This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
[Orrilia, Canada]
Copyright: Michael Anka
"OBESE EAGLE" And AMELIA
[Original Screenplay]
by
Michael Anka
(Inspired by a true story)
FADE IN:
1. EXT. SMALL AIRPORT - DAY [SUNSET] 1.
A small double engine aircraft is dangerously bouncing in the clear
summer night. It starts jolting as one of the engines shuts down
terminating its black crayon trail against the purple sunset. The
plane is rapidly dropping altitude, tumbling downwards, apparently
totally out of control. When a crash becomes imminent, the second
engine fires up and the plane shoots skyward executing a daring back
loop. It is an air stunt, we learn as we:
ANGLE TO: a DISTINGUISHED-LOOKING GENTLEMAN raising a pair of military
binoculars to his eyes, trying to catch the airplane. He's surrounded
by a few other executives with their necks also craned toward the sky.
[CON'D]
1. CONTINUING1.
CUT TO:
The airplane VIEWED THROUGH BINOCULARS: It executes some daring double
loops and once again dives down vertically toward the solid ground.
It's a moment of high-tension among the onlookers. The plane keeps
dropping, spinning apparently out of control until it gets
frighteningly close to the ground. The gentleman, his palms sweated,
his eyes twitching, lowers the binoculars and closes his eyes.
CUT TO:
The airplane, both engines running in full reverse now almost stops in
midair and a moment later regains its horizontal position blazing
between two self-supporting concrete walls of an abandoned-looking
warehouse. The tips of the wings only miss the structure by a few
inches as the plane climbs altitude and diminishes in the purple
sunset. Moments later it returns and with a screech, lands on the
short runway. The GENTLEMAN flashes a brief smile watching the
airplane. He likes this young pilot.
2. EXT. SAME AIRFIELD - SUNSET2.
RYAN BLACKHILL, the pilot, pops the cockpit hatch open and climbs to
the ground. He quickly runs his fingers through his pointy, wind-
blown brown hair as he approaches the group. He dusts off his worn
leather jacket as the official-looking group is watching him approach.
He stops at a respectful distance, watching the DISTINCTIVE GENTLEMAN
[MOVIE PRODUCER]. His name is BUZAU.
MR. BUZAU
Looks like you like to fly, sonny. Is that so?
He drops ashes on his expensive suit watching the youngster.
RYAN BLACKHILL
I sure do, Mr. Buzau.
[beat]
I've been doing it since I was twelve years old.
[beat, nervous]
My father taught me flying.
Ryan is excited, passionate, watching the producer.
MR. BUZAU
You know how to fix'em too, I hear. [CON'D]
2. CONTINUING2.
MR. BUZAU
[con'd]
We're shooting a movie 'round here and we
have a heavy-duty flying stunt in it.
He looks at Ryan, watching his reaction.
MR. BUZAU
Are 'ya interested?
Ryan wants to say something but the excitement blocks his tongue.
MR. BUZAU
[con'd]
If you do, we sign a contract, 'ya go home and
prepare them planes.
[beat]
Say, Ryan. (trying to remember his last name).
Thornhill. (he tries).
RYAN
Blackhill, Sir.
MR. BUZAU
Blackhill . . . That's it . . . Say, Thornhill, how
many planes you've got available now?
RYAN
It's this one, White Crow, good little plane, Mr. Buzau,
and three more under tune-up and upgrading right
in the hangar. Ready to fly in a week time . . . And also:
[beat - he hesitates]
We're building a special edition jet-setter.
Ryan looks down at his tired off-white runners.
RYAN
[con'd]
Almost finished now, Sir. It will be very fast.
The Obese Eagle that is.
[beat - excitement]
The fastest of its kind.
Ryan's voice resonates with excitement and confidence.
[CON'D]
2. CONTINUING2.
MR. BUZAU
[eye twitching under thoughts]
"Obese Eagle," hmm. The fatso pretty fast, you say,
Ryan?
[beat]
Get it ready and we'll see. We might use it somewhere.
You got three weeks till we get the sets so get on your
wings. You're on, Ryan Thornhill.
[beat]
We'll contact you at home to sign the paperwork
and get some advances.
He taps his chauffeur over the head with his binder where he kept
notes.
MR. BUZAU
Let's have some dinner, NIRMAL. You look
devastated.
NIRMAL
I'm only starving to death, Mr. Buzau. That's all.
Mr. Buzau and his executives get into the limousine which start
rolling away. It
stops.
MR. BUZAU
[through rolled down window]
Good flying there, Ryan. Welcome to our team.
[beat]
We'll see you in the village. By the way: How
old are you?
RYAN
[bursting at seams]
Nineteen, Sir.
[beat]
In November.
MR. BUZAU
Hmm, hmm. Ryan Thornhill . . . Blackville.
Stay available.
RYAN
At your service, Sir.
[CON'D]
2. CONTINUING2.
Ryan watches the limo pull away then walks back to his plane and mounts
the cockpit, firing the engines.
ANGLE ON RYAN:
His palms are sweating when his focused eyes release the throttle,
setting the plane in motion.
RYAN
"Ryan Blackhill."
Within moments, the aircraft builds up speed and gaining altitude,
vanishes at high speed in the purple sky.
3. EXT. BLACKHILL AIR DESIGNS - DAY 3.
EST. SHOT of the clutter of buildings with a runway in B.G. We close
in on the main hangar with the large firm's sign visible on the roof:
BLACKHILL AIR DESIGNS INC.
4. INT. HANGAR - DAY 4.
The BRIGHTLY LIT hangar contains two sleek small airplanes,
SOPHISTICATED TESTING EQUIPMENT, VARIOUS COMPUTERS AND CONNECTING
HARNESSES. We HEAR Ryan's voice O.S.:
RYAN
...It revs to about forty-nine K now. Turn the
booster to "Glide"and release the Jericho switch.
[beat]
That's good, Dad. The chassy is much more stable now.
Stand back everybody: I'll send the turbines to the
sixty K range.
The CAMERA finds Ryan mounted in the cockpit of a mid-size jet plane,
anchored solid to the concrete floor, with several computer cables,
hoses and harnesses attached to its cockpit and engines. Ryan shuts
down the HOWLING twin engines which reduce they output to a DEEP RUMBLE
as the turbines come to a stop.
RYAN
[climbing off the cockpit]
It feels really tight in the mid-range glide, dad.
I think we have to check with Joe on that [CON'D]
4. CONTINUING4.
RYAN
[con'd]
new firing module. We're getting closer, though.
It feels much more stable now when I crank it
up to the S-O-S [speed of sound] level. What you
think about the turbines?
MORGAN BLACKHILL
[his father]
I'd adjusted the Left Jet intake fifteen percent but we
need more balance with the Right sub-frame. The software
needs some work too: it's not sensitive enough. Requires
more redundancy sensors.
Meantime, Ryan reached the floor and is approaching his father buried
among large computers and harnesses twenty feet away from the prototype
plane. He looks up at his son:
MORGAN BLACKHILL
This is exciting stuff, Ryan . . .
[beat]
But you see . . .
Morgan Blackhill reaches into his shirt pocket and lights up a
cigarette, taking a
thirsty drag.
MORGAN BLACKHILL
Megan called twice, while you were out testing the BB2.
She didn't sound happy one bit, my boy.
[beat]
She said that you two have to see a good friend
of yours leaving. Is he moving out of town
or something?
RYAN
[sweating, nervous]
Something, Dad . . . Thanks.
MORGAN BLACKHILL
I told her you'll call her as soon as you
touch ground. I forgot to tell you, son. I'm sorry.
[CON'D]
4. CONTINUING4.
RYAN
Yeah. Me too, Dad. I mean Megan. I don't
spend much time home lately. But you
realize, Dad. The fire cliff rescue stunt it's
not easy.
[beat]
It's hot stuff and I need all my hundred percent.
MORGAN BLACKHILL
So is Megan, son. She needs your one hundred
percent too. I don't say it's easy. It ain't.
[beat]
Keeping a happy relationship it's not easy.
It takes a lot of work and time. That's
another hundred-percent. From both of
you, Ryan. Go ahead and call her. I'll adjust the
right jet intake. Tomorrow, on your way in bring
me the OBE-12 software, would'ya? I got an idea.
RYAN
[anxious, distracted]
For sure, Dad. Put down that silly but.
You don't like it anymore and you
know it.
MORGAN BLACKHILL
Go on, go on. I hate it but I liked it for so
long. I'll fumble for a while and go slow
on this one. Slowly but surely, just like
this fat bird.
He points his hand holding his spectacles toward the streamlined jet
bolted on the floor. Ryan nods silently and walked to the bench where
there is a SERVICE PHONE. He dials a number.
MEGAN [V.O.]
Ryan Blackhill!! For the heaven's sake.
[beat]
I bet you're still in the hangar, full of oil and
in your torn coveralls.
RYAN
No, Meg. I'm actually ready to live right now. [CON'D]
4. CONTINUING4.
RYAN
[con'd]
I think I've got it, Meg! The producer seems
to like my flying. I think I've got it, Meg.
MEGAN [O.S.]
But they'll be here in half n'hour.
[beat]
And I got an exam on Wednesday. Funny guy,
you, Ryan Blackhill. This is a funeral, in case
you forgot. Hardly the time for celebration.
Megan releases a heavy SIGH.
MEGAN [O.S.]
[con'd]
I thought that he was your best friend ...
Megan's voice breaks under heavy emotions.
RYAN
[emotional]
I love Bruce, Meg.
[beat]
I truly do. You know that.
He pauses, catches his breath. He inhales deeply and Megan
respects his
silence. He rakes his rebellious long hair with a gloved hand.
RYAN
[low voice]
I'll never forgive him for this.
[beat - emotions are high]
That get-together over a dear friend's remains
lying in a deep, dark hole while watching
black ugly clothes and sad faces . . . Dammit!
[beat]
It's not my game, Megan . . . Sorry!
He takes a deep breath and stares at the empty airfield:
RYAN
[con'd]
Why did he do it, the coward? Why Meg?! [CON'D]
4. CONTINUING4.
MEGAN [V.O.]
Common home, Ryan. I miss you. I miss you a
heck of a lot.
[beat - emotional]
We'll talk about it later.
Ryan turns the receiver away from his face, his eyes glazes over
inner images.
RYAN
You know what he wrote in that letter Becky
gave me two days ago?
He punches furiously the receiver against the wall.
RYAN
[con'd]
He wrote that he couldn't live up to
everybody's expectations . . . Including
his own. And it killed him.
[beat]
That'S what he said, Megan.
MEGAN [V.O.]
[crying]
Ryan! . . . Please.
RYAN
He also wrote me about his hard-to-control
temper. It killed him all the bullshit around
him. Including Julie's who lied to him in the
worst of time, Megan.
[beat]
At the time he just quit the weeds and the shit.
[beat]
Do you know that he sold his Corvette to pay his
tuition for the U of Toronto? To take Computer
Science?. . . Man! I'm getting sick.
MEGAN [V.O.]
Ryan! . . . Listen!
[CON'D]
4. CONTINUING4.
RYAN
No. You listen: You know what Julie told
yesterday? She said that she didn't mean it,
dammit! She didn't mean to screw Peter.
She loved Bruce. [astounded]
She didn't mean it.
[beat]
I'm getting sick, Megan. I'll talk to you later.
MEGAN [V.O.]
[passionate]
Ryan! . . . Talk to me. Don't leave me hanging
like this.
Megan's desperate tone brings Ryan back to reality. He breathes
deeply, runs his hand over his mouth to stop the twitching of his face.
RYAN
[more controlled now]
I'm sorry, Meg. I'll be home in a few, promise.
[beat]
You should see WHITE CROW now, Meg. She's
so fast. I gotta take you for a spin in it. You'll
love it, Meg. She flies like a rocket.
MEGAN [V.O.]
I love you, silly aviator. Come home. I'll call
them meantime.
RYAN
Okay. I'll be there shortly. See you soon.
Ryan hangs up the phone and walks to his fast motorcycle parked beside
the runway. He starts the engine and puts his helmet on as we CUT TO:
5. EXT. CEMETERY -- DAY 5.
EST. SHOT brings in a tidy cemetery where we notice a long row of cars
aligned at the entrance. We SEE a gathering of people in the distance
and as we get closer we notice that there are two groups of people
around the coffin: the youngsters on one side, the parents and friends
of family on the other side, a YOUNG PRIEST in the middle. A CLOSER
look at the priest reveals that his tight official dark suit it's too
tight for him, making him stretch and move uncomfortably from one foot
to the
[CON'D]
5. CONTINUING5.
other. We CLOSE on the young group of people and CAMERA captures
their
devastated young faces.
The Adults group stands still and somber while the youngsters start
stirring: looking at one-another, pushing themselves together. At
unison they start humming a little song. The innocent SONG gains
energy and overpowers the gathering with its vitality.
There is turmoil and confusion among the adults and the young priest
alike but a moment later the theme clears: adults and priest join in
in the song and suddenly the gathering VIBRATES with powerful vitality.
The priest finds the opportunity to releave his tight armpits by
stretching his
arms out in a welcoming, dramatic gesture. As the song DIES OFF, the
priest
clears his throat and looks at his people:
YOUNG PRIEST
We all gathered here to pay our last tribute to-
His powerful voice is distracted by a RUMBLING ENGINE noise coming
from
the main entrance. We CUT TO:
Main road leading to the their plot where a fast sports-bike slowly
approaches the gathering.
Rider and passenger are dressed in white suit and white dress, wearing
white helmets. The motorcycle arrives at the edge of the plot while
every person is watching them. Rider parks the bike and the passenger
dismounts removing her helmet: is MEGAN MADIGAN. The rider also
removes his helmet and RYAN BLACKHILL runs his gloved hand through his
rebellious long hair. Holding hands the two youngsters approach the
coffin and stop.
RYAN
[emotional]
We didn't wanna come here today . . .
[beat]
But he was your best friend, you might say.
Ryan out of reflex runs his hand through his hair, his eyes downcast to
the closed coffin.
RYAN
[con'd]
You didn't show up at the soccer game last night.
[beat]
We finally got our new uniforms . . .One of them has
your name on it, Bruce . . . Dammit!
(He squeezes Megan's hand). CON'D]
5. CONTINUING 5.
RYAN
[con'd]
We're playing the Tigers tonight and we need your
wicked spider-web shots, buddy. The Tigers are
a tough team and we'll be in trouble without you.
As he speaks, large tears are running down his young face. Releasing
Megan's grip he wipes his eyes and glances to Megan-she's crying too.
RYAN
[addressing the coffin]
We called at home and your little sister, Becky, told
us that you're gone to a "funelal." Right.
[beat]
We're going now, Bruce. Megan and I. I wish we
could stay but I've got a plane to catch and
Megan
has an exam on Wednesday.
Holding hands they walk away from the gathering, back to the bike.
Mounting the motorcycle and their helmets they slowly drive away.
6. EXT. TOWN OF RAMARA [ONT.] -- DAY [MONTAGE]6.
The town of RAMARA is taken a sudden and major facelift since the movie
company settled in town with its crew and equipment. We see new
storefronts put up, old buildings getting painted while the movie
company and their local "future hero" is the only talk in town. We SEE
the Film Company building a new trailer park for its members, also open
to the public between shooting sessions, while colourful and jovial
groups of townies are being seen everywhere. It seems to be a positive
growth all around and the energy levels are high.
BLACKHILL AIR DESIGNS is no exception to the positive changes brought
by the film company:
FLASH-BACK1: We see Legal movie people show up to Ryan's house with
him signing the contract.
FLASH-BACK2: Due to delays in the shooting schedule Ryan executes two
new flying-stunt scenes in California-Insets of daring flying scenes
with Ryan piloting the planes -As a result of the young pilot's
exceptional flying skills and candid, shy personality, his father's
airplane company gets a boost in funding from the local government.
[Inset with Morgan Blackhill meeting with the Mnjikaning First Nations
Town Council and signing contracts]. These are High-Times in Ramara,
Ont.
7. INT. [HANGAR] -- BLACKHILL AIR DESIGNS -- DAY7.
We see a crowd of techies led by Morgan Blackhill himself making
several and rigorous tests on the engines and the sophisticated
computerized-controls of the "Obese Eagle." They are close to handing
the plane over to Ryan Blackhill for its first TEST FLIGHT. Right now,
Ryan is in the cockpit working closely with the Flight Engineers
surrounding the plane.
SOUND OVER: We HEAR a HIGH-REVVING car engine closing and laying long
SCREECHING tire marks on the concrete in front of the hangar. The
techies and Ryan look puzzled at one-another. A moment later the
hangar door swings open with a BLAST, as MEGAN MEDIGAN storms into the
shop. Her pretty face is pale and anger makes her eyelashes flutter
as she scans the space in search of Ryan. Ryan notices her first:
RYAN
Up here!
He climbs off the cockpit and approaches her. Megan throws silent fire
at him and walks out from the hangar. Ryan, predicting a heated
conversation, follows her outside. He catches up with her but she's
turning her back towards him:
MEGAN MEDIGAN
[mad]
Before you even say a word, Ryan Blackhill! I have a
quick question to ask you.
She fumbles nervously in her purse but she can't find what she's
looking for. She angrily throws the purse onto the concrete.
MEGAN MEDIGAN
[sizzling]
What did this goddam relationship come to?!
Her intense eyes are throwing fire at Ryan who looks at her silently.
RYAN
[looking shy]
You're beautiful when you are angry like this.
MEGAN
[nervously]
Shut up, Ryan, and don't gi'me that idiot look.
Answer my question instead.
[CON'D]
7. CONTINUING7.
MEGAN
[con'd]
Or am I interrupting you from your work by
barging in on you like this? Am I, dear?
The last word sounds as if dipped in bubbling asphalt.
RYAN
It's a tough one, Meg. Give me a chance to collect
myself.
[beat]
What's wrong?
MEGAN
[fuming]
"What's wrong?" You stupid idiot.
[beat]
Ah, nothing is wrong, Ryan Blackhill. Everything
is just peachy, cool.
[mocking him]
"Gee, Meg. I'm so busy with Fatso ... The testing,
the stunts, with Mr. Bazee, Buzzy, Boozy, ... whatever
his fat nametag is ... We go to the shoot...Yoah, Megan
really. You don't realize..."
[beat]
Wrong, Ryan. You don't realize! Look at yourself!
You're no exception from the whole town turning
berserk since we got Boozy running our lives.
RYAN
[softly]
Megan, please. Calm down.
It's the wrong thing to say. Megan furiously kicks her purse
which flies and
spills its content on the concrete. She walks over to the purse,
and start collecting various items, collecting herself somewhat in the
process.
MEGAN
[from her hunched position]
I need to talk with you, Ryan. I mean to really talk
to you.
She finishes collecting her stuff, gets up from the concrete.
[CON'D]
7. CONTINUING7.
MEGAN
[con'd]
How about taking me up in WHITE CROW...
Right now. Somebody told me that the rarefied air
of the heights it's good for your brain cells. Ozone.
RYAN
[under pressure]
But Megan ...I'm in the middle of something I-
MEGAN
[eyes throwing lava]
So am I, don't you worry. Get the helmets and let's
go. Your Dad told me that the bird is in good shape.
Make sure the headsets are working properly.
RYAN
[giving in]
Okay, if that's what you want. I'll be a couple of
minutes. I'll get clearance from the tower. Go ahead,
you can climb in the pit. The Crow is behind the
hangar. I'll get the radios.
Megan starts walking around the building while Ryan gets back into
the hangar.
He addresses the engineers:
RYAN
Hey Steve, Pablo! Something came up. I take
the CROW for a spin. How is she?
PABLO
She flies pretty good now. It still pulls a little
to the left wing at about three thou altitude.
Nothing major, Ryan. The tank is about
half full.
[beat]
You're not flying to Cuba or something like that?
RYAN
[smiling]
Not this time, Pablo. We just buzz around for a while
and catch some ozone.
[CON'D]
7. CONTINUING7.
PABLO
No stunts, Ryan. The chassis needs a thorough check over.
It needs a dyno-stress test.
Ryan nods in acknowledgement and grabbing the headsets from the
bench leaves
the hangar. On his way out he takes a quick glance at the FATSO
jet which is
almost ready for its first test flight.
When he arrives at the plane he immediately notices that Megan is
already sitting
in the pilot's seat, her shield pulled down, ready to fly. Ryan has a
small smile
and is hit by a recollection:
FLASH-BACK 1: [TWO YEARS EARLIER]
Ryan and Megan aboard the CROW and we SEE Ryan teaching a smart,
perceptive and eager Megan how to fly.
FLASH-BACK 2: [ONE YEAR EARLIER]
Ryan and Megan fly the CROW to Cuba. They take turns and have a
terrific time together . . .
Ryan and Megan, tanned and happy, fly back from Cuba. Megan is the
pilot when one of the Twin engines bursts in fire and stops working.
Dramatic flight, with Ryan taking over the controls and with Megan's
help managing in the nick of time to save the plane from crashing to an
imminent death for its pilots.
BACK TO: SC. #7
WHITE CROW aircraft parked behind the hangar with Megan anxiously
watching Ryan climb into the cockpit and hand her over one of the
headsets.
MEGAN
[restless]
What took you so long, Ryan? The plane looks in
pretty good shape. Buckle up and let's get moving.
[beat]
Do we have clearance for take-off?
RYAN
[looking over the numerous instruments]
Yeah . . . Yeah . . . We're lucky, Meg.
[CON'D]
7. CONTINUING7.
RYAN
[con'd]
The tower said that we have about one hour
clear skies on runway H-16 over there until
one of the Movie company cargos is landing,
bringing some props for the land crew.
MEGAN
[squinting with discomfort]
Thanks.
She activates the radio headset and contacts the tower reporting the
customary flight path:
MEGAN:
Patrick, this is Megan Madigan, piloting aircraft BHD-12,
aka WHITE CROW, requesting immediate take-off
clearance.
PATRICK
[from the tower]
Ten-Four, Megan. Welcome aboard but please
stand by for further notice.
MEGAN
[casual]
Roger, Patrick. On stand by.
A moment later she fires the twin engines and carefully and
thoroughly checks the instrument readings. Everything is within flying
parameters. The Tower's voice comes in:
PATRICK
Okay, Megan. The course is clear. The cargo plane
is late again. Have fun.
MEGAN
[on headset]
Thanks, Patrick. One of this days we'll get our
airport back, if we're lucky enough.
V.O.: Patrick CHUCKLES in the headset. Megan turns toward Ryan,
while the plane gradually sets in motion.
[CON'D]
7. CONTINUING7.
MEGAN
This small airport became worse then Toronto International
since your buddy Boozy dropped his first cigar ashes
in our town.
RYAN
[with a concealed smile]
Pretty busy alright. It brings a lot of business
to Ramara though.
Only moments later they are flying over the elaborated movie sets.
Megan circles the plane in low flight over her native town then sends
it to higher altitude. The bright sun develops a golden aura around
her upper body. Ryan watches it delightedly. The vistas bellow has a
soothing effect on both of them.
MEGAN
I'm going for the ozone.
RYAN
Just watch your altitude, Meg. Pablo told me
just now that the CROW gets into chassis
wobble at around three thousand feet.
MEGAN
[calmly]
I'll keep an eye on the instruments.
They fly over Horseshoe Resort and its beautiful, peaceful
surroundings.
MEGAN
[controlled voice]
You didn't answer my question yet: I'll repeat
it to you, Ryan: What did this goddam
relationship come to?
RYAN
[light-heartedly]
Uhh. That one . . .
[beat]
It has been such a busy summer, Megan. I finally
got the breaks I hoped for.
[beat]
At one time earlier, it got to my head, I know.
I apologize for that. Again. [CON'D]
7. CONTINUING7.
MEGAN
That was a different period all together. It's
behind us now. It's the present that really
worries me sick.
[beat]
You've changed so much, Ryan.
RYAN
But so did you, Meg. We all change under different
or the same circumstances. Change is good.
MEGAN
[quickly]
Not always.
She gets passionate about her thoughts and the airplane starts
climbing altitude.
She cuts back the altitude when the aircraft starts trepidating.
The plane
resumes its smooth glide.
MEGAN
[con'd]
I'm talking about you and me, Ryan. This is not
an abstract. It's flesh and bone and heart stuff.
[beat]
It's about us.
They fly in silence for a while and all we hear is THUMPING HEARBEATS
intermingled with the ENGINES NOISE.
MEGAN
We had plans for this summer. Together . . .
You're never home anymore. You don't care.
RYAN
[outcry]
Megan . . .
Ryan closes his eyes under vivid recollections from the last two
months:
FLASHBACK 3: [FAST PACED]
Ryan executing a dangerous flying stunt in California. Him being
introduced to various stars in Hollywood, spending the night out with
the glamorous stars, him on the beach alone, trying to process this new
success- [CON'D]
7. CONTINUING7.
MEGAN
[frustrated]
I expect more then that, Ryan. Talk to me.
[beat]
Remind me that we belong together, or something
along those lines . . . Splash a little soap opera at me.
Sometimes that it feels good. Try me.
Ryan it taken by surprised by her words.
RYAN
Megan . . . I . . . I . . .
FLASHBACK 4:
Ryan in a fancy hotel room in New York City watching the city from
his
balcony. He is lonely, frustrated, impatient. He misses Megan
while waiting
for the producers to sign his new flying Contract.
RYAN
[con'd]
You know that I've never been too good with
words. Behind all this glittering bullshit I
thought that we're building our future of sorts.
[beat]
There're so many things I want to tell you . . .
He raises his hand to the top of his helmet, reflex of raking
his hair.
RYAN
[con'd]
There is something that really scares me, Megan.
[beat]
Something I've never told you about. Can I say it?
MEGAN
[quickly]
Go ahead. Anything goes right now. I'm listening.
RYAN
Every single morning . . .
[beat]
Every morning when I get up and finally awake,
[CON'D]
7. CONTINUING7.
RYAN
[con'd]
the vacuum invades me. I feel so empty.
What I'm trying to say here, my mind is totally blank.
I mean it, Meg. It scares the hell out of me. The
strong morning panic never wants to cease. I lay in
bed with my eyes wide open and I don't know who
I am, what I am. Zero! The big one . . . I wake up
without a future and it gives me the creeps.
[beat]
It takes a good while til events and faces slowly start
focusing and taking shape. Even you, Bruce . . . Or
"FATSO" for that matter, are not there . . . I start
building a fragile future every morning. From scratch:
piece-by-piece, breath-by-breath, till I finally connect
and lock it in for another day.
[beat]
Once "connected" to the world, I'm fine. You and
I are vividly radiant, real . . . The future is there,
solid.
Ryan takes a deep sigh and looks at Megan.
RYAN
The ozone kick seems to work.
MEGAN
[hands on controls, eyes cast forward]
It does, Ryan. It always works.
RYAN
Quite a speech that was. I don't know if I made
any sense to you.
MEGAN
You did . . . Sort of.
Without moving her head from the controls eyes on the windshield,
she reaches a
hand behind her, reaching Ryan. They hold hands for a few
moments.
MEGAN
[con'd]
Let me in, Ryan. You're not the only one in the [CON'D]
7. CONTINUING7.
RYAN
[con'd]
morning vacuum. Be with me. We can fill
the void. It comes from within. I can help,
trust me.
The aircraft suddenly start trepidating, almost coming apart at
seams. The left
engine gives up in spite of Megan's manouevres and start rapidly
loosing altitude.
The right wing starts arching back, ready to break off. Ryan
quickly turns a
couple of switches on his console, reaches for his own controls.
He shuts down
the right engine, quickly steers sideways.
RYAN
[calm]
I take over, Meg, but I'll need your help.
MEGAN
[nervous]
Okay.
As the plane start recapturing its balance, Ryan re-fires the
right engine. The
vibrations cease and the plane starts gliding smoothly again.
Ryan sits back and
releases the controls.
RYAN
[calmly]
We almost passed the four-thousand platform. This plane
is the shits. Needs serious work again.
Megan takes over the flight controls and they cruise in silence
for a while.
RYAN
"Boozy" wants me to fly him up to Hudson Bay
tomorrow. Just for a few days. He's surveying
for a new scene location. You wanna come along?
Before she can answer the Control Tower voice comes into their
headsets.
PATRICK [V.O.]
You ready to land, Megan?
MEGAN
Ready. [CON'D]
7. CONTINUING7.
PATRICK
Runway H-16 is clear. Welcome back.
MEGAN
Roger.
The landing is a little bumpy but Megan manages to bring the plane
to a stop
safely. She cuts off the engines and removes her headset.
MEGAN
[upset]
I'm leaving you, Ryan. Tomorrow.
[beat]
I already packed my stuff.
RYAN
[removing his headset]
Don't, Megan. You can't leave.
[beat]
I need you. We'll work it out. Please . . .
They remove their helmets and sits silently for a few beats. Ryan
nervously rakes his rebellious hair.
RYAN
You didn't really mean it, did you?
MEGAN
[frustrated]
My stuff sits packed in the middle of the
living room for almost a week now. You
didn't even notice it.
Ryan twists a lock of hair between his fingers.
MEGAN
[con'd]
I was invited to teach summer camp in Haliburton.
I turned it down but I told'em to hold it for me for
a few more days, just in case.
[beat]
I'll take it. There're lots of little sick kids there and
sunshine, the lake and the woods. It's better for me.
[CON'D]
7. CONTINUING7.
RYAN
[clumsily]
If that's what you want . . .
Megan releases a deep SIGH and a moment later bursts in sobbing
tears,
trying to unclamp her twisted straps.
RYAN
Megan . . .
Megan Madigan manages to release her strap and furiously flipping
the
cockpit shield open climbs off the plane, running toward her car.
Ryan
scurries off the plane and runs after her. Megan locks the car
doors from
inside and starting the engine, SCREECHING tires furiously drives
away.
RYAN
[in the middle of the runway]
Megan!
Sitting down on a concrete block he watches her vanish on the
dusty road.
8. EXT. TOWN SUBURBS -- DAY8.
The small log house buried in the hillside is not visible from the
road. Hanging
flowers baskets and blossoming magnolia bushes welcome Megan as
she storms
in on the cobblestone driveway. She hastily unlocks the front
door and gets
inside.
INT. HOUSE -- DAY
Throwing her purse on the floor where we SEE her luggage made up. She
runs into the large bedroom and jumps on the bed bursting in rocking
tears.
A TELEPHONE starts RINGING in the house. She ignores it completely.
Getting up from her bed she heads for the bathroom and starts washing
off her mascara.
MEGAN
[to herself in the mirror]
Yuk!
Ignoring the persistent RINGING she packs her hygiene items in a small
bag and grabbing a large travel bag from the living room starts loading
her car. [CON'D]
8. CONTINUING8.
The telephone stops ringing. When she's finished packing the only room
left in the small car is her driver's seat. Pouring herself a glass of
juice she takes a long look at their house: it's cosy and welcoming.
She notices a PHOTOGRAPH resting framed on top of the refrigerator. It
shows her and Ryan holding hands and making funny faces to the camera.
Smiling she takes a pad of paper from the counter and writes a brief
note:
I TRIED, RYAN. IT TAKES TWO.
Locking up the front door she walks to her car while the TELEPHONE
starts RINGING again. Taking a brief look at her house, she
acknowledges the ringing, hesitates for a moment then drives away, the
car vanishing among the trees.
9. INT. AIRPLANE COCKPIT -- DAY9.
It's high noon in the sky as Ryan is piloting his plane above the
Northern Ontario
vistas. The sun blazing in his windshield, Ryan activates one of
the SWITCHES
on his console. A moment later a tinted glass shield raises from
the fuselage
covering the windshield.
MR. BUZAU
[from next to him]
A nice gadget you've got here, sonny.
RYAN
Yep. It's one of our new concepts. It works pretty good.
My father designed it.
[beat]
It's a fair distance till Hudson Bay, Mr. Buzau.
Is it okay with you if I take a brief detour before
we launch the plane into the mountains? It only
will delay us by about twenty minutes.
MR. BUZAU
Go for it, Ryan, just don't get lost in this wild
country.
Mr. Buzau looks down in awe at the majestic and wild Canadian
landscape.
RYAN
[proud]
No worries. I know this country site pretty good.
I grew up under these skies.
[CON'D]
9. CONTINUING9.
MR. BUZAU
Lead the way.
RYAN
[laughing relieved]
We're halfway there already.
The producer takes a look at him and conceals a small smile. Ryan
activates a
few features on the console and removes his headset.
RYAN
[con'd]
You can remove your headset now. It's quieter that way.
The producer removes his headset and WHISPERS.
MR. BUZAU
Another of your father's inventions?
RYAN
[smiling]
No. This is Pablo's baby. He is one of our Engineers.
[beat]
How'bout some good ol' rock-&-roll, Mr. Buzau.
Just to check the acoustics.
MR. BUZAU
[smiling]
Sure. Let's hear it.
The new hip-hop and rock invades the cockpit in a crystal clear
SOUND as the
plane approaches a large lake side. Ryan drops the altitude of
the plane as a
large campsite and resort shows up between the trees. He's
watching intently the
resort while Mr. Buzau is watching him. Several small children
start running
around on the beach as Ryan slows the plane down to a glide. He
circles the
resort one more time then sends the plane into an almost vertical
climb leaving
the camp behind.
RYAN
We're on our way to James Bay.
MR. BUZAU
What was that all about?
[CON'D]
9. CONTINUING9.
RYAN
[smiling]
Oh. Nothing really. I thought you would enjoy
a close look at the kids. They're a lot of fun.
MR. BUZAU
They sure are.
The aircraft flies in the high skies for a few hours over the
rugged beauty of the
land while Mr. Buzau takes pictures and writes notes in his
ledger.
RYAN
[checking his gauges]
We're running low in fuel. We'll refuel in Island Falls
before we hit the Clay Belt.
MR. BUZAU
As you say, Captain. You're in charge.
Ryan contacts the local tower for clearance and turns slightly the
plane's
direction.
RYAN
We'll be landing in about eight minutes.
He folds his navigation map and looks at his passenger.
MR. BUZAU
I know all the hot hip-hop bands down pat
by now. I could be a D-J back in L.A.
RYAN
[laughing]
Wouldn't you say that this was a rather
educational trip so far?
MR. BUZAU
[in good mood]
AbsoluteLY. A rich learning experience.
Ryan lands the plane on a small airport and is flagged by an
attendant to the
fuelling station. He parks the plane and they descend to solid
ground.
[CON'D]
9. CONTINUING9.
MR. BUZAU
I have to make a phone call, Ryan. Where's a
phone around here?
ATTENDANT
Right at the foot of the tower, over there.
He points to the green-and-white building at the beginning of the
runway. When the producer returns Ryan is in the plane already, ready
for take-off. As soon as he is safely mounted, the aircraft lifts off
and heads toward James Bay, not far away. They land a while later in
Moosonee where Mr. Buzau is expected by some local government
representatives.
10. INT. HOTEL ROOM -- NIGHT10.
Ryan is having an agitated sleep. He reaches over for Megan but he
grabs vacuum.
He dreams:
DREAM 1: Him playing ardent soccer with his friends, Bruce setting
the pace
while a passionate Megan cheers them from the
bleachers.
DREAM 2: [MONTAGE] - He crashes his motorcycle in the B.C. highlands
and is
desperately nursed to life in a remote
shepherd's hut by Megan and
the SHEPHERD.
* Megan having an acute appendicitis attack in their home and Ryan,
scared, carrying her in his arms to the late arriving ambulance --
The two of them visiting Sick Children's hospital and talking to the
sick kids, bringing them toys, making them laugh.
RYAN
[waking up]
Megan! . . .
He misses her badly. The fear of loosing her.
11. EXT. MOOSONEE AIRPORT -- DAY11.
A dishevelled Ryan is preparing the aircraft for the flight
back. Mr. Buzau notices
right away his young pilot's turmoil. The plane takes off and
they fly back to
Ramara.
[CON'D]
11. CONTINUING11.
INT. COCKPIT [DAY]:
MR. BUZAU
[watching him]
We have about two weeks to finish the flying stunt set,
Ryan. We don't need you till then.
[beat]
I would look up that girl and talk to her if I were you.
She probably misses you too . . . And besides, I need
all your concentration power for that dangerous stunt.
[beat]
Hundred percent. No distractions.
RYAN
[piloting]
I'll do that, Mr. Buzau. I miss her like crazy.
MR. BUZAU
You go home and straighten things out in your life, boy.
I don't want to see you until we are ready for the shoot.
I'll let you know two days before the cameras rolls.
You understand my words?
RYAN
[distracted]
Yes, I do.
Ryan lands the plane safely in the Lake St. John airport in Ramara,
where the white limousine is waiting for Mr. Buzau. Nobody's waiting
for Ryan. They dismount and the Producer turns to Ryan:
MR. BUZAU
[smiling]
By the way, Ryan. It was a wonderful trip. Thanks.
RYAN
Thank you.
Ryan rakes his hair with his gloved hand heading for the
tower while the
Producer enters his limo and is driven away.
12. INT. HALIBURTON CAMP ROOM - DAY [EARLY MORNING] 12.
The angled sunrays cast long shadows in the room. Through the
open window
we see a ski boat pulling a water-skier. The shore ripples with
small waves as
MEGAN is having an agitated sleep, wrestling in the bed. Her
lips move, trying
to shape words and she opens her eyes. A single tear runs down
oh her pretty
face. She stretches, yawns and smiles when she HEAR CHILDREN'S
VOICES
GIGGLING OUTSIDE. It's her day off.
In the bathroom she washes her face and lifts her oversize T-
shirt and watches
her figure in the mirror. She is still in great shape.
The TELEPHONE RINGS and she picks it up after the first ring.
MEGAN
[excited]
Ryan?! . . .
CHISSLA
[teacher colleague]
You wish, girlfriend. It's only me, Chissla, your
fabulous colleague from Inuvik, North West Territories.
I just got word that my Inuvik glacier melted and the
waters are coming this way. We gotta hurry before the
water reaches us. We'll hang the kids on treetops and
we flee to the city for a copious breakfast. I got it all
planned out. It's my day off too, remember?
MEGAN
[smiling with tears]
You not gonna take me spear hunting for breakfast
again, Chiss. No bloody way. I wanna take it easy
today. Down here in Ontario we rest on our
days off, you know-
CHISSLA
[animatedly]
You fool. I got big plans for us, woman. We take the
dogsled and tornado down to Bracebridge. You
promised, Megan. Remember?
MEGAN
You're nuts, Inuvik snow-child, you. Okay, okay.
Go harness your dogs. I'll meet you at the front gate
in twenty minutes.
CHISSLA
See ya' there. Oh, by the way! Don't let that crazy [CON'D]
12. CONTINUING12.
CHISSLA
[con'd]
pilot ruin your day. He scared the living lights out
of me with his mechanical bird. I thought he's gonna
land it on the beach and crush the kids.
MEGAN
The kids loved it, tough. Listen, Chiss. I gotta
get ready. I'll se you at the gate.
CHISSLA
I'll be there.
Megan hangs up the receiver and looks into the closet for
something to wear.
MEGAN
[to herself]
"Take the dogsled and tornado down to Bracebridge."
13. EXT. TOWN OF BRACEBRIDGE, ON. - DAY 13.
When Megan arrives to the gates, Chissla, her Metis girlfriend
is already there,
revving up her "dogsled" which turns out to be an old,
colourless, beat-up
pickup truck, blowing smoke.
CHISSLA
[energetic]
The Huskies got sun struck so I left them in the
shade for a while . . . Hop in.
Chissla turns down a notch a BLARING high-quality stereo as
Megan climbs
into the truck.
CHISSLA
You look pretty today . . . I love the dress.
MEGAN
[smiling]
It's our big day, woman. Remember? . . . You
look magnanimous yourself, girlfriend.
They sit quietly for a while watching the meandering highway and
listening to
the stereo.
[CON'D]
13. CONTINUING13.
MEGAN
So, Chissy. What's the grand plan of the day?
CHISSLA
[driving]
Well, we could start with a wholesome breakfast. You
hungry? . . . I'm starving.
MEGAN
I sure could use a cup of coffee for starters, Chiss.
CHISSLA
[checking her wristwatch]
It's just passed nine o' clock now. We meet the boys
at ten, at the RIVER WALK restaurant. We could
have breakfast right there. Frank said it has a nice
view of the Muskoka River down the'e.
MEGAN
[looking at her]
Boys, Frank? What the hell are ya' talking about?
Stop fantasizing for a moment. Get real.
CHISSLA
I am. Frank called me up last night. He's staying at
the MUSKOKA RIVERSIDE INN for a couple of days
and wanna have breakfast with us, the young blood, as
he calls us.
MEGAN
Who the hell is Frank?
CHISSLA
Oh! I thought I tol'ya. He's my father's friend, from
the snow country. He's down here for business. Trading
furs and all that silly stuff. He's sixty-two . . . His son
is a cutie though.
MEGAN
[curious]
Is he down here too?
[CON'D]
13. CONTINUING13.
CHISSLA
[silent excitement]
Yep!
MEGAN
[watching her]
That explains this dress . . . You are up to ruffle
his feathers, I can tell.
CHISSLA
[almost shy]
Oh, nothing like that, Meg. He's a good ol' friend.
MEGAN
I'm talking about the young fur trader, and you
know it.
CHISSLA
[blushing]
Ah. You mean Jean-Paul? . . . Hmm.
Chissla manages to squeeze her ugly truck between a Jaguar and a
red SUV in
the small parking lot of the restaurant. They get out from the
truck.
CHISSLA
[looking around]
Kinda cute setting. Let's find the boys, Megan.
14. INT. RIVER WALK RESTAURANT -- DAY 14.
Chissla and Megan walk into the pleasant ambience of the
restaurant and while
their eyes get adjusted to the new light a MALE VOICE calls
them:
MALE VOICE [FRANK]
There you are . . .
Chissla turns toward the voice's direction.
CHISSLA
[happily]
Frank! . . . It's so good to see you. How have
you been keeping? . . . Life is good, eh?
[CON'D]
14. CONTINUING14.
She taps him on his potbelly, as between old friends.
FRANK
[laughing]
You look very pretty, my dear . . . I'm just fine.
Your father is sending you his best regards . . .
He's breeding a new set of Husky puppies again.
CHISSLA
Another set? He's a busy soul, that Papa.
Frank looks at Megan.
FRANK
Who we got here?
CHISSLA
I'm sorry, Frank. This is Megan. She's teaching kids
in the same camp. She's my good friend.
MEGAN
Hi.
FRANK
Very pleased to meet you. Everybody whose Chissla's
friend, is my friend too.
CHISSLA
[eyes darting around]
I don't see Jean-Paul.
FRANK
Oh. He's at the table, holding it for us. It
gets pretty busy down here. Let's go.
The girls wrap their arms around the old trapper and they walk
to their table.
Jean-Paul flags them down with a blush on is handsome Metis
face. They sit
down at the table and small conversations follow, mostly between
the Northern
people with Megan watching and listening curiously. It's a
different world for
her. During breakfast, Chissla and Jean-Paul exchange numerous
silent looks
at one another. The waitress picks up the check and they are
ready to leave.
[CON'D]
14. CONTINUING`4.
JEAN-PAUL
[shy]
When are you coming back to Inuvik?
CHISSLA
[in one breath]
First of September.
Jean-Paul has a light SIGH of relief:
JEAN-PAUL
I've got two new snowmobiles last week. Maybe
we try'em out sometimes together.
CHISSLA
[excited]
Maybe.
The group parts and the girls walk along the stretch toward
downtown, only a
block away from the river. They walk silently, wrapped in their
own thoughts.
CHISSLA
[shy - uncharacteristic]
What'ya think about Jean-Paul, Meg? . . . You're a
city woman . . . How did he grab you?
MEGAN
[laughing]
I think the poor bugger didn't even have a chance to
"grab" his own breakfast . . . He was too busy blushing and
staring at you.
CHISSLA
[pleased]
Go on . . . We're old friends, that's all.
MEGAN
You sure "trapped" a handsome trapper there, Chissla.
He was all eyes for you . . . I liked him.
CHISSLA
[smiling]
I kinda like him too. We grew up together.
[CON'D]
14. CONTINUING14.
CHISSLA
[con'd]
We went camping once . . . we canoed to a small
iceberg . . . He built an igloo and we floated a couple
of days in the Arctic Ocean . . . It was fun.
MEGAN
You, wild child, you. How come you didn't tell me all these
before?
CHISSLA
[reminiscing]
We were fourteen at the time . . . He left for Vancouver
next year. To take up business at UBC. His father's
stuff, you know.
MEGAN
This is interesting, Chiss. Tell me more.
CHISSLA
There's not much more there. He came home this
summer but I came down to the camp.
MEGAN
[intrigued]
But what about the summer breaks, Christmas, you know.
CHISSLA
[light sigh]
He never came home in the summers. He travelled a lot.
Megan doesn't want to pry.
CHISSLA
[looking at her]
Enough with my boring stuff for now. What about
you, Megan? You became awfully quiet in the last
few days. We never had a chance to talk lately.
[beat]
What's eating at you, girl?
[CON'D]
14. CONTINUING14.
MEGAN
[too quickly]
Nothing really . . . The kids are on my mind lately.
It takes a lot of energy, but you know that.
CHISSLA
[serious]
Tall bullies, girlfriend. The kids just die to be with you.
C'mon . . . What did the aviator do or didn't do lately?
At this time they walk by a cozy little sidewalk café ornated
with hanging
baskets.
MEGAN
I think I could you a drink now, since you made
me dig into old memories.
CHISSLA
You talk now like your mother. The drink part sounds
good, though. The right place at the right time.
Chissa points to the sidewalk cafe that advertises a Liquor
Licence. They find
an empty table and order two drinks, watching for a while the
colourful parade
of tourists.
CHISSLA
[watching Megan]
Let's here it, girl. Spit it out.
MEGAN
I don't know, Chiss . . . It's not that easy . . . That
Movie flying business totally got into his head. He's
not the same anymore.
CHISSLA
[listening]
How could he possibly be the same? He's got
the world flying at his feet for now. Give'm a
little slack and time to adjust.
CON'D]
14. CONTINUING14.
MEGAN
[sad]
I gave him a lot of time . . . I mean a lot of time, Chiss.
He didn't even notice my packed bags til I told him
about them. He was tripping over them every day,
for almost a week.
CHISSLA
Did you talk to him? I mean really talked to him?
MEGAN
I tried several times. All he talks about it
planes,
flying, and Boozy, his producer.
CHISSLA
I think that your coming here was a good move, Meg.
Let him see it for himself. Let him be alone for a while.
I bet you he's working on it right now, as we speak.
I saw that two weeks ago when he almost landed
his plane on our rooftop.
MEGAN
C'mon, Chiss. That was two weeks ago. Even your
small camping iceberg would've melted by now.
[beat]
He should've figured it out by now that I'm gone.
I'm not transparent, for Pete's sake. He doesn't
give a damn.
CHISSLA
Nah, nah, now. You're jumping to conclusions
too soon. Your long weekend break is coming up
in a few days. If he didn't give you any signs of his
splendorous existence, you go down and see him.
Chissla flags down the waitress for another round.
MEGAN
And then what?
[CON'D]
14. CONTINUING14.
CHISSLA
[erupting it]
Don't be silly now . . . You snatch him by the crotch
and squeeze a word or two out of him . . . Right
there and then, before he faints.
The two girls burst in laughter.
15. INT. RYAN'S BEDROOM -- NIGHT 15.
Ryan, awake, is twisting and turning in his bed in the MOONLIT
bedroom.
He reaches over and caresses Megan's empty pillow. The CAMERA
captures
the PHOTOGRAPH of him and Megan making funny faces to the
photographer, resting on one of the night stands.
The TELEPHONE RINGS. He picks it up at the first ring.
RYAN
Megan?
V.O.
No. This is Patrick Callaway from Star Burst Films in
New York City. I tried to reach you earlier but
there was no answer.
[beat]
I contacted your producer already, Larry Buzau,
who will talk to you in the morning. We moved
up the stunt scene schedule a tad. We'll shoot in ten
days and we want you to be ready for it. It's
a tight schedule, Mr. Blackhill. You able to
do it?
RYAN
[wide awake now]
Yes. I'll have my aircraft and flying crew ready.
V.O.
Very well. Good luck to you, Mr. Blackhill.
[beat]
I just want you to know that we're very impressed
up here in N-Y-C with your flying talents.
[CON'D]
15. CONTINUING15.
RYAN
Thank you, Mr. Callaway.
V.O.
That is all for now. Good Night.
RYAN
Good Night.
He hangs up the receiver, gets up from the bed, flips the LIGHTS
on and starts
pacing the room. He runs his hand through his dishevelled hair
and walking out
in the living quarters turns on lights and settles at the dining
table with
CALCULATOR, PEN and PAPER. He draws various sketches with the
runway,
measures distances, calculates timing sequences regarding his
landing
parameters. It's going to be a tight and dangerous action with
zero tolerance for
error. A glance at the wall clock shows 05:02 AM when he finally
finishes his
flight plan and turns on the kettle.
RYAN
[looking over his sketches]
This is gonna show us what you're capable of, Fatso.
16. INT. BLACKHILL AIR DESIGNS -- DAY 16.
EST. SHOT: The summer rain TAPPING a fast beat on the hangar's
steel
metal roof. A distant thunder-clap echoes through the large
skylights above
Ryan and PABLO's heads.
They are working side-by-side inside the finished and elaborated
cockpit of the
OBESE EAGLE jet plane. There's a live oscilloscope and a couple
of laptop
computers wired into the controls of the jet. Pablo tunes his
scope and watches a
strong green signal pulse on his screen.
PABLO
[through headset radio]
Go a half turn counter-clockwise on P-37, Mr. Blackhill . . .
That's good. The pulse is steady now. We should lock it in.
We see Mr. Blackhill in a white coverall laying flat under the belly of
the plane, several live circuit-boards in front of him, embedded in the
fuselage of the aircraft.
[CON'D]
16. CONTINUING 16.
We CUT TO:
Ryan watches and listening to any step of the way of tuning his
jet. Pablo, the
Chief Engineer, turns off his oscilloscope and removes his leads
from the
sophisticated computer boards installed behind the aircraft's
control panels.
PABLO
[to everyone]
We are done here, folks . . . How you doing down there,
Mr. Blackhill?
MR. BLACKHILL
Locked all circuits in down here, Pablo. Gi'me a
minute to re-attach the covers on the boards.
PABLO
[from the cockpit]
Steve, please open the hangar doors all the way.
We'll fire up the jets as soon as Mr. Blackhill is done
with the under-carriage.
Pablo and Ryan place themselves in the pilot, co-pilot seats and
attach their
headsets to the plane's computer. Steve opens the overhead
doors while Mr.
Blackhill crawls out from under the plane and walks to his
computer control
centre on the impromptu desk beside the airplane.
PABLO
[to all]
Here we go!
He switches about a dozen of micro-witches on the dash and the
main console
lights up like a Christmas tree. The turbo engines start
rotating and picking up
SPEED in a WAILING swirl of papers, rags, light tools and
discarded coveralls
lying on the shop floor. Mr. Blackhill watches their
performing parameters on
his computer screen - they are functioning perfectly, responding
accurately to
the control signals requested by the pilots.
After a while, the thorough GROUND-testing is complete. It will
be Ryan's job
to test it in the air, at high altitudes and neck-breaking
speeds. As a good test-
pilot he's thrilled about the dangerous challenge waiting ahead.
17. INT. BLACKHILL AIR DESIGNS HANGAR -- DAY and NIGHT 17.
Scene covering the frantic activity of the whole Blackhill team
to finish the jet
on time for the shoot. We see movie people checking in and out,
various
COURIER TRUCKS bringing in aircraft accessories, instruments and
hardware. Ryan is in the middle of the operations, staying on
top of all details.
It's his life on line on the first flying-test of the unique
jet.
We also see Ryan making several calls to the camp, leaving
messages for Megan
and getting no answers. He misses her badly.
18. EXT. BLACKHILL AIR DESIGNS -- DAY 18.
The several days of summer rain and storm finally subside
replaced by a bright
and warm sunshine. The spirits are high at the Blackhill Air
Designs:
excitement and apprehension are almost palpable in the clean
air. A group of
mechanics and engineers coordinated by Mr. Blackhill himself are
going
through the final details on the "Fatso" jet before its maiden
flight.
As they are finally towing out the plane onto the tarmac Ryan
rides in on his
motorcycle. He's dressed in an aviator jump suit, pilot leather
jacket, shades --
cool! He dismounts the bike and removing his helmet watches the
jet intently.
Everybody is present: the whole Blackhill crew and their
families, Mr. Buzau
and his associates, the director, members of the TV Media.
Morgan Blackhill, dressed in a dark suit, distinguished,
approaches his son who
casually watches the jet preparation for take-off.
MORGAN BLACKHILL
[intense, emotional]
Good morning, son. We have everybody and the neighbour's
dog here today. How you feeling?
RYAN
[smiling, confident]
You look pretty sharp, Dad. I'm good. Ready to
take this "fat" bird for a spin. Everything ready?
MORGAN BLACKHILL
I have it all arranged with the Control Tower: We have
clear skies for about two hours. All plane are detoured for
the duration. Including commercial flights.
RYAN
[impressed]
That's awesome, Dad. We should have some fun. All
the tests I did on the ground looked promising. I'll take it
easy at the beginning till I get a feel of handling this [CON'D]
18. CONTINUING18.
RYAN
[con'd]
monster. It's not the first maiden flight for me, you know
that.
MORGAN BLACKHILL
[nervous]
Anything goes funny, Ryan . . . I mean anything at all:
you or the jet, you contact us immediately. Steve and I
checked over and over the emergency eject system
last night . . . Seems to work perfectly.
Steven suddenly looks his father in his eyes: Morgan Blackhill
is fighting back
tears the best he knows how. Ryan reaches out both hands and
cups his father's
right hand. It's a tense and powerful moment for the two of
them as they
silently watch each other:
RYAN AND MORGAN'S FLASHBACK:
Same Blackhill Air Designs setting. [Five years earlier]. Ryan,
fourteen at the
time, witnesses a similar scene as his father's crew rolls out a
custom-built Air
Force Meteorological Research airplane. This time, Joshua
Blackhill, Ryan's
older brother, is the test pilot. The aircraft takes-off
flawlessly but shortly after
it reaches the twenty-thousand feet platform, one of the engines
catches fire.
Joshua, helped by ground control with Morgan in command tries
desperately to
land the failing aircraft. He fails and as a last resolve, he's
urged to eject his
seat from the plane. The pilot-eject system jams and fails
deploying the pilot.
The aircraft bursts in flames and crashes to the ground, killing
the pilot in the
explosion. The pilot's remains are never found.
BACK TO PREVIOUS: [18]
RYAN
[taking a deep breath]
Dad. This time is different . . . Have faith in me . . .
I'll be fine. Go and stand by Mom. She really needs
you on her side. We'll do just fine . . . It's a dangerous
game, Dad, but it's our game. We are trained for this.
Go see Mom.
The two men shake hands in a powerful grip.
RYAN
They're waiting for me, Dad. I gotta go.
[CON'D]
18. CONTINUING18.
He walks to the jet, grabs his helmet from one of the engineers
and climbs the
cockpit of the jet. Once the hatch is locked down, Ryan straps
himself into the
seat and seats motionless for several moments, watching the
sophisticated
instruments all around him.
RYAN
[in the headset]
Here it goes.
He starts flipping switches. Slowly, one-at-the-time, watching
the computers'
response signals. The console starts lighting up as the jet
engines engage and
build up speed and power.
RYAN
[in the headset]
Injection Left wing positive . . . Injection Right wing
positive . . . Syncronism affirmative . . . Hundred percent.
[beat]
Left and right flaps positive response . . . P-C backup
hundred percent . . . Automatic pilot stanby . . . Ejection
cat ready . . . Double redundancy eject system hundred
percent . . . Jets fully ignited in standby . . . "Fatso"
ready for take-off.
CONTROL TOWER [V.O.]
Course clear. We are standing by, Ryan.
RYAN
That's a ten-four. Thanks. I'm rolling out.
The Media cameras and reporters are everywhere watching the
maiden flight of
the "Obese Eagle," a special Custom Order from Bombardier. Ryan
engages
the throttles and slowly rolls his jet toward the runway.
Everybody watches the
jet plane standing still at the beginning of the runway, large
orange flames
bursting out form the high-revving jet engines. Moments later
the powerful
aircraft jumps forward in a LOUD TURBO ENGINE noise. Within a
few
hundred feet lifts off and climbs almost vertically into the
clear sky, trailing two
white fume lines from its turbo twins.
RYAN [V.O.]
[in the crew's headsets only]
Current altitude forty-five thousand, holding steady . . .
Handling positive, slight vibration on second right-hand
servo . . . It responds a bit slowly but I manage . . . [CON'D]
18. CONTINUING18.
Due to the high speed of the plane it already disappeared from
the ground
crew's visual field. Everybody is watching silently the empty
sky and to their
surprise the jet materializes behind them and disappear in
moments in the
opposite horizon. The sky is empty and RUBLING when the
supersonic jet's
engines finally reach the ground crew.
RYAN [V.O.]
[In headsets]
Flight control positive . . . Vibration fifty-five percent . . .
Second right servo slightly losing pressure . . . This servo
requires fine-tuning-responds too slow to the command
signals, possibly a delayed electronic signal? You figure
it out . . . Patrick, I'm preparing for landing.
Moments later the jet starts crayoning with white jet fume the
letters O and K
against the clear blue sky.
RYAN [V.O.]
[in headsets]
Approximate touch-down about twenty-two seconds.
CONTROL TOWER
Course clear, Ryan. Path K-3 ready for landing.
Within seconds the dynamic jet starts rapidly dropping altitude and
SCREECHING TIRES reaches touchdown while with an INFERNAL NOISE
reverses its jets rolling to an abrupt stop in the middle of the
runway.
RYAN
[to Tower]
Patrick, how is our flight time course?
PATRICK
Thirty-nine minutes left.
RYAN
[in headsets]
I want to try another take-off and landing. I need
to double check something on the landing train.
PATRICK
Give me a second, Ryan. I want to make sure that we're
on the clock . . . Okay. Goes for it.
[CON'D]
18. CONTINUING 18.
INSIDE COCKPIT: [WITH RYAN]
Patrick's last words still REVERBERATE in the small cabin as Ryan
tightens his grips on the controls and sends the jet in an almost
vertical climb. Eye blinks later he sends the jet trailing white fume
through the large O executing a full loop and drops with frightening
speed toward the runway. Same procedure: he reverses the jets and
with a brief tire SCREECH he stops the jet on the dime.
RYAN
[in all headsets]
Test completed.
PATRICK
Welcome home, Ryan. A hell of a job.
RYAN
[young excitement]
Thank you everybody for standing by. We've got
a decent jet here, folks . . . Not bad handling for a
first-timer.
When he finally climbs off the cockpit, the letters O and K are
slowly drifting to
the West.
19. EXT. MOVIE SETS -- DAY 19.
We see a flurry of activities: crews finishing props, technicians
and trades people
setting up and detailing the upcoming shooting set. There is
excitement in the
air.
20. INT. BLACKHILL AIR DESIGNS -- DAY 20.
Same frantic activity taking place in the hangar: Ryan and the
technicians are
testing, fine-tuning the jet, conducting tests and improvements.
We see Ryan
taking up the jet for a few more flights, familiarizing himself
with the powerful
jet plane. In the end he's satisfied.
21. EXT. TOWN OF RAMARA -- DAY 21.
Excitement in the busy little town that is now swarming with
people. Many of
the Casino Rama patrons caught words of the upcoming event and
flood the
town in anticipation. The Casino business is booming as the
whole town is in a
festive mood: Ryan, once again, is the local hero:
CON'D]
21. CONTINUING21.
We see his photograph in storefronts, in the bars and the
casino. The town is
sizzling with excitement.
22. EXT. MOVIE SETS -- DAY 22.
We OPEN with a sunny day shining down on the active moviemakers
camp.
Crews and technicians are everywhere, working on the sets,
actors reading their
scripts, etc. We
CUT TO:
Mr. Buzau, VINCE, the director, and SPIKE GORDON, technical
director,
sitting around a plastic table and detailing the stunt shoot.
They have sketches
and script notes covering the table. In the BACKGGROUND we
HEAR the
RUMBLE of a powerful motorcycle as we PAN the scene and see
Ryan riding
in, approaching their table.
VINCE
Ryan. Good timing, young fella. We're just going
through some details with your scene and we could
use your input. Sit down.
Vince offers him one of the vacant plastic chairs. Ryan sits
down, his eyes on
the sketches on the table.
MR. BUZAU
[concerned]
How are things at home, pilot?
RYAN
[slightly distracted]
Okay, I guess.
[beat] - pointing at the
sketches on the table:
That runway looks too tight for the jet.
MR. BUZAU
Did you talk to Megan?
RYAN
[looking at the sketches]
Not yet. I couldn't get hold of her. Let's get
back to this.
Ryan is agitated, restless, amplifying the Producer's concerns.
[CON'D]
22. CONTINUING22.
RYAN
[addressing Vince]
I drove around the set before I joined you.
Something doesn't look right there and
I can't put a finger on it yet . . . This here.
He points at a few lines with distances marked in red pen on the
sketch.
RYAN
[con'd]
It looks too narrow, Vince. Makes me a little nervous.
Besides, the thrust of the jets will burn these structures
to smithereens.
Ryan points at some building shapes on the hand-sketch on the
table. Mr. Buzau
and Vince exchange a quick look and smile.
MR. BUZAU
That would be great, Ryan. It will make a powerful
visual impacts for the audience. Not to worry about
the buildings. They are only props designed and built
for this scene alone. And besides, there will be no
people in or around them for a safe distance. We play
it very safely, down here on solid ground. It's you
and your jet which worries me a bit. We can't totally
forsee the unexpected, in your tricky stunts.
RYAN
[smiling with confidence]
I'll take care of mine end, you guys take care of
yours and we're in business.
VINCE
[watching Ryan-he likes the kid]
That's fair enough term, Ryan.
Mr. Buzau smiles and nods in approval of Vince's words.
RYAN
[watching the sketches]
I drove through the set a few times but I can't
get a proper judgement of the distances. Everything
will look totally different from my P-O-V from
the cockpit. Since I'll be moving into the target, the [CON'D]
22. CONTINUING22.
RYAN
[con'd]
distance will shrink. It's a normal visual response
for all pilots. We've been trained for this but still . . .
The Producer listens carefully to his young pilot.
MR. BUZAU
Since we have a helicopter standing by right here,
why don't we take a flight over the set and you
tell us what you think.
RYAN
[excitedly]
My thoughts exactly, Mr. Buzau. Thanks you.
VINCE
[to Ryan]
Shall we do it now? It would be a perfect time
if you have a few minutes.
Ryan looks at the Producer and the Technical Director. They
both nod.
RYAN
Let's do it.
VINCE
Done deal.
Vincent reaches for his portable radio and talks to the pilot of
the helicopter.
VINCE
[to all]
The pilot started up his engine, waiting for us.
MR. BUZAU
Let's go then.
They all get up from the table. Vince grabs the sketches and
they walk to the
running helicopter parked not too far from the sets.
23. EXT. MOVIE SETS - HELICOPTER -- DAY 23.
The four mount the helicopter and the chopper takes off
immediately after. We
SEE the Chopper circling above the lake and the movie sets on
the shores of St.
John Lake. Ryan shows signs of nervousness as he looks at
Vincent's sketches
and down bellow to the real sets. Something is not right.
RYAN
It looks too tight.
VINCENT
Before you say any more, just let run you through the
shooting sequence first. Then you can make your
points and we'll address them
right away.
RYAN
Fair enough.
VINCENT
[to the pilot]
George, bring us around the peninsula and come in
from the water.
RYAN
[listening]
And drop the altitude a little more. I need a
closer look from up here.
PILOT
Got it, Ryan.
The chopper turns around and lowers the altitude as they
approach the set.
RYAN
[watching the sets]
Very good, GEORGE. This will be my path with the jet.
VINCENT
[to Ryan]
You ready?
RYAN
Ready.
[CON'D]
23. CONTINUING23.
VINCENT
As the second lightning hits the rock, we send
fabricated large waves to hit that shore . . .
The director points at a cliff hanging over the narrow road
leading to a house
built on the rocky edge of the peninsula.
VINCENT
[con'd]
When the house is set ablaze, and the little girl
is dragging down the front stairs her mother's inert,
burnt body, we blast the only access
to the main land . . . As you see, Ryan. There's
a very short runway for your plane between the
rock and the house. We've tightened the set since
you told us that the "Fatso" needs a shorter
distance for take-off and landing-
RYAN
I gave you specific, calculated figures, Vincent . . .
You have to follow them to a tee otherwise I won't
be able to make it. It looks awfully tight.
VINCENT
It does indeed. But I got the figures right here. We
built the set exactly by the numbers you gave us. I checked
it myself . . . twice. Don't worry about the loose
gravel. It's just for dramatic effects: it's glued
solid to the reinforced concrete bellow.
RYAN
I'll check it out when we land.
VINCENT
[pointing at sets]
Here, at this point you prepare for landing . . .
They go over the script, camera locations, standby movie and
emergency
personnel procedures.
24. EXT. RAMARA TOWN [NEAR LAKE ST. JOHN AIRPORT] -- DAY 24.
It's a blazing sunshine in the town and the movie sets when Ryan
arrives on the
set riding his hot motorcycle. Vincent, Mr. Buzau, Spike Gordon
and a few
other executives are all waiting nervously for the young pilot's
arrival.
VINCENT
[releaved to see him]
Here you are, my friend. How do you feel this morning?
I couldn't sleep all night myself.
RYAN
[composed]
A bit nervous but otherwise I'm okay.
SPIKE GORDON
The sun is brighter then expected this morning but don't
you worry about it. I can filter it out in post-production.
You and the plane ready? We've got everything set up and
ready to roll in about twenty minutes.
RYAN
I just need to take another look at the sets, Vincent, Spike.
From down here.
VINCENT
Go right ahead. We'll wait for you down here, get the
crew and cast ready.
Ryan mounts his motorbike and rolls down toward the sets. A
little girl, about
ten, her face blackened by soot, her clothes torn and burnt,
watches him intently
from the side.
LITTLE GIRL
` ` Hi Ryan!
Ryan acknowledges her. She's one of the actors from his scene.
RYAN
[jovial]
Good Morning, Tiffany . . . Boy, you look cute.
All ready for action, I see.
TIFFANY
You bet. I'm fully prepared.
[CON'D]
24. CONTINUING24.
RYAN
[smiling]
Are you ready for a little flying in a really fast jet?
TIFFANY
[excited]
You bet, Ryan. Mom says that I'm flying with
the best pilot. Are you the best?
RYAN
That's hard to say, Pat. You see . . . There are many
very good pilots up there. [He points to the sky].
Some of them are women too. I'm just trying to be
one of them. That's all. C'mon. Hop on. I'll take
you for a little ride on the sets. You wanna come?
TIFFANY
[quickly]
Yes.
She climbs with Ryan's help on the bike, sitting in front of Ryan.
They ride in slow motion between the sets, people waving at them and
Tiffany waving back.
TIFFANY
This is my first movie appearance.
RYAN
So is mine. We gonna make a good team, I'm sure.
TIFFANY
[confident]
Yes, we will. I like you, Ryan.
At the end of the tour, Ryan helps her dismount.
RYAN
I'll come back in a few minutes with the jet.
TIFFANY
That's cool.
Ryan bends over and tries to remove some of the "loose" gravel
from the dusty
road. It's glued solid. Nodding satisfied he rides back to the
director's crew[CON'D]
24. CONTINUING24.
and he's surprised to see Megan talking with the Director. As
he approaches
Vincent looks nervously at Ryan. [He knows their story].
RYAN
[surprised]
Megan!
MEGAN
[blushing]
I need to talk to you for a minute . . . I know that this is
your big day, but I couldn't find you for the last couple
of days.
They walk a few steps to be out of earshot.
RYAN
I missed you, Megan. I called you many times
but you never called me back . . . How's camp life?
MEGAN
[tormented]
Save the small talk for later . . . Something came up
and I don't know how to handle it, or put it to you.
RYAN
[serious, concerned]
I'm listening. Shoot, Megan. It can't be all that bad.
MEGAN
[blushing]
I don't know, Ryan. You decide on that: I'm pregnant.
[beat - then quickly]
And you're the father, needless to say.
[beat]
I realize that this isn't the right time or place
for news like this but I had no choice.
RYAN
[out of control]
No way!!!
[takes a deep breath, calms down and turns to her in low
voice]:
But I thought we took all the necessary precautions
to prevent this . . .
[CON'D]
24. CONTINUING24.
RYAN
[con'd]
...Till we reach our goals and stuff.
Did we not?
MEGAN
[almost crying]
I did . . . I did, Ryan. Please believe me . . .
I really did . . . It just happened anyway . . .
[beat]
I don't know what to do.
She starts crying quietly.
RYAN
[raking his hair like mad]
I got to be in the air with the jet just about now, Megan.
I don't know what to say.
MEGAN
[softly, between tears]
It's your child too . . .
RYAN
[agitated]
What about your college, your high dreams, Megan?
What about our future? . . . This is serious stuff . . .
Oh, boy! . . . I tell you what-Does anybody know yet?
MEGAN
Just you and me and a discreet Pediatrician in Haliburton.
RYAN
Let's keep it that way for now. You go home now to our
house while I do my stunt number and we'll discuss it
there. I don't want you to hang around here now . . . Not
today . . . I'll be home as soon as possible . . . I promise.
Okay? The spare key is tucked in the same place. I was
hoping that you'll surprise me one day.
[beat]
Boy, and you sure did.
He reaches out and caresses her tangled hair with his gloved
hand.
[CON'D]
24. CONTINUING24.
MEGAN
Okay, Ryan. It's a bad time for this, I realize.
. . . But I couldn't find your anywhere earlier.
I'm sorry, Ryan. I'm worried about your stunt
too.
RYAN
Please, Megan. Let me worry about it. It's my
job. I'll be okay.
MEGAN
[first smile between tears]
You be careful, Aviator.
She wipes her tears.
MEGAN
[con'd]
I missed you too.
Ryan glances over at the agitated group of professionals watching them.
RYAN
I got to go, Meg. I'll see you tonight.
MEGAN
I'll be there.
Ryan nods and heads back to the group of filmmakers.
RYAN
[to Vincent]
You could use some sleep, Vincent.
VINCENT
[after a yawn]
I'm fine. It's you we're worried about. Are
you okay, son?
RYAN
Things are under control. We shoot the scene now. I'm
on my way to get the jet. I'll be back in about thirty-
forty minutes. I'll let you know through the radio.
[CON'D]
24. CONTINUING24.
VINCENT
Good luck Ryan Blackhill.
Vincent shakes Ryan's hand.
RYAN
Thanks. Let's go for it.
He walks to his motorcycle, mounts his helmet and storms out on
one wheel.
The filmmakers watch him depart with mixed emotions.
25. EXT. BLACKHILL AIR DESIGNS -- DAY 25.
At the shop everything is ready for him. The jet, fuelled and
idling is already
out of the hangar, Morgan Blackhill, Pablo and Steve are doing
the final checks.
Ryan waves a brief hello and enters the hangar heading for the
offices on the
upper floor leaping three stairs at a time. He enters his
father's empty and
sumptuous office and drops into the executive chair behind the
large desk. He
takes a deep breath and glancing at the large PHOTOGRAPH resting
upwards
on the desk top: It's the same photograph with Ryan and Megan
close together,
making funny faces to the camera. He reaches over and takes a
close look at
him and Megan. Releasing a sigh he places the photograph back
on the desktop
and taking a brief look around the office he runs out, down the
stairs and into
the field where everybody is waiting for him. His father
approaches him and
hands him the headset radio and a pair of thin, fine leather
flying gloves.
RYAN
Thank you, Dad. Is everything ready?
MORGAN BLACKHILL
Yes. The jet is fuelled and as ready as it could be.
Vincent already called on the radio, checking the
frequency. Him and his crew are on the set, ready
for the shoot. The skies are all yours. Are you ready?
RYAN
[smiling]
Skies unlimited. I like that . . . Yes, Father. I'm ready.
Thanks for everything, Dad. I want to fly a little bit
before the shoot. To "build the bond with the machine,"
to quote your own words when you taught me how to fly.
MORGAN BLACKHILL
Go and good luck. [CON'D]
25. CONTINUING25.
Ryan nods silently, mounts his helmet and the new gloves,
walking to the plane.
He climbs in the cockpit and calls the ground crew through the
radio:
RYAN
Stay clear everybody. I'm firing the jets.
[beat-to the tower]
Patrick, I'm ready to roll out. How we doing?
PATRICK
[from the Tower]
Path H-16. Course clear, Ryan. See you soon.
RYAN.
That's a ten-four. See you at the party, tonight.
Ryan steers the jet onto the runway and stops. Moments later
the jet boosters
turned full blast, are spitting orange fireballs on the runway
accompanied by a
RUMBLING POWER sound.
RYAN
[in the headset]
Vincent, I take a quick flight in the neighbourhood
to warm up the plane. Stay in tune. I'll keep you
posted.
VINCENT
[tense voice]
We are ready when you are. I'll be watching you.
Without another word said, the small and powerful jet lifts off
the ground and
executes a short-ranged back loop flipping upside down and
flying at high speed
toward the local hills.
As it picks up altitude and speed, the jet smoothly flips back
to its right-side-up
position and vanishes behind the hilltops. Moments later the
plane is flying at
low altitude above Lake Huron's surface. We CUT TO:
INSIDE COCKPIT: Where Ryan's tense hands on the controls start to
relax as
we hear his FAST HEARTBEAT gradually slowing down.
[CON'D]
25. CONTINUING25.
RYAN
[turning off the headsets]
"To build a bond with the machine."
He raises the jet's altitude and glances back behind the pilot
seat where a small
cargo space was built for the stunt flight. A cute cabbage-doll
pilot waves back
to him from its dangling position. Focusing on his controls and
flying path,
Ryan re-activates the headsets.
RYAN
[in the headset]
I'm coming in, Vincent. From the lakeside. Stand by
while I take a practise flight before the landing action.
VINCENT
Sounds good. Everybody's in position.
Ryan flies the plane toward the sets at low altitude and low
speed, watching
carefully his landing parameters. The rock is there, waiting.
So is the white
house shining bright in the sunlight.
He turns the plane around preparing to enter the sets again for
the real action.
RYAN
[in the headset]
I'm preparing for landing, Vince. How much time
you need?
VINCENT
About thirty-five seconds. I'll fire the house up
right now.
As Ryan is gliding toward the sets the white house clinging on
the cliff burst in
fire, large flames and heavy smoke covering the peninsula. The
sets are almost
entirely out of sight now, covered in dark smoke.
RYAN
[to himself]
Holly shit . . .
As he enters his landing path, the plane in slow speed, giant
fans kick in behind
the house and start clearing the smoke on the narrow landing
path. Ryan
SIGHS with relief. Large tumble weeds roll across the path as
Ryan gets his
control set for landing.
[CON'D]
25. CONTINUING25.
VINCENT
[tense]
Here goes the rock . . .
As he speaks, the giant boulder starts shaking in its foundation
and a moment
later rolls down blocking the only escape route from the house.
[DRAMATIC
EFFECT].
VINCENT
[watching the jet]
How about now?
RYAN
[calm voice]
I'm coming in NOW!
Ryan sends the jet high in the sky, turning it around in a hasty
overhead loop,
the front of the plane aiming for the short and narrow road left
between the
boulder and the burning house.
PILOT'S POV:
The plane drops altitude when Ryan notices that the boulder
rolled further
down on the road then calculated, shortening even more the
already short
landing and take-off path. He pushes the jet's nose down,
tilting its left delta
wing. Ryan can HEAR the rock SCRAPPING the side of his landing
train as he
squeezes the aircraft on the narrow path, burning its jets in
reverse, spitting fire
in front of the jet. The jet HITS HARD the concrete slab, spins
out of direction
but a moment later recaptures its course and brings itself to a
halt. It is now we
noticed a horrified Patricia desperately waving at him: her
clothes are aflame,
same her mother's who is lying inert between the charred ruins
of the house.
Ryan flips his hatch open, jumps off the jet and runs toward
them. He pulls his
leather jacket off while running and when he reaches Patricia he
wraps her in
the jacket putting out the flames. Next, he runs over to the
mother and repeats
the rescue procedure. The two fire victims are safe for now.
He picks up
Patricia, [unconscious now], in his arms and placing her on the
floor of the
plane, behind his seat. He also carries the mother to the plane
and lays her
beside the daughter. He hurriedly climbs into the plane as
large flames carried
by the wind engulf the outside of the jet. He fires up the jets
sending more fire
to the fire. I this instant a large EXPLOSION comes from the
house, sending
burning debris and pieces of furniture on his path. With the
corner of his eyes,
Ryan catches several cameras recording his action. He power-
boosts his right-
side jet and corrects the plane's position.
The escape route it's now too short for the take-off.
[CON'D]
25. CONTINUING25.
CUT TO:
Horrified filmmakers watching the REAL dramatic turn of events.
BACK TO PREVIOUS [25]:
As the flames now engulf the whole aircraft, Ryan sends the plane
in full throttle
toward the burning house, with no alternatives left. The jets
HOWL and
REVERBERATE under the enormous thrust applied by Ryan's commands.
FRESH ANGLE: Depicting the horrifying moment showing the jet
running
toward the house with not enough lifting power.
ANGLE ON: Vincent, his eyeglasses shattered in his bleeding
hand,
WATCHING the plane finally picking up altitude only a few feet
away from the
burnt front of the house.
The "Obese Eagle," under Ryan's firm command, takes a sharp
vertical upward
dive but it's too late: the jet's right wing shears off the
river rock chimney and
advances right through the center of the blazing house, taking
large chunks of
burning walls with it. Its thrusters burning vivid orange
flames, the jet pushes
itself free of the house structure.
REVERSED ANGLE: showing the dramatic and daring breakthrough of
the
aircraft.
Free of debris, the jet-plane surges FORWARD and UPWARDS with
staggering speed disappearing way up in the deep blue sky.
INSIDE COCKPIT: A tense silent emphasized by the steady DROLL
of the jet
engines. Ryan watches carefully his instruments. Nothing is
damaged, only
external cosmetics. Ryan has another SIGH of relief as he turns
to his
passengers sitting up shakily on the floor of the plane.
RYAN
[calm, confident voice]
How you guys doing back there?
PATRICIA'S "MOTHER"
[with relief]
Besides being horrified to death, burnt to shreds,
freezing cold, we are okay, Ryan.
[CON'D]
25. CONTINUING25.
PATRICIA'S "MOTHER"
[con'd]
For a moment, down there, in the middle of that
blaze, I thought that you never gonna make
that take-off.
RYAN
[laughing]
It flashed through my mind for a second too.
How's our favourite girl doing back there?
Since the jet dropped altitude and is flying at a steady pace,
Patricia gets up
and walks behind Ryan's seat, watching in awe the myriads of
lights and
indicators on the jet's dashboard. Ryan noticing her, squeezes
her arm for a
hello.
RYAN
[in the headset]
We're safe and sound here, Vincent. How's the
shoot?
VINCENT
[beside himself with excitement]
Beside you being a REAL-LIFE horror-inducing pilot
and my super-high blood pressure, Ryan, the shoot
turned out magnificent. Horror is fun on the silver
screen only, you know . . . This was crazy . . . The
shoot turned out a whole lot better then planned . . .
For a second I thought that you gonna take the house
with you.
RYAN
[chuckling]
I did part of it.
Patricia and her "MOM" start cheering in the BACKGROUND. Ryan
flips a
switch on the dash.
RYAN
Hey, Vince. You got a word for out little girl?
She's listening.
[CON'D]
25. CONTINUING25.
VINCENT
Tell the little princess that she was the best part
in the scene. Excellent job!
PATRICIA
Thank you, Vincent.
VINCENT
You're welcome, pretty girl.
RYAN
We'll talk to you later, Vince. We prepare for landing
and I have to switch over the headsets.
VINCENT
[professional]
I talk to you guys on solid ground. I'm out.
Ryan reconnects his headset to the airport's frequency and
removes his headset.
RYAN
Vanessa, come and join us. Take my jacket and stay
warm. We'll go for a little sightseeing flight. Oh!
I almost forgot. I got something for you.
` It's a buddy of mine hiding in the back of the
jet.
On the ceiling. Take him. It's for you.
26. EXT. RYAN AND MEGAN'S HOUSE -- [EARLY EVENING] 26.
Ryan rides his motorcycle into the driveway and immediately
notices Megan's
car parked behind the blooming magnolia bushes. As he parks his
motorcycle,
Megan comes out from the house. She looks tired.
MEGAN
You're home, Ryan. How did it go?
RYAN
[humble]
Turned out not too bad, the director was saying. I bruised
up the fat bird pretty badly, though. It was sort of expected
under the circumstances . . . I'm beat, Megan. I really am.
[CON'D]
26. CONTINUING26.
MEGAN
I made some dinner of sorts, if you're hungry . . . You
haven't done your groceries in ages, by the look of
things.
RYAN
[smiling]
I haven't done one since you left. I was eating out
all the time, when I remembered that is.
27. INT. RYAN AND MEGAN'S HOUSE - NIGHT 27.
Ryan follows Megan in the house and immediately NOTICES the
tidiness and
the dinner table set for two. He looks at Megan.
MEGAN
I just had to keep myself busy with things. You
don't have to eat if you're not hungry.
RYAN
[looking at her candidly]
I'm not, actually. I'm too wound up by the day's
events . . . That includes you too, Miss.
Madigan.
Ryan walks to the refrigerator and grabs a cold beer.
RYAN
You want one?
MEGAN
I'll have one, please . . . A cooler.
Ryan grabs two chilled bottles and returns to Megan and parks
himself beside
her on the couch.
RYAN
[sipping from his beer]
When did you find out about this?
[CON'D]
27. CONTINUING27.
MEGAN
About five-weeks ago . . . I didn't feel good. My stomach
felt funny . . . And besides, my period, you know . . . It
didn't happen, so I went and seen a Doctor in Haliburton.
RYAN
[listening]
How far are you in, so far?
MEGAN
This is my second months . . . I don't know what to do,
Ryan . . . I needed to talk to you so badly . . . I feel
different now, with this little guy growing inside me.
RYAN
[watching her]
It doesn't show a bit . . .
MEGAN
[continuing her thoughts]
Before I reached any decisions, I thought that would
be only fair for you to know first.
RYAN
Thanks, Meg. It's fair, I think.
MEGAN
[seeking his eyes]
How do you feel about abortions, Ryan?
RYAN
[initial shock]
It's a big war of words going on on this one . . .
The "A"Bomb it's ripping through the very
fabrics of our society like a dull serrated knife.
It's bloody scary . . .
MEGAN
[watching him]
I know. That's why I brought it up.
Ryan watches her with passion and caring.
[CON'D]
27. CONTINUING27.
RYAN
Now that you are pregnant, I kinda feel different
about the whole issue.
[beat]
This ain't idle talk, Megan. We're talking lives here:
yours, mine and the little one's.
He sips from his beer, his eyes cast in faraway places, his left
eye twitching.
RYAN
[con'd]
If I were to listen to my gut instincts, I would
firmly say to keep the baby . . . It's a difficult
verdict since you and I are the Defendant, Victim,
Judge and Jury all in one.
MEGAN
[uneasy]
Tell'me about it. It's very difficult and scary in the
same time . . .
RYAN
[frustrated]
What really gets me in this is the Media confusing the
hell out of us with their contradictory statements and
"so called" headline grabbers . . .
[passionate now]
And all those fanatics out there trying to impose on you
their narrow thoughts, telling you how to run your
own life . . . I don't think is
fair . . . It's a responsible
decision and it's different in each case, I'm sure . . .
Nobody should have the right to impose their views
on our lives.
MEGAN
[listening carefully]
I agree with you . . . But I have strong feelings about
this little bugger inside of me, Ryan. It's getting
stronger every passing hour. I'm just trying to keep a straight
head about it and it's difficult.
[CON'D]
27. CONTINUING27.
RYAN
[watching her]
I bet it is. Here I go: listen me out if you wish-We
came a long way as human-beings . . . We found
solutions to the most difficult problems and danger
threatening this small global village . . . We explore
the far reaches of the Universe . . . We found the
cure for cancer and a dozen of other deadly paraphernalia.
We even produce babies in the test tubes nowadays . . .
[he sucks on his empty bottle]
I'm lost in this one.
MEGAN
[completing him]
And we still don't know how to deal with this ancient
mystery of reproduction of ours . . . Is that where
you're getting, Ryan?
RYAN
[torn between thought and feeling]
Kinda . . . Thanks for tuning in.
[beat]
I need another brew. Do you want one?
Megan shakes her head.
MEGAN
[soft voice]
I know a few girls personally, at schools, who had
abortions . . . They all said that's absolutely awful.
They all said that they would never, NEVER do it again.
One of them said-
RYAN
[quick, passionate]
What about us, Megan?
MEGAN
I'm still pregnant, Ryan.
RYAN
And just merely eighteen, Miss. What do we do?
[CON'D]
27. CONTINUING27.
Ryan reaches over and lifts her chin lightly, looking into her
deep, green eyes:
RYAN
[con'd]
Do you wanna finish your college? . . . Do you know
anything about rearing a baby? . . . Are you ready
to settle down and learn how to raise a child? . . .
That's it: Would it be worth your future sacrifices?
[beat]
I'm probable scratching surface here . . .
MEGAN
[passionate]
With us is different again . . . Here's the big one:
It all depends on where we stand in this wicked
relationship of ours . . . I mean you and I . . .
Ryan is taken aback by her words. It just sinks in him now that
all this talk is
all about their very own lives. It's not idle talk; it's flesh-
and-bone reality. He
starts raking his dishevelled hair with one hand. The other
hand he places on
the top of Megan's hand resting on the couch.
RYAN
Let me put it this way, Megan . . . I was doing some
heavy thinking since you left the house. I didn't
have the foggiest that you were pregnant . . .
[beat]
I twisted and turned in bed and in my head till
I finally spitted out to myself . . .
Megan is chewing her fingernails, trying to patiently listen him
out. She can't.
MEGAN
Spit it out again, Ryan . . . Spit it all over me . . .
Whatever it is . . . Just don't hold me like this.
RYAN
[playing her a little]
I've never been too good with words . . . Gi'me an
aircraft and a pair of wrenches and-
MEGAN
[impatiently]
Yes, I know that, Ryan. [CON'D]
27. CONTINUING27.
Ryan clumsily takes her hand and places it in his hair, using
her nimble fingers
for a hair-brush.
RYAN
[awkwardly]
How'bout the two of us getting married and we keep
the Junior? How that sounds for starters?
Megan is mute with surprise for a second.
MEGAN
[edgy, emotional]
You mean that? . . . You just don't throw words like
that at somebody and don't mean them, Ryan . . .
Ryan shakes his head slowly, sweating intensely, not noticing
for a moment
Megan's burning eyes, radiant face. She grabs him with both
hands by his long
hair as they tumble onto the carpet rolling in one body toward
the fireplace.
MEGAN
[radiant, happy]
I love you, Aviator.
RYAN
[teasingly, smiling]
Oh, what's new?
He tries to climb out from underneath her. She holds him fast.
MEGAN
[laughing now]
Don't even try. It's two of us again one . . . And I
got a strong gut feeling, or rather 'womb feeling'
that's gonna be a girl.
Ryan, his eyes glittering with joy, stops twitching and relaxes,
stretching his
arms behind his head while Megan buries her face onto his
hairless chest.
RYAN
[eyes closed, smiling]
I'll teach her how to fly.
[CON'D]
27. CONTINUING27.
They stay clutched together for a while until Megan looks up at
his face. Ryan
is breathing evenly, sound asleep. She gently climbs off him
and kisses his eyes.
MEGAN
[whispered]
Her name is Amelia. I forgot to tell you.
28. INT. RYAN AND MEGAN'S HOUSE - MORNING28.
The bright sunshine cast warped shadows in the living room where Ryan
and Megan, tangled together, sleep on the sofa. Ryan moves and the
sunrays land on his face, awakening him. Rubbing his eyes, he looks at
Megan, smiles and leaning over kisses her on her forehead. She smiles
in her sleep, her hand groping for him.
The TELEPHONE BRUTALLY RINGS in the house fully wakening the
couple.
Ryan wobbles over to the receiver.
RYAN
[groggy]
Ryan here . . .
MR. BUZAU [V.O.]
Ryan, my boy . . . How you doing this morning?
RYAN
[more focused]
I'm good. Thanks for asking. How's the shoot?
MR. BUZAU [V.O.]
[excited now]
Excellent, my young pilot. Just excellent . . .
As a matter of fact, that's exactly the reason
I'm calling you for. We have the rough cut of
the scenes and we need your opinion on a couple
of takes regarding the airplane shots . . . More
like a reality check with a real pilot. Could you
come down to the sets in about an hour?
[beat]
By the way: Megan is more then welcome to join
us is she wants-
[CON'D]
28. CONTINUING28.
RYAN
[happily]
You just read my mind, Mr. Buzau.
MR. BUZAU [V.O.]
That's wonderful. Listen-I got a better idea
yet. Why don't I send the limo to pick you guys up
in about an hour? How that sounds?
RYAN
Sure, if it's not too much trouble.
MR. BUZAU [V.O.]
[happy]
No trouble at all. It's my pleasure to see you both.
Leave it with me then. We'll see you when you get
here.
RYAN
[shy]
Thanks, Mr. Buzau.
MR. BUZAU [V.O.]
The pleasure's all mine. See ya, Ryan.
Mr. Buzau hangs up the receiver and so does Ryan turning to Megan who's
awake now, watching him.
RYAN
[smiling guiltily]
That was you-know-who. He wants my opinion
on some scene shots regarding the plane. He'll
send the limo for us in an hour.
MEGAN
[curious]
Us?
RYAN
That's correct. He's very happy that we're back
together . . . While you were gone he bugged me
almost every day to talk to you, to work things out
between us. He's got a daughter about your age too.
[CON'D]
28. CONTINUING28.
MEGAN
[candid]
Maybe he's not quite the monster I portrayed him
every time.
RYAN
[simple]
He's not.
Ryan takes a shower while Megan changes clothes and prepares some
coffee that they both enjoy. Shortly after, the empty limo pulls in
their driveway, NIRMAL, the driver, getting out and leaving the
passenger door open.
RYAN
The limo's here. Let's go, MOM.
MEGAN
[getting ready]
I'm coming, I'm coming, Aviator.
They both leave the house and get into the limo that drives away.
29. INT. MOVIE SET EDITING TRAILER -- DAY 29.
Mr. Buzau--the Producer, Vincent--the Director and Spike Gordon--the
Technical Director, are all watching the footage of the stunt screen on
various monitors mounted in the tech trailer. There is a KNOCK in the
trailer door. Vincent opens the door and allows Megan and Ryan to come
in.
SPIKE GORDON
Thank you for coming on such a short notice . . . Hello,
Megan. Please find yourself a seat . . . We're just going
through some of the shoots here.
VINCENT
[enthused]
Everything we got here is wonderful, folks . . . Top notch.
It was Spike who depicted a couple of technical details we're
not clear about . . . You see, Ryan. We shot your scene with
three different cameras from three different location and
somehow we don't have the flow we expected.
[CON'D]
29. CONTINUING29.
SPIKE GORDON
It's something amiss here, in the Continuity between shots.
I'm gonna rewind the footage and you guys take a look.
See if you catch my drift. I want your eyes, that includes
you too, Megan, do the work. If anything is out of place,
out of timing, stuff like that, you let me know right away.
I'll play it back from the beginning.
Spike turns to his controls and rewinds the videotape. Changing speed,
he looks at the youngsters.
SPIKE GORDON
Here it goes . . . We're rolling.
We WATCH the unfolding dramatic landing and fire rescue on the monitor
while INTER-CUTTING with Ryan, Megan, Spike and Vincent, who all
carefully watch the footage.
MEGAN
[watching the screen]
Freeze it here.
Spike stops the running silent film.
MEGAN
[watching the screen]
Go back a few frames . . . There.
She turns to Ryan who's also watching the monitor.
MEGAN
I'm just a spectator here but I think that the
second explosion should come after Ryan wedges
the plane between the rock and the house.
[beat]
Ryan, this is very scary stuff . . . I didn't realize.
My timing to talk to you then was totally off-the-wall.
I'm sorry. . .
RYAN
[watching the monitor]
That is water under the bridge now, but this second
explosion definitely came in after I landed. I
remember it like "yesterday." [CON'D]
29. CONTINUING29.
The shoot was taken yesterday so a few laughters break the silence of
the trailer.
RYAN
[con'd]
I believe Megan is right with the explosion. It
actually did happened after the "wedgey" but
it doesn't look that way. And also, there's
another thing I noticed-the injured Mother's
position is changed from the previous shot where
I picked up Patricia. Go back to the rescue part.
The five of them stay hunched over the monitors and sound effects
reworking together the sequences of the dangerous stunt. After a
while, everything seems to tie together.
RYAN
[stretching]
We have to go, guys. I hope this helped a bit.
VINCENT
[elated]
A bit? Everything makes perfect sense now, to the
viewer that is. This crazy scene is for young people.
. . . I'm too old for this.
MR. BUZAU
[laughing]
Sure you're, Vince. But knowing you, you would
do it again in a heartbeat, in spite of your stomach
acid bordering ulcer.
Vincent nods silently.
VINCENT
[with a sigh]
I love to make movie.
MR. BUZAU
The limousine should be outside, waiting for you.
It's been a pleasure having you two here.
Megan nods and smiles while Ryan shakes his hand.
[CON'D]
29. CONTINUING29.
RYAN
Thanks.
Ryan and Megan finally exit the trailer and enter the limo that takes
them home.
30. INT. BLACKHILL AIR DESIGNS -- DAY [Four Months Later] 30.
Ryan and Pablo are working on a small Hydroplane, mounting and
checking
the floats. The jet plane is gone from the shop, delivered to
the Client. Morgan
Blackhill joins them.
MORGAN BLACKHILL
How's it coming along boys? The Client would
like to take it for a test fly as soon as we say
the word to him.
PABLO
We're doing just great, Morgan. Ryan and I should
finish all the tests by the end of the day. We
decided that Ryan should take it up first, make sure
that everything's kosher with the plane before we
hand it to the Client.
MORGAN BLACKHILL
That's a good plan, gentlemen. Make sure that all the
safety and redundancy systems are in place, working perfectly.
RYAN
We make sure, Dad.
MORGAN BLACKHILL
That's good, guys.
[beat]
Ryan. Can I have a word with you?
RYAN
Sure.
Morgan Blackhill walks to his second floor office while Ryan cleans his
hands and follows him upstairs.
[CON'D]
30. CONTINUING30.
MORGAN BLACKHILL
[seating at his desk]
Have a seat, son. It's been a while since we've
talked of family matters. I'm getting too old for all
these business trips I'm having lately.
[beat]
How're you and Megan doing? . . . How's the
baby coming along?
RYAN
[proud]
Just great, Dad. Thanks for asking. Megan and I
went for two ultrasounds and saw Amelia. She's so cute.
MORGAN BLACKHILL
[smiling]
Is the baby a girl? Did they tell you that?
RYAN
[convinced voice]
No. They don't do that, Dad, but Megan has a strong
feeling that is gonna be a baby girl.
MORGAN BLACKHILL
I see . . . That's wonderful, Ryan. How is she
with the academics? She has enough on her plate:
you, the wedding, the coming baby, the house...
RYAN
She is practicing six hours a day her violin. Drives
me crazy at times but I support her the best I know
how. The University told her that she's qualifying
for a Music scholarship is she passes the grand
execution test in a few weeks. She really wants it.
She loves the violin.
MORGAN BLACKHILL
That's wonderful. Your mother always says that Megan
has the Gift for the violin. Not only the talent, but the Gift.
[beat]
Since is Friday today, why don't you and Megan
come for dinner in our place Sunday. Your
Mother is really looking forward to see Megan. [CON'D]
30. CONTINUING30.
RYAN
That's sounds pretty good, Dad. What time?
MORGAN BLACKHILL
Dinner is at six but you guys can pop in anytime
after two o' clock. Your mother and I are visiting
some old friends in the morning.
RYAN
Alright, Dad. We'll see you at about four. Thanks.
Blackhill senior gets up from his desk and walking around the
desk gives his son
a bear hug.
MORGAN BLACKHILL
Good luck with your test flight on the Hydroplane.
RYAN
Thanks. It's a no-brainer, Dad. We'll see you Sunday.
The two men leave the office and descend to the hangars area.
31. EXT. MEGAN/RYAN'S HOUSE -- DAY [NEXT DAY]31.
The sun is beaming down on the flowery driveway leading to the
house. We can
HEAR Megan practising the VIOLIN in the house: It's VIVALDY's
Spring
Symphony. Ryan rides in his motorcycle: the bike is all
scraped, bent. Same is
the rider: Ryan's leathers are torn, his helmet is cracked,
stained with blood.
He cuts the engine in front of the house and descends, limping
toward the main
stairs. The violin STOPS playing as Megan shows up in the
doorway. She sees
him:
MEGAN
[panic]
Oh, my God! . . . Ryan, you okay?! . . . What happened?
She runs down to stairs and supports him by his waist. Ryan's
face is bruised,
covered with dry blood.
RYAN
[shaken]
A careless driver changed lanes and ran into me on Rama Road. Threw me
over into the other lane and took off like a
bat out of hell...
[CON'D]
31. CONTINUING31.
RYAN
[con'd]
... It's not that so much . . . I'm just bruised all over,
that's all. It's my leathers I'm worried about. I have to
wear them for the tomorrow's Hydroplane test flight.
It will be a filmed event, requested by the Owner . . . For
promotional purposes. Sucks!
MEGAN
[worried about him]
The hell with the leathers, Ryan. You're in bad shape.
Maybe I should run you to the hospital for a check-up. You
can have internal damage . . . You're awfully pale.
RYAN
[sighing with frustration]
I lost some blood, Megan. That's all. I'm fine.
Megan supports him and they walk into the house where Ryan is placed on
the couch. Megan washes his wounds, undresses him and nurses him back
to health. Minutes later Ryan, exhausted by the trauma, is sound
asleep. Megan stares through the windows where black clouds are
accumulating fast. Moments later it starts raining. She walks over to
the phone and dials a number.
RECEIVER [V.O.]
Hello. CHARLIE here . . .
MEGAN
Hi, Charley. This is Megan Madigan . . . How
you been?
CHARLEY [V.O.]
Most excellent. How about you guys? How's Ryan,
that wild Aviator. He was all over the news with that
movie stunts of his . . .
MEGAN
Tell me about it. We had to ward-off the reporters
with my In-laws' Rothweiler.
There's a brief CHUCKLE in the receiver.
CHARLEY [V.O.]
So, Megan. What's really up? [CON'D]
31. CONTINUING31.
MEGAN
I'll get to the point, Charley. Ryan crashed his bike . . .
Somebody ran him off the road-
CHARLEY [V.O.]
Oh-my-goodness! Is he okay?
MEGAN
[emotional]
He's all bruised and scraped but I think he'll live.
Listen, Charles-he finally fell asleep. I crammed
a half-pound painkillers in his body. He tore his
leathers and he needs them tomorrow. You told
me once that you knew a little "hole-in-the-ground,"
to quote your words, who does fast and good leather repairs.
CHARLEY [V.O.]
Oh, yes, indeed . . . The Junk Store on West Mississaga,
in Orillia . . . Hey . . . You play the violin, don't you,
Megan?
MEGAN
What is that has to do with anything?
CHARLEY [V.O.]
[in good spirits]
Oh, nothing, really. But you should take the leathers
down to the junk-store. You won't regret it. Tell the
two old folks who run the store that Charley sent you.
They'll do a good job and they're open quite late.
MEGAN
That sounds good, Charley. What's the address?
She grabs a pad of paper and jots down an address.
MEGAN
[con'd]
That sounds really good . . . You should squeeze
some time in your busy schedule and come
down and visit us.
[CON'D]
31. CONTINUING31.
CHARLEY [V.O.]
I'll do that, I promise . . . Meantime, you take care,
Megan, and say hi to the Stunt-Boy from me. I'm
looking forward for the release of the movie.
MEGAN
I'll tell him. Thanks again . . . Yes . . . Bye for now.
Megan hangs up and watches Ryan for a while, sleeping peacefully
on the
couch. Placing his leathers in a large plastic bag, he comes
over and kissing him
on the forehead, silently leaves the house.
32. EXT. ORILLIA BACKSTREETS -- NIGHT [EVENING]32.
The rare street lamps glow a yellow haze over the colourless wet
buildings when
Megan parks her car in an alleyway checking one more time the
address on a
map under her car's INTERIOR LIGHTS. [Dramatic lighting].
Locking her
car she buttons up her light jacket as the rain turns into a
downpour, soaking
her hair and her feet. Shivering she decides to take a quick
pit stop under one
of the abandoned-looking building entrances. She enters one of
the dark
doorways, trying to catch her breath and warm up a tad. The
SOUNDS and
SMELLS of HUMAN PRESENCE flash through her nostrils. Terrified,
she
turns around and faces six-pairs of eyes watching her curiously
and intently.
The older fellow, closer to her, his long grey hair tangled by
neglect and rain
releases some GAS.
OLD MAN
[between missing teeth]
Pard'me, Ma'am.
MEGAN
[uneasy]
Pretty miserable out there . . .
Their feline eyes, used to the dark, study her in quick glances.
RASPY VOICE
[from the back of the Foyer]
Welcome to the club, Ma'am.
A light-hearted vibration fills the room, helping Megan relax
somewhat. She
tries a smile toward the glittering eyes.
[CON'D]
32. CONTINUING32.
MEGAN
Just taking a brief shelter from the rain.
MORE VOICES
So do we . . . We understand, Ma'am.
A bottle of cheap wine wrapped in newspapers starts its tour
from mouth-to-
mouth, from eye-to-eye. One of the men BURPS in the dark as the
bottle
reaches Megan.
OLD MAN
[passing the bottle]
Have s shot, Lady.
Megan hesitates then takes a brave gulp from the bottle.
MEGAN
Thanks.
She passes the bottle to a skinny old man kept alive by a
synergy of miracles,
beating all laws of medicine and science-skinny frame
permanently bend
forward by a strange spinal disorder, swaying his fragile
balance. His starched
large hands shake uncontrollably when he tries to match the neck
of the bottle
with his large, toothless mouth. He succeeds. To everybody's
surprise,
"skinny" throws the bottle high in the air and catches it by the
neck, only inches
from the dirty, concrete floor, without spilling a drop. They
all APPLAUDE,
including Megan. "Skinny" laughs toothlessly and re-lights a
crumpled
cigarette butt.
The DRUMMIMG of the rain stops for a moment. Megan waves a
small
goodbye and steps into the street. About a short block ahead of
her she makes
out a hand-painted dangling sign:
CHEAP, FAST AND RELIABLE LEATHER PATCHING. With new energy
she starts toward the store. Just a few doors away from the
store, a large
breasted prostitute with a ridiculously small umbrella, steps
out from the
alleyway, giving her a lustful look:
HOOKER
I'll teach you to become a woman, kiddo . . . A
real woman . . . It's time you bloody grow up,
mamma's little girl . . .
Megan shivers under her words and hurries toward the store.
Shaking her wet
locks she enters the store.
33. INT. JUNK-STORE -- NIGHT33.
Inside the store is dry and warm, dim lit. She immediately
notices the walls:
they're covered with ancient objects and fabrics, cheap books
and candles. She
trips on something round, hard. It's an ancient scuba-diving
helmet. Megan
WHISTLES in admiration for the craftsmanship.
OLD WOMAN [V.O.]
It's Captain Nemo's water junk. He sold it to Jules
Verne over a century ago . . . Give or take five years.
Megan looks around curiously, tuning into this store that
belongs to times past,
trying to locate the harsh but friendly voice.
OLD WOMAN [V.O.]
You must be Megan, aren't you, darling?
Megan nods and finally locates the voice: an old lady all
wrapped in timeless
furs, standing behind the ancient counter.
OLD WOMAN
Charley called and tol'me you need some leathers fixing.
MEGAN
[friendly]
That's right, Madame.
The woman launches a YOUNG LAUGHTER addressed to the heavy
walls, old
toasters, used bridal gowns, cracked and chipped China.
OLD WOMAN
You got that, Janos? She called me a 'Madame'.
JANOS [V.O.]
[heavy Hungarian accent]
She's a nice young lady, MARISA. Charley told
me so. She's alright.
Megan tries to locate Janos. After a few moments she finds him.
Marisa,
watching her, points to the opposite side of the store. Megan
discovers Janos-
lying on a heavy fur nest on the floor.
Megan immediately notices that he's holding in his thin and
wrinkled hands a
polished by use, unusual violin. Megan's heart BEATS FASTER.
[CON'D]
33. CONTINUING33.
She timidly comes closer to Janos and kneels beside him. She looks at
the violin then back to Janos. Back to the violin again.
MEGAN
[in awe]
That looks like a Stradivarius.
Janos suddenly looks up into her face, a wide grin on his face.
JANOS
You know Stradivarius?
Janos looks down at his instrument and now he looks ten years
younger.
JANOS
[con'd]
It's an original Stradivarius.
Janos looks into her eyes and then his eyes start panning
through the store.
JANOS
[con'd]
In this store . . . Ha! . . . Nobody would ever
believe it, anyway . . . Only the connoisseurs . . .
You a connoisseur, Megan? . . .
Megan can't answer because in the next instant Janos starts
gaping for air.
Megan looks in panic toward Marisa. The old woman looks calmly
back to her:
MARISA
He's okay. It's only asthma . . . He'll be fine in a minute.
Janos finally recaptures his shallow breath.
MEGAN
I'm studying Music in University . . . Violin mostly.
JANOS
[delighted]
Marisa! . . . Show the young lady the certificates of
authenticity.
Marisa crosses her eyes, looks at Megan for empathy, finds it
there, and walks
[CON'D]
33. CONTINUING33.
to the back of the store. She returns moments later with an old
leather-bound
box. Opening it, she produces two old documents with golden
seals on both of
them. One is from THE NATIONAL MUSEUM OF MUSIC, Viena. The
second one is from BENVENUTTO CELLINI, GRANDE MUSEO DI
MUSICA, FLORENZA, Italy. They both testify that KORLATY JANOS
is the
owner of the precious instrument. A chill running through
Megan's spine.
Meantime Janos finished tuning his instrument and pinches a few
chords
looking up at Megan.
JANOS
[noticing Megan's bag]
Talk to Marisa and show her what you want done.
She's a good seamstress.
Megan hands the leathers over to Marisa. She immediately
notices the
bloodstains on the torn leathers.
MEGAN
[blushing]
My husband had a motorcycle crash the other day.
He needs the leathers tomorrow, if possible.
MARISA
[watching the leathers]
Then I'll fix them right now.
MEGAN
That would be wonderful, Marisa.
She HEARS a few BARS ON THE VIOLIN.
JANOS
[to Megan]
What would you like to hear, young lady? . . .
Chopin, Beethoven, Brahms, Stravinsky? . . .
Try me.
MEGAN
[in awe again]
Stravinsky's Fire Bird, please.
Almost instantly, Janos launches the first notes then stops and
adjusts his
chords. A moment later the HARMONIOUS SOUNDS whirl in the
staled
air of the store.
[CON'D]
33. CONTINUING33.
Megan sits down beside him on the linoleum floor and closes her
eyes. He plays
intensely for a few minutes, lying on his back on the floor
while we HEAR IN
THE B.G. a HEAVY-DUTY SEWING MACHINE AT WORK. When the violin
stops, Megan opens her blue eyes and wipes the stream of tears
from her face.
So does Janos then he places the precious instrument in its case
beside him.
When Megan looks at him, he's sound asleep in his fur nest.
Megan lets her
tears run freely now. There is an emotionally-charged moment of
silent broken
by Marisa's raspy voice.
MARISA
The leathers are done, Megan.
MEGAN
[coming back to reality]
That's wonderful, Marisa. Thank you. How much
I owe you?
MARISA
That would be thirty dollars.
Before getting up, Megan places a twenty-dollar bill on Janos's
violin case.
MEGAN
[shy]
This is for the artist.
Marisa smiles from ear to ear.
MARISA
He will like that, Megan. Thank you.
MEGAN
Thank you for everything, Marisa.
MARISA
You are welcome, Megan. Any time.
Megan pays the old lady while Janos starts SNORING. She takes
her bag and
steps out into the street.
[CON'D]
33. CONTINUNG33.
Megan walks the wet streets in a dream-like state, the fabulous
violin
PLAYING THE FIRE BIRD in the BACK GROUND. Reaching her car she
throws the bag in the backseat and drives away.
34. INT. MEGAN AND RYAN'S HOUSE -- NIGHT 34.
Megan enters the foyer, takes off her wet shoes and jacket and
heads for the
dark living-room. She feels different now-somehow more fragile:
all her
senses are in high gear and she doesn't know what it is. She
looks around the
place in search for Ryan. He's not in the living room. Heading
for the
bathroom she turns the light on and dries her wet hair while
glancing at her
figure in the mirror. The pregnancy is quite visible now. With
a shiver she
turns off the light and finds Ryan curled up in a fetus position
in their bed,
sound asleep. Dropping her clothes in a hurry she slides under
the blankets, her
body tight to Ryan's. He mumbles something in his sleep. She
holds him fast,
kissing his eyes, watching him.
MEGAN
[whispers]
We've got a good thing together . . . You and I.
Ryan stirs in his sleep, holds her tight, without awakening.
RYAN
[in his sleep]
I knew that all along, Megan . . . I'm dead tired.
She kisses his forehead and curling against him closes her eyes,
smiling.
MEGAN
We are very lucky . . .
Moments later her face relaxes. She's also fast asleep.
35. EXT. BLACKHILL AIR DESIGNS -- DAY 35.
Steve, the Engineer, accompanied by two aircraft mechanics are
pulling the
Hydroplane out from the hangar as Ryan rides in on his bike. He
fixed up his
motorcycle somewhat in the morning and he's wearing the
pilot/racing leathers.
RYAN
[good mood]
Is this baby ready for a splash?
[CON'D]
35. CONTINUING35.
STEVE
You bet, Ryan. She's all ready to go. Tank is full,
the Tower has been acknowledged, the floats are solid.
RYAN
What about the steering cables. Were a little frayed.
STEVE
Done . . . I've replaced them myself. She's good as
new now.
RYAN
Okay, then. I'll take her up and fly it a bit, make sure
the handling is up to par then I'll make a few landing / take-offs.
I'll let you know when I'm done.
STEVE
Good. We'll be standing by.
As one of the mechanics loads the hydroplane on a trailer
heading for the lake
launch, Ryan walks into the hangar and take his headset and
flying gloves.
Leaving the hangar he heads for the docks where the plane is
already waiting,
ready for take-off. He mounts the plane, turns on the twin
engines and calls the
Tower for clearance. A minute later he's leaving the docks,
gradually building
up speed.
36. INT. RYAN'S COCKPIT -- DAY36.
We fly with Ryan showing his confident, relaxed flying skills as
he takes the
plane up and down from the lake, enjoying the pretty landscape
and lakes
surrounding the Lake St. John airport. A short while later he
returns the bi-
plane to the docks and descends the aircraft as two attendants
tie the plane to
the docks.
37. INT. MEGAN AND RYAN'S HOUSE -- DAY [SAME TIME] 37.
Megan is woken up by the TELEPHONE RINGING.
MEGAN
Hello? . . . Yes, that's me . . . That's terrific! . . .
Wonderful . . . Thank you so much . . . Yes. I'll
be there for sure . . . Thanks again . . . Bye now.
[CON'D]
37. CONTINUING37.
She hangs up the receiver and walks to the spare bedroom and
removes her
violin from its casing. In the same time STRAVINSKY'S FIRE BIRD
bars
FADE IN sweeping the house in their powerful overture. OVER-
IMPOSED
IMAGES OF JANOS LAYING ON HIS BACK IN THE JUNK STORE,
PASSIONATELY RUNNING HIS STRINGS.
Megan, light like a feather, starts walzing in the living room,
holding proudly
her violin.
38. INT. MORGAN BLACKHILL'S ESTATE -- DAY38.
The large estate with a long paved driveway leading to the house
perched on the
shores of Lake St. John glitters with all the lights on, in
expectations of the
youngsters. Ryan and Megan arrive to the house in Ryan's black
Suburban.
They are dressed formally for the occasion-shirt and tie for
Ryan, a designer
pregnancy dress for Megan. They look good together. It's
Morgan
Blackhill in person welcoming them at the front door.
MORGAN BLACKHILL
Megan . . . Ryan . . . So good to see you.
Please come in . . . You'll make Mrs. Blackhill
very proud. [Hint at their formal attire].
The interior is large and bright. Large windows looking
directly at the lake
where occasionally we see hydroplanes landing or taking off.
The estate is not
far from the shop and the airport.
In the living room they are welcomed by Mrs. Blackhill and
Megan's parents,
JOE and SAMANTHA Madigan.
SAMANTHA MADIGAN
[to Megan]
Oh, boy! Look at you, pretty girl . . .
She comes closer and hugs her daughter while JOE MADIGAN shakes
hands
with Ryan and they start talking about the newly released movie
which seems to
be a box-office success.
A while later, guests and hosts are seating at the formal dinner
table, dinner is
consumed, the atmosphere is relaxed and friendly. When the
moment is right,
Megan taps her wine glass with a teaspoon. Everybody looks at
her.
MEGAN
[blushing]
I have to make a small announcement, folks. [CON'D]
38. CONTINUING38.
MEGAN
[con'd]
I received a phone call yesterday from Toronto . . .
I just got my full Music Scholarship from the
U of T.
Loud cheers follow and we:
CUT TO: Ryan, who is also surprised and delighted, watching
with pride his
beautiful girl. Megan catches his gaze:
MEGAN
I wanted to be a surprise, Ryan.
RYAN
[raising his glass]
It's a good one, Megan . . . I love you, girl.
[beat]
Lets drink to that.
The gathering CHEERS happily.
We take several shots emphasizing the merry atmosphere of the
gathering as the
night falls on the lake and its surroundings.
39. EXT. MEGAN AND RYAN'S HOUSE -- DAY 39.
It's a sunny afternoon and Megan and Ryan are relaxing in the
shade on the
pool deck behind the house watching several neighbourhood
children playing in
the pool. Among them there are two special-needs kids under
Megan's careful
scrutiny.
MEGAN
[watching the kids]
I'm brewing an idea in my mind ever since I taught
in summer camp, Ryan . . . I thought a lot about you too,
in the same time . . . They all sort of blend together . . .
Ryan, in his bathing suit, tanned and handsome, refreshment in
hand, turns
toward her:
MEGAN
[con'd]
I want to make a special trip down to Toronto next [CON'D]
39. CONTINUING39.
MEGAN
[con'd]
week . . . With you . . .
RYAN
What for?
MEGAN
[passionate]
I want to visit the special-needs Ward at the Sick Kids
hospital . . . Just you and me and the kids . . . Go talk
to them . . . Bring them some toys . . . Just be with them . . .
She falls silent watching Ryan curiously. Ryan places his glass
on the summer
table and closes his eyes, his hands resting behind his head,
thinking. Megan
respects his silence.
RYAN
[glancing at the two special kids in the pool]
What took you so long to share this with me?
[beat]
I'd love to go, Meg.
Megan smiles from eat to ear watching him. She's beautiful.
MEGAN
[smiling at him]
Knowing you for almost ten years now, the true
is that I didn't expect anything less from your
answer.
RYAN
[teasing her]
Is that good or bad?
MEGAN
It's a wonderful thing, you silly Aviator.
RYAN
[warming up to it]
It's a done deal then. We check our schedules,
[CON'D]
39. CONTINUING39.
RYAN
[con'd]
buy some goodies for kids and go there.
[beat - serious]
It's a wonderful idea, Megan. Really.
MEGAN
[watching him]
I thought so . . . This was the first step, but
I would like to discuss Step II with your after
the visit.
RYAN
I have an uncanny feeling that I already know
the Step II topic. But just let us do it in due time.
MEGAN
[light sigh]
That's a Ten-Four, Aviator.
They both laugh, sip from their drinks and turn their full
attention to the kids
in the pool.
40. INT. TORONTO SICK KIDS HOSP. [OR ORILLIA HOSP.] -- DAY 40.
[Since the Movie Release in theatres was such a success, Ryan is
the hero of his
town and neighbouring Northern towns. The phone keeps ringing
with flying
offers while his royalties are fattening their bank accounts].
Megan and Ryan, dressed casually, walk into the ward with their
hands heavy
with toys. There is no Media involved-just the two of them and
the kids and
nursing personnel. Megan and Ryan's hearts sinks when they
encounter the
children. After the first tough impression Megan and Ryan split
and take one
bed at the time, sitting down beside the children, talking to
them,
listening to them carefully, making mental notes and offering
toys. Those
precious little smiles will be etched forever in their hearts.
It's late in the afternoon when the two, empty-handed and
exhausted, walk out
from the hospital and head for their car.
[CON'D]
41. INT. THEIR CAR - NIGHT 41.
Ryan drives silently back toward Ramara while Megan stays also
quiet, her
heart and mind processing and racing ahead of her.
As they pull in their driveway, Megan looks at Ryan. He meets
her gaze:
MEGAN
[small voice]
I got a plan, Ryan.
Their eyes meet and hold. There is no smiling this time.
RYAN
Me too.
42. INT. MEGAN AND RYAN'S HOUSE. -- NIGHT 42.
They enter the house quietly. Ryan walks over and takes a look
at their
TELEPHONE ANSWERING UNIT. It flickers frantically with several
messages. He ignores them and enters the bathroom and starts
brushing his
teeth. The face looking back at him from the mirror it's not a
happy one.
Turning the lights off in the house, he curls in the bed beside
Megan. She
buries her face into his chest and starts sobbing
uncontrollably. Ryan's eyes are
also moist when he lightly caresses her curly hair.
RYAN
[whispered]
We'll talk about it in the morning.
43. INT. MEGAN AND RYAN'S HOUSE -- DAY [MORNING] 43.
BASEMENT OFFICE -- Ryan is sitting behind the computer desk,
typing
feverishly on the keyboard. Two empty coffee cups rest on the
desktop beside
several loose hand-written notes. He's been up for hours. He
looks determined
and focused on his work when Megan, coffee cup in hand, dressed
in a
housecoat, descends the stairs and seat beside him at the desk.
RYAN
[turning to her]
Morning, gorgeous. How you feeling this morning?
MEGAN
[light sigh]
Okay, considering. I had better mornings. What
are you doing?
[CON'D]
43. CONTINUING43.
She glances at the loose notes, empty coffee cups.
MEGAN
[con'd]
You've been up for hours, Ryan. Fill me in.
RYAN
[facing her]
It's all about Yesterday, of course . . . I just woke
up in the middle of the night and I realized that
I have a conscience buried somewhere down there . . .
MEGAN
[smiling]
...And you decided to do something about it. Right?
RYAN
[smiling at her]
Something like that . . . I came down here and I took
a long look at the big picture: you and I, the movie
madness, our friends . . . and our visit yesterday.
MEGAN
[in tune]
I'm all ears, Ryan.
RYAN
I figured we can do something for them ourselves.
So I e-mailed a bunch of letters to our suppliers,
the executive movie contacts I developed, local business,
including Blackhill Air Designs, and other places.
[beat]
He reaches for an empty cup and brings it to his lips, realizes
it's empty, places
it down on the desk.
RYAN
[con'd]
I want to establish a Foundation for the kids with
Special Needs. I want to make it all legit: incorporate
it, design an interactive Website, a donations link,
activities and suggestions windows, . . . the works.
He looks at Megan inquiringly. She comes close to him and
wrapping her hands
around his neck kisses him passionately.
[CON'D]
43. CONTINUING43.
MEGAN
I love you, Ryan, crazy Aviator and future philanthropist.
RYAN
It sounds fancy but it isn't. It's all for the kids.
MEGAN
Did you think for a name yet?
RYAN
[smiling]
How 'bout AMELIA AND FRIENDS FOUNDATION?
MEGAN
That name works for me, Ryan.
RYAN
So be it. "Amelia and Friends Foundation Inc." will start
it's first donation right here at Soldiers Memorial Hospital
in Orillia, as soon as we register
the company and get its
bank accounts set up. You want to
join me in this?
MEGAN
[passionate]
I'm already in it up to my ears, Flying Boy.
RYAN
Good. Then we can do something about it. Take a
look at this.
Ryan hits a key on the computer and activates the PRINTER. He
grabs the
printed sheet and hands it over to Megan.
RYAN
Read it and tell me what you think.
44. EXT. LAKE ST. JOHN AIRPORT -- DAY [2 WEEKS LATER] 44.
It's an early SUNDAY afternoon on the airport grounds. Pilots
and small
aircrafts-on wheels and on floats, are preparing for the big
day. It is KIDS
FLYING DAY -- An event organized by Megan and Ryan, [aka
"AMELIA
[CON'D]
44. CONTINUING44.
AND FRIENDS FOUNDATION"] in collaboration with the airport and
BLACKHILL AIR DESIGNS. About a dozen planes, their pilots
volunteering
and generously offering their aircrafts for the ride, are ready
for the first group.
Ryan and Morgan Blackhill alike, are wearing their pilot
jackets, helping staff
load the children in their planes. Megan Madigan, pregnant and
enthusiastic,
the organizer of the events, is busy talking with different
groups and minibus
drivers. There is a merry atmosphere on the airport grounds:
hotdog stands
and beverage kiosks are serving the children and the airport and
nursing
personnel, parents and pilots.
We CUT TO:
Morgan Blackhill as he approaches the neighbouring plane piloted
by Ryan
Blackhill.
MORGAN BLACKHILL
[good mood]
This is a wonderful idea, Ryan. The children are
having a blast.
RYAN
[smiling]
Not only the children, Dad. Pilots and personnel
too.
MORGAN BLACKHILL
[laughing]
Yes, indeed. I wish I thought about it myself,
years ago. You know that I love children and
your Mother and I contribute to children's funds
for years.
RYAN
Yes, I know that Father. And I feel very proud
about you two. This kids flying day was Megan's
idea. The AMELIA AND FRIENDS FOUNDATION
it's her company. We concocted it together after that
trip to Toronto's Sick Kids. It was her who made it
a reality.
[beat]
I'm quite proud of her, Dad.
MORGAN BLACKHILL
Yes. We all are, Ryan . . . I guess we're needed. [CON'D]
44. CONTINUING 44.
MORGAN BLACKHILL
[con'd]
It's time to fly, Aviator. I'll talk to you later.
RYAN
I'll see you up there, Dad.
Both pilots start loading kids and nursing personnel in their
planes, along
with their pilot friends, instructing them for the flying safety
procedures.
We see a group of small airplanes taking off from the
runway, one after the
other, yet another group of hydroplanes are loaded one
after the next into
Lake St. John, and taking off from the water.
We take VARIOUS SHOTS with the planes and the cockpits
where children
are having a blast.
A FEW HOURS LATER: We see excited children, some on them
in
wheelchairs, and their escorts embarking their cars and
buses, as the airport
personnel and the pilots start rolling their planes for
their dedicated parking
spots.
[OPTIONAL: WE COULD ALSO SEE A VR NEWS YELLOW FOUR-
RUNNER AND IT'S CREW RECORDING THE EVENT].
45. INT. SAME JUNK STORE -- DAY45.
Janos, as usual, lying down on his back in his fur nest, reaches for
his Stradivarius violin case. Marisa, at the counter, is opening up
the freshly arrived mail. Her face wrinkles at the number of bills.
Her hands hold an unusual envelope with a GOLD SEAL stamp which reads
A&FF.
She checks the sendee address: it's correct. It's the Second
Hand Store.
MARISA
[to herself]
What the heck . . .
She finally opens the envelope and starts reading. Janos is
tuning his violin,
preparing for another overture. She quickly glances at Janos.
MARISA
Wait a minute, Janos. Listen to this letter-
[CON'D]
45. CONTINUING45.
JANOS
[grumpy]
I don't want to hear of another service charge increase.
We can't afford to keep this store open as it is . . .
MARISA
[firm]
Listen to this letter first before you fly off the
handle again. Listen!
She adjusts her thick reading glasses and reads the letter:
MARISA
"Hello Marisa and Janos. I hope everything is
well with you. I just wanted to thank you for
the excellent leather-patching job and the
unforgettable violin session performed for me
by Janos. Which brings me to the other point
I wanted to mention-just recently I received
my full scholarship in Music majoring
in violin, from the University of Toronto. But
there is more---I founded a Trust for Children
with Disabilities and we are asking Janos if he
would consider the invitation to play for these
needy children. All expenses will be carried out
by the AMELIA AND FRIENDS FOUNDATION."
[beat]
Ohy, Way, Janos. And there is more:
"Whatever your decision regarding the above will be,
I want to thank you with all my heart for a night to
remember in your store.
Love,
Megan
P.S.: Please accept from me this unconditional and
modest contribution to your health and
well-being." Signed Megan Madigan.
[CON'D]
45. CONTINUING45.
JANOS
[still on his fur nest]
That is a nice letter, Marisa. What kind of modest
contribution is Megan talking about?
Marisa looks at the bank cheque stashed in the plain envelope.
MARISA
[with shaking hands]
It's a cheque for five-thousand dollars, Janos.
JANOS
Oh, my goodness. We can't accept a cheque
for that much money. It's not ethical.
MARISA
[business-like]
"Ethical" or not, these are your choices: One:
we return the cheque with a thank-you note, or
Two: you go out there and play the strings off that
fancy violin of yours for those dear children.
JANOS
[thinking]
We sure could use the money but we eventually get
by without it . . . On the other hand-I didn't play
for an audience for almost ten years now.
MARISA
[smiling]
More like twenty years, Janos.
JANOS
Ten . . . Twenty . . . Whatever . . . I tell you
one thing though: I'll go out there and make
this violin work it's chords-off for those children.
MARISA
That's the spirit of the man I married fifty-two
years ago. I'll close the shop for that day and I'll
be there with you, Janos . . . Tomorrow I will call
Megan and I tell her that you will play for those little
dears.
[CON'D]
45. CONTINUING45.
JANOS
[laughing]
Let's do it, Marisa.
MARISA
[happy]
Look at you now. You look ten years younger just
by thinking about it.
JANOS
I feel really good, Marisa . . . And is a great cause too.
46. INT. MEGAN AND RYAN'S HOUSE -- DAY 46.
It is a bright summer morning as we see Ryan, dressed in a
coverall, working on
his motorcycle in the garage. He's fixing the damages of his
recent crash when
Megan stops in, all dressed, ready to go out.
RYAN
Morning, gorgeous. All set for the big day, I see.
MEGAN
Yep. Zip down to the University, do my performance,
sign my papers, and come right back. I'll be home in the
afternoon sometime.
RYAN
[coming closer]
Fine. And congrats are in order, again. Show them
how's done, girl.
Megan smiles nervously and tapped on the casing of her violin
she holds in her
hand.
MEGAN
I want to play it like Janos.
Ryan raises an eyebrow.
MEGAN
You'll meet him soon, Handsome. Got to go.
Ryan kisses her on the forehead and Megan gets into her car and
drives away.
[CON'D]
46. CONTINUING46.
Ryan turns back to his motorcycle and resumes his work. Shortly
after, the
TELEPHONE RINGS in the garage extension.
RYAN
Hello? Ryan here.
MALE VOICE [V.O.]
Can I speak to Mr. Ryan Blackhill, the Pilot?
RYAN
[casual]
Speaking...Who's this?
MALE
VOICE [V.O.]
I'm sorry, Mr. Blackhill. You sound so young.
My name is FRED McALLISTER, and I am
the Executive Producer of a movie we're
shooting right now in Southern California.
RYAN
What can I do for you, Mr. McAllister?
FRED McALLISTER
Vincent Borgiani, the Director of your film stunt
recommended you for me. We are in the middle
of a shoot in the desert out here and our pilot
got sick. We can't finish the flight scene because
we can't find anybody qualified enough to do the job.
RYAN
What makes you believe that I'm good enough for
the shoot?
FRED McALLISTER
Oh, you are. We're sure, Mr. Blackhill. We watched
all the footages you flew for the Movie Industry: including
the ones in New York.
RYAN
[thinking]
It's not the best of times . . . When do you want
me down there? And for how long?
[CON'D]
46. CONTINUING46.
FRED McALLISTER
[relieved]
A-S-A-P . . . Could you make it down Tomorrow,
if we provide you in the next few hours with the
full travel package and a pickup car along with
five-thousand dollars, pocket money?
RYAN
[[thinking a while]
With one condition . . .
FRED McALLSTER
Name it.
Ryan voices his request on the phone but we can't make out his
words. Hanging
up the Telephone he walks back to his motorcycle and continues
his work, his
mind busy with thoughts.
47. INT. MEGAN AND RYAN'S HOUSE - NIGHT 47.
It's early evening, the sky is colourful with clouds carrying
charges as we see
Ryan sitting on the back deck, his loyal DOG, sleeping
peacefully at his feet.
Ryan takes a sip from his BEER BOTTLE and casts his eyes back to
the sky,
sorting out his thoughts. A car pulls in the driveway and
moments later Megan
shows up beside him.
RYAN
It's been a long day for you, Meg. How did it go?
MEGAN
[tired but happy]
The Violin exam went clockwork, Ryan. I passed it
easily. I got the scholarship . . . It's official now.
Ryan gets up from his chair and hugging her, kisses her
forehead.
RYAN
Knowing you, there was no doubt in my mind that you'll
have it in the bag.
MEGAN
Thanks for the vote of confidence . . .
[She sits down in a chair
near Ryan]
There is something else I discussed with [CON'D]
47. CONTINUING47.
MEGAN
[con'd]
the U of T Administration-remember I told
you the other day about my nocturnal musical
experience a few weeks back?
RYAN
The old Hungarian guy with the Stradivarius violin,
down at the Junk Store?
MEGAN
[rejuvenated]
The same one. He's willing to perform for Special
Needs kids and the University will gladly provide
the facilities and support to put on a show for the
kids. They even provided me with some U of T
official letterhead stationary for my contacting the
special children care-provider associations.
RYAN
That's truly wonderful, Megan. We'll make this
Foundation fly before you know it.
[beat]
On the other hand, I got some not-so-great news too:
I got a call from California this morning and I have
to fly down there for a few days to finish for them a
flying stunt shoot. Their pilot
got sick and they're
in dire need for a pilot to finish the shoot.
MEGAN
[supportive]
That's your call of duty, Ryan. If you wanna go,
just go, but be safe and come back soon.
RYAN
[smiling to her]
You're a cool chick, Meg. I thank you for that.
There was a condition I raised for me to fly there
on such a short notice.
[CON'D]
47. CONTINUING47.
MEGAN
[curious]
What's that?
RYAN
[raking his hair]
There will be a special credit and clips at the end
of the Movie about the AMELIA AND FRIENDS
FOUNDATION.
MEGAN
[excited]
That's simply wonderful, Ryan. Very thoughtful
of you.
RYAN
Thanks, Meg.
They both fall silent enjoying the spectacular sunset and their
whirling and
exciting thoughts about the future.
48. INT. UNIVERSITY OF TORONTO -- DAY 48.
We OPEN with the main lobby animated with students, special-
needs kids, their
caretakers and the Media. The bright centre of the hall is set
up for a small
stage, with SPECIAL SOUND SYSTEMS connected to the centre-stage
microphone. There is a merry atmosphere in the hall.
The SOUND SYSTEM plays CANNED music with children's themes,
setting
the mood for the soon starting SOLO performance.
Marisa, Janos, Megan and the TECHNICAL DIRECTOR, are preparing
the
Soloist for the performance. Janos, dressed in a handsome
tailcoat, white shirt
and bow, looks like a world-class performer, in spite of his
nervousness. His
long, grey, rebellious hair emphasizes his strong features and
vivid eyes.
MARISA
[hugging him]
Just go out there and play the chords off that violin.
You'll do fine. It's for them, don't forget.
[CON'D]
48. CONTINUING 48.
Marisa points at the chairs filled with children with various
forms of disabilities.
Janos follows her hand and his face lightens up as tears fill
his artist eyes.
JANOS
[confident now]
I'll do it for them.
TECHNICAL DIRECTOR
One minute, Janos. Then I'll announce you in
the P.A. System.
Megan comes closer and gives him a passionate hug.
MEGAN
Thank you, Janos.
TECHNICAL DIRECTOR'S VOICE [P.A. SYSTEM]
Ladies and Gentleme, Children . . . May I have
your attention please...
A deadly silence settles in the large hall.
TECHNICAL DIRECTOR
[con'd]
We have the pleasure to introduce you our
Canadian Violinist KORLATY JANOS,
performing VIVALDI's SPRING overture
on his very rare Stradivarius violin.
[beat]
Ladies and gentlemen, Children-Korlaty
Janos!
Janos, sweating lightly, stretches his fingers and taking a last
look at Marisa,
steps on the impromptu stage. A solid APPLAUSE erupts from the
audience
and gradually dies off as the artist checks his chords,
preparing for the
performance.
Moments later the virtuoso launches into the Vivaldi notes and
the Hall vibrates
under his Mastery performance. We
CUT TO:
Children's faces watching and listening mesmerized by the magic
of the eighty-
two years old performer and the rich sounds of Vivaldi.
[CON'D]
47. CONTINUING47.
CUT TO:
Marisa and Megan, holding hands and crying while watching Janos
perform.
CUT TO: [JANOS'S VIVALDI BACKGROUND SOUND]
Ryan, in the dusty cockpit of a fast jet, his face black with
camouflage and dust,
surrounded by SOPHISTICATED AND FLICKERING INSTRUMENTS,
piloting the fast airplane among EXPLOSIONS and FLYING ANTI-
IRCRAFT
MISSILES in the California desert.
------- FADE OUT -------
1
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