Source Code

by Ben Ripley

1/18/2007

SOURCE CODE

Darkness. A SOUND slowly builds: the rhythmic rocking of a TRAINS WHEELS over RAILROAD TRACKS... INT. HIGH SPEED TRAIN - MORNING COLTER jolts awake. He blinks. Sunlight hits his face. Hes disoriented.

A stunned beat.

Slowly he turns his head to one side... PASSENGERS. Filling most of the seats. their morning commute into a city. Office workers on

Turning the other way, hes confronted with a window. Trees flash by, splitting the rising sunlight into a hypnotic strobe pattern. Colter looks to be thirty years old. A military buzz cut. A disciplined physique, lean and spare, almost gaunt. Skin burnished by years of desert sandstorms and equatorial sun. His expression, prematurely aged by combat, is perpetually wary, sometimes predatory, accustomed to trouble. Despite his military bearing, Colter wears a button down shirt and navy sports coat. On his wrist is a digital watch. It reads 7:40 a.m. He swallows. A strange, creeping panic.

He has no idea where he is. EXT. NEW JERSEY COUNTRYSIDE - MORNING The train hurls straight at us. NEW ANGLE -- Skimming alongside as the train twists and turns, sucking up track -- feet, yards, miles of it. Beneath it, the curving rails, which the rushing train barely seems to touch. They vibrate with an eerie, dulcimer HUM.

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INT. TRAIN - MORNING Colter hasnt moved. BAG. Is that his? By his side he sees a canvas MESSENGER

Tentatively, he lifts the edge of the bag to look inside. A red APPLE rolls against two LIBRARY BOOKS. The bags leather NAME TAG reads: SEAN FENTRESS. Its not coming back to him. starting to freak him out. This whole experience is A passenger walks by with

He catches the scent of something. a STEAMING CUP OF COFFEE. CHK-THOCK! soda.

Two rows back, an OVERWEIGHT MAN opens a can of

Sitting opposite Colter, facing him, is a WOMAN in her late twenties (CHRISTINA). In contrast to the corporate suits around her, her appearance is thrift store funky: black nail polish, dark lipstick, black hair with blue streaks, a buttondown blouse edged in black funeral lace with silver skull-andbones cufflinks. Shes busy writing in a journal. Maam? Nothing. COLTER Excuse me... maam? She looks up. Blank stare. COLTER

COLTER What is this? CHRISTINA Whats what? COLTER Where am I? CHRISTINA (looks out the window) Almost at Newark. Goes back to her journal. COLTER Whats Newark? A city?

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CHRISTINA Its more of a hell hole. But Colter still doesnt understand. He gets up. slams into him. He hangs on to the seat. COLTER Woah. (beat) I think Im going to puke. CHRISTINA (gestures, alarmed) Okay, bathrooms that way. Colter looks down the aisle, hesitating. Go. CHRISTINA Seriously. Nausea

Colter eases himself into the aisle. Totters down the length of the car until he finds the RESTROOM. The door is LOCKED. The latch reads OCCUPIED.

Bracing himself, he lurches forward into... INT. TRAIN - SECOND CAR - MORNING He freezes. Its a mirror image of the first car. the passengers are different. But no,

Beside him theres a small door. Thinking its the bathroom, he instead opens it to find a CONDUCTORS COMPARTMENT. A cramped office with chairs and surveillance monitors. Ticket? CONDUCTOR A jangling of

A heavy-set CONDUCTOR stands in the aisle. keys. Colter just stares at him. Dazed. CONDUCTOR May I see your ticket? The last thing on his mind. pockets. COLTER I dont think I...

Bewildered, he searches his

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CONDUCTOR Have to write you up then. He pulls out a citation pad. COLTER Is this...? From inside his sports coat he pulls out a TRAIN TICKET. conductor snips his ticket and brushes past. COLTER Wait a sec. Im a little out of it here. Wheres this train headed? New York. New York? CONDUCTOR Penn Station. COLTER The

Why would he be going to New York? How can this be happening? Fear starts to grip him as the hallucination simply continues. COLTER Do you know where I got on? The conductor examines his ticket again. CONDUCTOR Princeton Junction. COLTER Wheres that? CONDUCTOR Bout ten minutes back. COLTER But Ive never been to Princeton Junction. See... I dont remember waking up or buying a ticket or getting on the train or anything else. Its just a blank. Lucky you. CONDUCTOR

The jaded conductor moves on. Colter is alone with his confusion. Takes a deep breath. The nausea has eased slightly.

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Okay. out.

COLTER Youre gonna figure this

INT. TRAIN - FIRST CAR - MORNING Entering the first car again. be at least forty people. The rows of passengers. Must

As he walks back up the aisle, he looks from face to face: A pale COMPUTER ENGINEER reviews some documents. A forty-something SECRETARY does a crossword puzzle. DEREK, a stock broker type, talks on his cell phone: DEREK Trust me, by one oclock, the bridge is going to be jammed... A COLLEGE STUDENT, slumped against a window, eyes shut, listens to an MP-3 player. An OLD MAN with a faded wool suit clutches a cane. A BACKPACKER, female, European, 20s, hiking boots, examines a guidebook. A dowdy OFFICER MANAGER type sorts supermarket coupons into a tabbed file box. An African American EXECUTIVE reads a newspaper. None of them pays any attention to Colter. A WHOOSH of AIR -- he turns to An AIR-CONDITIONING VENT. The HISS of AIR sound sinister. Like the exhalations of a creature. A SCRAPE. He looks to see

A woman FILING HER NAILS. Colter cringes. Every detail, every sensory impression seems heightened, near the point of overload. He reaches Christina again. Eases back in the seat across from her. She writes in her journal, ignoring him.

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Theres something else in his sports coat. A WALLET. He turns it over a few times, inspecting it. Pulls out a DRIVERS LICENSE. Another mans face is in the photo. The name on the license reads: SEAN FENTRESS. The same name as on the messenger bag. The street address on the license reads: 58 Alexander Road, Princeton Junction, New Jersey. COLTER Sean Fentress? Who the hells that? And why does he have this guys wallet? speak with Christina again. Maam? COLTER He leans forward to

She lowers her journal, annoyed. We see she hasnt been writing but DRAWING. A well-executed sketch of a face. CHRISTINA Why do you keep calling me maam? How old do you think I am, anyway? COLTER Im having a little problem here. Im trying not to freak out, but I think somethings happened to me. Like what? CHRISTINA

COLTER Like, total memory loss. Complete. I dont know how I got here. CHRISTINA So you drank too much last night. So did I. Unfortunately, I remember the whole thing. COLTER Thats not it. See... Im a pilot. I fly helicopters in Iraq. Im in the army. She waits for more. As if hes telling a joke.

COLTER I was on a mission. Right before I woke up here I was in the middle of a mission...

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Wavering.

Unsure of himself.

His memories.

CHRISTINA Boy, you really did drink a lot last night. COLTER Im telling you the truth. ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. The train begins to SLOW DOWN. A few people begin to get up. The platform of Newark Station slides into view. COLTER These arent my clothes. wallet here... He holds up the drivers license. convince her. And this One final attempt to

COLTER You see this? This isnt me. CHRISTINA Of course it is. What? COLTER

CHRISTINA Take a look in the mirror, good sir. The mirror? She goes back to her sketchbook. Determined not to be interrupted again. Anxiety ripples through Colter. COLTER This cant be happening. The train lurches to a stop. ANNOUNCER (V.O.) Newark Station. Colter gets up. Through the windows, a few passengers disembark onto the platform: Derek, the Old Man, the College Kid and GUZMAN, a Middle Eastern man, who HURRIES past all of them towards the station building.

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Colter only half notices all this. Hes intent on reaching the trains BATHROOM, the door of which is now OPEN. ANNOUNCER (V.O.) All aboard. Doors are closing. Christina watches Colter go. Curious.

ANNOUNCER (V.O.) This is a New York bound train. Next stop, New York - Penn Station. The train begins MOVING. Colter reaches the bathroom.

INT. TRAIN BATHROOM - MORNING A fluorescent light flutters on as Colter shuts the door. Hes in a tiny space with prefab restroom fixtures in stainless steel. He SHOUTS in surprise. THE MIRROR Staring back is SEAN FENTRESSS FACE. Not his own. Recoils backwards. Eyes locked on

Hes frozen there. Heart pounding. Seized by cosmic panic. He SLAPS himself in the face. Hard. Wake up! COLTER

The restroom rattles and tilts with the motions of the train, obliging him to hang on. This isnt a dream. At least not one he can wake up from. The other guys face stares back at him. Blinks when he blinks. INT. TRAIN - MORNING Warehouses go by in a blur. The train is entering New Jerseys industrial zones on the outskirts of New York City. From her seat, Christina stares at the messenger bag which Colter left behind. Then up at the closed restroom door. CUT TO: BATHROOM DOOR

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Her hand knocks. Hey. CHRISTINA You okay in there?

INT. TRAIN BATHROOM - CONTINUOUS Colter sits on the closed toilet seat. Head buried in his hands. Scared. Desperate for it all to end. INT. TRAIN - CONTINUOUS Christinas holding Colters messenger bag. through the closed door. She talks

CHRISTINA You left your bag on the seat. Which is a flagrant violation of rail security, leaving a suspicious package behind and all that. I probably saved you a huge fine. No answer. CHRISTINA Ill just leave it right out here for you. She places the bag beside the door. She hesitates at the door. The oddness of this situation. INT. TRAIN BATHROOM - CONTINUOUS Colter stares into the mirror at the strangers face. Practically catatonic at this point. And then her voice -CHRISTINA (O.S.) If itll help you remember, youve been riding this train every morning for three months. Her words rouse him. COLTER (whispers) Three months?!

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INT. TRAIN - CONTINUOUS Christinas walking back down the aisle. The car rocks to one side as an EXPRESS TRAIN flashes by on the opposite tracks, going the other way. A blur and a whoosh, and its gone. INT. TRAIN BATHROOM - MORNING On the verge of opening the door, Colter hears a METALLIC RATTLING. Two SCREWS are rattling around in the sink. Colter picks up a screw. Turns it over and over in his hand. What are they doing in the sink? He looks UP. An overhead VENTILATION PANEL has been PRIED OPEN. is the darkness of a CRAWL SPACE. Something is sitting up there. From outside comes a TRAIN HORN. INT. TRAIN - MORNING Through the windows, a FREIGHT TRAIN is passing the other way. A moving wall of metal boxcars and liquid tankers. INT. TRAIN BATHROOM - MORNING Colter looks up into the crawl space. object up there. Cant quite see the Above it

Moving carefully in the tiny space, he stands up on the toilet. Grabbing onto the ventilation panel, he WRENCHES IT all the way open. Then PULLS himself uncomfortably upward. On tip-toes, he looks into crawl space and discovers A MASSIVE BOMB Its an enormous device. Several large CANNISTERS tied together, full of sloshing liquid. Barely discernible behind wires and gaffing tape is CELL PHONE -- the bombs detonator. Jesus. COLTER

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Running footsteps from outside.

Commotion.

An ALARM sounds.

THE BOMBS CELL PHONE RINGS -- THE DEVICES CIRCUIT CLOSES -THE BOMB EXPLODES IN COLTERS FACE WITH A HUGE AND DEAFENING FORCE, INSTANTLY KILLING HIM. INT. TRAIN - CONTINUOUS THE FIREBALL RIPS THROUGH THE CAR -- KILLING CHRISTINA AND ALL THE OTHERS. EXT. TRAIN TRACKS - MORNING Fuel lines explode in the other cars in a horrendous chain reaction. The fire is spectacularly bright, lighting up the windows of the rowhouse apartments facing the tracks. Nearby TREES INCINERATE, mere matchsticks amid sheets of flames. On the rowhouses, a ALUMINUM DOOR MOLDINGS begin to MELT in the intense heat. One of the FREIGHT CARS, loaded down with coal, shuddering from the blast, wobbles a few yards then PITCHES OVER -ROLLING off the rails, tipping right off the elevated tracks... It FALLS through the air and SMASHES into the middle of an traffic intersection below with a shattering force. The cascade of EXPLOSIONS continues. Large portions of BOTH TRAINS are ANNIHILATED, while the heat reduces the heavygauge steel rails back to elemental, molten ore. And then... An odd sound, like a BALLOON loosing air or MACHINERY winding down as we DISSOLVE TO: BRILLIANT WHITE. All sounds cease.

For exactly 1/3 OF A SECOND, a mysterious PATTERN OF LINES appears. Like METAL RODS, maybe. RADIATING OUTWARDS. It makes no sense. An abstract pattern. Then its gone. Many will not even see it.

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Now there is only darkness.

Nothingness.

Seconds pass.

The CLICK of an INTERCOM switching on. GOODWIN (V.O.) This is Beleaguered Castle. INT. ISOLATION UNIT Were VERY CLOSE on Colters UPSIDE DOWN face. His eyes flutter open. Hes surprised to find himself alive. Consternation flashes through him as he discovers that hes tightly strapped in. He now wears a military flight suit. GOODWIN (V.O.) Captain Colter Stevens, this is Beleaguered Castle. Acknowledge transmission. The measured calm of a mission controllers voice comes over Colters headset. GOODWIN (V.O.) Captain Stevens, do you copy? COLTER Where am I? GOODWIN (V.O.) Youre with Beleaguered Castle. PULL BACK, fractionally, to reveal Colter in a tight and confined CAPSULE. It bristles with sophisticated electronics and ghostly glowing diodes. Hes like an astronaut in an orbiter craft. GOODWIN (V.O.) Are you functional? He tries to clear his head. Im dizzy. COLTER Hes still upside down.

GOODWIN (V.O.) Adjusting your rotation. Very slowly, almost imperceptibly, Colters upside-down face begins to turn and right itself.

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GOODWIN (V.O.) Can you report at this time? COLTER What is this? Who am I talking to? More confusion. No idea how to react. Just as on the train.

GOODWIN (V.O.) Report what you saw. When? Just now. COLTER GOODWIN (V.O.)

COLTER I was on a train. And? GOODWIN (V.O.)

COLTER And... There was a bomb. (panicking) What the hell is going on?! GOODWIN (V.O.) Just relax, Captain. DISSOLVE TO: INT. ISOLATION UNIT Later. Were still in the tiny chamber. Its stabilized. As has Colter, but in the manner of a dangerous wild animal given a sedative. Embedded into the controls is a two inch-square VIDEO MONITOR. It shows the face of GOODWIN. Hes a middle-aged communications officer. Although we know him as Goodwin, his military name badge and rank insignia have been covered up. He wears a headset and sits surrounded by banks of electronic equipment and keyboards. He peers in at Colter, exuding the blandness of a military flight controller. GOODWIN Standby for thread one of alpha memory pattern.

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COLTER Who are you? GOODWIN You already have that information, Captain. Now think. Recall my name. A long moment. A name floats into his head. COLTER GOODWIN

Goodwin? Correct.

COLTER How do I know that? I have no idea how I know your names Goodwin. GOODWIN Commencing memory pattern. COLTER Listen to me. Somethings wrong. I was flying a mission. I was in a chopper. Then I woke up on a train. Now Im here. Can you explain that? What unit is this? GOODWIN Youre with Beleaguered Castle. Who? COLTER

GOODWIN Youre with friends. (patiently) The exercises will assist you. you ready?

Are

Just like with the train, he seems to have no choice but to go along with it. GOODWIN Memory Thread One. Listen to the following passage: When Lily woke, she had the bed to herself. She sat up, bewildered by the strangeness of her surroundings; then memory returned, and she looked about her with a shiver. (MORE)

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GOODWIN (cont'd) In the cold slant of light reflected from the back wall of a neighboring building, she saw her evening dress and opera cloak lying on a tawdry heap on a chair. End of thread one.
Silence. Is it Colters turn to speak? COLTER I dont get it. Is this a Red Flag exercise? GOODWIN Thread Two. Listen. I am holding the following hand of cards: Queen of spades. Four of clubs. Nine of clubs. Three of hearts. Nine of hearts. (beat) I repeat: Queen of spades. Four of clubs. Nine of clubs. Three of hearts. Nine of hearts. End of thread two. Beads of sweat on Colters forehead. What the hell?

GOODWIN Thread Three. The following is a recording of a Western Screech-Owl: A rather spooky BIRD CALL plays -- a short whistle, followed by a long trill. The call is repeated twice more. GOODWIN End of Thread Three. End of pattern. Acknowledge. Unexpectedly, in the back of his mind, a reply is there. COLTER A... Acknowledge. How did he know to say that? End of pattern. A conditioned response?

GOODWIN Stand by to initiate pattern recall. COLTER Go for pattern recall. The response comes to him more quickly. Like lines from an old script. Even if it still baffles him.

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GOODWIN (V.O.) The five playing cards. Arrange them in order of descending values, irrespective of suit. He thinks for a moment. all be okay. Focus. Play along. Maybe it will

COLTER Queen, two nines, four and a three. GOODWIN That is correct. The passage I read contained mention of a womans name. What was that name? Laurie. (then) No. Lily. COLTER Her name was Lily.

At each answer, Goodwin makes notations and adjusts gauges. GOODWIN That is correct. End of pattern. Goodwin leans forward to flip a switch and EVERYTHING GOES DARK. INT. ISOLATION UNIT Over DARKNESS, the SOUND of BACKGROUND CONVERSATION. Engineers speaking in technical jargon. Click. The units VIDEO MONITOR comes on again, illuminating Colter in its glow. Hes still strapped into the capsule. The tiny monitor shows an out of focus view of a LAB. movie camera inadvertently left on between takes. ENGINEERS wander past, oblivious. Their disjointed conversations continue at low volume. Abruptly, a MAN SMOKING A PIPE sits down in front of the camera. His graying hair is windblown and unkempt. His eyes are piercing blue. He wears a track and field warm-up jacket. He looks in at us with an unsettling Cheshire-cat grin. He puffs on his pipe. Winks. Pressing a button he -Click -- shuts the whole thing off again. vanish. Leaving us suspended. Sound and picture Like a

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INT. ISOLATION UNIT An indeterminate amount of time has passed. on the monitor. GOODWIN Please list the primary specifications of the aerial platform youve been trained to operate. Colter mulls his options. Should he talk? Keep silent? He tugs against the steel harness holding him in. A HATCH, like the kind used on submarines, seals the capsule. Goodwins voice grows slightly louder over his headset. GOODWIN Please list the primary specifications of the aerial platform youve been trained to operate. COLTER Is someone going to tell me whats going on here? GOODWIN Please list the primary -COLTER The UH-60 Blackhawk Helicopter weighs 20,250 pounds with a maximum exterior load capacity of 8,000 pounds. It has a range of 320 nautical miles and is armed with two 7.62 millimeter machine guns. GOODWIN That is correct. (suddenly redirects) Who bombed the train? The train. COLTER Goodwin is back

GOODWIN Who bombed the train, Captain? COLTER I have no idea.

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GOODWIN Whom do you suspect bombed the train? COLTER I dont know! GOODWIN You didnt see? COLTER Will you tell me what the hell is going on here? GOODWIN The Screech-Owl song can be seen as a progression of musical notes. Did the notes go up, down or remain at the same pitch? COLTER I dont know. Just tell me -GOODWIN How many times was the bird call repeated? COLTER What does this have to do with the train? GOODWIN How many times was the bird call repeated? Twice. Incorrect. Captain? COLTER GOODWIN Who bombed the train,

COLTER I dont know who bombed the train! Colter is seething now. Had it with these games. Use

GOODWIN You have seventeen minutes. them. Find the bomber.

ON SCREEN -- Goodwin leans forward to press a button and --

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Click. Everything goes dark. BREATHING. Hey.

We HEAR Colters nervous

COLTER (V.O.) Whats happening?

The HUM of machinery starting up. COLTER (V.O.) Goddamn it, Goodwin, what is all this? The machinery HUM changes modulation. GENTLE ROCKING SENSATION. Tha-thunk. INT. TRAIN - MORNING Colter opens his eyes... SUNLIGHT hits his face. look out A TRAIN WINDOW At the passing woodland scenery. Hes back on the train. Back in the same navy sports coat. Across from him, Christina is at work on her sketch pad. Just like before. Other commuters all around him. Everything is exactly the same as before.
Note: The remaining story will follow this binary pattern. Scenes will take place either on the train or in the capsule.

Then gives way to a Tha-thunk. Tha-thunk.

In flickering patterns.

He turns to

Compared to tomb-like isolation chamber he just came from, the train is exploding with sensory input -- the smell of steaming coffee, the cramped proximity of other passengers, the crinkle of an freshly-ironed dress shirt, the glint of a buckle on a purse, the slanting sunlight, the trees out the window, bursting with summer leaves. Almost unintentionally, Colter finds himself repeating the same opening actions as last time -- checking his watch (7:40 a.m.)... turning at the scent of passing coffee... peeking in the canvas messenger bag beside him... This time, however, he takes the books out of the messenger bag. The books are stamped NEW YORK PUBLIC LIBRARY. He also takes out the APPLE. Sniffs it. Takes a bit. good. No, its awesome. Crisp and delicious. Its

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Is Goodwin watching him from somewhere? Not knowing what else to do, he takes a few more bites. Enjoying this small pleasure. He reaches in his sports jacket pocket and pulls out his TRAIN TICKET. CLOSE ON -- THE TICKET. CHK-THOCK! as before. It hasnt been punched yet. Just

The Overweight Man opens his can of soda. COLTER Its a goddamn simulation.

Christinas pen stops sketching.

She glances up.

COLTER A three dimensional, completely immersive scenario. Touch, taste, sound, sight and smell. A measure of relief. A way to think about all this.

CHRISTINA Are you talking to me? COLTER Complete with pretty girl. CHRISTINA Pretty girl. COLTER Every combat simulator has one. In the middle of a fire fight a pop-up window starts playing a porno. (confident now) Youre an unusual choice for a distraction. CHRISTINA And youre a moron. Disregarding her, Colter gets up. Pursuing a new line of action. The only way he can make sense of this. He starts walking up the rows. COLTER Find the bomber. Find the bomber. The conductor approaches him.

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Ticket?

CONDUCTOR

Expecting this now, Colter hands over his ticket to be punched. COLTER Everything okay today, chief? Say what? CONDUCTOR

COLTER Anything out of the ordinary? The conductor frowns at him. Who is this guy?

CONDUCTOR Please take a seat, sir. Colter moves on. He looks for suspects. Weve seen the faces before -- the Computer Engineer, the Secretary, the Stock Broker, the Backpacker and so on. All seems normal. He finds himself focusing on a jumble of unfiltered details -- Suits. Ties. Shoes. Skirts. Watches. Newspapers. Coffee cups. Litter. Sudden dizziness. He grabs a seatback for support. details slam into him. We go EXTREMELY CLOSE ON: The STITCHING on a leather purse. A FOUNTAIN PEN rattling in a fold-out tray. AIR CONDITIONING hissing from a vent. A CRUMPLING SOUND as the Overweight Man crushes an empty soda can. TAP, TAP, TAP -- the Computer Engineer tapping his foot on the floor. Faster and faster. Derek, the Wall Street Type, talks on his phone: DEREK Trust me, by one oclock, the bridge is going to be jammed... Then... the CLICK of a LOCK UNLATCHING. Sensory

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The restroom door swings open. GUZMAN, the Middle Eastern man, emerges. After a furtive glance around, he quickly takes a seat. Now Colter makes the connection. The bomb in the restroom. The Middle Eastern man emerging from the same restroom. Colter starts down the long aisle. In his seat, Guzman slips on dark glasses. He looks forbidding with his mustache and olive-colored skin. COLTER Hows it going? Colter stands in front of him, arms crossed. Behind his dark glasses, Guzman ignores him, but hes visibly uncomfortable. COLTER Whats your name? Guzman is stock still. Beads of sweat on his forehead. conductor appears, accosting Colter. CONDUCTOR Didnt I tell you to take a seat? COLTER Goodwin? Where are you? over. I found him. Its But nothing The

Appealing to Goodwins invisible presence. happens. CONDUCTOR Who are you talking to?

An edgy silence. Other passengers looking over. Colters about to retort, about to accuse Guzman, when he stops. Its too easy. Colter senses the uproar hes about to create. might be a mistake. He reconsiders. COLTER Sorry. This guy seemed a little... anxious. I was worried about him. GUZMAN (thick accent) I am minding my business. to mind his. Which just

Tell him

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The conductor has noticed Guzmans white-knuckle uneasiness. CONDUCTOR You feeling all right, sir? With a pained smile, Guzman loosens his collar. GUZMAN Motion sickness, Im afraid. I believe I will get off at the next stop. Very well. CONDUCTOR

The conductor turns back to Colter. Okay. COLTER Im sitting down. He studies Guzman out of the

Turning away, he finds a seat. corner of his eye.

ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. The train begins to slow down. Several rows up, he sees Christina. with distaste. She looks back at him

A small number of passengers get up, among them the College Student. He catches Colters attention as he picks up a WALLET from a seat and catches up with Derek, the Stock Broker, whos about to get off the train. COLLEGE STUDENT Hey, you dropped this. DEREK (relieved, takes back the wallet) Wow. Thanks. The College Student waits to get off. closely. Colter now eyes him

As the train pulls to a stop, Guzman forcefully pushes forward towards the doors, moving with a barely contained urgency.

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GUZMAN Excuse me... Please let me through... COLTER (to himself) Jesus, hes running away. EXT. NEWARK PLATFORM - MORNING The doors slide open. ANNOUNCER (V.O.) Newark Station. The Old Man, Derek and the College Kid get off. hurries past them towards the station house. ANNOUNCER (V.O.) All aboard. Doors are closing. Just before the doors close, Colter steps out onto the platform. Eyes locked on Guzman -- who disappears inside the station house. The train PULLS OFF, leaving Colter behind. right move? Did he make the Guzman

As he goes to pursue Guzman, Colter is struck by more sensory impressions: The STATION CLOCK. Its digital numerals flash 7:50 a.m., hurting Colters eyes with their brightness. The dying HISS of the rails as the train recedes down the track. The super-sharp glint of a PENNY embedded down in the gravel of the tracks. The melancholy SIGH of trees in the wind. Pushing it all aside, he hurries after Guzman. INT. NEWARK STATION HOUSE - MORNING Entering, Colter stops. Theres no sign of Guzman. Just an empty marble lobby. A lone CLERK restocks timetable brochures at a display.

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COLTER A guy just came through here. you see where he went?

Did

CLERK (not looking up) Lots of guys come through here. Windows look out over the stations parking lot. sign of Guzman out there. COLTER He was just here. looking guy. A Middle EasternTheres no

Through the platform doors comes Derek, followed by the College Kid. Derek heads for the parking lot, while the College Kid mills around the newspaper stand. A muffled COUGH. Colter spins. Sees a door marked MENS ROOM.

INT. NEWARK STATION - MENS ROOM - MORNING Pushing open the door, Colter discovers a row of 1930s-era sinks and stalls. An intercom crackles to life: ANNOUNCER (V.O.) The train to Philadelphia will be four minutes late... The train to Philadelphia will be four minutes late... Colters footsteps echo down the length of the deserted mens room. The last stall door is SHUT. From within the closed stall, comes the sound of VOMITING. Colter edges closer. A toilet FLUSHES. Guzman emerges from the stall. awful. Freezes when he sees Colter. COLTER All better now? Guzmans face hardens. hands. He goes to the sink to wash his Looks

COLTER Dont much care for trains myself.

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The bathroom mirror, of course, reflects back Sean Fentresss face, not Colters. Guzman does not seem to notice this disparity. He picks up his briefcase and briskly walks out. Colter takes an uneasy look at Fentress looking back at him in the mirror, then follows Guzman out. INT. NEWARK STATION - MORNING Colter emerges in the lobby. Guzman is nearby. A bit indecisive. Colter wanders over to the newspaper stand. The STATION CLOCK reads 7:54 a.m. Colter looks down at HIS WATCH: THREE MINUTES remaining. What will Guzman do? Guzman glances over at Colter, then heads through the doors and back out on the train platform. EXT. NEWARK STATION - MORNING Guzman sits on a bench. Colter stops nearby him.

GUZMAN I resent this. This is harassment. You obviously work for someone. FBI. CIA. (bitter) I expected this reception in your country. COLTER How are you going to pull this off? That bomb has a cell phone detonator. And I dont see a pay phone around here. So Im betting you got a phone on you with the number already programmed in. GUZMAN I have no idea what youre talking about. I am an international business man. An executive. The tracks begin to VIBRATE. In the distance comes the HORN of an EXPRESS TRAIN approaching. COLTER Open your briefcase. Prove to me theres no phone in there.

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GUZMAN (stands up) I will prove nothing to you. me alone.

Leave

WHAM! Colter PUNCHES Guzman with tremendous force, sending Guzman sprawling to the ground. Colters hand throbs from the force of the punch. simulations reality stuns Colter all over again. The

Crouching down, Colter pops open Guzmans briefcase. Inside is a corporate IDENTIFICATION BADGE with Guzmans name and photograph on it. The company is Shell Oil. COLTER (reading) Hasnan Guzman, Vice President, Shell Oil. Must be a cover. ANNOUNCER (V.O.) Philadelphia train now approaching. Guzman groans in pain. Colter rifles through his briefcase.

COLTER Where the hells your phone? Another look at HIS WATCH -- 20 SECONDS. Grabbing Guzman, Colter goes through his suit pockets. He triumphantly pulls out GUZMANS CELL PHONE and steps back. Guzman looks up at him, eyes moist with humiliation and malice. COLTER I thought so. Now lets see you try to -A distant THUD rattles the station windows. Colter pivots, looks down the tracks. The first thing he sees is THE EXPRESS TRAIN Closing in on the station. The second thing he sees, far beyond it, miles further down the tracks, is the RISING PLUME of a HUGE EXPLOSION. Colter looks back at Guzman in shock. cell phone. Which has remained off. Then down at Guzmans

28.

COLTER You didnt do it. Disbelief. As the din of the distant explosion is drowned out by the ROAR of THE ARRIVING EXPRESS TRAIN With a cry of rage Guzman SPRINGS UP and PUSHES COLTER INTO THE PATH OF THE ON-COMING EXPRESS TRAIN -- with a blast of its horn, THE TRAIN RUNS HIM OVER. Everything stops. Like film celluloid catching fire in a projector, the world itself BLISTERS AND BURNS INTO SEARING WHITE... into smothering, forgetful SILENCE... For exactly 2/3 of a second (1/3 of a second longer than before), the same flickering after-image appears: THIN LINES -- RADIATING OUTWARD -This time they all connect into THE SPOKES OF A WHEEL. INT. ISOLATION UNIT The SOUND of MACHINERY STRAINING. Colter is SLAMMED back into his seat -- back in the capsule. All he can do is hang on and gasp for air. Holy fuck! Stabilize. COLTER GOODWIN (V.O.) Lower your pulse. Hes back in his military flight A BICYCLE WHEEL.

Colter opens his eyes. suit.

The craft goes still. Cautiously, he releases his hands from their grip on the seat restraints. He looks like hes sweated off five pounds. GOODWIN Do you need to urinate? COLTER A fucking train just ran over me.

29.

GOODWIN Do you need to urinate? COLTER How are you doing this? some kind of drug? GOODWIN Did you find the bomber? COLTER I didnt find the bomber. You fooled me with the Middle Eastern guy. I went for the diversion. What kind of freaky simulation is this? Let me out of here! GOODWIN Which Middle Eastern guy? specific. Be Am I on

COLTER Guzman. Shell Oil. Look, I dont have intel experience. Why do you have me doing this? GOODWIN Youve already been told what you need to know. Discipline your memory. Limit your operational awareness to the tasks we assign you. Everything else is irrelevant. COLTER Irrelevant? Killing me each time is irrelevant? GOODWIN You do not die. As you can see, you simply return to us. How? Silence. COLTER Whos the man with the pipe? Say again? GOODWIN COLTER How can you do that?

30.

COLTER There was a man smoking a pipe. I saw him on the monitor. Whos he? How does he fit into this? GOODWIN The man with the pipe isnt here right now. COLTER Let me talk to him. This isnt right. Im not your prisoner. Goodwin makes technical adjustments to dials and gauges. GOODWIN You feel unsatisfied with our relationship? COLTER What is this? Why are you talking like that? Is this some kind of script? GOODWIN If Guzman, the Middle Eastern man, is innocent, as you maintain, who might be the guilty party? Who cares? COLTER Im tired of this.

GOODWIN This isnt a game, Captain. COLTER Then what is it? Dont you already know who the bomber is? Dont you have all the answers? GOODWIN We have no answers. A weird beat. COLTER Corpses? Whose corpses? passengers? The Only corpses.

GOODWIN Some were too badly burned to be identified. (MORE)

31.

GOODWIN (cont'd) The heat from the explosion fused many of them completely into the wreckage. Is this the truth? Or another evasive answer? pulled in all kinds of unpleasant directions. COLTER These were real people? Yes. GOODWIN His mind

COLTER This really happened? Yes. When? Today. Today?! GOODWIN COLTER GOODWIN COLTER The train blew up today?

GOODWIN It was attacked this morning, at 7:57 a.m., Eastern Standard Time. Six miles outside of New York City. Colters head is spinning. COLTER Youre lying. I dont believe it. GOODWIN What do your senses tell you? His senses tell him its true. But how can he accept it?

COLTER Where am I, right now, as we speak? GOODWIN With Beleaguered Castle. COLTER My units still in Iraq. flying missions in Iraq. one yesterday! Im I flew

32.

GOODWIN Your unit was rotated Stateside three weeks ago. The news comes like a slap in the face. no memory of this. Colter clearly has

COLTER Then why do I still have Iraqi dirt underneath my fingernails? Goodwin simply makes another adjustment on the controls. COLTER Talk to me! Three weeks? Ive been back three weeks? Howd I get in here? Have I seen my family? Does my father know Im home? Cause Id kinda like to tell him if thats the case. GOODWIN Listen up, soldier. Goodwin hunches forward, putting his elbows on his desk. As he does so, he inadvertently reveals a glimpse of his military unit SHOULDER PATCH. The insignia contains wings and a lightning bolt against a background of stars. Underneath it is written CAOC-N. GOODWIN The train is just the beginning. Our intel says there are more attacks are coming today. And theyre linked with the train. Time is of the essence. Do you understand? Colter barely hears. Captain? Hes fixated on that shoulder patch. GOODWIN

COLTER Im listening. GOODWIN D.N.I. Counterterrorism has come up with the five most likely follow-up targets in the New York area. (MORE)

33.

GOODWIN (cont'd) They are, in no order of importance, the Holland Tunnel, Newark International Airport, the Brooklyn Bridge, Penn Station and the Empire State Building. It could be any of them, it could be none of them. Whatever it is, if you find the bomber and learn his plan, the next one we might be in a position to prevent. Those are your orders. Its too much information to process. with questions. Colters head spins

COLTER Wait. If Im somehow on that train before it blows up, why dont I just dismantle the bomb? GOODWIN Those are not your orders. COLTER But all those people dying... GOODWIN Those are not your orders. You are not to influence events any more than you need to in order to accomplish your mission. Military priorities. Defying comprehension.

COLTER I didnt volunteer for this shit. GOODWIN Would you like to see the release form you signed? COLTER (exasperated) How do I know its real? How do I know you didnt force me to sign it? And how the hell can I be put on a train over and over again -- a train I never was really on?! He might as well be talking to a wall. COLTER I dont believe in time travel, Goodwin. Theres no such thing.

34.

Machinery begins to RUN. firing up.

Like the WHINE of a JET ENGINE

GOODWIN Only one way forward, Captain. Seventeen minutes. Find the truth. COLTER Why seventeen? Why me? anything? The capsule begins to SHAKE. COLTER Let me out! Dont send me back there! SFX: UP ON a HUGE ROAR as -EXT. TRAIN TRACKS - MORNING THE TRAIN hurls down the tracks. INT. TRAIN - MORNING Landscape flies by. Colters forehead rests against the glass window. Piercing sunlight. Shit. COLTER This is not happening. Why

He leans back in his seat, as if just another beaten down office worker on the train. CHRISTINA Aint life grand? Across from him, Christina sketching. A gentle smirk. focuses in on her. Not knowing where else to begin. COLTER You an artist? CHRISTINA I went to art school. me an artist. Doesnt make He

COLTER Can I see what youre working on?

35.

Her pencil pauses.

She eyes Colter.

CHRISTINA Id rather not. He looks down at his watch. 7:41 a.m. Hes been back for one minute. Adjusting the settings, he changes the digital display to COUNT DOWN the remaining SIXTEEN MINUTES. He tries again for human contact. COLTER You dont look like you belong here. The way youre dressed. CHRISTINA You certainly do. COLTER Id really like to see what youre working on. Unless youre worried I wont like it. CHRISTINA Its private. And your opinion doesnt interest me. COLTER So you scribble away on that thing so as not to deal with people. She scowls. Tosses the sketch Colter opens it. Its full of of other passengers riding the observed, darkly stylized into COLTER Theyre amazing. CHRISTINA I wouldnt go that far. COLTER Seriously, theyre really good, Miss...? Christina. CHRISTINA pad onto his lap. Surprised, faces -- thumbnail portraits train. Theyre exquisitely expressions of loneliness.

COLTER My names Colter. How many of these passengers have you drawn?

36.

CHRISTINA All of them, practically. She leans forward, eyes glinting conspiratorially. CHRISTINA I know all about them. COLTER You know all about them? CHRISTINA Im a collector of moments. (discreetly gesturing) That woman over there? Shes a patent attorney with three kids and a summer place on Long Island. More important, however, she colors her hair herself and wears the same houndstooth check suit every third Wednesday. The nebbishy fellow behind her always calls into his office three minutes before we go into the tunnel. And the guy with the shaved head and leather jacket eating a scone has a profile identical to that of Julius Caesar. A click of the restroom door opening. the bathroom and returns to his seat. COLTER (re: Guzman) What about that guy? Christina looks over Guzman. CHRISTINA I havent seen him before today. (looking closer) Hes cranky. Thinks the worst of people. Dangerous? COLTER Guzman emerges from

CHRISTINA Everyones dangerous. COLTER You see anything unusual happen this morning? Anything out of the ordinary?

37.

CHRISTINA Im not sure I know what you mean. COLTER Has anyone else come out of that bathroom that you remember? She takes a closer look at him. CHRISTINA Who are you? Colter hesitates. Debating. A puzzled smile.

COLTER Dont you know? Havent you seen me here every day for, what, three months? CHRISTINA Somethings different about you today. COLTER If I told you that theres a terrorist on this train, that I was sent here to catch him, would you believe me? CHRISTINA Most fervently. COLTER Then tell me which one youd arrest. Christina pages through her sketch pad again. different faces. CHRISTINA Theyre all so utterly normal. Thats whats terrifying about them. Perhaps theres more than one. A team at work. The patent attorney in cahoots with Julius Caesar and the nebbishy guy. And dont forget the sullen college kid. Hes the expendable one. But theyre all controlled by this goodlooking stock broker. She shows him her sketch of Derek, the Stock Broker. Considering

38.

CHRISTINA Blond, blue eyed, hyper alert. The perfect Machiavellian operative. Out for himself. Hell betray them all in the end. Shes not taking him seriously. COLTER Never mind. He gets up. Foolish of him to confide in her. reads THIRTEEN MINUTES. ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. The train begins to slow. Derek, Guzman, the Old Man and the College Kid head towards the exit doors. CHRISTINA (stage whisper) Hes getting away...! Colter moves aside to let them walk past. COLTER (curt dismissal) Thanks for your help, maam. Maam? CHRISTINA How old do you think I am? His watch now

COLTER I dont know. Thirty two? Her icy glare tells him hes guessed too high. EXT. NEWARK STATION - MORNING The disembarking passengers exit the platform. INT. TRAIN - MORNING The train is moving again. In the exit area, Colter watches the station disappear. Hes doing this all wrong. ANNOUNCER (V.O.) Next stop New York Penn Station.

39.

INT. TRAIN BATHROOM - MORNING The two screws rattle in the sink. Colter gazes up at the half-opened ventilation shaft -- and at the edge of the sinister bomb planted there. Back down to the mirror. baffling mystery of all. Sean Fentresss face. The most

COLTER What happened, Fentress? you? How can I be you?

Who are

FLASHCUT -- Back in the isolation unit. On the monitor, the glimpse of Goodwins SHOULDER PATCH INSIGNIA. The unit initials CAOC-N. Back to scene. Colter churning over the thought. COLTER What unit is that?

CAOC-N. A KNOCK on the door. INT. TRAIN - MORNING

Through the windows comes the blur of the EXPRESS TRAIN whizzing past (the same train which previously ran over Colter). Emerging from the bathroom, Colter discovers Christina there. CHRISTINA Who were you talking to? COLTER Leave me alone. Colter walks off. Irked at his change in tone, she follows him, carrying his messenger bag. CHRISTINA My pleasure, okay? Its just that you left your bag on your seat. (trying to be cute) Its a flagrant violation of rail security, leaving a suspicious package behind and all that. Maybe youre the terrorist. This is too much. Colter turns on her. Paranoid.

40.

Terrorist?

COLTER Why did you say that?

CHRISTINA I was joking. COLTER Stop joking. Who are you? an operative? Are you

CHRISTINA I had no idea you were so thoroughly weird. Im not entirely sure I like it. COLTER Why do you have sketches of everybody on board? Are you part of this? CHRISTINA Part of what? COLTER I can have you arrested. Maybe thats the only way youll drop the bullshit and talk. Stay put. Im getting help. She sees hes serious and drops her arch playfulness. in a flat, sober voice. CHRISTINA Who am I? Ill tell you. Im twenty seven years old. I have no savings and no health insurance. He turns back. gets. Waits. The more she speaks, the angrier she Speaks

CHRISTINA Six months ago I moved back in with my parents because I ran out of money. I got As in line drawing and advanced oil painting but no ones buying my stuff. Two weeks ago I put away all my paints. My little sketch book is the last thing left. You see, Im not a artist. Im a receptionist in a law firm. The only thing I operate is a phone switchboard.

41.

The stark reality of her life. The HORN of the FREIGHT TRAIN yanks his attention to the windows. Up ahead are the row houses opposite which the train exploded. Time is running down. CHRISTINA Now let me tell you about you. You work at the New York Public Library. Youve been eyeing me for months on this train but havent said a word to me. Youre bland and colorless and predictable. And now I see youre delusional, too. Colter doesnt hear her. COLTERS POV Above the row houses, a COMMERCIAL AIRLINER is climbing serenely into the blue after take-off out of Newark Airport. The view is wiped away as the FREIGHT TRAIN comes surging past the windows. But the sight of the plane has already caused something to click in Colters head. COLTER Son of a bitch. CAOC-N. Thats not army. Thats Air Force. Combined Air and Space Operations Center. Nellis Air Force Base! CHRISTINA Are you mocking me? COLTER Theyre running this whole thing out of Nellis Air Force Base in Nevada. Fucking Nevada! Tears in Christinas eyes. That Colter would persist in this delusion after what shes confessed about herself. COLTER (racking his brain) Whats there? Whats on that base? B-52s. KC tankers. Air Combat Command. Predator Drones. Remote operations. (something to this) This a remote operation. (finally) What if it is time travel? Hes still looking out the window.

42.

A worried CONDUCTOR runs past them, talking rapidly into his radio. We catch the words bomb threat. COLTER What did he say? A WARNING ALARM begins beeping. Passengers look around uneasily. Christina, however, focuses her anger on Colter. CHRISTINA Do me a favor. Dont ever talk to me again. She drops his messenger bag at his feet and walks away. Colter looks down at his watch. 5... 4... 3... Christina! COLTER THE LAST SECONDS TICK AWAY --

He grabs her -- she struggles against him -CHRISTINA Get off me! But he HOLDS HER TIGHT, shielding her with his body and squeezing his eyes shut as -THE EXPLOSION RIPS THROUGH THE TRAIN -- EVERYTHING VAPORIZES. Blinding light. Painful to look at.

Like a star exploding. A dull, hollow sound of WIND rattling through an abyss. And then the ghostly still life. A bicycle. A woman. Its Christina. smile. Turning to look at us. A gentle, reassuring A stone wall. Details flicker into view:

And next to it...

INT. ISOLATION UNIT Click -- click. Click -- click. The video monitor is malfunctioning. It flickers on and off, revealing Colters face in and out of darkness.

43.

The capsule is nearly shut down. The controls appear nonfunctional. Ice crystals have formed over the circuitry. Colter hugs himself, shivering. capsules tomb-like cold. His breath is visible in the

COLTER Goodwin? Whats happening? Come in. Can you read me? Its goddamn cold in here. He hits a few buttons. Almost at random. had been blowing in air FALL SILENT. COLTER Goodwin, Im losing oxygen. The monitor fizzles out. Goodwin! The light from the controls FADES. The VENTS which

COLTER

Its now COMPLETELY DARK. He BANGS on the side of the capsule. A terrifying silence. The SNAP of a harness releasing. A THUD as Colter falls to the floor of the capsule. Cursing. Some sounds of thrashing around. Then... The SPARK activated begins to the sea. of a BLUE FLARE illuminates Colters face. Hes a miniature signal light on his flight suit. It BLINK. Like a beacon for downed pilots afloat in It is the only light in the otherwise dead capsule. Just a muffled thump.

Up on his knees, he grasps the release handles of the EXIT HATCH. Using all his strength he TURNS... But the handles dont budge. He gets to his feet. incredibly cramped. The hatch remains sealed. The capsule is

Cant stand up fully.

Rifling through a cabinet, he discovers OPERATIONAL MANUALS in small, almost illegible type. And a small set of TOOLS. He spreads them out on the tiny ledge. Taking a wrench, he BANGS on the escape hatch. A deep, clanging ECHO in the hull.

44.

So, like any pilot would, he sets about repairing his craft. At first he puzzles over the electronics and circuitry. Daunted by the complexity. Theres no time to lose. Using a miniature screw driver, he begins unscrewing the monitor panel. His fingers are slow and clumsy in the frigid cold and the screw driver slips out of his hands. LATER Icicles have appeared over dormant air vents. Colter, ice crystals in his hair, is shivering more violently. Much of the capsules electronics lay open and exposed. Using copper wires, hes attempting to revive a row of BATTERIES. They spark once... twice... Nothing. Come on! COLTER Theres a puff of blue smoke.

Another SPARK. It shocks him. Hes burned his fingers.

But the battery now has a tiny BLINKING GREEN LIGHT. Working fast, Colter attaches the copper wires to the leads on the battery. From inside the engines comes a faint electric HUM. FFFT. The monitor awakens. Like a film projector it throws the image of a PLAYING CARD onto the opposite side of the craft. Colter begins replacing the monitor components. a pre-recorded AUDIO FILE comes on: GOODWIN (V.O.) -- four principle dialects of Arabic: Egyptian, Gulf, SyrianLebanese and North African. We will now play you portions of each, discussing the audible differences between them. CLIPS of SPOKEN ARABIC begin to play. Colter continues reconstituting the computer. fills with scrolling lines of COMPUTER CODE. The monitor As he does,

With an oddly low-tech CLANG, the heart of the machine reawakens. The air vents come back to life. Heat starts to return. The icicles begin to DRIP.

45.

Colter sits back in his seat, exhausted from the work. The monitor switches to a real-time view of the LAB. Goodwins chair is there, but Goodwin is not in sight. background distorted by the FISH-EYE LENS, various technicians wander by. Hello? COLTER Anyone out there? Its me. In a

He toggles an audio jack. Then a MAN comes walking up. Frowns into the camera, as if through the foggy lens of another world. Its the MAN WITH THE PIPE. The elusive Bohemian scientist whom Colter glimpsed once before. He will be known as RUTLEDGE. COLTER Can you hear me? Rutledge is tinkering with the camera. The image shakes for a moment as he adjusts it. Then puts on a headset. RUTLEDGE Project designer initiating sequence and drives check. Im here! COLTER Im okay! Not sure he heard right.

Rutledge checks his headset. RUTLEDGE Is someone there? Yeah.

COLTER Its me. Colter. The blue eyes sparkling.

Rutledge blinks in surprise. Wow! RUTLEDGE Its you.

COLTER The capsule lost power. pretty cold in here.

Its still

RUTLEDGE Weve been working towards you from the other side. Nice to have you with us again. You feeling all right?

46.

COLTER I think so. Who are you? RUTLEDGE The names Rutledge. COLTER They wouldnt let me talk to you before. RUTLEDGE No, I guess not. Theyre pretty anal around here. (lights his pipe) Dont tell them you saw me smoking in here, okay? His genial eccentricity is completely at odds with the military environment. And then it occurs to Colter: COLTER Youre the inventor of this thing. RUTLEDGE (shrugs) I prefer the term project designer. And sorry for all the secrecy. Goodwin will be thrilled you reestablished contact. COLTER I dont want to deal with Goodwin anymore. What? RUTLEDGE

COLTER Dont you understand? Hes torturing me. Im helpless. you get me out of here?

Cant

Rutledge looks uneasy. As a scientist, hes ill-equipped to deal with personnel issues. RUTLEDGE Why would Goodwin have it in for you?

47.

COLTER Hes a remote operator. And remote operators are risk averse pussies who sit at control screens in the rear while actual pilots like me put their asses on the line in the field. RUTLEDGE He seems pretty devoted to the mission. COLTER And just what kind of mission is this? Talk to me, man. Why wont he let me save those people on the train? RUTLEDGE Because they cant be saved. COLTER Why not? I know whats going to happen. I could take apart the bomb. Stop the train. RUTLEDGE Yeah but youd be doing it in the Source Code, not here. Not in our own past. Mystery upon mystery. COLTER Whats the difference? RUTLEDGE Im not sure I should be telling you this. COLTER Telling me what? Coaxing the scientist in him. RUTLEDGE Its quantum physics. Linear algebra. Parabolic calculus. would take weeks to explain. COLTER Is Source Code time travel?

It

48.

Rutledge sighs.

Looks at his pipe.

RUTLEDGE Its gone out again. COLTER Why cant I save those people on the train? RUTLEDGE Think of it like this: events in our past can never be undone. Einstein proved that. So... COLTER

RUTLEDGE So Source Code opens up another past for you. A parallel past. It looks the same but it has no intersection with our own world. In essence, by sending you back, an entirely new but utterly parallel world is created. It looks identical to ours, but nothing you do there has any effect on this reality. At last some useful information. Colter races to process it.

COLTER What happens to the Source Code world after I leave it? RUTLEDGE I dont know. You can never know that because youre not there to observe it. Maybe it vanishes. Maybe not. (uneasy) I should tell them youre okay. COLTER What about the bicycle? RUTLEDGE What bicycle? COLTER I see it each time. Right after the bomb goes off. Like an after image. (MORE)

49.

COLTER (cont'd) Theres a bicycle and a stone wall and a girl. Its a girl from the train. I dont know where any of it is supposed to be, but -Rutledge removes the pipe from his mouth. RUTLEDGE Wait. You see all this after you leave the train? Yeah. COLTER Just for a split second.

Rutledge is stunned. Like hes discovered some strange new property to his invention. RUTLEDGE Please tell me youre not making this up. COLTER No. Its there. What do you think it means? RUTLEDGE I dont know. Rutledge looks off camera for a moment. RUTLEDGE Theyre here. Theres no more time to talk. (quickly) Make sure he sends you back in. Find out about the after images. Goodwin appears. Rutledge reluctantly takes off his headset.

COLTER Rutledge, wait. Dont leave me. Rutledge steps away. A pointed look at Colter. Goodwin settles back into his seat, donning the headset. GOODWIN Welcome back. How are you feeling? Im alive. COLTER No thanks to you.

GOODWIN You find the bomber?

50.

COLTER Youre a brick wall, Goodwin. fucking brick wall.

GOODWIN Lower your pulse. The situation has worsened. The fire on the tracks caused one of the freight cars to blow up and release some kind of gas. As a precaution theyre having to evacuate all of lower Manhattan. Evacuate lower Manhattan? take it on faith. The enormity of this. Having to

GOODWIN We may have lost the initiative. COLTER What do you mean? going. Lets keep

GOODWIN We were expecting more from you. COLTER I can give you more. for a second. But Goodwin ignores him. Let me think

Absorbed in paperwork.

COLTER The freight car blows up from the fire. It spews gas, or what could be gas -- it might be chlorine, so they cant take any chances. Anxious now. Trying to make up lost ground. takes to get sent back in. COLTER So they decide to play it safe and evacuate parts of New York City. And maybe thats part of the terrorists plan, right? (thinking) So... so who benefits from that? Whats vulnerable? Whats down there in lower Manhattan? (beat) Wall Street. Whatever it

51.

Surprising himself with this insight. And now Goodwin is paying attention again. COLTER Wall Street. Thats what theyre going to hit next. The financial markets. Goodwin considers this. impressed. For the first time, slightly Waiting for more.

GOODWIN I want to show you something. CUT TO: DRIVERS LICENSE PHOTOS The video monitor shows CHRISTINAs DMV shot. secretive smile. COLTER Did she die, too? GOODWIN Yes. This drivers license photo was found with her body. Were creating a database of recovered identifications as they come in from the site. A pang of sorrow. Moving among ghosts. Her wry,

COLTER You sure shes dead? GOODWIN Would you like to see her morgue photos? COLTER (quietly) She was sitting across from me. We know. GOODWIN (V.O.) CUT TO: THE VIDEO MONITOR

52.

Playing a GRAINY, HAND-HELD VIDEO of the TRAIN WRECKAGE. Rescue workers in protective gear picking their way carefully through the twisted, charred remains of the two trains. GOODWIN (V.O.) This was taken shortly after the rescue crews arrived on scene. The TIME CODE on the image reads 8:26 a.m. GOODWIN (V.O.) We noted the location of each corpse when we pulled it out. On screen, rescue workers pull a CHARRED CORPSE out of the wreckage. GOODWIN (V.O.) Prepare yourself. This is unedited footage. COLTER I told you I didnt want to see her! The camera ZOOMS IN on a corpse. Its burned face, like a piece of rotted fruit, fills the screen. Nevertheless, we recognize it. And its not Christina. Its someone else. Thats... COLTER

GOODWIN (V.O.) Sean Fentress. The man in the mirror. Himself, at least on the train.

COLTER He died on the train. GOODWIN (V.O.) As a host identity, Sean Fentress had to have certain basic similarities to you. Gender. Blood type. Approximate age. His head was still intact. We need the head, you see. To link the two of you remotely. They carry the corpse towards a MORGUE TRUCK with a vast array of SATELLITE COMMUNICATION EQUIPMENT attached to it.

53.

The image freezes, then DISSOLVES back to Christinas DMV photo. Silence. Pondering. GOODWIN Would you like to see the other passenger photos? Perhaps that would help you. COLTER You still have Christinas body? The other things she was carrying? Why? GOODWIN (V.O.)

COLTER I want to know about her. Everything I can. Shes not just another victim. Shes connected to all this. INT. TRAIN - MORNING The rich smell of steaming coffee. The glint of a polished leather shoe. The crisp click of someone uncapping a fountain pen. The scenery rushing by -- the blur of trees, the soft lavender of the morning sky. The swell and pull of the mighty machine coursing over the rails. If a train ride could ever be a sensory delight, this is it. To Colter, every sensation has become even more pronounced, more intensely real than ever. CLOSE ON - HIS WATCH - A beep as he sets it to countdown again from seventeen minutes. The duration of his freedom. Across from him is Christina. Absorbed with her sketching.

COLTER Thirty six dollars and eleven cents. She looks up at him. COLTER In your wallet. Right now. Thirty six dollars and eleven cents. CHRISTINA Is this a magic trick or something?

54.

COLTER Yes. In five seconds, a guys going to open a can of soda. 4... 3.. 2... 1... CHK-THOCK! The Overweight Man opens his soda can. She gives Colter a quizzical look. He points out the window. Theyre passing a neighborhood of modest homes. COLTER Were about to pass a street with willow trees. Two girls will be jumping rope. A white dogs going to run out behind them. A Dalmatian mix. In a moment, they pass a scene exactly as Colter described. Christinas befuddled smile. CHRISTINA You want to tell me how youre doing this? COLTER Close observation. You could say Im a collector of moments. CHRISTINA A collector of moments? Yes. COLTER

CHRISTINA Thats the cheesiest line Ive ever heard. She resumes her drawing. COLTER You trained to be an artist. No response. COLTER You got As in line drawing and oil painting. But your work didnt sell. You took a job answering phones in a law firm. (MORE)

55.

COLTER (cont'd) Six months ago you moved back in with your parents. Two weeks ago you put your paints away for good. The sketch book is all you have left. CHRISTINA Who the hell are you? been talking to? You. Me? No. you. COLTER CHRISTINA I havent ever talked to Who have you

COLTER But we have, Christina. Youve drawn all these people here. You know their routines. At one point you thought you were different from all of them. But now youre not so sure. Christina has gone white. Utterly incredulous.

INT. TRAIN DINING CAR - MORNING A small bar area. Coffee sloshing in styrofoam cups Colter hands one to Christina and sits down opposite her. A glance at his watch shows TWELVE MINUTES left. CHRISTINA Okay, youve got my attention. Now tell me what this is all about. COLTER I need your help. CHRISTINA Are you selling something? COLTER Listen to me. I cant use up any more time trying to convince you. I just need you to believe everything Im about to tell you. CHRISTINA This better be good.

56.

COLTER Bear with me. (beat, where to begin?) Your sketch book. Is there a drawing of me in there? CHRISTINA Im not sure. COLTER Please, Christina. Yes, fine! CHRISTINA Here. Shows him a sketch of SEAN FENTRESS.

She flips through it.

CHRISTINA I did it last week. COLTER The thing is, thats not me. CHRISTINA Give me a little credit. COLTER No. You drew what you saw, but the person youre seeing now is someone else. Im not Sean Fentress. Im not really on this train. CHRISTINA (incomprehension) Youre not really on this train. COLTER Im taking someones place. Borrowing it. My name is Colter. Im a soldier. And Im being held prisoner. And this is the only way -- the only time and place I have -to figure out how to escape. She gives him a blank look. CHRISTINA After three months of riding the train, this is how you introduce yourself to me?

57.

COLTER Im serious. Elements in the American military are using me for an experiment. Im not sure exactly how it all happened, but Im at a facility on Nellis Air Force Base in Nevada. Right now. As we speak. Its a project called Source Code. CHRISTINA Source Code. COLTER Its a program. It shifts identities. It also performs small amounts of time travel. Or time engineering. I dont know the jargon. Hes not getting through to her. Its too bizarre.

COLTER Ive been put on this train to look for someone. A criminal. And I need to find out just enough about him to keep them putting me back on this train. Because right heres only place I can figure out whats really happening. But I have very little time. And each time I come back, you wont remember me and Ill have to go through this all over again. CHRISTINA You are, I think, deliciously mad. COLTER Then how do I know all those things about you if weve never spoken before? She doesnt have an answer. Cant easily dismiss him.

CHRISTINA Why tell all this to me? Theres lots of people around for you to talk to. COLTER Because I think you have the answer to this whole thing.

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CHRISTINA Believe me, I dont have the answer for anything. COLTER Theres a vision. I keep having it. Its very powerful. And youre in it. And theres a bicycle. And this... old stone wall. And its very peaceful. Does this sound familiar? Like where you live, maybe? CHRISTINA Stone walls? My parents live in a house with aluminum siding and an American eagle over the door. The only bike is a Harley which the guy down the street revs at three in the morning. COLTER The vision must mean something. Its the only time when Im not on the train or in the capsule. Why else would Rutledge be so interested? CHRISTINA Whos Rutledge? COLTER Someone who was trying to help me understand something. Until they got to him. He lowers his head. A dead end. begins to slow down. No answer. The train

ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. Colter looks at HIS WATCH. Ten minutes left.

CHRISTINA I saw a program on TV. It was about psychics. They say psychics have a lot of paranoia. COLTER I dont believe in that shit.

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ANNOUNCER (V.O.) Newark Station. Through the window, the Old Man, Derek and the College Kid disembark. Guzman hurries past them to the station house. ANNOUNCER (V.O.) All aboard. Doors are closing. CHRISTINA Dont you have people you can go to for help? Friends, family? The train begins to move again. ANNOUNCER (V.O.) This is a New York bound train. Next stop, New York - Penn Station. COLTER Most of my friends are in the military. My dad runs a melon farm in Alabama. CHRISTINA Maybe nows the time to reach out to him. She hands him her cell phone. hand. Colter just holds it in his

COLTER Me and my dad, we dont see eye to eye. Were just two different people. CHRISTINA As opposed to being the exact same person? COLTER Are you always this sarcastic? CHRISTINA This is so not about me. Colter reluctantly dials. COLTER What day is it? June 11th. CHRISTINA As it rings --

60.

June?

COLTER

One more thing to puzzle him. The call connects. An OLDER MAN, DONALD STEVENS, answers. The gravelly voice of a Midwestern farmer. Hello? Dad? DONALD (V.O.) COLTER

Donald doesnt respond. COLTER Dad, its me. Its Colter. Again, silence. COLTER Been a while, huh? Id been meaning to call you, but -Click. The line goes dead. Colter looks at Christina.

COLTER He wanted me to stay on and take over the farm but... I had other ideas. CHRISTINA Youre intimidated by him. What? COLTER

CHRISTINA Youre scared of him. it. COLTER The hell I am. Challenged, he redials. connects.

I can see

Braced for conflict.

The call

COLTER Dad, dont hang up. Were going to talk. I need your help.

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DONALD (controlled anger) Now you listen to me. Whoever you are, never call here again. Donald hangs up. CHRISTINA Hes still mad at you, huh? COLTER No... it was like he didnt even know who I was. Troubled, he hands back her phone. TRAIN flashes by. Outside, the EXPRESS

CHRISTINA I dont know how to help you. She feels bad for him. And something inside Colter closes. Retreating inside himself. COLTER Sorry to have bothered you. He gets up to go. Christina stays where she is.

INT. TRAIN - MORNING Back in his seat. Lost in the view out the window. The neighborhoods have given way to Newarks industrial fringe. Bringing him closer to the inevitable end. CHRISTINA (V.O.) I have a friend. Surprised, he turns to find her there. CHRISTINA She works at the New York Times. Her names Stephanie. Shes just a proofreader, but she wants to be made a reporter. Shes always saying she needs a good story to bring in so she gets noticed. Something like this, with a crazy paranoid angle could really interest her. Forget it. COLTER

62.

CHRISTINA She could do some poking around. Shes already quite suspicious of the government. Christinas dialing her phone. window. Colter turns back to the

CHRISTINA Im getting voice mail. (into the phone) Steph, its Christina. You know that story youre always looking to write? I might just have something for you. I met a guy. His name is Colter Stevens. He says hes in the army. He flies helicopters in Iraq, but now theyve put him into a secret project called Source Code. Maybe you can look into it a bit, okay? Call me. She hangs up. Pleased with herself.

CHRISTINA Shell call back. Just wait. None of it will do Colter any good, but he manages a smile. COLTER Thank you, maam. CHRISTINA (laughs) Maam? How old do you think I am? He gives her a wary look. COLTER Twenty five? She smiles, pleased. CHRISTINA No, but thanks. (beat) What did you mean, theres a criminal on the train? How do you know that? Colter looks away. Careful. Considers.

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I just do.

COLTER

CHRISTINA How can I help you if you dont tell me everything about this? INT. TRAIN BATHROOM - MORNING Colter enters the tiny space. follow him into the bathroom. Christina is reluctant to

COLTER You said you wanted to know. CHRISTINA Cant you just tell me? He gives her an imploring look. next to him. She sighs and squeezes in

CHRISTINA Try anything and Ill kill you. COLTER Shut the door. As she shuts the door, Colter gets up on the sink. CHRISTINA What are you doing? He wrenches back the ventilation panel, then steps aside. COLTER Its up here. He holds out his hand. She grabs hold and steps up on the sink. Shes not quite tall enough to see into the crawlspace, so he steps up behind her and lifts her the rest of the way. CHRISTINA (startled, feels his hands on her) What are you -Just look. COLTER

Her blouse brushes his face as he holds her up. A long beat as she looks inside the overhead space at the bomb.

64.

CHRISTINA Is that...? COLTER Acetone Peroxide. Its a liquid explosive. Theres fourteen cannisters of it. Simple detonator. Cell phone signal closes the circuit and boom. He lowers her. An incredulous beat.

CHRISTINA Did you put this here? COLTER No. It was someone else. They dont know who. Thats why Im here. To find out. Watching her. Will she believe him? We have

CHRISTINA We have to tell someone. to stop this. INT. TRAIN - MORNING

The bathroom door opens and Christina walks quickly away. Mounting fear. Colter falls into step behind her. COLTER It wont matter. The trains already... CHRISTINA Already what? COLTER Ive been sent here. It sounds crazy, but its true. Ive been sent from the future -- from five hours in the future. This trains already been blown up. She backs up. Scared of him. Every right to be. Now you know.

COLTER You wanted to know.

She turns and hurries for the exit doors.

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CHRISTINA This isnt happening. get off.

Ive got to Shes

Colter catches up with her inside the exit vestibule. stabbing at the door release button. CHRISTINA Why wont it open?! Her phone is RINGS. number. They both stop. She looks at the

CHRISTINA Its Steph. (hollow) I told you shed be interested. (answers) Hi. Her eyes are fixed suspiciously on Colter as she listens. Colter looks outside. HIS WATCH -50 SECONDS. Its awful. Unbearable. He dashes towards the bathroom -Recognizes the terrain. Looks down at

INT. TRAIN BATHROOM - MORNING Tears open the door. THE BOMB Sits in the semi-darkness, faintly illuminated by the bathrooms fluorescent light. As he grabs hold of the bomb, he hears -Colter...? CHRISTINA (O.S.) Jumps up on the sink.

Working fast, he unhooks the leads on the detonator, rips away gaffing tape -- jostling the cannisters of explosives -CHRISTINA (O.S.) Colter, I have to tell you something. -- and pulls off the detonator cell phone. Ducking back down, he see Christina standing in the doorway.

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COLTER Look. Now the fucking thing cant go off. HIS WATCH Reads 20 SECONDS. CHRISTINA Stephanie did a computer search. Something in her expression worries him. CHRISTINA Shes got a database of all newspaper articles going back to forever. COLTER Source Codes classified. It wouldnt be in a newspaper. No. CHRISTINA But you were. She found you.

COLTER She found me? What does that mean? She stops. Not wanting to go on.

From outside comes the HORN from the approaching freight train. COLTER Jesus Christ, Christina, are you going to spit it out? In his hand, the CELL PHONE RINGS. Colters eyes light up in amazement -- the DISPLAY SCREEN is showing the name and number of the bomber. But before he can read whats there, Christinas voice finds its way to the back of his brain: CHRISTINA According to the notice, you were killed in action two months ago. The world stops. A SEARING PAIN SLAMS INTO him. He drops the phone and doubles over. She runs to him -COLTERS POV

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Everything around him PIXELATES into a hundred thousand POINTS on an array. Christinas cries become bursts of static. Flying behind the array come LINES OF COMPUTER CODE - the Source Code architecture laid bare. And then the screen itself seems to melt, giving way to a frightening series of HALLUCINATORY FRAGMENTS: INT. HELICOPTER - DAY A PILOTS P.O.V. -- desert sand, searingly bright -- flight deck instrumentation -- a windshield pockmarked with bullet holes -- the horizon tilting as the helicopter PLUNGES towards earth amid a chaos of RADIO TRANSMISSIONS:
...taking a lot of RPG fire... be advised A61 is going down... A61 is going down hard...

EXT. DESERT - DAY Black smoke. Boots crunching on sand as we are borne, P.O.V., a victim on a jostling stretcher. INT. MEDIVAC HELICOPTER - DAY Airborne again. The thud of rotors. Through blurred vision we see medics working furiously to save a life. INT. C5 TRANSPORT JET - DAY The smooth, glassy calm of 30,000 feet. The regular pulsations of a VENTILATOR. Fluids drip down through an IV bag. Tubes and monitors stacked all around us. Gurneys of other wounded packed together. The grumble of another, unseen wounded soldier: SOLDIER (O.S.) Never any damn leg room on a plane. An ALARM begins beeping. FLIGHT MEDIC (O.S.) Hey, this guys crashing... FADE TO BLACK. Silence and darkness. Nothingness.

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Then, a PLAYING CARD appears, as if through a slide projector. The Jack of Clubs. GOODWIN (V.O.) Captain...? The playing card flickers, separates into pixels, then dissolves. GOODWIN (V.O.) Captain, allow me to introduce myself. My name is Goodwin. Youre with Beleaguered Castle. You are safe. All your needs will be met here. Lines of computer code flit across the screen. cursor. A blinking

FADE TO BLACK. A tiny APERTURE opens... revealing CHRISTINA. And the bicycle. And the stone wall. The strange, recurring vision. Captain? GOODWIN (V.O.)

The sound drives away the image, replacing it with THE JACK OF CLUBS GOODWIN (V.O.) Captain, just tell me what you see. Just look and speak. Groggy breathing. A ragged voice:

COLTER (V.O.) I see a card. Very good. INT. ISOLATION UNIT On Colters face. A deep, cold knot in his stomach. Shuddering in fear. The truth before him now. Crouching there, a nightmare, ruling over him. On the MONITOR, Goodwin looks into the camera. situation. Assessing the GOODWIN (V.O.) Very, very good.

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GOODWIN Are you comfortable?

Are you warm?

Colter clings to his harness as if to keep from vanishing entirely from existence. GOODWIN Do you need to urinate? Colter swallows. Too terrorized to speak.

GOODWIN Beleaguered Castle is waiting for your report. Goodwin taps his pen on his clipboard. Impatient. He flips a switch. A blocky COMPUTER VOICE, something out of the 1970s, comes on: COMPUTER VOICE (V.O.) Hearing Test. First sequence. Left ear. A short SERIES of ELECTRONIC TONES. COMPUTER VOICE (V.O.) Hearing Test. First sequence. Right ear. The tones cease. Colter remains impassive and inert.

GOODWIN Captain, I know you can hear me. Did you find the bomber? Goodwin keys in some commands. Forever adjusting.

COMPUTER VOICE (V.O.) Memory Thread One: When Lily woke, she had the bed to herself. She sat up, bewildered by the strangeness of her surroundings; then memory returned, and she looked about her with a shiver. Goodwin stops the audio. GOODWIN As youre collecting your thoughts, I should tell you theres been another development. A terrorist group has taken responsibility for bombing the train. (MORE)

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GOODWIN (cont'd) This began broadcasting over the Internet a half hour. Weve traced it to central Asia. ON THE MONITOR A grainy VIDEO shows an arid, wind-swept plateau of a faraway desert. It is twilight. A MUJAHIDEEN FIGHTER, his face hidden by a hooded cloak, sits cross legged before a flickering camp fire and a tea service. The fighter rises, picks up a rocket-propelled grenade launcher, and approaches the camera. The wind whips his black robes. The figure looks slight. Almost spectral. begins speaking to the camera. MUJAHIDEEN FIGHTER (on camera, in accented English) By now you have suffered a taste of divine vengeance. God willing, you will soon suffer another. Colter does not raise his head. listening. No idea whether hes even

It

MUJAHIDEEN FIGHTER These attacks will show you that you will never be safe. You can secure your borders. But what can you do against one of your own citizens? One who looks like you, who is blameless, living already among you, who takes eighty million of our dollars, a trifle, and carries out our bidding? You cannot stop this. Time has run out. The image freezes. Goodwin. Then switches back to the live feed of

COLTER Let me talk to Rutledge. GOODWIN So youve decided to speak. Rutledge. COLTER Get him.

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GOODWIN We appreciate your desire for further discussion. Perhaps at a later date. COLTER Will you let me out of here? Goodwin ignore the question. Continues making notations.

GOODWIN Frankly, Captain, were disappointed. COLTER Find Rutledge! Now! GOODWIN I have to say that we expected more from you. COLTER Stop! Stop reading from your goddamn script! GOODWIN Perhaps we overestimated your abilities. COLTER I swear to fucking Christ! GOODWIN Please accept the criticism in the spirit it was given. Perhaps a few memory exercises would help. COLTER I dont need your criticism and I dont need your memory exercises, you gutless freak. And by the way, that bomb is detonated by a cell phone. When activated, the phones display screen displays caller ID information. Caller ID. I wonder if that information would be useful to Beleaguered Castle. For a split second, Goodwin looks thrown. the cold clinician goes back up. But the mask of

72.

GOODWIN Very well. Were ready for that information. COLTER Youll have to send me back. I didnt get a good look at it. But I will next time. Goodwin hesitates. Skeptical.

GOODWIN What assurance do we have youll be able to read the screen before the device detonates? COLTER Goodwin, theres no time left. Send... me... back. Goodwins pale, inscrutable face fills the monitor. are unblinking. Unfeeling. Nothing behind them. INT. TRAIN - MORNING Colter prowls the aisle feverishly. He scans the overhead luggage rack. Peeks inside a bag. Doesnt see what he wants. He looks all around... up the rows of passengers... intently scanning... There. The Computer Engineer. Hes asleep. But clutched in his hand is what Colter wants -- a CELL PHONE. CLOSE ON - THE COMPUTER ENGINEER - MOMENTS LATER The train jolts slightly, waking him up. Looking down, the Computer Engineer notices that his cell phone has vanished. Across the aisle, a LATINA OFFICE MANAGER taps him on the arm. She gestures down the aisle to COLTER Whos walking off with the guys cell phone. Computer Engineer gets up. COMPUTER ENGINEER Hey, do you have my phone? People turn to look. Among them is Christina. starts walking faster. Colter just Behind him, the His eyes

73.

COMPUTER ENGINEER (upset) Dude, give me back my phone! INT. SECOND CAR - MORNING The Computer Engineer hurries in. Colter is nowhere in sight. He RUNS down the aisle and towards the next car. PAN OVER to the DOOR of the CONDUCTORS COMPARTMENT as it CLICKS SHUT. INT. TRAIN CONDUCTORS COMPARTMENT - MORNING Breathless, Colter has just finished shutting the door and is about to use the cell phone when sees THE CONDUCTOR and a TRAIN OFFICIAL Looking over at him in surprise. Sorry. COLTER Wrong turn.

Reversing gears, Colter backs out of the compartment. INT. SECOND CAR - MORNING Just as the befuddled Computer Engineer disappears into the third car, Colter steps back into the aisle and walks the other way. INT. FIRST CAR - MORNING Sweating a bit now, Colter is keying in a number on the cell phone as he walks. Operator. OPERATOR (V.O.) City and listing. Nellis Air

COLTER Las Vegas, Nevada. Force Base.

OPERATOR (V.O.) Connecting you. A tingle up his spine. The call connects.

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POST OPERATOR (V.O.) Post Operator. COLTER Is this... Nellis Air Force Base? Yes, sir. call? POST OPERATOR (V.O.) How may I direct your

He takes a deep breath. COLTER Im trying to reach... Captain Colter Stevens. Calling himself. Strange. No idea where this is going.

POST OPERATOR (V.O.) I have no listing for a Captain Colter Stevens. COLTER Then give me the Combined Air and Space Ops Center. POST OPERATOR (V.O.) One moment, sir. The call seems to take forever to connect. military VOICE comes on the phone. C Deck. VOICE (V.O.) Then a terse

COLTER Who is this? C Deck. VOICE (V.O.)

COLTER Im calling for Rutledge. urgent. VOICE (V.O.) You have the wrong number.

Its

COLTER This is Captain Colter Stevens. An eerie pause.

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VOICE (V.O.) Would you repeat that? COLTER Colter Stevens. Captain Colter Stevens. VOICE (V.O.) Hold the line. ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. The train slows at it pulls into Newark Station. Another voice comes over the phone. Captain? GOODWIN (V.O.) This is Goodwin.

Colters heart sinks. GOODWIN (V.O.) Where are you, Captain? COLTER Let me talk to Rutledge. GOODWIN Where are you? How did you find us? COLTER Im on the train. The train pulls to a stop. ANNOUNCER (V.O.) Newark Station. GOODWIN (V.O.) What train? COLTER (realizes) You dont know. It hasnt happened yet. GOODWIN (V.O.) What hasnt happened?

76.

COLTER The explosion. GOODWIN (V.O.) What explosion? ANNOUNCER (V.O.) All aboard. Doors are closing. COLTER Dont you understand? Im in it, Goodwin. Im calling you from inside the mission. Inside the Source Code. A beat of stunned silence. The train begins moving.

ANNOUNCER (V.O.) Next stop New York Penn Station. GOODWIN (V.O.) This contact is ill-advised. must ask you to hang up. I

COLTER Goodwin, Im trapped in this and I cant get out. GOODWIN (V.O.) You have no authorization to be making this call. Goodbye. COLTER No! Wait! Dont hang up! Forget authorization. Theres no time. Soon youre going to find out what happened on this train. And then your own day is going to start. But not until then. Right now its just you and me talking. And youre a different Goodwin than the one Im going to go back to in a few minutes. Youre separate from him. Separate worlds. Do you understand? GOODWIN (V.O.) I think so. COLTER Good. Now theres a lot of secrecy in all of this, and you have your reasons for that. (MORE)

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COLTER (cont'd) But here and now, just this once, I need to ask you something. And you need to tell me the truth. GOODWIN (V.O.) Id rather you not ask me anything, Captain. COLTER Im going to ask it. GOODWIN (V.O.) I should terminate this call. COLTER Jesus, Goodwin, how can I get through to you? Youre not just a soldier. Somewhere inside youre a human being, too. Somewhere inside youve got to know that this is wrong. Source Code is wrong. And if you cant grasp that, if you just follow orders, then youre just as much a prisoner as I am. The car SHUDDERS as the EXPRESS TRAIN FLASHES BY. returns as it recedes. GOODWIN (V.O.) Whats your question? Surprised, Colter raises his head. Draws a breath. Quiet

COLTER Did I survive that helicopter crash in Iraq? Silence. Colter shuts his eyes. Answer me. crash? Another pause. COLTER Did I survive that

This is crushing Colter. COLTER

Goodwin.

GOODWIN (V.O.) Not physically. What? COLTER

78.

GOODWIN You did not physically survive the crash. A terrible chill comes over Colter. stay brave. He swallows. Trying to

COLTER Not physically? Fuck. At least give me an answer I can understand. GOODWIN (V.O.) Weve kept alive certain areas of your brain. COLTER But... the capsule Im in... GOODWIN (V.O.) A manifestation. Your way of making sense of it. This is crushing. Colter fights back terror.

COLTER You had no right. GOODWIN (V.O.) As a soldier... COLTER I was a soldier. Then. (whispers) After death? But now?

GOODWIN (V.O.) It was the only way. You couldnt have a body and be sent back into the Source Code. (beat) What is the status of your mission? Is it a success? COLTER You really want to know? GOODWIN (V.O.) I suppose not. Youre right to keep it from me. COLTER Thats what we do. Keep stuff from each other. Will this ever end?

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End?

GOODWIN (V.O.)

COLTER How can I get out of this? GOODWIN (V.O.) You must realizes the armys made an investment in you. Youll be used again. How? COLTER

GOODWIN (V.O.) Imagine a turntable. With a record spinning on it. All we do is lift up the needle. The music stops. COLTER And then what? GOODWIN (V.O.) Then we wait. Until another mission. And the needle comes down again. You wont remember any of this. Well start with the playing cards. Electronic tones. Simple memory exercises. Bit by bit, well revive your cerebral capacities once more. The barbarism of it. Digital slavery.

COLTER How many times have I done this? GOODWIN (V.O.) Does it matter? COLTER No one knows Im here. help me. No one can

GOODWIN (V.O.) In stimulating your cortex, theyre prolonging your life. Many soldiers would find that preferable to death. COLTER You cant do this. I served my country. I already gave my life.

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GOODWIN (V.O.) The courts. What? COLTER

GOODWIN (V.O.) The courts know youre here. COLTER Military court or civilian court? Military. GOODWIN (V.O.)

Colter finds no comfort in this. GOODWIN (V.O.) Im sorry you found out about all of this. That wasnt our intention. COLTER Does that make it any less wrong? No answer. Colter looks down at his watch. Time is running out. And theres absolutely nothing he can do. DISSOLVE TO: COLTERS FACE Ashen. Almost lifeless. cocoon of the INT. ISOLATION UNIT Its appearance has altered slightly, given Colters new awareness of what this really is. The capsule is even more claustrophobic. There are fewer controls. Even less light. A shadow world. The monitor is blank. Goodwin?! He shouts from the void -Around him is the darkened steel

COLTER

Rutledge appears. Drops into the seat and puts on the headset. Fiddles with his pipe as a way to avoid looking at the camera.

81.

RUTLEDGE Hows it going? Any breakthroughs? COLTER I finally get it, Rutledge. Youre the good guy, Goodwins the bad guy. Working together, you get what you want out of me. Why didnt I see it before? RUTLEDGE Believe me, Captain, Im on your side. COLTER Drop it. I know about the helicopter crash. I know what theyve done with me. RUTLEDGE (struggling) Look, its been a long day. For all of us. But now weve got to bring this home and catch a killer. COLTER Whats in it for me? RUTLEDGE Come on. These guys are serious. Help me out. My ass is on the line, too, you know. COLTER You can do better than that. They sent you here to offer me a deal. RUTLEDGE If you think Im enjoying this, youre wrong. COLTER Whats their offer? What can they possibly threaten me with after so colossally fucking me? Spit it out, you spineless turd. Rutledges face goes red. Quite possibly no one has ever spoken to him like this before. After a sputtering pause, Rutledges mouth hardens.

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RUTLEDGE The government can decide to take an interest in people. People like your father with his struggling farm. It can discover things like unpaid property taxes. It can call in his equipment loans or tie him down for years in environmental litigation. On the other hand, it can pay him handsomely for mineral deposits he never knew were there. As distant and problematic as your relationship was, surely youd like the chance to do something for him. A beat of silent outrage from Colter. COLTER Those after images I saw. You never knew about them. They werent part of Source Code architecture, were they? RUTLEDGE (hastily) Theyre meaningless. Nerves firing. Brain chemistry. COLTER You dont believe that. Ive been to places you havent. Ive crossed and recrossed that line between living and dying. And when I do, that veil gets lifted for just a second. And whats there is real. Maybe its a vision of the next world, but I can see it. RUTLEDGE You can see it. But you can never get there without our help. Get there? COLTER What do you mean?

RUTLEDGE Our offer. Maybe we can get you there. In return for your completing the mission. (beat) Theyll let you die. Ill shut off your life support and youll simply slip away. (MORE)

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RUTLEDGE (cont'd) Just like the good Lord intended you to do a few months back. A fearful beat. Negotiating over his own soul. You wouldnt just flip the back up again know, youve me before.

COLTER Youd never do it. have to. You could switch and start me unaware. For all I made this deal with

RUTLEDGE Actually, we havent. Your operational awareness has become too great. If you found out the truth about yourself once, you might do so again. As for Source Code, Im sure we can find other servicemen coming back from overseas with wounds just like yours. (patronizing) Do you have the courage to serve your country one final time? Colters eyes bore into Rutledge. COLTER Im going to find you, Rutledge. Someday. Somewhere. RUTLEDGE (retreating from the confrontation) The display screen on the detonator was a useful and exciting insight you made. This time, make it pay off. Get the information on the screen. But let the bomb explode. We need the force of the explosion to help integrate you quickly back into the present. The Source Code machinery is already beginning to HUM. Rutledge excitedly keying in system commands. COLTER You hear me? Somehow, Im going to find you. RUTLEDGE I doubt that.

84.

Theres barely time for Colter to grab onto the harness restraints before the machinery goes into a deafening HOWL. THUNK. Colters body convulses and goes limp. Unconscious, he sags in his seat, held in by the harness. Everything SWITCHES OFF AND GOES DARK. A split second later, the capsule comes back to life again. As if the plug were simply put back in. Captain? Colter JOLTS AWAKE. Its okay. back. Colter exhales. Source Code. RUTLEDGE Disoriented. Thrashing to get free. Youre

RUTLEDGE Calm yourself.

Shuddering.

Hes just completed another

RUTLEDGE What happened? The tentacles of the nightmare slowly releasing. Replaced by the oppression of being back in the capsule. Back in Rutledges power. RUTLEDGE Was the bombers identity on the cell phone? COLTER I think so. But there wasnt time to read the screen. As soon as it rang the bomb went off. RUTLEDGE (impatient) What about the phone itself? Make, model, product identification number. COLTER I was unable examine the phone without separating it from the detonator -- which I was instructed not to do. His delivery is different now. Impersonal. Distant.

85.

RUTLEDGE Did you make any other progress? What in hecks name did you do for those seventeen minutes? Colter does not answer. The machinery again STARTS UP. Colter tenses, bewildered. Eyes dart accusingly to the screen. Wait. THUNK. Again, he convulses and goes limp. Click. Darkness. Everything POWERS DOWN... COLTER What are you --

... And BACK UP again -- controls, monitor, machinery. Colter GROANS and opens his eyes. Gripped by another terror. Returning from yet another trip on the train. Another bomb blast. Death and resurrection. Rutledge looks in on him with impatience. RUTLEDGE We can do this all day. get it right. Until you

COLTER Please... I dont feel good... RUTLEDGE I dont doubt it. Whos the bomber? COLTER I dont know... I honestly... I cant keep... The HUMMING again. Hes helpless. An insect on a pin. Colter tears at his restraints, ready to bash his brains out against the controls. He SCREAMS... INT. TRAIN - MORNING ... and, in sudden freedom, surges up out of his seat with a cry. Around him startled passengers look over in confusion. Hey! CHRISTINA

86.

Colter, back in his navy jacket, slacks and shirt, has pitched forward into Christina. CHRISTINA You want to get off me? The Overweight Man, wide eyed in surprise, has his finger poised to open his can of soda. Go ahead! COLTER Open your fucking soda!

CHK-THOCK! The Overweight Man complies. Some half-muttered reproaches, then most people go back to what they were doing. CHRISTINA Whats wrong with you, anyway? She glares at him at he stands up. He cant respond. Despair surges through him. He stumbles off down the aisle. But where can he go? There is no freedom. Imprisoned in both worlds. From her seat, Christina watches him go. in him. EXIT AREA Colter is slumped in a corner. on the shoulder. You okay? CHRISTINA Christina appears. Taps him No escape.

Sensing the torment

He eyes her furtively. Like a cave man whos never seen another human being before. CHRISTINA Youre not okay. Hes ghastly pale. Hes sweating profusely.

COLTER Maam, please... return to your seat. Footsteps. The sound of jangling KEYS. Ticket. CONDUCTOR

87.

The conductor takes up position in front of him. implacable as Rutledge, in his way. CONDUCTOR Ticket, please. CHRISTINA Hes not feeling well. CONDUCTOR He still needs a ticket. Colter makes no move to respond. anything. CONDUCTOR Have it your way, pal. He takes out his book to write Colter up. Wait. CHRISTINA Ill pay it.

As

No more concern for

CONDUCTOR I have no idea where he got on. Full fares $22.50. CHRISTINA All right, all right. Getting out her wallet, she pays the conductor. with disapproval, then shambles off. CHRISTINA I see customer service is alive and well on New Jersey Transit. COLTER Why did you just do that? CHRISTINA The ticket? I dont know. looked a little lost. You She He eyes her

The gratitude in his look makes her self conscious. turns to go. COLTER Will you do me a favor? CHRISTINA Whats that?

88.

COLTER Get off the train. What? CHRISTINA

ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. Please. Her puzzled look. COLTER Just get off the train. The train begins to SLOW DOWN.

CHRISTINA This isnt my stop. COLTER You shouldnt have been on this train, Christina. You should be living another life. Not spending it answering phones for lawyers. CHRISTINA How do you...? A group of passengers approaches the exit area. Weve seen them all before: Derek, the Old Man, the College Kid. And the small encounters: shuffling around, positioning at the doors, and the College Kid tapping Derek on the arm, holding out Dereks wallet. COLLEGE STUDENT Hey, you dropped this. DEREK (relieved, takes it back) Wow. Thanks. The train stops. The doors OPEN.

ANNOUNCER (V.O.) Newark Station. Derek, the Old Man and the College Kid get off. A second later, Guzman bursts past them, making his nauseated run for the station. Leaving just Colter and Christina there. open, invitingly. The doors stand

89.

COLTER Everyone has a destiny. isnt yours. He steps out onto the platform. to join him. A coaxing look. Shes incredulous. This guy.

And this

Holds out his hand for her This whole moment.

His words.

CHRISTINA Who in the world are you? COLTER Just do it. Stop being afraid. Believe in yourself. He waits for her. Only two steps away.

ANNOUNCER (V.O.) All aboard. Doors are closing. She blinks. two much. The spell breaks. Those two steps prove to be

CHRISTINA Leave me alone. She retreats back into the car. Colter is heartbroken. About to pursue her, he happens to look over and see DEREK Instead of going directly to the station house, Derek continues walking down the platform alongside the train, as if intending to reboard further down. And then it happens. With a quick motion Derek TOSSES SOMETHING through an open door of another car, then heads quickly away towards the station house. With no time to think, Colter slips back on board just as the doors slide shut. INT. TRAIN - MORNING The train begins moving. Christina is nowhere in sight.

ANNOUNCER (V.O.) This is a New York bound train. Next stop New York - Penn Station.

90.

Intrigued, Colter leaves the exit door area... INT. SECOND CAR - MORNING ... Strides down the aisle of the second car... and reaches the next set of EXIT DOORS Theres nothing there. Whatever Derek tossed inside is gone.

Did someone pick it up? Colter looks up the aisle and then the other way into the next car. No one there. Once more he examines the exit area. Gets down on his knees. Then he spots it -- an OPENING between the floor and one of the wall panels, only a few inches high. And there something lies. Colter slides it out.

Dereks WALLET. Intentionally left here. The same wallet the College Kid gave back to Derek earlier. Opening it, Colter pulls out Dereks DRIVERS LICENSE. INT. ISOLATION UNIT The Source Code has finished. The monitor shows just the empty chair. Finally Rutledge returns to his seat. RUTLEDGE Theyve searched the wreckage and found the wallet. It was under the wall panel. Just as you said. An awkward dynamic between them. have to work together. They despise each other but

COLTER Believe me, hes our guy. He tossed his own wallet back on the train. Only reason hed do that... RUTLEDGE (finishing his thought) ...is if he wanted us to think he died in the explosion. I know. (beat) We looked into his profile. (MORE)

91.

RUTLEDGE (cont'd) Derek Frost is a commodities trader, with a wife, two children and a promotion one month old. Hes an emergency preparedness volunteer on his office floor, for Gods sake. COLTER You saw that terrorist video -they said it was one of us. One of our own. RUTLEDGE If hes really the one, you can find out the rest of his plan. How? COLTER

RUTLEDGE By any means necessary. There is no Geneva Convention in the Source Code. COLTER Torture him, you mean. RUTLEDGE (shrugs) Find out the plan, before it happens here. And then Ill let you die. Their grisly bargain. RUTLEDGE In the conductors compartment theres a fully loaded 9 millimeter handgun locked in a safe. Think you can remember the combination? INT. TRAIN - MORNING Christina is absorbed in her sketch book. Colter watches. A stranger to her again. She feels his eyes on her. INT. TRAIN - MORNING As Guzman exits the bathroom, he almost crashes into Colter, whos waiting right there. Across from her, It hurts too much.

When she looks up, hes gone.

92.

Excuse me.

GUZMAN

COLTER Assalamalaikoom. Squeezing past, Guzman does a double take to hear the standard Arabic reply. INT. TRAIN BATHROOM - MORNING Reaching into the overhead crawl space, Colter once again unhooks the cell phone detonator from the bomb. Sitting down on the toilet seat, he dials 4-1-1 on the cell phone. OPERATOR (V.O.) What listing? COLTER The New York Times. INT. TRAIN - MORNING Christinas CELL PHONE RINGS. Hello? CHRISTINA She gets it out.

STEPHANIE (V.O.) Christina? Its Stephanie. are you right now? CHRISTINA Going to work. Why?

Where

STEPHANIE (V.O.) The strangest thing. The phone rang at my desk and some guy I dont know said the train youre on isnt safe and that you should get off at the next stop. Then he hung up. What? CHRISTINA

The train begins to SLOW DOWN.

93.

ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. CHRISTINA I dont understand. STEPHANIE (V.O.) Maybe you should get off. Are you okay? The station platform slides into view. CHRISTINA Im fine. Everythings normal. Is there something on the news? Some kind of alert? STEPHANIE (V.O.) Nothing that Ive heard. EXT. NEWARK PLATFORM - MORNING The train pulls to a stop. Passengers begin to get off.

ANNOUNCER (V.O.) Newark Station. INT. TRAIN - MORNING Christina is out of her seat, debating. STEPHANIE (V.O.) I think you should get off. CHRISTINA Ill be late for work. STEPHANIE (V.O.) The hell with work, Christina! hate that job anyway. CHRISTINA Its probably a joke. from somewhere. You

A weirdo guy They lock eyes. Colter quickly

She sees Colter down in the exit area.

And somehow she knows. He made the call. disappears into the other car.

94.

INT. SECOND CAR - MORNING The doors stand open to the platform. Just then Dereks WALLET goes skidding back on board, disappearing under the wall panel. A second later, Colter reaches the exit area. ANNOUNCER (V.O.) All aboard. Doors are closing. EXT. NEWARK PLATFORM - MORNING The train doors shut. Colter is now out on the platform. Christina is not there. Concerned, walking quickly forward, Colter looks through the windows... And finds her staring back at him. Still on the train. strange moment between the two of them. Once again hes failed to save her. They watch each other for as long as possible, until the train pulls away. INT. TRAIN - MORNING As the train SPEEDS UP, Christina sits down again, lowering her phone. STEPHANIE (V.O.) Did you get off...? No. She hangs up. But what test? CHRISTINA Ill call you back. Disturbed. As if shes failed some test. A

Why this weird feeling?

ANNOUNCER (V.O.) This is a New York bound train. Next stop New York - Penn Station. The train SPEEDS UP. Anxiety creeps into her face. Looking around, the tranquility of the passengers begins to seem ominous, hinting that shes made the wrong choice.

95.

INT. TRAIN CONDUCTORS COMPARTMENT - MORNING The conductor enters. when -Huh? About to pour himself a cup of coffee

CONDUCTOR

The metal door to THE SAFE has been OPENED. INT. NEWARK STATION - MORNING Inside the quiet lobby, Derek is heading for the outer doors to the parking lot, when: COLTER (O.S.) Derek Frost. Colter is walking towards him, holding up Dereks WALLET. COLTER You forget something? Gosh. DEREK Is that my wallet?

As he goes to take it, Colter GRABS HIM. INT. NEWARK STATION - MENS ROOM - MORNING Behind the closed door at the end stall comes the sound of GUZMAN VOMITING. BANG - The mens room DOOR flies open -- Colter DRAGS Derek inside. DEREK What the hell, man? hell??? COLTER You see this? Colter pulls out the DETONATOR CELL PHONE -- the one he took off the bomb. Holds it inches from Dereks face. COLTER Now you cant blow it up. What the

96.

DEREK What is this? Get away from me! The BARREL of a 9 MM PISTOL. Aimed right at him.

COLTER Believe me, Im very accurate with one of these things. Jesus. DEREK Sweating. All fright. Like a

Derek raises his hands. decent man, terrorized. It gives Colter pause.

Does he have the right guy?

A toilet FLUSHES. The last stall door opens and Guzman emerges. Stops cold as Colter swings the pistol at him. COLTER Stay there, my man. DEREK Dont hurt me. COLTER Stop acting, for Chrissakes. DEREK Keep my wallet. Take my watch. Take anything you want. Unprompted, Guzman takes out his own wallet and sets it on the counter. Calmer than Derek. Accustomed to trouble. GUZMAN There. Now you have two wallets. Take them and go. Shut up! Tensing. COLTER

This isnt supposed to happen like this. Please. DEREK I have a family.

COLTER What about those other passengers? Dont you think they had families?

97.

GUZMAN Just what is this about? COLTER This mans a terrorist. a bomb on the train. DEREK (half laughs) What? Click. Colter pulls back the hammer and savagely JAMS the barrel of the pistol into Dereks cheek. COLTER Whats the next attack? Who else are you going to kill today, huh? DEREK (in tears) Oh God... Oh God... Guzman takes a step towards Colter. COLTER One more step, asshole. GUZMAN Dont treat him like this. Hes not an animal. Neither are you. DEREK Listen to him. For Gods sake Im not a terrorist...! A URINE STAIN spreads on Dereks pants. ashamed. Colter keeps the gun on him. He looks down, He planted

COLTER Piss all you want. You took eighty million dollars to kill hundreds of people today. DEREK Eighty million dollars? you... I swear to

COLTER Then what about the wallet, huh? Why the fuck did you twice try to leave your wallet on board?

98.

I... I...

DEREK

COLTER Times up! What is it?! What is the next attack! So help me, Ill put this bullet through your brain. DEREK I dont know what youre talking about! COLTER Im going to do it. Tightening his finger around the trigger. Tears are streaming down Dereks face. But hes not going to talk. DEREK I would never hurt anyone. I have a family. I guess youll have to kill me. But Colter cant. He cant shoot him. He lowers the gun. Disgusted with himself. Why cant he do it? You see? GUZMAN You are a human being. Even as Colter feels

Speaking gently. Trying to calm him. like hes failed. GUZMAN This can be worked out. listen to each other. The temperature cooling.

We can

Dereks nodding with him.

DEREK Anything you want... Please... The detonator CELL PHONE RINGS, startling all of them. Confused, he answers the phone. Hello. COLTER

CHRISTINA (V.O.) Who is this? COLTER (stunned) Christina?

99.

CHRISTINA (V.O.) Are you the guy who was sitting across me on the train? Colter looks at his watch. MINUTES. 2:59... 2:58... The countdown passes THREE

COLTER How can you be calling this number? CHRISTINA (V.O.) My friend had it. From when you called her -- to try and get me off the train. Who are you? What do you want? Derek and Guzman cautiously lower their hands. confusion. COLTER I was trying to warn you. CHRISTINA (V.O.) About what? COLTER Im not sure that it matters now. CHRISTINA Talk to me. I feel terribles going to need to get off the going to die? (V.O.) that something happen. Do I train? Am I Watching in

He can hear the b.g. noise of the train on the other end. COLTER Im right here, okay? afraid. Dont be

CHRISTINA (anguish) Why didnt I get off the train? (sighs) I knew I should have driven in today. But then theres the bridges, right? You never know when theyll be jammed. That stirs something in the back of Colters mind. COLTER What did you say?

100.

CHRISTINA The bridges. You just never know when theyll be jammed. His heart starts racing. FLASHBACK On the train. Earlier. Derek in his seat, on his cell phone. Colter nearby, overhearing him: DEREK Trust me, by one oclock, the bridge is going to be jammed... BACK TO SCENE Colter looks to Derek. His stomach sinks.

COLTER By one oclock, the bridge is going to be jammed. Thats what you said. You knew. You knew there was going to be an evacuation. You knew before it happened. All those people walking across the... The realization hits. COLTER Theyre going to bomb the bridges. While theyre full of people. ON DEREK A slight flicker travels across Dereks face. disturbance on a surface of deep water. CHRISTINA (V.O.) What are you talking about. going to -Whos Like a

Over the phone comes the HORN from the passing FREIGHT TRAIN. Colter presses the phone to his ear, trying to hear her. COLTER Christina? Just hang in there. Youll be okay. A HAND closes over his gun. Before Colter can react, Derek TURNS THE GUN BACK INTO HIM --

101.

BLAM!

BLAM!

DEREK SHOOTS COLTER TWICE IN THE CHEST. Colter staggers back -- slumps to his knees. Guzman cries out -- makes a run at Derek -- who spins and -BLAM! SHOOTS GUZMAN DEAD. Spent shell casings roll to a stop on the tile floor. terrible silence. CHRISTINA (V.O.) Whats happening? Are you okay? Are you there? Derek picks up the phone and terminates the call. He coldly evaluates the two men dying in pools of blood. Then calmly walks out. As the life slips from Colters eyes, he manages to focus on his beeping WATCH -Where the seventeen minutes have RUN OUT. BLEACHES WHITE... And the world A

In the haze comes the mystical vision again -- but deeper in: THE STONE WALL now curves over our heads, becoming a TUNNEL. CHRISTINA walks away from us -- down into the tunnel. far end is ablaze in WHITE LIGHT. The She

We try calling to her. But our voice is weak and faint. continues towards the light... and we do not follow. INT. ISOLATION UNIT The monitor is dark. Everything is still. seat. For long seconds we watch his face. INT. ENGINEERING LAB - NELLIS A.F.B. - DAY Colter in his

A jarring transition. We are now away from Colters P.O.V. and in the real, physical environment of the Source Code operations center. Military and civilian personnel work amid mysterious scientific equipment.

102.

Rutledge talks on a wall phone. his country.

Like a team player serving

RUTLEDGE (into phone) Yes... We appreciate that... I just hope the information has come in time to clear the bridges... Thank you, sir. When he hangs up, he turns to Goodwin and a few other TECHNICIANS. Naked ambition courses through him. RUTLEDGE Whether or not they can stop the bridge attack, we came up with the intelligence. And that virtually assures all of our futures. This is just the beginning, guys. (to Goodwin) You did a great job, Goodwin. You operated our captain with skill and professionalism. Whats that you have? Goodwin opens an envelope and slides out a CITATION. GOODWIN The Army investigated Colters helicopter crash in Iraq. Apparently he stayed behind to fly protective cover for a disabled convoy until he ran out of fuel. RUTLEDGE Whats this, then? Some kind of posthumous reprimand for reckless flying? No. GOODWIN Its the Silver Star.

Something in Goodwins voice momentarily checks Rutledges breezy good humor. RUTLEDGE Send it on to his father. Itll ease the pain of his sons death. GOODWIN I thought I might inform the captain of the citation.

103.

RUTLEDGE Better not. We cant risk acquainting him with the citation in case the memory wipe isnt entirely clean. GOODWIN The memory wipe? TECHNICIAN I thought we were going to let him die. RUTLEDGE I know, I know. But now the Director of National Intelligence is sure to want a closer look at our program, and until we train up another candidate, well need to keep Colter around to demonstrate it. Oh. TECHNICIAN

RUTLEDGE This thing is much bigger than any one of us. Goodwin, please clear Colters memories and re-initialize Source Code. Rutledge walks away. The technician gives Goodwin a look of disgust. Goodwin carefully replaces the citation into the envelope. INT. CONTROL CONSOLE - DAY Mission Control. Panels, consoles and screens. Goodwin takes a seat at his workstation. He swings a microphone up and goes to flip a switch. Then stops. Unsure how to proceed. envelope with the citation in it. INT. ISOLATION UNIT Inside the capsule, the silence continues. himself. The MONITOR then comes on. Colter thinks to Looks down at the

104.

GOODWIN Captain, this is Beleaguered Castle. Acknowledge transmission. INT. CORRIDOR - NELLIS A.F.B. - DAY Rutledge walks by himself. Reflecting. Pleased with himself. Under his breath, he acknowledges the praises hes imagining in his head: RUTLEDGE Thank you, sir... I appreciate your faith in me... Its a great day for our country. INT. ISOLATION UNIT Colter looks out at Goodwin. A beat of difficult silence. Are you

GOODWIN How are you feeling? comfortable? COLTER Just do it. GOODWIN Come again?

COLTER Just do it. I knew they wouldnt let me die. At least you can make me forget all of this. I hope. Goodwin stares at his hands. Unmoving.

COLTER What are you waiting for? Youre just doing your job. Id do the same thing if I was you. At least youve got a shot at saving those people on the bridges. GOODWIN I doubt it. COLTER You dont think theyll save them?

105.

GOODWIN No. I meant, I doubt youd be doing this, if you were me. An unusually personal statement, coming from Goodwin. COLTER Look, someone had to be where youre sitting, and someone had to be in here. Turned out it was you and me. (then) Just do it. Im tired. GOODWIN Would you like to see Christina again? One last time? Colters not sure he heard him right. COLTER I dont understand. GOODWIN Seventeen minutes. Thats all I could give you. No mission to fulfill. Just... the two of you. COLTER (stunned) Why would you do that? GOODWIN As a favor. One prisoner to another. Prisoner? COLTER

GOODWIN You were right. About me. And about Source Code. Weve kept too much from each other. An odd sensation comes over Colter. GOODWIN I usually report in at 0600. Today I was there early. I was there when the call came in. Your call. His call? They share a long look.

106.

COLTER No... Theres no way... Theres no way you could have... Goodwin just smiles. COLTER (protesting) How? The Source Code was a parallel world! You told me so! Its hermetically sealed. Nothing I did on that train would have any effect on this reality! GOODWIN You were on the train. But... COLTER I was not.

GOODWIN We didnt know if any bleedthroughs could occur. The implications would be staggering. Thats why you were told to avoid unduly influencing events. COLTER Youre saying I could have saved those people?! GOODWIN No. Not in our world. The time currents are too strong. But minor alterations, here and there, a phone call, say, those might slip through. We didnt know for sure. But you proved it. Colter is thunderstruck. Unable to grasp it.

GOODWIN Ive been thinking about the things you said on that call. As the day passed, the more I understood them. And now, I guess weve caught up to each other. COLTER Man. Just when I think I understand this...

107.

GOODWIN (nervous) Theres not much time. They think Im re-initializing the system. One last look at her. Thats all I can give you. If that. COLTER Theyll nail your ass for this. GOODWIN If I had any feelings, Id worry about that. But, as youve maintained, I do not. The strange path of their relationship. simple, grudging respect. COLTER Roger that. MACHINERY BEGINS TO HUM. GOODWIN This is Beleaguered Castle signing off. Acknowledge final transmission. COLTER Final transmission acknowledged. (beat) Thank you, Goodwin. Goodwin interrupts his preparation for a last look at Colter. The noise gets louder. The capsule begins to shake. Ending at last at

Colter touches the monitor. His fingers imparting to the last image of his world a quiet benediction. INT. CORRIDOR - NELLIS A.F.B. - DAY Sipping a cup of coffee, Rutledge lingers at a window, contemplating his future. INTERCOM (V.O.) Dr. Rutledge, extension 16. Blinking out of reverie, he goes over to a wall phone and punches an extension.

108.

RUTLEDGE This is Rutledge. He listens. His face darkens. RUTLEDGE

Shit.

He SLAMS down the phone and starts RUNNING. INT. TRAIN - MORNING Colter is back on the train. It is morning again, seventeen minutes before the destruction. Hes back in the navy blazer. The slacks. The commuters, caught up in their individual concerns, ignore Colter. But he looks on them with an appreciation approaching joy. For a moment he just sits there. Simply being alive in this world. Attuned to the motion of the train. The sun on his face. And across from him, oblivious, working away on her sketch pad, is Christina. The best sight of all. INT. ENGINEERING LAB - NELLIS A.F.B. - DAY Banks of MACHINERY are RUNNING. Flustered. Barking questions. Rutledge comes charging in.

RUTLEDGE What is this? Who authorized this? TECHNICIAN We dont know, sir. But Source Code is up and running again. RUTLEDGE Wheres Goodwin? The chair at the console is EMPTY. TECHNICIAN No idea, sir. A DIGITAL CLOCK ticks down from 17 minutes: 15:28... 15:27... 15:26... RUTLEDGE What the hell is he doing?

109.

INT. TRAIN - MORNING Colter drinks in the sight of Christina. and walks off down the aisle. Finally he gets up

As soon as hes gone, Christina looks up. Shes observed his interest in her. Doesnt quite know what to make of it. INT. TRAIN - MORNING Colter is by himself in the exit door area. he takes out a CELL PHONE. CLOSE ON -- THE CELL PHONE SCREEN As he dials 9-1-1. The call connecting... From his jacket

OPERATOR (V.O.) 9-1-1. What is the nature of your emergency? INT. CONTROL CONSOLE - DAY Rutledge watches the computers churn. RUTLEDGE Shut it down. Sir? TECHNICIAN

RUTLEDGE Shut down the Source Code. now. The technician hesitates. Fine. RUTLEDGE (CONTD) Ill do it myself.

Right

Rutledge sits down at the controls. TECHNICIAN I wouldnt do that. Rutledge gives a dismissive snort. RUTLEDGE And why not? And yet he pauses.

110.

TECHNICIAN Weve never interrupted Source Code in mid run. Wed have to literally pull the plug. It could damage the processors. RUTLEDGE Let it finish, then. No harm in that, I guess. (ominous) All of you are in deep shit, I promise you. As for Goodwin, hell never make it off this base. Rutledge picks up a phone. TECHNICIAN I dont think thats where hes headed. Rutledge considers. And then catches on.

RUTLEDGE He wouldnt. Looks up at the technician. Grows more and more uneasy. Snapping his attention back to THE COUNTDOWN CLOCK Which reads: 12:42. Before it hits 12:41, Rutledge is already out of his chair and RUNNING for the door. RUTLEDGE Seal the ICU. I want a detachment of MPs meeting me on the way there. INT. TRAIN - MORNING Colter walks down the aisle. Looks at HIS WATCH -- 12 minutes, 40 seconds. The train begins to SLOW DOWN. ANNOUNCER (V.O.) Now approaching Newark Station. Newark Station, next stop. The Computer Engineer begins to wake up. As he does, Colter passes by, deftly slipping the borrowed cell phone back into the engineers hand without being noticed. Derek packs up his things. We see him hide his wallet into a gap in the seat cushions and get up.

111.

The College Kid, also getting up, notices Dereks wallet, picks it up and hurries after him. COLLEGE STUDENT Hey, you dropped this. Wow. DEREK Thanks.

Keeping his composure, Derek accepts the wallet. Colter steps aside, allowing them to pass. to happen. The station slides into view. Allowing it all

No one on the platform.

INT. STAIRWELL - NELLIS A.F.B. - DAY Rutledge furiously descends, shoving people out of his way. INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY Rutledge runs up to a locked door and swipes his access card through the scanner. It comes up RED. What?! He tries again. RUTLEDGE Red. The door stays LOCKED.

EXT. NEWARK PLATFORM - MORNING The train comes to a halt. Unlike before, the doors stay shut for SEVERAL SECONDS LONGER than usual. Derek waits quietly at the doors. Finally they open. Derek steps out onto the platform, together with the Old Man, the College Kid and Guzman. ANNOUNCER (V.O.) Newark Station. Colter remains on board, standing in the exit area, watching. As usual, Derek quickly flips his wallet onto the next car and starts toward the station house. Guzman is ahead of him, already pushing open the doors to the station. All is quiet. Perhaps too quiet. station and sees Derek approaches the

112.

THROUGH THE OPEN DOORS In station lobby are POLICE OFFICERS. Dereks jaw tightens. an outdoor stairwell. He changes course, heading instead for

Coming UP the stairs, however, are more POLICE OFFICERS. Wheeling around, Derek heads the other way. Walking faster, but keeping his head. Not running, not panicking. The train, oddly, is still sitting there. As he nears the other end of the platform, MORE OFFICERS appear from behind columns, cutting off his escape. The police are coming from all sides, converging on the platform. Yet no one panics. No one runs. Finally -POLICE COMMANDER (calling out) Derek Frost. Derek goes to get back on the train. The doors, however, SLIDE SHUT in his face. Through the closed doors, Derek looks in at Colter, still on the train. They stare at one another through the window. Mr. Frost. POLICE COMMANDER Please turn to face us.

An entire PHALANX OF POLICE OFFICERS is on the platform. Of course. DEREK Whats this about?

Unseen by the officers, Derek has taken out his CELL PHONE and is DIALING IT as he turns around. The police approach, cautiously. POLICE COMMANDER Place your hands in the air. DEREK My pleasure. Raising his hands, he pushes SEND on his phone. On board the train theres a RINGING.

113.

INT. TRAIN - MORNING The DETONATOR PHONE has been removed from the bomb and now rings harmlessly in the hand of the trains SECURITY OFFICER. The restroom door is open and swarming with conductors examining the bomb. On the platform, the officers tackle Derek, subduing him. Passengers watch at the windows, mesmerized. ANNOUNCER (V.O.) Once again, please return to your seats, ladies and gentlemen. No way. No ones moving from the windows. The first look

Except for Colter, who stands off by himself. of satisfaction weve ever seen on his face. INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY

An ALARM is going off. At a locked door, an Air Force LOCKSMITH is in the process of disabling the key pad. Rutledge paces, livid. RUTLEDGE I want to know who reprogrammed this lock. And if you dont get this open in ten seconds Ill see that youre busted back down to private. LOCKSMITH Im already a private, sir. RUTLEDGE Just open it! A mans life is at stake. The key pad goes GREEN and the pressure lock releases. Rutledge tears open the door. INT. STAIRWELL - NELLIS A.F.B. - DAY Armed MILITARY POLICE clatter down the steps.

114.

INT. BUNKER MEDICAL FACILITY - NELLIS A.F.B. - DAY Goodwin enters. He locks another door behind him. He is shaken but nevertheless going forward. In the chamber, three MEDICS monitor gauges and screens. One of them stands up to block his way. MEDIC #1 Sorry, I cant let you pass. Goodwin removes the patch on his uniform to reveal the insignia of a major. GOODWIN Step aside. Thats an order. MEDIC #1 We all know your rank, Goodwin, but I have explicit orders from Rutledge not to -BAM! Goodwin drops the Medic with a splintering HEADBUTT. GOODWIN Im glad you know my rank. Were you also aware Im in the Special Forces? EXT. NEWARK PLATFORM - MORNING The train has been evacuated as police investigators search the rest of the cars. Hoards of passengers fill the platform as conductors try to herd them towards the station. ANNOUNCER (V.O.) Ladies and gentlemen, rail service has been cancelled. Please clear the platform and proceed into the station. New Jersey Transit apologizes for the inconvenience. EXT. NEWARK STATION - PARKING LOT - MORNING Police cars parked everywhere. Two DETECTIVES are questioning the Computer Engineer. DETECTIVE So you have no idea how your cell phone was used to call in the tip?

115.

No!

COMPUTER ENGINEER

People mill about waiting for the buses, groaning and complaining. Christina accosts a passing transit employee. CHRISTINA What now? How do we get to work? You guys have some busses or something? The transit employee ignores her and walks away. Hey! CHRISTINA Im talking to you!

She stands there in exasperation. This whole thing has been designed to thwart her. Nearby, Colter sits on a bench. COLTER Aint life grand? Looking over, she notices him. CHRISTINA Yeah. Now Im going get fired for being late. COLTER Maybe thats a good thing. She gives him a sharp look. INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY Rutledge runs, now leading the detachment of MPs. RUTLEDGE Shoot him if you have to, you hear me? The MPs exchange a look of annoyance at being ordered around by this guy. INT. BUNKER MEDICAL FACILITY - NELLIS A.F.B. - DAY A heavy INNER DOOR has been opened.

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INT. BUNKER ICU - NELLIS A.F.B. - DAY The BEEPING of life support systems. The compressions of a ventilator. Goodwin approaches a GURNEY. A jungle of tubes and lines lead from the gurney into advanced machinery. A somber look on his face. GOODWIN Hello, Captain. As Goodwin edges forward, we reveal the bare foot of someone lying there. A DIGITAL TIMER reads 1 MINUTE. INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY At the facilitys outer door, the locksmith goes to work on another panel as Rutledge and the MPs stand by. LOCKSMITH Give me twenty seconds. RUTLEDGE Make it ten. Rutledge looks at HIS WATCH. It reads 52 SECONDS.

EXT. NEWARK STATION - PARKING LOT - MORNING CLOSE ON - COLTERS WATCH It also reads 52 seconds. His work is done. this one time. Hes saved her. Saved them all. At least

Only she doesnt know that. Christina stands there, arms crossed, scowling at the parking lot. CHRISTINA Could this day get any worse? COLTER That train was taking you to a place you didnt want to be. But then you got off. And maybe thats a sign.

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Yeah.

CHRISTINA If only. The stress of her day.

She takes out her cell phone.

CHRISTINA Im calling a cab. Maybe Ill only be somewhat late for work. Colter watches her, a quiet ache inside. dont want to be saved. INT. BUNKER ICU - NELLIS A.F.B. - DAY The noise from the outer door grows louder. The MPs are only seconds from getting inside. Goodman moves towards the life support equipment. As he does, we glimpse a horrifying sight: the upper half of Colters body -- his real body -- inside a sterile tent of transparent plastic. His skull has been removed. A massive apparatus has been infused directly onto his brain. Goodwin takes a long, last look. GOODWIN Thank you for your service. to go home. Time Maybe some people

Goodwins hand goes to the switch to shut off life support. His eyes on the clock. It reads 30 SECONDS. EXT. NEWARK STATION - PARKING LOT - DAY Christina on the phone, waiting as it dials. Hey. She turns. COLTER

Colter gets up. COLTER You can do anything you want with your life. Starting right now.

Shes taken aback.

He starts walking off.

CAB DISPATCH (V.O.) Metro Cab Dispatch. A long beat as she watches him.

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Hello...? Click.

CAB DISPATCH (V.O.)

She shuts her phone. And

Beat. Is she crazy? Shes baffled by her own action. by this unusual guy here. Wait. Colter turns. CHRISTINA

She crosses her arms archly.

CHRISTINA You cant just expect someone to change her life just like that. At the very least... youd have to buy that person coffee and explain your reasons. She waits for his response. there. Uneasy at putting herself out

Colters watch ticks down to the final seconds. His last moments in this world. He has only time enough for a final look of reassurance. COLTER Maybe some other time. Disappointment flickers on her face. She turns to go. Behind her is a STONE WALL. A BICYCLE is parked against it. Colters breath catches in his throat. the mysterious scene hes been seeing! HIS WATCH - Hits ZERO. INT. BUNKER ICU - NELLIS A.F.B. - DAY THE DIGITAL TIMER - Also hits ZERO. The outer door OPENS. MPs. Rutledge RUSHES in, accompanied by This is it! This is

RUTLEDGE Arrest him! Goodwin backs away from the gurney, hands in the air. The BEEPING has given way to a MONOTONE. vital signs have FLATLINED. All of Colters

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RUTLEDGE Hes dying...! Rutledge frantically goes to reconnect the machines -- but Goodwin has turned off too many of them. RUTLEDGE Get a medical team in here! Move!

But the MPs just stare at the appalling sight of Colters exposed brain. RUTLEDGE (shrieking) What are you standing there for?! Do it! We can save him!!! No one moves. rifles. Rutledge rashly grabs for one of the MPs

RUTLEDGE I guess force is the only thing you people understa -MP Back away, sir, now! The MP has leveled his rifle at Rutledge. Who steps back, aghast. His authority has vanished with Colters life. Goodwin shuts off the monitors. Colter is dead. Rutledge stares sorrowfully at Colters body. Goodwin with burning hatred. RUTLEDGE Youre a murderer. Goodwin offers his hands to the MP. GOODWIN Go ahead and arrest me. But the MP does nothing. GOODWIN Ill be around. Whenever you want me. They part as he walks out of the room. satisfaction on his face. A look of grim Then at Silence fills the room.

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EXT. NEWARK STATION - PARKING LOT - MORNING Christina walks past the bicycle parked against the stone wall. Shes about to enter a TUNNEL that goes under the tracks. The same tunnel from Colters vision. She stops. Something tells her to turn around.

The bench where Colter sat is empty. But three feet away... Colter is standing there. Still here. Dumbfounded, he looks at his watch -- it remains at ZERO. He looks all around. Trees stirring in the breeze. A bird flies overhead. The crowd of passengers outside the station. You okay? CHRISTINA

Colter turns to her. How can this be? Hes afraid to even speak. As if that alone could break the enchantment. But the world is here. Finally he swallows. It goes on. Thats all he knows.

Finding his voice.

COLTER Youre right. The least I can do is buy you coffee. This pleases Christina, although she tries not to show it. CHRISTINA Okay, well, come on then. Walking forward, he joins her. down the tunnel. A beautiful morning. FADE OUT. The two of them disappear