( suspenseful theme playing )
( car horns honking )
WOMAN ( over PA ): --unloading of passengers only.
No parking.
Do not leave your car unattended.
She's just an innocent bystander.
So, what's new?
Tell them I won't do it.
It has to be done by next Thursday, Nick.
And make sure it happens in Boston where he lives.
MAN: I'll see you in London on Saturday.
We'll have a pint to celebrate.
MAN ( over PA ): The white zone is for immediate loading
and unloading of passengers only.
No parking.
Do not leave your car unattended.
Unattended vehicles are subject to immediate towing.
MAN: Mr. Toomey. Mr. Toomey!
Thank God, I caught you.
I checked over the figures on those foreign bonds you bought,
and as it turns out, you haven't made $43 million,
you've lost it.
I know.
You know? Of course I know.
I'm the head of the bond department, aren't I?
Talk to you from Boston.
Mr. Toomey, you can't go to Boston.
All of these transactions were personally authorized by you.
The board of directors will crucify you.
I know, that's why I have to go.
Now I suggest you just relax,
because everything's gonna be fine.
In fact, it's gonna be wonderful.
There's something strange inside that man's head.
Later, Dinah.
WOMAN: Now that I've given you a lift to the airport,
do you want to tell me why you're going to Boston?
Stop it, Doris. I'm not gonna tell you and you know it.
Yes, but this is just so unlike you.
Flying off to some strange city for no reason,
not even telling your best friend why.
WOMAN ( over PA ): AP Flight 29 to Boston...
Oh, gosh, that's my flight. I gotta go. Bye.
WOMAN ( over PA ): This is to announce the boarding--
Oh.
I'm sorry.
WOMAN ( over PA ): --departing from Gate 51.
Um, bye.
Bye. ( chuckles )
( engines powering down )
Ah, damn, these gauges. They don't tell us anything.
That pressure leak could have been anywhere.
Don't worry about it.
It's the engineers' problem now.
How can I not worry about it?
You know what a pressure blowout can do.
( sighs )
We were all damn near human pâté.
Oh, man.
( exhales )
Maybe I've been doing this for too long.
( knock on door )
Captain Engle?
Yeah, but I don't know what to tell you.
We couldn't find that pressure leak anywhere.
This isn't about the leak, captain.
Could I talk to you outside, please?
Why?
What's wrong?
Outside, please.
( scoffs )
You want to tell me what's going on?
It's about your wife.
My wife?
Oh, you mean, my ex-wife. We're divorced.
Why, what about her?
There's been an accident.
Uh, perhaps you'd better come up to my office.
What about Annie?
How badly has she been hurt?
Is she dead?
Yes. I'm afraid she is.
There was a fire in her apartment.
( exhales )
Are you all right, captain?
Yeah.
It's just a shock, that's all.
There's a redeye leaving for Boston right now.
You can deadhead back on it if you want.
Yeah, I guess I'd better.
WOMAN ( over PA ): Ladies and gentlemen,
American Pride Flight 29 to Boston
is now boarding passengers in all rows. Please--
MAN: Looks like a full flight.
Yeah, I guess.
What's the weather like?
Clouds at 20,000 feet from the Great Plains
all the way to Boston.
Oh, and we've had, uh, sightings of the aurora borealis
over the Mojave Desert.
Northern lights?
Over California at this time of year?
Who knows? The weather's been really freaky this year.
TOOMEY: I asked for a window seat and that's what I'd like.
See right there? WOMAN: Yes.
It says where your seat is. I want a window seat.
Why don't you talk to--? No, no. Why don't you talk
to the ticketing agent? I only wanna talk to you.
I don't want to be her problem, just yours.
There's one on every flight, isn't there?
Always.
WOMAN ( over PA ): And since we have a very full flight this evening,
we ask that you kindly place all bags
and carryon articles securely
in the overhead luggage compartment
or under the seat in front of you.
If you are in need of any assistance,
a flight attendant will come by to help.
Well,
I guess this is it, captain.
Have a nice trip.
And my condolences.
Thank you.
Pardon me.
Excuse me.
( melancholy theme playing )
MAN ( over radio ): Roger, American Pride 29, you're clear for takeoff.
Have a good flight to Boston.
( sign dings )
CAPTAIN ( over PA ): Our flight tonight will take us
over the Rocky Mountains and Denver,
past Des Moines and up over St. Louis,
then on into the Boston area,
so, folks, relax, enjoy the flight,
and thank you for flying American Pride.
( grunts )
Aunt Vicki,
could I have a glass of water, please?
Aunt Vicki.
( signal chimes )
Would somebody speak to me, please.
I'm sorry, but my aunt's gone
and I'm blind.
( articles rustling )
Hello? Is anybody here?
Anybody?
Dear God, please let someone be here.
Anyone, anyone at all.
( articles rustling )
( screams )
( Dinah screams )
( Dinah screaming )
( Dinah screams, sobs )
It's all right,
it's all right, it's all right.
What's wrong?
Where is everybody?
They've gone, they've all gone.
What do you mean, "Where's everybody?" They're all right--
( exhales )
What happened?
Did we land while I was asleep and let the others off?
Where's my aunt? I want my aunt. Please, I want my aunt.
ENGLE: You're gonna be all right.
What's your name?
Dinah. I can't find my aunt.
I'm blind and I can't see her.
I woke up and her seat was empty.
MAN: Who was screaming?
I-is the plane in trouble, mister?
Where is everybody?
WOMAN: What's going on?
Are we in Boston already?
DINAH: I want my aunt now.
Aunt Vicki!
TOOMEY: Hey.
Hey. DINAH: Aunt Vicki.
What the hell is going on here?
Will someone shut this brat up?
You're not alone. There are other people here.
Can you hear them?
Yeah, I can hear them.
But where's Aunt Vicki?
And who's been killed?
WOMAN: Killed?
Has someone been killed?
Have we been hijacked?
No one has been killed.
DINAH: I felt her hair.
Someone cut off her hair.
Two, three, four, five, six-- NICK: There's ten,
counting yourself and the, uh, bloke asleep in first class.
What about the crew? Anybody know about them?
Not yet, I was just about to find out.
Will you stay with the girl?
MAN: All right, but what's happening?
TOOMEY: Come back with some answers.
NICK: All right, everybody, just calm down.
Hello, you guys, open up.
( doorknob rattles )
Hello.
So, what do you think happened?
Do you think the plane landed
and let the other passengers off?
I don't know. I was asleep.
You're a teacher, aren't you?
That's right, sweetie.
The fifth grade.
How'd you know that?
It's in your voice.
Miss Lee, my teacher at the blind school,
sounds just like you.
Well, if you'll excuse me,
I think I'm going forward to join our friend.
I want to know what is going on here
and I want to know right now.
Well, nor am I a bit surprised.
WOMAN: You said before that you had felt someone's hair.
What did you mean by that?
Over there on one of the seats,
I felt someone's hair.
This?
This is a-a wig.
It's not a human scalp.
Is that what you felt?
What do you see?
Uh, nothing, just...
mountains and darkness.
Hello?
Hello. Hello?
( sighs )
What's wrong? Huh?
Flight crew disappear with everybody else?
Yeah. No. I don't know.
They're not answering my calls
and the door's locked from the inside.
I was afraid of that.
Sorry to get your wind up. Nick Hopewell.
I am praying, sir, that the pilot's cap
I noticed on one of the first- class seats belongs to you.
It does. Captain Engle.
But under the circumstances you can call me Brian.
Well, I'll call you "Savior" if we find what I expect
to find on the other side of that door.
Well,
let's try and get it open, shall we?
Okay.
All right, let's see.
( door rattling )
( ominous theme playing )
How could someone disappear
and leave their hairpiece behind?
That's quite a mystery, don't you think?
God.
Yeah, you're not kidding.
Somebody's bridgework.
I was afraid of that.
( bridgework clacks )
( exhales )
What's going on here?
( door rattling )
TOOMEY: Hello, excuse me.
Come out from back there. Who's back there?
Hi. ENGLE: Yeah.
I'd like to know what's going on, please.
NICK: Currently,
we're about to break the lock on the cockpit door.
It seems our crew have abdicated along with everybody else.
But we're in luck all the same.
My new acquaintance here just happens to be a pilot.
TOOMEY: Do you work for American Pride, friend?
Yes, I do, but I think what's important right--
No. I'm going to tell you what's important.
Excuse me-- No, I'm gonna tell you
what's important.
You know what's important?
I have a meeting at Boston's Prudential Center
at 9:00 this morning.
Promptly at 9:00.
That's what's important.
Now I booked a seat on this conveyance
in good faith, and I have absolutely no
intention of being late
for that appointment.
Wait a minute. Wait. Wait. ( exhales )
Now I have three questions for you:
Number one, who authorized
an unscheduled stop for this ( man snoring )
airliner while I was asleep?
Number two, where was that stop made?
And number three, why?
( shouting ): Why was that done?
You ever watch Mr. Spock on Star Trek?
What the hell are you talking about?
Just that if you don't shut
your cake hole, you bloody idiot,
I'll be happy to demonstrate his Vulcan sleeper-hold for you.
TOOMEY: Don't you talk to me like that.
Do you know who I am?
Of course I do.
You're an obnoxious little twerp
who likes to hide his fear behind aggression.
No harm in that, but you are in the way.
Listen to me. Listen--
( yelling )
( yells )
Whoa. A nose hold.
NICK: I can break it.
Easiest thing in the world, trust me.
( screams ) NICK: I said I can break it.
Do you understand?
Signify if you understand.
Ow!
NICK: Listen to me, ( Toomey groans )
I haven't got time to discuss your business appointments.
Therefore, I'm gonna send you back to the cabin
with this gentleman in the striped shirt.
Don Gaffney.
Mr. Gaffney will be your escort.
Once you arrive in the main cabin,
you will sit down in your seat,
strap your seat belt firmly around your middle
and keep your mouth shut.
Do you understand?
Oh, please favor me with a thumbs up if you understand.
Jolly good. ( Toomey gasping )
Now, I'm gonna let go of you and your nose now.
And when I do, if you so much as utter a word,
a syllable, you will be investigating
hitherto unexplored realms of pain.
( nose crunching )
You son of a-- I wouldn't, mister.
This guy means it.
You better come on back with me.
I'll be-- Oh.
Bad idea.
GAFFNEY: Come on, now.
Hey. Come on.
Come on.
Let's see if we can find something for that nose.
Right then, let's, uh,
get the cockpit door open, shall we?
NICK: Come on--
( controls beeping )
Whoa.
No one's driving the plane.
( panel beeping )
It happened fast, whatever it was.
Look there.
I mean, look here.
Here.
If you want watches, you can take your pick.
There are tons of them back in the main cabin.
Are there indeed?
Watches, jewelry and glasses.
Also purses.
But the weirdest thing is
there's stuff that we're pretty sure came from inside of people,
like surgical pins, pacemakers.
NICK: I've been going on roughly the same
assumption as our rude friend--
You know, the one I used the nose-lock on.
--that the plane had landed somewhere for some reason
and then most of the passengers
and crew were somehow offloaded and then--
No, there couldn't have been a takeoff while we were sleeping.
I mean, you can fly that plane on automatic,
but you need a human being to take one up or land it.
So where are the passengers and crew, then?
I don't know.
But I plan on finding out.
You wanna hand me that paper, please?
Well, our altitude is right, 37,000 feet.
We're on course.
What are you doing?
Figuring out our closest major airport.
( white noise over radio )
Denver Center, this is American Pride Flight 29,
do you read me? Over.
( white noise over radio )
( controls clicking )
Denver Center, come in, please.
This is American Pride Flight 29. We have a problem.
( white noise over radio )
A big problem.
What's going on?
I'm not getting anything.
Anything at all.
( radio warbles )
Mayday, mayday. This is American Pride Flight 29,
requesting emergency aid.
Come in, please.
( white noise over radio )
UNICOM, this is American Pride Flight 29,
requesting immediate radio contact. Over.
( white noise over radio )
( radio warbles ) Denver, come in.
Come in, please.
This is AP Flight 29, you answer me, damn it.
Easy, mate.
That dog won't bark either.
What are they doing down there? Having a nuclear war?
NICK: Look, easy.
Tell me what you mean, "the dog won't bark."
I mean Denver Control, that dog.
I mean FAA Emergency, that dog.
UNICOM, which gives advisories at small airports,
that dog too.
This is a medium shortwave band.
People should be jumping all over this
like frogs on a hot sidewalk,
but I'm not even picking up static.
And the VOR beacon out of Denver,
that's not working either.
What does that mean?
ENGLE: It means we have no radio.
It means we have no Denver navigational beacon,
and my board here says everything is peachy-keen.
Which is crap. It's got to be.
Tsk.
Hey, kid,
would you run back there,
look out the, uh, left side of the plane.
Look behind us. Tell me what you see.
My equipment says we're less than 50 miles
south of Denver right now.
NICK: Well?
There's nothing out there,
nothing at all.
( exhales )
Denver's blacked out, isn't it?
Yeah.
Either that or it's gone.
All right, people, back to your seats.
We need a little peace and quiet.
We are being quiet.
MAN: Ah, come on, my young friends.
Let's go sit in the back.
The captain has a lot of work to do.
NICK: What are you doing?
Using the military aircraft band.
Strategic Air Command is never off the air.
What's going on?
The captain and that British fellow
are trying to raise an airport on the radio.
Um, I suppose
that we should introduce ourselves.
I'm Bob Jenkins. I'm a mystery writer.
I've written more than 40 novels.
None as strange as this.
Um, my name is Laurel Stevenson
and I'm a schoolteacher in the San Fernando Valley,
and this is the first vacation I've had in eight years.
What's the matter, Dinah?
My name's Dinah Bellman and I'm on my way
to have an eye operation in Boston.
Afterwards, I'll be able to see again.
Probably be able to see again.
The doctors say there's a 70 percent chance I'll get
some vision and a 40 percent chance I'll get all of it.
Albert Kaussner.
I'm on my way to the Berklee School of Music.
I play violin.
I'm Bethany Simms.
I was gonna spend a couple of days
with my aunt in Worcester, Mass.
But now...
And you, sir? What's your name?
How about you. Wh-- What's your name?
I'm Don Gaffney.
JENKINS: And what do you do?
I'm a tool-and-die worker for Hughes Aircraft.
I'm on my way to Boston to visit my first granddaughter.
Well, okay, at least we've met.
That leaves us with the $64,000 question:
where did everybody go?
And why didn't we go with them?
( exhales )
Air Force Control, this is American Pride Flight 29.
Do you read me? Over.
That dog won't bark either.
We're all alone up here.
Completely,
totally,
all alone.
Now, you listen to me, my friend.
We don't want a panic on our hands, do we?
You've got ten people on this airplane, and your job's
the same as it ever was: to get them down in one piece.
You don't have to tell me what my job is.
Well, I'm afraid I just did.
You look a damn sight better now.
( inhales )
( exhales )
What do you do for a living, Nick?
And don't tell me you're an accountant.
( laughs )
Ah...
Junior attaché, British Embassy, old man.
My aunt's hat.
Well, that's what it says on my papers.
And if it said anything else,
I suppose it would be Her Majesty's Mechanic.
I fix things that need fixing.
Right now, that means you.
Thank you, but I'm fixed.
Good enough, then.
So, what do you intend to do?
Can you navigate without these ground-beam thingies?
Can you avoid other aircraft?
I can navigate just fine with the onboard equipment.
As for other planes, this thing right over here,
that says there are no other planes.
Well, we don't have to worry
about running into anybody, then, do we?
So, what do we do now, on to Boston?
Logan?
At dawn?
One of the busiest airports in the world,
with no idea what's going on in the country below us?
No way.
No, we're heading to Bangor, Maine.
And I think it's time to tell the passengers.
The few that are left anyway.
MAN: Would one of you gentlemen kindly tell me
what's happened to all the service personnel?
( yawning ): I've had a lovely nap,
but where'd everybody go?
( yawning )
But it doesn't make any sense.
Where'd everybody go?
I don't know, but perhaps--
ENGLE ( over PA ): Ladies and gentlemen, this is the captain speaking.
TOOMEY: Captain, my butt.
Hey, shut up.
As you know, we have an extremely odd situation
on our hands here.
We have no cockpit-to-ground communication.
And about five minutes ago, we should have been able to see
the lights of Denver clearly from the airplane.
We couldn't.
Now, all of that is bad news. The good news is this:
the plane is undamaged,
we have plenty of fuel,
and I am qualified to fly
this make and model.
The last thing I want to pass on to you
is that our destination will now be Bangor, Maine.
What?
Our in-flight navigation
equipment is in five-by-five working order,
but I can't say the same for our navigational beams.
Under the circumstances,
Bangor International Airport
will be our safest bet.
I have an important business meeting
in Boston this morning at 9:00!
And I forbid you
to fly us into some whistle-stop Maine airport!
Do you hear me?
Would you please be quiet?
You're scaring the little girl.
Scaring the little girl?
( screaming ): Scaring the little girl?
Lady, we're diverting to some tin-pot airport
in the middle of nowhere,
and I've got better things to think about
than scaring the little girl!
GAFFNEY: Why don't you just sit down
and shut up or I'm gonna pop you one!
I don't think you could do it alone, bud.
He won't have to.
I'll take a swing at you myself if you don't shut up.
I'm real scared now.
I'll help them if you don't stop it, mister.
I really will.
( eerie music playing )
( breathing rapidly )
( whooshing noise )
( whooshing continues )
( ragged breathing )
( yells )
( squishing sound )
( chuckles )
Okay.
( sniffs )
Okay, fine.
You're all against me.
That's fine.
( quietly ): That's fine.
( sighs )
It doesn't have to be this way, mister.
You should just relax.
Take it easy.
Anyone here know how to work
this little oven up in the galley?
I didn't think so.
LAUREL: That man was just upset, you know.
He's better now.
We all look like monsters to him.
No, I'm sure we don't.
Now, what made you say that?
I hear things sometimes.
People's thoughts.
I always have.
But just now, for the first time...
I saw what that man was seeing.
It was dark and fuzzy, but I still saw.
Sweetie, that's--
That's just your imagination, that's all.
That's what my aunt used to say too.
But it's not.
Why don't you get some sleep?
You'll feel a whole lot better.
No, I won't.
Besides, I was asleep
and now I'm all slept out.
( mysterious theme playing )
You see anything?
Didn't think so.
May I ask you something?
Did you happen to hear anything the little girl said earlier?
No.
Well, she was telling Miss Stevenson
that she didn't think she could go to sleep
because she had already been asleep.
I also had been asleep.
What about you, dear boy?
What about me what?
Were you sleeping?
You were, weren't you?
Well, yeah.
Yes.
We were all asleep. Everybody.
Well, maybe.
Nonsense, maybe.
I'm a mystery writer,
deduction is my bread and butter.
Don't you think if someone had been awake
when all those people were eliminated,
that that person would have screamed bloody murder
and awakened the rest of us?
I guess so.
Of course!
So I deduce...
that everyone was asleep,
including all those people that were subtracted,
along with the flight crew, of course, dear boy.
Could you call me Albert, please, Mr. Jenkins?
That's my name.
Oh, I'm sorry. Yes, of course.
Yes, I'm upset, and when I'm upset,
I tend to get a little patronizing.
Please, forgive me.
It's just that I'm trying to figure this thing out.
Do you have any ideas?
Well, if it were just the plane,
I could easily come up with a scenario.
What scenario?
Uh, well, let's say, for instance,
that some...shadowy government organization
decided to conduct an experiment,
and we were the test subjects.
And the purpose of such an experiment,
uh, given the circumstances,
would be to document the effect of--
Of serious emotional stress
on a number of ordinary Americans.
And the scientist who designed the experiment
loads the oxygen system of this plane
with an odorless hypnotic gas.
A-after this is released into the air,
everyone falls asleep,
with the obvious exception of the pilot
who is breathing uncontaminated air through a mask.
Then the captain lands the plane at a secret airstrip in...
Nevada, let's say.
Whereupon, with the exception of
the nine randomly chosen test subjects,
all the sleeping passengers are carefully carried off the plane
and placed aboard another identical plane.
The captain then gets Flight 29 airborne again
and returns it to its original altitude and heading.
He activates, uh, the autopilot,
he disables the radio systems.
And then as the effect of the gas begins to wear off,
the captain hears on his intercom
the voice of the little blind girl calling for her aunt.
And he knows that this will wake the others.
The experiment is about to begin.
Captain Engle is one of them?
Well, in-- In this scenario, he is.
If Captain Engle is one of the people who did this to us,
we're gonna have to capture him as soon as we land.
You, me, uh, Mr. Gaffney,
and perhaps that British fellow.
But it doesn't hold up, you know.
What?
The scenario I just gave you. It doesn't hold up.
But you just said-- What I said was,
if it were just this plane, I could give you a scenario,
but unfortunately...
it's not just this plane.
The city of Denver is probably still down there,
but all its lights were off if it was.
And it's not just Denver,
I can tell you that.
Omaha, Des Moines, St. Louis...
there isn't a trace of any of them down there either.
Now what has happened...
has not just happened on this plane.
And that's where deduction breaks down.
( ominous theme playing )
( sighs )
St. Louis Center, come in please.
This is American Pride 29, heavy.
Repeat, American Pride Flight 29, heavy.
Do you read me? Over.
Nothing anywhere.
Not on the ground or in the air.
It's like the entire country has suddenly ceased to exist.
I don't suppose you ever read science fiction, do you?
Well, I was crazy about it as a kid.
You?
Yeah, till I was 18 or so.
I've been sitting here
running all these old stories through my head.
You know, time warps, space warps,
alien raiding parties.
I mean, we really don't know
if there's anything left down there, do we?
Not with all this cloud cover.
ENGLE: No, we don't.
No, and it might hold all the way to Bangor.
With Air Traffic Control out of commission,
there's no way of knowing.
Suppose you just...
took us down for a little look-see?
No, too dangerous.
With no ATC and no other planes to talk to.
You can laugh at me if you want.
( chuckles )
I'm not laughing, matey.
I'm far from laughing.
Well--
Suppose we have slipped into...
another dimension,
like in a science fiction story.
How do we know what's down there?
I mean...
this Earth could have the Rockies in upstate New York.
Well, we seem to have the sky pretty much to ourselves.
Up here, that's true.
Down there...
who knows?
And "who knows" is a very dicey situation for an airline pilot.
So for now, we just go on?
Right.
And wait.
Right again.
Well, you're the skipper.
That's three in a row.
( dramatic theme playing )
LAUREL: What do you see?
The sun's up, that's about it.
What about the ground?
I can't see it, it's all clouds down there.
Perhaps it's just as well.
Maybe.
LAUREL: Feeling better?
A little.
( sniffs )
I don't mean to pry...
but-- What?
You can ask me what you want.
Why did you lie about why you were going to Boston?
How did you know I lied?
I could hear it in your voice.
I can hear lots of things.
Maybe because I'm blind, I don't know.
But I know you don't lie.
Otherwise I wouldn't have heard the difference.
I'm going--
No, I was going to meet someone.
A man named Darren Crosby.
How did you come to know him?
Well, that's the embarrassing part.
And that's why I lied.
I've never actually met him before.
We started corresponding through a personal ad in a magazine
and I liked him.
I mean,
I liked what he wrote
and what he looked like in his picture.
So I agreed to fly to Boston to meet him.
DINAH: That's strange, isn't it?
To fly all the way across the country
to see someone you've never even met before.
( laughs )
Yeah,
but I just realized
it didn't have anything to do with Mr. Crosby.
It was really about me.
I didn't want to play it safe anymore.
I was trying to break out of the confines of my life
and have an adventure.
( laughs )
Now I guess I got more of an adventure than I bargained for.
You're very pretty, Laurel.
I'm sure you'll find what you're looking for.
Do you think we're gonna be all right?
I think so.
I hope so.
BETHANY: Kinda scared what might be under those clouds,
but then I was scared anyway about Boston.
My mother all at once decided how it'd be a great idea
if I went to spend a couple of weeks with my Aunt Shawna.
I think the idea was for me to get off the plane,
and then Shawna pulls a string on me.
What string?
Do not pass go,
do not collect $200,
go directly to the nearest rehab
and stay there till you've dried out.
( sighs )
Everything just seemed so weird before
that this just seems like more of the same.
This is really happening, isn't it?
I mean, I'm not just imagining it, am I?
No,
it's real enough all right.
Do you need a rehab, Bethany?
I don't know.
I guess I might.
I used to just think it was party time, you know,
all the booze and drugs I could get, but now...
I don't know.
But getting shipped off this way
just makes me feel like a pig in a slaughterhouse chute.
LAUREL: I'm sorry.
( quietly ): Yeah.
I'm sorry too, but I guess this is the wrong time
to worry about it, huh?
( sighs )
ENGLE: Well,
I think it's time to fish or cut bait.
Hello again, ladies and gentlemen.
This is Captain Engle speaking.
We are currently over the Atlantic Ocean,
about 30 miles off the Maine coast.
I'll be commencing our initial descent
into the Bangor area very soon.
( dings )
I want you all to make sure
your seat belts are snug and secure.
I'm beginning our descent now.
I want you all to be calm.
My board up here is green across
and all procedures on the flight deck remain routine.
Well, that's very comforting, that is.
( laughing ): You should have been a politician, mate.
Well, I doubt they're feeling very comfortable right now.
I know I'm not.
Thirty-thousand feet.
Still descending.
NICK: I don't mind telling you, Brian,
I'm scared stiff.
Part of me wants to grab you and make you take us back up again.
Well, it wouldn't do any good.
We can't stay up here forever.
I realize that,
but I'm still afraid of what's under these clouds.
Or not under 'em.
Well, we'll find out together.
I figure we might as well all be together on this one.
( paper ripping )
( dramatic theme playing )
Would you mind stopping that?
It's driving me crazy.
Well, at least we'll be able to get some chow when we land.
You know something, Dinah?
What?
I really don't want to go down there.
I mean, I really don't.
Well,
if it'll make you feel any better,
you're not the only one.
I'm scared.
I mean...
very...scared.
I think I'm going to pass out.
It's going to be all right.
I hope so.
( screams ) ( man groans )
ENGLE: This is just ordinary turbulence, folks.
Most of you have been through this before
so just, uh--
Just remain calm.
( all moaning )
DINAH: What's wrong?
Is there something wrong with the plane?
Are we gonna crash?
No, I-- I don't think so, sweetie.
I hope not.
DINAH: Is it gonna be all right?
Is it really gonna be all right?
I hope so, honey, I hope so.
God help us all.
NICK: Look, uh,
maybe this wasn't such a good idea, Brian.
Maybe we should climb back up again and think about it, eh?
Not enough time and not enough fuel.
Hang on.
We're going in.
( suspenseful theme playing )
Bethany?
Bethany!
Bethany, are you all right?
Oh, God, what the hell was that?
Uh, there's a drink trolley loose up front
that probably rolled into the galley wall or something.
( screams ) ( groans )
It's all right, Dinah.
Please, I don't want to die!
I just don't want to die! Shh. It's okay.
( groaning )
You better quit it right now, you worm,
or I'm gonna take what's left of that magazine
and stuff it right down your throat!
Try it, you old jackass.
Three-thousand feet.
How low is this ceiling, Brian?
I don't know. Lower than I'd hoped, that's for sure.
( sarcastically ): Well, that makes me feel a lot better.
I'll take us down to 500 feet,
and if we still haven't broken through the cloud cover,
I'll take us back up again and we'll fly down to Portland.
Maybe you should take us that way now.
No, the weather down there is almost always worse
than the weather here.
( grunts )
This is starting to look like a bad decision, mate.
We haven't struck out yet.
But we are running out of room, aren't we?
I mean, 2,000 feet.
Somewhere underneath all this grayness,
the ground's rushing up to meet us, isn't it?
Yeah, it is, but we still g--
There we go.
We're coming through.
( dramatic theme playing )
LAUREL: It's all right, it's all right.
( exhales )
ENGLE: We've broken through the ceiling, ladies and gentlemen.
In a few minutes, you're gonna hear a thump from below.
That'll be the landing gear lowering into place.
I am continuing our descent into the Bangor area.
( beeping )
( sighs )
Wish me luck, Nick.
Oh, I do, matey.
I do.
( clears throat )
DINAH: What do you see, Laurel?
We're over land.
I-- I see a field and a forest
and what looks like a pond.
It's there, Dinah.
It's all there.
I'm sorry, miss, but you're completely wrong.
NICK: I can see the airport.
My God, what a beautiful sight.
Buckle up, we're coming in.
Bangor Tower, this is AP Flight 29, heavy.
I am declaring an emergency.
If you have runway traffic, get it out of the way.
I am coming in.
The runway lights are dead, Brian.
Ah, no time to worry about that now.
( tires screeching )
( paper ripping )
Routine landing.
Nothing to it.
ENGLE: Ladies and gentlemen, welcome to Bangor.
Yeah!
( all applauding )
Thank you for that welcome, my friend.
My deep appreciation stems from the fact that it appears
you're the only one who's going to extend one.
This place is utterly, totally deserted.
No, it can't be.
( suspenseful theme playing )
Unfortunately, I'm afraid it is.
So what do we do now, Brian?
We get out of the plane...
and we see what's what.
After you, squire.
( moans )
( passengers applauding )
GAFFNEY: Mm-hm. Okay.
ALBERT: Yes! What is it?
It's the pilot.
It's the pilot that landed us safely.
Ladies and gentlemen, I assure you,
it was a very routine landing.
( southern accent ): Aw, shucks, ma'am, it weren't nothin'.
( all laugh )
We made it down alive?
That's great.
ENGLE: If I could just have your attention.
Now, I know you've all looked out the windows,
so you know as much as I do.
Uh...
not only have the passengers
and the crew on this flight disappeared,
but it now appears that the people on the ground
have disappeared as well.
But logic suggests that since we survived--
Whatever it was.
--that others must have survived it as well.
False logic.
ENGLE: I think the best way of dealing with this
is just to take things one step at a time.
And the first step is exiting the plane.
I bought a ticket to Boston
and Boston is where I'd like to go.
( whispers ): Shut up.
We're gonna have to use the emergency slide,
so I want to review the procedures with you.
Now, listen carefully,
and then form a single-file line behind me.
Well, here we are at last.
NICK: You know, there's something wrong with the air here, Brian.
It's--
What do you mean?
NICK: I don't know.
ENGLE: Poisoned? NICK: No.
At least I don't think so.
Just no odor, no smell.
What? Is there something wrong?
I mean, I'm not sure I really want to know,
but if there is... ENGLE: Honey.
Honey, there's nothing wrong here.
But there is.
This place smells wrong.
Really badly wrong.
( ominous theme playing )
Honey, we have to investigate.
We don't have any choice.
You understand that, don't you?
Why? Why do we have to?
There's no one here.
NICK: Well, we really won't know that until we check, will we?
I know already.
Listen,
there's nothing to smell and nothing to hear.
No birds singing, no motors revving,
no nothing. But...
But what?
Never mind.
Well, ah, what now, captain?
You tell me.
Us.
I suspect this is more your territory than mine.
You realize I can turn you in for this, don't you?
You realize I can-- I can sue this entire airline
for $30 million and name you
as primary respondent.
That's your privilege, Mr.--?
Toomey, Craig Toomey.
Mr. Toomey.
Mr. Toomey, are you aware of what has happened to us?
MAN ( echoing ): There are no excuses!
Mr. Toomey?
Just terrible.
Mr. Toomey?
Stop wasting time!
Mr. Toomey?
This is terrible.
Just terrible.
An A- and a B.
A B for God's sake!
What? You gonna dig ditches for the rest of your life?
But, Daddy, I-- There are no excuses!
Look at this. That's a B.
That stands for bum.
What happens to lazy bums
who lie down on the job, Craig?
The Langoliers get them.
They do more than get them.
They get them and they eat them.
They tear into those lazy little boys
with their dry, hungry, chomping teeth.
No, Daddy, don't let them get me!
They will get you
unless you get with the program and stop wasting time!
They will eat you alive!
Alive and screaming!
ENGLE: Mr. Toomey? Mr. Toomey?
ROGER TOOMEY: Stop wasting time, Craig!
Mr. Toomey, are you listening to me?
Of course I'm listening to you.
And I know what happened to everybody here.
These stupid, lazy people.
The Langoliers got them.
ENGLE: Pardon me?
You know how important my meeting
at the Prudential Center in Boston is?
Do you understand that the economic fate of nations
may hinge on this meeting?
A meeting from which I shall be absent.
Well, that's all very interesting,
but really right now I don't have the time--
Time?!
What the hell do you know about time?!
Ask me about time! Ask me!
Time is short, sir.
Now, what do you reckon the best way is
inside the terminal, Brian?
Well, I guess that would be
through the, uh, luggage conveyor.
All right, then.
Now let's hike on over,
ladies and gentlemen, shall we?
GAFFNEY: Sure. Let's go.
ENGLE: All right, let's go.
Mr. Toomey?
NICK: Let's keep together, please.
MAN: Why don't we see if we can get something to eat?
Maybe there's a restaurant in there.
You don't have to worry so much, Dinah.
It's just that the situation is strange.
Therefore, everything seems strange.
Including the sound your heels make hitting the concrete?
You're right.
They sound-- Weak?
That's right.
Weak.
Almost as if they don't have any strength.
Coast clear.
It's really wrong here.
( dramatic theme playing )
ENGLE: All right, watch your head going through here.
That's it.
Now just w-wait for me when you get in there.
( ominous theme playing )
All right, then.
Let's try the telephone, shall we?
What's going on?
( sighing ): Mm.
( coins clanging )
( change jingling )
( match flicks ) ( gasps )
What, I scare you?
Heh. A little.
God, at least that's better.
I didn't dare do it on the plane.
I thought I might blow something up.
Uh, excuse me, but...
I quit those, oh, ten years ago.
No lectures, please. I've had enough to last me a lifetime.
No. No, no, no, no.
Uh, I was gonna ask
if I could have one.
Ah. Thank you, thanks.
Uh, Albert.
What--?
( coughing )
God, you have been away.
( coughing )
Here. Now I know why I quit 'em.
( coughs )
God.
( coughing ): Albert,
what time's your watch say?
Quarter to 9. Yeah, so does mine.
But I don't trust it. It feels much later than that to me.
You know, it does. It feels like it's almost lunchtime.
Isn't that nuts? It's not nuts.
It's just jet lag.
JENKINS: No, I disagree with you, young lady.
We traveled west-east, and any temporal dislocation
that west-east travelers feel works in the opposite direction.
They feel it's earlier than it really is.
I wanted to ask you about that exact thing on the plane.
When the captain told us there must be other people here,
you said, "false logic."
But it seems straight enough to me.
We were all asleep and we're here.
And if this happened at 4:07, Bangor time,
well, then almost everybody in town must have been asleep.
Ah, yes, yes, so?
Where are they?
( phone clanging )
It's a washout. They're all dead.
No dial tone, no operator, nothing.
You can add the sound of no phones ringing
to that of no dogs barking, Brian.
LAUREL: So, what do we do now?
MAN: Let's go upstairs.
That's where the restaurant must be.
You know, you got a one-track mind, mister.
In the first place,
my name is Rudy Warwick, not mister.
Sorry. And second,
people think better when their stomachs are full.
It's a law of nature.
JENKINS: I agree with Mr. Warwick.
I think we could all use something to eat.
NICK: Yeah, why not? Dinah.
I'm starting to feel like Robinson bloody Crusoe anyway.
You know something, don't you?
I might. But then I might not.
Uh, but I do have a suggestion.
Young lady, save your matches.
Well, I don't get what you mean.
There's gotta be a newsstand upstairs
with tons of matches and disposable lighters.
I just still say save your matches.
ENGLE: Wait a minute.
Where's Mr. Toomey?
Who cares? Good riddance to bad rubbish.
I'm sorry, mate. I didn't see him go.
Toomey.
Craig Toomey, where are you?!
Something's wrong.
There's no echo.
What do you mean?
That's impossible.
Hello?
Is anybody there?
Hello?
Is anybody there?
( Toomey panting )
ROGER TOOMEY: They're coming, son.
The Langoliers are coming.
No, no one is coming.
They're coming for you.
( sobbing )
You've been bad.
You had an appointment in Boston,
and you skipped it.
No, it wasn't my fault. I-- I was kidnapped.
There are no excuses!
Lying down on the job is lying down on the job.
I don't want my job. What?
I don't want my job and I don't want my life.
Since I was 5 years old you've been--
You've been loading on the pressure.
Seeing if you could make me explode.
Well, I am going to explode, father, and I don't give a damn.
You know what I did?
I bought $43 million worth of bonds
I knew were total garbage. You did what?
I pasted a target on my own head.
I want out, I want out!
Get ahold of yourself, for God's sake.
Now,
are you ready to get with the program?
Why can't you love me and leave me alone?
Love is not part of the big picture.
Now, are you gonna look at the big picture,
or do I have to let them have you?
They don't even exist.
No, they exist. No.
They were here and they'll be back.
They'll be back for you, you lazy sack of dirt.
What can I do? What can I do?
"What can I do? What can I do?"
You do whatever you have to do and you get to Boston.
Because if you don't, Craiggy-weggy,
they are gonna chew the eyes right out of your head.
TOOMEY: Daddy, no, make them go away.
Make them go away, please.
Just make them go away, make them go away.
Okay?
ENGLE: Toomey?
Craig Toomey?
Okay, let's go.
Wait.
ENGLE: What? Shh.
There.
There, I feel the light.
( ominous theme playing )
The glass is wrong too.
Dinah-- Shh.
I hear something.
There's nothing out there.
Dinah, it's your imagination, that's all.
Dinah, tell us what you hear.
I don't know.
It's very faint.
I heard it when we got off the airplane,
and then I decided it was just my imagination.
Now I can hear it, even through the glass.
It sounds...
a little like Rice Krispies after you pour in the milk.
You hear anything?
Not a bloody thing. Mind you, she is blind.
I mean, she's used to making her ears do double duty.
I think it's hysteria.
Do you hear anything?
"Not a bloody thing. Mind you, she's blind.
She's used to making her ears do double duty."
"I think it's hysteria."
LAUREL: Dinah, what are you talking about?
ENGLE: I was talking to Nick.
And she heard us from over there by the window.
BETHANY: You've got great ears, hon.
I hear what I hear.
And I hear something out there. In that direction.
And it's awful.
A really terrible, scary sound.
If you could just tell us what it was,
little miss, it would really help.
I don't know.
But I know it's closer than it was.
We have to get out of here, and soon,
because something's coming.
The something making that horrible cereal noise.
ENGLE: Dinah, the plane we came in on is almost out of fuel.
Then you have to put some more in it!
It's coming, don't you understand?
It's coming and if we haven't gone by the time it gets here,
we're all going to die.
( sobbing )
I don't wanna hurt anyone.
ROGER TOOMEY: Don't forget, Craiggy-weggy,
the Langoliers were here.
And they will be back.
You'd better be gone when they get here,
or you know what will happen.
Oh, I know what will happen.
They'll eat me.
They'll eat me all up.
( sighs )
Look, this is an airport.
There must be other planes, planes with fuel in 'em.
If we find one, can you fly it? Yes.
There's just one little problem. Where exactly should we go?
Away, away from that sound.
Is it closer now than when you first heard it, Dinah?
I don't know.
I think it's still far, but I can't be sure.
Then I think we should do what Mr. Warwick has suggested.
Let's find the restaurant, have a bite to eat,
and then we can figure out what's gonna happen next.
Who elected him leader of the group?
We better go along. I think he really knows his stuff.
What kind of stuff?
I don't know exactly, but...
well, I think it's worth finding out.
Well, come on. All right.
( Nick sighs )
ALBERT: I'm starving.
Let's see what they got.
BETHANY: See, I told you I didn't need to save my matches.
You were right. But let's try one of these, okay?
Sure, but why?
Well, that's what we're going to find out.
Hm.
Son of a bee.
Looks like we've discovered yet another problem.
Can I borrow your book of matches, Bethany?
NICK: Wait a minute, matey.
Exactly what is it you do know?
Only that this situation has
even wider implications than we thought.
WARWICK: What's happening, folks?
ENGLE: I'll be damned if I know, but I don't like it much.
Huh.
Even that's more than I expected.
All right. Tell us about it.
I know you-- ( spits )
It's spoiled.
Damn, I hate that. Spoiled?
No, no, I doubt that.
You can tell from the clocks that the power in the cold case
must have gone out less than five hours ago.
You don't think it's spoiled, you try it.
That's not spoiled.
It's just tasteless, like chewing paper.
But I can understand why you might have thought
that it was spoiled. It was spoiled.
Try your beer, see how that is.
I don't want it anymore.
GAFFNEY: Here, give it to me.
I've drunk 'em warm before, don't cross my eyes none. Mm.
Mm, mm.
Damn. Flat.
Flat and tasteless like an old tire.
Oh, good, that's good. Flat, that's something we can see.
Uh, can you get some more beers and some soft drinks
from the cold case over there?
( ominous theme playing )
ROGER TOOMEY: You can't dilly-dally any longer, Craiggy-weggy.
You have to get to Boston
and you have to do it now!
TOOMEY: I don't want to shoot you, but I will if I have to.
I don't want to shoot you,
but I will if I have to.
Yes, I will.
TOOMEY: You're out there, aren't you?
You ate up all the useless, lazy people,
and now you're coming back for me.
But I'll be gone by the time you get here.
I'm going to Boston.
( chuckles )
NICK: So we're all agreed. The beer is flat.
But why? Well, I have an idea.
But before I say anything else,
I'd like you all to look around this place very carefully
and see if you can tell me what's different
about in here than on the plane.
( mysterious theme playing )
The rings.
The wallets. The purses.
The surgical pins. None of that stuff is here.
Correct.
That's 100 percent correct.
As you say, there's none of that stuff here.
But when we woke up it was on the plane, why isn't it here?
WARWICK: Maybe nobody was here when it happened.
JENKINS: No, that's nonsense.
An air terminal is like a police station or a fire station.
There's people there regardless of the hour.
Watch out, I hear someone. ( screams )
I don't wanna shoot her, but I will if I have to.
Now take me to Boston.
Do you hear me?! What is it?
Take me to Boston. You're choking me!
DINAH: What is he doing? Stop choking me!
Steady on, old mate.
You're gonna make me do something I don't want to do.
Now you stop moving around! Do as he says, Bethany.
I don't wanna shoot her, but I will if I have to.
Ow!
No, Albert! BETHANY: No!
( Toomey grunts )
I think I've been shot.
ENGLE: Albert!
It's all right, Albert.
Albert? Albert?
You all right, kid? You all right?
How bad am I hit? Were you able to stop the bleeding?
Oh, I think you'll live, old son.
Here, souvenir for you. Found it on the floor.
Must have hit you square in the chest and bounced off.
I was thinking of the matches.
I sort of thought it wouldn't fire at all.
That was very brave, Albert. And very risky.
God, what if I'd been wrong?
You almost were.
A little more pop and Albert here
would have had a bullet in his lung.
You okay?
( Toomey grunting )
NICK: Here's what we do with Mr. Toomey.
I thought it was really brave.
NICK: Would you pass me that rope?
I mean, incredible.
It wasn't much.
NICK: I don't want him moving at all.
( grunts )
All right.
Hold his hands for me.
Say...
I didn't kill that guy, did I? I hit him pretty hard.
Mm, he's out like a light, but he's still alive.
NICK: His pulse is strong and regular, he'll live.
He'll just wake up with a bad headache.
In the meantime, I think it might be wise
to take a few precautions.
Don't you? ( yells )
Do you have to be so rough? Yes.
If you want him safely secured.
You do want him safely secured, don't you?
All right.
Just like one of Father John's Christmas turkeys,
neatly trussed.
Now, where were we before we were so rudely interrupted?
Let me up. Let me up.
Let me up right now. NICK: Shut up.
Stop it! Hey.
What did you have to do that for?
Now listen to me. You need waking up, fellows and girls.
And I haven't got the time to do this gently.
Dinah says something's coming towards us,
rather nasty at a rate of knots, and I for one believe her.
Now having a knowledge of what it is may not save our lives,
but I'm bloody sure that a lack of it's gonna put an end to us
and soon.
Anybody disagree?
Jolly good.
Mr. Jenkins, pray continue.
I'm sorry, but I write about these things.
I just haven't taken part in them, until now that is.
I think you're doing great, Mr. Jenkins,
and I like listening to you too.
It makes me feel better.
Oh, well, thank you.
Thank you. That's very nice of you to say that, Dinah.
I think I've found a fallacy in our thinking.
And it is this.
We all assumed,
as we began to grasp
the dimensions of this event,
that something had happened to the rest of the world.
But the evidence doesn't bear that assumption out.
What has happened
has happened to us.
And us alone.
I am convinced that the world as we know it
is ticking along as it always has.
But it's we,
the ten survivors of Flight 29,
who are lost.
Please tell us what you know, Mr. Jenkins.
I can't help but feeling that we're running out of time
and fast.
Yes, of course.
There's no mess in here, but there's a mess on the plane.
There's no electricity in here,
but there's electricity on the plane.
Neither of these are conclusive of course,
but then there's the matches.
Bethany had her matches on the plane, they work fine.
The matches in here, they just fizzle.
The carbonated drinks are flat.
Uh, the food is tasteless. The air is odorless.
And sound fails to reverberate.
Then we have a madman, he fires a gun,
and the bullet travels mere inches
and it has no force.
Then, of course, there's the weather.
What about it?
Well, heh, there's a strong wind blowing out there
in heavy gusts.
And yet there's a low cloud cover that doesn't move at all.
It's-- It's frozen in place.
I think the weather patterns are stopping,
or they're running down like an old pocket watch.
Uh, which brings me right to the very hub of the matter.
I said not 15 minutes ago
that I-- I felt it was lunchtime.
Well, now I feel it's a lot later than that.
I feel it's 3:00, 4:00 in the afternoon.
And I have a terrible feeling
that we're going to see it getting dark outside
before our watches tell us
it's a quarter to 10 in the morning.
Please, Mr. Jenkins, can we get to the point?
Well, the point is
that what we're dealing with here
is...time,
not dimension as Albert has suggested.
Let's say that every now and then,
a hole appears in the stream of time.
Not a time warp but a time rip.
A rip in the temporal fabric.
That's the craziest thing I ever heard.
Amen.
JENKINS: Mr. Gaffney, what's happening to us,
the situation that we're in, this is crazy.
Go on.
Let's say that such a rip
in the-- In the fabric of time does occur now and then.
It would be similar to certain rare weather phenomenon
that are reported like upside-down tornadoes
and circular rainbows and daytime starlight.
The aurora borealis.
What?
There was an aurora borealis over the Mojave Desert
when we left LAX.
We were supposed to fly right into it.
( mysterious theme playing )
Well, that's it, that's it.
An aurora over the desert.
That strengthens my point, doesn't it?
If we had the bad luck to fly into that,
and it was a time rip,
well, that means that we're no longer in our own time,
ladies and gentlemen.
NICK: I have to agree with the lady, time is short.
Could we just get to the bottom line, please, Mr. Jenkins?
The bottom line-- The bottom line is, I believe,
that we have hopped an absurdly short distance into the past--
Say as little as 15 minutes.
--and we're discovering
the unlovely truth about time travel.
That one can't appear
in the Texas State School Book Depository
on November 22nd, 1963,
and hope to stop the Kennedy assassination.
One can't witness the building of the pyramids,
or the sack of Rome,
or investigate the age of the dinosaurs firsthand.
No, fellow time travelers.
Have a look around you.
This is the past.
It's empty.
It's silent.
It's a world with all the meaning
of a discarded old paint can.
Sensory input has disappeared.
Electricity has already disappeared.
Time itself is winding down
in a kind of a spiral
that's going faster and faster.
But what about us?
If this place is winding down
and we're caught in it...
I suppose
we'll wind down with it.
Or else wink out of existence
like the other passengers on our flight.
( strange whirring in distance )
Mr. Jenkins,
the sound I told you about before...
I can hear it again.
It's getting closer. Much, much closer.
I'm going back out to the windows.
What about you two, are you coming?
We can hear it as well as we want to from here.
All right. Ahem.
Mind you stay away from Mr. Toomey.
TOOMEY ( imitating Nick ): Stay away from Mr. Toomey.
( strange whirring grows louder )
NICK: What do you make of it, Brian?
All I know is it's the only sound in town.
GAFFNEY: It's not in town yet,
but it will be and soon.
Dinah's right.
We gotta get out of here,
and we gotta get out of here now.
Yeah, but where do we go?
Atlantic City? Miami Beach?
The nearest spa? JENKINS: Captain,
you're suggesting that there's no place we can go.
I think-- I hope that you're wrong about that.
First, I have a question.
Is it going to be possible to refuel that plane,
even though there's no power?
ENGLE: Yeah, they have fuel pads in the ground
next to the Jetway out there. They should be full.
But even if we do refuel the plane, then what?
Then we take off again.
The sound is coming from the east.
The time rip was several thousand miles to the west.
Can you retrace our original course?
Yeah, I can, but why?
The time rip might still be there.
Don't you see? We might be able to fly right back through it.
NICK: He might have something there, Brian. He just might.
Yeah, he might.
He might or he might not. It doesn't really matter,
'cause we're not going anywhere in that plane.
WARWICK: Why not?
If we can refuel it, then why--?
Remember the matches?
The ones from the bowl in the restaurant?
The ones that wouldn't light? What? What about 'em?
NICK: Well, don't you see, mate?
If the matches won't light and the beer's flat--
Then jet fuel won't burn.
It will be as used up and as worn out
as everything else in this world.
I might as well fill up those fuel tanks with molasses.
You mean, we're stuck here?
With that noise coming closer and there's no way out?
( whimpers )
( dramatic theme playing )
( sighs )
( strange whirring grows louder )
( ominous theme playing )
( static )
You mentioned langoliers earlier, Mr. Toomy.
What are those? Dinah...
don't talk to him.
Oh, don't worry.
I wouldn't hurt the child.
No more than I would've hurt that girl.
I'm just frightened, that's all.
Aren't you?
Yes.
But I don't take hostages
and I don't try to shoot teenage boys
when I'm frightened.
( wheezy laugh )
Touché.
( laughs, coughs )
What are the langoliers, Mr. Toomy?
Well...
( wheezy cough )
...I-I-I used to think that they were make-believe
but I'm beginning to wonder because I hear it too.
The sound. The sound's the langoliers.
Well, I don't know what else it could be.
Tell me more about them.
Well...
( groans )
My father used to say
that the langoliers were little creatures
that lived in closets and sewers and other dark places.
Like elves.
( laughs ): No.
No, not like elves.
Nothing quite so pleasant, I'm afraid.
He said that all they really were
was hair and teeth and fast little legs.
Oh, those little legs had to be fast,
so they could catch-up with all the bad little boys
no matter how quickly they scampered.
LAUREL: Stop it.
You're scaring her.
DINAH: No, he's not.
I know make-believe when I hear it.
I think what Laurel means is that I'm scaring her.
( dramatic theme playing )
What my dad said, there were--
There were thousands of langoliers.
There had to be thousands of them
because there are millions of bad little boys
and bad little girls scampering all over the world.
Oh, my father loved that word, scampering.
I think because it implies senseless, directionless,
unproductive motion.
Because the langoliers, they run.
They have purpose.
In fact, you could say
that the langoliers are purpose personified.
What did the kids do that was so bad
the langoliers had to run after them?
Well, I'm glad you asked that question Dinah,
because when my daddy said someone was bad,
he meant that that person was lazy.
And a lazy person couldn't be part of the big picture.
Because in my house, you were either part of the big picture
or you were lying down on the job.
And if you were lying down on the job,
and you weren't part of the big picture,
then the langoliers would come and take you out of the picture,
take you out of it altogether.
He said you'd be lying in bed one night
and you'd hear them coming towards you,
crunching, chomping,
smacking--
Stop it!
That's enough.
Okay.
( groans )
I'll bet you were scared of your dad,
weren't you, Mr. Toomy?
You win the cigar, little miss.
I was terrified of him.
Is he dead?
Yeah.
DINAH: Was he lying down on the job?
Did the langoliers get him?
( sighs )
Yes.
Mr. Toomy?
What?
I'm not the way you see me.
I'm not ugly. None of us are.
And just how do you know how I see you,
little blind miss?
You might be surprised.
( static )
Okay, so, what do we do now?
I don't know.
God, she looks beautiful, doesn't she?
Yeah, especially compared to everything else around here.
Brian, exactly how much fuel do we have left?
Well, when we landed, I had less than 5000 pounds.
To get back to where this happened,
I'd need at least a hundred thousand.
( mutters indistinctly )
Whatever's happening seems to be catching.
Well,
I'm going back to the restaurant.
I don't like leaving the ladies alone
with that banker fellow too long.
Come on.
Well, wait a minute.
( melodramatic theme playing )
Albert.
Albert, what is it?
Captain Engle,
come here.
I think I have the solution to our problem!
DINAH: What are they doing?
Well, they've taken the slide away
and they're putting the stairway by the door.
And now they're going up.
Are you sure you don't have any idea what they're up to?
All I know is that Albert went nuts.
He kept saying something about the plane being more there.
I didn't get it. He just was really jabbering.
I just hope they hurry up.
Because poor Mr. Toomy's right.
The langoliers are coming.
Sweetie, that's just something his father made up.
Maybe once it was make-believe,
but not anymore.
( eerie theme playing )
All right, Albert.
On with the show.
Exhibit A:
the book of matches from the restaurant.
( grunts )
It looks different outside.
( mysterious theme playing )
The light's going. That's what's different.
How's Mr. Toomy?
( scoffs ): Are you kidding?
He fell asleep.
I guess that's it.
There's nothing more we can do out here.
Well, wait a minute. I smelled something. I smelled the sulfur.
I did too. Try another one, Albert.
( gasps ) You see?
( chuckles )
D--
Do you see what it means?
We brought our own time with us!
That's the past out there and everywhere, I guess,
east of the hole that we came through,
but the present is still in here.
Still caught inside this airplane.
That's why it looks brighter, more--
More alive than anything else here.
Bravo, Albert, bravo. Try the beer.
Smell.
My God, it smells like beer.
Oh, come on mate, pour it.
My doc says suspense is bad for the old ticker.
( clinks )
( pouring )
( ominous theme playing )
Hey,
you awake?
( eerie theme playing )
So the matches work, but the lager doesn't.
But what does that mean?
( fizzing )
( exhales )
Apparently it takes a moment for things to catch-up.
Oh, that's excellent.
That's the best beer I ever had in my life.
Oh, you're right. It's bloody marvelous.
Yeah, try the soda.
( fizzing )
( English accent ): Gentlemen...
the cola is very, very good today.
( laughter )
( eerie theme playing )
( static )
Christ almighty, it's dark.
You're supposed to be watching the nut.
Oh, don't worry, he's still out.
Damn, that sound is creepy.
Its like a...
bunch of coked-up termites in a balsa-wood glider.
DINAH: I think we oughta check on Mr. Toomy.
I'm worried about him.
But if he's unconscious,
there's nothing we can do about it.
I don't think he is unconscious.
I don't think he's even asleep.
All right, let's go see.
( heartbeat )
Hey, look, I thought I'd--
DON: Oh, my God.
Where is he? I don't--
Be quiet.
( heartbeat )
There. He's hiding over there, behind something.
How do you know that, little miss?
I don't hear a thing. I do.
I hear his heart.
It's beating very fast and very hard.
He's scared to death.
I feel so sorry for him.
Mis-- Mr. Toomy?
Please come out.
We don't wanna hurt you.
DINAH: Mr. Toomy.
Mr. Toomy, please don't be afraid.
LAUREL: Dinah... ( yells )
Dinah!
( screams )
No, Dinah!
No!
( crying )
NICK: Easy now.
All right.
Dinah, all right.
I'll go get help!
She's not a little girl.
She's not a little girl!
She's the head langolier.
She's calling the other langoliers
with her dead blind eyes.
Little brat.
You're a bloody genius, Albert. You know that?
You're a bloody genius.
It wasn't much. I--
I saw what was happening with Bethany's matches
and thought-- BETHANY: Come!
You've got to come!
Calm down. Please!
He stabbed her, and I think she's dying.
Calm down. Who's dying?
Dinah.
The blade broke off in her chest.
Mr. Toomy did it.
Bloody hell! Albert, you come with me.
Brian, get the engines warmed up,
but keep her here till I get Dinah aboard.
Mr. Jenkins, bottom of the stairs.
Keep an eye out for Mr. Toomy.
Come on, Albert.
You okay? You all right?
( coughing, choking )
( wheezing )
Get-- Get out of here.
Shh-shh,
try not to talk.
Dinah, try not to talk, okay?
Hello, Dinah.
Don't you worry, love.
We're gonna have you right as rain in no time flat.
( coughs )
Does it hurt?
Yeah, it hurts to breathe.
It's making you want to cough, eh?
Yeah,
no, I don't know.
Well, it's better if you don't.
If you get that ticklish feeling,
you just try to ignore it, okay?
Don't you talk any more.
Listen to me.
She's got internal bleeding.
If we don't get this blade out of her, right now, damn quick,
she's gonna drown in her own blood.
Mr. Warwick,
run and get me six tablecloths
from that grotty little pub around the corner,
and make it fast.
What are you doing?
Looking for the right surgical instrument.
The sight of blood bother you?
I can handle it if I have to.
Good. You're gonna be my nurse then.
'Kay.
You're gonna be all right, Dinah.
I'm gonna fix you up good as new.
I promise.
They're closer.
You really, really have to hurry.
( crying )
I know, love.
I know.
MAN: That's right, Craigy-waigy.
You just sit here in the dark.
When the time comes to move,
I'll tell you.
All right, Dad.
Whatever you say.
Right. We're gonna need a stretcher
to take her aboard the plane.
Albert, you and Mr. Gaffney are designated stretcher-finders.
Mr. Gaffney, I think if you look behind that counter
I think you'll find two very sharp knives.
Can I use one of these tablecloths?
Yeah, why?
I'll show you.
When I was a kid,
we used to play Indiana Jones.
I made something like this once
I nearly broke my brother's arm with it.
Good enough. But remember,
your mission is not to recapture Mr. Toomy.
Your mission is to find a stretcher as quick as possible
and bring it back here double-time. Got it?
Now, if you don't find anything in ten minutes,
I want you back here, and we'll carry her aboard.
But if there's internal bleeding,
we can't move her--
We don't have a choice.
I've gotta get her to the plane somehow,
and ten minutes is all I can spare.
I know, but if she's bleeding internally--
Laurel.
He's right.
Come on, son, let's move. Come on.
How are you feeling, Dinah?
Hurts bad.
I know it does, love.
See, you've got a little piece of blade stuck in you,
and I've got to pull it out.
You know that, don't you?
DINAH: Yep.
I'm scared.
So am I, Dinah.
So am I.
( coughs )
Fold those two tablecloths into squares.
Thick as you can get them. And kneel closer to me.
Mr. Warwick, take off your belt.
Now, then,
I'm going to grasp the blade and pull it out.
The moment it comes out, you slap one of those bandages
on there and you press, you press hard, you understand?
Yes.
Jesus, help me.
( exhales )
( coughs, gasps )
Don't you dare.
Don't you go weak sister on me!
Don't you dare!
( coughs )
Now, now! Press hard!
Press hard as you can! Do you understand me?
Yes.
Press hard.
( coughs )
Let's try in there.
You think it's locked?
There's only one way to find out.
Hey, kid. Albert. Look.
DON: A stretcher.
Hey, look out! He's in here. He's in here!
( yells )
You're one of them too, aren't ya?
A langolier.
Screw you.
( grunts )
I'm sorry.
I am really, really sorry,
but I have to do this.
If you could see things
from my perspective, you'd understand.
Stand!
( grunts )
( whimpers )
I'm going to Boston!
I'm going to Bo--!
( grunts )
( gags )
( coughing )
All right, lift her up.
( choking )
That's it. We got you.
Belt! Do you hear that?
Do you think Toomy got them?
Belt, now!
Wrap it around.
I want you to keep the pressure on
'cause I'm going downstairs, all right?
Please be careful.
Oh, I will.
It's what I do best.
You did bloody well.
Thank you, Laurel.
Don't--
Don't you kill him.
Why not?
That bastard stabbed you, love.
All I know...
is we need him.
Do you understand? We need him.
( coughs )
Listen to what she says, Nick.
Got it.
Captain Engle?
Yeah.
Why aren't they back yet?
Uh, I can't say.
Well, I asked Bob-- I mean Mr. Jenkins.
--if he could see anyone moving around in the terminal,
and he said he couldn't.
What if they're all dead?
No.
No, I'm sure they're not.
If it will make you feel any better,
why don't you join them at the bottom of the ladder?
Are you scared?
Yeah.
Yeah, I sure am.
I sort of feel better.
It's hard being scared all by yourself.
COMPUTER: Thank you for flying American Pride.
You're welcome, I'm sure.
Any sign of 'em?
Uh, well, it depends on what you call a sign.
I just heard something like shouting,
just before you came out of the plane.
I hope Dinah's gonna be all right.
But I don't know. I mean, he cut her really bad.
Did you see the captain?
He's up programming his instruments or something.
I hope so.
( scratchy chomping sound )
What is that noise?
My dear, I hope we never have to find out.
Albert?
Are you all right, Albert?
Where is Mr. Gaffney, Albert?
He's in the Airport Services office.
Mr. Toomy was in there hiding behind the door, I guess.
He killed Mr. Gaffney because he walked in first.
If I'd have walked in first,
he would have killed me instead.
Then...
I-- I killed Mr. Toomy.
Because I had to.
He came after me, do you see?
He found another knife someplace and he came after me.
Albert.
Albert, can you pull yourself together, mate?
I don't know,
I never killed anybody before.
I know.
It's a horrible thing. I understand, believe me.
But it's gotta be gotten over.
And you've gotta get over it fast.
'Cause that sound is coming closer.
You did this with a toaster?
He's not dead.
He's not?
See for yourself.
He's out cold, but he's still in the game.
Now, let's see if we can find Mr. Gaffney
and see if he got lucky.
Now, did you find that stretcher?
Huh?
The stretcher, Albert.
Oh.
Y-yeah, we found it.
Good lad, come on, let's go.
Keep it together. Albert.
That's all you gotta do.
You just keep it together, and you'll be fine.
Albert.
Take the stretcher upstairs. I'll be with you in a minute.
What are you going to do?
I'm gonna go back in the office
and see if there's anything else I can use.
I don't believe you.
Nor do you have to, Albert.
Just take the stretcher upstairs
and I shall be with you directly.
And don't look back.
This is more than you deserve, you bastard.
DINAH: Don't you kill him.
We need him.
Do you understand me? We need him.
Nick!
You coming?
Yes, in a minute.
NICK: Take it easy, not so fast.
They're coming out.
Let me help.
Careful, Albert. Bethany, don't jiggle her.
And help me carry her up the stairs.
How bad is she?
She's unconscious, but still alive.
What happened to the others?
Gaffney's dead.
Toomy might as well be.
Now, mind you keep your end up, now.
Careful now.
Bring her over here.
NICK: Careful.
Okay, and set her down gently.
Now, strap her in.
It's bad, isn't it?
Bad enough.
Will she live until we get back?
How the hell do I know?
I'm a soldier, not a bloody surgeon.
I'm sorry.
This time-travel stuff
really gets on your nerves, doesn't it?
You don't have to apologize.
I'm gonna start the engines,
pull as close as I can get
to one of the, uh, fuel pads out there.
While I'm doing that,
the four of you pull the hose truck over.
There's one sitting on the other Jetway.
You got it? ALBERT: Got it.
Go to it, then. Bethany, Mr. Warwick?
Go down with them.
Roll the ladder away from the plane,
when I get it repositioned,
move it back up to the door.
Go ahead.
We'll get you home.
Oh, my God.
Oh, my God, look.
LAUREL: It's coming day again already.
How long has it been since it turned dark?
Less than 40 minutes.
Yeah, well, we can't worry about that now.
( ominous theme playing )
DINAH: Craig.
Craig Toomy...
Let me die.
Please, please, just let me die.
What's gonna happen to Mr. Toomy?
I don't know.
All I know is when the chips were down,
I did what you and Dinah wanted.
I left him lying there unconscious on the floor.
Would you, ah, like to go out to dinner with me,
if and when we get back to L.A.?
Yeah.
I'd have that to look forward to.
So would I.
( exhales )
Maybe if we could see it, we could deal with it.
I don't think so.
All right, then,
all together.
( all grunting )
( grunts )
( groaning )
Good job.
Over here.
( all grunting )
Keep going. Keep going.
Good, good. Hold it.
Here, Bethany, why don't you come here?
All right, see this over here? Can you open that lid?
Nick, you take that head out of there, attach it there.
( Nick grunts )
ENGLE: Is that in okay?
Yeah.
ENGLE: Here you go.
Which one first, captain?
Why don't you give me the one on the right.
Yeah.
( grunts )
( motor starts )
( panting )
What now, Brian?
ENGLE: I'm gonna use the engines
to suck the gas out of the fuel pad.
How long is that gonna take?
I don't know.
An hour, maybe two.
You better hurry it up.
I don't think we've got two hours.
We may not even have one.
Craig.
Craig, get up.
( moaning )
DINAH: You have to get up now.
Go away. Go away.
I-- I--
I hate you. Go away.
They've come to you, Craig.
All the people you wanted to see.
They left Boston and they came here.
You can still see them.
If you're man enough to get up, that is.
Man enough?
( scoffs ) Whoever the hell you are,
you've gotta be kidding.
DINAH: Come on, Craig.
( gasps ) They won't wait forever.
The langoliers will see to that.
You have to get up.
You have to.
( exhales )
Come on, Craig, get up.
( hisses )
This way, Craig.
They're all waiting for you.
TOOMY: No.
I'm sorry, Mr. Toomy.
In spite of what you did, I'm sorry.
But we need you.
So please hurry. Hurry.
( coughs )
( pants )
( engines running roughly )
( engines slow )
What is it, Brian?
( electronic beeping ) The engines are getting a taste
of the new fuel and they don't like it.
( idling roughly )
Damn.
Well, what can you do about it?
( exhales ) Try to keep the other two engines
running the pumps, and hope.
( engines slow )
Now I'm shutting down completely.
We'll have to wait for the fuel to join our plane's time stream.
( engines accelerate )
( idling smoothly )
Then we may have lucked out, Brian.
Yeah, we might.
What's happening? Is everything all right?
We may just have a shot at this thing.
( gasps )
( exhales )
( ragged breathing )
TOOMY: You, you brought them to me, didn't you?
The-- the chairman of the board,
the company directors, all of them.
Yes, but you have to hurry.
Before they decide you're not coming and leave.
This way, Craig.
They're all waiting for you.
( coughing ) Hurry.
( distant rumbling )
Dinah's talking in her sleep or something.
I think she might be delirious.
( inhales )
RUDY: I don't know...
...but she might be slipping away.
I think--
DINAH: You have to hurry,
before they decide you're not coming.
I think she might be dreaming about that Toomy guy.
She said his name before.
Yes, I will if you want me to.
But hurry. I know it hurts,
but you have to hurry.
She is delirious, isn't she?
No, I don't think so.
I think it has something to do--
With what?
With what she told Nick about Mr. Toomy.
About how we need him.
Just let her be for a minute,
she needs her sleep.
God,
I hope we take off soon.
Thank you. Thank you for bringing them to me.
This is my last chance, you see.
This is my last chance to-- To get away
from my father and-- And everything else.
DINAH: Yes, I know,
but you have to hurry.
Please, please, hurry.
Okay, okay, okay,
anything you say.
( panting )
( painting louder )
( explosion )
What was that?
Sounded like a tree falling or something.
But there's not enough wind.
No, there's not.
What's happening?
Nothing. Look at that.
We gotta get out of here. We gotta get out of here now.
BETHANY: Make it stop.
Please, make it stop!
Time is getting short, Brian.
How much longer?
ENGLE: Uh...
Fifteen minutes.
You can't cut that?
You're sure you can't cut that?
I need 50,000 pounds of fuel in each wing, not a drop less.
Otherwise we crash and burn.
( explosion )
( groans )
( panting )
Hurry, Craig.
( groans )
( coughing, wheezing )
Look at me.
( coughs )
( panting )
Now stand, Craig. Stand.
( panting )
( groaning )
Look at me, Craig.
They've come all the way from Boston
just to meet you.
( laughs, wheezes )
Now hurry to them, Craig.
Hurry, hurry.
( panting )
( groans )
Run to them, Craig.
Quick. Quick.
Run around the plane. Run away from the plane.
Run to them now.
( coughing )
ENGLE: All right. We're uncoupling
and getting the hell out of here.
BETHANY: Mr. Toomy.
It's Mr. Toomy!
What's he doing?
Never mind him right now.
We're all out of time.
( panting )
Whoa. Ah.
( crowd applauding ) ( Toomy coughing )
TOM HOLBY: Ah, Mr. Toomy, at last.
So glad you could make it, Craig.
So give us your report, Craig.
Tell us how much money you made for us.
You wanna know how much money I made for you?
Yes.
I'll tell you how much money I made for you.
I didn't make any--
ROGER: No, Craig.
Shut up. Shut up. Shut up!
ROGER: Tell them you lost the money
but it was a mistake, an accident.
No.
I didn't make any money for you.
I lost money for you.
I lost money for you!
I lost...
...$43 million.
And I did it deliberately.
( woman gasps ) I did it deliberately!
( laughing maniacally )
( exhales )
You fool.
You stupid fool.
No.
ENGLE: What's he doing?
You don't frighten me anymore, Father.
The langoliers don't-- Don't even exist.
You just made them up.
( chomping sounds ) TOOMY: No.
No.
( explosion )
( exhales )
Wh-- Where am I?
( grunting ) Okay.
( explosion )
All right, let's get the hell out of here.
( high-pitched whining )
What the hell are those?
( gasps )
( high-pitched whining )
Oh, my God.
( screaming )
Langolier!
( Toomy wailing )
Oh, no!
Come on.
Come on, move it!
( muttering hysterically )
No. No.
No. No. No.
No.
No. No.
Ah.
( Toomy wheezing )
( yelling )
No!
( howling )
( bawling )
( panting )
( muffled crunching )
( screaming )
( tense theme playing )
( engines powering up )
ROGER: No, Craig,
you may think you're running,
but you're not.
You're scampering.
( screams )
No,
no, no.
Daddy, no.
Make them go away.
Please make them go away.
I'll be good. I'll be a good boy.
Please, I promise I'll be good,
if you just make them go away!
( Craig screaming )
( langoliers chomping )
( tense theme playing )
Belt in. Belt in.
Oh, no.
( tires screech )
Whoa.
Come on, baby.
( grunts )
( all grunting )
Oh, God.
( Bethany groans )
Are you okay, Bethany?
Good Lord, look at that.
BETHANY: What is it?
They're being drawn to Mr. Toomy,
or where Mr. Toomy was.
If Toomy hadn't left the terminal,
they would have eaten us
and the plane too.
She knew.
NICK: Somehow she knew.
BOB: Now we know,
don't we?
LAUREL: What?
We know what?
We know what happens to today
when it becomes yesterday.
It waits for them.
BOB: It waits for them,
the timekeepers of eternity.
Always following behind,
cleaning up the mess in the most efficient way possible,
by eating it.
( whimpers )
( langoliers chomping )
DINAH: Mr. Toomy
knew about them.
He said they were the langoliers.
Oh, no.
Come on, come on.
( buzzes )
( all grunting )
All right.
( Brian sighs )
( screaming )
( Bethany screams )
Get outta here.
Did it get us?
Up, up, up, up, up.
Come on, come on.
Did we make it? Are we off the ground?
( groans )
What happened? Are we crashing?
Listen, Mr. Warwick,
sit down, strap yourself in,
and everything will be all right.
( tense theme swells )
( gasping )
Don't you dare open those.
Don't worry,
I won't.
( metallic whine )
( sighs )
We're up.
BRIAN ( on intercom ): We all know what happens now.
We go back exactly the way we came in.
And we hope that whatever doorway
we came through is still there.
If it is,
we'll try going through.
I'm going forward.
Do you wanna come?
No, I'll stay with her.
NICK: Okay.
We've still got a dinner date. You haven't forgotten, have you?
No, I haven't and I won't.
Neither will I.
Hold on, Dinah.
Please, hold on.
What happens if the fuel goes bad?
You know the answer to that, Bethany.
( sighs )
Yeah, I know.
We crash. End of story.
Would you like to kiss me?
Yes.
Well,
you better go ahead, then.
The later it gets, the later it gets.
Time's going faster, isn't it?
Yeah, it is.
I think after a while the days and nights
will be passing as fast as a camera shutter can click.
We were all going to Boston for different reasons.
What about you, Nick?
Fess up.
The hour groweth late.
Well, why not?
What does a most secret classification mean
when you've just seen a bunch of killer cannonballs
rolling up the world?
Hm.
I'm a special operator
in the armed services, Brian.
I do a number of odd jobs,
some fairly innocuous,
some fabulously nasty.
There's a man in Boston
who's a politician of some note.
Now, this man--
I'll call him Mr. O'Banion,
for sake of conversation.
--is very rich, Brian,
and an enthusiastic supporter
of the Irish Republican Army.
He's also an idealist
of the most dangerous sort.
One who's never had to view the carnage at first hand.
You were supposed to kill him?
Not unless I had to.
See, our Mr. O'Banion
has a great deal of powerful American friends,
and his friends are our friends.
And therefore killing Mr. O'Banion
would be a great political risk.
But he does have a very nice piece of fluff on the side.
She's the one I was supposed to kill.
As a warning?
Yeah,
as a warning.
Well, that's enough about me.
What about you?
What are you hiding you'd like to get off your chest?
( scoffs ) Me?
No.
No, I don't have anything to hide.
Well maybe there's one thing.
My ex-wife died in a fire in Boston.
That's why I was heading back.
Our marriage had ended badly.
We were having a fight about children.
I wanted them,
she didn't.
And...
I did something--
( sighs )
--that I never thought I'd do.
Some--
And I always wanted to tell her I was sorry.
I guess I waited too long.
Well, I shouldn't worry about it too much, Brian.
I'm sure she's forgiven you.
If you get out of this,
if we make it back,
you gonna carry through with it?
You gonna kill the girl?
No.
No, no more midnight creeps
for Mrs. Hopewell's boy Nicholas.
Now, if we get out of this safely,
a prospect I find
rather shaky at this moment,
I believe I'll retire.
And do what?
Oh,
I could always take up flying.
( laughs )
Laurel.
Shh. Dinah.
Try not to talk.
We're going back.
And you're gonna be all right, I promise you.
Don't worry about me, Laurel.
I got what I wanted.
( wheezes, coughs )
Dinah, you shouldn't talk.
I saw.
I saw through Mr. Toomy's eyes.
At the start,
everything looked mean and nasty to him,
but it was better at the end.
Please, Dinah,
try not to talk anymore, okay?
I saw you, Laurel.
You are beautiful,
especially your eyes.
Everything was beautiful,
even the things that were dead.
It was so wonderful...
just to, you know,
see.
( tender theme playing )
Dinah?
Breathe, Dinah.
Please.
( sobs )
Please, Dinah, breathe.
Breathe,
please.
( sobs )
DINAH: I saw through Mr. Toomy's eyes.
Everything was beautiful,
even the things that were dead.
It was so wonderful...
just to see.
I can live with that.
We just lost the little girl.
( sighs )
She never got her operation.
No, she didn't.
But Laurel is okay?
Yeah, more or less.
You like Laurel, don't you?
Yeah.
I got a few mates back home that might find it amusing
that I've fallen for a nice girl, but I have.
She's got spirit, Brian.
Well, you know I wish you both the best of luck.
But I think we gotta concentrate on getting back.
Yeah.
We are just about here now.
And that's right where the time-rip should be.
Now, you mind watching out for it while I fly?
Sure. I just wish I knew what the hell I was looking for.
Oh I think you'll know it when you see it.
If you see it.
What's wrong?
I don't know,
and that's the problem, dear boy.
There's something wrong. Something very wrong.
But I can't figure out what it is.
NICK: Brian? Yeah?
I think I see something.
( sighs )
God almighty.
( snoring )
No.
Yes, we're in business!
Ladies and gentlemen,
we have found what we were looking for.
I'm gonna take us straight through the middle of it
and we'll find out what's on the other side.
Stop!
Stop! Captain!
BOB: We can't do it! Stop! Stop!
Carry on, I'll take care of this.
BOB: Stop!
NICK: What's going on?
Tell him to turn back! We gotta turn back!
NICK: What is it? We can't--
What is it? What's happening? Calm down.
It's all right now.
BOB: Tell the captain we gotta turn back.
We're all gonna die!
Listen to me!
We were all asleep. Get it?
We were all asleep when we flew through the rip.
Bloody hell.
( monitor beeping )
Turn back, Brian. You have to turn back now.
( bone cracks ) Ah!
( shouting )
( groans )
( sighs )
Nick.
Yeah.
Nick, are you all right?
Yeah, I've seen better days.
Broke my bloody arm.
We missed it, didn't we?
Yeah, we missed it. But why?
When we came all this way?
We missed it, didn't we?
We missed it. Oh, that was close.
Great work.
Is this the intercom?
Yes, but what the hell is going on?
Listen to me, everyone.
We just managed to turn away in time.
We are extremely lucky.
And I've been extremely stupid.
I'll explain.
When we first flew through the time-rip,
everyone onboard the plane that was awake...
disappeared.
( murmurs indistinctly )
BOB: We are all awake now.
Therefore, logic suggests
that if we try to fly through the rip again awake,
we too would disappear.
That's all.
That is all?
That's bloody all?!
Well, what are we supposed to do about it?
( sighs )
We have to go to sleep?
How do we do that?
I've never felt less like sleeping in my whole life.
( sighs )
I don't know what we do now,
but if we're gonna try going through that hole,
it has to be soon.
The fuel we've got will carry us for an hour, no more.
Well, surely there's other airfields.
There are, but not big enough to handle an airplane
of this size.
No, it has to be LAX
and I'll need at least...
at least 35 minutes to get there.
And that gives us 20 minutes at most
to figure this thing out and get through the hole.
Now,
how do we put everybody to sleep
at the same time?
LAUREL: Aren't you forgetting the most important thing of all?
I mean, even if you figure on a way to put us all out,
who's gonna land the plane in L.A.?
We're out of luck. You know that, don't you?
Completely out of luck.
There has to be a way out of this.
There just has to be.
Doesn't there?
There is a way out.
Damn it, there is.
What is it, Brian? I can see you're onto something.
Pressure. That's what I'm onto. Pressure.
ALBERT: Of course. Pressure.
Would you two mind telling me what you're talking about?
I'm talking about dropping the air pressure in here
to 7 psi, half sea level.
Do that and boom, we're out like lights.
Only, how do we answer Laurel's question?
How do I wake up
after we come through and land the plane?
One of us will have to stay awake
to turn the pressure up
just before we fly through the rip.
So one of us will...
One of us will have to die.
Who's gonna do it?
You all draw straws or what?
NICK: No need for that.
I'll do it.
LAUREL: No.
Why should you do it?
LAUREL: Why shouldn't we draw straws?
Why not Bob or Albert or me?
Come with me for a minute.
Nick...
There's not much time left.
I know.
Start the things you have to do.
Come on.
Laurel, I think we could have something, you and me.
Do you think I could be right about that?
Because if you do, say so.
There's no time to dance. Absolutely none.
Yes, I do, I think that's right.
But we don't know for sure. I mean we can't know.
It all comes back to time, doesn't it?
Time and sleep and not knowing.
But I have to be the one, Laurel.
You see, I've tried to keep a reasonable account of myself
during my life, and all my books are deeply in the red.
And this is my chance to balance them,
and I mean to take it.
I don't understand what you're--
Look, I wish I could tell you everything about myself,
but there's no time.
Would you do something special for me?
If you get out of this, that is.
Yes, yes of course.
BRIAN: Nick!
NICK: Yeah, I'm coming.
Listen to me. Listen very carefully.
I was going to quit it.
My mind was made up.
Quit what? Doesn't matter.
What matters is that you believe me. Do you?
I don't know what you're talking about,
but I believe you mean it.
BRIAN: Nick! We're heading towards the rip!
Yeah, I'm coming just now, damn it!
Listen, my dear old dad lives in the village of Fluting.
It's about 20 miles south of London.
You ask for him in any shop along the high street.
Mr. Hopewell.
Some of the older ones still call him the gaffer.
You go to him
and tell him I was going to quit it.
You'll need to be persistent.
He tends to turn away and curse loudly
when he hears my name.
Can you be persistent?
Yes. Good.
Now, you repeat what I told you,
and you tell him you believe me.
Tell him--
Tell him that I tried my best to atone for what happened
outside the church in Belfast.
In Belfast? Right.
And if you can't get him to listen,
you tell him that he must listen because of the daisies.
Because of the time I bought the daisies.
Because when you brought him daisies?
No, not to him, but it'll do.
Can you remember that as well?
Yes, but, uh...
It's okay.
Thank you so much, Laurel.
BRIAN: Nick!
Are we gonna feel like we're, you know, choking?
No, no, no. You'll feel a little giddy.
Just kind of swimmy in the head and then nothing.
Right.
You never know, I might still be here.
Bad pennies do have a way of turning up.
Don't they, Brian?
Anything's possible.
You folks all sit down.
Nick, up here beside me.
I'll show you what to do and when to do it.
One second please.
You had decided to quit.
You made up your mind.
And if your father won't listen,
I'm to remind him of the day you bought the daisies.
Is that right?
It's letter-perfect, my love.
That's the one to go on, sure enough.
Shall we?
Let's do it.
I am starting to decrease pressure.
Check your seat belts, everyone.
I think you better put your belt on.
Whew.
Oxygen mask right beside you.
( sighs )
( inhales )
Nick...
you know what to do?
I know. No fear.
Off to sleep.
Sweet dreams and all that.
Albert, would you hold me, please?
Yes, if you'll hold me.
( sighs )
Nick,
I just...
want to say...
thank you.
You're welcome, mate.
It's been a flight to remember.
Even without the movie and the free mimosas.
( monitor buzzes )
Remember about Belfast.
Behind the church.
Act of atonement.
Oh, my...
It's so beautiful.
You're right, Brian.
It is beautiful. And why not?
This is the place where life,
all life, maybe, begins.
The cradle of creation
and the wellspring of life.
No langoliers allowed past this point.
Oh, my God.
It's so beautiful.
Oh.
L.A. approach, this is American Pride 29.
BRIAN: Repeat, two-niner, 29, heavy.
Approach control,
I am declaring an emergency here.
Quit it.
Just quit it.
Sit down.
Come on, sit down.
We're entering heavy traffic unannounced.
There is no heavy traffic down there.
Look for yourself.
LAUREL: We're over L.A., all right.
But what do you see out the window?
I'll tell you.
Nothing.
Nothing at all.
Here, put this on.
Put it on.
And this one right here.
Buckle up, buckle up, ladies and gentlemen.
We're coming in.
( suspenseful theme playing )
( engines rev )
( flips switches )
( alarms buzz )
What is it?
Oh, no.
Oh, my God.
We're out of fuel.
Hang on. We're going in hard.
Hold on.
LAUREL: Watch out.
You're gonna hit that truck.
Damn.
( sighs )
Well, that was about as close as I'd ever want to cut it.
You should have let us crash.
LAUREL: Everything we tried,
Dinah, Nick,
it's all for nothing.
It's just the same here.
It's the same.
It's time to check on the others.
Let's get off the plane.
This time we'll use the cockpit exit.
Thanks.
( distant humming )
What's that humming?
It sounds like electricity.
No, I don't think it's electricity.
I'm not sure what it is, though.
Well, it doesn't sound like anything I've ever heard before.
Why don't we try the Jetway service door?
Wait.
What?
What is it, Bob? What do you see?
BOB: Well, all I see
is a deserted terminal.
But it's what I smell.
Jet fuel.
Oil.
Rubber, salt air. I can smell it.
Holy cow.
LAUREL: Yeah, but that's not the only thing.
Listen.
( clack )
Do you hear that?
( clap echoes ) ( giggles )
RUDY: What does it all mean?
If everything is back to normal,
why didn't we see any lights when we were landing?
Where are the people?
And what's that noise? It's getting closer.
Let's see if we can get inside the terminal.
Wait, a minute.
I can tell you know something.
What is it?
I wanna go in the terminal and have a look around first.
Come with me. Quickly, please.
There's another door over here.
Here, Albert. You open that. Try it, quick.
Delicious! Absolutely delicious!
ALBERT: Mm! Good.
Now, listen, I think it's gonna happen real soon,
and I don't think we should be in here when it happens
because it might not be safe.
Come on, come on, come on with me.
Come on.
Come on. Down here. Come on.
Here, get up against the wall. Here.
( chuckles )
BOB: I think we're safe here.
We're out of the main flow of traffic.
What's gonna happen?
Well, when we flew through the time-rip going east,
we went back in time into the past about 15 minutes.
Do you remember me saying that? I do.
It brought us into the future. That's it, isn't it?
This time-rip brought us into the future.
BOB: I believe so.
Only we haven't returned to a dead world
that's moved on without us.
We've returned to a world that's waiting to be born.
LAUREL: Look at that!
I don't know what it is, but it's wonderful.
I love it!
( Laurel giggles )
BOB: I think that the present
is on the verge of catching up to us.
( garbled voices )
( indistinct conversations )
Okay, hang on.
There might be a jerk or something.
LAUREL: Oh, wow!
( rumbling )
Look.
Brian, look.
Daddy.
Dad.
BOY: Daddy.
What? I'm looking for your mother.
New people. Look at the new people.
Yeah, great.
Come on, let's go find your mom.
LAUREL: Did you hear that?
( Laurel laughs )
Did you hear what she said?
Yes.
Is that who we are? The new people?
( laughs )
Are we the new people?
I don't know, but that's what it feels like.
That was wonderful. My God.
That was the most wonderful thing.
( laughs )
Cool.
Captain, what--?
What do you think we should do now?
Well, I wanna go outside, breathe some fresh air.
Yes. And look at the sky.
Yes, but we should notify the authorities about--
Oh, we will.
We will. The sky first.
Maybe get something to eat on the way?
BRIAN: Yes, why not? ( laughing ): Oh!
Hey, my watch has stopped.
Mine too. Yeah?
Let's blow this joint.
Unless any of you wanna take the next flight east.
Not now, but soon.
And all the way to England.
There's a man I need to see there, in Fluting.
The old people still call him the gaffer.
What are you talking about?
Daisies.
I'm talking about daisies.
( laughing ): Come on.
Come on, let's go.
BOB: Well, as for me, the next time I go to Boston,
I'm gonna take a slow train.
Oh.
Bob, you're gonna remember that.
ALBERT: People. People with me.
LAUREL: I know. I'm so happy.
( all laugh )
Yeah!
( mellow theme playing )