>> I/ Final Destination I

I/ Final Destination I. .

: I/ Final Destination I.

I/ Final Destination I

ALEX'S POV - ADJACENT YARD

Clear is gone.

FRONT YARD

everyone has moved away from Alex, leaving him very alone. Alex's eyes remained locked on the peramedics' vehicle. As the ambulance doors CLOSE on the body of his best friend...

CUT TO:

EXT. NEIGHBORHOOD - DAY - CLOSE - LEAVES ON TREES

A soft summer breeze passes through the leaves on a tree. A yellow leaf drops from the branch and flutters to the ground. CAMERA FOLLOWS until it falls upon an old cracked sidewalk.

A pair of worn Nikes ENTER FRAME just as the leaf drops before them. The feet and CAMERA HOLD until CRANING UP to REVEAL Alex, staring at the leaf with an expression reminiscent of the torn paper's message about "...Tod."

CLEAR (O.S.) Almost Autumn.

Alex looks off toward a small unkept house, nestled at the edge of the woods. In the open garage stands Clear Rivers amonst cluttered artwork, supplies and tools. Her t-shirt's sleeves have been cut off and neck-line cut low. Her jeans have a revealing hole at the spot which once was a back pocket. She wears heav black work shoes. A dog rests nearby on the floor.

ALEX It's only the end of June.

CLEAR (shrugs) Yeah, but everthing's always in transition. If you focus, even now, one week into summer... you can feel Autumn coming. (beat) Almost like bein' able... to see the future.

Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage.

INT/EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY

Entering the garage, Alex gets a closer look at her artwork. It's abstract sculpture and canvas work and pretty bad, at that.

CLEAR Know what this is?

She gestures to him to approach her. He tenses awkward, but moves closer. Clear lifts a plastic cover off a canvas. Beneath is a mess of green and brown and orange; teen angst poorly communicated. Glued to the center is a twisted piece of metal.

ALEX Like, um... you're mad about something?

She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal.

CLEAR A piece of debris... from the plane. I went to the shore off the crash site and it washed up the beach.

ALEX You went there? I've wanted to go there, but I thought It was off limits.

CLEAR It is. But that didn't stop me. Shouldn't stop you.

Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear...

ALEX Why were you there last night?

While she cleans brushes with a can of turpentine...

CLEAR Look, I've seen enough T.V. to know, the F.B.I. doesn't investigate teen suicides. But they were there last night, that means; one, they still don't have a clue what caused the crash. Two, they haven't ruled out anything. And the fact that seven people got off the plane is probably weird enough, not to mention, that one of those people had a vision, or whatever, of it exploding minutes before it did explode, is highly suspicious. And it doesn't help that the visionaries' friend just committed suicide.

Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf.

ALEX Why were you there last night?

Clear turns to Alex. The two couldn't appear more different. She moves to a sculpture, an ugly black and green globular sculpture with a white dot in the center.

CLEAR Know what this is?

Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no."

CLEAR It's you.

Remaining dry and stoned faced, Alex tenses, uncomfortable.

CLEAR Not a likeness. It's how you make me feel, Alex.

ALEX I'm... really sorry.

CLEAR Like you, the sculpture doesn't even know what, or why, it is. Reluctant to take form. And, yet, creating an absolute but incomprehansible attraction.

Uncertain, and yet moved, Alex listens.

CLEAR (CONT'D) Before that day, you were just another suburban nothing that would never have anything to do with my life. And I'm sure you thought I was some Marilyn Manson body pierced freak, or whatever. (beat) But at that moment... on the plane... I felt what you felt. I didn't know where all those emotions were coming from until you started freaking out.

Alex sighs, embarrassed.

CLEAR (CONT'D) I didn't see what you saw, but I felt it Okay, I'm not into all that X-Files bullshit... but it was a psychic connection. Why to me? Why to you?

Jarred, he eyes her, frightened.

CLEAR And you can still feel it, can't you? Something, from that day is still with you. I know, because I can still feel you.

Alex is increasingly uncomfortable by the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone...

CLEAR That's why I was there last night.

ALEX I've never dealt with death before. I wasn't alive when my grandparents died. I wish I could know. I mean, all this... could just be in our heads. Now it feels like I'ts everywhere.

CLEAR "It?"

ALEX What if Tod... is just the first... of us?

The idea sends a shot of apprehension through Clear.

CLEAR Is that something you're "feeling?"

ALEX I don't know. I wish I could just see him... one more time, then, maybe... I would know.

CLEAR Then, let's go see him!

Alex reacts, shocked and yet her impulsiveness is exciting...

CUT TO:

INT. FUNERAL HOME - FOYER - NIGHT

CAMERA is LOW, moving across the paisley carpet. Dim light, spilling through the stained glass windows, falls upon the creepy decor, appearing as if designed by a morose Laura Ashley, floor model coffins and urns. CAMERA CONTINUES, TILTING UP to the CEILING, REVEALING a stained glass skylight. Outside, on the roof, two silhouettes appear...

The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window.

Alex is not as smooth as his socius criminus. Using his knee to slow his descent, he hangs from the sill for a moment before dropping to the carpet.

CAMERA MOVES WITH Alex and Clear through the unsettling reception area; plastic flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY."

CLEAR (whispering) Gives me a rush...

ALEX This place?!

CLEAR Doin' somethin' I'm not supposed to.

With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows.

INT. DOWNSTAIRS HALLWAY - FUNERAL HOME - NIGHT

An elevator with collapsible metal door, lowers INTO FRAME. Pushing the door aside, Alex and Clear proceed into the hallway, lined with morgue green tile. Stainless steel gurneys and porcelain equipment holding yellow surgical tubing and thick foot long needles sit in the corridor.

A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on.

ALEX Good call. Very "Quincy"

Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart.

From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK!

INT. MORGUE - FUNERAL HOME - NIGHT

A lone desk lamp shines. Across the room, laying on a porcelain table, fluid draining tubes attached, lies Tod. A sheet is pulled up to his shoulders. He carries the macabre appearence of corspe having been made up by a mortician. Hair combed and sprayed, skin tone too orange, blush too rouge and lips too red.

As Alex and Clear approach...

ALEX That... him?

CLEAR I think. But why'd they make him up like... Michael Jackson?

ALEX That's him, but... he's not here. That... whatever... that whatever made him Tod is gone.

Suddenly, Tod jerks; his hand lifting four inches...

ALEX CLEAR Ahhh! fuck! You fucking Ohmygod! OHMYGOD! OHMYGOD! asshole. You think this He's not dead? Tod, if is funny, you fucking dick! you're not dead I'm gonna fucking kill you!

MR. BLUDWORTH (O.S.) Please don't yell...

Both are joled again with shock, turning toward the voice...

MR. BLUDWORTH

CAMERA PUSHES, LOW ANGLE, INTO WILLAIM BLUDWORTH, an African-American man, early 50's, dressed in dark suit and tie.

MR. BLUDWORTH You'll wake the dead.

He flashes a dry morticians smile, pleased by his won pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth..

ALEX Why..?

Alex comletes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding...

MR. BLUDWORTH Chemicals in the vascular flush create cadaveric spasm.

As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation.

ALEX I'm... a friend of his. His best friend. See, his father...

MR. BLUDWORTH (ominous) I know who you are.

The mortician eyes Alex, understanding. Alex senses this and eases. Clear moves toward Tod's body, examining the neck area.

CLEAR They said he hung himself, but there's no marks.

MR. BLUDWORTH I crafted a reconstruction of the Laryngeal prominence region with Velvetone Surgical Wax and Permaseal.

Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck.

ALEX What are all those tiny marks?

ALEX'S POV - CLOSE - TOD'S NECK

The wounds have been filled with wax and covered by greasepaint. At this proximity, however, it is apparent tiny cuts line the area above and below the large cut made by the wire.

MR. BLUDWORTH (V.O.) Cuticle lacerations.

WIDER

ALEX Why would he pull at the wire, if he weren't committing suicide.

CLEAR Why would they say it was a suicide... if it weren't?

Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if ware of the reason behind his hesitation.

ALEX His father's pretty fucked up with denial. Maybe he couldn't deal with the thought of an other accident... taking another son.

MR. BLUDWORTH In Death...

CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personificationof the subject.

MR. BLUDWORTH ... there are no accidents. No coincidents. No mishaps. (smiles) And no... escapes.

ALEX You saying Tod did kill himself?

Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to hte embalming chemicals.

MR. BLUDWORTH Suicide. Murder. Plane crash. What does it matter? He was going to end someday. From the minute you're cut loose from the womb... it's a one way ticket on a trip to the tomb.

Vile liquid oozes out of the body onto the porcelain table.

MR. BLUDWORTH You may not realize it, but we're all just a mouse that a cat has by it's tail. Every single move we make, form the mundane to the monumental... the red light we stop at, or run; the people we have sex with, or won't with us; the airplane we ride, or walk out of... is all a part of Death's sadistic design leading to the grave.

ALEX Design?

The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work...

MR. BLUDWORTH If Life is like a box of chocolates... Death... Death is like a big Milton Bradley game of "Mouse Trap." The day you're born is just the boot, hanging from the streetlamp, kicking the marble to get hings rolling. Growing up is only the marble rolling down the curving shute. You feel immortal having survived school, sex, drugs 'n' rock 'n' roll, but you've really only upset the big hand holding the steel ball that falls into the bathtub. Marriage and kids and career seem to make it all worthwhile until the ball hits the see-saw and flips the diving man into the big barrel. In the old folks home or the hospital you just see the big cage rattling down until it captures... the mouse. (beat) Game over.

Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth...

ALEX Maybe there's no way to win... but... if you figured out the game... you knew were the "steel ball was rolling" couldn't you avoid the trap and extend the playing time? Couldn't you... cheat Death at It's own game?

Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them.

MR. BLUDWORTH You already did that by walking off the plane. Now you gotta out when and how it'll come back at you. (beat) Play your hunch, Alex. If you think you can get away from it. (beat) But beware the risk of cheating the plan, disrespecting the design... could inicate a horrifying fury that would terrorize even the Grim Reaper. (beat) And you don't even want to fuck with that Mack Daddie.

Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonsrated to Alex.

ALEX I'm sorry we broke in.

MR. BLUDWORTH No harm. No foul.

Alex grabs her arm, starting toward the door.

CLEAR We didn't find what we were looking for.

Alex looks at Bludworth...

ALEX Yeah, we did.

MR. BLUDWORTH

CAMERA PUSHES INTO the mortician, pleased the message has been recieved.

MR. BLUDWORTH I'll see you soon.

CUT TO:

EXT. MAIN STREET - DAY

BREAKING LOUDLY, startling, a public bus PULLS INTO CAMERA and stops. The doors HISS open.

CLEAR (O.S.) The mortician was whacked.

CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street.

CLEAR (CONT'D) He was trippin' on formaldehyde.

Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... saftly. He nods, "it's safe to go." Throughout the fllowing, his eyes are searching for anything potentially deadly.

ALEX He said Death has a design. Even before he said that I had been seeing patterns.

CLEAR (sarcastic) As in flannels and plaids?

Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME.

ALEX How many dies on Flight 180? From our group?

CLEAR Thirty-nine.

ALEX Remember the gate number?

As Clear takes a moment to consider, Alex steers them well around the scaffolds, etes skyward during the move...

CLEAR No.

ALEX Thirty-nine.

This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harms way.

ALEX Remember the departure time?

CLEAR Like... 4:25.

Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb.

PEDESTRIAN TRAFFIC SIGNAL

the halting red had is lit.

ALEX (V.O.) Do you know when I was born?

INTERSECTION

Clear sighs, growing impatient with Alex.

CLEAR 4:25

ALEX Right. April 25th.

CLEAR Wait. I thought you meant the time of your birth. Four/Twenty-five, as in, month and day... that's a reach.

PEDESTRIAN TRAFFIC SIGNAL

the halting red hand turns to the little white walking man.

INTERSECTION

Clear takes a step off the sidewalk and onto the street. Alex tugs her back, looking both ways while outraged by her challenge.

ALEX My birthday is the same as of the time I was meant to die!? That's a reach!?

VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street.

CLEAR You're sounding like those people who, you know... "Oswald shot Kennedy from a warehouse and hid in a theatre and Booth shot Lincoln in a theatre and hid in a warehouse."

CAMERA HOLDS REVEALING an unmarked sedan parked across and down for Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and Clear.

DOWN THE STREET - HEADING WEST

Billy Hitchcock rides toward the Starbucks on his bicycle.

EXT. STARBUCKS - DAY

sitting outside, Alex hunches over the table, increasingly anxious. Clear listens; expressions skeptical.

ALEX I'm not just layin' down a bunch of math here, with this. I'm talking about indications... omens... that day, that we were meant to die. That, if, we have been aware of... would have saved everyone on the plane.

CLEAR That's total bullshit. You can find death omens anywhere you want to.

She picks up her paper coffee cup.

CLEAR (CONT'D) Hey, look! "Coffee" starts with a "C" and ends with an "E." So does the word "choke!" We're going to choke to death! Oh no! Starbuck was a whaler. We're going to be harpooned!

Alex angerily glares at Clear. Clear drops her tone.

CLEAR (CONT'D) You'll go nuts if you start with that shit.

Ms. Lewton appears from around the corner. She starts toward the entrance, but pauses, tensing when she sees Alex.

He cautiously flashes a greeting smile. The teacher, however, averts her eyes and continues into the coffee shop. Alex sighs, guiltily. Clear sympathizes with both of them.

CLEAR She's leaving the school. Moving away.

Alex studies, appealing to her...

ALEX Clear, how do we know that by just sitting here, breathing this air or sipping the coffee, having crossed the street... we havn't started in motion the events that will lead to our death? Fifty years from now. Ten years. Tomorrow. (beat) You son't unless... you're able to open yourself to the signs I's willing to show you.

He leans foward, removing a peice of paper from his pocket.

CLOSE - ALEX'S HAND

slides across the table. Opening his hand REVEALS the piece of paper reading, "... Tod..." Clear's hand ENTER'S FRAME to take the paper. CAMERA FOLLOWS AS SHE raises it, he expression obviously puzzeled. As she eyes Alex for an explanation, CAMERA CRANES DOWN QUICKLY to the empty paper cups on the table...

... a slight approaching BREEZE knocks them over.

DOWN THE STREET - HEADING WEST

A somewhat cherry 70's muscle car speeds in the direction of the Starbucks. Carter Horton is driving. Terry Chaney rides shotgun. Carter looks out the window.

CARTER'S POV - MOVING ALEX AND CLEAR

She holds the paper as Alex, apparently, explains the story.

CARTER'S CAR

CARTER scowls, his anger rising as he slows, starting at the perceived reasons for his problems.

ALEX AND CLEAR

Her eyes turned for the paper to Alex, concerned about him...

CLEAR I don't understand... did you see Tod die? Did it happen agian, like on the plane?

ALEX No, but it might as well be the same thing. This was a message... from someone, or something... hinting... at the design.

CLEAR Alex, on the plane... you must have experienced... some kind of hyper awareness. But here... you're suggesting Tod's death... and maybe our own... will happen because of... an active Presance.

Alex nods, feeling she's understanding.

ALEX The mortician said Death has a design. Now... if you, me, Tod, Carter, Terry, Billy, Ms. Lewton messed up that design, because, for whatever reason, I was able to see Death's plan... then we cheated it. (beat) But what if it was our time, what if we were not meant to get off that plane? What if it is still is our time? If... It... is still not finished with us? We will all still die; now, not later.

Troubled and deeply concerned, Clear studies Alex.

ALEX (CONT'D) Unless... we find the pattern. And cheat it again.

Clear sets the paper down, looking sadly at Alex.

CLEAR After hearing you, just now... I do believe...

Alex leans back and sighs, relieved...

CLEAR (CONT'D) ... that Tod killed himself.

Alex is taken aback, hurt and angery.

ALEX Then there's no one left who can help me.

CARTER'S CAR

His eyes having never left Alex, Carter suddenly cranks the wheel hard to the left to make a tight U-Turn.

BILLY HITCHCOCK

rides his bike. He reacts, startled by...

BILLY HITCHCOCK'S POV - CARTER'S CAR

barreling down towards him. The car cuts in front of the bicycle to complete the U-Turn.

WIDER

Billy SWERVES to the left, directly in front of an oncoming car. The car SWERVES right, as does Billy, avoiding a certain fatal collision for the cyclist. The oncoming car HONKS!

Carter's car pulls up to the curb. Oblivious to the accident he almost caused, Carter get's out strutting toward the tables outside the coffee shop. Inside the car, Terry sighs...

TERRY Baby, come on... not now.

But her boyfriend continues. She gets out and hustles after him.

ALEX AND CLEAR

Their attention drawn by the commotion, Clear and Alex watch Carter Horton approach them, followed by Terry, who stops, irked, near the curb at the crosswalk.

TERRY Carter...

At that moment, Ms. Lewton exits with an ezpresso drink. Sensing trouble, she has no energy or desire to involve herself.

CARTER Kind of have a reunion, here.

TERRY Let it go!

Carter steps before Ms. Lewton, blocking her exit...

CARTER When are you moving?

MS. LEWTON A couple of weeks.

She can't wait to leave. While trying to walk around Carter...

CARTER We're losing our favorite teacher.

ALEX Look, there's something you should all know.

CLEAR Alex...

Carter eyes Alex, continuing the taunt. He raises the volume of his words to drown out Alex's words and incite conflict.

CARTER (CONT'D) ALEX (CONT'D) Lived here her whole life. This'll be hard to believe.

Ms. Lewton's eyes flash to Alex, afraid of him.

CARTER (CONT'D) ALEX (CONT'D) And now she has to move. Listen to me, we may all All because of Browning. be in danger...

TERRY Shut up! The both of you!

The two boys stop their heated exchange.

TERRY (CONT'D) They died! We lived! (beat) Get over it! I won't let that plane crash be the most important thing in my life. I'm moving on, Carter, and if you're gonna waste your life beating the shit out of Alex everytime you see him, then you can just drop fucking dead!

Head and shoulders remaining angrily in Carter's direction Terry takes a blind step off the curb and into the crosswalk, WITHOUT A CUT... a bus suddenly speeds INTO FRAME and, THUD! plows directly right into her...

ALEX, CLEAR, CARTER and MS. LEWTON

are SPLATTERED with BLOOD before they can even recoil.

CUT TO:

INT. BROWNING LIVING ROOM - NIGHT - CLOSE - ALKA SELTZER

FIZZLES in the glass, while O.S., a PHONE RINGS...

ALEX

has crashed, watching CNN. It's a tense recline. Red circles rim the lids of his eyes. He sips from the glass to settle his stomach. Ken appears from the kitchen, hand over the reciever.

KEN It's that girl... Clear.

No response from Alex. Ken sighs, then into the phone...

KEN He's in the shower, Clear. Can I have him get back at ya? Sure... bye.

Ken returns to the living room, concerned about his son. Alex averts his eyes, stressed and ashamed. Ken sits nearby.

KEN (CONT'D) She's concerned about you. (beat) I'm concerned about you.

Alex turns his eyes to the glass.

KEN (CONT'D) Why don't you want to talk to her... or me?

ALEX Dad... you and mom have helped me out, so much. But there's... some things I need to understand before I can talk... to anyone about it.

The father respects this young man's wishes. Ken nods "fair enough." In the silent moment, O.S., from the television...

CNN ANCHOR (O.S.) The National Transportation Safety Board has a new theory tonight on the possible cause of Euro-Air Flight 180...

Alex quickly grabs the remote and turns up the VOLUME...

TELIVISION

A computer graphic illustrations the area of the lower fuselage.

CNN ANCHOR (CONT'D, V.O.) Deterioration of silicon insulation on an electrical connector to the scavenger pump, may have leaked combustible fluids.

ALEX AND KEN

Alex remains riveted to the screen.

CNN ANCHOR (CONT'D, V.O.) A spark in the fuel switch...

TELEVISION

The graphic ZOOMS into the area in the rear right side, nearly above Tod's seat.

ALEX (O.S.) That's Tod's seat...

ALEX

CAMERA PUSHES IN as he listens...

CNN ANCHOR (CONT'D, V.O.) ... may have ignited the fuel line. And proceeded to the fuel pump.

TELEVISION

The high teach computer image traces the path of the explosion through the plane. A red line representing the fuel line zigs through the body of the plane, making a sharp turn forward to the fuel pump, which explodes. Jagged lines show the direction of the explosion moving backwards toward the rear of the plane.

MATCH CUT TO:

INT. ALEX'S BEDROOM - DAY - 747 SCHEMATIC

drawn in Alex's hand, and hundreds of steps down from CNN computer image, yet accurate as Alex's finger traces the path, away from the seats marked "ME" and "CLEAR." The path starts over "TOD," then moves to "TERRY." The line moves forward away from "CARTER" toward the fuel pump.

The corresponding jagged picture of the explosion back is reminiscent of the "hand of Death," seen earlier in the lightning. It is a graphic demonsration of the arbitrary nature of Death.

ALEX

is amped, intensely more frightened as he believes...

ALEX The path of the explosion... (a whisper) That's Death's design.

It instantly frightfully, occurs to him, he now knows who will be next...

CLOSE - SCHEMATIC

Alex's finger quickly moves along the fuel line. After "TERRY," the seat intersecting the path of the fule line, over the fuel pump, is marked "MS. LEWTON."

CUT TO:

INT. VALERIE LEWTON'S HOUSE - NIGHT - VALERIE LEWTON

ENTER'S FRAME, on the phone, wearing a t-shirt and sweats.

MS. LEWTON (O.S.) Some nights I'm woken up by the sound of my own voice, you know, inside my head, goin, "No, you know the whole French thing. Get on the plane."

Moving boxes are stacked in the living room; organized disarray of relocating. The house is old, been in the family forever. Dust marks the walls where the framed photos and artwork were once displayed.

MS. LEWTON (CONT'D) Everything here reminds me... of sending Mr. Murnau back on the plane... Right, I'm hoping a change will help... I lived here my whole life and wherever I looked were great memories, you know... but now all I can see Mr. Murnau... those kids. Just looking out my own front yard... makes me feel mothing but fear.

She peeks out of the front curtains and looks sadly upon her front yard. Her expression alters... alarmed...

EXT. LEWTON"S HOUSE - NIGHT - MS. LEWTON'S POV - FRONT YARD

The figure is Alex Browning.

INT. MS. LEWTON'S HOUSE - NIGHT

Ms. Lewton steps away from the curtains.

MS. LEWTON (quickly) Laura, I gotta call you back.

She immediately hangs up and speed dials.

MS. LEWTON (CONT'D) This is Valerie Lewton. I need Agent Schreck...

TIME CUT:

EXT. LEWTON'S HOUSE - NIGHT

Alex has moved closer to her house, remaining in the shadows. He checks for any passers-by. Being there are none, he creeps toward Ms. Lewton's car. He visually inspects the exterior. As he kicks the tires... an unmarked sedan SCREECHES up. Doors open...

Startled, Alex turns to find...

Special agents Schreck and Weine standing in the street, backlit in the strong headlights of their car.

SCHRECK What are you doing?

ALEX

is nervous but determined. He tells the truth...

ALEX Checking the air in her tires to make sure their safe.

SPECIAL AGENTS SCHRECK AND WEINE

after a beat of incredulity...

SCHRECK Get in the car.

INT. MS. LEWTON'S HOUSE - NIGHT - VALERIE LEWTON

is watching, peeking out her front curtains. O.S., CAR DOORS CLOSE. The vehicle ROARS OFF. She releases the curtains and moves back, feeling somewhat better, but still rattled.

Then...

The curtains billow as if blown by a breeze. Ms. Lewton appears puzzled as she moves the curtains aside to find the windows closed. As CAMERA PUSHES IN ON HER, tensing and uneasy...

CUT TO:

INT. INTERROGATION ROOM - POLICE STATION - NIGHT

Alex sits behind a tabel in the cinder block room painted police station green. Sitting across form him, with a good cop tone, is Agent Weine, while Schreck stands with a hard-ass posture.

ALEX I believe that... Ms. Lewton's next.

WEINE "Next?"

ALEX Yes... see, there's this... pattern... that's occuring.

WEINE (sarcastic) Oh, you've noticed it, too?

CUT TO:

INT. MS. LEWTON'S HOUSE - NIGHT

Ms. Lewton moves to a closet door, opens it and CLICKS on an overhead light.

Kneeling down, she tugs on a heavy box and opens it to check the contents. Her expression warms, as if recalling a far off memory.

MS. LEWTON Oh... mom's favorite.

She slides a vinyl record album out of the sleeve and moves to the turntable on a shelf, thick with dust.

Valerie places the record on the stereo and sets the needle on the album. CAMERA SWEEPS IN CLOSE TO THE TURNTABLE, although spinning around and around... the bold letters of the center label can be read... JOHN DENVER... the opening acoustic guitar of "Rocky Mountain High" has never sounded so eerie...

JOHN DENVER (V.O.) He was born in the summer of his twenty seventh year...

Please with the feeling of a pleasant memory, Lewton moves off.

INT. INTERROGATION ROOM - POLICE STATION - NIGHT

Schreck moves closer to Alex.

SCHRECK Where'd you get this "pattern" from? You have another "vision?" Maybe saw it in some T.V. static?

Alex is insulted by the condescending tone.

ALEX I didn't ask for what happened to me on the plane. You can make fun of me. You can think I'm a nut. I'm used to it. I saved six lives but the entire school acts like I'm a freak. Fine.

Alex takes a nervous breath...

ALEX I'm not suffering from Post Traumatic Stress. I haven't developed a narcissistic deity complex. I'm not going Dahmer. (beat) This just is. There's a pattern in place for you. And you. There's a design for everyone.

The agents study Alex...

ALEX (sighs) And I'm not sure yet how... but I intend to break this one.

CUT TO:

INT. MS. LEWTON'S KITCHEN - NIGHT - SET OF CUTLERY KNIVES

held in a wooden block, sits atop the kitchen counter.

In the b.g., Valerie removes the chrome teapot from the stove and moves it to the sink. JOHN DENVER CONTINUES in the next room. Ms. Lewton turns on the faucet, pours water into the kettle. Some water spills on the side of the kettle. As she wipes the pot with a blue checked hand towel, a dark shadow appears to cross behind her.

Lewton turns. CAMERA FOLLOWS, CIRCLING as she looks about the room only to find she is alone. Unsetteled, she absently tosses the towel on the counter the edge which, catches a knife blade held in the cutery block.

STOVE

Ms. Lewton turns on the gas, adjusts it, however... the flames blow out. She pauses, nerves on edge. Her eyes cautiously move about the room and find nothing. She grabs a pack of nearby matches and strikes one.

JOHN DENVER (V.O.) He left yesterday behind him/ You might say it's born again...

CAMERA PUSHES INTO the burner as the flames re-ignite and FILL THE FRAME...

CUT TO:

INT. INTERROGATION ROOM - POLICE STATION - NIGHT

Weine sits across from Alex, symapthetic, but professional...

WEINE Alex, you got our attention, at first, because you were under suspicion in the plane explosion.

Alex tenses, but Weine shakes his head.

WEINE (CONT'D) I know you didn't blow up that plane.

Alex sighs, eases.

WEINE (CONT'D) I don't believe you have magical powers. No one has any... control over life and death... unless... that person is taking lives and causing death.

Weine leans forward toward Alex...

WEINE (CONT'D) Alex... can you promise me that no one else will die?

ALEX No... I can't. As long as I'm in here, it's outta my control.

The agents are taken aback by his answer; unnerved by his sincerity. Weine sighs and looks to his partner, who sighs, frusterated and turns away.

WEINE Alright, go on. Get outta here.

Alex stands and, with no urgency, moves off. He exits the room.

SCHRECK Kid gives me the creeps.

WEINE We got nothing to hold him.

SCHRECK I don't mean that... (beat) There's a couple of times, there... I almost believed him.

Weine considers, yet remains skeptical.

WEINE Sometimes, you give me the creeps.

CUT TO:

INT. MS. LEWTON'S HOUSE - NIGHT - CLOSE - TEAPOT

Whistles

JOHN DENVER (V.O.) When he first came to the mountains, his life was far away...

COFFEE MUG - OVERHEAD

two tea bags are dropped inside, then the steaming hot water.

MS. LEWTON

picks up the cup, raising it toward her lips, She pauses her expression turning tragic.

On a reflex, she spins toward the sink and throws the hot contents into the drain. She sats the mug down...

A COFFEE MUG

ENTERS FRAME... displaying the logo of the Mt. Abraham Fighting Colonials.

MS. LEWTON

Trembling. She takes a deep breath, getting a hold of herself.

MS. LEWTON You gotta stop this! Stop this! It's just a stupid mug. (composes) You're outta here. Pretty soon... you'll be gone.

Opening the refrigerator frezzer, she grabs some ice and bottle of pure Polish Vodka then deliberately turns back toward the same mug...

COFFEE MUG

the ice cubes PLUNK. The cold alchohol pours into the hot mug. CAMERA PUSHES INTO THE MUG as... it slightly CRACKS, Vodka dripping out of the base.

Lewton's hand picks up the mug, oblivious to the crack. She moves off toward the living room, leaving a trail of alcohol.

CUT TO:

EXT. POLICE STATION - NIGHT

Alex exits the police station, walking. He checks over his shoulder to see if he is being watched and increases his pace, legs whipping across FRAME...

CUT TO:

INT. MS. LEWTON'S HOUSE - NIGHT

Valerie Lewton tears off a piece of plastic bubble wrap. She stands over her desk, placed against the wall. On the desk is her desktop computer monitor.

JOHN DENVER (V.O.) It's the Colorado Rocky Mountain High...

She pauses to swig from her cup of vodka.

EXTREMELY CLOSE - COFFEE MUG

alcohol drips from her mug...

EXTREMELY CLOSE - COMPUTER MONITER VENT

... fluid drips inside the circuitry.

MS. LEWTON

sets the mug out of the way on the back edge of her desk.

CLOSE - COFFE MUG

The remaining vodka oozes from the crack, pools, then drips off the edge of the desk...

JOHN DENVER I've seen it rainin' fire from the sky...

CAMERA CRANES DOWN to REVEAL the moniter cabel inserted into an electrical wall socket. The vodka drip... drip... drips PAST FRAME. Then, Lewton's hand ENTERS and pulls the monitor plug, creating tiny SPARKS at the connection...

ON THE FLOOR

the alcohol ignites...

MS. LEWTON

her back is to the desk, while pouring styrofoam peanuts into the box. In the b.g., FLAMES, nearly supernaturally, leap up the walland toward the computer monitor.

CLOSE - COMPUTER MONITOR - THROUGH THE VENTS

the interior catches fire causing an electrical POP!

MS. LEWTON

turns, holding her sheet of bubble wrap, shocked by the flames.

THE COMPUTER MONITOR

On the screen, the reflection of the approaching shadow passes before the monitor... EXPLODES!

MS. LEWTON

a large jagged shard from the monitor flies into her throat. Blood squirts from her neck onto the bubble wrap. Her stunned expression is sickeningly numb from shock.

JOHN DENVER (V.O.) Rocky Mountain High/ Colorad-oh.

She reaches up to reflexively pull the glass from her throat, creating a flood of spurting blood.

She drops the glass and quickly stumbles toward the kitchen, blindly banging the turntabel as she passes. The needle skips, BUMPS... and settles... umercifully at the start of "Rocky Mountain High."

CUT TO:

EXT. NEIGHBORHOOD STREET - NIGHT

Alex walks quickly up the street. Smoke wafts before him. He turns to see the man burning leaves in the backyard.

The breeze intensifies, lifting the burning debris. The smoke swirls around him. CAMERA PUSHES INTO ALEX as he senses the Presense. He looks ahead.

ALEX'S POV - TWO DOZEN LEAVES

mystically float past him, each on fire.

ALEX

senses the taunting message and breaks into a full sprint, passing through many of the burning leaves that break up into the bright orange cinders against the black sky.

CUT TO:

INT. LIVING ROOM - LEWTON'S HOUSE - NIGHT - THE FLAMES

reach the coffee mug, igniting the trickling stream leading to, and away from, the crack in the cup.

FLOOR

Flames ride the small trickle of vodka back toward the kitchen...\

INT. KITCHEN - LEWTON'S HOUSE - NIGHT

Valerie Lewton, races in desperately pressing her hand to her throat as she GURGLES and CHOKES an the blood from the wound. She leans over the now red sink. She turns pale from the blood loss.

THE STOVE

the flaming stream shoots up the stove, lighting the burners.

MS. LEWTON

behind her, the stove ERUPTS in FLAMES. They jump, leap like a tiger, landing on her shoulders and hair, which catch on fire...

CUT TO:

EXT. LEWTON'S HOUSE - NIGHT

Alex approaches the front of the house. From here, nothing appears to be wrong. As he catches his breath, sweating, visually examining the house.

From INSIDE, a hoarse, macabre SCREAM! CAMERA PUSHES IN ON ALEX, stunned, before he races off toward the house.

INT. LEWTON'S HOUSE - NIGHT - MS. LEWTON

DROPS INTO FRAME ON HER KITCHEN FLOOR, hair and sweatshirt aflame. She desperately rolls on the floor and manages to extinguish the flames.

On her back, on the floor, she is badly burned. Her open neck wound continues to bleed. Blood pools on the floor. In shock and moving on pure survial instincts, she reaches up...

LEWTON'S POV - (LOOKING UP) - THE HAND TOWEL

the lower third of the towel dangles over the edge of the counter top. Her hand grabs it, and pulls.

COUNTER TOP

the draped edge of the towel pulls over the ctlery block. The knives spill out, entangled with the hand towel.

ALEX (O.S.) Ms. Lewton!

KITCHEN DOORWAY

Alex rushes across the threshold as Ms. Lewton pulls the knives over the counter.

MS. LEWTON

a half dozen knives, from small, but sharp, cutting blades to large butcher knives, cascade into her body.

JOHN DENVER (V.O.) They say that he got crazy once and he tried to touch the sun...

Her hand trembling, her expression horrified, Lewton grabs the handle of the largest blade, trying to pull it out. Alex quickly kneels next to her. She looks at him, in shock, her eyes pleading. Alex gathers his courage, places his hand on the handle of the largest blade. As he's about to remove it...

THE STOVE

a gas line ERUPTS, creating a small EXPLOSION.

THE COUNTER TOP

the cutlery block is knocked off of the counter...

MS. LEWTON

the block lands directly on the butcher handle, driving the blade further into Ms. Lewton's body.

LEWTON'S POV - THE SHADOW

descends, the FRAME COLLAPSING until her face, eerily peaceful, but lifeless gray, horriflically decays... flesh rotting, worms feeding on muscle until only a skull remains.

MS. LEWTON

as Death arrives, her eyes are macabrely focused above her.

ALEX

Even as blood squirts on him from her open wound, he appears to realize she is "seeing" the moment of death.

ALEX Ms. Lewton!

Flames leap from the stove to the curtains, which catch fire.

Alex grabs the knife blade and pulls it out. He quickly removes another and another... yet there is no reaction from the woman.

Knowing she is dead, Alex pauses with guilt. He looks at the knife in his hand, then realizes how incriminating this could appear. In that moment, another small EXPLOSION from the stove, brings Alex quickly to his feet. He drops the knife to the floor and races from the house. CAMERA TILTS DOWN to the shoe prints left in the pool of blood.

CUT TO:

EXT. LEWTON'S STREET - NIGHT

Alex runs with all his strength away from Valerie Lewton's home. Billy Hitchcock is riding his bicycle in Alex's direction. He stops and gets off his bike.

BILLY Hey, Alex...

Alex appears unaware as he simply runs past Billy, who curiously turns his head to watch Alex race up the street. O.S., the CRACKLING OF FIRE. CAMERA MOVES INTO Billy as he turns back, reacting with shock to Ms. Lewton's house.

THE HOUSE

from inside, an intense EXPLOSION propels glass from the windows. Flames engulf the entire house.

ALEX

even down the street, he is knocked to his feet by the blast. In the distance, SIRENS from approaching POLICE AND FIRE trucks are HEARD. He stands, looks to the now suspicious Billy... then opts to run off away from the scene. Escaping, into the dark backyards of the neighborhood.

CUT TO:

INT./EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY - CLEAR RIVERS

Tense, her eyes look left, then right...

CLEAR I don't know where he is. He's not talking to me.

WIDER

Agents Schreck and Weine stand before Clear in her garage.

WEINE Why?

She studies the men before averting her eyes.

CLEAR Because I didn't believe him.

The agents study her. Weine accepts the explanation. Schreck's eyes take a walk around the artwork in the garage, pausing on a piece of twisted metal from the crash. Clear tenses, however...

SCHRECK If he should contact you, it would be in the best interest of your own safety to contact us.

Schreck hands his card. She takes it and nods. Schreck pauses, once again eyeing the painting before moving out of the garage on their way to their car.

CAMERA PUSHES IN ON CLEAR as she looks at the buisness card.

CUT TO:

EXT. MT. ABRAHAM HIGH SCHOOL - NIGHT

CAMERA PUSHES IN ON Flight 180 Memorial, lit for dramatic effect at night, but only achieving an eeriness. Carter Horton and Billy Hitchcock ENTER FRAME, moving toward the monument. Billy is riding his bicycle, wearing a New York Rangers jersey with "Hitchcock" across the back of the shoulders. Nearing the shadows, the two boys stop looking at the monument.

Carter pulls put a heavy pocket knife and starts attempting to cut into the stone.

Clear Rivers appears from the shadows.

CLEAR What are you doing?

CARTER Terry's name should be on this wall.

Clear is touched by the action.

CARTER (CONT'D) So, why'd you want us to meet you here? Now?

CLEAR They're watching me, see if I go to Alex.

BILLY Are you?

CLEAR They'll follow my car. (beat) That's why you're taking me.

CARTER Why would I want to see him?

Clear eyes the two of them. With the memorial standing behind them...

CLEAR Because he knows which one of us is next.

As Carter and Billy feel the chill of their inner fears...

CUT TO:

EXT. HIGHWAY - NIGHT

The muscle car ROARS onto U.S. 17 on ramp. A sign near the road indicates: "Middletown - 25 mi. New York City - 105 mi."

INT. CARTER'S CAR - NIGHT

Carter checks the rear view mirror. Clear looks out the front passenger window. She shakes her head, as if "no one's following us." Billy leans forward from the backseat...

BILLY Um... okay... drive the speed limit, right?

He sits back, OUT OF FRAME, but quickly darts forward.

BILLY (CONT'D) And don't pass on the right.

CARTER Billy! I'm gettin' a vision! You're the next one...

BILLY (nervous) Hey, man, why'd you say that?!

CARTER 'Cause if you say another word, I'm gonna fuckn' kill ya!

Billy sits back, gesturing, "hear ya. Got it." Clear pays no attention to their exchange as she stare out into the darkness, her thoughts a million miles away.

EXT. SEASHORE - JONES BEACH SATE PARK - NIGHT

A posted sign indicates "ACCIDENT SITE. ANY DEBRIS FOUND SHOULD BE REPORTED TO THE NTSB (212)555-NTSB." CAMERA FINDS Carter's car pulling up to a stop. Clear opens the passenger door and pauses in the car a while...

CLEAR He could be anywhere from her to a mile down the shore. You guys drive down there, start this way and we'll meet around the middle. It'll take half the time.

Clear closes the door. Carter and Billy drive off. As she looks to the beach.

CUT TO:

EXT. BEACH - NIGHT

CAMERA, FACING the ocean moves along the shore revealing a lone image sitting on the beach, looking into the Atlantic.

The waves are small bur rhythmic, an enternal metronome. Numb, Alex Browning sits in the sand searching for an answer somewhere in the darkness of the evening sea.

Behind him, O.S., approaching in the sand, SOFT FOOTSTEPS. He listens, notes them. Yet rather than turn around... he looks up into the sky.

ALEX'S POV - THE SKY

The shore line lights cast an orange haze on the stars, breaking through, infinitely above.

ALEX (O.S.) Are they up there?

WIDER

Clear Rivers approaches, barefoot in the sand. He neddn't turn to know who is behind him.

ALEX (CONT'D) Somehow... is 180 still in flight? Somewhere... are they still safe?

Clear hasn't met eyes with Alex, but she sits nearby, looking into the sky. CLEAR When I was a kid, like, six or seven... I used to worry so much about my parents dying. Like lying awake at night... just worrying. I loved them so much. I didn't them to hurt. And what would happen to me? What would life be like? (beat) Every night... it seemed.

She looks out at the stars. He down't eye her, either...

ALEX Most kids do, I guess.

CLEAR Most kids never have it happen.

Alex hangs his head...

CLEAR When I was ten... my dad went into a 7-11 for cigerettes. I guess he heard somebody say "Don't turn around." So on reflex, or thinkin' a friend was jokin'... he did. And the guy blewhis head off.

She has lives this so many times, she is long beyond crying...

CLEAR (CONT'D) And, let me tell ya, I had every reason to worry before... because life became shit. I don't blame her, I guess, but my mom couldn't deal with it at all. She married this asshole, who my mom with my real dad would cross the street to avoid this guy. He really didn't want a kid. And so my mom didn't either anymore, I guess. (beat) If that was the design for my father... and my family... then fuck Death, FUCK IT!

The waves continue to shore. Clear looks up at the sky.

CLEAR (CONT'D) And so, anyway... I've thought of that "somewhere," Alex. It exists, that place.

He looks at her.

CLEAR (CONT'D) Where my dad is still safe. Where he had a full pack of cigerettes and kept driving. A place where me and my dad and my mom... are still together....and have no idea about this second life, here. (beat) A place where our frineds are still in the sky... where everyone gets a second chance.

She looks at him...

CLEAR (CONT'D) But that place might only exist in my heart. And maybe, now... yours. I haven't experienced too many second chances in my life. I havn't seen any. But because of all of this, I believe... because of you... I will get a second chance. Because of me, you will. With you in my life... that place, right now existing in our hearts, will spring out... and become a real part of this life.

Alex looks within her, as a soft ocean breeze blows through Clear's hair.

CLEAR And that is the only way we can beat Death... by making something special out of Life.

His eyes well with tears. Only as she looks at Alex, does Clear become emotional... thay move closer, and kiss the desire for each other, to defy the events around them; darkness; the isolation...

They dive into a deep feverish kiss. Embracing, as if the tighter, the safer. She pulls him back down to the beach and lifts his shirt over his head.

ALEX This won't be safe.

Clear looks down the beach, checking for any sight of Billy and Carter.

CLEAR Those guys are probably fifteen minutes away.

ALEX No.. I mean, I don't have anything on me. This won't be safe.

CLEAR (sadly) Nothing is... anymore.

Alex looks to Clear, then kisses her with passion that reflects the defiance of death. He pulls open her shirt and falls into her arms. CAMERA CRANES UP as the young man and woman make love in the sand... consciously and defiantly oblivious, to anything around them... including the stars, possibly Flight 180, up above.

CUT TO:

INT. CARTER'S CAR - NIGHT

Carter drives. Billy rides shotgun. Alex and Clear are in the back. Everyone anxious, looking for cops.

ALEX I can't go home. After Lewton's, they'll be after me.

CLEAR We're takin' you to a cabin in the woods, it's only a couple miles from my house. (to Carter) Keep off the highways, they'll be lookin' for us.

Carter, however, continually glances into the rear view mirror, checking Alex. Finally, hotheaded and unable to withhold it any further...

CARTER Alright, Browning, you fuckin' warlock... did you know about Ms. Lewton, or what?

ALEX Why do you think I was hiding?

CLEAR Billy told the F.B.I. he saw you runnin' away from her house.

ALEX They blame me for everything. Her, Tod, the plane crash...

BILLY Your shoe prints were in the blood. Your fingerprints on the knives...

ALEX I already told you...

CARTER (interrupting) I'm not talkin' about if you did it. Or if you knew she was dead... (beat) Did you know she was going to be next... before she was?

Alex looks at Clear, her expression asking the same question...

ALEX (quietly) Yeah. (almost to himself) When she died... at that moment, I could tell she saw something... horrible.

The three others turn quiet, considering what it must be...

CARTER Out of us... who's next to see it?

Alex eyes them... hesitant to respond.

BILLY Please tell me I'm gonna get to see the Jets win the super Bowl.

CARTER Me, right? That's why you're not saying.

Billy looks out the window, despondent.

BILLY Shoulda felt up Tammy in the pool, that time...

CARTER (to Billy) Whatta you whinin' about? He said I'm next.

CLEAR He didn't say nothin'. Just drive.

CARTER You have a responsibility to tell me.

ALEX Is knowing going to make it easier? It makes it harder.

CARTER You get off havin' control over me. Let me choose how to deal with it.

ALEX It doesn't matter who's next... we're all on the same list.

The three are silent.

CARTER Aww, fuck... really?

Carter's expression becomes frightened, but he cannot have this. He counters with an irrational bravado.

CARTER Then why bother? What's the fuckin' point? Terry and me will be back together on the other side, so why wait any longer?

Carter bares down on the wheel, hits the GAS...

EXT. AN INTERSECTION - NIGHT

The muscle car ROARS past a stop sign.

INT. CARTER'S CAR - NIGHT

The interior bounces as the car clears a dip past the intersection. Alex, Clear, and Billy tenses...

CLEAR Knock it off!

CARTER May as well go out under my own free will, right?

CLEAR Not with us in the fuckin' car!

EXT. ANOTHER INTERSECTION - NIGHT

The car GUNS IT through another stop sign.

INT. CARTER'S CAR - NIGHT

Every passenger hangs on as the car BOUNCES from the next dip.

CLEAR BILLY Stop it! Hey, c'mon, man...

CARTER What's your fuckin' worry? If it's not your time...? I could get nailed runnin' this red light and you all wouldn't get shit! Only me, right?

ALEX CLEAR No! Knock it off!

EXT. TRAFFIC LIGHT INTERSECTION - NIGHT

Red light. A car approaches with the green lighted right of way. Carter's car TEARS INTO FRAME, just missing being T-boned in the intersection as the other car HITS THE BRAKES, fishtailing.

INT. CARTER'S CAR - NIGHT

BILLY And I fuckin' HATED FRANCH CLASS!

ALEX CLEAR Carter, stop it, you Get control of yourself! fuckin' maniac!!

CARTER That's what I'm doin'!

CLEAR I know what you're doing! It's alright to be scared, Carter. You don't have to prove to us how big your balls are. Not now.

CARTER I'm not afraid! I DECIDE WHEN IT'S TIME! I control my life! I control my death!

BILLY Watch it! Watch it!

EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT

Carter barrels through the intersection as a car makes a left turn at the intersection.

TURNING CAR DRIVER'S POV - CARTER'S CAR

flying down the road, appears to be heading straight towards him.

INT. CARTER'S CAR - NIGHT

Carter takes his hands off the wheel and raises them in the air, like a terrorized child on a roller coaster...

EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT

The turning car HONKS, ROARING through the intersection as Carter's car nearly clips the rear end of the turning car.

INT. CARTER'S CAR - NIGHT

Cater hooks his elbow on the window and his right arm around the front seat, driving; no hands.

CLEAR ALEX Stop the car! Let us out!

BILLY I am... so close to puking, you don't wanna know.

CLEAR We're afraid, too, Carter, but we're not going to quit. Maybe you are. You act like you're not, but you are!

Carter eyes Clear in the rear view mirror.

CLEAR So, stop what you're doing and STOP THIS CAR! Right fucking now!

EXT. BACKSTREET - NIGHT

In the backseat, Alex and Clear ease... just as a railroad crossing arm drops INTO FRAME in the REAR WINDOW. O.S., the CLANG CLANG CLANG of a RAILROAD CROSSING ALARM.

OUT OF THE FRONT WINDOW

The front crossing arm drops INTO FRAME before the car. Carter turns and flashes a "that's why I stopped smile."

INSIDE THE CAR

CLEAR Move it!

Carter turns off the engine, then sits back into his seat and folds his arms, indicating he has no intention of moving.

ALEX Billy, get out!

Scared to death, Billy fumbles with the car door handle. From the front passenger seat, he looks up and to his left...

OUT OF THE DRIVER'S WINDOW - BILLY'S POV

A locomotive headlight arcs across the trees... approaching.

RETURN

CLEAR ALEX Can't you open the door?! Easy, Billy, just open it.

Billy collects himself...

CLOSE - BILLY'S DOOR HANDLE

POPS open!

EXT. TRAIN TRACKS - NIGHT

The train appears around the blind bend...

INT. CARTER'S CAR - NIGHT

Billy opens the door and pours out. Clear and Alex are quickly behind him. Carter remains in the drivers seat.

EXT. TRAIN TRACKS - NIGHT

The train WARNING WHISTLE BLOWS as Alex, Clear and Billy hustle away from the car, on the same side of the tracks. They quickly turn around, desperate to convince...

CLEAR Carter, get out!

ALEX BILLY Don't do it! Don't do it! It's coming! It's coming!

INT. CARTER'S CAR - NIGHT

Arms crossed, Carter remains in the front seat. As the interior fills with light from the headlight of the oncoming train, Carter turns and looks at them with a smart ass smile, pleased that he's shown how brave he truly is. With a beam of cocky definace...

CARTER It ain't my time.

He cooly turns back to the ignition, grabs the key and turns it over... only to be met with the DULL CLACK of a dead engine.

CAMERA SWEEPS INTO HIM AS his EYES FLARE with tension...

CLOSE - IGNITION

he turns it, again and again... nothing.

CARTER

looks up...

EXT. TRAIN TRACKS - NIGHT - CARTER'S POV - THE TRAIN

is moments away.

ALEX, CLEAR AND BILLY

assess the situation...

ALEX CLEAR Get out! Get out of the car! Get out! Get out of the fuckin' car!

INT. CARTER'S CAR - NIGHT

As he turns away from them, Carter sees something in the rear mirror...

CARTER'S POV - REAR VIEW MIRROR

the passing shadow is darker than any surronding darkness.

CARTER

as if the image has effected him, he looks to his lap belt and CLACKS the button. He tugs at the restraint, but it will not move. He's strapped in.

He tries to open the door... it won't open. He pulls at the door handle... tugs at the seatbelt... panicked. Horrified, he whips towards the others.

CARTER I can't get out!

EXT. TRAIN TRACKS - NIGHT

Alex, Billy and Clear look at one another, equally frightened...

BILLY Man, he really is next.

Alex takes off toward...

CARTER'S CAR

Alex hustles around the drivers' side. CAMERA SWEEPS INTO THEM as Alex desperately tries freeing the seatbelt.

THE TRAIN

the WHISTLES SCREAMS!

CLEAR AND BILLY

tense, as the train nears...

ALEX AND CARTER

Alex grabs Carter by the shoulders and strains with all his might to pull the much more muscular kid out of the driver's window.

CLOSE - CARTER'S SEAT BELT

the shadowy presence is reflected by the chrome buckle, however, after it passes... the seat belt begins to TEAR.

ALEX AND CARTER

As CAMERA SWEEPS IN to ALEX and he releases and deep GROAN...

ACROSS THE TRACKS

The train TEARS THROUGH the front end of the muscular car! GLASS and METAL ERUPT as the locomotive THUNDERS THROUGH FRAME.

CLEAR AND BILLY

must turn away from the shower of metal and broken glass.

ALEX AND CARTER

Alex holds Carter by the shirt at the shoulders, dragging him away from the wreckage. The two boys collapse on the road as the trian continues to ROAR PAST...

TRAIN TRACKS

as the heavy train wheels THUNDER and CLACK, a broken two foot long shard of the car's debris BOUNCES upon the tracks, kicked about by the train wheels.

CLEAR AND BILLY

run to the two survivors.

CLEAR

runs and falls into Alex's arms, holding him tight.

ALEX, CLEAR, CARTER and BILLY

Carter lies on the road, urine stains around his crotch, hyperventilating and near tears.

CLEAR Scared now?

Carter looks at the piece of seatbelt.

CARTER It broke!

BILLY No one's that strong.

CLEAR (to Carter) Bullshit. He saved your life...again!

CLOSE - TRAIN WHEELS

continues to kick around the chunk of twisted metal...

RETURN

The THUNDERING TRAIN intensifies the situation...

BILLY THAT'S RIGHT! HE'S RIGHT! YOU ARE NEXT! I'M GETTING THE FUCK AWAY FROM YOU!

Billy begins backing away from the others.

CARTER SHUT UP, BILLY!

BILLY WE DON"T NEED THIS NOW!

Billy continues backing away, horrified.

BILLY I DON"T NEED IT EVER! GET AWAY FROM HIM! HE'S NEXT!

CLOSE - TRAIN TRACKS

the debris rattles beneath the wheels...

CARTER AND ALEX

still on the ground...

CARTER FUCK YOU, BILLY! I'M NOT DEAD!

BILLY

backing away...

BILLY YOU WILL BE! YOU'RE DEAD! YOU'RE DEAD!

TRAIN TRACKS

the debris bounces directly on the track. With great power and force, a train wheel runs over the debris, cutting it in half. It catches in the wheel and is spun around until shot out with the force of a missile...

BILLY

BILLY (CONT'D) AND YOU AIN'T TAKIN' ME WITH YOU!

FWOOP! The metal tears ACROSS FRAME, ripping Billy's head from his shoulders.

ALEX, CLEAR AND CARTER

The ROAR of the TRAIN seems exaggerated as they are frozen in horrified shock.

EXTREMELY WIDE - ACROSS THE TRACKS

The train CLEARS FRAME and is gone... REVEALING, across the tracks, Alex, Clear and Carter can do nothing but watch Billy's decapitated body macabrely wobbling on it's two front feet beforw falling to the ground.

CARTER Jesus fucking Christ!

For a beat, there is SILENCE... until, in the distance, SIRENS can be heard, approaching. As Alex stands and Carter manages to rise on wobbly legs... none of them can remove their eyes from Billy's body.

ALEX (to Carter) You should have been next. After Lewton, you should've been next. That's the only pattern. You should be dead.

CARTER You're the fuckin' devil.

ALEX (to Clear) But I saved him. I intervened. Just like the plane. That's the design.

CLEAR Police are coming.

ALEX That's why It skipped Carter and went to the next one in the path of the explosion; Billy.

Alex looks at Clear as if expierencing an intense epiphany.

ALEX (CONT'D) My intervention in the death of 180 survivior will cheat the design.

CARTER "Intervention?" What are you God, now?!

ALEX Of course not! God's aren't afraid to die! Gods don't die! We do!

CLEAR You're losin' it. The police will be here. We have to go to the cabin. You can hide there. Get your head together.

Alex considers, mind racing... then realizes

ALEX After Billy... it's me. And then you.

Clear grabs Clear and touches her face.

ALEX (CONT'D) (to Clear) Hey, I won't let it happen, okay.

Carter turns to them; it's as far as he will go to admit he believes... or will help...

CARTER Then, get out of here.

As she moves to Alex, Clear nods her acknowledgement and appreciation to Carter. She takes Alex by the hand and the pair begin running away, off into the woods.

In the DISTANCE, a TRAIN WHISTLE BLOWS, eerie, as if Death was punctuating the moment.

CUT TO:

EXT. CABIN - NIGHT

The windows are boarded. The front steps are worn and dilapidated. In the early evening moonlight, the dwelling appears eerie and ghostly. CAMERA CREEPS TOWARD the hose, a pre-storm breeze swaying branches and blowing leaves. In the distance... LIGHTNING...

INT. CABIN - DAY - A SMALL TABLE

A final piece of duct tape is applied to the corner of the tabel, dulling any sharp edges. Even thought it is sunny outside, all the shades are pulled. The room sits in dark shadows broken by occastional bright shafts of light.

CAMERA FOLLOWS a hand as it carefully picks up a Coleman lantern and sets it atop an empty can placed in the center and above the water line of a large metal tub; a fire protection moat.

ALEX

finds his way to a chair in the center of the room, away from everything except a nearby table holding a fire extinguisher and a first aid kit both at less an arms reach.

Unshaven, a week and a half's growth, and unkept, Alex looks horrible. And anxious zombie, especially in the dim glow of the lantern. Dark circles, from lack of sleep. Thin, from lack of food. Pale, from lack of sunlight.

He places workman's gloves on his hands before picking up a can of Underwood chicken spread. With some degree of difficulty, he works the gloves beneath the tab and pulls. Careful not to cut himslef, he reaches out and drops the lid into a small trash can.

Alex removes the gloves and, with a plastic spoon, begins to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does.

Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again.

CUT TO:

INT. BATHROOM - CLEAR RIVER'S HOUSE - DAY

A pink circle fills THE ENTIRE FRAME

EXTREMELY CLOSE - CLEAR'S EYES

look downward, anxious and full of thought.

A HOME PREGNANCY TEST

the results are positive, two pink dots, confirming.

WIDER

Clear sighs, frightened as she tosses the test upon a half dozen other discarded tests. You can never be too sure. Outside, WIND of an approaching storm blows. CMAERA tensely INCHES IN ON Clear...

CUT TO:

INT. CABIN - NIGHT - CRACK BENEATH DOOR

The resulting THUNDER RUMBLES. A breeze blows beneath the door, carrying some autumn leaves. CAMERA FLLOWS the breeze across the floor to Alex's pant legs which slightly flutter.

CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around...

ALEX'S POV - TRASH BAG

the brown shopping bag tips over. Amongst the trash spread on the floor, a can rolls out and across the floor.

ALEX

tenses. He doesn't look to where the can has been, but where it is going.

ALEX'S POV - CAN

rols across the floor and gently hits the end of a fishing pole, propped in the corner. The pole teeters and falls over.

FISHING HOOK

falls, hooking a closet door. The door begins to swing open.

ALEX

is quickly out of his safe chair, hustling towards...

THE DOOR

Alex slams the door shut before it can open. Behind the door, a CRASH as something falls. Alex cracks a wicked half smile, cocky he has caught Death before this attempt has brought to fruition.

Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor.

CLOSET FLOOR

a tackle box has spilled thinck, rusted old treble and aberden fishing hooks upon the floor. Alex bends down and examines them.

ALEX (as if to Death) Rusted. Tetanus. Nice touch. (defiant) I overlooked it. You tried to capitalize. But I caught you, you fuck. I can beat you. Not forever, but I got this cabin rigged to beat you NOW!

O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway.

COLEMAN LANTERN

a draft creeps beneath the glass enclosure. The flame, dancing.

CUT TO:

INT. BEDROOM - CLEAR RIVER'S HOUSE - DAY

ENTERING FRAME, Clear peeks out the window, carefull not to be seen.

EXT. CLEAR RIVER'S STREET - DAY - CLEAR'S POV

The unmarked F.B.I. sedan maintains surveillance. Schreck and Weine sit inside.

INT. BEDROOM - CLEAR RIVER'S HOUSE - DAY

Distant... APPROACHING THUNDER RUMBLES as she steps away. The weight of the world on her shoulders, Clear paces, considering her options. She looks to a bookshelf...

CLOSE - AN OLD PHOTOGRAPH

A man, early thirties, hold a six year old girl in his arms, waving at the camera. Both appear happy and alive. They are standing before the cabin surrounded by the thick woods.

The photograph is turned over. On the back is marked in a young girls handwriting, "me and dad at the cabin. 1986."

CLEAR

As CAMERA PUSHES INTO HER... considering life. Then, now and what is to come.

CUT TO:

INT. UNMARKED CAR - NIGHT

Weine sits in the passenger seat looking through the pair of binoculars. Schreck is behind the wheel.

WEINE She was up there a minute ago...

A figure steps into the drivers side window, from the rear. The two agents are startled as Clear River's leans into FRAME. She pauses, gauging their trustmorthiness, then...

CLEAR I'm not turning him in. There's another life that needs him, now.

The two agents remain respectful...

CLEAR I go with you.

WEINE You can't.

She considers... and understands.

CLEAR Don't hurt him.

WEINE Tell us where he is. Wait at home, and I promise... we'll bring him back safe, in protective custody.

As she senses the agents' sincerity...

INT. CABIN - NIGHT

Distant THUNDER ECHOES. Alex kindles a fire in the fireplace, balling up old newspapers. He begins to crumble the local news... then pauses.

A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO...

HEADLINE - CRUMPLED NEWSPAPER

"PARENTS TO ESTABLISH MEMORIAL SCHOLARSHIPS." Besides the headline are two yearbook photos; Christa Marsh and Blake Dreyer.

Alex

his expression reflects a terrifying revelation...

ALEX I... never moved. Christa asked me to move, but I didn't change seats. I would've moved up... next to Tod... How could I not remember... that... I never moved. Clears seat was in front of mine...

CAMERA PUSHES into a TIGHT CLOSE UP...

ALEX (CONT'D) She's next.

CUT TO:

INT. CLEAR RIVER'S HOUSE - NIGHT

Clear paces in her living room. She moves to the curtains and checks out the window. Although it is not raining, LIGHTNING CRACKS across the sky!

EXT. CLEAR RIVER'S HOUSE - NIGHT - POWER LINE

The lightning STRIKES the top of the pole, SNAPPING two power lines, which whip in the wind.

INT. CLEAR RIVER'S HOUSE - NIGHT

The power goes out. The room turns dark. Outside, brilliant bluish white arc lights CRACKLE. Clear moves to the window.

EXT. CLEAR RIVER'S HOUSE - NIGHT -CLEAR'S POV - POWER LINES

ARC violently striking the ground and each other. Each line whips unpredictably like an uncontrolled garden hose with the water turned on full. And yet, there's a mean, angry and taunting personality to the two power lines. As if Death were within them.

INT. CLEAR RIVER'S HOUSE - NIGHT

She assesses the situation and moves to a pair of candles on the mantle, lightning them with Bic. O.S., from the backyard, a DOG BARKS. Clear brings the candle through the small house.

INT. KITCHEN - CLEAR RIVER'S HOUSE - NIGHT

Clear moves quickly to the kitchen, holding the candle. Outside, BLUE ARC LIGHT CRACKLES. She looks out the backyard.

EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S POV

An old circular clothesline turns like a pinwheel in the wind. In the center of the yard is an oblong, tarped above ground pool. In the furthest corner of the yard, her dog is chained to a tree, BARKING AND FREAKED OUT. An old tire swing rocks in the storm. From the manner in which the house is situated and the length of the snapped power lines, one is capable of reaching the backyard.

The power line STRIKES the ground, "closing in on" the dog.

INT. KITCHEN - CLEAR RIVER'S HOUSE - NIGHT

Clear considers the danger of venturing out to get the dog.

Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room.

EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLOTHESLINE

Sharp metal edges spin. Glinting blue arc light...

CUT TO:

EXT. CABIN - NIGHT

Alex charges out the front door, leaping over the steps. O.S., SEVERAL CARS APPROACH, headlights pan across the trees. Alex stops dead in his tracks and runs off into the woods, just as the F.B.I umarked sedan and three Sheriff 4x4s THUNDER up to the cabin, siren lights swirling.

INT. UNMARKED CAR - NIGHT

Weine is driving, leading the other vehicles. Schreck points out the passenger window.

SCHRECK There!

EXT. CABIN - NIGHT - WEINE'S POV - THROUGH CAR WINDOW

Full sprint, Alex disappears into the dark forest.

WIDER

the cars BRAKES to a stop, SKIDDING in the dirt. Sheriff's leap out of their vehicles. High powered flashlights shoot beams in Alex's direction. The officers take after the suspect.

CUT TO:

EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT

The backdoor opens. Clear charges out into the backyard.

THE DOG

Helpless, chained wrapped around the tree. THUNNDER RUMBLES.

CLEAR

continues to run...

THE CIRCULAR CLOTHESLINE

is whipped by a power line. SPARKS FLY as the base pole snaps in two.

CLEAR

the metal poles punge into the ground just before and behind her, inches from impaling her. She stumbles, but quickly steps aside and continues toward the tree.

THE CIRCUALR CLOTHES-LINE FRAME

is rolled by the winds, across the yard toward...

ABOVE GROUND POOL

the clothesline frame punctures the pool. Water streams from the rupture.

CLEAR

reaches the tree and begins unfastening the dogs collar from the chain.

THE POWER LINES

whipping, strike one another causing an angry FLASh!

THE RIVETS

holding the pool frame, begin to BREAK and POP. Water floods into the yard.

CUT TO:

EXT. FOREST - NIGHT

CAMERA MOVES WITH Alex, blindly running through the forest, sheriffs flashlihgt beams crossing behind him... in persuit.

Looing back to check the postition of the agents, Alex blindly runs over the lip of a downward slop...

GULLY

He rolls and tumbles uncontrollably down the hillside. As he nears the base...

ALEX

stops with a CRUNCHING THUD... his face, an inch from being impaled by a sharp, thick protruding branch. No time to catch his breath, he's up and running.

CUT TO:

EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S FEET

water floods, pooling the backyard, cascading over Clear's feet. She looks down, in the reflection of the puddle, the dark shadow passes. Clear whips up, checking the position of...

A POWER LINE

coils, like a cobra, ready to STRIKE!

TREE

Clear drops the chain and hits the dog on it's backside.

CLEAR Run!

The dog starts to tear off toward the house. Clear runs toward the hanging tire. Leaps...

THE POWER LINE

whips, the frayed wires hitting the puddle of water...

Clear

in mid air, desperately grabs the tire, hanging on, literally for her life. O.S., the dog YELPS. Clear turns back...

CLEAR'S POV - THE DOG

convulses in the small pool of water, burning from the overwelming amounts of electricity.

CUT TO:

EXT. FOREST - NIGHT - SMALL CREEK

Distant flashlights reflects in a small stream, barely two inches deep. Alex's foot splashes in the water. THUNDER RUMBLES.

ALEX

races along the path of the stream.

SHERIFFS

continue their pursuit through the dark trees.

ABOVE

Lightning CRACKS a tree branch. SPARKS FLY! The tree tumbles down the branches.

ALEX

The thick branch falls from above, landing on top of him. He's knocked to the ground and pinned... face down in the creek.

CAMERA MOVES IN... his nose and mouth, just below the water line, but he cannot move. His eyes flash with panic, as he struggles... battles to move and avoid drowning in two inches of water.

As he struggles in the f.g., Weine and a pair of Sheriffs appear ten yards beyond him. They pause, confused, panning their flashlights across the forest.

WIENE'S POV - FOREST

the lights actually expose the area where Alex lies. From their postition, however, he is covered by the branch and out of sight.

ALEX

struggles to raise his head above the water, chest bursting...

WEINE AND SHERIFFS

believing Alex is not in the area, move ahead into the woods.

CUT TO:

EXT. BACKYARD - CLEAR RIVERS'S HOUSE NIGHT

Clear pulls herslelf up to a tree branch. Lighting and THUNDER CONTINUE amongst the ARCING, CRACKLING POWER LINES. She searches for an escape.

CLEAR'S POV - THE TREE BRANCH

extends toward the house.

CLEAR

straining in the storm, begins moving up the branch...

CUT TO: EXT. FOREST - NIGHT - CLOSE - ALEX'S EYES

dart open. Taking a tenth of a second to gather all of his strength, all his courage, he arcs his back, pushing with his hands, anything to lift his face out of the stream.

With a DEEP GASP, he does so. Drinking up the air. It appears to infuse him with another blast of adrealine as he manages to push with his arms adn free himself from the pinning tree branch.

He pauses only for a couple gulps of air... and is off.

CUT TO:

EXT. WINDOW - CLEAR RIVER'S HOUSE - NIGHT

CLear leaps from the end of the branch to her window, grabbing the sill awkwardly, she dangles outside the house. With a breath, she pulls herself inside, just as the power line bites, ARCING, at her feet.

CUT TO:

EXT. FOREST - NIGHT

Weine RUNS INTO FRAME, looks around, frustrated...

WEINE (into radio) Lost him.

ANOTHER PART OF THE FOREST - SCHRECK

deperately scans the area.

SCHRECK From the direction... there's only one place he can heading...

CUT TO:

EXT. CLEAR RIVER'S HOUSE NIGHT

The power lines strike the rooftop.

INT. CLEAR RIVER'S HOUSE - NIGHT

Clear River's stands in her bedroom just as it fills with blinding blue light. Her television screen BLOWS OUT. Sparks jet across the room. Blasts of FLAME erupt from the electrical outlets. She quickly turns, racing toward the hallway.

INT. HALLWAY - CLEAR RIVER'S HOUSE - NIGHT

CAMERA IS LOW, RACING WITH HER as SPARKS EXPLODE FROM the lamps and electrical outlets. She cuts and leaps three steps at a time down the staircase...

CUT TO:

EXT. EDGE OF THE WOODS/BACKYARD - NIGHT

Alex tears across the fenceless backyards towards Clear's house. Blue ARC light glowing from the front yard.

CUT TO:

INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

A mid-eighties Corolla is parked amongst Clear's artwork. A door, adjacent to the kitchen flies open. Clear hustles through, running to the car and entering via the passenger door, for the sake of expediency.

EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

The power lines WHACK angerily against the door.

INT. COROLLA - NIGHT

Clear scoots into the driver's seat. She CLICKS the automatic garage door opener...

GARAGE DOOR OPENER MOTER

connected to a metal arm, attached to the door, remains motionless - there is no power.

INT. COROLLA - NIGHT

Realizing the moter is dead, Clear takes a beat, STARTS THE ENGINE and SHIFTS INTO REVERSE...

EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT

Alex reaches the backyard. CAMERA PUSHES IN as he quickly tries to deduce the deadly situation. HE RUNS OUT OF FRAME...

INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

Clear guns the small car in reverse.

ARAGE DOOR

as the rear of the car makes impact with the door...

THE GARAGE OPENER

trembles, the long metal arm collapses, falls...

EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

BAM! In reverse, the Corolla SMASHES through the garage door.

THE METAL ARM

of the garage door opener RIPS through the windshield, locking upon the windshield wiper ggrille. The other end remains attached to the garage rood interior, essentially acting as an anchor.

INT. COROLLA - NIGHT

The car SHUDDERS, wheels spinning uselessly, as the arm "holds" onto the car.

INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT - DOOR OPENER MOTER

the screws holding the arm to the ceiling begin to pull away...

A METAL CAN

on a shelf, is rocked as, O.S., the CAR rattles the garage, trting to break free. The can is marked "TURPENTINE: EXTREMALY FLAMMABLE." The can tumbles over the shelf.

GARAGE FLOOR

the can SMACKS on the floor, edgewise, REVREALING the can is sealed tight with a cap.

EXT. CLEAR RIVER'S HOUSE - NIGHT - POWER LINE

thick cable ARCS, snapping toward the car INTO FRAME

INT. COROLLA - NIGHT

Foot to the floor, Clear SCREAMS for the car to move.

INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT - DOOR OPENER MOTER

pulls away from the ceiling.

EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

The Corolla lurches backward, freed from the grasp of the house.

INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

a chunk of the cieling collapses upon Clear's artworks, inclusing the canvas incorporating a jagged piece of debris from Flight 180. The metal SLAMS to the floor, on top of...

THE CAN OF TURPENTINE

which causes the flammable liquid to sream out, toward the driveway.

EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

As the Corolla lurches away from the house down the sloped driveway...

THE POWER LINE

THUDS upon Clear's car.

INT. COROLLA - NIGHT

An ear splitting CRACKLE. SPARKS FLY! The electrical system of the samll car erupts and the engine dies. The car stops.

EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

From the rear of the house appears Alex. CAMERA SWEEPS IN ON HIM as he reacts to the situation...

ALEX Don't move!

WIDER

The power line sadistically rests atop the automobile. The exposed end of the cable flutters and whips like a cat's tail, SPARKING, CRACKLING, as it hits the ground.

INT. COROLLA - NIGHT

Clear looks up, desperately to Alex.

EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

Alex extends his hands. O.S., CARS approach THUNDEROULSY...

ALEX You're grounded in the car. Don't touch anything. DON'T MOVE.

IN THE STREET

The unmarked F.B.I. vehicle and wo sheriff patrol cars pull up on the street. Schreck and Weine hustle out of the car.

WEINE Alex, get away from there!

SCHRECK Any part of that line touches you, you're dead.

THE POWER LINE

SNAPS in ALEX'S DIRECTION.

ALEX

lurches back...

THE STREAM OF TURPINTINE

is ignited by a single spark fom the power line. It flows toward the car.

ALEX

backs away, eyes locked with Clear's, assuring she's remaining in the car.

CLEAR

keeps her eyes locked on Alex, watching him. Suddenly, a BURST OF FIRE FLASHES FROM BELOW FRAME...

ALEX

reacts, shocked. He realizes...

WIDER

the underbelly of the Corolla has ignited from the stream of combustible fluid.

SCHRECK AND WEINE

step forward...

THE POWER LINE

atop the car, whips, ARCS, warning everone away.

IN THE COROLLA

Clear can see the flames, her instinct is to grab the handle to get out.

CLEAR'S POV - GARAGE WALL

The fire roars angrily in the f.g., on the garage wall, however, the shadows do not match that of the flames, rather, the approaching form of Death appears.

ALEX

steps closer...

ALEX NO!

CAMERA PUSHES IN ON ALEX as he quickly considers, then moves toward the hood of the burning car...

SCHRECK AND WEINE

WEINE Get back! You'll both die!

ALEX AND CLEAR

hearing this, Alex's mind is made up , he looks to Clear.

ALEX You know what to do.

CLEAR No! No! Don't!

ALEX When I do this.. it'll have skipped you... and it'll all be over.

At that moment, Clear doesn't understand. She looks to him, scared...

ALEX You know what to do. I'll always be with you.

He reaches out and grabs the power line, falling back to pull it away from the hood of the car. The cabel ARCS furiously.

COROLLA

Clear opens the drivers side door and runs out, knocked to her feet behind her as the car EXPLODES.

ALEX

is engulfed in the flames.

ALEX'S POV - THE SHADOWS

the edge of the FRAME are collapsing. Alex's face, gray and emotionless appears, yet, before it can transform into decay...

ALEX

through the flames, as if sensing the oncoming horror, defying the image...

ALEX NO!

He looks toward...

Clear - ALEX'S POV

She... is the last sight he'll ever see.

WIDER

The power line ERUPTS! Alex disapears behind the wall of fire and sparks before falling limp on the driveway.

CLEAR

Schreck, Weine and PARAMEDICS rush to the girl. Schreck turns back, calling out to a paramedic, helplessly watching by ther burning car.

SCHRECK Is he alive?

CLEAR'S EYES

flash open, horrified, answering the question...

THE SKY

a web of LIGHTNING CRACKS across the Heavens, as if Death was making a final angry proclamation.

SCHRECK AND WEINE

CAMERA EASES IN on the agents, exchanging rattled expressions that convey their unease in the proof that Alex was right.

CLEAR - OVERHEAD

As a pair of paramedics work on her, a soft breeze blowsacross the girl, and only the girl. CAMERA MOVES DOWN TO HER FACE, her eyes opened... welling with tears... seeming to realize... to sense, he is gone.

CUT TO:

INT. DELIVERLY ROOM - DAY - CLEAR

SCREAMS, as if reacting to Alex's death, but in actuality is is a reaction to the pain of delievering her child.

DOCTORS AND NURSES

stand between Clear's legs in the stirrups...

DOCTOR A little more. Little more!

CLEAR

breathes, pushes hard. Alex's parentsstand on each side of her, holding her hand, wiping her forehead.

THE DOCTOR

cuts the umbilical cord.

DOCTOR He's here. A beautiful boy.

CLEAR, KEN AND BARBARA

smile and fight back the tears, Clear begins to laugh euphorically through the tears.

CLEAR I felt him! When the baby was born... I felt Alex pass through me... like the night he died...

Clear lifts her head up, still battling the pain of labor...

CLEAR'S POV - THE BABY

covered in goop, eyes shut... a new life arrives.

DOCTOR

looks at the clock and reprots to an attending nurse. Another nurse cleans up the baby, wieghs him and places him in a hospital bassinet.

DOCTOR 13th of May... 4:25 p.m.

CLEAR, KEN AND BARBARA

Barabra places a cool wet cloth on Clear's forehead...

BARBARA Exactly a year... to the minute.

Everyone recognizes the eeire, yet beautiful coincidence. Clear leans her haed back, relieved, euphoric...

CLEAR We beat it, Alex.

Cleaned and wrapped in a swaddling blanket, the baby is placed in the mothers arms. The long retrospective harmonica of Neil Young's "Long May You Run" reprises as Clear looks at the I.D. braclet...

WRIST BRACLET

"Alexander Chance Browning II."

DELIVERY ROOM

CAMERA PULLS BACK. The birthing room is quiet; the people introspective. The doctors. The family. The mother and child. A room of new life, in which, each recalls a life lost.

As "Long May You Run" OVERLAPS

DISSOLVE TO:

INT. ALEX'S BEDROOM - DAY - FLOWERS

A bright, colorful arrangment of flowers is carefully placed into a vase. CAMERA ADJUSTS to REVEAL Alex's bedroom is now lived in by Clear and the baby. Clear makes the final adjustment in the arrangement, then checks the sleeping baby in the bassinet.

Clear moves to her bed with a book. As she settles in, O.S., a faint RUSTLE. CAMERA INCHES IN ON CLEAR as she looks to...

CLEAR'S POV - THE FLOWERS

a soft breeze causes the petals to flutter...

CLEAR

looks toward...

CLEAR'S POV - THE WINDOWS

which are closed.

CLEAR'S POV - THE FAN

which... is off.

CLEAR

looks across the room...

CLEAR'S POV - THE ROOM

The breeze moves through the flowers... billows the cutains, posters and photos on the wall... until seemingly settling over the bassinet. The lace trim and blankets rustled by the breeze, it is hovering over the child.

CLEAR

CAMERA SETTLES, but her expression does not reflect fear. She knows Alex is here... and she smiles, tears welling in her eyes.

THE BABY

the bassinet trim settles, as if the presance is leaving. Before it fully departs...

CLEAR

the wind softly and rapidly passes over Clear. He smile remains as the room becomes still and her eyes looks across the room.

CLEAR'S POV - ON THE WALL

is a pencil rubbing, like people take awat from the Vietam veteran's Memorial. The name... "ALEX BROWNING..."

CUT TO:

EXT. MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - MONUMENT

"ALEX BROWNING" is marked in the granite. CAMERA PULLS BACK TO REVEAL the name has been added to the memorial, along with Tod Waggner, Valerie Lewton, Terry Chaney and William Hitchcock.

A hand ENTER'S FRAME, fingers hover in space before they gently trace over "Terry Chaney." CAMERA ADJUSTS TO REVEAL Carter Horton, staring at the name. Alone, he allows himself the moment to grieve. Carter glances up to find Clear approaching with the baby in the stroller.

Carter straightenes, and nods, then begins to walk away. He hesitates, then turns back to Clear.

CARTER Alex was right.

Clear looks up.

CARTER (CONT'D) It did skip us.

Clear smiles. As she takes the baby out of the stroller...

CLEAR I believe... that's what Alex beleived. But how do we know... this wasn't the design all along?

Clear holds baby Alex up to the monument, showing her son his father's name. Carter stands, watching. CAMERA WIDENS to REVEAL the entire monument against the deep blue sky. At the base in readable, but understandable lettering... "FLIGHT 180."

CAMERA HOLDS as "Long May You Run" CONTINUES... RETURNING each of us to the awaiting darkness.

FADE OUT:

<<<

I/ Final Destination I.
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