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Source Code Movie Script

Writer(s) : Ben Ripley

Genres : Mystery, Sci-Fi, Thriller

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                                  SOURCE CODE




                                  Written by

                                  Ben Ripley





                                                          1/18/2007

                         

                         SOURCE CODE
          Darkness.
          A SOUND slowly builds: the rhythmic rocking of a TRAIN'S
          WHEELS over RAILROAD TRACKS...

          INT. HIGH SPEED TRAIN - MORNING

          COLTER jolts awake. Sunlight hits his face.
          He blinks. A stunned beat. He's disoriented.
          Slowly he turns his head to one side...
          PASSENGERS. Filling most of the seats. Office workers on
          their morning commute into a city.
          Turning the other way, he's 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.

                         

                         

                         

                         

          2.

          INT. TRAIN - MORNING

          Colter hasn't moved. By his side he sees a canvas MESSENGER
          BAG. Is that his?
          Tentatively, he lifts the edge of the bag to look inside. A
          red APPLE rolls against two LIBRARY BOOKS. The bag's leather
          NAME TAG reads: "SEAN FENTRESS."�
          It's not coming back to him. This whole experience is
          starting to freak him out.
          He catches the scent of something. A passenger walks by with
          a STEAMING CUP OF COFFEE.
          CHK-THOCK! Two rows back, an OVERWEIGHT MAN opens a can of
          soda.
          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 button-
          down blouse edged in black funeral lace with silver skull-and-
          bones cufflinks. She's busy writing in a journal.

                         COLTER
          Ma'am?
          Nothing.

                         COLTER
          Excuse me... ma'am?
          She looks up. Blank stare.

                         COLTER
          What is this?

                         CHRISTINA
          What's what?

                         COLTER
          Where am I?

                         CHRISTINA
          (looks out the window)
          Almost at Newark.
          Goes back to her journal.

                         COLTER
          What's Newark? A city?

                         

                         

                         

                         

          3.

                         CHRISTINA
          It's more of a hell hole.
          But Colter still doesn't understand. He gets up. Nausea
          slams into him. He hangs on to the seat.

                         COLTER
          Woah.

                         (BEAT)
          I think I'm going to puke.

                         CHRISTINA
          (gestures, alarmed)
          Okay, bathroom's that way.
          Colter looks down the aisle, hesitating.

                         CHRISTINA
          Go. Seriously.
          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. It's a mirror image of the first car. But no,
          the passengers are different.
          Beside him there's a small door. Thinking it's the bathroom,
          he instead opens it to find a CONDUCTOR'S COMPARTMENT. A
          cramped office with chairs and surveillance monitors.

                         CONDUCTOR
          Ticket?
          A heavy-set CONDUCTOR stands in the aisle. A jangling of
          keys. Colter just stares at him. Dazed.

                         CONDUCTOR
          May I see your ticket?
          The last thing on his mind. Bewildered, he searches his
          pockets.

                         COLTER
          I don't think I...

                         

                         

                         

                         

          4.

                         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. The
          conductor snips his ticket and brushes past.

                         COLTER
          Wait a sec. I'm a little out of it
          here. Where's this train headed?

                         CONDUCTOR
          New York. Penn Station.

                         COLTER
          New York?
          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
          Where's that?

                         CONDUCTOR
          "~Bout ten minutes back.

                         COLTER
          But I've never been to Princeton
          Junction. See... I don't remember
          waking up or buying a ticket or
          getting on the train or anything
          else. It's just a blank.

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

                         

                         

                         

                         

          5.

                         COLTER
          Okay. You're gonna figure this
          out.

          INT. TRAIN - FIRST CAR - MORNING

          Entering the first car again. The rows of passengers. Must
          be at least forty people.
          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 o'clock, 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.

                         

                         

                         

                         

          6.
          There's something else in his sports coat. A WALLET. He
          turns it over a few times, inspecting it. Pulls out a
          DRIVER'S LICENSE. Another man's 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 hell's
          that?
          And why does he have this guy's wallet? He leans forward to
          speak with Christina again.

                         COLTER
          Ma'am?
          She lowers her journal, annoyed. We see she hasn't been
          writing but DRAWING. A well-executed sketch of a face.

                         CHRISTINA
          Why do you keep calling me ma'am?
          How old do you think I am, anyway?

                         COLTER
          I'm having a little problem here.
          I'm trying not to freak out, but I
          think something's happened to me.

                         CHRISTINA
          Like what?

                         COLTER
          Like, total memory loss. Complete.
          I don't know how I got here.

                         CHRISTINA
          So you drank too much last night.
          So did I. Unfortunately, I
          remember the whole thing.

                         COLTER
          That's not it. See... I'm a pilot.
          I fly helicopters in Iraq. I'm in
          the army.
          She waits for more. As if he's telling a joke.

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

                         

                         

                         

                         

          7.
          Wavering. Unsure of himself. His memories.

                         CHRISTINA
          Boy, you really did drink a lot
          last night.

                         COLTER
          I'm 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 aren't my clothes. And this
          wallet here...
          He holds up the driver's license. One final attempt to
          convince her.

                         COLTER
          You see this? This isn't me.

                         CHRISTINA
          Of course it is.

                         COLTER
          What?

                         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 can't 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.

                         

                         

                         

                         

          8.
          Colter only half notices all this. He's intent on reaching
          the train's 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.
          He's in a tiny space with prefab restroom fixtures in
          stainless steel.
          He SHOUTS in surprise. Recoils backwards. Eyes locked on

                         THE MIRROR
          Staring back is SEAN FENTRESS'S FACE. Not his own.
          He's frozen there. Heart pounding. Seized by cosmic panic.
          He SLAPS himself in the face. Hard.

                         COLTER
          Wake up!
          The restroom rattles and tilts with the motions of the train,
          obliging him to hang on.
          This isn't a dream. At least not one he can wake up from.
          The other guy's face stares back at him. Blinks when he
          blinks.

          INT. TRAIN - MORNING

          Warehouses go by in a blur. The train is entering New
          Jersey's 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

                         

                         

                         

                         

          9.
          Her hand knocks.

                         CHRISTINA
          Hey. 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

          Christina's holding Colter's messenger bag. She talks
          through the closed door.

                         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
          I'll 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 stranger's face.
          Practically catatonic at this point. And then her voice --

          CHRISTINA (O.S.)
          If it'll help you remember, you've
          been riding this train every
          morning for three months.
          Her words rouse him.

                         COLTER

                         (WHISPERS)
          Three months?!

                         

                         

                         

                         

          10.

          INT. TRAIN - CONTINUOUS

          Christina's 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 it's 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. Above it
          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. Can't quite see the
          object up there.
          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
          It's an enormous device. Several large CANNISTERS tied
          together, full of sloshing liquid. Barely discernible behind
          wires and gaffing tape is CELL PHONE -- the bomb's detonator.

                         COLTER
          Jesus.

                         

                         

                         

                         

          11.
          Running footsteps from outside. Commotion. An ALARM sounds.

          THE BOMB'S CELL PHONE RINGS -- THE DEVICE'S CIRCUIT CLOSES --

          THE BOMB EXPLODES IN COLTER'S 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 heavy-
          gauge 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 it's gone. Many will not even see it.

                         

                         

                         

                         

          12.
          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

          We're VERY CLOSE on Colter's UPSIDE DOWN face. His eyes
          flutter open. He's surprised to find himself alive.
          Consternation flashes through him as he discovers that he's
          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 controller's voice comes over
          Colter's headset.

          GOODWIN (V.O.)
          Captain Stevens, do you copy?

                         COLTER
          Where am I?

          GOODWIN (V.O.)
          You're with Beleaguered Castle.
          PULL BACK, fractionally, to reveal Colter in a tight and
          confined CAPSULE. It bristles with sophisticated electronics
          and ghostly glowing diodes. He's like an astronaut in an
          orbiter craft.

          GOODWIN (V.O.)
          Are you functional?
          He tries to clear his head. He's still upside down.

                         COLTER
          I'm dizzy.

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

                         

                         

                         

                         

          13.

          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.

                         COLTER
          When?

          GOODWIN (V.O.)
          Just now.

                         COLTER
          I was on a train.

          GOODWIN (V.O.)
          And?

                         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. We're still in the tiny chamber. It's 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. He's 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.

                         

                         

                         

                         

          14.

                         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 name's Goodwin.

                         GOODWIN
          Commencing memory pattern.

                         COLTER
          Listen to me. Something's wrong.
          I was flying a mission. I was in a
          chopper. Then I woke up on a
          train. Now I'm here. Can you
          explain that? What unit is this?

                         GOODWIN
          You're with Beleaguered Castle.

                         COLTER
          Who?

                         GOODWIN
          You're with friends.

                         (PATIENTLY)
          The exercises will assist you. Are
          you ready?
          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)

                         

                         

                         

                         

          15.

                         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 Colter's turn to speak?

                         COLTER
          I don't 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 Colter's 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. End of pattern.
          How did he know to say that? 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.

                         

                         

                         

                         

          16.

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

                         COLTER
          Queen, two nines, four and a three.

                         GOODWIN
          That is correct. The passage I
          read contained mention of a woman's
          name. What was that name?

                         COLTER
          Laurie.

                         (THEN)
          No. Lily. 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 unit's VIDEO MONITOR comes on again, illuminating
          Colter in its glow. He's still strapped into the capsule.
          The tiny monitor shows an out of focus view of a LAB. Like a
          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. Sound and picture
          vanish. Leaving us suspended.

                         

                         

                         

                         

          17.

          INT. ISOLATION UNIT

          An indeterminate amount of time has passed. Goodwin is back
          on the monitor.

                         GOODWIN
          Please list the primary
          specifications of the aerial
          platform you've 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.
          Goodwin's voice grows slightly louder over his headset.

                         GOODWIN
          Please list the primary
          specifications of the aerial
          platform you've been trained to
          operate.

                         COLTER
          Is someone going to tell me what's
          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?

                         COLTER
          The train.

                         GOODWIN
          Who bombed the train, Captain?

                         COLTER
          I have no idea.

                         

                         

                         

                         

          18.

                         GOODWIN
          Whom do you suspect bombed the
          train?

                         COLTER
          I don't know!

                         GOODWIN
          You didn't 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 don't 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?

                         COLTER
          Twice.

                         GOODWIN
          Incorrect. Who bombed the train,
          Captain?

                         COLTER
          I don't know who bombed the train!
          Colter is seething now. Had it with these games.

                         GOODWIN
          You have seventeen minutes. Use
          them. Find the bomber.
          ON SCREEN -- Goodwin leans forward to press a button and --

                         

                         

                         

                         

          19.
          Click. Everything goes dark. We HEAR Colter's nervous

          BREATHING.

          COLTER (V.O.)
          Hey. What's happening?
          The HUM of machinery starting up.

          COLTER (V.O.)
          Goddamn it, Goodwin, what is all
          this?
          The machinery HUM changes modulation. Then gives way to a
          GENTLE ROCKING SENSATION. Tha-thunk. Tha-thunk. Tha-thunk.

          INT. TRAIN - MORNING

          Colter opens his eyes...
          SUNLIGHT hits his face. In flickering patterns. He turns to

                         LOOK OUT

          A TRAIN WINDOW
          At the passing woodland scenery.
          He's 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.
          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. It's
          good. No, it's awesome. Crisp and delicious.

                         

                         

                         

                         

          20.
          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. It hasn't been punched yet.
          CHK-THOCK! The Overweight Man opens his can of soda. Just
          as before.

                         COLTER
          It's a goddamn simulation.
          Christina's 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)
          You're an unusual choice for a
          distraction.

                         CHRISTINA
          And you're 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.

                         

                         

                         

                         

          21.

                         CONDUCTOR
          Ticket?
          Expecting this now, Colter hands over his ticket to be
          punched.

                         COLTER
          Everything okay today, chief?

                         CONDUCTOR
          Say what?

                         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. We've 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. Sensory
          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 o'clock, the
          bridge is going to be jammed...
          Then... the CLICK of a LOCK UNLATCHING.

                         

                         

                         

                         

          22.
          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
          How's it going?
          Colter stands in front of him, arms crossed. Behind his dark
          glasses, Guzman ignores him, but he's visibly uncomfortable.

                         COLTER
          What's your name?
          Guzman is stock still. Beads of sweat on his forehead. The
          conductor appears, accosting Colter.

                         CONDUCTOR
          Didn't I tell you to take a seat?

                         COLTER
          Goodwin? Where are you? It's
          over. I found him.
          Appealing to Goodwin's invisible presence. But nothing
          happens.

                         CONDUCTOR
          Who are you talking to?
          An edgy silence. Other passengers looking over. Colter's
          about to retort, about to accuse Guzman, when he stops.
          It's too easy.
          Colter senses the uproar he's about to create. Which just
          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. Tell him
          to mind his.

                         

                         

                         

                         

          23.
          The conductor has noticed Guzman's white-knuckle uneasiness.

                         CONDUCTOR
          You feeling all right, sir?
          With a pained smile, Guzman loosens his collar.

                         GUZMAN
          Motion sickness, I'm afraid. I
          believe I will get off at the next
          stop.

                         CONDUCTOR
          Very well.
          The conductor turns back to Colter.

                         COLTER
          Okay. I'm sitting down.
          Turning away, he finds a seat. He studies Guzman out of the
          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. She looks back at him
          with distaste.
          A small number of passengers get up, among them the College
          Student. He catches Colter's attention as he picks up a
          WALLET from a seat and catches up with Derek, the Stock
          Broker, who's 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. Colter now eyes him
          closely.
          As the train pulls to a stop, Guzman forcefully pushes
          forward towards the doors, moving with a barely contained
          urgency.

                         

                         

                         

                         

          24.

                         GUZMAN
          Excuse me... Please let me
          through...

                         COLTER

                         (TO HIMSELF)
          Jesus, he's 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. Guzman
          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. Did he make the
          right move?
          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 Colter's 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. There's no sign of Guzman. Just an
          empty marble lobby. A lone CLERK restocks timetable
          brochures at a display.

                         

                         

                         

                         

          25.

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

                         CLERK
          (not looking up)
          Lots of guys come through here.
          Windows look out over the station's parking lot. There's no
          sign of Guzman out there.

                         COLTER
          He was just here. A Middle Eastern-
          looking guy.
          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 "MEN'S ROOM."�

          INT. NEWARK STATION - MEN'S ROOM - MORNING

          Pushing open the door, Colter discovers a row of 1930's-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...
          Colter's footsteps echo down the length of the deserted men's
          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. Looks
          awful. Freezes when he sees Colter.

                         COLTER
          All better now?
          Guzman's face hardens. He goes to the sink to wash his
          hands.

                         COLTER
          Don't much care for trains myself.

                         

                         

                         

                         

          26.
          The bathroom mirror, of course, reflects back Sean Fentress's
          face, not Colter's. 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 don't see a pay
          phone around here. So I'm betting
          you got a phone on you with the
          number already programmed in.

                         GUZMAN
          I have no idea what you're 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
          there's no phone in there.

                         

                         

                         

                         

          27.

                         GUZMAN

                         (STANDS UP)
          I will prove nothing to you. Leave
          me alone.
          WHAM! Colter PUNCHES Guzman with tremendous force, sending
          Guzman sprawling to the ground.
          Colter's hand throbs from the force of the punch. The
          simulation's reality stuns Colter all over again.
          Crouching down, Colter pops open Guzman's briefcase. Inside
          is a corporate IDENTIFICATION BADGE with Guzman's 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 hell's your phone?
          Another look at HIS WATCH -- 20 SECONDS.
          Grabbing Guzman, Colter goes through his suit pockets. He
          triumphantly pulls out GUZMAN'S CELL PHONE and steps back.
          Guzman looks up at him, eyes moist with humiliation and
          malice.

                         COLTER
          I thought so. Now let's 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. Then down at Guzman's
          cell phone. Which has remained off.

                         

                         

                         

                         

          28.

                         COLTER
          You didn't 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. A BICYCLE 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.

                         COLTER
          Holy fuck!

          GOODWIN (V.O.)
          Stabilize. Lower your pulse.
          Colter opens his eyes. He's back in his military flight
          suit.
          The craft goes still. Cautiously, he releases his hands from
          their grip on the seat restraints. He looks like he's
          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? Am I on
          some kind of drug?

                         GOODWIN
          Did you find the bomber?

                         COLTER
          I didn't 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? Be
          specific.

                         COLTER
          Guzman. Shell Oil. Look, I don't
          have intel experience. Why do you
          have me doing this?

                         GOODWIN
          You've 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.

                         COLTER
          How? How can you do that?
          Silence.

                         COLTER
          Who's the man with the pipe?

                         GOODWIN
          Say again?

                         

                         

                         

                         

          30.

                         COLTER
          There was a man smoking a pipe. I
          saw him on the monitor. Who's he?
          How does he fit into this?

                         GOODWIN
          The man with the pipe isn't here
          right now.

                         COLTER
          Let me talk to him. This isn't
          right. I'm 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?

                         COLTER
          Who cares? I'm tired of this.

                         GOODWIN
          This isn't a game, Captain.

                         COLTER
          Then what is it? Don't you already
          know who the bomber is? Don't you
          have all the answers?

                         GOODWIN
          We have no answers. Only corpses.
          A weird beat.

                         COLTER
          Corpses? Whose corpses? The
          passengers?

                         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? His mind
          pulled in all kinds of unpleasant directions.

                         COLTER
          These were real people?

                         GOODWIN
          Yes.

                         COLTER
          This really happened?

                         GOODWIN
          Yes.

                         COLTER
          When?

                         GOODWIN
          Today.

                         COLTER
          Today?! 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.
          Colter's head is spinning.

                         COLTER
          You're lying. I don't believe it.

                         GOODWIN
          What do your senses tell you?
          His senses tell him it's true. But how can he accept it?

                         COLTER
          Where am I, right now, as we speak?

                         GOODWIN
          With Beleaguered Castle.

                         COLTER
          My unit's still in Iraq. I'm
          flying missions in Iraq. I flew
          one yesterday!

                         

                         

                         

                         

          32.

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

                         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? I've
          been back three weeks? How'd I get
          in here? Have I seen my family?
          Does my father know I'm home?
          "~Cause I'd kinda like to tell him
          if that's 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
          they're linked with the train.
          Time is of the essence. Do you
          understand?
          Colter barely hears. He's fixated on that shoulder patch.

                         GOODWIN
          Captain?

                         COLTER
          I'm 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.
          It's too much information to process. Colter's head spins
          with questions.

                         COLTER
          Wait. If I'm somehow on that train
          before it blows up, why don't 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 didn't volunteer for this shit.

                         GOODWIN
          Would you like to see the release
          form you signed?

                         COLTER

                         (EXASPERATED)
          How do I know it's real? How do I
          know you didn't 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 don't believe in time travel,
          Goodwin. There's no such thing.

                         

                         

                         

                         

          34.
          Machinery begins to RUN. Like the WHINE of a JET ENGINE
          firing up.

                         GOODWIN
          Only one way forward, Captain.
          Seventeen minutes. Find the truth.

                         COLTER
          Why seventeen? Why me? Why
          anything?
          The capsule begins to SHAKE.

                         COLTER
          Let me out! Don't 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. Colter's forehead rests against the
          glass window. Piercing sunlight.

                         COLTER
          Shit. This is not happening.
          He leans back in his seat, as if just another beaten down
          office worker on the train.

                         CHRISTINA
          Ain't life grand?
          Across from him, Christina sketching. A gentle smirk. He
          focuses in on her. Not knowing where else to begin.

                         COLTER
          You an artist?

                         CHRISTINA
          I went to art school. Doesn't make
          me an artist.

                         COLTER
          Can I see what you're working on?

                         

                         

                         

                         

          35.
          Her pencil pauses. She eyes Colter.

                         CHRISTINA
          I'd rather not.
          He looks down at his watch. 7:41 a.m. He's 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 don't look like you belong
          here. The way you're dressed.

                         CHRISTINA
          You certainly do.

                         COLTER
          I'd really like to see what you're
          working on. Unless you're worried
          I won't like it.

                         CHRISTINA
          It's private. And your opinion
          doesn't interest me.

                         COLTER
          So you scribble away on that thing
          so as not to deal with people.
          She scowls. Tosses the sketch pad onto his lap. Surprised,
          Colter opens it. It's full of faces -- thumbnail portraits
          of other passengers riding the train. They're exquisitely
          observed, darkly stylized into expressions of loneliness.

                         COLTER
          They're amazing.

                         CHRISTINA
          I wouldn't go that far.

                         COLTER
          Seriously, they're really good,
          Miss...?

                         CHRISTINA
          Christina.

                         COLTER
          My name's 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
          I'm a collector of moments.

                         (DISCREETLY GESTURING)
          That woman over there? She's 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. Guzman emerges from
          the bathroom and returns to his seat.

                         COLTER

                         (RE: GUZMAN)
          What about that guy?
          Christina looks over Guzman.

                         CHRISTINA
          I haven't seen him before today.

                         (LOOKING CLOSER)
          He's cranky. Thinks the worst of
          people.

                         COLTER
          Dangerous?

                         CHRISTINA
          Everyone's dangerous.

                         COLTER
          You see anything unusual happen
          this morning? Anything out of the
          ordinary?

                         

                         

                         

                         

          37.

                         CHRISTINA
          I'm 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. A puzzled smile.

                         CHRISTINA
          Who are you?
          Colter hesitates. Debating.

                         COLTER
          Don't you know? Haven't you seen
          me here every day for, what, three
          months?

                         CHRISTINA
          Something's different about you
          today.

                         COLTER
          If I told you that there's 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 you'd
          arrest.
          Christina pages through her sketch pad again. Considering
          different faces.

                         CHRISTINA
          They're all so utterly normal.
          That's what's terrifying about
          them. Perhaps there's more than
          one. A team at work. The patent
          attorney in cahoots with Julius
          Caesar and the nebbishy guy. And
          don't forget the sullen college
          kid. He's the expendable one. But
          they're all controlled by this good-
          looking stock broker.
          She shows him her sketch of Derek, the Stock Broker.

                         

                         

                         

                         

          38.

                         CHRISTINA
          Blond, blue eyed, hyper alert. The
          perfect Machiavellian operative.
          Out for himself. He'll betray them
          all in the end.
          She's not taking him seriously.

                         COLTER
          Never mind.
          He gets up. Foolish of him to confide in her. His watch now
          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)
          He's getting away...!
          Colter moves aside to let them walk past.

                         COLTER

                         (CURT DISMISSAL)
          Thanks for your help, ma'am.

                         CHRISTINA
          Ma'am? How old do you think I am?

                         COLTER
          I don't know. Thirty two?
          Her icy glare tells him he's 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. He's 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. Sean Fentress's face. The most
          baffling mystery of all.

                         COLTER
          What happened, Fentress? Who are
          you? How can I be you?
          FLASHCUT -- Back in the isolation unit. On the monitor, the
          glimpse of Goodwin's SHOULDER PATCH INSIGNIA. The unit
          initials "CAOC-N."�
          Back to scene. Colter churning over the thought.

                         COLTER
          "CAOC-N."� What unit is that?
          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? It's just that
          you left your bag on your seat.
          (trying to be cute)
          It's a flagrant violation of rail
          security, leaving a suspicious
          package behind and all that. Maybe
          you're the terrorist.
          This is too much. Colter turns on her. Paranoid.

                         

                         

                         

                         

          40.

                         COLTER
          Terrorist? Why did you say that?

                         CHRISTINA
          I was joking.

                         COLTER
          Stop joking. Who are you? Are you
          an operative?

                         CHRISTINA
          I had no idea you were so
          thoroughly weird. I'm 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
          that's the only way you'll drop the
          bullshit and talk. Stay put. I'm
          getting help.
          She sees he's serious and drops her arch playfulness. Speaks
          in a flat, sober voice.

                         CHRISTINA
          Who am I? I'll tell you. I'm
          twenty seven years old. I have no
          savings and no health insurance.
          He turns back. Waits. The more she speaks, the angrier she
          gets.

                         CHRISTINA
          Six months ago I moved back in with
          my parents because I ran out of
          money. I got A's in line drawing
          and advanced oil painting but no
          one's buying my stuff. Two weeks
          ago I put away all my paints. My
          little sketch book is the last
          thing left. You see, I'm not a
          artist. I'm 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. You've been eyeing me for
          months on this train but haven't
          said a word to me. You're bland
          and colorless and predictable. And
          now I see you're delusional, too.
          Colter doesn't hear her. He's still looking out the window.

          COLTER'S 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 Colter's head.

                         COLTER
          Son of a bitch. "CAOC-N."� That's
          not army. That's Air Force.
          Combined Air and Space Operations
          Center. Nellis Air Force Base!

                         CHRISTINA
          Are you mocking me?

                         COLTER
          They're running this whole thing
          out of Nellis Air Force Base in
          Nevada. Fucking Nevada!
          Tears in Christina's eyes. That Colter would persist in this
          delusion after what she's confessed about herself.

                         COLTER
          (racking his brain)
          What's there? What's 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?

                         

                         

                         

                         

          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. Don't ever talk to
          me again.
          She drops his messenger bag at his feet and walks away.
          Colter looks down at his watch. THE LAST SECONDS TICK AWAY --

          5... 4... 3...

                         COLTER
          Christina!
          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. Details flicker into view:
          A bicycle. A stone wall. And next to it...
          A woman.
          It's Christina. Turning to look at us. A gentle, reassuring
          smile.

          INT. ISOLATION UNIT

          Click -- click. Click -- click. The video monitor is
          malfunctioning. It flickers on and off, revealing Colter's
          face in and out of darkness.

                         

                         

                         

                         

          43.
          The capsule is nearly shut down. The controls appear non-
          functional. Ice crystals have formed over the circuitry.
          Colter hugs himself, shivering. His breath is visible in the
          capsule's tomb-like cold.

                         COLTER
          Goodwin? What's happening? Come
          in. Can you read me? It's goddamn
          cold in here.
          He hits a few buttons. Almost at random. The VENTS which
          had been blowing in air FALL SILENT.

                         COLTER
          Goodwin, I'm losing oxygen.
          The monitor fizzles out. The light from the controls FADES.

                         COLTER
          Goodwin!
          It's now COMPLETELY DARK.
          He BANGS on the side of the capsule. Just a muffled thump.
          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 of a BLUE FLARE illuminates Colter's face. He's
          activated a miniature signal light on his flight suit. It
          begins to BLINK. Like a beacon for downed pilots afloat in
          the sea. It is the only light in the otherwise dead capsule.
          Up on his knees, he grasps the release handles of the EXIT
          HATCH. Using all his strength he TURNS...
          But the handles don't budge. The hatch remains sealed.
          He gets to his feet. Can't stand up fully. The capsule is
          incredibly cramped.
          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.
          There's 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 capsule's electronics lay open and exposed.
          Using copper wires, he's attempting to revive a row of
          BATTERIES. They spark once... twice... Nothing.

                         COLTER
          Come on!
          Another SPARK. It shocks him. There's a puff of blue smoke.
          He's 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. As he does,
          a pre-recorded AUDIO FILE comes on:

          GOODWIN (V.O.)
          -- four principle dialects of
          Arabic: Egyptian, Gulf, Syrian-
          Lebanese 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. The monitor
          fills with scrolling lines of COMPUTER CODE.
          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.
          Goodwin's chair is there, but Goodwin is not in sight. In a
          background distorted by the FISH-EYE LENS, various
          technicians wander by.

                         COLTER
          Hello? Anyone out there? It's me.
          He toggles an audio jack. Then a MAN comes walking up.
          Frowns into the camera, as if through the foggy lens of
          another world.
          It's 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.

                         COLTER
          I'm here! I'm okay!
          Rutledge checks his headset. Not sure he heard right.

                         RUTLEDGE
          Is someone there?

                         COLTER
          Yeah. It's me. Colter.
          Rutledge blinks in surprise. The blue eyes sparkling.

                         RUTLEDGE
          Wow! It's you.

                         COLTER
          The capsule lost power. It's still
          pretty cold in here.

                         RUTLEDGE
          We've 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 name's Rutledge.

                         COLTER
          They wouldn't let me talk to you
          before.

                         RUTLEDGE
          No, I guess not. They're pretty
          anal around here.
          (lights his pipe)
          Don't 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
          You're the inventor of this thing.

                         RUTLEDGE

                         (SHRUGS)
          I prefer the term project designer.
          And sorry for all the secrecy.
          Goodwin will be thrilled you re-
          established contact.

                         COLTER
          I don't want to deal with Goodwin
          anymore.

                         RUTLEDGE
          What?

                         COLTER
          Don't you understand? He's
          torturing me. I'm helpless. Can't
          you get me out of here?
          Rutledge looks uneasy. As a scientist, he's ill-equipped to
          deal with personnel issues.

                         RUTLEDGE
          Why would Goodwin have it in for
          you?

                         

                         

                         

                         

          47.

                         COLTER
          He's 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 won't
          he let me save those people on the
          train?

                         RUTLEDGE
          Because they can't be saved.

                         COLTER
          Why not? I know what's going to
          happen. I could take apart the
          bomb. Stop the train.

                         RUTLEDGE
          Yeah but you'd be doing it in the
          Source Code, not here. Not in our
          own past.
          Mystery upon mystery.

                         COLTER
          What's the difference?

                         RUTLEDGE
          I'm not sure I should be telling
          you this.

                         COLTER
          Telling me what?
          Coaxing the scientist in him.

                         RUTLEDGE
          It's quantum physics. Linear
          algebra. Parabolic calculus. It
          would take weeks to explain.

                         COLTER
          Is Source Code time travel?

                         

                         

                         

                         

          48.
          Rutledge sighs. Looks at his pipe.

                         RUTLEDGE
          It's gone out again.

                         COLTER
          Why can't I save those people on
          the train?

                         RUTLEDGE
          Think of it like this: events in
          our past can never be undone.
          Einstein proved that.

                         COLTER
          So...

                         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 don't know. You can never know
          that because you're not there to
          observe it. Maybe it vanishes.
          Maybe not.

                         (UNEASY)
          I should tell them you're 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)
          There's a bicycle and a stone wall
          and a girl. It's a girl from the
          train. I don't 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?

                         COLTER
          Yeah. Just for a split second.
          Rutledge is stunned. Like he's discovered some strange new
          property to his invention.

                         RUTLEDGE
          Please tell me you're not making
          this up.

                         COLTER
          No. It's there. What do you think
          it means?

                         RUTLEDGE
          I don't know.
          Rutledge looks off camera for a moment.

                         RUTLEDGE
          They're here. There's 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. Don't 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?

                         COLTER
          I'm alive. No thanks to you.

                         GOODWIN
          You find the bomber?

                         

                         

                         

                         

          50.

                         COLTER
          You're a brick wall, Goodwin. A
          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
          they're having to evacuate all of
          lower Manhattan.
          Evacuate lower Manhattan? The enormity of this. Having to
          take it on faith.

                         GOODWIN
          We may have lost the initiative.

                         COLTER
          What do you mean? Let's keep
          going.

                         GOODWIN
          We were expecting more from you.

                         COLTER
          I can give you more. Let me think
          for a second.
          But Goodwin ignores him. 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 can't take any chances.
          Anxious now. Trying to make up lost ground. Whatever it
          takes to get sent back in.

                         COLTER
          So they decide to play it safe and
          evacuate parts of New York City.
          And maybe that's part of the
          terrorists' plan, right?

                         (THINKING)
          So... so who benefits from that?
          What's vulnerable? What's down
          there in lower Manhattan?

                         (BEAT)
          Wall Street.

                         

                         

                         

                         

          51.
          Surprising himself with this insight.
          And now Goodwin is paying attention again. Waiting for more.

                         COLTER
          Wall Street. That's what they're
          going to hit next. The financial
          markets.
          Goodwin considers this. For the first time, slightly
          impressed.

                         GOODWIN
          I want to show you something.

                         CUT TO:

          DRIVERS LICENSE PHOTOS
          The video monitor shows CHRISTINA's DMV shot. Her wry,
          secretive smile.

                         COLTER
          Did she die, too?

                         GOODWIN
          Yes. This drivers license photo
          was found with her body. We're
          creating a database of recovered
          identifications as they come in
          from the site.
          A pang of sorrow. Moving among ghosts.

                         COLTER
          You sure she's dead?

                         GOODWIN
          Would you like to see her morgue
          photos?

                         COLTER

                         (QUIETLY)
          She was sitting across from me.

          GOODWIN (V.O.)
          We know.

                         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 didn't 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 it's not Christina. It's someone else.

                         COLTER
          That's...

          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 Christina's DMV
          photo.
          Silence. Pondering.

                         GOODWIN
          Would you like to see the other
          passenger photos? Perhaps that
          would help you.

                         COLTER
          You still have Christina's body?
          The other things she was carrying?

          GOODWIN (V.O.)
          Why?

                         COLTER
          I want to know about her.
          Everything I can. She's not just
          another victim. She's 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 guy's
          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. They're passing a
          neighborhood of modest homes.

                         COLTER
          We're about to pass a street with
          willow trees. Two girls will be
          jumping rope. A white dog's going
          to run out behind them. A
          Dalmatian mix.
          In a moment, they pass a scene exactly as Colter described.
          Christina's befuddled smile.

                         CHRISTINA
          You want to tell me how you're
          doing this?

                         COLTER
          Close observation. You could say
          I'm a collector of moments.

                         CHRISTINA
          A collector of moments?

                         COLTER
          Yes.

                         CHRISTINA
          That's the cheesiest line I've ever
          heard.
          She resumes her drawing.

                         COLTER
          You trained to be an artist.
          No response.

                         COLTER
          You got A's in line drawing and oil
          painting. But your work didn't
          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? Who have you
          been talking to?

                         COLTER
          You.

                         CHRISTINA
          Me? No. I haven't ever talked to
          you.

                         COLTER
          But we have, Christina. You've
          drawn all these people here. You
          know their routines. At one point
          you thought you were different from
          all of them. But now you're 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, you've 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 can't use up any
          more time trying to convince you.
          I just need you to believe
          everything I'm 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
          I'm not sure.

                         COLTER
          Please, Christina.

                         CHRISTINA
          Yes, fine! Here.
          She flips through it. Shows him a sketch of SEAN FENTRESS.

                         CHRISTINA
          I did it last week.

                         COLTER
          The thing is, that's not me.

                         CHRISTINA
          Give me a little credit.

                         COLTER
          No. You drew what you saw, but the
          person you're seeing now is someone
          else. I'm not Sean Fentress. I'm
          not really on this train.

                         CHRISTINA

                         (INCOMPREHENSION)
          You're not really on this train.

                         COLTER
          I'm taking someone's place.
          Borrowing it. My name is Colter.
          I'm a soldier. And I'm 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
          I'm serious. Elements in the
          American military are using me for
          an experiment. I'm not sure
          exactly how it all happened, but
          I'm at a facility on Nellis Air
          Force Base in Nevada. Right now.
          As we speak. It's a project called
          Source Code.

                         CHRISTINA
          Source Code.

                         COLTER
          It's a program. It shifts
          identities. It also performs small
          amounts of time travel. Or "time
          engineering."� I don't know the
          jargon.
          He's not getting through to her. It's too bizarre.

                         COLTER
          I've 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 here's
          only place I can figure out what's
          really happening. But I have very
          little time. And each time I come
          back, you won't remember me and
          I'll 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 we've never spoken
          before?
          She doesn't have an answer. Can't easily dismiss him.

                         CHRISTINA
          Why tell all this to me? There's
          lots of people around for you to
          talk to.

                         COLTER
          Because I think you have the answer
          to this whole thing.

                         

                         

                         

                         

          58.

                         CHRISTINA
          Believe me, I don't have the answer
          for anything.

                         COLTER
          There's a vision. I keep having
          it. It's very powerful. And
          you're in it. And there's a
          bicycle. And this... old stone
          wall. And it's 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.
          It's the only time when I'm not on
          the train or in the capsule. Why
          else would Rutledge be so
          interested?

                         CHRISTINA
          Who's Rutledge?

                         COLTER
          Someone who was trying to help me
          understand something. Until they
          got to him.
          He lowers his head. A dead end. No answer. The train
          begins to slow down.

          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 don't believe in that shit.

                         

                         

                         

                         

          59.

          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
          Don't 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 now's the time to reach out
          to him.
          She hands him her cell phone. Colter just holds it in his
          hand.

                         COLTER
          Me and my dad, we don't see eye to
          eye. We're 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. As it rings --

                         COLTER
          What day is it?

                         CHRISTINA
          June 11th.

                         

                         

                         

                         

          60.

                         COLTER
          June?
          One more thing to puzzle him.
          The call connects. An OLDER MAN, DONALD STEVENS, answers.
          The gravelly voice of a Midwestern farmer.

          DONALD (V.O.)
          Hello?

                         COLTER
          Dad?
          Donald doesn't respond.

                         COLTER
          Dad, it's me. It's Colter.
          Again, silence.

                         COLTER
          Been a while, huh? I'd 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
          You're intimidated by him.

                         COLTER
          What?

                         CHRISTINA
          You're scared of him. I can see
          it.

                         COLTER
          The hell I am.
          Challenged, he redials. Braced for conflict. The call
          connects.

                         COLTER
          Dad, don't hang up. We're going to
          talk. I need your help.

                         

                         

                         

                         

          61.

                         DONALD

                         (CONTROLLED ANGER)
          Now you listen to me. Whoever you
          are, never call here again.
          Donald hangs up.

                         CHRISTINA
          He's still mad at you, huh?

                         COLTER
          No... it was like he didn't even
          know who I was.
          Troubled, he hands back her phone. Outside, the EXPRESS
          TRAIN flashes by.

                         CHRISTINA
          I don't 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 Newark's 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 name's Stephanie. She's just a
          proofreader, but she wants to be
          made a reporter. She's 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.

                         COLTER
          Forget it.

                         

                         

                         

                         

          62.

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

                         CHRISTINA
          I'm getting voice mail.
          (into the phone)
          Steph, it's Christina. You know
          that story you're always looking to
          write? I might just have something
          for you. I met a guy. His name is
          Colter Stevens. He says he's in
          the army. He flies helicopters in
          Iraq, but now they've 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
          She'll call back. Just wait.
          None of it will do Colter any good, but he manages a smile.

                         COLTER
          Thank you, ma'am.

                         CHRISTINA

                         (LAUGHS)
          Ma'am? How old do you think I am?
          He gives her a wary look. Considers.

                         COLTER
          Twenty five?
          She smiles, pleased.

                         CHRISTINA
          No, but thanks.

                         (BEAT)
          What did you mean, there's a
          criminal on the train? How do you
          know that?
          Colter looks away. Careful.

                         

                         

                         

                         

          63.

                         COLTER
          I just do.

                         CHRISTINA
          How can I help you if you don't
          tell me everything about this?

          INT. TRAIN BATHROOM - MORNING

          Colter enters the tiny space. Christina is reluctant to
          follow him into the bathroom.

                         COLTER
          You said you wanted to know.

                         CHRISTINA
          Can't you just tell me?
          He gives her an imploring look. She sighs and squeezes in
          next to him.

                         CHRISTINA
          Try anything and I'll 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
          It's up here.
          He holds out his hand. She grabs hold and steps up on the
          sink. She's 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 --

                         COLTER
          Just look.
          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. It's a liquid
          explosive. There's 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
          don't know who. That's why I'm
          here. To find out.
          Watching her. Will she believe him?

                         CHRISTINA
          We have to tell someone. We have
          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 won't matter. The train's
          already...

                         CHRISTINA
          Already what?

                         COLTER
          I've been sent here. It sounds
          crazy, but it's true. I've been
          sent from the future -- from five
          hours in the future. This train's
          already been blown up.
          She backs up. Scared of him. Every right to be.

                         COLTER
          You wanted to know. Now you know.
          She turns and hurries for the exit doors.

                         

                         

                         

                         

          65.

                         CHRISTINA
          This isn't happening. I've got to
          get off.
          Colter catches up with her inside the exit vestibule. She's
          stabbing at the door release button.

                         CHRISTINA
          Why won't it open?!
          Her phone is RINGS. They both stop. She looks at the
          number.

                         CHRISTINA
          It's Steph.

                         (HOLLOW)
          I told you she'd be interested.

                         (ANSWERS)
          Hi.
          Her eyes are fixed suspiciously on Colter as she listens.
          Colter looks outside. Recognizes the terrain. Looks down at

          HIS WATCH --

          50 SECONDS.
          It's awful. Unbearable. He dashes towards the bathroom --

          INT. TRAIN BATHROOM - MORNING

          Tears open the door. Jumps up on the sink.

                         THE BOMB
          Sits in the semi-darkness, faintly illuminated by the
          bathroom's fluorescent light. As he grabs hold of the bomb,
          he hears --

          CHRISTINA (O.S.)
          Colter...?
          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.

                         

                         

                         

                         

          66.

                         COLTER
          Look. Now the fucking thing can't
          go off.

                         HIS WATCH
          Reads 20 SECONDS.

                         CHRISTINA
          Stephanie did a computer search.
          Something in her expression worries him.

                         CHRISTINA
          She's got a database of all
          newspaper articles going back to
          forever.

                         COLTER
          Source Code's classified. It
          wouldn't be in a newspaper.

                         CHRISTINA
          No. 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. Colter's eyes light up in
          amazement -- the DISPLAY SCREEN is showing the name and
          number of the bomber. But before he can read what's there,
          Christina's 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 --

          COLTER'S POV

                         

                         

                         

                         

          67.
          Everything around him PIXELATES into a hundred thousand
          POINTS on an array. Christina's 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 PILOT'S 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 guy's crashing...

          FADE TO BLACK.
          Silence and darkness. Nothingness.

                         

                         

                         

                         

          68.
          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.
          You're with Beleaguered Castle.
          You are safe. All your needs will
          be met here.
          Lines of computer code flit across the screen. A blinking
          cursor.

          FADE TO BLACK.
          A tiny APERTURE opens... revealing CHRISTINA. And the
          bicycle. And the stone wall. The strange, recurring vision.

          GOODWIN (V.O.)
          Captain?
          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.

          GOODWIN (V.O.)
          Very good. Very, very good.

          INT. ISOLATION UNIT

          On Colter's 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. Assessing the
          situation.

                         

                         

                         

                         

          69.

                         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 you're collecting your thoughts,
          I should tell you there's been
          another development. A terrorist
          group has taken responsibility for
          bombing the train.

                         (MORE)

                         

                         

                         

                         

          70.

                         GOODWIN (CONT'D)
          This began broadcasting over the
          Internet a half hour. We've traced
          it to central Asia.

          ON THE MONITOR
          A grainy VIDEO shows an arid, wind-swept plateau of a far-
          away 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. It
          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. No idea whether he's even
          listening.

                         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. Then switches back to the live feed of
          Goodwin.

                         COLTER
          Let me talk to Rutledge.

                         GOODWIN
          So you've decided to speak.

                         COLTER
          Rutledge. Get him.

                         

                         

                         

                         

          71.

                         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, we're
          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 don't need your criticism and I
          don't need your memory exercises,
          you gutless freak. And by the way,
          that bomb is detonated by a cell
          phone. When activated, the phone's
          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. But the mask of
          the cold clinician goes back up.

                         

                         

                         

                         

          72.

                         GOODWIN
          Very well. We're ready for that
          information.

                         COLTER
          You'll have to send me back. I
          didn't get a good look at it. But
          I will next time.
          Goodwin hesitates. Skeptical.

                         GOODWIN
          What assurance do we have you'll be
          able to read the screen before the
          device detonates?

                         COLTER
          Goodwin, there's no time left.
          Send... me... back.
          Goodwin's pale, inscrutable face fills the monitor. His eyes
          are unblinking. Unfeeling. Nothing behind them.

          INT. TRAIN - MORNING

          Colter prowls the aisle feverishly. He scans the overhead
          luggage rack. Peeks inside a bag. Doesn't see what he
          wants. He looks all around... up the rows of passengers...
          intently scanning...
          There. The Computer Engineer. He's 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
          Who's walking off with the guy's cell phone. Behind him, the
          Computer Engineer gets up.

                         COMPUTER ENGINEER
          Hey, do you have my phone?
          People turn to look. Among them is Christina. Colter just
          starts walking faster.

                         

                         

                         

                         

          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 CONDUCTOR'S COMPARTMENT as it

          CLICKS SHUT.

          INT. TRAIN CONDUCTOR'S 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.

                         COLTER
          Sorry. 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 (V.O.)
          Operator. City and listing.

                         COLTER
          Las Vegas, Nevada. Nellis Air
          Force Base.

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

                         

                         

                         

                         

          74.

          POST OPERATOR (V.O.)
          Post Operator.

                         COLTER
          Is this... Nellis Air Force Base?

          POST OPERATOR (V.O.)
          Yes, sir. How may I direct your
          call?
          He takes a deep breath.

                         COLTER
          I'm 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. Then a terse
          military VOICE comes on the phone.

          VOICE (V.O.)
          C Deck.

                         COLTER
          Who is this?

          VOICE (V.O.)
          C Deck.

                         COLTER
          I'm calling for Rutledge. It's
          urgent.

          VOICE (V.O.)
          You have the wrong number.

                         COLTER
          This is Captain Colter Stevens.
          An eerie pause.

                         

                         

                         

                         

          75.

          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.

          GOODWIN (V.O.)
          Captain? This is Goodwin.
          Colter's 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
          I'm on the train.
          The train pulls to a stop.

          ANNOUNCER (V.O.)
          Newark Station.

          GOODWIN (V.O.)
          What train?

                         COLTER

                         (REALIZES)
          You don't know. It hasn't happened
          yet.

          GOODWIN (V.O.)
          What hasn't happened?

                         

                         

                         

                         

          76.

                         COLTER
          The explosion.

          GOODWIN (V.O.)
          What explosion?

          ANNOUNCER (V.O.)
          All aboard. Doors are closing.

                         COLTER
          Don't you understand? I'm in it,
          Goodwin. I'm 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. I
          must ask you to hang up.

                         COLTER
          Goodwin, I'm trapped in this and I
          can't get out.

          GOODWIN (V.O.)
          You have no authorization to be
          making this call. Goodbye.

                         COLTER
          No! Wait! Don't hang up! Forget
          authorization. There's no time.
          Soon you're going to find out what
          happened on this train. And then
          your own day is going to start.
          But not until then. Right now it's
          just you and me talking. And
          you're a different Goodwin than the
          one I'm going to go back to in a
          few minutes. You're separate from
          him. Separate worlds. Do you
          understand?

          GOODWIN (V.O.)
          I think so.

                         COLTER
          Good. Now there's a lot of secrecy
          in all of this, and you have your
          reasons for that.

                         (MORE)

                         

                         

                         

                         

          77.

                         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.)
          I'd rather you not ask me anything,
          Captain.

                         COLTER
          I'm going to ask it.

          GOODWIN (V.O.)
          I should terminate this call.

                         COLTER
          Jesus, Goodwin, how can I get
          through to you? You're not just a
          soldier. Somewhere inside you're a
          human being, too. Somewhere inside
          you've got to know that this is
          wrong. Source Code is wrong. And
          if you can't grasp that, if you
          just follow orders, then you're
          just as much a prisoner as I am.
          The car SHUDDERS as the EXPRESS TRAIN FLASHES BY. Quiet
          returns as it recedes.

          GOODWIN (V.O.)
          What's your question?
          Surprised, Colter raises his head. Draws a breath.

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

                         COLTER
          Answer me. Did I survive that
          crash?
          Another pause. This is crushing Colter.

                         COLTER
          Goodwin.

          GOODWIN (V.O.)
          Not physically.

                         COLTER
          What?

                         

                         

                         

                         

          78.

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

                         COLTER
          Not physically? Fuck. At least
          give me an answer I can understand.

          GOODWIN (V.O.)
          We've kept alive certain areas of
          your brain.

                         COLTER
          But... the capsule I'm 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. But now?

                         (WHISPERS)
          After death?

          GOODWIN (V.O.)
          It was the only way. You couldn't
          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. You're right to
          keep it from me.

                         COLTER
          That's what we do. Keep stuff from
          each other. Will this ever end?

                         

                         

                         

                         

          79.

          GOODWIN (V.O.)
          End?

                         COLTER
          How can I get out of this?

          GOODWIN (V.O.)
          You must realizes the army's made
          an investment in you. You'll be
          used again.

                         COLTER
          How?

          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 won't remember any of
          this. We'll start with the playing
          cards. Electronic tones. Simple
          memory exercises. Bit by bit,
          we'll 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 I'm here. No one can
          help me.

          GOODWIN (V.O.)
          In stimulating your cortex, they're
          prolonging your life. Many
          soldiers would find that preferable
          to death.

                         COLTER
          You can't do this. I served my
          country. I already gave my life.

                         

                         

                         

                         

          80.

          GOODWIN (V.O.)
          The courts.

                         COLTER
          What?

          GOODWIN (V.O.)
          The courts know you're here.

                         COLTER
          Military court or civilian court?

          GOODWIN (V.O.)
          Military.
          Colter finds no comfort in this.

          GOODWIN (V.O.)
          I'm sorry you found out about all
          of this. That wasn't our
          intention.

                         COLTER
          Does that make it any less wrong?
          No answer. Colter looks down at his watch. Time is running
          out. And there's absolutely nothing he can do.

                         DISSOLVE TO:

          COLTER'S FACE
          Ashen. Almost lifeless. Around him is the darkened steel
          cocoon of the

          INT. ISOLATION UNIT

          Its appearance has altered slightly, given Colter's 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. He shouts from the void --

                         COLTER
          Goodwin?!
          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
          How's it going? Any breakthroughs?

                         COLTER
          I finally get it, Rutledge. You're
          the good guy, Goodwin's the bad
          guy. Working together, you get
          what you want out of me. Why
          didn't I see it before?

                         RUTLEDGE
          Believe me, Captain, I'm on your
          side.

                         COLTER
          Drop it. I know about the
          helicopter crash. I know what
          they've done with me.

                         RUTLEDGE

                         (STRUGGLING)
          Look, it's been a long day. For
          all of us. But now we've got to
          bring this home and catch a killer.

                         COLTER
          What's 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 I'm enjoying this,
          you're wrong.

                         COLTER
          What's their offer? What can they
          possibly threaten me with after so
          colossally fucking me? Spit it
          out, you spineless turd.
          Rutledge's face goes red. Quite possibly no one has ever
          spoken to him like this before. After a sputtering pause,
          Rutledge's mouth hardens.

                         

                         

                         

                         

          82.

                         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 you'd 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
          weren't part of Source Code
          architecture, were they?

                         RUTLEDGE

                         (HASTILY)
          They're meaningless. Nerves
          firing. Brain chemistry.

                         COLTER
          You don't believe that. I've been
          to places you haven't. I've
          crossed and recrossed that line
          between living and dying. And when
          I do, that veil gets lifted for
          just a second. And what's there is
          real. Maybe it's 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.

                         COLTER
          Get there? What do you mean?

                         RUTLEDGE
          Our offer. Maybe we can get you
          there. In return for your
          completing the mission.

                         (BEAT)
          They'll let you die. I'll shut off
          your life support and you'll simply
          slip away.

                         (MORE)

                         

                         

                         

                         

          83.

                         RUTLEDGE (CONT'D)
          Just like the good Lord intended
          you to do a few months back.
          A fearful beat. Negotiating over his own soul.

                         COLTER
          You'd never do it. You wouldn't
          have to. You could just flip the
          switch and start me back up again
          unaware. For all I know, you've
          made this deal with me before.

                         RUTLEDGE
          Actually, we haven't. 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, I'm 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?
          Colter's eyes bore into Rutledge.

                         COLTER
          I'm 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, I'm going to
          find you.

                         RUTLEDGE
          I doubt that.

                         

                         

                         

                         

          84.
          There's barely time for Colter to grab onto the harness
          restraints before the machinery goes into a deafening HOWL.

          THUNK.
          Colter's 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.

                         RUTLEDGE
          Captain?
          Colter JOLTS AWAKE. Disoriented. Thrashing to get free.

                         RUTLEDGE
          It's okay. Calm yourself. You're
          back.
          Colter exhales. Shuddering. He's just completed another
          Source Code.

                         RUTLEDGE
          What happened?
          The tentacles of the nightmare slowly releasing. Replaced by
          the oppression of being back in the capsule. Back in
          Rutledge's power.

                         RUTLEDGE
          Was the bomber's identity on the
          cell phone?

                         COLTER
          I think so. But there wasn't 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 heck's 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.

                         COLTER
          Wait. What are you --

          THUNK.
          Again, he convulses and goes limp.
          Click. Darkness. Everything POWERS DOWN...
          ... 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. Until you
          get it right.

                         COLTER
          Please... I don't feel good...

                         RUTLEDGE
          I don't doubt it. Who's the
          bomber?

                         COLTER
          I don't know... I honestly... I
          can't keep...
          The HUMMING again. He's 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.

                         CHRISTINA
          Hey!

                         

                         

                         

                         

          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.

                         COLTER
          Go ahead! 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
          What's wrong with you, anyway?
          She glares at him at he stands up. He can't respond.
          Despair surges through him. He stumbles off down the aisle.
          But where can he go? There is no freedom. No escape.
          Imprisoned in both worlds.
          From her seat, Christina watches him go. Sensing the torment
          in him.

                         EXIT AREA
          Colter is slumped in a corner. Christina appears. Taps him
          on the shoulder.

                         CHRISTINA
          You okay?
          He eyes her furtively. Like a cave man who's never seen
          another human being before.

                         CHRISTINA
          You're not okay.
          He's ghastly pale. He's sweating profusely.

                         COLTER
          Ma'am, please... return to your
          seat.
          Footsteps. The sound of jangling KEYS.

                         CONDUCTOR
          Ticket.

                         

                         

                         

                         

          87.
          The conductor takes up position in front of him. As
          implacable as Rutledge, in his way.

                         CONDUCTOR
          Ticket, please.

                         CHRISTINA
          He's not feeling well.

                         CONDUCTOR
          He still needs a ticket.
          Colter makes no move to respond. No more concern for
          anything.

                         CONDUCTOR
          Have it your way, pal.
          He takes out his book to write Colter up.

                         CHRISTINA
          Wait. I'll pay it.

                         CONDUCTOR
          I have no idea where he got on.
          Full fare's $22.50.

                         CHRISTINA
          All right, all right.
          Getting out her wallet, she pays the conductor. He eyes her
          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 don't know. You
          looked a little lost.
          The gratitude in his look makes her self conscious. She
          turns to go.

                         COLTER
          Will you do me a favor?

                         CHRISTINA
          What's that?

                         

                         

                         

                         

          88.

                         COLTER
          Get off the train.

                         CHRISTINA
          What?

          ANNOUNCER (V.O.)
          Now approaching Newark Station.
          Newark Station, next stop.

                         COLTER
          Please. Just get off the train.
          Her puzzled look. The train begins to SLOW DOWN.

                         CHRISTINA
          This isn't my stop.

                         COLTER
          You shouldn't 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. We've 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 Derek's 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. The doors stand
          open, invitingly.

                         

                         

                         

                         

          89.

                         COLTER
          Everyone has a destiny. And this
          isn't yours.
          He steps out onto the platform. Holds out his hand for her
          to join him. A coaxing look.
          She's incredulous. This guy. His words. This whole moment.

                         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. The spell breaks. Those two steps prove to be
          two much.

                         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
          There's 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.
          Derek's WALLET. Intentionally left here. The same wallet
          the College Kid gave back to Derek earlier.
          Opening it, Colter pulls out Derek's DRIVER'S LICENSE.

          INT. ISOLATION UNIT

          The Source Code has finished. The monitor shows just the
          empty chair. Finally Rutledge returns to his seat.

                         RUTLEDGE
          They've searched the wreckage and
          found the wallet. It was under the
          wall panel. Just as you said.
          An awkward dynamic between them. They despise each other but
          have to work together.

                         COLTER
          Believe me, he's our guy. He
          tossed his own wallet back on the
          train. Only reason he'd 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.
          He's an emergency preparedness
          volunteer on his office floor, for
          God's sake.

                         COLTER
          You saw that terrorist video --
          they said it was one of us. One of
          our own.

                         RUTLEDGE
          If he's really the one, you can
          find out the rest of his plan.

                         COLTER
          How?

                         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 I'll let
          you die.
          Their grisly bargain.

                         RUTLEDGE
          In the conductor's compartment
          there's 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. Across from her,
          Colter watches. A stranger to her again. It hurts too much.
          She feels his eyes on her. When she looks up, he's gone.

          INT. TRAIN - MORNING

          As Guzman exits the bathroom, he almost crashes into Colter,
          who's waiting right there.

                         

                         

                         

                         

          92.

                         GUZMAN
          Excuse me.

                         COLTER
          Assalam'alaikoom.
          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

          Christina's CELL PHONE RINGS. She gets it out.

                         CHRISTINA
          Hello?

          STEPHANIE (V.O.)
          Christina? It's Stephanie. Where
          are you right now?

                         CHRISTINA
          Going to work. Why?

          STEPHANIE (V.O.)
          The strangest thing. The phone
          rang at my desk and some guy I
          don't know said the train you're on
          isn't safe and that you should get
          off at the next stop. Then he hung
          up.

                         CHRISTINA
          What?
          The train begins to SLOW DOWN.

                         

                         

                         

                         

          93.

          ANNOUNCER (V.O.)
          Now approaching Newark Station.
          Newark Station, next stop.

                         CHRISTINA
          I don't understand.

          STEPHANIE (V.O.)
          Maybe you should get off. Are you
          okay?
          The station platform slides into view.

                         CHRISTINA
          I'm fine. Everything's normal. Is
          there something on the news? Some
          kind of alert?

          STEPHANIE (V.O.)
          Nothing that I've 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
          I'll be late for work.

          STEPHANIE (V.O.)
          The hell with work, Christina! You
          hate that job anyway.

                         CHRISTINA
          It's probably a joke. A weirdo guy
          from somewhere.
          She sees Colter down in the exit area. They lock eyes.
          And somehow she knows. He made the call. Colter quickly
          disappears into the other car.

                         

                         

                         

                         

          94.

          INT. SECOND CAR - MORNING

          The doors stand open to the platform. Just then Derek's
          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. A
          strange moment between the two of them.
          Once again he's 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...?

                         CHRISTINA
          No. I'll call you back.
          She hangs up. Disturbed. As if she's failed some test.
          But what test? 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 she's made the wrong choice.

                         

                         

                         

                         

          95.

          INT. TRAIN CONDUCTOR'S COMPARTMENT - MORNING

          The conductor enters. About to pour himself a cup of coffee

                         WHEN --

                         CONDUCTOR
          Huh?
          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 Derek's WALLET.

                         COLTER
          You forget something?

                         DEREK
          Gosh. Is that my wallet?
          As he goes to take it, Colter GRABS HIM.

          INT. NEWARK STATION - MEN'S ROOM - MORNING

          Behind the closed door at the end stall comes the sound of

          GUZMAN VOMITING.
          BANG - The men's room DOOR flies open -- Colter DRAGS Derek
          inside.

                         DEREK
          What the hell, man? What the
          hell???

                         COLTER
          You see this?
          Colter pulls out the DETONATOR CELL PHONE -- the one he took
          off the bomb. Holds it inches from Derek's face.

                         COLTER
          Now you can't blow it up.

                         

                         

                         

                         

          96.

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

                         COLTER
          Believe me, I'm very accurate with
          one of these things.

                         DEREK
          Jesus.
          Derek raises his hands. Sweating. All fright. Like a
          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
          Don't 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.

                         COLTER
          Shut up!
          Tensing. This isn't supposed to happen like this.

                         DEREK
          Please. I have a family.

                         COLTER
          What about those other passengers?
          Don't you think they had families?

                         

                         

                         

                         

          97.

                         GUZMAN
          Just what is this about?

                         COLTER
          This man's a terrorist. He planted
          a bomb on the train.

                         DEREK

                         (HALF LAUGHS)
          What?
          Click. Colter pulls back the hammer and savagely JAMS the
          barrel of the pistol into Derek's cheek.

                         COLTER
          What's 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
          Don't treat him like this. He's
          not an animal. Neither are you.

                         DEREK
          Listen to him. For God's sake I'm
          not a terrorist...!
          A URINE STAIN spreads on Derek's pants. He looks down,
          ashamed. Colter keeps the gun on him.

                         COLTER
          Piss all you want. You took eighty
          million dollars to kill hundreds of
          people today.

                         DEREK
          Eighty million dollars? I swear to
          you...

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

                         

                         

                         

                         

          98.

                         DEREK

          I... I...

                         COLTER
          Time's up! What is it?! What is
          the next attack! So help me, I'll
          put this bullet through your brain.

                         DEREK
          I don't know what you're talking
          about!

                         COLTER
          I'm going to do it.
          Tightening his finger around the trigger. Tears are
          streaming down Derek's face. But he's not going to talk.

                         DEREK
          I would never hurt anyone. I have
          a family. I guess you'll have to
          kill me.
          But Colter can't. He can't shoot him. He lowers the gun.
          Disgusted with himself. Why can't he do it?

                         GUZMAN
          You see? You are a human being.
          Speaking gently. Trying to calm him. Even as Colter feels
          like he's failed.

                         GUZMAN
          This can be worked out. We can
          listen to each other.
          The temperature cooling. Derek's nodding with him.

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

                         COLTER
          Hello.

          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. The countdown passes THREE

          MINUTES. 2:59... 2:58...

                         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. Watching in
          confusion.

                         COLTER
          I was trying to warn you.

          CHRISTINA (V.O.)
          About what?

                         COLTER
          I'm not sure that it matters now.

          CHRISTINA (V.O.)
          Talk to me. I feel that something
          terrible's going to happen. Do I
          need to get off the train? Am I
          going to die?
          He can hear the b.g. noise of the train on the other end.

                         COLTER
          I'm right here, okay? Don't be
          afraid.

                         CHRISTINA

                         (ANGUISH)
          Why didn't I get off the train?

                         (SIGHS)
          I knew I should have driven in
          today. But then there's the
          bridges, right? You never know
          when they'll be jammed.
          That stirs something in the back of Colter's mind.

                         COLTER
          What did you say?

                         

                         

                         

                         

          100.

                         CHRISTINA
          The bridges. You just never know
          when they'll 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 o'clock, the
          bridge is going to be jammed...

          BACK TO SCENE
          Colter looks to Derek. His stomach sinks.

                         COLTER
          "By one o'clock, the bridge is
          going to be jammed."� That's 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
          They're going to bomb the bridges.
          While they're full of people.

                         ON DEREK
          A slight flicker travels across Derek's face. Like a
          disturbance on a surface of deep water.

          CHRISTINA (V.O.)
          What are you talking about. Who's
          going to --
          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.
          You'll 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. A
          terrible silence.

          CHRISTINA (V.O.)
          What's 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 Colter's eyes, he manages to focus on
          his beeping WATCH --
          Where the seventeen minutes have RUN OUT. And the world

          BLEACHES WHITE...
          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. The
          far end is ablaze in WHITE LIGHT.
          We try calling to her. But our voice is weak and faint. She
          continues towards the light... and we do not follow.

          INT. ISOLATION UNIT

          The monitor is dark. Everything is still. Colter in his
          seat. For long seconds we watch his face.

          INT. ENGINEERING LAB - NELLIS A.F.B. - DAY

          A jarring transition. We are now away from Colter's 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. Like a team player serving
          his country.

                         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. What's that you
          have?
          Goodwin opens an envelope and slides out a CITATION.

                         GOODWIN
          The Army investigated Colter's
          helicopter crash in Iraq.
          Apparently he stayed behind to fly
          protective cover for a disabled
          convoy until he ran out of fuel.

                         RUTLEDGE
          What's this, then? Some kind of
          posthumous reprimand for reckless
          flying?

                         GOODWIN
          No. It's the Silver Star.
          Something in Goodwin's voice momentarily checks Rutledge's
          breezy good humor.

                         RUTLEDGE
          Send it on to his father. It'll
          ease the pain of his son's death.

                         GOODWIN
          I thought I might inform the
          captain of the citation.

                         

                         

                         

                         

          103.

                         RUTLEDGE
          Better not. We can't risk
          acquainting him with the citation
          in case the memory wipe isn't
          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, we'll need to
          keep Colter around to demonstrate
          it.

                         TECHNICIAN
          Oh.

                         RUTLEDGE
          This thing is much bigger than any
          one of us. Goodwin, please clear
          Colter's 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. Looks down at the
          envelope with the citation in it.

          INT. ISOLATION UNIT

          Inside the capsule, the silence continues. Colter thinks to
          himself. The MONITOR then comes on.

                         

                         

                         

                         

          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 he's
          imagining in his head:

                         RUTLEDGE
          Thank you, sir... I appreciate your
          faith in me... It's a great day for
          our country.

          INT. ISOLATION UNIT

          Colter looks out at Goodwin. A beat of difficult silence.

                         GOODWIN
          How are you feeling? Are you
          comfortable?

                         COLTER
          Just do it.

                         GOODWIN
          Come again?

                         COLTER
          Just do it. I knew they wouldn't
          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? You're
          just doing your job. I'd do the
          same thing if I was you. At least
          you've got a shot at saving those
          people on the bridges.

                         GOODWIN
          I doubt it.

                         COLTER
          You don't think they'll save them?

                         

                         

                         

                         

          105.

                         GOODWIN
          No. I meant, I doubt you'd be
          doing this, if you were me.
          An unusually personal statement, coming from Goodwin.

                         COLTER
          Look, someone had to be where
          you're sitting, and someone had to
          be in here. Turned out it was you
          and me.

                         (THEN)
          Just do it. I'm tired.

                         GOODWIN
          Would you like to see Christina
          again? One last time?
          Colter's not sure he heard him right.

                         COLTER
          I don't understand.

                         GOODWIN
          Seventeen minutes. That's 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.

                         COLTER
          Prisoner?

                         GOODWIN
          You were right. About me. And
          about Source Code. We've 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... There's no way... There's no
          way you could have...
          Goodwin just smiles.

                         COLTER

                         (PROTESTING)
          How? The Source Code was a
          parallel world! You told me so!
          It's hermetically sealed. Nothing
          I did on that train would have any
          effect on this reality!

                         GOODWIN
          You were on the train. I was not.

                         COLTER
          But...

                         GOODWIN
          We didn't know if any bleed-
          throughs could occur. The
          implications would be staggering.
          That's why you were told to avoid
          unduly influencing events.

                         COLTER
          You're 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 didn't know for sure.
          But you proved it.
          Colter is thunderstruck. Unable to grasp it.

                         GOODWIN
          I've been thinking about the things
          you said on that call. As the day
          passed, the more I understood them.
          And now, I guess we've caught up to
          each other.

                         COLTER
          Man. Just when I think I
          understand this...

                         

                         

                         

                         

          107.

                         GOODWIN

                         (NERVOUS)
          There's not much time. They think
          I'm re-initializing the system.
          One last look at her. That's all I
          can give you. If that.

                         COLTER
          They'll nail your ass for this.

                         GOODWIN
          If I had any feelings, I'd worry
          about that. But, as you've
          maintained, I do not.
          The strange path of their relationship. Ending at last at
          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.
          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. He's 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. Rutledge comes charging in.
          Flustered. Barking questions.

                         RUTLEDGE
          What is this? Who authorized this?

                         TECHNICIAN
          We don't know, sir. But Source
          Code is up and running again.

                         RUTLEDGE
          Where's 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. Finally he gets up
          and walks off down the aisle.
          As soon as he's gone, Christina looks up. She's observed his
          interest in her. Doesn't quite know what to make of it.

          INT. TRAIN - MORNING

          Colter is by himself in the exit door area. From his jacket
          he takes out a CELL PHONE.

          CLOSE ON -- THE CELL PHONE SCREEN
          As he dials 9-1-1. The call connecting...

          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.

                         TECHNICIAN
          Sir?

                         RUTLEDGE
          Shut down the Source Code. Right
          now.
          The technician hesitates.

          RUTLEDGE (CONT'D)
          Fine. I'll do it myself.
          Rutledge sits down at the controls.

                         TECHNICIAN
          I wouldn't do that.
          Rutledge gives a dismissive snort. And yet he pauses.

                         RUTLEDGE
          And why not?

                         

                         

                         

                         

          110.

                         TECHNICIAN
          We've never interrupted Source Code
          in mid run. We'd 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, he'll
          never make it off this base.
          Rutledge picks up a phone.

                         TECHNICIAN
          I don't think that's where he's
          headed.
          Rutledge considers. And then catches on.

                         RUTLEDGE
          He wouldn't.
          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 engineer's 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 Derek's wallet,
          picks it up and hurries after him.

                         COLLEGE STUDENT
          Hey, you dropped this.

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

                         RUTLEDGE
          What?!
          He tries again. 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. Derek approaches the
          station and sees

                         

                         

                         

                         

          112.

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

                         POLICE COMMANDER
          Mr. Frost. Please turn to face us.
          An entire PHALANX OF POLICE OFFICERS is on the platform.

                         DEREK
          Of course. What's 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 there's a RINGING.

                         

                         

                         

                         

          113.

          INT. TRAIN - MORNING

          The DETONATOR PHONE has been removed from the bomb and now
          rings harmlessly in the hand of the train's 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 one's moving from the windows.
          Except for Colter, who stands off by himself. The first look
          of satisfaction we've 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 don't get
          this open in ten seconds I'll see
          that you're busted back down to
          private.

                         LOCKSMITH
          I'm already a private, sir.

                         RUTLEDGE
          Just open it! A man's 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 can't let you pass.
          Goodwin removes the patch on his uniform to reveal the
          insignia of a major.

                         GOODWIN
          Step aside. That's 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
          I'm glad you know my rank. Were
          you also aware I'm 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.

                         COMPUTER ENGINEER
          No!
          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.

                         CHRISTINA
          Hey! I'm talking to you!
          She stands there in exasperation. This whole thing has been
          designed to thwart her. Nearby, Colter sits on a bench.

                         COLTER
          Ain't life grand?
          Looking over, she notices him.

                         CHRISTINA
          Yeah. Now I'm going get fired for
          being late.

                         COLTER
          Maybe that's 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.

                         

                         

                         

                         

          116.

          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 facility's 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 - COLTER'S WATCH
          It also reads 52 seconds.
          His work is done. He's saved her. Saved them all. At least
          this one time.
          Only she doesn't 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 didn't want to be. But
          then you got off. And maybe that's
          a sign.

                         

                         

                         

                         

          117.

                         CHRISTINA
          Yeah. If only.
          She takes out her cell phone. The stress of her day.

                         CHRISTINA
          I'm calling a cab. Maybe I'll only
          be somewhat late for work.
          Colter watches her, a quiet ache inside. Maybe some people
          don't 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
          Colter's 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. Time
          to go home.
          Goodwin's 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.

                         COLTER
          Hey.
          She turns. Colter gets up.

                         COLTER
          You can do anything you want with
          your life. Starting right now.
          She's taken aback. He starts walking off.

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

                         

                         

                         

                         

          118.

          CAB DISPATCH (V.O.)
          Hello...?
          Click. She shuts her phone.
          Beat. Is she crazy? She's baffled by her own action. And
          by this unusual guy here.

                         CHRISTINA
          Wait.
          Colter turns. She crosses her arms archly.

                         CHRISTINA
          You can't just expect someone to
          change her life just like that. At
          the very least... you'd have to buy
          that person coffee and explain your
          reasons.
          She waits for his response. Uneasy at putting herself out
          there.
          Colter's 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.
          Colter's breath catches in his throat. This is it! This is
          the mysterious scene he's been seeing!
          HIS WATCH - Hits ZERO.

          INT. BUNKER ICU - NELLIS A.F.B. - DAY

          THE DIGITAL TIMER - Also hits ZERO.
          The outer door OPENS. Rutledge RUSHES in, accompanied by
          MPs.

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

                         

                         

                         

                         

          119.

                         RUTLEDGE
          He's 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 Colter's
          exposed brain.

                         RUTLEDGE

                         (SHRIEKING)
          What are you standing there for?!
          Do it! We can save him!!!
          No one moves. Rutledge rashly grabs for one of the MP's
          rifles.

                         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 Colter's life.
          Goodwin shuts off the monitors. Silence fills the room.
          Colter is dead.
          Rutledge stares sorrowfully at Colter's body. Then at
          Goodwin with burning hatred.

                         RUTLEDGE
          You're a murderer.
          Goodwin offers his hands to the MP.

                         GOODWIN
          Go ahead and arrest me.
          But the MP does nothing.

                         GOODWIN
          I'll be around. Whenever you want
          me.
          They part as he walks out of the room. A look of grim
          satisfaction on his face.

                         

                         

                         

                         

          120.

          EXT. NEWARK STATION - PARKING LOT - MORNING

          Christina walks past the bicycle parked against the stone
          wall. She's about to enter a TUNNEL that goes under the
          tracks. The same tunnel from Colter's 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.

                         CHRISTINA
          You okay?
          Colter turns to her. How can this be? He's afraid to even
          speak. As if that alone could break the enchantment.
          But the world is here. It goes on. That's all he knows.
          Finally he swallows. Finding his voice.

                         COLTER
          You're 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. The two of them disappear
          down the tunnel.
          A beautiful morning.

          FADE OUT.