The low, distant RUMBLE of a SINGLE-ENGINE AIRPLANE serenades a LOGO and then blackness before WE
FADE IN:
EXT. MCNEIL HOME - DAY
Southwestern Michigan, circa 1993
ANALOG HOME MOVIES - TILT DOWN from AIRPLANE in uncharacteristically blue sky to YOUNG ALBERT MCNEIL - 13 years old, blonde hair, average height, slightly overweight - stands amidst BOXES and ITEMS for a YARD SALE.  MR. MCNEIL speaks from behind the camcorder.
MR. MCNEIL (O.S.)
There he is!  Hiding out, Albert?  Come on, we got company inside and there'll probably be more people coming by for the sale.
Albert holds a boxed MODEL AIRPLANE KIT.
YOUNG ALBERT
Zach and I just got this, like, last month - most expensive model kit in the store.  It's not even put together yet.
MR. MCNEIL (O.S.)
We don't have to sell it - take it with us, you can put it together in our new home down south.
YOUNG ALBERT
But we promised each other we'd put it together ourselves or not at all. We both saved, we both put in our share to buy it...
MR. MCNEIL
You knew we were going to move.  You told Zach that, right?
Albert solemnly nods.
MR. MCNEIL (O.S.)
Well, come on inside.  I don't like you handling this stuff while it's still up for sale.
(Beat)
Come on, Albert, now we've got family here we probably won't see again for a long time and it's just plain rude for you to be out here all by yourself like this.  Besides, this ain't the kind of stuff people like seeing in home movies anyway and these might be the last home movies we ever get before leaving this place.  The least you could do is crack a smile, son.
Albert hesitantly turns to the camera, forcing a faint smile, still holding the model.
ALBERT (O.S.)
Maury County traffic, N315 Romeo Alpha on final approach for runway 2-3 for full stop landing.  Over.
From his younger self's faint smile over a decade earlier we
DISSOLVE TO:
INT. SMALL AIRCRAFT / CONTINUOUS
In a cramped cockpit, ALBERT, grown up with same smile, navigates clear skies, a PHOTOGRAPH of RHONDA (prospective girlfriend) taped to the DASH.
Over RADIO, the voice of another pilot - TONYA LYNN.
TONYA
N315, this is N13Z - have passenger - permission to land first on runway 2-3...
(Beat)
Now.  Over.
Albert cracks a faint smile, shakes his head in amusement.
ALBERT
Maury County traffic, N315 Romeo Alpha says scratch that - if traffic control is game, Romeo always lets ladies first. Over.
TONYA
Maury county traffic, N13Z thanks the pig in aircraft N315 posing as Romeo for the go to land. Over.
With that, Albert pulls up on the throttle to circle around.
EXT. KMC AVIATION / RUNWAY - DAY / CONTINUOUS
ALBERT'S single-engine PLANE ascends while another comes in from behind to land. We follow Albert's plane back into the air.
MONTAGE:
MIDDLE TENNESSEE - as seen from ALBERT'S plane, consists mostly of  corn and wheat fields peaking out from beneath a decade's worth of urban development - convenience stores, discount marts, tract housing, etc.  At one end, the likely instigator of said development - LARGE CAR MANUFACTURING PLANT.
Meanwhile...
EXT. KMC  AVIATION / TARMAC
TONYA (30-ish, pretty brunette, average build), with student / boyfriend BARRY (young, slim, Middle Eastern) - they part affectionately after exiting the plane.  HEADSET and FLIGHT BAG in hand, Tonya enters small TERMINAL as MAINTENANCE CREW and other PILOTS scurry about on the tarmac behind her.
END MONTAGE:
INT. KMC AVIATION / LOBBY - CONTINUOUS
In the terminal's sparse lobby, TONYA stops, looks around, hears only the HUM of AIR CONDITIONING.  Nobody else is there
INT. KMC AVIATION / CLASSROOM - CONTINUOUS
In the similarly sparse room TONYA sits, puts HEADSET and FLIGHT BAG on a FOLD-UP TABLE and fills out her LOGBOOK, marked with small PHOTOGRAPH of her teenage self with MOTHER and BROTHER.
TONYA - regards photograph before finishing entry - flips it over to see note to self: CALL MOM.  With CELL PHONE from a pants pocket, she dials, waits in frustration as it rings only to get an OPERATOR'S VOICE telling her, "Please leave a message."
Hearing ACTIVITY elsewhere in the building, she foregoes the message, shoves phone back in pocket and leaves with her logbook.
INT. KMC AVIATION / PILOTS' LOUNGE
To the somewhat cozier room with SOFA, TV, CARD TABLE and FOLD-UP CHAIRS, TONYA walks in, angry and unannounced, as ALBERT is making his LOGBOOK ENTRY, his PHOTO of RHONDA lying nearby.
TONYA
You had a lot of nerve up there, Albert.
ALBERT
What?
TONYA
Can you imagine what tower must have thought about our little exchange up there? Huh?
ALBERT
Besides wondering if it's true that pigs really can fly now?
TONYA
I'm serious, Albert! Can you stop acting like a jerk for one day - maybe even just one hour?
ALBERT
Hey, you're the one called me a pig.
TONYA
(Interrupting)
Just stating a fact.
ALBERT
Yeah, well, pig or not, I'm not the one dating a student.
TONYA
For the millionth time, we're the same age, both adults, I'm not letting it cloud my judgment and it's nobody else' damn business! So for heaven's sake, stop getting on my ass about it day and night!
ALBERT
Speaking of getting on your ass, where is that prized student of yours? I mean, am I the only one here hasn't met him face to face?
TONYA
I wish I could say that was by design, but he had to leave right after the lesson for his job.
ALBERT
Tonya, look, I don't care what you do in your spare time, it's none of my business, but you're pushing it by being so close to your student.  Flying a plane is serious business.  You teach someone to do it, you encourage them, but you stay objective.
TONYA
I am objective, Albert.
ALBERT
Says who? You're not exactly the most reliable source on that, Tonya.
(Beat)
It's dangerous, okay? And I'm not being sexist, I'm just stating a fact.  You and I both know it and if LYLE weren't so hyped up on Viagra, he'd be telling you the same thing.
Tonya, though more exasperated, says anything.
TONYA
Speaking of Lyle, he asked me to give you this.
Tonya pulls a PIECE OF PAPER out of her pocket and hands it to Albert, who looks at it curiously.
ALBERT
It's an invitation to this weekend's party - with the option of bringing a guest?  What gives? We do this all the time, why is he making tickets and making it so formal?
TONYA
I don't know - I thought he'd have told you.  You and he have known each other for so long and he did teach you to fly, right? He's supposedly got a lot of important people coming - deep pockets, is what he called them.  He says he has an announcement to make.
ALBERT
Well, we need money, that's for sure - the place is practically in the tank. Then again, we're not exactly a charity, so... what's he doing?
Albert suddenly and embarrassingly realizes he's talking to himself and makes a concerted effort to address Tonya directly.
ALBERT
No, he didn't tell me anything about this.
TONYA
And that doesn't seem odd to you? I mean, like I said, I thought you guys were close.
Looking at the paper, Albert flashes back to:
LYLE (V.O.)
Your ground instructor tells me you're the best in your class, Al.
INT. SINGLE-ENGINE AIRCRAFT / CONTINUOUS / FLASHBACK
LYLE is in his mid-forties, big, cantankerous, authoritative with dark, graying hair and a booming, equally authoritative voice to match.
A slightly younger ALBERT (late teens) is in the copilot's seat. Each talks to the other through HEADSETS.  They're audible, but the plane's ENGINE looms loud in the background, always threatening to muffle the voices.
ALBERT
Well, I try, sir.
LYLE
Sir? Oh, hell, no - you and I have our heads in the clouds, son.  There's no formality up here.  No, that sir you're talking about is some old man in a nursing home with Alzheimer - don't know him, don't care to.  It's just you and me right now - just Lyle and Albert, flying a tin can with wings.
Albert smiles.
LYLE
So, we're getting close to your first solo.  How far do you plan on going with your training? You know, if you get instrument rated and get an instructor's certification, you always got a job here, right?  It just depends on how far you're willing to go and how hard you want to work.
ALBERT
Well, right now, I guess I'll go as far as my dad's money can take me.
Lyle laughs loudly.
LYLE
That-a-boy!  Milk-em if you got-em - that was my motto when I was your age.
From the slightly younger Albert's smiling, clearly contented face, we
DISSOLVE TO:
EXT. KMC AVIATION / PARKING LOT - DAY / THE PRESENT
ALBERT - happily contented, for now - stands next to his outdated GM CAR, about to get in.  Glancing to the side, towards a ROW OF HANGARS, he notices some SHADOWY FIGURES moving about.
Glances towards the terminal - nobody comes in or out.
Back at the hangars, the figures are gone.
EXT. ALBERT'S APARTMENT COMPLEX - DAY
ALBERT'S CAR comes to a stop in front of his first floor apartment.
INT. ALBERT'S APARTMENT / CONTINUOUS
ALBERT enters his cluttered apartment - aviation POSTERS on walls and FAMILY PHOTOS by SOFA
INSERT: MODEL AIRPLANE on coffee table - same as seen in yard sale.
INSERT: Albert starts boxed macaroni & cheese boiling.
A FEW MINUTES LATER
ALBERT sits down, writes e-mail to rugame26 just as a KNOCK is heard O.S.
ALBERT
(Frustrated)
It's not locked, James!
Enter JAMES DANVER, a year or two younger than Albert, smaller in stature,  dark brown hair, carrying a PAPER SACK. Though possessing a somewhat hyper, nervous air to him, he lacks the physical and overt clumsiness to complete the usual second banana stereotype.
JAMES
Soda?
ALBERT
Got anything stronger?
JAMES
I don't drink, Bert.
ALBERT
Yeah, thanks.
Albert takes his soda - returns to e-mail as James sits on sofa with his own soda.
ALBERT
I just started this e-mail, James, so...
JAMES
(Peaking at monitor)
Rhonda again?
ALBERT
What do you mean again?
(Beat)
You got my message, right? Where were you?
JAMES
Yeah, sorry, I was at the library.  Some employee there named Ron got on my case over a sign-in sheet for their computer terminals that I could have sworn wasn't there when I walked in.  He threw me off for not signing in first and by the time I found the dang thing, they were all taken.
No response.
JAMES
Hello?  Bert?
ALBERT
I heard you. Hold on, I'm trying to think here.
James is frustrated.
ALBERT
'Ya know, if you're bored, that's usually what girlfriends are for.
JAMES
Don't start, Bert.  You know my track record there.
ALBERT
Track record?
(Beat - Frustrated)
I won't be able to finish this e-mail, will I?
JAMES
Do you want to go bowling?
ALBERT
Why did I even call?
JAMES
(Mildly offended)
You tell me, Bert.  I'll get out of here if that's what you want.
ALBERT
No, no, it's just...
JAMES
Just what?
ALBERT
I'll just finish that e-mail tonight.  Let's go.
INT. ALBERT'S CAR
ALBERT drives.
JAMES
Why Rhonda?  I mean, isn't she the one that started chasing you around in high school but her parents wouldn't really let her date you?
ALBERT
She's an adult now, James.  I don't know what the big deal is.
JAMES
If she's still living at home with her parents, as I suspect she is, then I'd say that's a big deal.
ALBERT
You live with your parents, man! So shut-up about it. Jeez.
(Beat)
'Ya know, we're not all like you, James - some of us actually try to date girls that might like us, not just ones to obsess over because they're out of our league.
Albert looks, smiles and nods - James evades the topic with silence, staring out his window.
INT. BOWLING ALLEY - LATE AFTERNOON
YOUNG MOTHERS and their CHILDREN are leaving as the TEENAGERS and TWENTY-SOMETHING'S start filtering in.
ALBERT and JAMES begin bowling.  True to form, Albert is good, experienced - James is inexperienced, clumsy.
JAMES
I just have to get into the groove of things, Bert.
ALBERT
First thing's first, James.  Once you know which is which, you've got to focus on the lane and the pins and keep your ball out of the gutter.
James rolls again and knocks down only two PINS.
JAMES
Well, at least it stayed on the lane instead of falling into the gutter.
Albert rolls his eyes.
ALBERT
'Which is probably where your mind was 'cause weren't focusing enough on the pins.
JAMES
Yeah, well, I don't think complicated metaphors are going to help me much, Bert.
ALBERT
Will anything, James?
From a few feet away, Albert hears a FAMILIAR VOICE.
FAMILIAR VOICE (O.S.)
Albert!
Approaching is WALTER HICKS, tall, dark haired, mid-to-late twenties - and his girlfriend NATASHA, late twenties, thin, dark haired, heavy makeup, attractive in dark clothing and pseudo-punk fashion.
ALBERT
(Stepping up from lane to floor)
What are you two doing here?
WALTER
Killing time - some friends were supposed to meet us, but they bailed last minute.
Walter and James exchange familiar glances, but neither seems eager to talk to the other.
WALTER
(Smiling)
So let me guess - James was bored?
Albert glances off James.
ALBERT
I was stuck trying to write an e-mail he dropped by and...
WALTER
Oh, I almost forgot - James, this is Natasha.  Natasha, this is James Danver.
James steps up to the carpeted area and extends his hand to Natasha.
JAMES
Hello.
Natasha regards James' hand curiously and smiles at him. She grips Walter's arm tighter, as if repulsed by the sight of James, who gets the message, steps down to the lane.
WALTER
So Al, 'you think you could make it to next week's card game. The King and Queen can't make it, so it'll just be some friends of Tasha and I.
James stifles a laugh.
JAMES
King and queen?
ALBERT
This is your medieval reenactment group... thing... right?
WALTER
Well, this time it'll just be us and some friends. It's just Wizardry - you've played it before.
JAMES
Cool, can I come?
NATASHA
You play Wizardry?
JAMES
Um...
NATASHA
Yeah, 'thought so.
ALBERT
I don't know, I may have instrument training that night. I'll touch base when I know for sure.
WALTER
Great, just shoot me an e-mail or something when you know for sure.
NATASHA
(Tugging Walter's arm)
Precious, our lane?
WALTER
(To Natasha)
Our lane is fine.
(To Albert)
We're 'gonna get going.  James, good to see you.
JAMES
Yeah, thanks, Walter.
WALTER
Albert, remember - next Thursday night, Natasha's place.
ALBERT
I'll try to make it.
WALTER
See you kids later.
Albert and James watch as Walter and Natasha walk back to their lane.
JAMES
You've met her before?
ALBERT
Who? Natasha?  Yeah, she's kind of a... well, you know.  She's kind of... pushy.
JAMES
Which probably isn't the word you were thinking, but still harsh, isn't it?
ALBERT
See how she treated you?
JAMES
Point taken.
ALBERT
Walter acts like he's got everything figured out, but for the life of me, I don't know what he sees in her.  Except for that group they belong to, they're like night and day - and she's older than him, just like almost every other woman he's dated.
JAMES
'Think he's seen The Graduate?
ALBERT
What? Let's just keep playing.  Okay? It's getting loud in here. My turn, right?
JAMES
If you say so.
Albert shoots James an annoyed look, then picks up his ball and rolls a strike.
ALBERT
Yes! James, did you see that?
James is preoccupied with watching two blonde haired young women walking in their direction.
ALBERT
James?
JAMES
I know her.
LAURA, the shorter of the two women (thin, early twenties, borderline-petite), smiles and waves at James, who happily waves back.
ALBERT
Who?
Albert looks, but James can't point them out in the crowd.
JAMES
She's changed over the years.
ALBERT
Just roll, okay?
Ball already in hand, James hesitates, sees Laura approach, then - THUD! James drops his ball on the lane's smooth, lacquered floor.
ALBERT
Damn it, James, the floor!
James isn't listening. Instead, he approaches Laura.
JAMES
Laura?
LAURA
Hey, you!
They hug.
LAURA
It's so great to see you! Man, how long has it been?
James doesn't have an answer - doesn't need one.
LAURA
This is such a coincidence; I've thought about you lately. I found a drawing you gave me when we were kids.
JAMES
Really? Listen, you want to go outside to talk a minute? It's getting kind of loud - hard to hear.
LAURA
Yeah, sure.
Albert watches, amused - James and Laura exit the bowling alley.
EXT. BOWLING ALLEY / ENTRANCEWAY - LATE AFTERNOON
JAMES and LAURA stand to one side, under an AWNING in the entrance.
LAURA
That's better.  So, how have you been? I thought you guys moved.
JAMES
No, we're still here.
LAURA
Ever see any of the other neighborhood kids?
JAMES
Uh, well, no, not really. I moved around a little in college before coming back home for a while.
LAURA
Yeah, I know what you mean. Hey, I'm here with a friend of mine, her name is LESLIE - I'll introduce you some time. She's waiting, so I better get back in, but it's great seeing you.  Give me a call! I'm listed - same last name.  Maybe we can go out some time.
JAMES
Yeah, that'd be great.
Laura opens the door.
LAURA
Enjoy your game.
JAMES
You, too!
LAURA
(As door is shutting behind her)
I will - and don't forget to call!
James watches, happily, through the glass door as Laura walks back inside, disappearing into the crowd.
INT. BOWLING ALLEY - A FEW MINUTES LATER
JAMES walks back to an amused, but confused ALBERT.
ALBERT
James, what just happened?
JAMES
'Ran into an old friend, Bert - a very old friend.
ALBERT
She didn't look that old.
JAMES
Ha, ha... So, is it my turn?
ALBERT
(Mutters off-handed)
Must be.
CUT TO:
CLOSE UP: Dark room - on a small, WOODEN TABLE sits an ANSWERING MACHINE which BEEPS along with a FLASHING RED LIGHT, LYLE's VOICE heard through its speakers.
LYLE (O.S.)
Barry, it's Lyle. I'm just making sure you and the queen bee will be attending this weekend's party.
PAN across the machine as the message concludes:
LYLE (O.S.)
I look forward to talking with you.  After all, we'll be working together a lot in the next few weeks, won't we?
A small HANDGUN lies next to the machine.
LYLE (V.O.)
See 'ya at the party.
The answering machine: BEEP!
EXT. KMC AVIATION / PARKING LOT - EARLY EVENING
VEHICLES of all makes and models fill the otherwise small parking lot, GUESTS talking, laughing as the enter the terminal.
INT. KMC AVIATION / LOBBY
Enter ALBERT, dressed formally (for him). The place has a nightclub feel to it; soft-to-moderate R&B and POP music emanates from UNSEEN SPEAKERS.
Albert is approached by DALE, a fellow instructor roughly the same age, slim, shoulder-length blonde hair with almost a surfer's air about him.
LYLE and TOM (instructor, mid-thirties) can be seen in the crowd as well.
DALE
Albert, you're late, man!
ALBERT
Hey, Dale.  Yeah, I... got caught in traffic.
DALE
I tell 'ya, all this formality - 'sure ain't what we're used to, is it?
ALBERT
Oh, I don't know.  There's still pizza, beer, barbecue...
DALE
(Smiles - Jokes)
But no hookers.
Albert smiles in the awkward moment.
DALE
Hell, maybe I'm just not drunk enough yet. I can fix that, though.
ALBERT
I hear 'ya.
Dale walks off. Albert scans the crowd and spots the happy couple - TONYA and BARRY, both dressed to the hilt, both looking as impressive. Tonya wears a red dress, Barry a casual suit.
Albert approaches the couple, but Tonya speaks first.
TONYA
Albert.
ALBERT
Tonya - nice dress.
TONYA
Albert, this is Barry.  Barry, this is Albert McNeil.
Barry smiles.
BARRY
(Jokingly)
So you're the reason she's been so grouchy lately?
(Chuckles)
Just a joke - it's great to finally meet you.
ALBERT
'Same here; we've heard a lot about you.
BARRY
I don't know why we've never met before now. I'm here most of the time.
TONYA
Barry, honey, why don't you walk around, introduce yourself to some of the others, okay? Albert and I have some business real quick.
BARRY
I can't say no, can I?
Albert smirks.
BARRY
Sure, sweetie, I'll see 'ya in a few.
As Barry steps away to mingle, Tonya inches closer to Albert.
TONYA
Thanks for being civil, Albert.
ALBERT
I got no beef with him.
TONYA
No, it's me you have a problem with, right?
Meanwhile, LYLE finds Barry sipping a DRINK and just finishing up talking to someone that is just now walking away.
LYLE
'Evening, son.
Barry knows who it is without looking directly at Lyle.
BARRY
Please don't call me that, sir.
LYLE
Okay, okay - I just wanted to say I'm glad you two could make it.  'Like the party?
BARRY
I know what you're doing.  You don't have to keep reminding me of our arrangement. Besides, how could I forget?
LYLE
Well, maybe, maybe not, but I think I'll be the one to decide that.  Does Tonya...
BARRY
(Interrupting)
No!
LYLE
Good.  I'd just hate to see a good guy like you ruined 'cause he hung with bad company, 'ya know?  Just remember, whenever you start thinking you can get out of it or avoid who you are - Genesis 16:12
Barry is obviously disturbed and a little angry, but counters with straight-faced humor.
BARRY
It would help if I knew, sir, what Genesis was - beyond the Star Trek reference.
LYLE
Hey, I didn't write it.
BARRY
(singing under his breath)
She seems to have - an invi-si-ble - touch-uh...
LYLE
(Phony laugh)
'Nice to know Tonya's new boy-toy has a sense of humor.  I just hope your loyalty's stronger than jokes.
Lyle pats Barry on the shoulder.
LYLE
You love birds enjoy the rest of the night.
Lyle steps away.
ACROSS THE ROOM, Albert and Tonya's confrontation winds to a semi-heated close.
ALBERT
All I've said is that as long as you're his teacher and you're both up there in those planes, your relationship threatens your judgment. It's dangerous.
TONYA
I don't want to lose my cool in front of all these people tonight, Albert, but if one of you guys ever started banging a female student, there'd be nobody to protest, nobody to say one damned thing, and you know that.
ALBERT
That still wouldn't make it right, now would it?
Tonya can't answer. Fights back anger. Rushes to end the this ASAP.
TONYA
Just leave us alone this evening, Albert - both of us.
ALBERT
Tonya, I...
Before Albert gets the chance to talk, Tonya is walking away.
Just as she does, WALTER approaches Albert from behind.
WALTER
I take it that's our Tonya?
Albert briefly looks back at his friend.
ALBERT
Hey, Walter, glad you could make it.  Sorry it was such short notice.
WALTER
Don't worry about it.  It's better than the alternative.
ALBERT
And what would that be?
WALTER
Let's just say things between Natasha and I are a bit strained right now.
ALBERT
Why are you with her, man? You two are almost nothing alike.
WALTER
We like a lot of the same things, Albert.  That counts for something, believe it or not - at least, it used to.
ALBERT
Oh, yeah? When? Because you've had something to complain about with her since you started dating.
WALTER
She's mad because I didn't spend tonight with her, okay?  She just can't fathom that I'd want one night to just be with a friend instead of working my ass off to soothe her and feed her fetishistic ego.
ALBERT
Okay, Walter, I think I get the picture -in hi def.
WALTER
Well, you asked.
ALBERT
Technically, I didn't, but never mind.
WALTER
Now you just sound like James.
ALBERT
Touche.
A moment passes between the two in which Walter spots Tonya and Barry, together, in the crowd.
WALTER
You know who Tonya looks like - a little?  She looks a bit like Susan.
ALBERT
Okay, Walter, stop it already.
WALTER
What did I say?
ALBERT
I should have never told you about James and that girl at the bowling alley.  You'll be talking about that Indiana girl all night - and you haven't even seen her in nearly fifteen years.
Walter corrects Albert:
WALTER
Twelve years.
ALBERT
Whatever.
WALTER
(Sarcastically)
And no, I'm not going to hit on your arch rival.
ALBERT
Very funny.
WALTER
I'm 'gonna get a drink. You want one?
ALBERT
Yeah, why not? If you can't find me, though... well, drink it yourself.
Just as Walter turns to leave, Lyle's voice booms from some LARGE SPEAKERS in one corner of the lobby as he stands before the crowd.
LYLE
Ladies and germs, can I have your attention?
Lyle taps the MICROPHONE he holds.
LYLE
Hello? Hello, is this thing on?  Okay. Can y'all just stop what you're doing for a moment to listen? Thank you.
QUIET! Walter, frustrated, has to wait for his drink.
LYLE
As you know, all of you were invited, and if you weren't, you're friends of someone that was.  If you're neither, then get out because we're running low on booze.
A few chuckles go up in the crowd.
LYLE
You're all here because I want to announce to all of you that in roughly three weeks, KMC Aviation is going to be showcasing some of its newest planes in its first ever air show!
APPLAUSE
LYLE
Just picture tonight's festivities outside, in broad daylight watching some cool-ass, brand spanking new planes and their pilots do their stuff between taking off and landing on our runway out there. This'll be a hot ticket, folks.  In fact, I got to cut this short because there are two of those tickets up for grabs in a drinking contest I got to finish with a couple of my instructors. 'Seems I'd forgotten the tickets were originally promised to my ex-wives, so if I don't drink these guys under the throttle, my alimony next month might just quadruple.
LAUGHTER
LYLE
Anyway, I want to thank all of you that came and paid the door fee to be with us tonight.  I hope all of you will shell out even more money to come to the flight show and, by all means, pass the word along.  Now have fun tonight, drink responsibly and let the partying continue!
Gradually, the noise level rises in the room as the crowd gets back to its socializing.
Albert looks a little shocked by the announcement.
Walter shuffles back towards Albert looking confused.
WALTER
Albert, I thought air shows were just for things like military planes.
ALBERT
Yeah, so did I.
(Beat)
Walter, if you don't mind, I think I'll get my own drink.
WALTER
Sure thing.  I've got to step outside to call Natasha, anyway.
INT. KMC AVIATION / PILOTS' LOUNGE - LATER THAT EVENING
ALBERT stands alone in the lounge, the only really quiet and empty room in the place, DRINK in hand, lazily looking at one of the FRAMED PICTURES on the wall.  After a moment, he hears the FOOTSTEPS of someone entering the room.  He assumes it's WALTER.
ALBERT
Man, Lyle's either lost his mind or he's up to something, and it isn't just putting on an air show. We're not stunt pilots, for crying out loud.
VOICE (O.S.)
Excuse me?
A little startled, Albert turns to see BARRY in the doorway.
ALBERT
Sorry - thought you were someone else.
BARRY
Am I disturbing you?
ALBERT
No, not at all.  Did you come to talk or did you just want a quiet place.
Barry steps forward.
BARRY
Actually, I came to talk to you.
(Beat)
It's about Tonya.
Albert sighs.
ALBERT
Look, um... Barry - I'm sorry, is that your name?
BARRY
Yeah - well, actually, it's Barrack, but friends call me Barry.
ALBERT
Yeah, listen, I don't know what she's told you, but my concerns are purely professional.
BARRY
I know.  That's what she said.  She respects you a lot, you know.  It might not seem that way to you since you've been at each other's throats, but she's doing her best here and she really just wants to earn your respect.
ALBERT
And she can have it, but I just don't think - with all due respect, I don't think her relationship with you is appropriate. Flying an airplane is serious business. I just think you two seeing one another risks clouding judgment, hers in particular, which would put you both in danger.
BARRY
Well, if you saw how she corrects me all the time while we're flying, you'd know she stays as objective with me as with anyone.
ALBERT
I hope so.
BARRY
But, she also says you think she was hired under false pretenses.
Albert can't help but smile, though notices that Barry doesn't.
ALBERT
I'm sorry, you must not know our boss very well.  Lyle is, uh... well, he used to be my instructor years back and I know him pretty well.  He's kind of loud... obnoxious.
BARRY
You think he hired her because he's attracted to her.
ALBERT
I don't know why he hired her. We hardly have any students and the place is in a lot of debt. He even bought a new plane, so I really don't know what his motives are besides just getting whatever he wants.
BARRY
If it's so bad here, then why don't you leave?
ALBERT
Barry, it's not that simple.
BARRY
Why not? 'Seems to me an instructor that hates his job could be just as much a liability as one that dates a student, no?
Albert has no comeback.
BARRY
That's it, isn't it?  For all the problems this place has, you feel you still belong here.  Believe it or not, Tonya does, too.
ALBERT
I can't imagine why.  Can you?
BARRY
Well, the way you guys treat her, no, I can't.  I just know that she does and she's trying really hard. She's really very professional.
(Beat)
Just try to go a little easier on her, okay?  You don't know her like I do.
ALBERT
I understand.
BARRY
Thank you, Mr. McNeil.
ALBE RT
It's Albert - my friends call me Albert.
Barry smiles.
BARRY
Have some fun this evening, Albert.
(Jokingly)
I got to get back out there before Tonya thinks I left the party with another woman.
Barry leaves and Albert is alone in the room with his thoughts, ruminating on Barry's words.
INT. KMC AVIATION / LOBBY - MOMENTS LATER
ALBERT re-enters the lobby where the party is still going, only with SLOWER MUSIC playing.  He notices a few people slow-dancing, including TONYA and BARRY.
DISSOLVE TO:
INT. ALBERT'S APARTMENT
It's dark as ALBERT saunters into the apartment and locks the DOOR behind him. He checks for e-mail - nothing new from rugame26.
EXT. BARRY'S APARTMENT - NIGHT
TONYA has walked BARRY to his door and they're saying good night to one another, something that includes kissing.
TONYA
I'm glad you enjoyed the party.
BARRY
More than the ride back - sure you should have driven home?
Tonya smiles.
TONYA
How about I come in, we can sober up a bit. Together.
BARRY
I wish you could, but I got to get an early start tomorrow morning.
TONYA
You always say that.  All this time, I've only been in there once for a moment or two while you found your keys.  I barely remember seeing anything.
BARRY
It's not personal.  Besides, your place is a lot nicer.
TONYA
(Dismissive)
Well, thank you.
BARRY
You're welcome.
The two kiss again.
BARRY
Good night, Tonya.
TONYA
Good night, Barrack.
Barry watches his disappointed girlfriend leave, then enters his apartment.
INT. BARRY'S APARTMENT - CONTINUOUS
Upon entrance, BARRY'S demeanor changes from light, somewhat love struck to more than a little serious, anxiously locking up. In MOONLIGHT, WE SEE an extra, self-installed LOCK on the door.
The place is small, dark and practically empty.  Other than a small KITCHEN to the left and a BEDROOM at the other end, there's only a MATTRESS with a few SHEETS, a PILLOW, a couple CHAIRS and the TABLE on which sits the ANSWERING MACHINE seen earlier.
Barry glances at the table and is suddenly alarmed - the HANDGUN is gone. Before he can turn on the lights, he hears a male voice:
INTRUDER (O.S.)
Barrack.
Barry hesitates, then goes again to flip the LIGHT SWITCH when, again:
INTRUDER (O.S.)
(In Arabic - Subtitled)
Leave the lights off.
Barry turns slowly, speaks softly.
BARRY
I don't know how you got in here, but if you don't leave quietly now, I call the cops.
His words have weight, but his tone sounds more scared than sincere.
INTRUDER (O.S.)
(")
I know of your deal with the infidel.  I want to protect you, brother, but if you go through with it, there have to be consequences.
BARRY
Maybe you forgot. This is America.  If you want to threaten me, do it in English.
INTRUDER (O.S.)
(")
I know you don't want to betray your own, but you're too attached to them and their ways.
Barry takes a deep breath, calms himself, then addresses the unseen intruder.
BARRY
(In Arabic - Subtitled)
I was born here - raised here.  I'm sorry to disappoint, but I was young when you met me, caring for my widowed and ailing mother and looking for a place to fit in.  I'm no longer looking.
INTRUDER (O.S.)
(")
But would you still betray your family?
BARRY
(")
My mother is my only family now, and if I did what you want, I'd not only be betraying her but also myself and the one I love.
INTRUDER (O.S.)
(")
Would you betray Allah?
This angers Barry.
BARRY
(")
You betray Allah with your pride, your hatred and spirit of vengeance.  Where does it end, brother? Where does it all end?
(In English)
Now get out of my home - now!
Barry tenses up.
An equally tense moment passes before the source of the voice emerges from the shadows and stops.  It's a young Middle Eastern man, but his face and its expression is not one of anger or malice. He looks at Barry as if in sympathy and, in passing, places a gentle hand on Barry's shoulder before leaving.
Certain that the familiar intruder is gone, Barry rushes to lock his door again.  Afterwards he turns around and breathes a deep sigh of relief.  Then, he glances back at the table with the answering machine.
The handgun is back in its place.
FADE TO BLACK:
EXT. KMC  AVIATION / TARMAC - DAY
ALBERT ties down a parked AIRPLANE to METAL LOOPS in the pavement as TOM approaches.
TOM
Man, is it just me or is there something strange about Lyle lately.
ALBERT
You have to ask if Lyle is strange?
Tom laughs a little.
TOM
Stranger than usual, maybe? Get this. I see him here yesterday after a rescheduled flight with a student and I ask him about some strange characters I'd seen out by the hangars lately -
ALBERT
(Interrupts)
Strange characters, Tom?
TOM
I never seen their faces, Al! What am I supposed to call them? But, what I do see is them going in and out, hanging around until someone starts walking towards them and then they just run off.
ALBERT
How can they just run off? The whole place is fenced in.
TOM
I seen them jump the fences, Al.
ALBERT
What?
TOM
I'm not shitting 'ya, man, I have no idea who these guys are, but I know they're not maintenance because I see 'em sometimes on the weekends. Besides, why would maintenance guys do that?  Anyway, I bring this up to Lyle, suggest maybe we got some vandals or something hanging around the planes, maybe scoping the place out, and you know what he says - what he does? He laughs at me, calls me paranoid in my old age.  'Point is, you'd think he'd be more concerned about those planes in there, especially since several are his and he's paid to keep the others safe.
ALBERT
Come to think of it, I think I've seen the same guys.
TOM
Do you have any idea who they are?
(Beat)
Because, uh, well, since your friends visit a lot, I thought maybe it might be some of them.
Albert laughs a little this time.
ALBERT
Do you even know my friends? Trust me, they wouldn't be going anywhere near those hangars without me and if they did, they certainly couldn't run off jumping fences.
At that, Tom's voice becomes more serious.
TOM
Well, then that just makes it more serious and Lyle's reaction is even stranger.
EXT. ELECTRONICS STORE - DAY
BARRY'S place of employment is a small electronics store that's part of a strip mall. WE HEAR him talking to his BOSS.
BARRY (OVER)
Sir, do you mind if I take my break now?
INT. ELECTRONICS STORE / CONTINUOUS
BARRY stands at the REGISTER talking to his BOSS.
BOSS
As long as there aren't any customers, sure, go ahead.
BARRY
Thanks.
Barry rushes to the back of the store and into its
INT. ELECTRONICS STORE / RESTROOM
BARRY locks the door behind him, sits down on the lid of the COMMODE and nervously places a call to LYLE on his CELL PHONE. He gets frustrated listening to it ring.
BARRY
(Under his breath)
Come on, pick up.
LYLE'S voice mail message begins.
LYLE
(Through phone)
Hi, you've reached my office at KMC Aviation.  Leave a message with your name and number and I'll get back with you as soon as possible.  Thanks and have a great day.
After the BEEP:
BARRY
Lyle, it's Barrack.  We need to talk. I'm scared - I don't think I can do this.  It's too dangerous.  Tonya still doesn't know, so don't worry about that, but...
An OPERATOR'S VOICE interrupts:
OPERATOR'S VOICE
(Through pone)
Please finish your message in the next ten seconds.
BARRY
Just call me back - please.
More nervous than before, Barry quickly punches the pound button on his phone, folds and pockets it. He takes a moment to calm himself before going back out into the store.
EXT. LESLIE'S HOUSE - DAY
TELEVISION NOISES are heard from inside this small house in a lower-middle-class suburb.
INT. LESLIE'S HOUSE / CONTINUOUS
In a bland, suburban home littered with CHILDREN'S TOYS, LAURA sits on the sofa watching TELEVISION as LESLIE (from the bowling alley) emerges from a CORRIDOR behind her, walks around and shuts off the TV.
LAURA
Hey, I was watching that!
Leslie speaks with a mild southern drawl.
LESLIE
I know.
LAURA
(Forcing a smile)
Is there some problem?
LESLIE
Yeah, there's a problem.  'Problem is I don't recognize the lump on my sofa watching TV in the middle of the afternoon.  Ain't you got something else to do? Somewhere to go?
Laura doesn't answer. Leslie flips the television off manually, then sits next to Laura.
LAURA
Great. Now I'll miss the end.  Why are you doing this, Leslie?
LESLIE
I'm doing it 'cause you come to our house, eat our food, watch our television, but you won't even talk to me - me, your closest friend.  Right?
LAURA
Well, I thought you were 'til you turned the TV off just now.
LESLIE
That's my point, Laura - it's not your TV.
LESLIE
(Sympathetic)
Honey, I know how you must be feeling, but sitting here not dealing with it is only going to make it worse.
LAURA
What do I do, huh? Talking ain't gonna change nothing.
LESLIE
Fine.
(Beat - Changes subject)
Did you make plans to go out with that boy you ran into at the bowling alley this week?
LAURA
Yeah. So?
LESLIE
You're sure you want to do that?
LAURA
What do you mean? Sure I do - you know I go out with friends on the weekends.  What's with you?
LESLIE
It's just this thing with that boy is a little different than what you usually do.  I mean, you haven't seen him in, what - how many years?
Laura doesn't answer.
LESLIE
I'm just saying maybe it's all connected.
LAURA
Leslie, please, either throw me out or quit annoying me and let me watch the TV, okay?
Leslie looks straight at Laura.  She isn't buying what she obviously thinks is Laura's cover for what's really bothering her.
LAURA
Hey, did you hear me?
LESLIE
(Disappointed)
Yeah, I heard 'ya.
Leslie picks up the TV REMOTE, stands up and flips the TV back on.
LESLIE
I've got to check on the kids. You just let me know when you come to your senses.
Laura rolls her eyes as she watches Leslie leave, clearly frustrated and distracted now.
Simultaneously, the cell phone next to her starts buzzing.  Laura looks at it briefly, then tries to ignore it.
The name on the phone's front LED panel reads James.
Meanwhile:
ALBERT (OVER)
Congratulations, James! You finally got yourself a date.
INT. KMC AVIATION / PILOTS' LOUNGE - CONTINUOUS
ALBERT and JAMES talk while Albert goes through some PAPERWORK at the card table, the TV playing in the background.
JAMES
It's not exactly a date, Bert.  Hell, I can't even get her on the phone again.
ALBERT
Well, you know, she probably has a life besides waiting to take your calls.
JAMES
Very funny, Bert.
ALBERT
Why are you so glum, man? I thought this is what you wanted. You've been trying to get a hot date for as long as I've known you.  Now, you've got a hot date and, of all things, you know her already.  What more could you want?
JAMES
Something about it just doesn't quite feel right, Bert.  You probably wouldn't understand.
ALBERT
With you, James, I usually don't.
JAMES
We're not romantic or anything, okay?
ALBERT
Okay.
JAMES
Nothing is going to happen.
ALBERT
What do you mean nothing will happen?
(Beat)
What? You don't want anything to happen?
From the doorway:
TONYA (O.S.)
Am I interrupting something?
ALBERT
(Looks up)
What did I do now?
A nervous Tonya enters and sits by Albert at the table.
TONYA
Nothing - I think.  Actually, Barry told me to invite you to have dinner with us - here, this weekend - Friday night, actually.
JAMES
Sounds fun to me. Can I come?
Annoyed, Albert looks back at James.
ALBERT
You have a date that night, man! Remember?
JAMES
Fine.
James stands up.
JAMES
I'm getting out of here, Bert - let you two talk.
ALBERT
See 'ya, James.
Once James is gone, Tonya sits by Albert - continues:
TONYA
Look, it was Barry's idea.  He said the two of you talked during the party last week and he thinks you and I ought to smooth things out.  He thinks if you saw us together more you might lighten up on me a little.
ALBERT
You don't sound too convinced.  Is this what you want or is it just him?
TONYA
Albert, I'm just tired of the tension, 'ya know?  Right now, I don't know what else to do. Maybe he's right. Maybe you do need to see us together more - God forbid.
ALBERT
It's free food, isn't it?
(Beat)
Yeah, I'll do it, but only if you want to. The last thing I want is to make it worse.
TONYA
I care about him, Albert, so... yeah, I want to do it.
The two spot WALTER in the doorway.
ALBERT
What is this? Open house?
WALTER
Am I interrupting something?
ALBERT
Deja vu, I guess.
(Beat)
Walter, this is Tonya Lynn. She's one of the instructors here. Tonya, this is Walter Hicks.
TONYA
Thanks, Albert, I think I figured that out.
Tonya smiles up at Walter.
TONYA
I've seen you around here before. Nice to actually meet you.
WALTER
Yeah, you, too. Albert talks about you all the time.
Tonya glances off Albert - Walter notices.
WALTER
Well, guys, I can't stay here long, but I had to come by for a minute - Albert, for some reason, Natasha's kind of pissed that I invited you to game night at her place without telling her first. Anyway, it'd just be a good idea if I could know whether or not you're coming, like, real soon.
Perhaps without realizing it, Walter is staring at Tonya.
TONYA
Coming to what? You guys having a party?
Walter is quick and happy to answer.
WALTER
Card game - RPG's - you play?
TONYA
RPG?
WALTER
Role playing game. I'm in this group, we get together every other week to play.
ALBERT
You want an answer right now?
WALTER
I know, it sucks, but... yeah.  If not now, tomorrow, day after at the latest.
ALBERT
The game's almost two weeks away!
WALTER
Man, I just know she's not going to be happy if she has to change plans at the last minute.
ALBERT
Well...
(Long beat)
Fine, count me in, but if I have to cancel...
WALTER
I know, I know, instrument training, night flights - I remember.
TONYA
I don't know about Albert, but it sounds fun to me.
WALTER
Really? You're interested? We might have room for one more.
Albert's eyes go wide.
ALBERT
Anyway, Walter, you said you couldn't stay long, right?
Walter's face flushes.
WALTER
Yeah, right - anyway, I'll just tell her you plan on coming and, uh... well, that's about it.  Tonya, nice meeting you.  Al, we'll talk later.
Walter shuffles his feet - searches for appropriate last words before he leaves to cover his embarrassment.
WALTER
Uh... well, bye.
With that, Walter quickly leaves.
Tonya smiles at Albert.
TONYA
(Sarcastic)
So, you do have normal friends after all.
ALBERT
Tonya, could you excuse me a minute? I'll be right back.
TONYA
I was kidding.
Albert stands without responding.
TONYA
Okay, so I wasn't kidding! Wait, Albert, I...
Albert rushes out.
Tonya shrugs and leans back in her chair, a little surprised and a little frustrated.
EXT. KMC AVIATION / PARKING LOT - MID-DAY / CONTINUOUS
ALBERT catches up to WALTER at his CAR just as Walter's opening the driver's side door.
ALBERT
What was that all about?
WALTER
I thought you were anxious for me to leave, now you're following me out to the parking lot?
ALBERT
You were flirting with Tonya!
WALTER
I was not!
ALBERT
You were! You said it yourself, at the party, she looks like Susan.
Walter sighs.
WALTER
What do you want me to say? Besides, what do you care? It's not like I asked her out.
ALBERT
Did you? You said there might be room for her at the game - right after telling me how mad Natasha was just because you invited me.
WALTER
Fine, you got me. What now? I don't exactly have a sword to fall on.
ALBERT
Oh, cut it out, Walter. 'Ya know, I deal with enough embarrassment around James, I don't need it from you.
Albert stops - looks like he regrets having said all that.
ALBERT
I'm sorry, Walter, it's just hard enough around here without the rest of the staff thinking my weird friends just come by to hit on Tonya. 'Not to mention the trouble I have with her to begin with.
WALTER
'Trouble you started, apparently.
ALBERT
What's that supposed to mean?
WALTER
What I mean is how is it your business if she dates her student, huh?  What? Are you her boss?
Albert shakes his head in a disappointed manner.
ALBERT
Walter...
WALTER
(Interrupts)
No. Whatever it is, I don't want to hear it.  Tonya leads her life her way and still does her job, but you, for some reason, you give her hell for it. Why not stop caring so much about what other people might be doing or thinking and start living your life instead of always telling others how to live theirs?
(Beat)
You talk about James and I, but you've got your own problems.
Walter gets in his car, shuts the door and rolls his window down.
Albert just stands silent.
WALTER
Make sure you call ahead of time before coming to the game next week.
Then, Albert stands back and watches as Walter starts his car and drives away.
INT. KMC AVIATION / PILOTS' LOUNGE
ALBERT returns to find a handwritten NOTE from Tonya, which reads: Had to prep for a lesson - will tell Barry we're having dinner. - Tonya...
FADE TO BLACK.
In the BLACKNESS WE HEAR some AMBIENT NOISE and a little ELECTRONIC HISS behind the voice of SUSAN, the girl WALTER left behind.
SUSAN (OVER)
Walter, are you sure your parents aren't home?
INT. YOUNG WALTER'S BEDROOM - FLASHBACK
More HOME MOVIES, this time taken by WALTER when he was around fourteen (based on the DATE and TIME at the bottom of the screen).  His voice at that age, in the background, is very similar to his as an adult, but just a little higher.
WALTER (O.S.)
Positive, Susie - they're long gone.
Like Tonya, SUSAN is a beautiful, busty brunette teenager that looks a little mature to be lying on the TWIN BED of a 14 year-old boy.  Still, their affection sounds real - she flirts both with words and body.
SUSAN
So, is there anything you want me to do to make this video more... memorable?
WALTER
Just be yourself, baby.  That's all I ever ask.
Susan smiles.
SUSAN
I know. That's why I love you.
Stretching out on the bed, her smile fades.
SUSAN
But you're still leaving me.
WALTER
It's not like I want to. My mother got a job down there - I have to go.  I wish I didn't, but what can I do?
SUSAN
Come live with me? We could share a bed.
WALTER
I don't think your parents would like that.
SUSAN
Any more than your parents would like knowing you commandeer their camcorder while they're gone?
WALTER
I've used it before. They know I'm safe with it.
In a silent moment, Susan quits moving around on the bed.
SUSAN
There's nothing I can do on camera to help you remember me - remember what we have?
WALTER
I'll never forget, Susan.  You know that.
SUSAN
Neither will I.
DISSOLVE TO:
INT. WALTER'S CAR - PRESENT DAY
Evidently, WALTER has been reminiscing about the video while sitting in his parked car.
EXT. NATASHA'S APARTMENT - LATE AFTERNOON / CONTINUOUS
WALTER'S CAR is parked outside NATASHA'S apartment building as Natasha herself, again dressed mostly in black, rushes out to him with her PURSE.  She talks as she gets in on the passenger's side.
NATASHA
You are taking me somewhere nice for dinner, right? You owe me after inviting people to the game without talking to me.
WALTER
Yes, dear.
Meanwhile...
INT. KMC AVIATION / LYLE'S OFFICE
LYLE is in his small office going through some MAIL.  Its walls are decked with FLIGHT CHARTS and other aviation PARAPHERNALIA while his DESK is stacked with other PAPERWORK alongside a PERSONAL COMPUTER. Also on his desk is a FRAMED PICTURE of a younger Lyle in a backyard with his toddler-daughter next to a swing set.
Lyle finds a NONDESCRIPT ENVELOPE with a single-paged NOTE.  He reads it nervously, then sets it aside when he hears a KNOCK at his door.
LYLE
(Delayed response)
Yeah? 'Door's open.
ENTER ALBERT
ALBERT
Hey, I need to know if you got any charter work for me around next Thursday, like in the afternoon or evening.
LYLE
'Got other plans?
ALBERT
Game night at a friend's house.
Lyle grabs a PLANNER and flips to the right page.
LYLE
Nope, nothing here.  Don't worry about it.
ALBERT
Thanks, Lyle.
LYLE
Are you having dinner with TONYA and her student this weekend?
Albert seems a little surprised.
ALBERT
How do you know?
Lyle smiles.
LYLE
It's my airport, remember?
(Beat)
Relax, Barrack called earlier and asked me if they could use the lounge. Just be sure you guys clean up when you're done.
ALBERT
Yeah, sure.  Say, are you okay, Lyle? You look a bit tense.
LYLE
I'm fine. Get out of here, Al. You work too hard - makes you see things that aren't there.
Albert leaves. Lyle relaxes, reads the note.  Typed, but unsigned, it reads: Stop what you're doing with our brother Barrack.  If you do not, you will pay.  If you talk to anyone about this, you will pay.  This is your last warning.
The sound of an AIRPLANE ENGINE FADES IN as we
CUT TO:
EXT. KMC  AVIATION / TARMAC - DAY / FLASHBACK
Four months earlier - a brand NEW AIRPLANE - 4 seat, single engine - roars to a stop in front of the KMC terminal.  An excited LYLE steps out of the plane with his HEADSET and FLIGHT BAG as TOM approaches.
LYLE
Tom! Is this not the coolest mutha with wings you ever seen or what?
TOM
'Pretty slick, Lyle.  'This the one you just bought?
LYLE
Oh, yeah.  Top of the line - 'means for the next few weeks or so, at least, nobody but me touches this baby except to park it.
Lyle tosses Tom the headset.
LYLE
So go park it.
TOM
Yeah, thanks a lot.  By the way, Lyle, you got some company inside - 'couple guys in suits say they need to talk to you.  'Never seen them before, but they say it's important.
LYLE
Damned auditors.
TOM
I told them they could wait in your office.  Was that okay?
LYLE
Yeah, just don't do it again.  Now be careful parking this thing, all right?
TOM
Sure thing, boss.
LYLE
And don't lose the keys!
Tom gets in the plane as Lyle enters the terminal.
INT. KMC AVIATION / LYLE'S OFFICE / CONTINUOUS
LYLE enters his office to find TWO FBI AGENTS seated in the two chairs in front of his desk.
LYLE
So what's up today, fellas? Does it really take two of you to audit me now?
Lyle sits down behind his desk as the two agents flash BADGES.
FBI AGENT 1
Actually, Mr. Jansen, we're not auditors.  We're from the FBI.
LYLE
FBI?
FBI AGENT 1
This place is a flight school, too, isn't it, sir?
LYLE
We try to be, yeah.
FBI AGENT 2
Have you seen anything suspicious lately with regards to who's signing up for lessons? Anyone paying for lessons up front in large sums, particularly in cash?
Lyle takes a moment to answer.
FBI AGENT 1
Sir, it's important you answer us and answer honestly.
LYLE
'Ya know, honestly, I'd have to look at my records.  Some of my instructors here are independent agents - right now I only have four on payroll, one that was just hired a few weeks ago. Sometimes the students pay the instructors and the instructors pay to use the facilities. I don't always see where the money first comes from.
FBI AGENT 1
Would you mind if we took a look at your records?
LYLE
Yeah, actually, I would.  What is all this about?
FBI AGENT 2
Homeland Security is monitoring an Islamic group out of Dearborn, Michigan, that we think might be linked to terrorist activity, here and abroad, possibly in the planning stages of an attack similar to 9/11.
FBI AGENT 1
The group is small and we don't have much on them yet, but our source inside has seen a lot of money change hands, more than they'd be likely to pool amongst themselves.  Several group members have left the area and not come back and we think two or three may have moved out of state to pursue technical training in various fields, including aviation.
FBI AGENT 2
Beyond that, we don't have much that is concrete on those that moved except that several regions of the country were mentioned and this was one of them.  Other field agents have already been to the smaller FBO in East Tennessee. One or two in the west and southwest regions have already submitted to us copies of some of their records.  Yours is sort of the next to last stop for us.
(Beat)
Sir, you will keep what we've just said to yourself, right?
LYLE
'Sure that was a question?
FBI AGENT 1
What we just told you is all kind of need to know information, understand.
LYLE
Right... So, racial profiling wasn't enough and now you need me to confirm your suspicions?
The two agents exchange semi-frustrated looks.
FBI AGENT 1
We can understand if you're uncomfortable with what we're doing here, Mr. Jensen, but bear in mind that if something is going on and you find out, but don't tell us, you could put this place, your employees and really anyone that comes around here in serious jeopardy - physical and legal.
Lyle smiles.
LYLE
Guys, we're a small operation. We get so little business these days we can barely keep the lights on let alone hire an administrative staff to keep track of every little detail of every little transaction. Hell, half our income is from gas pumped into planes that land and take off in the middle of the night. They carry packages, car parts for that car factory out 'yonder.
FBI AGENT 1
(Interrupts)
Are you telling us you don't take your bookkeeping seriously?
LYLE
I'm saying that you gentlemen are trying to find Hannibal Lecter at the Mayberry jail.
(Beat)
Or Osama Bin Laden - take your pick.
Lyle chuckles at his own corrected analogies.
The agents don't.
FBI AGENT 2
Surely you can see that this would be the perfect place to take lessons under the radar.
LYLE
Was that a pun? A joke?
(Beat)
Look, give me the number for your field office or for Homeland Security, I'll double check my records and if I come across anything suspicious, I'll let you know.  Otherwise, if you'll excuse me, we actually are kind of busy today, for once.
Lyle stands up, signaling the agents to leave.
FBI AGENT 1
Sir, I'd highly recommend you take on a more cooperative attitude.
LYLE
And I'd recommend a less threatening tone.  You guys want to stop Islamic terrorists, try telling your superiors in D.C. to close the borders and tell the ACLU and the United Nations what it can do with itself and all its pacifist, self-piteous, anti-American bitching.
Lyle then walks around his desk and literally shows the two agents the door.
LYLE
Unless you got more than a few hunches and second-hand rumor - and I mean a lot more, gentlemen - then I suggest you leave us hard-working small business guys alone.
Though Lyle is smiling, Agent 1 gives him a stern look as he and his partner are about to leave.
FBI AGENT 1
You might want to pay a little better attention to the details in your bookkeeping from now on, sir.
(Beat)
Thank you for your time, though.
(Hands Lyle BUSINESS CARD)
Call us if and when you think of anything. Good day.
Lyle calls out to the agents as they walk away from the office, in an exaggerated Southern accent:
LYLE
Y'all don't come back now, 'ya hear?
Lyle stops smiling and practically slams the door shut behind them.  He sits down at his desk and pulls a LEDGER out of a DRAWER, opening it to a list of "new students."
One line in the ledger reads: Barrack - Instruction Fee Paid In Full.
LYLE (OVER)
'Like a lamb to the slaughter.
INT. HANGAR - DAY / CONTINUOUS
LYLE walks into the dark hangar, alone, admires his new AIRCRAFT, even talking to it lovingly.
LYLE
(Strokes surface)
It's a shame, but times are tough.  Besides, I want to see just how well the real swine of the earth can fly.
EXT. KMC AVIATION / TARMAC - DAY
LYLE walks proudly back to the terminal, smiling as he passes PILOTS and MAINTENANCE on his way. Even the bright Southern sun can't warm this heart of darkness.
CUT TO:
INT. KMC AVIATION / LYLE'S OFFICE - THE PRESENT
LYLE still holds the small NOTE, sitting behind his desk, looking uncharacteristically nervous. He then looks up at the framed photo of himself and his daughter, but it's facing away from him and he doesn't touch it.
EXT. ALBERT'S APARTMENT COMPLEX - NIGHT
WE HEAR ALBERT begin narrating the e-mail he's writing to Rhonda.
ALBERT (OVER)
Dear Rhonda - It's me again.  Albert.
INT. ALBERT'S APARTMENT / CONTINUOUS
ALBERT types his e-mail.
ALBERT (OVER)
I still haven't heard from you. I hope you're okay.  If you did get my last message, I meant what I said about wanting to get together.  I feel very close to you and however long it takes you to write back, I know you feel the same about me.
Meanwhile...
EXT. ONE-STORY OFFICE COMPLEX - NIGHT
WE HEAR LAURA'S female SUPERVISOR OVER the image of this small, brick office complex lit only by STREET LIGHTS bordering its mostly empty PARKING LOT.
SUPERVISOR (OVER)
Hey, Laura, can you get these to scanning real quick?
CUT TO:
INT. ONE-STORY OFFICE COMPLEX / LAURA'S OFFICE
This is a single room - typical modern office decor - filled with DESKS currently in use by the NIGHT SHIFT EMPLOYEES. LAURA'S DESK has PAPERWORK and FAMILY PHOTOS.
SUPERVISOR
(Standing by Laura's desk)
I'm running behind tonight. Can you make sure he gets these scanned before the shift's up?
LAURA
Yeah. Sure.
SUPERVISOR
Thanks, Laura. You're wonderful.
The supervisor leaves and Laura rushes the STACK OF PAPERS left behind to the SCANNER in another room of desks.
Back in the corridor, she's about to return to her desk when she stops, then turns, walks a few feet and turns again to face the GLASSED DOORWAY out to a PORCH with CONCRETE BENCHES.
Through the doors she sees a MALE EMPLOYEE talking with another FEMALE EMPLOYEE. It's clear that there's some chemistry and some attraction there even though they're barely lit (by one FLOODLIGHT) and can't be heard.
Silently overcome with the emotion of watching herself be betrayed, Laura just stands in the small corridor, watching as the Male and Female Employee kiss and keep flirting.
Though quietly devastated, Laura keeps composure as she slowly, quietly, solemnly turns and walks away.
INT. NATASHA'S APARTMENT / BEDROOM
WALTER and NATASHA lie close together in her BED.  Like Walter's, Natasha's room has walls and shelving adorned with FANTASY POSTERS and other PARAPHERNALIA, including one POSTER OF A WIZARD over the head of her bed, pointing his staff down at the couple.
WALTER
Now, see? Wasn't that fun?
NATASHA
After what we just did, you have to ask?
WALTER
Well, that, too.
(Beat)
I meant us going out today.  You'd been so riled up over me inviting Albert to our game that I just wanted to show you a good time so you could loosen up. Well, it seems it worked.
NATASHA
The wine helped, too.
WALTER
So, no more complaining about who I invite to our get-togethers and when?
Natasha doesn't answer and Walter doesn't push it.
NATASHA
Precious, can I ask you something?
WALTER
Sure.
NATASHA
What first attracted you to me?
WALTER
What kind of question is that?
NATASHA
Just tell me. Please?  I want to hear it.
WALTER
I don't know... You're hot.  We clicked right off the bat.  What else can I say?
(Beat)
Besides that, I guess it was your spunk.
Natasha giggles.
NATASHA
My spunk?
Walter smiles, relieved at her reaction.
WALTER
Yeah, your spunk - your energy.
NATASHA
I like that answer.
WALTER
I'm glad.
NATASHA
You should be.
CUT TO:
INT. JAMES' BEDROOM
Alone in his very small, cluttered, but otherwise sparse, bare-walled bedroom, JAMES goes through a STACK of VIDEOTAPES, some labeled, some not, until he finds and old one labeled "Home Movies," dated in the early 90's.
Tape in and lights out, James stands stoic before the TELEVISION watching the expectably crude video of a YOUNG BOY and a GIRL playing on and around a SWING SET in a back yard.  This is little James and LAURA.
FADE OUT:
INT. BARRY'S APARTMENT
In DARKNESS, LYLE'S VOICE comes over the ANSWERING MACHINE:
LYLE (O.S.)
And he will be a wild man, his hand will be against every man, and every man's hand against him; and he shall dwell in the presence of all his brethren.
BARRY, half-dressed, sits on his MATTRESS with the answering machine next to him, pressing a BUTTON to replay Lyle's recitation over again. Then, looking very tense, practically shaking, BARRY dials TONYA on his CELL PHONE.  It rings.
BARRY
(Shaky voice)
Come on, pick up.
Finally:
TONYA
Baby, is that you calling this time of night?
Barry relaxes a little and even smiles.
BARRY
Yeah, baby - it's me.
TONYA
You all right? You sound... I don't know, you sound different.
BARRY
Hey, I had an idea about our dinner the end of this week.  Instead of takeout or anything, why don't I cook?
TONYA
What? You never told me you cook!
BARRY
I didn't?
TONYA
(Lovingly)
How long is it going to be before you finally unveil your treasure-trove of secrets?
Momentarily unaware who he's speaking to, Barry answers in a mutter, half to himself:
BARRY
'Probably not as long as I thought.
TONYA
What, baby?
BARRY
(Mildly relieved)
Nothing, honey, it's nothing.  Look, I probably shouldn't even be calling this late, but if you like the idea, can I come over there, say, on Thursday night? You can help me cook for the next day, maybe get some wine...
TONYA
Why can't we do it at your place?
BARRY
Um, noisy neighbors, Tonya. Trust me, it ain't much of a home.
TONYA
Well, you're there.  That's all I care about.
Barry is touched. A moment of silence passes.
TONYA
Sure, you can use my kitchen.  I don't know if it's much better than yours, but mi Casa es su Casa.
BARRY
(Smiles)
Gracias, mi amour.
TONYA
God, you're cute when you talk like that.  Why don't you talk like that more often?
BARRY
I'm always affectionate to you.
TONYA
No, I mean in other languages.
(Pointedly)
Other tongues... I mean, how many do you know, anyway?
BARRY
Tonya, almost everyone knows as much Spanish as that.
TONYA
Maybe I don't just mean Spanish.
BARRY
Tonya, it's getting kind of late and I have work in the morning.
TONYA
Well, so do I. You called me, remember?
BARRY
Yeah, I guess I did.  You're not mad, are you?
TONYA
(playfully)
I will be if you never call again in the middle of the night to romance me in another tongue.
BARRY
I love you.
TONYA
I love you, too - and so will my kitchen.
(Beat)
Everything I have, everything I am loves you.
BARRY
Sleep well.
TONYA
You, too.
BARRY
Good night.
TONYA
Good night.
Feeling a little better, Barry looks grabs a SMALL NOTE that had been lying on his PILLOW. Barely visible in moonlight, it can all be boiled down to goodbye.  This is a suicide note, one which Barry tears up before carefully taking the HANDGUN next to him and removing its BULLETS. Momentarily, he regards his answering machine with anger and somewhat violently knocks it onto the floor before finally lying down to sleep.
FADE TO BLACK:
SUPERIMPOSE: Three Days Later
INT. KMC AVIATION / LOBBY
TONYA is walking out when she spots a MOTHER and TWO CHILDREN seated on a BENCH just inside the door.  She stops, asks:
TONYA
Can I help you?
The attractive, but world-weary Mother (mid-thirties) looks up at Tonya gratefully.
MOTHER
Oh, we're just waiting on a charter.  Thanks.
TONYA
Have you waited long? I'm a pilot here, I'm just getting off work, but...
MOTHER
(Interrupting)
Thanks, but we're fine - a little early, maybe.
(Beat - Hesitant)
We, uh... have to fly up north for Patrick's surgery.  My ex is meeting us in Lexington, driving us up from there.
TONYA
Okay.
Clearly, something about this small group interests Tonya. There's something here to which she can connect.
TONYA
Well, I hope you enjoy your flight.  Good luck with the operation.
MOTHER
Thank you, hun.
TONYA (OVER)
I'm telling 'ya, Barry, it was like looking at myself fifteen, sixteen years ago.
INT. TONYA'S APARTMENT / KITCHEN - LATER THAT NIGHT
TONYA'S apartment is dimly-lit, but pleasantly ornate compared to the others seen. SOFT MUSIC plays on a STEREO in the background.
TONYA talks to BARRY as he cooks, a wide range of INGREDIENTS out on the counter ranging from BAKING material to raw VEGETABLES, RICE and even LAMB MEAT.
BARRY
Meaning the big sister was you, right?
TONYA
Well, if you want to get Freudian about it... Anyway, she was meeting her husband at a Lexington airport and driving with him to whatever hospital Patrick was having surgery at.
BARRY
Patrick?
TONYA
The little boy - keep up!
BARRY
I remember you telling me something about having a disabled little brother - right?
TONYA
Well, more mentally disabled than physically, but we spent most of our growing up years in a single parent home like that, with our mother.  He's everything to her, you know? It got to the point almost where I couldn't even relate to her except through him, as his sister. He's an adult, but he still lives at home, with her. I call and he's all she can talk about - how he's doing, what he's doing, where they've gone together.
(Beat)
It's still like that, just like in high school, then college. I call her now and then, but we don't talk much these days.
Tonya's voice seems a little sad.
TONYA
There's just not much we can talk about, you know?
BARRY
My dad died when I was ten - heart attack. I was an only child, though. My uncle lived nearby so he was sort of like a father to me, but he kind of got, I don't know, strange.  After a while I didn't relate to him too well, but for a time after my dad died, I'd be at his house a lot, he'd take me on trips, even overseas with him a time or two.
Tonya smiles.
TONYA
I knew you had an interesting story to tell.
BARRY
Well, there's actually not much more to it than that.
Tonya looks down at the ingredients on the counter.
TONYA
There's got to be something more.
(Beat)
I mean, I don't know many people around here that eat lamb just getting together with friends.
Barry laughs a little.
BARRY
Actually, I grew up on a lot of this stuff - and some fast food, of course.  I mean, I am an American.
TONYA
Of course.
Meanwhile:
INT. KMC AVIATION / PILOTS' LOUNGE
ALBERT sits in the same spot at the card table doing paperwork when TOM walks in.
TOM
Working later than usual, aren't you, Al?
ALBERT
I scheduled a bunch of night flying, instrument training.
(Beat)
'Kind of don't see much reason to go home too early these days. What about you?
TOM
I'm on my way out to the hangars.  I want to see if any of those planes have been messed with.
Albert looks up at Tom, a bit surprised?
ALBERT
In the dark? What do you think you're going to find?
TOM
I may not find anything, I just know something's been going on over there and if Lyle won't check it out, see if anything's been tampered with, I will.
EXT. KMC  AVIATION / TARMAC - NIGHT / A FEW MINUTES LATER
TOM walks a ways down the tarmac to the row of HANGARS holding a FLASH LIGHT, entering the last one.
INT. KMC AVIATION / HANGAR
Entering, TOM shines the flash light on the PLANES inside, walking around, inspecting them - he sees nothing out of the ordinary.
After a moment, he catches a glint of something out of the corner of his eye near a plane in the corner which he has not inspected yet.  He shines the light in that direction and calls out:
TOM
Is anyone there?
(Beat)
This area is restricted, you know, especially at night.
There's no response.
Tom walks normally towards the plane.  Still seeing nothing, he reaches the plane's nose when a SHADOWY FIGURE steps out from the other side and, with a LARGE SOCKET WRENCH in-hand, raises the arm behind Tom's head as we
CUT TO:
INT. TONYA'S APARTMENT / KITCHEN
BARRY is just finishing up and packing the FOOD into TUPPERWARE CONTAINERS as TONYA watches in amusement.
BARRY
All done.
TONYA
You're more domesticated than I am, you know that? Is it from living just with your mother for so long or what?
Barry smiles.
BARRY
Hospitality was a big thing in our family - friends, guests coming over to eat with us all the time. I guess it's just what I'm used to.
TONYA
Yeah, but all this for Albert?  You do know he hates me, right?
BARRY
We talked at the party, remember? He doesn't hate you, Tonya, he just has some issues.
TONYA
Issues. Well, yeah, I know he has issues.
Barry talks as he puts the food in the REFRIGERATOR.
BARRY
Is this a problem all the sudden?
Tonya sighs.
TONYA
No, it's just - I guess I'm not used to someone else fighting my battles for me, that's all.
BARRY
You think of this as a battle? No wonder you two never made up.
Tonya's tone is defensive.
TONYA
It's not just Albert. They all think I'm not supposed to be there, everyone but Lyle, and they think I seduced him. They're ass holes, Barry, and you know that.
Barry steps closer and puts both hands on her shoulders.
BARRY
Hey, I'm on your side, remember?
Tonya swallows hard, then nods her head.
BARRY
You don't have to prove yourself anymore, Tonya - not to me. I'm here and I'm definitely paying attention.
A brief moment goes by wherein the two look each other in the eyes, then they start kissing, slowly at first, then more passionately, moving into the LIVING AREA to make out on Tonya's SOFA as SOFT, PASSIONATE MUSIC keeps playing.
INT. KMC AVIATION / PILOTS' LOUNGE
ALBERT stops his paperwork and looks up at a CLOCK on the wall.  It's getting late, but he still looks as if he doesn't want to leave.  Nevertheless, knowing he has to eventually, he packs his stuff up in his FLIGHT BAG.
INT. KMC AVIATION / LOBBY - CONTINUOUS
Coming from the adjacent hallway, LYLE catches up with ALBERT as the latter is on his way out.
Albert stops, looks over at Lyle.
ALBERT
What are you doing here so late? You don't have a wife to avoid anymore.
LYLE
Hey, I own the place, remember?
ALBERT
No, you don't!
LYLE
Okay, so I just run it.  Don't have a cow.  Besides, what are you doing here so late? You don't have a wife to avoid, either.
ALBERT
Yeah, well, sometimes I wish I did.
LYLE
(Sincere)
So do I.
Lyle notices Albert's surprise.
LYLE
The divorces weren't my idea, you know.  I'm not a monster, Al.
ALBERT
I knew there was something wrong with you.  What is it?
Lyle laughs a little.
LYLE
Albert, I'm a businessman.  I'm responsible for people and a lot of money and resources.  Don't listen to the politicians, Al - just because you've got a business and some money doesn't mean you don't have problems.
ALBERT
Lyle, why did you hire Tonya?
LYLE
That again? Come on, Al, don't be petty.
ALBERT
You didn't need another full time instructor and you know that.
LYLE
So what is it, Al? You want me to bear my soul to you?
ALBERT
I work here. I spend most of my life here. There's been constant turmoil since Tonya arrived and as your employee and the one that's known you the longest, I think I have a right to know.
LYLE
No, Al, you don't.
(Beat)
I just... I don't know, I guess she reminded me of my daughter or something.
ALBERT
She's a little old to be your daughter, Lyle.
LYLE
Yeah, yeah, I know, but every man has his weakness.
ALBERT
It's not your daughter she reminds you of, is it?
Though his reaction is one of amusement and dismissal, Lyle's body language suggests that Albert might have hit on something - something deeply personal.
INT. LAURA'S BEDROOM
LAURA sits on the side of her bed in her posh room looking at a framed PHOTO of herself and the MALE EMPLOYEE, obviously when they were affectionate.  She then regards an old DRAWING lying next to her with the name, "J. Danver" scribbled in a child's handwriting in the corner.  After a moment of looking at both, she throws both to the floor, curls up under her covers and sobs silently.
FADE TO BLACK:
In the BLACKNESS, an AIRPLANE ENGINE'S SOUND seeps in:
CUT TO:
INT. SINGLE-ENGINE AIRCRAFT
BARRY, at the throttle, all by himself, looks straight ahead at the HORIZON.  Something is wrong here.  Without moving, he seems tense, nervous, gripping the throttle so hard that his knuckles whiten.
Suddenly, he jams the throttle forward, sending the plane diving to the ground nose first, sweat pouring down his panic-stricken face. He and the plane spiral to their mutual end before we
SMASH CUT-TO:
INT. TONYA'S APARTMENT / BEDROOM
As TONYA sleeps at his side, BARRY suddenly wakes and sits straight up in the bed, sweat pouring down his face just as in the dream.
Tonya stirs.
TONYA
Barry? What's going on?
Barry catches his breath.
Tonya sits up.
TONYA
What's wrong, baby?
BARRY
Nothing, Tonya. I'm all right.
TONYA
You just shot straight up in the bed and you're covered in sweat.  I don't call that all right.
Barry takes a few deep breaths to finish calming himself.
BARRY
I'm sorry, but I think I need to go home.
TONYA
Why?
Barry is already out of the bed and putting his CLOTHES on.
BARRY
I just... I don't feel so well.  That's all.  I'll be okay by tonight.
TONYA
It's four-thirty in the morning, Barry! Wait a minute, talk to me!
BARRY
I can't right now.  I'm sorry.  I love you. Go back to sleep.
Tonya watches in frustration as Barry rushes out.  A moment later, she hears the DOOR SHUT across the apartment.
EXT. KMC AVIATION - AFTERNOON
ALBERT (OVER)
Why are you here, James? Shouldn't you be getting ready for your date tonight?
INT. KMC AVIATION / PILOTS' LOUNGE - CONTINUOUS
ALBERT and JAMES talk from their usual seats in the lounge.
JAMES
I need a pep talk or something, man. This thing has me a nervous wreck.
ALBERT
What doesn't make you nervous, James?
JAMES
I just don't know what to make of it.  I see her, she acts like she hasn't seen me in ages.
ALBERT
(Interrupting)
I thought that was because she hasn't!
JAMES
That's beside the point, Bert.
Albert rolls his eyes.
JAMES
Since then, I've tried calling over and over and I can never get her on the phone.  I'm almost afraid to show up tonight - afraid she will have forgotten all about it and, like, not be home or something.
ALBERT
This is ridiculous.  What's really bothering you, huh?
James doesn't respond yet.
ALBERT
Hey, you don't have to tell me if you don't want to, but you're here, you wanted to talk about it because you brought it up.
JAMES
I... I saw it coming and I think I tried to avoid it.
ALBERT
Why? I don't think I follow.
JAMES
We were kids, man, and I don't mean kids like teenagers or something, I mean real, young, honest to God kids - with different ages.  It was... embarrassing, at the time. I remember once, a few of the other neighborhood kids came over and one of them said she, uh... well...
ALBERT
She had a crush on you?
James recoils in his seat.
Albert laughs.
ALBERT
So what?
JAMES
What do you mean, "So what?"
ALBERT
I mean, so what?
JAMES
I'm not even sure it's true, Bert! Actually, I tend to doubt it.
ALBERT
No, you mean you'd rather doubt it.  James, how many girls have you had crushes on? 'You know, this is probably how they felt when you were chasing them, you know that? Man, if you don't like her, why did you agree to go out with her?
JAMES
It's not that - and I wouldn't exactly call this going out - not the way you mean.
ALBERT
Not the way I mean - okay.
JAMES
No, Mr. Sarcastic, not the way you mean.
ALBERT
So, you do like her and...
JAMES
And, nothing.
ALBERT
And you're embarrassed because you don't know what to do with a woman...
JAMES
(Interrupting - correcting Albert)
Girl!
ALBERT
Woman!
(Beat)
You don't know how to be alone with any woman that might actually like you the way you like her.
JAMES
And what if she doesn't?  I mean, what if...
ALBERT
What if, what? You can't tell me that all the sudden, after all this time, you're taken with her.  Come on, man!
Albert laughs a little.
JAMES
No, I'm not taken with her and this isn't funny.
ALBERT
No, it's hilarious.  Sometimes I think you try to look dumb, James, probably because it's about the only way you think you can get attention - the only way you think people will like you is if they're entertained or amused by you.
JAMES
Well, thank you for the pop psychology analysis, Dr. Phil.
ALBERT
You're welcome.
James shakes his head.
ALBERT
If only I could write you a prescription for chill pills so you'd lighten up already.
INT. KMC AVIATION / SMALL OFFICE
Meanwhile, in a very small, drab room is an OLD PERSONAL COMPUTER on which DALE is checking the weather forecast when LYLE pokes his head in.
LYLE
Dale, have you seen Tom today?
DALE
No, 'been kind of busy today, Lyle.  Besides, we don't carpool on Fridays - different schedules.
LYLE
He was supposed to come in this morning and never showed.  I tried calling him and he never answered.
DALE
Or maybe he just wasn't home.
LYLE
Don't be a smart-ass, Dale.  You're his friend, if you see or hear from him, tell him his job is on the line if he misses another day without calling.
INT. KMC AVIATION / PILOTS' LOUNGE
DALE pops in on ALBERT and JAMES' conversation.
DALE
Hey, Al, have you seen or heard from Tom today?
ALBERT
No. Why?
DALE
I have to leave for a while. Lyle is looking for him. If you see or hear from him before I do, tell him he needs to call Lyle as soon as possible, will 'ya?
ALBERT
Sure, no problem.
Dale leaves.  Albert looks worried.
JAMES
What is it, Bert?
ALBERT
Nothing, man.  You'd better go, get ready for your date.  I got some more work here anyway.
JAMES
Yeah, sure thing.  I'll let you know how it went tomorrow or something.
ALBERT
Sure.  Good luck, man.
JAMES
Thanks.
James leaves.
INT. BARRY'S CAR
Dressed almost as formally as they were the night of the announcement party, BARRY is driving with TONYA to the airport to have dinner with ALBERT, but the two seem distant and preoccupied.
TONYA
Barry, are we ever going to talk about this morning?
BARRY
I told you, I just didn't feel good and needed to go home.  That's all.  I'm fine now.
TONYA
And I'm supposed to believe that?
Barry chuckles nervously.
BARRY
Yeah, unless you don't trust me.
TONYA
I do trust you, Barry.  That's just it.  I trust that if it's something as simple as not feeling well, you'd be comfortable talking to me about it.
BARRY
There's nothing to talk about.
After that, the ride is quiet.
INT. KMC AVIATION / PILOTS' LOUNGE
A little later that night, ALBERT, TONYA and BARRY are in the middle of their dinner and seeming to enjoy themselves.
ALBERT
I don't know what in the world this is, but I like it.  Did I hear you right, Barry? You cooked this yourself? Last night?
BARRY
With some help.
TONYA
He's modest - I just stood by and salivated.
ALBERT
Well, I'm impressed.
BARRY
Thanks, man. I'm glad.
ALBERT
So, Barry, what do you plan to do after training - become an instructor, fly charter? What?
BARRY
I don't know.  I used to think I'd like to fly for the airlines, but I hear that's kind of hard to get into.
ALBERT
Yeah, a lot of those guys are, like, retired Air Force or something. The first big airlines started with refitted military planes.
BARRY
Tonya tells me you used to be Lyle's student.  Is that right?
Albert nods.
ALBERT
Sort of, yeah.  I was in an explorer's group he led while I was in high school. When I signed up for lessons, he helped with a lot of my training in the planes, getting me ready for my first solo and stuff.
TONYA
Probably the first time I met Lyle when I was being hired, when he was telling me about the other people that worked here, Albert was on the top of his list.  Lyle brags about him like he's his son.
Albert looks a bit embarrassed.
BARRY
Is he a family man? What's he like?
ALBERT
Well, he brags about being divorced twice before turning forty - I don't know if you'd call that being a family man or not.  Why so interested in Lyle, anyway?
Barry gets evasive.
BARRY
'Just curious.
(Beat)
I've only talked to him a little since I started training here and he seems a bit - I don't know, a bit rigid, like there's what he's saying and everything else is just irrelevant noise.
ALBERT
He's the boss.  That's just his style, I guess.  He's really a fun guy, he's just a little... bombastic.
(Beat)
And, yeah, I guess he's a little rigid since it's so hard to change his mind about anything.
BARRY
Is it possible, though?
ALBERT
Is what possible?
BARRY
Changing his mind.
TONYA
What are you getting at here, Barry?
BARRY
It's nothing, he just asked me for a favor one time and I didn't want to do it.  But, he wouldn't accept a no, so, I got stuck having to say yes anyway.
ALBERT
What did he ask you to do?
Barry looks back and forth at his two companions, nervous, as if not knowing how to respond.
TONYA
Well?  What was it?
BARRY
You know, it was nothing.  Actually, he... he told me to keep it a secret - some kind of surprise for the air show.  I don't even know exactly why he asked me, he just... did.
Albert and Tonya are both really perplexed and they keep staring at Barry as if to quietly demand he tell them, or else.
Barry, forcing a smile, rather desperately changes the subject.
BARRY
So, anyone for dessert?
MONTAGE:
INT. JAMES' BATHROOM
JAMES is in front of his bathroom mirror all dressed up for his date and just brushing his hair and putting on some COLOGNE.  Evidently, he's been there a while, though, as most of the mirror is steamed up and there's a small STEREO sitting precariously by the sink.  From its speakers comes a somewhat bittersweet love song to which James prepares for his date. As it plays, James looks at himself in the mirror, straight-faced, as if lost in thought.  The music continues to be heard as we
CUT TO:
INT. LAURA'S BEDROOM
Getting ready herself, at the same time, LAURA lays a PINK DRESS out on her bed.  On her bedside table, the picture of her and the male employee is lying face down.
INT. JAMES' VEHICLE
JAMES' looks nervous and serious as he drives to LAURA'S place, the music seeming to accentuate his rather odd state of mind.
INT. LAURA'S BATHROOM
WE SEE only LAURA'S head and bare shoulders as she stands in her shower, almost as serious and deep in thought as JAMES has appeared to be as the water runs over her.
EXT. LAURA'S APARTMENT - NIGHT
JAMES' VEHICLE pulls up to LAURA'S APARTMENT just as her door is opening.  Exiting the car, James looks up and sees Laura, all dressed up - all grown up - smiling at him as she approaches.  Given their history, the otherwise mundane moment has a lot of weight to it, the weight of two people just starting to rediscover each other after a long time and, perhaps, discovering who one another really is for the first time - for better or worse.
END MONTAGE
EXT. KMC AVIATION / PARKING LOT - NIGHT
ALBERT, TONYA and BARRY talk as they walk out to their CARS.
ALBERT
Thanks for the dinner, guys. That was really great.
BARRY
You're very welcome. Thanks for having dinner with us.
ALBERT
(Glancing off Tonya)
You two make a good team, don't you.  I guess that was always the point to this.
(Beat)
You know I never meant to make things really difficult for you.
TONYA
No, but thanks for sayings so.
BARRY
Tonya, please.
ALBERT
It's all right.
(Beat)
You know, Barry, if Lyle is asking you for favors, maybe you ought to get him to commit to hiring you whenever you get done with your training.
BARRY
Thanks, Al, but I think you're probably the only one could ever get him to do that.
ALBERT
Just what was it he asked you to do, Barry? You never did tell us.
(To Tonya)
Do you know what he's hiding?
TONYA
It's the first I've heard of it, too.
BARRY
Honestly, guys, I'd really rather not say.
(Beat)
Actually... actually, Lyle told me to keep it to myself.
ALBERT
Oh... well, okay.  I've never really heard of Lyle doing that before, but if that's what he told you.
BARRY
Yeah, it is.  Listen, Albert, you mind if I get your cell phone number or something? I wanted to talk with you about that flight school you mentioned.
ALBERT
The one in Ft. Lauderdale?
BARRY
Yeah, that's it.
ALBERT
Well, I don't mind giving you my number, but Tonya here is pretty knowledgeable, why not talk to her?
Tonya looks at Barry, a little surprised and a little bruised in the ego.
TONYA
Yeah, why not me?
BARRY
(To Tonya)
Have you actually been there before?
TONYA
No, but I've got access to the same information as Albert and I am your instructor.  I should be the one advising you.
BARRY
Yeah, well, see, that's just it - you've never actually been there.  Albert has, so...
TONYA
So what?
Tonya looks around.
TONYA
What is this? Some guys-only thing? For heaven's sake, it's a flight school, not a fraternity.
BARRY
Albert, if you don't mind...
Albert pulls out his WALLET.
ALBERT
Okay, sure.
(Hands Barry a business card)
My schedule is kind of all over the place, so if you don't reach me, leave a message and I'll call you back.
BARRY
No, no, you won't have to do that.
(Beat)
What I mean is I, uh... well, I'll reach you eventually.
Now Albert and Tonya seem really confused, even a little concerned.
EXT. MOVIE THEATER - NIGHT
JAMES and LAURA exit the cinema with the CROWD.
LAURA
Well, that movie was... stupid.
JAMES
No kidding.  And to think, I've actually known people like that.
LAURA
Yeah, so have I.
The two laugh as they walk around to the passenger's side of James' vehicle, though neither opens a door.
LAURA
It's been fun, though.
JAMES
Well, we don't have to end it now.  Anywhere else you want to go?
LAURA
Actually, I told Leslie we might drop by - you don't mind, do you?  She and her husband have two little boys. They're great people.
JAMES
Um, sure - okay.
The two get in.
INT. JAMES' VEHICLE - CONTINUOUS
LAURA
Thank you for tonight.  Really, I needed to get out a while.
JAMES
'Something bothering you?
Laura's smile is obviously forced, insincere.
JAMES
What's wrong?
Laura hesitates, then has trouble saying it all.
LAURA
'You ever thought you knew someone really well, only to learn they're not who you thought they were?
JAMES
Maybe. Are you talking about a friend? A boyfriend?
LAURA
I remember my mother telling me once, when I was around fourteen - there was a boy at school I really liked, but I barely knew him and he didn't pay me much attention.  I didn't want to embarrass myself, 'ya know, but...
JAMES
But you had to do something, right?
LAURA
Yeah.  Anyway, I ask my mother about it, and she just says to tell him how I felt. I didn't know much about these things then - who does? But I knew I risked getting hurt and I told my mother. She just said do it anyway - if you show love and it's not returned, then it's just not meant to be.
(Long Beat)
I thought Tim and I were doing so great together. We work together, have the same friends. We all would go out every weekend and have a great time. When, uh... when I saw him kissing the other woman at work, though, I felt fourteen all over.
(Beat)
I know my mother was trying to give me advice to make things easier, and it's not that she was wrong, it's just... it's just that it's never easy when something like that happens.
JAMES
I'm sorry. I know what it's like to feel disappointed like that.
LAURA
I thought there might be something else going on, I just hadn't seen it yet.  When I did, it just felt like... like I'd been betrayed, you know?  That sounds corny, but...
Laura's eyes well up with tears.
LAURA
I'm sorry, I... do you have tissue or something in here?
James reaches into his BACKSEAT, grabs a BOX OF TISSUE and hands it to Laura.
LAURA
I'm sorry for putting this on you, I just...
JAMES
No, it's okay.
LAURA
I really just need a friend tonight.  Leslie's cool and all, I've known her for years and she's great, but what I needed was to go out with a friend, one that...
JAMES
'That didn't already know about what you've been through so you could just.. not have to think about it for a while, right?
Laura nods yes.
LAURA
Do you mind if we just go? I don't really feel like talking right now. Maybe we could listen to some music on the way?
JAMES
Sure.
James switches on the radio - it's at a station playing fairly brisk rock music.
LAURA
'Mind finding something a little softer?
JAMES
Oh, okay.
James switches to a station playing a SOFTER SONG that, perhaps just coincidentally, better fits the mood, an older song like one by Roy Orbison or another singer known for ballads.
EXT. MOVIE THEATER / PARKING LOT - NIGHT
As the SOFTER SONG keeps playing, WE SEE JAMES' VEHICLE pull out of the lot and roll off into the night.
EXT. HIGHWAY - NIGHT
JAMES' vehicle travels down a poorly-lit, practically bare highway as the song continues.
INT. BARRY'S CAR
Perhaps coincidentally, the same song plays in BARRY's CAR, continuing in the background throughout, though not as loudly. He pulls over and stops to drop TONYA off at her apartment, but Tonya doesn't get out immediately.
TONYA
You know we're going to have to talk about this some time.
Barry sighs in frustration.
BARRY
Talk about what, Tonya?
TONYA
Whatever it is you're hiding from me - whatever it is you want Albert's number and advice for, but you don't seem to want to come right out and say it.
BARRY
I told you, I can't.
TONYA
Why can't you?
BARRY
Lyle told me...
TONYA
(Interruption)
Forget Lyle! He's not your parent - he's not even your boss!  There's nothing he can really keep you from saying.
BARRY
You wouldn't understand and I don't feel like explaining it tonight.
TONYA
I can't believe you'd say that - after all these months together, as close as we've been, now, you don't think I'd understand you doing a simple favor for Lyle?
(Beat)
Or is it really that simple?
Barry sits motionless, staring straight ahead, neither talking nor looking at Tonya.
TONYA
Barry, please look at me.
No reaction.
TONYA
I'm here - no matter what. I love you, and you keep saying you love me.  If all that is true, tell me what's going on.
(Beat)
Please.
BARRY
It doesn't concern you, Tonya.
You can't help me.
TONYA
But Albert can? Is that it?
(Beat)
Because he and Lyle are close, he's the only one can help.
(Beat)
Barry, look me in the eye and tell me you don't trust someone like Albert over me - after I've been here for you practically 24/7.
Barry's seems regretful and remorseful, yet still turns away from Tonya and resumes staring out the windshield.
BARRY
I'm sorry.
(Beat)
Good night, Tonya.
Tonya waits a moment as if she thinks Barry will change his mind and talk, but it doesn't happen.  Now, she looks angry, and with a tear streaming down her cheek, retaliates:
TONYA
Go to hell.
With that, Tonya gets out of the car and slams the door shut, stomping into her apartment as Barry watches, slamming that door behind her, as well.
INT. TONYA'S APARTMENT - CONTINUOUS
TONYA enters angrily, stopping in her tracks a few feet in to calm herself.  After a few deep breaths, she looks over at the small KITCHEN where she and BARRY cooked the dinner.
Lying in plain sight on a COUNTER TOP is her LOG BOOK, her place marked by the PHOTO of her younger self with her mother and brother.  Leaving the book on the counter, she takes and looks at the photo. Tears well up as she remembers what BARRY told her just the night before.
BARRY (OVER)
You don't have to prove yourself anymore, Tonya - not to me. I'm here and I'm definitely paying attention. You'll never have to prove yourself to me.
The same song that's been in the background all this time becomes a little louder as Tonya, overcome with emotion, lays the photograph back down on the counter and starts sobbing where she stands.
INTERCUT:
INT. JAMES' VEHICLE - CONTINUOUS
Neither JAMES nor LAURA talk as they ride, both presumably lost in thought.  Laura still looks hurt - James, just disappointed.
EXT. LESLIE'S HOUSE
JAMES and LAURA are greeted at the FRONT DOOR by LESLIE, whose FAMILY is visible behind her.
INT. LESLIE'S HOUSE
JAMES watches as LAURA'S mood begins changing once they enter the house.  Though the song, drawing to a close, drowns out the dialogue, WE SEE Laura introducing James real quickly to Leslie and her HUSBAND before immediately going over and starting to play with the TWO LITTLE BOYS, which are barely toddlers.
DISSOLVE TO:
INT. LESLIE'S HOUSE
The family has gone to bed, leaving only LAURA and JAMES, each sitting on separate SOFAS placed at right angles to one another.
JAMES
Did you have fun tonight?
LAURA
Yeah, I did.  We'll have to do this again some time.
Clearly, though, they've nothing really to talk about.
LAURA
Listen, I, uh... I'm going to spend the night here tonight. I keep a set of clothes here all the time.  Anyway, if it's okay, I really don't feel like talking anymore tonight, so...
JAMES
Oh, okay.  Well, then, I'll get going.
Laura gets up and walks with James the few feet to the front door.  The two stand face-to-face as they say good their good nights and good byes.
JAMES
Laura, for what it's worth, I'm... sorry and, well, I really hope things work out better for you.
LAURA
Thank you.
Then, Laura gently kisses James on the cheek.
LAURA
You're a good friend.
James just smiles at her.
JAMES
Good night, Laura.
LAURA
Good night.
Laura watches James leave and closes the door behind him, a mixture of sadness, guilt and relief on her face as LESLIE walks into the room behind her.
LESLIE
Laura, are you okay, hon?
Laura drops her head a moment, then turns to look at her friend.
Seeing that the barriers are down, Leslie reaches her arms out and, when Laura walks over to her, hugs her and holds her close to her shoulder.
EXT. LESLIE'S HOUSE - NIGHT / CONTINUOUS
JAMES walks slowly out to his VEHICLE, but stops beside it before getting in.  Briefly, he turns back and looks at the house as if something just occurred to him, then, like LAURA, drops his head momentarily before getting in and driving off.
INT. KMC AVIATION / LOBBY
TONYA walks in early in the morning looking decidedly downhearted.
INT. KMC AVIATION / SMALL OFFICE
TONYA sits in the small, cramped office, staring at the MONITOR with the weather forecast but, obviously, her mind is somewhere else.
LYLE approaches the open door to go in when he notices Tonya.  He stops, watches her for a moment, then slowly turns to leave, evidently aware enough to know that Tonya is in a bad mood and probably doesn't want to be disturbed.
INT. BOWLING ALLEY
That afternoon, JAMES is with LAURA, LESLIE and Leslie's TWO LITTLE BOYS.  Though Laura is in a better mood, she's not really paying attention to James, instead indulging the two toddlers in their attempts to bowl.
James' expression as he watches her, awaiting his turn, is a mixture of understanding and disappointment.  Then, he sees her take her CELL PHONE out of her pocket.
Laura flips open the phone, looks at a text message on its screen and smiles warmly.  The message reads: dear 1/2-pint, im sorry - talk 2 me? Luv - tim.
INT. KMC AVIATION / LOBBY - MID-AFTERNOON
ALBERT enters and is immediately confronted by DALE.
DALE
Hey, Al, have you seen Tom today?
ALBERT
You asked me that same exact question on Friday, Dale. Isn't he here?
DALE
He should be. He should have been this morning - 'said he was rescheduling all his lessons so he could take a second job, but nobody's seen or heard from him.
A look of concern crosses Albert's face. He immediately tries to suppress it, but with no such luck.
DALE
What is it?
ALBERT
Nothing.  He's probably sick or running late today.
DALE
'Thing is, we were supposed to carpool this morning and he just wasn't home.
LYLE approaches from the hallway, a TYPED NOTE in his hand.
LYLE
You guys can quit wondering - Tom quit.
Lyle hands Albert the note.
LYLE
This was in my inbox - the quitter just up and e-mailed his resignation, no notice, no nothing - didn't even have the guts to do it in person.
Dale looks over Albert's shoulder at the note.
DALE
E-mail, huh? I guess that's why it's not signed.
ALBERT
Lyle, is it really legit if it's not signed? I mean, it's pretty flimsy - I don't see any sender's address on here, either.
LYLE
I selected only part of the text to print, dumb ass.  Besides, 'legit or not, I'm not taking him back after pulling something like this. I'll fire him if it's not legit.
Lyle starts walking away.
LYLE
We're overstaffed as it is.
Once Lyle is out of hearing range, Albert remarks:
ALBERT
Yeah? And whose fault is that?
DALE
No kidding.
Clearly frustrated with what is going on around him, Albert crumples up the note and tosses it into an open WASTE BASKET in the corner.
INT. KMC AVIATION / LYLE'S OFFICE
LYLE sits back down behind his DESK and turns his attention to his COMPUTER.  On the monitor is the resignation note, but rather than being in any web browser, it's in bold letters in an open word processing program.  Predictably, Lyle wastes no time exiting the program without saving the text.
EXT. NATASHA'S APARTMENT - NIGHT
ALBERT and WALTER'S VEHICLES are parked at the apartment complex.
NATASHA (OVER)
Walter, you never said you'd have a second guest here, let alone this guy.
INT. NATASHA'S APARTMENT - CONTINUOUS
ALBERT, JAMES and WALTER have just walked through the door to find NATASHA clearly frustrated at the addition of James to the guest roster.  Meanwhile, Natasha's two friends HANNAH and POLLY (attractive, both in mid 20's) are visible sitting at a table waiting.
NATASHA
He doesn't even know how to play the game!
(To James)
Well, do you?
James clearly isn't too happy about being there, either, but he suppresses it.
JAMES
I can learn.
WALTER
See? He can learn.
ALBERT
There are other things to do here, right?
WALTER
Okay, maybe not.
NATASHA
What are you two, his baby-sitters? How pathetic is that?
JAMES
It's okay, I'll just watch the first game.
Natasha shakes her head in continued frustration.
WALTER
See? Relax, 'Tasha.  Let's just play.
MONTAGE - Glimpses of the game being played reveal a rise in boredom and tension, with James sometimes watching, ever silent, and Natasha sipping WINE and snapping at her guests.
Finally, the game(s) wind to a close.
NATASHA
I swear, all this time, Walter, and I've never seen you cheat like tonight.
Walter laughs?
WALTER
What? No!  What's your problem, Natasha? You've been like this all night.
NATASHA
I can't trust you, can I, Walter?
WALTER
I have no idea what you're talking about. I mean, it's just a game, for crying out loud.
NATASHA
I can't trust you to be straight with me and not do things behind my back.
At this point, even Hannah and Polly look confused at their friend's protestations.
Walter, now, is clearly neither smiling nor laughing at the matter anymore.
WALTER
You really think you can't trust me now.
(Beat)
I don't get it.  I mean, what can I say to that?
Natasha doesn't answer.
WALTER
Anyway, we're not talking about this in front of our guests.
NATASHA
Our guests? This is my place, and besides, you never had any trouble talking about stuff in front of Polly before.  Hell, didn't the two of you almost sleep together?
Everyone looks surprised at that remark, but particularly Walter and Polly, both of whom look angry.  Polly, in particular, looks to have been taken completely off guard and terribly offended as she looks at Natasha angrily, barely managing to get a few choice words out.
POLLY
You bitch.
With that, Polly gets up and walks out the door, slamming it behind her.
Natasha, to everyone's disgrace, is actually smiling.
NATASHA
See? I couldn't trust her, either.
WALTER
You've had way too much to drink tonight, Natasha.
NATASHA
Okay, precious, but if we're going to do this, get your friends out of my house.
(Beat)
Now.
A long moment of silence goes by during which Walter seems to gather courage to confront the circumstances and maybe do something about them.
WALTER
Natasha, if they leave, then I leave, and I don't just mean for the night.
NATASHA
I loved you, Walter, and you never appreciated it.
WALTER
I never appreciated it? I bend half my life to your whims, and you're saying I never appreciated you?
Albert and James exchange knowing looks, then stand up to leave.
ALBERT
Walter, we really should be going.
NATASHA
Yeah, Walter, they really should be going.
WALTER
Fine, then I'm going, too.
Natasha watches from her seat as Walter walks to the door with his two friends.  Just as one opens the door, Natasha calls out:
NATASHA
I'm the one's cared about you, you bastard! I'm the one loves you!
To everyone's surprise, it's James that speaks next.
JAMES
Love, hell - you just use him.
NATASHA
Okay, who asked you to talk, huh?
WALTER
James, please stay out of this.
Walter looks to Albert as if for some kind of guidance, but Albert is as surprised as anyone.
Evidently angry at being consistently insulted or disregarded, James starts walking slowly towards Natasha as he speaks.
JAMES
You must be one of those that get off on this stuff.  You're so spoiled and insignificant you have to create this kind of shit to struggle over so you think your life has meaning - like you know more than everyone else.  You're somehow more mature because you have the most problems.
Natasha is momentarily stunned in silence, but then starts laughing.
NATASHA
What the hell is he talking about?
JAMES
Your type doesn't love anyone, you just use people until one day, you're too old to fool anyone into thinking you're all these games just for the right to be in the same room.  And you think I'm pathetic? You'd be better off slitting your throat before you run out of people to use.
ALBERT
James, come on.  Let's go.
NATASHA
Yeah, that's right, Mr. Mom.  Take your little troll and get out of here.
EXT. NATASHA'S APARTMENT - NIGHT
WALTER walks ALBERT and JAMES to Albert's CAR.  James watches as Albert and Walter trade disturbed, but knowing looks, but there's nothing to say.
Walter watches as his two friends get in the car and ride away.
INT. ALBERT'S APARTMENT
ALBERT and JAMES walk in, still reeling a little from what has happened - particularly Albert, who looks like he's silently fuming.
JAMES
That was bound to happen, Bert.  Remember what we were talking about that day at the bowling alley?  I mean, he said it himself.  What was Walter thinking?
Albert braces himself and turns to face James.
ALBERT
Right now, James, I'm more interested in what you were thinking.
JAMES
What do you mean?
ALBERT
Do you have any sense at all, man? Did you actually think you had the right to get involved?
JAMES
Bert, you saw how we were treated.
ALBERT
(Raised voice)
I don't care!
Albert then takes a deep breath or two to calm himself, but he's still angry.
ALBERT
Ever since we've known each other you have always embarrassed me in front of people and still I've just kept smiling and taking it, like I thought I deserved it or something. It's past time I wised up because you know what? I don't deserve it - not one bit.
JAMES
So whatever happened to feeling bad about the other night - helping me get out for a while, huh?  What's changed all the sudden, Bert, except you?
ALBERT
Nothing, James, nothing has changed, and it never will.
JAMES
I don't know what you're talking about, Bert.
ALBERT
For once, I don't care.
(Beat)
Man, I'm through being the company to your misery. You outdid yourself tonight, and right now, I don't want to see you at all.
JAMES
What do you mean, you don't want to see me?
ALBERT
Just get out, James. Please.
JAMES
I guess now I don't have to listen to you rag on me, complaining about my obsessions and a million other little things you disapprove of, right?  I mean, like you said, you don't care, right?
ALBERT
Get out before this gets ugly. Now!
Suddenly, James smiles.
JAMES
You're no better than I am, Albert, and you know it - two weeks sitting here, waiting on an e-mail from the same girl you knew six years ago. Look in the mirror, pal. Whatever people say about me, you're just as lonely and just as pathetic.
ALBERT
I swear, I'm about to lose my temper.
JAMES
Lose your temper, huh. Can you?
(laughs)
I'd actually like to see that, Mr. Pisces - cool, calm and collected, always knows better, always the most professional ass in the room. So when you talk about losing your temper, do you mean more yelling or maybe something more manly... Something like this?
James reaches over, grabs whatever he finds and without even looking at it, hurls it at Albert.
Albert dodges the object, then looks at it on the floor.  It's his model airplane, the same kind he had as a kid, now lying broken into pieces on the floor.
Oblivious to what he's just done, James just stands there grinning at Albert.
Albert rushes over, grabs James by the shoulder to push him out the door.  James resists, the two struggle for a moment, but quickly, the bigger Albert prevails, pushing James out the door with one arm as he opens it with the other.
Once outside, James turns to come back in, but Albert slams the door shut in his face, locking it behind him.  Still, Albert stands, leaned against the door as if trying to physically keep James at bay, but there isn't even a knock.
Finally, Albert slowly steps back and away from the door, collapsing into the sofa behind him. He closes his eyes and catches his breath, and after a moment is just about to calm down when his COMPUTER BEEPS.
COMPUTER (V.O.)
You have new messages.
Albert opens his eyes and stares at his computer a moment.  Then, he gets up, sits down at the desk and pulls up his e-mail.
It's from rugame26, and its timing couldn't be worse.
First, Albert starts reading it aloud to himself in a voice barely above a whisper.
ALBERT
(Reading)
Hey, Albert.  Sorry I didn't write sooner.  I didn't want to write back until I knew how to answer you, but now I do.
From there, WE HEAR RHONDA'S VOICE as we watch Albert reading silently, presumably hearing the voice in his head.
RHONDA (V.O.)
You're right, I do feel close to you and I'm glad you feel the same about me. 'Thing is, well... you know how tough things have been for me recently and I just don't think us getting together is a good idea right now - not in the way you want.
(Beat)
I hope you don't hate me for this.  I'm sorry I can't give you better reasons after making you wait so long for my answer, but that's just the way it's going to have to be.  Take care of yourself, wing man, and don't worry. There's a co-pilot out there for you somewhere. Your Friend Always - Rhonda.
Upon finishing, Albert sits perfectly still for a moment, then looks over at the broken model.  He gets up, then picks the pieces off the floor and looks at them in his hands, carrying them gently back to the sofa where he sits back down and bows his head.
FADE-TO-BLACK:
SUPERIMPOSE: ONE WEEK LATER
EXT. PHONE BOOTH - DAY
A very nervous BARRY calls ALBERT from the phone booth on the corner of a busy street.
ALBERT
(Through the phone)
Hello?
BARRY
Albert, this is Barry.
ALBERT
Barry.  Where are you? I hear lot of noise in the background.
BARRY
I'll explain later.  Right now, remember that favor I said Lyle asked me to do?
ALBERT
Yeah, why?
INT. KMC AVIATION / LYLE'S OFFICE
ALBERT knocks on the open door before coming in.
ALBERT
Lyle?
He peeks around - the office is empty.  With the coast clear, Albert then creeps into the office and gently closes the door behind him.
He walks to the desk - it's a mess, PAPERWORK everywhere, even on top of the keyboard.  Albert sifts through the papers, though carefully so he'll know where and how to put them back in their place.
ALBERT
(To himself - under breath)
So how is Barry supposed to help you get this place out of debt, old man?
After a few moments, he seems to find what he's been looking for.
The paper Albert picks up and looks at is an INSURANCE POLICY on a brand new airplane.  It's dated just before Lyle's air show announcement and the policy is for over a million dollars - far more than the cost of the airplane itself.
ALBERT
Oh, no.
What's more, instead of being in the airport's name, the policy is in Lyle's name, as is the plane, apparently.
ALBERT
Lyle, what are you doing?
After a moment of stunned silence, Albert quickly pockets the insurance policy, then places the rest of the papers back approximately where he found them on the desk, then rushes out of the office, leaving the door open.
EXT. KMC  AVIATION / TARMAC - DAY
ALBERT stands on the asphalt tarmac watching one of the AIRPLANES come in for a landing.
When the plane is stopped, Albert briskly walks over to it as TONYA and a STUDENT get out.
ALBERT
Tonya!
Tonya looks away from the student to Albert.
TONYA
Albert, what are you doing?
ALBERT
We need to talk - now.  It's important.
Tonya excuses herself and starts walking back to the terminal with Albert.
TONYA
What is going on?
ALBERT
Tonya, I know what Lyle asked Barry to do.
TONYA
Yeah, well, it doesn't matter now.  If he doesn't trust me enough to tell me about a simple favor...
ALBERT
(Interrupts)
Listen to me, I know why he didn't want to tell you and it's not a simple little thing. It also has nothing to do with you, except maybe your protection.
TONYA
Protection?
ALBERT
Lyle is setting him up.  Tonya, Barrack is in a lot of danger.
Albert pulls the policy out of his pocket and shows it to Tonya.
TONYA
You stole this from Lyle's desk?
ALBERT
Right now, Lyle's privacy should be the least of anyone's concerns.
EXT. BARRY'S APARTMENT - LATE AFTERNOON
TONYA rushes up to BARRY'S door and knocks hard.
TONYA
Barry!  Barry, it's me! Please open up!
When she gets no answer, she tries the door knob and to her surprise, finds it unlocked.
INT. BARRY'S APARTMENT / CONTINUOUS
The door opens and TONYA cautiously creeps inside the dark, silent apartment.  When she flips the WALL SWITCH to turn on the LIGHTS, she's looks surprised when she sees how Barry has been living this whole time, with little in the apartment besides the MATTRESS and, most surprisingly of all, the HANDGUN on the TABLE.
Out of curiosity, Tonya walks over and picks up the handgun, gently and carefully turning it over in her hands as if to inspect it when, to her surprise, from the doorway:
BARRY (O.S.)
Tonya?
Tonya quickly turns her head to see Barry in the doorway.
BARRY
What are you doing here?
Practically overcome with emotion, Tonya rushes over and grabs Barry to hug him before he can take a step further.
TONYA
Barry, I'm so sorry - I had no idea.
After the two embrace for a moment, Barry closes the door behind him.
BARRY
So you talked to Albert, huh?
TONYA
Barry, tell me what in God's name Lyle wants you to do.
BARRY
He wants me to crash his plane.  He thinks I can survive it, fake my death and disappear while he gets the insurance money. He said if I didn't go through with it, he'd rat me out - turn me in because of the group I got into up in Detroit. I didn't know what they were at first, but they, uh... they paid for my training with illegal funds.
TONYA
Oh, my god.
BARRY
Not long after I found out, they offered to send me down here, so I took the money just to get out of there. I never thought they'd really hold me to their plans or even be able to from all the way up there, but... I was wrong.
(Beat)
I know it sounds crazy, Tonya, but I just wanted out of that life.  I thought this was the only way, the only way I could afford to go and still be sure the ones I love would be safe. That's why I went to Albert.  He knows Lyle better than anyone.  I thought, maybe, Albert could talk to him, make him change his mind, but...
TONYA
But, what?
BARRY
But I may still have to go through with it.  I don't think I can actually crash the plane, but I have to at least go up there, maybe fly off somewhere; I don't know. I just know that no matter what Albert says, Lyle could still turn me in easily.
TONYA
Barry, I just want to be here for you to help you. That's all I ever wanted.  You could have trusted me enough to tell me all this before. We might have been able to do something about it sooner.
BARRY
There was nothing you could have done and I didn't want you to get hurt. I'm sorry, Tonya.  I didn't know what else to do. This was before we got involved, but by the time we did and I wanted out of it, it was too late - the FBI had even been to see Lyle.  I'm so sorry.
Tears start streaming down Tonya's cheeks.
TONYA
You could have told me all this before. You didn't have to protect me.
Suddenly, the couple hears some faint CRACKLING noises coming from the table where the handgun had laid.
TONYA
What was...?
BARRY
Shhh.
Barry steps over to the table and feels around, then under it. After a moment, he finds a SMALL LISTENING DEVICE taped under the table and shows it to Tonya, whose eyes widen when she sees it.
BARRY
We have to get away from here now.
With that, Barry drops the device onto the floor and he and Tonya rush out of the apartment.
INT. TONYA'S CAR - DUSK
TONYA and BARRY are riding down the highway.
TONYA
I'm so nervous, I don't know how I'm even driving.
BARRY
We had to take your car.  Mine is probably being tracked. We'd probably be lucky if nobody's tracking you.
TONYA
Oh, hell, no. Barry, when does Lyle want you to do this?
BARRY
The air show tomorrow - that's what it's all about.  It's a cover.
TONYA
Maybe Albert was right.  Maybe I am bad luck for them - at least the ones left there.
BARRY
What do you mean?
TONYA
One of our instructors quit.  He sent his resignation letter to Lyle by e-mail.
Barry suddenly looks alarmed.
TONYA
What?
INT. ALBERT'S APARTMENT - DUSK
ALBERT answers a knock at his door to find the frantic TONYA and BARRY.
TONYA
Sorry about this, Albert, but we didn't know where else to go.  Barry's apartment is bugged.
ALBERT
Come in.
Albert shuts the door behind them when they get in.
ALBERT
'You want something to drink?
TONYA
Albert, this is serious!
Albert freezes at his open REFRIGERATOR, Tonya glaring at him.  After a moment, though, Tonya just stomps over and grabs BOTTLED WATER out of the fridge with Albert standing there.
BARRY
Albert, you haven't talked to Lyle about this yet, have you?
ALBERT
(Closing Fridge)
No, but...
BARRY
Don't - please.
ALBERT
I thought that's what you wanted me to do, why you're coming to me in the first place - 'cause of how well I know him.  Barry, he may think he's king of the hill there, but he can't...
BARRY
(Interrupts)
No, he can.
ALBERT
Barry, the county owns that airport.  If they or the authorities found out, Lyle could be out of there before anything has a chance to happen - you'd be free of it.
BARRY
It's tomorrow, Albert.
ALBERT
The problem is evidence, otherwise they'd just have to investigate, shut things down while they're at it.  If they could get that so-called air show postponed, that's all you'd need - that's the whole cover for it anyway, right?
BARRY
You don't get it - the problem is bigger than the show. Calling the authorities is what he threatened to do. He can have me investigated, probably locked up. He'd do it if I don't go through with this, he'd probably find a way to do it just if his little show were cancelled. The FBI has already been there, they're looking anyway. It won't be hard to convince anyone around here that I paid for the lessons with funds from a criminal enterprise.
TONYA
Of which you're no longer a part, though - right?
BARRY
'Doesn't matter - the money came from them and it went to pay for my training.  If the authorities didn't get to me first, then someone from the group probably would.
The three take seats.
ALBERT
So what are you two going to do?
TONYA
I know what I'm doing - I'm quitting - I won't work for that bastard.
ALBERT
I don't know, maybe there isn't anything anyone can do.
TONYA
What about the insurance policy?
ALBERT
Tonya, it's not illegal to over-insure your personal airplane or any other vehicle.
BARRY
Personal airplane? What do you mean?
ALBERT
You didn't know?  The plane he wants you to crash isn't in KMC's name, it's in Lyle's.  This isn't for the airport or flight school, this is for him - only him unless he plans to funnel the money back into the place some how. Either way, between that and what he's already got on you, Barry, there may just be nothing to do but take a chance on just not going tomorrow.
BARRY
Yeah, see, that's just it - even if I didn't go, the group's already after me.
ALBERT
Yeah, you said that.
TONYA
So what now?
BARRY
What now is I go to the air show tomorrow and at least act like nothing has changed.
TONYA
But you're not going through with it, are you?  Damn that group, you can't be thinking about going through with it.
BARRY
I don't know what I'm going to do yet.  All I know is that neither of you can help me.
(Beat)
I'm sorry I bothered you tonight, Albert.  I'm sorry for all of it.
A tense moment of silence passes between the two before Tonya shakes her head in frustrated determination.
TONYA
No, I refuse to accept that.  We've got to be able to do something.  Right, Albert?
Not knowing what to say, Albert just looks at her and nods.
EXT. KMC AVIATION - DAY
The next day, on a large concrete porch bordering the tarmac, GUESTS for LYLE'S air show mingle as, again, MUSIC plays in the background.
Amongst the crowd, but split up, are ALBERT, TONYA and BARRY, though none talk to any of the guests.  Much to their dismay, though, Lyle approaches Barry.
LYLE
Ready for your big stunt, son?
BARRY
Are you sure about this?
LYLE
I'm sure about what will happen if you don't do it, and you know much I'd hate to break your little lady's heart with news of your incarceration.
BARRY
I can't believe you're talking about it like this in front of all these people.
LYLE
Most of them are my friends, Barrack. Besides, you think they care what we're saying? They're too busy drinking and talking to each other.
Just then, the crowd looks over and then applauds as one of the AIRPLANES buzzes the runway.
LYLE
It won't be long now.  Don't forget - when Dale lands, you're up next in the brand new plane. You're the main event.
Lyle walks away and starts talking to some other people.
Meanwhile...
INT. BOOKSTORE
JAMES is glumly browsing the MAGAZINE SECTION when he spots a cover with an aviation theme.  He picks it up and looks at it sadly.
EXT. BOOKSTORE / PARKING LOT - DAY
As he walks outside to the parking lot, JAMES dials ALBERT on his CELL PHONE, but gets a voice mail prompt.  Instead of leaving a message, he gets frustrated,  hanging up and sticking the phone into his pocket.
Just then, he hears a plane passing over his head - looks up at it, mutters to himself:
JAMES
Air show...
EXT. KMC AVIATION - DAY
BARRY is still trying to keep to himself amidst the air show CROWD when he spots the INTRUDER that had broken into his apartment just a few feet away.  The two see each other, but the man makes no attempt to talk to Barry.
Barry then looks around momentarily and spots Albert, who in turn exchanges knowing looks about the intruder that both apparently see.
INT. KMC AVIATION / LOBBY
ALBERT walks in from the party to see WALTER walking in through another door.  The two meet up in a corner to talk alone.
WALTER
Please tell me you were just joking in that voice mail message.
ALBERT
No, sorry, I wasn't.  Listen, Walter, we've got a problem.  At least one of Barrack's old friends is here, probably waiting to do something.  He already threatened him, Lyle's wants to turn Barrack in - I need you to go down the hall to the room where we check weather forecasts.  Close yourself in and there's a phone there - call 911, tell them where you are and that you think there might be a bomb here.
WALTER
Is there?
ALBERT
I don't know, but we have to do something.
Walter looks hesitant.
ALBERT
Walter, Tonya is here, too.  Please, just do it.
Walter nods his head and darts away and down the hall.
Just as he leaves, TONYA enters and approaches Albert.
TONYA
Was that..?
ALBERT
(Interrupts)
Yeah, he's calling the cops.
TONYA
Thank god.
ALBERT
Tonya, if we're wrong about this, we could be in trouble, too.
TONYA
They threatened him, Albert, and we all saw that strange guy out there.  What do you think he's here to do?
ALBERT
'The same thing we are, only not as peacefully, I'll bet.
TONYA
Albert.
ALBERT
Okay, I know, it's not funny.  We need to get back out there before someone catches us talking in here.
EXT. KMC AVIATION - DAY / CONTINUOUS
ALBERT and TONYA walk back outside, but they can't find BARRY.
TONYA
Where did he go?
ALBERT
He might have gone to the hangar.  Go inside, tell Walter to meet me there - second one down.  It's where Lyle keeps the airplane Barry is supposed to fly, the one he insured recently.
Tonya nods and goes back inside.
INT. KMC AVIATION / HANGAR 2
BARRY is looking at the NEW AIRPLANE he's supposed to fly - the one Lyle was flying the day the FBI AGENTS visited - when ALBERT walks up behind him.
ALBERT
Barry?
Barry turns around.
BARRY
Albert, we have to get this plane out of here.  They probably know it's the one I'm supposed to fly and rigged it already.
Albert walks up to him.
ALBERT
Barry, we're going to get you out of this.  My friend Walter was inside the terminal just a moment ago and I had him call the cops to report a bomb threat.
WALTER (O.S.)
And they're on their way.
Albert and Barry look back at Walter walking their way.
ALBERT
What all did you tell them?
WALTER
I didn't have to say much.  They take any possibility of a bomb at any airport seriously, even this one.
BARRY
Nobody saw you call it in, did they?
WALTER
No, they didn't.
A moment of silence goes by.
WALTER
So now what?
BARRY
We have to get this plane out of here in case it really is rigged to explode.
WALTER
How?
ALBERT
What do you mean, how? We push it out.
WALTER
But, I mean, we don't even know how long - when it's rigged to -
Walter gives up his protest, looks at the plane, then at how far it is to the hangar entrance / exit to the outside.
WALTER
Oh, hell. Let's just do this.
Next, TONYA rushes in.
TONYA
Barry, are you all right?  What's going on?
BARRY
We have to push this plane out, Tonya.  Move out of the way.
TONYA
Out of the way? Are you kidding? I'm helping.
Tonya gets in position towards the back of the plane to push as the other guys just stand there watching.
TONYA
What are you guys waiting for? On three!
Just then, Albert's cell phone beeps.  He takes it out of his pocket and opens it to find a text message.
INTERCUT:
EXT. KMC AVIATION - DAY
In the SMALL CROWD, LYLE'S phone is going off simultaneously.  He excuses himself and, like Albert, takes it out of his pocket to look at the same startling message.
INT. KMC AVIATION / HANGAR 2
ALBERT is stunned at what he sees.  On his phone is a PHOTO of TOM, eyes shut, skin pale, blood around his lips.  Beneath the photo is text: U will join soon.
Barry looks over Albert's shoulder and sees the message.
BARRY
I'm sorry, Albert.
(Beat)
We have to move this thing now.
EXT. KMC AVIATION / RUNWAY - DAY
CHEERS go up as DALE'S PLANE lands.
INT. KMC AVIATION / LYLE'S OFFICE
Meanwhile, LYLE rushes into his office, CELL PHONE in hand, and quickly closes the door behind him. Just as he does, Lyle freezes in his steps when a GUN is pointed to his head by a second INTRUDER (2) that had been standing in the corner.
INTRUDER 2 (O.S.)
(Arabic accent)
Shouldn't you be with your guests, Mr. Jansen?
EXT. KMC AVIATION / HANGAR 2 - DAY
ALBERT, BARRY, WALTER and TONYA just manage to push the NEW AIRPLANE over the threshold and out of the large hangar.
EXT. KMC AVIATION - DAY
LYLE nervously emerges from the terminal, back into the SMALL CROWD, forcing a smile at those noticing him and darting glances all around. A second Middle Eastern man (INTRUDER 2) casually follows a few steps behind and to the left of him.
In the corner of his eye, Lyle spots his new airplane being pushed out and away from the hangar by his instructors and their friends.
EXT. KMC AVIATION / HANGAR 2
Its DOORS open, BARRY is just starting to look inside the plane for any sign of explosives.  Tonya starts to get in on the other side.
BARRY
No, Tonya, stay out.
TONYA
But I want to help...
BARRY
Tonya, please, let me do this.
Frustrated and scared, Tonya steps down from the plane and stands back away a foot or two with ALBERT and WALTER.
ALBERT
See anything yet?
BARRY
No, I...
ALBERT
Barry?
WALTER
'See anything?
INT. NEW AIRPLANE - DAY / CONTINUOUS
Just then, BARRY spots a bundle of C-4 EXPLOSIVES neatly packed beneath the plane's BACK SEAT.  As he stares at it in mild fright, he hears a GUNSHOT outside, jerking up to see what's going on through the window.
The INTRUDER seen earlier is standing with ALBERT, TONYA and WALTER, a DETONATOR in one hand and a GUN pointed at TONYA.
EXT. KMC AVIATION / HANGAR 2 - DAY / CONTINUOUS
BARRY starts hurrying to get out of the plane when the INTRUDER'S voice stops him.
INTRUDER
Stay put, Barrack, or I pull the trigger.
Barry inches back into the plane, his breath and pulse clearly quickening along with Tonya's.
INTRUDER
We've no quarrel with these gentlemen, Barrack.  Even though you wrongfully involved them, I'll let them go if you'll listen - if you don't try to do anything... else... foolish.
Barry looks at an angered Albert and Walter and nods.
Albert and Walter back up and walk away from the plane, though slowly, looking back as they go, stopping not altogether far away.
INTRUDER
(To Tonya)
I have to join him right now, but if you move, it'll either be the bullet or the C-4.  Understood?
Tonya nods. With all of its doors still open, the man climbs into the back of the plane with Barry, who proceeds to climb into the front.
EXT. KMC AVIATION - DAY
Amidst a heretofore oblivious CROWD, LYLE watches the action taking place several yards away in front of hangar 2, around his new plane.
DALE
(Approaching Lyle)
What's up?
LYLE
Shh.
Dale looks back - spots the second intruder with the gun.
LYLE
(To Dale - under breath)
Get out of here. Call the cops. Don't alarm the guests.
Scared and confused, Dale starts backing away, his deliberate steps getting the attention of the second intruder, who cocks his gun.
Evidently, someone heard the gun action and MURMURS start going up in the crowd.
INT. NEW AIRPLANE
TICKING can now be heard from the back seat where the INTRUDER points his GUN to BARRY'S head as he talks in a tone meant to be audible only to them.
INTRUDER
Hear that?  It's inevitable now.  Make any sudden movement or do anything to alert your infidel bitch outside, though, and the inevitable comes sooner than later.
(Points outside)
See the crowd?  See a few of them moving around, your boss soiling himself in the middle there as another one of our friends controls the situation?  How do you like it? What do you think of the situation your disloyalty has created?
Barry opens his mouth to answer.
INTRUDER
No, don't speak. That tongue of yours has done quite enough.  You're lucky I don't cut it out first with you conscious.
Without flinching, Barry glances out at TONYA, still standing outside, practically at arm's length, tears streaming down her face.
EXT. KMC AVIATION / TARMAC - DAY / CONTINUOUS
Roughly half-distance between the NEW AIRPLANE and the CROWD, ALBERT and WALTER stand almost as still as TONYA, waiting...
WALTER
Where are those cops?
ALBERT
I'm afraid they might not matter now.
EXT. KMC AVIATION / PARKING LOT - DAY
Meanwhile, JAMES' VEHICLE pulls in and parks.  James exits his vehicle and starts to the terminal when he hears a GUNSHOT ring out.
EXT. KMC AVIATION - DAY / CONTINUOUS
INTRUDER 2 has just fired into the air and is yelling at the crowd.
INTRUDER 2
Nobody move!
INT. NEW AIRPLANE
INTRUDER
You don't fear death, do you, Barrack?  Of course, I know what waits for me, but if I were you, I might not be so sure.  Was it worth it consorting with the infidels, defiling yourself with one of their women, involving them in our affairs, betraying your own people - betraying Allah?
BARRY
You're a monster.
The intruder fires through one of the door's windows, shattering it, startling Tonya outside.
INTRUDER
Do not talk!  Talk again and the bullet goes into the woman.
(Beat)
This is a merciful end compared with what you deserve - maybe even halfway honorable for all the dishonor you've brought on yourself and your family.
Reflected off the sunlit INSTRUMENT PANEL, Barry sees the intruder looking down at the explosives under his seat.  He slowly extends his arm out the side of the plane to Tonya, though low enough so that the intruder might not notice.
Tonya sees the arm, cautiously touches Barry's hand.
INTERCUT:
ALBERT and WALTER look back at the CROWD.
LYLE stands with his guests, frozen with the others, waiting as the second intruder paces between them, waving his GUN.
EXT. KMC AVIATION / PARKING LOT - DAY
JAMES walks up to the GATE at the other end of the parking lot, connecting to the terminal, and looks out onto the tarmac - sees what's going on - watches in mixed confusion and anticipation.
INT. NEW AIRPLANE
INTRUDER
It's almost time.  Say goodbye to her, Barrack, and pray to Allah for mercy.
BARRY
(To Tonya In Arabic)
Goodbye, my love.
INTRUDER
Now.
BARRY
Run!
Tonya's eyes go wide.
Barry just manages a back handed punch to the intruder and a single-foot push out from the plane/
EXT. NEW AIRPLANE / KMC AVIATION / TARMAC - DAY / CONTINUOUS
TONYA starts running from the plane as fast as she can, barely making it ten feet when the plane EXPLODES in a FIERY INFERNO, BARRY'S seemingly limp body just barely visible, blackened by flame as it is blown to one side.
Tonya is blown face down to the pavement by the force of the blast as Albert and Walter flinch.
GASPS go up from the CROWD.
Just as everyone has had time to notice what has happened to the plane, though, similar explosions rock the grounds, spewing fire from the HANGARS one by one - ALL OF THEM - their tin roofing and siding going up and out in sequence like dominos falling one on top of the other.
EXT. KMC AVIATION / PARKING LOT - DAY / CONTINUOUS
JAMES runs to his VEHICLE as DEBRIS falls dangerously around him.
EXT. KMC AVIATION - DAY / CONTINUOUS
ALBERT and WALTER rush over as the fireworks are ending and TONYA is desperately trying to pick herself up to see what has happened.  The two men just barely manage to help her to her feet when, upon turning, looking back, she collapses again to the ground, screaming Barry's name at the top of her lungs.
FIRE CRACKLES in a line of flame where the hangars used to be as SIRENS become audible in the distance, getting louder as they get closer.
While Walter is embracing Tonya, Albert looks to his side towards the gate, towards the parking lot, sees JAMES standing just outside his VEHICLE, DEBRIS all around him.  Though they can barely see one another, it's as if they make eye contact nevertheless briefly before James gets back in his vehicle, then pulls out of the lot as POLICE SQUAD CARS pull in behind him.
Albert then looks back at LYLE, also collapsed to his knees onto the asphalt, surrounded by a panicked CROWD trying to disperse, thrown into confusion by the explosions and now, the police sirens and the UNIFORMED OFFICERS running out to them from the terminal.
Tonya collapses into Walter's arms, sobbing, as Walter watches Albert walk determinedly towards the crowd, straight to Lyle.
With DALE'S help, Lyle manages to make it back on his feet as Albert approaches, cops all around, fielding the attention of guests eager to report what has happened.
LYLE
Albert, I...
Albert slugs Lyle so hard it sends the larger man staggering back, down onto the pavement, collapsed as much by weakened knees as by Albert's punch.
AERIAL SHOT - Just a few minutes later and already, NEWS HELICOPTERS circle the scene of a small town airport in ruins, leaving lives in its wake.
FADE OUT.
MONITORS BEEPING, MUFFLED VOICES OVER A COM SYSTEM
FADE IN:
INT. HOSPITAL ROOM
A BANDAGED and BRUISED TONYA stands solemnly at the foot of BARRY'S HOSPITAL BED, her unconscious lover bandaged from head to toe, kept barely alive by the technology around him.
DOCTOR (OVER)
I'm only telling you this because they say you were close and there's no immediate family here.  It's a week later and he's still in a coma, burned about as severely as I've seen anyone burned and kept alive right now only via respirator.  There's no way to know whether or not he'll ever come off the respirator because we do not yet know the extent of any brain or organ damage, and even if we wanted to wake him up, we couldn't because he would be in agonizing pain.
TONYA (OVER)
Just tell me you can keep the cops and FBI away.  Please.
DOCTOR (OVER)
Ms. Lynn, it's a moot point while he's like this because they can't get anything from him anyway.
(Beat)
I know it won't come as much of a comfort and it's probably not my business, but you seem like a spiritual person, like myself.  If I were you, I would ask for compassion and pray he doesn't wake up.
Tonya turns her head slightly towards the door at the sound of few soft KNOCKS.  Then, she walks over, kisses Barry's bandaged head and pulls a HEAD SCARF over her long hair as the door behind her opens.  She then looks back, a single tear in her eye, then walks towards the NURSE and FBI AGENTS in the doorway, disappearing as the door is closed behind them.
INT. KMC AVIATION - DAY
ALBERT, DALE and WALTER walk inside the temporarily abandoned terminal, lit only by SUNLIGHT through windows as all other lights are off and remain off.
DALE
I can't believe this.  I mean, what the hell happened, Albert?
ALBERT
LYLE did it - all of it.
WALTER
Are you sure?
Albert doesn't answer.
DALE
I don't know if I ever thought much of this place to begin with, but with almost everything destroyed, with what happened to Barry, to Tonya...
(Beat)
To Tom...
WALTER
Dale, were you and Tom good friends?
DALE
I don't know, we hung out every now and then.
Dale is clearly more upset than he lets on.
DALE
He, uh... he was a good guy.
ALBERT
He knew something was going on.  Lyle ignored him - ignored the whole thing, probably 'cause he knew he caused it - all because of his greed and that damned ego of his.
WALTER
Did the county fire him for good?
ALBERT
Not yet. Investigation is still pending. That won't do Tonya or Barry any good, though.
DALE
Have you talked to her recently, Albert?
ALBERT
A little.  She doesn't say much.
Albert looks over to a somewhat nervous Walter, whose head is down.
ALBERT
At least not to me.
INT. KMC AVIATION / PILOTS' LOUNGE - CONTINUOUS
ALBERT, DALE and WALTER enter the darkened lounge, flipping on one LIGHT.  For a few moments, the three just stand silently in the empty room, gazing at the familiar surroundings when not trading knowing looks.
ALBERT
I don't think I like it here right now, guys.
DALE
No, neither do I.
Still, they linger a moment longer before flipping off the light and leaving the room.
EXT. ALBERT'S APARTMENT COMPLEX - AFTERNOON
As usual, ALBERT pulls up to his apartment in his CAR, parks, gets out and saunters inside.
INT. ALBERT'S APARTMENT - CONTINUOUS
ALBERT enters his apartment in much the same mood that he left the pilots' lounge, only this time he's alone and without a flight bag or anything else in hand.
He sits down on his sofa and picks up an unopened BOX containing a brand new MODEL AIRPLANE KIT for the one JAMES broke. Looking at it doesn't seem to cheer him up, though, and he tosses it to one side on the sofa before leaning back and closing his eyes until, a moment or two later, there's a KNOCK at his door.
Albert opens his door to find RHONDA - attractive, dark haired, same age - standing there, a concerned, tender expression on her face.
RHONDA
Albert, I heard what happened.
(Beat)
Well, I just, I'm... sorry, and I wanted to be here for you.
Albert doesn't say anything.  He just looks at her, looks into her eyes as she looks into his.  Albert then stands back and lets her in.  Immediately upon closing the door, they embrace as if they haven't seen each other in forever, tears in both their eyes.
DISSOLVE TO:
INT. PUBLIC LIBRARY
JAMES, dressed in somewhat heavier clothing indicative of some time having passed, walks alone into the library, SIGNS IN and takes a seat at one of the PERSONAL COMPUTER stations to read his E-MAIL.
ALBERT (V.O.)
Hello, James.  I saw your number on my phone, but didn't feel like calling back.
(Beat)
I'm still a little mad, but we've just been friends for too long. Whatever your problem is, man, you just have to move on. If not, life will force you to anyway.
James is subtly moved as he reads on through Albert's e-mail.
ALBERT (V.O.)
You're lonely, James.  You're lonely, bitter, disappointed and if you think you're not, you're only making it harder on yourself. I know it because I am, too, sometimes, but so are a lot of us. We just can't give up or take it out on the rest of the world.
(Beat)
We all have a type out there, James, someone that could make us happy in every way, whether it's a friend, a confidante, a lover...  We don't always end up with them, but our types are out there.  Somewhere in our lives, there's one that embodies all of it, and whatever happens, nothing should keep us from looking for them. You stopped looking, man, long before Laura came back.  For a moment, you probably thought she was the one and, you know what? She may have been, but what's done is done.  Just remember - you can't fly in reverse.  You can slowly turn left or right and fly straight ahead, but you can never fly backwards. That's why you keep your eyes forward so you know where you're going and what's in front of you so you don't crash. Hopefully, you land one day without regrets, but while you're in the air, you have to be present at all times, hands at the instruments, both eyes on the horizon.
(Beat)
Well, I think I've worn out the metaphors.
(James smiles)
Just don't give up, James. You're not helpless. You make your own track records and only you can make them good or bad.  Make them good, old friend, and take care, if not for me or anyone else, then for yourself.  You deserve that, 'same as I do, same as Tonya and Barry did - 'same as anyone.
(Beat)
Take care. - Your friend - 'Bert.
Though it's bittersweet, James' smile is still there as he exits the e-mail and looks up and around the library.  Across the computer table, he spots an ATTRACTIVE WOMAN with whom he makes eye contact, but she's just standing up to leave - with RON, the library attendant!
Their backs turned to him, heading out, James walks around the tables and starts following them, completely ignoring another LIBRARIAN trying to get his attention to sign out.
EXT. LIBRARY - DAY / CONTINUOUS
JAMES follows the couple outside, but stops in the doorway to the library when he hears an AIRPLANE pass overhead, looking up to see it.  
FOLLOW a SINGLE ENGINE AIRPLANE through the clouds until the setting sun reflects so brightly off the wings and fuselage that it's nothing but a single BRIGHT LIGHT IN THE CLOUDS AS WE...
FADE-TO-BLACK.
THE END