up for dinner.

NO RESPONSE.
WHITCOMB (CONT'D)
It's on me.
 63.

EVERYONE ENTHUSIASTICALLY AGREES TO DINNER. THEN COOLIDGE

BEGINS TO CLEAR HIS THROAT.

WHITCOMB (CONT'D)
What?

COOLIDGE
I was kind of hoping you could all
come out and cheer me on tonight.

DANIEL
Why you finally getting laid again.

EVERY LAUGHS.

COOLIDGE
Very funny. No I was reviving my
comedy act.

COVERUBIOUS
Isn't that what we see every day on
the job.

COOLIDGE
My professional comedy act. At the
Century club.

ONG
Oh this I have to see.

EVERYONE NODS IN AGREEMENT.

WHITCOMB
Okay. Then its dinner and drinks,
and Edward at the Century club.

CUT TO

INT. CENTURY COMEDY CLUB -- LATER

EVERYONE FROM THE NTSB TEAM IS SEAT AT AT TABLE. DRINKS ARE

BEING SERVED. PEOPLE ARE THROWING PAPER AT EACH OTHER. AN
EMCEE COMES ON STAGE AT TAKES THE MICROPHONE.

EMCEE
All right ladies and gentle men. It
is my great pleasure to introduce
our next act. All the way from
regions unknown Edward "Goodtime"
Coolidge.

THE TABLE ERUPTS IN APPLAUSE AND SHOUTS OF ENCOURAGEMENT AS

COOLIDGE GETS OUT OF HIS SEAT AND BOUNDS ON STAGE.
COOLIDGE
Hello everybody. It's good to be
performing again.
(MORE)
 64.

COOLIDGE (CONT'D)
So lets get to the action. Why did
the chicken cross the road? To get
to the burger stand for dinner.

GROANS. A FEW LIGHT LAUGHS.

COOLIDGE (CONT'D)
Didn't like that one. Okay. Here's
another. Two priests and a rabbi go
in to a bar.

MORE GROANS AND SEVERAL BOOS. SUDDENLY ONG SPRINGS OUT OF

HER SEAT AND LEAPS ON STAGE. SHE GRABS THE MICROPHONE OUT
OF COOLIDGE HANDS.

ONG
Why did the chicken cross the road?

ONG HOLDS THE MICROPHONE OUT SO THE CROWD CAN ANSWER.

CROWD
"TO GET TO THE OTHER SIDE"

ONG TAKES SEVERAL BOWS AS THE CROWD APPLAUDS. COOLIDGE

REGAINS HIS COMPOSURE TRIES TO TAKE THE MICROPHONE BACK BUT
ONG WON'T LET GO. ONG USES ONE OF HER HANDS TO UNBUTTON HER
LOOSE FITTING TOP REVEALING A SMALL TIGHT LOW CUT T-SHIRT
WITH THE WORDS "SEXY" IN SEQUINS THAT SHOWS OFF HER AMPLE
BOSOM. THE CROWD ROARS IT APPROVAL. THEN GETS UP AND GIVES
HER A LOUD STANDING OVATION.

FADE OUT

THE END