text:  'FINAL DESTINATION' Originally Called 'FLIGHT ' By James Wong and Glen Morgan January, Awaitingeach of us; a colddarklonely place. Deny its finality. Deride its totality. Dread the inescapable inevitabilityit will arrive. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, 'And When I Die.' As the Introduction closes, RESONATES A FLASH OF LIGHTING! A CRACK OF THUNDER! ALEX'S BEDROOM - NIGHT - CLOSE - BED An airline ticket is tossed INTO FRAME beside a suitcase; 'EURO-AIR. FLIGHT # . New York City JFK - Paris, Charles de Gaulle CDG.) Departure: Thursday May. H - Arrival: Friday May. H .' 'And When I Die' Continues throughout the MAIN TITLES: AN OLD TABLE FAN swivels beside and open window. Outside, a humid spring THUNDER STORM drops warm, ominous rain. The figure of a seventeen year old boy, ALEX BROWNING, packing for a trip, passing the fan THE BED A Paris guidebook is tossed atop the plane ticket. CAMERA PUSHES IN ON THE BOOK as the fan's breezes flip through the pages. THE TABLE FAN turns, head swiveling away from the bed. TIGHTER - THE GUIDEBOOK PAGES stop flipping, REVEALING A GULLOTINE from the Reign of Terror. As an American passport is dropped beside the guidebook THE TABLE FAN swivels, returning towards the guidebook on the bed. THE GUIDEBOOK PAGES FLIP. FLIP. FLIP. Alex's faint shadow continues moving about the room. The fan head swivels away, allowing the pages to settle upon a Louvre masterpiece, Francisco de Zurbarans Lying-in-the State of St. Bonaventura. CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again. TIGHTER, OMINOUS ANGLE - THE DESK FAN There is more of a hint of conincidence as the blades whirl and head swivels. The boy's figure passes, blocking the breeze. THE GUIDEBOOK PAGES stop dead on Jim Morrison's decorated tomb in the Cemetiere du Pere Lachaise. A pilgrim has spray painted 'This is the End.' Which in fact, it is of the MAIN TITLE. BARBARA Alex CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school 'everyman.' One the wall amongst Yankee and Knicks posters, hangs a pennant; 'Mt. Abraham High School, New York. The Fighting Colonials!' Alex's mother, BARBARA,, walks in, excited and a bit anxious. BARABRA Cont'd Tod and George's dad just called, he's picking you up at in the morning. Bus leaves the high school for JFK at noon. Barbara moves towards the suitcase to help him pack. Alex's father, KEN BROWNING, appears, leaning against the door threshold, smiling enviously at his son. KEN My suitcase workin' out for ya? Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight. ALEX Whoa! Whoa! Mom, you gotta leave that on. It's like the tag made the last flight without crashin' or anything, right? So, it should stay on, or with, the bag for good luck. BARBARA Where would you get a nutball idea like that? EXTREMELY CLOSE - THE AIRLINE BAGGAGE MARKER is torn away from the suitcase handle. RETURN As Barbara picks up the suitcase to place it on the floor a dozen old baggage I.D. tickets spill from the outer compartment. She looks at Ken, as if 'you?' The guilty party shrugs. KEN I'm still here. Barbara shakes her head as Alex smiles at his dad. KEN Cont'd Seventeen and on the loose. Ten days in Paris. In the springtime! Live it up, Alex CAMERA INCHES INTO KEN as he winks at his son KEN Cont'd Got your whole life ahead of you. ALEX CAMERA CREEPS IN as, oddly, the words strike him portentously ALEX'S BEDROOM - LATER The storm has ceased. The room is QUIET. As if itself a presence, CAMERA CREEPS across the dark and motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him. On the rear wall, the Fighting Colonials pennant begins to flutter slightly, as if affected by the moving breeze. The path of which is continued toward the bed, rustling the sheets, subtly blowing Alex's hair and continuing OVER CAMERA. Even in his sleep, Alex shivers from the passing cold. His eyes open surprised to be suddenly awakened. He considers for a beat, then looks toward THE WINDOWS which are closed. ALEX puzzled, checks THE TABLE FAN which is off. ALEX perplexed, rolls over toward his digital clock. It's : a.m., however the middle digit bar in the first zero faintly flickers so this time appears to read : . AIRPORT P.A. V.O.) overlapping Attention airline travelers JOHN F. KENNEDY AIRPORT - MORNING - TELEVISION MONITOR FLIGHT departs : . Gate . AIRPORT P.A. V.O.) This airport does not support solicitors CAMERA ADJUSTS FROM the 'Arrival-Departure Schedule' to REVEAL forty high school KIDS, four TEACHERS and several PARENTS are gathered inside the International terminal at J.F.K. Several of the students wear Fighting Colonial leterman's jackets or hats and shirts displaying 'Mt. Abraham High, New York.' AIRPORT P.A. V.O.) CONT'D You are not required to give money to solicitors. Alex gathers his bags, as does his best friend TOD WAGGNER and his older brother GEORGE WAGGNER, standing before their father, JERRY WAGGNER. For Alex, any psychic tension from the night before seems forgotten in the fun and excitement of the trip. MR. WAGGNER Alright, you guys got everything? TOD Yeah, we're all set Dad. MR. MURNAU, the French teacher any further description necessary?) and leader of the class trip waves his arm. MR. MURNAU Les estudients, allons en France! MR. WAGGNER Does that mean 'go?' Tod shrugs, 'I guess' as he moves to his father and gives him a warm hug goodbye. Mr. Waggner then gives his older son a hug. AIRPORT P.A. V.O. Atencion senores pasajeros. No es necesario contribuir MR. WAGGNER I'll miss you guys. Tod and George gives a wave, as does Alex, who is slapped on the back by Mr. Waggner. MR. WAGGNER Take care of those two, Alex. ALEX I will. Don't worry. The group begins down the airport toward the check-in counter. In the f.g., before the boys, strides a girl, CLEAR RIVERS,, reading the TROPIC OF CANCER. The loner in the group, Clear wears dark colors against the insecerity of her sex appeal. She appears aloof and more wordly then the other students. Readying his ticket and documents, Tod flips open his passport, checking out his photo. TOD I didn't think anything could worse than my yearbook picture. GEORGE Now you know how I feel havin' to look at you all the time. AIRPORT P.A. V.O.) Avis aux passagers Mr. Murnau stops the group. Excited, he cups an ear with one hand while raising a finger toward the public address system. MR. MURNAU Entendez classe, qu'est ce que c'est l'announce? Everyone begrudgingly stops to listen. AIRPORT P.A. O.S. CONT'D Vous n'etes pas dans l'obligation de contribuer aux demandes des quemandeurs. CARTER HORTON is the class dickhead who mix and matches his role models in the most superficial manner. His hand is tucked into his girlfriend, TERRY CHANEY'S, waistband CARTER re: MURNAU What the fuck's he want? Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths 'shh.' P.A. SYSTEM O.S., CONT'D cher aeroport n'est responsable pour leurs activities. Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as CLEAR The airport doesn't endorse solicitors. MR. MURNAU Tres bien, Clear! Tout droit! She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs ALEX Fuh-ck, do we have to put up with that shit the whole time? A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. HARE KRISHANA Death is not the end. CAMARA PUSHES IN ON ALEX unsettled by the soft spoken, yet ominous, 'Solicitation.' The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON,, a feisty English teacher whose figure inspires all the boys' fantasies. MS. LEWTON It will be for you if you harass my students. She places a hand on Alex's shoulder, herding him to the group. HARE KRISHANA pissy Hare Rama. Ms. Lewton turns and, while walking backward, flashes a smile MS. LEWTON mouths Fuck off. As she turns her back and continues down the terminal CHECK IN DESK - AIRPORT - DAY Alex's passport and ticket are set INTO FRAME and picked up by a female TICKET CLERK. Alex waits as she busily types into the computer and checks his passport TICKET CLERK I have a few questions to ask you this afternoon. O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. TICKET CLERK CONT'D Did you pack these bags yourself? The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. ALEX'S POV - THE FLIGHT INFORMATION BOARD Plastic tabs CLACK rapidly, settling on the word 'CANCELLED.' ALEX CAMARA CREEPS IN on his dawning paranoia TICKET CLERK CONT'D, O.S.) Have your belongings remained in your possession the entire time? Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to ALEX'S POV - TIGHTER - FLIGHT INFORMATION BOARD The plastic tabs FLIP and CLACK rapidly, stopping on 'DEPARTED.' TICKET DESK Alex is still considering the 'messages...' TICKET CLERK Have you recieved any packages from persons unknown to you? Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward CLOSE - MOTION SLOWED)- ALEX'S LUGGAGE a new airline I.D. marker is attached to his bag. RETURN Alex eyes the new tag hoping it's 'good luck.' As the clerk returns his ticket and passport CLACK, CLACK, CLACK. TICKET CLERK Same as your birthday. Alex is puzzeled by the comment. He shakes his head if, 'pardon me?' CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket TICKET CLERK CONT'D April th. Four-twenty-five your birthday is the same as your departure time. CLACK. CLACK. CLACK. Alex's eyes flash toward ALEX'S POV - FULL FRAME - FLIGHT INFORMATION BOARD the title settles upon 'TERMINAL.' SECURITY AREA - AIRPORT - MONITOR The ghastly green and reds of the X-ray monitors flash as carry on bags flash through the machine. CAMERA MOVES COUNTER to the direction of the conveyor belt. The pace and excitement of the collective group escalates as departure approaches. Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. Alex, Tod, George and BILLY HITCHCOCK, heavyset with a New York Rangers jersey watches Carter and Terry with disgust. BILLY I can't believe they let that dickhead on this trip. GEORGE His parents bought a ton of those trip certificates we had to sell, just to get him out of their hair for ten days. Excited, Tod speaks in a convert tone over Alex's shoulder. TOD Dude, I so worked the ticket clerk so you're sittin' next to Christa and I'm next to Blake. Alex looks up ahead of the metal detectors ALEX'S POV - TWO GIRLS Attractive and they know it, CHRISTA MARSH and BLAKE DREYER appear clearly out of Alex and Tod's league. TOD CONT'D That's seven hours and most of it is in the dark. ALEX AND TOD The boys dump their change in a plastic bowl. TOD Dude, if we don't get someone going on this flight, we should just call Dr. Kervorkian and put ourselves out of our fuckn' misery. As Alex and Tod pass through the metal detector, their eyes performing reconnaissance on Christa and Blake, the opening drum BLASTS of Boingo's 'No One Lives Forever' OVERLAPS AIRLINE GATE - AIRPORT - AFTERNOON - CLOSE - GATE CAMERA ADJUSTS from the sign indicating GATE . The class is squirrely and excited. Mr. Murnau, Ms. Lewton, and the parent chaperones are allowing kids to burn off steam at the gate, hoping for a calm flight. CAMERA MOVES ALONG the awaiting passengers Carter and Terry are making out, a step away from heavy petting Blake and Christa are flipping through Parisian fashion magizines Billy Hitchcock lays into a Burrito Supreme CAMERA MOVES to an empty seat. Clear Rivers ENTERS FRAME and sits, struggling with her Walkman, coffee, books, and a cassette box handmarked 'Boingo' a cheat that We hear the song As she places her stuff on the unoccupied seat beside her, a Paris guidebook falls on the floor, opened but face down. A passing, unidentified, student reaches down and hands her the book, still open and face down. CLEAR Thanks. The student continues down toward the observation deck. Clear looks at the opened guidebook. CLEAR'S POV - GUIDEBOOK Princess Di's Mercedes is totaled in a Paris tunnel. Besides the photo are two portraits of Diana and Dodi Al Fayed. CLEAR CAMERA INCHES IN as she shakes off a shiver down her spine. She looks up from the book toward the student who handed it to her, the identity of which is fully REVEALED to be Alex Browning. He stands at the gate window, looking out at the plane. ALEX'S POV - It is raining. In the distance, MUFFLED THUNDER RUMBLES. CAMERA CREEPS AWAY from the plane huge, seemingly incapable of flight and yet we unquestioningly trust our lives in this machine. Emotionless. Cold. Lifeless, and yet soon full of life. ALEX CAMERA inches in on him. TOD Dude, let's take a dump. Tod MOVES INTO FRAME beside Alex ALEX Man, that is one George Michael notch from being gay. TOD Dude, get wisdom. We're about to board a seven hour flight. The toilets in coach are barely ventilated closets. What if your body wants that airplane food out of your system and you have to go torgue a wicked cable and then right after you walks in Christa or Blake? You want them to associate with you with that reflexive gag and the watery sting in their eyes? Alex takes a beat to consider MEN'S ROOM - AIRPORT - OVERHEAD CAMERA LOOKS DOWN on two stalls. Alex sits in one, Tod sits in the other. O.S., OVER the airports P.A. SYSTEM John Denver's 'Rocky Mountain High' begins ALEX John Denver Upon the mention, CAMERA CRANES DOWN, TURNING, TWISTING UNTIL FINDING ALEX in a straight on CLOSE-UP. He listens, tense JOHN DENVER He was born in the summer of his twenty-seventh year ALEX He died in a plane crash. A P.A. ANNOUNCMENT breaks into the song P.A. SYSTEM Ladies and Gentlemen, thank-you for your patience, at this time we would like to begin pre-boarding of Euro-Air Flight to Paris through gate . Really for the first time, Alex appears a bit tentative and pale. It is intensified by the return of the song JOHN DENVER It's the Colorado Rocky Mountian High/ I've seen it rainin' fire in the sky BOARDING AREA - GATE - CLOSE - ALEX'S BOARDING PASS is torn along the perforated edge and handed back. ALEX looks down the paasenger ramp. ALEX'S POV - RAMP TUNNEL CAMERA CREEPS toward it lit to cheat a feeling of no return. O.S., distant THUNDER RUMBLES WIDER There is something more emotionally tense about the moment of boarding than take-off. CAMERA PICKS UP Ms. Lewton searching MS. LEWTON Anyone seen Billy Hitchcock? How'd we lose him? Tod nudges Alex toward the tunnel, the three boys start down the ramp, passing Mr. Murnau who checks his list, counting heads MR. MURNAU Vingt huit, vingt neuf PASSENGER RAMP Alex, Tod, and George catch up to Christa and Blake, excited. As always, everyone becomes bottlenecked just at the point of entering the plane. Alex looks out the ramp's side porthole window toward the back of the plane. ALEX'S POV - THROUGH PORTHOLE The enormous engine. The expansive wings. Behind the tail, distant, a bolt of lightning FLASHES! ALEX looks away. Just ahead, in the plane, FLIGHT ATTENDANTS greet the passengers. He is next to enter the plane. CLOSE - FLOOR a slice of opening from where the ramp meets the plane provides a sense of how high up one actually stands. ALEX CAMERA PUSHES INTO HIM as he takes his first step into the plane. CLOSE - AIRLINE CABIN FLOOR Alex's Nikes land on the carpet. - FIRST CLASS CABIN - AFTERNOON - CLOSE - BABY SCREAMS! Its parents desperately comfort the child. CAMERA ADJUSTS, LEADING George, Alex and Tod through the aisles. Alex and Tod wince at the screaming child. George, however feels comforted. GEORGE Good sign. Younger the better. It would be a fucked-up God to take down this plane. ECONOMY CLASS CABIN - - AFTERNOON In the first row slumps a young man with Amyotrophic Lateral Sclerosis. A cannula is set in his nostrils leading to an oxygon tank beside him. The kids sneak sympathetic yet anxious glances at the man while continuing in their seats. George whispers over his shoulder GEORGE A REALLY fucked-up God. Alex's tension increases as he continues up the aisle. ALEX'S POV - OVERHEAD COMPARTMENTS CAMERA INCHES IN ON 'Row . Seats H, I, and J.' ALEX climbs into the row, carrying his backpack. He takes his window seat and reaches up to the air flow valve. CLOSE - AIR FLOW VALVE turns, HISSING, air streaming full blast. CAMERA INCHES IN ON HIM as he takes in deep breaths of the stale air. He presses his face to the window. ALEX'S POV - THE LEFT WING Rain falls. GEARS WHIR as the ailerons are tested. CLOSE - ALEX CAMERA CREEPS TOWARD HIM, face to the glass; eyes scanning the plane and outside area. CHRISTA Alex? He turns toward the aisle. ALEX'S POV - CHRISTA AND BLAKE Man, they look great and they're workin' the sex appeal. CHRISTA Could you trade seats with Blake so she and I can sit together? I asked Tod, but he says he's got some medical thing? ALEX sneaks a quick check with Tod. ALEX'S POV - TOD shakes his head. 'NO! NO! DON'T DO IT.' ALEX AND THE GIRLS He looks to them and knows he is just plain overmatched. Alex shrugs, 'Sure.' In front of him Tod throws up his arms, disgusted. Alex climbs out of his seats. The girls are touchy-feely thankful, but only know guys dig that. CHRISTA AND BLAKE You're so sweet. Thanks, Alex. Alex crames up into the aisles, making his way to Tod, sitting two rows up in H. Alex climbs over Tod to take the window seat. Clear Rivers sits in the seat directly behind Alex. TOD mouths Fag. ALEX C'mon, man, like you really thought you were gonna tittie fuck 'em over Greenland, or something? TOD Because of you, I gotta sit here and watch fuckin' 'Stepmom.' As Alex sits, the tray table falls from its upright position. He lifts the tray back up, but as he turns the latch, it BREAKS OFF in his hand. He briefly tries to jimmie the tray into postition, then gives up. CAMERA FOLLOWS ALEX'S HAND as it rises. CAMERA SWEEPS IN EXTREAMLY CLOSE to the ATTENDANT CALL BUTTON. As Alex's finger engages the button, it lights up orange. ALEX The jet lurches. He looks OUT OF THE WINDOW - ALEX'S POV The begins rolling out of the gate. ALEX As he looks back, searching for the nearst flight attendant ALEX'S POV - THROUGH THE SEATS - CLEAR RIVERS reads her book. Another leans to look out the window. ALEX lifts a bit out of his seat, searching for any flight attendant O.S., A PING. CAPTAIN V.O Flight Attendants prepare for departure. Looking fore in the cabin ALEX'S POV - NEAR THE FLIGHT DECK The flight attendants strap themselves in for take-off. ALEX O.S., the ENGINE VOLUME INCREASES in PITCH and INTENSITY as the jet begins to taxi. Alex sits back as the tray over his lap. He looks out the window. ALEX'S POV - THE RIGHT WING appears motionless in the f.g. as the tarmac and runway signs roll past the window. THE ENGINE PITCH RISES ALEX The ENGINES WHIR as the jet gathers SPEED. He checks the window. ALEX'S POV- THE RUNWAY is a blur. The airport terminals in the b.g. streak past. The wings lift, angled as the jet leaves the ground. ALEX O.S., his classmates CHEER and 'raise the roof.' The trip has begun. CAMERA PULLS AWAY FROM ALEX, as if reflecting his easing of annoyance with the tray situation. He finally appears to notice the raucous reaction and settles back in his seat, slightly pushed by mild-g force. The upwarding angle increasing The cabin buffets, as if passing mild turbulance. Then The cabin sharply JOLTS! Everyone tenses, GASPS. CAMERA SWEEPS BACK TO ALEX. And just as he clenches his backpack the cabin BANGS, ROCKS. THE ENGINES SPOOL TO A STALL. METAL TWISTS under extreme PRESSURE. The cabin dips, angles, sharply to the right. ALEX'S POV - THE CABIN Passengers SCREAM! Unrestrained personal belongings fly across the aircraft INTO CAMERA, which BUFFETS and SHAKES OXYGEN MASKS deploy from the overhead compartments. A prerecorded message, like that recorded by the black box of the crash of JAL# August,, BLARES over the P.A., with erie calm MESSAGE V.O.) Fasten seat beltsput on oxygen masks ALEX his hand trembles as he reaches for the oxygen mask and places it over his face. The ENGINES resuscitate. SCREAMING. WHINING. Alex checks out his window. ALEX'S POV - OUT OF WINDOW The plane is on its side, losing altitude. A slow, sick spin. ALEX breaths deep into his oxygen cup. The JET ENGINES GRIND AND WHIR, as if the craft were in the midst of a last-ditch effort to regain stability; the sounds DEAFENING over the PASSENGERS' cruelly hopeless SCREAMS. Then KA-BOOM A DEVASTATING EXPLOSION ERUPTS across the cabin, blasting a five foot hole in the fuseluge. Human limbs and blood spray, craft and passengers torn to shreds. Dead students sit lifeless in their seats. Every unrestrained object on board flies to the hole and through the fire; paper, books, luggage, pillows. A PARENT and a STUDENT clutch their seat in terror, SCREAMING before they are pulled into the sky. Wind. Screams. Dying engines, a deafening blare. ALEX AND TOD SCREAM, pale, knowing there is no hope, no escape as the ENGINES DIE. The cabin begins to tilt downwards then straight down. Debris tumbles toward the flight deck as if falling from a cliff. OUTSIDE the sick familiar SOUND of an aircraft going down. ALEX is strapped to his seat, upper body facing downward toward the water. FIRE, WIND, AND BLOOD WHIP across him. A BUILDING WHINE CRESCENDOES before a second EXPLOSION RIPS ACROSS FRAME CLOSE - ALEX'S TERRIFIED EYES dilating rapidly, as the shock of what appears to be happening before him washes over his very psyche. CHRISTA Alex? ALEX Drenched with sweat, trembling in his seat, his eyes dart toward Christa and Blake. They look great and they're workin' the sex appeal. CHRISTA Could you trade seats with Blake so she and I can sit together? I asked Tod, but he's got some medical thing. Alex turns sickeningly disoriented. His eyes dart about, searching for evidnece of the catastrophe. There are none to be found. Alex blots from his seat, startling the two girls. He scrambles toward Tod, who looks at his friend, concerned. TOD Dude, what up? Frenzied, Alex climbs over his friend, on top of the seat. Alex's panic has alerted the other students and a MALE FLIGHT ATTENDANT who makes his way to the row. ALEX grabs the tray table latch before the vacent seat. IT BREAKS OFF, JUST AS BEFORE. CAMERA PUSHES INTO ALEX, terrified. He begins to hyperventilate. FLIGHT ATTENDANT Is there a a problem, sir? Alex's wild eyes and expression convey 'no fucking kidding there's a problem.' The flight attendant realizes this passenger is experiencing a serious episode. Directly across the aisle, Carter Horton and Terry look at him with severe expressions. CARTER What's your fuckin' problem? Mr. Murnau and Ms. Lewton unfasten their seat belts and rush toward Alex. MR. MURNAU Alex? Qu'est-ce se? ALEX Qu'est-ce se?! THE PLANE'S GONNA EXPLODE! Obviously, no one ever wants to ever hear that. The students tense. THE FLIGHT ATTENDANT immediately turns to other attendants, signaling for assistance with a quick definite gesture. In the b.g., attendants hustle toward the economy class cabin. CARTER AND TERRY CARTER TERRY Shut up, Browning! You're not funny. ALEX frenzied, begins moving toward the aisle. ALEX We have to get out! This frightens everyone. Not the 'prophecy,' but his panicky, irrational behavior. ALEX CONT'D We have to get off this plane! CLEAR RIVERS CAMERA PUSHES INTO HER, hearing Alex's declaration. ALEX CONT'D Now! NOW!! RETURN Alex is desperately climbing over Tod, who is trying to calmly restrain his friend. Across the aisle, Carter Horton stands ready to quiet Alex, with force. CARTER Sit! DOWN! Browning! TOD FLIGHT ATTENDANT Alex. Alex! Easy, man. Take it Sir, if this is a joke, easy. we don't tolerate such humor. The flight attendant restrains Carter with an extended forearm. ALEX I'm not joking! I'm not joking! Ms. Lewton and Mr. Murnau move to the seats. Flight attendants try restraining Alex from reaching the aisle. MS. LEWTON MR. MURNAU Alex, Knock it off. It's alright. Settle down, Alex. ALEX Listen to me! This plane will explode on take-off! FLIGHT ATTENDANT Sir, we will remove you from the aircraft if this continues. CARTER I'll remove him. ALEX Fuck you! I'll remove myself! Carter reaches for Alex, who pushes back, trying to get out. Carter responds aggressivly and now the flight attendant, Tod, and the two teachers are in the midst of the melee. The Co-Pilot arrives to secure the situation. He grabs Alex and begins forcibly ushering him up the aisle. A male flight attendant choke holds Carter from the back. Carter struggles but the attendant's postioning has the advantage. He begins removing Carter from the plane as well. TERRY He didn't do nothin'! She follows the attendant, hitting him to help her boyfriend. Just arriving in the cabin, Billy Hitchcock tries to fight past a STEWARDESS to get to his seat. He is blocked by the mass of combatants as they are escorted out. FLIGHT ATTENDANT he's had it Anybody in the aisle is off the plane! BILLY No, wait, I was late that's my seat right there! Under protest, Billy gets pushed back off the plane. Mr. Murnau and Ms. Lewton follow the pack of students and airline personnel as they move toward the exit, calling out to seated teachers and parents while hustling up the aisles. MS. LEWTON MR. MURNAU Everybody just stay where you Mr. Carpenter, keep an eye on are. Just sit tight. things for a moment. Tod watches, amazed and concerned for his friend. He looks across the cabin to TOD'S POV - GEORGE his brother gestures, mouths 'you should go with him.' TOD starts off down the aisles. CAMERA COUNTERS ADJUSTING TO CLEAR RIVERS. Amongst the chaos, she considers for a beat, then grabs her backpack, stands and moves into the aisle to exit the plane. BOARDING AREA/TUNNEL - GATE - DAY Alex, the co-pilot, Carter, the attendant, Mr. Murnau, Ms, Lewton, Terry, Tod and Billy proceed down the tunnel. Billy is confused by the chaos. BILLY I didn't do anything! I have my ticket right here! Arriving SECURITY OFFICERS quickly have control of the situation. Alex is taken to a seat at the gate and dropped there by the co-pilot, who, winded, eyes the officers. CO-PILOT You got this? The officers nod. One moves toward Carter as he dropped in a seat away from Alex. Terry sits behind Carter. The co-pilot and attendants start back toward the plane. Ms. Lewton hustles over to them and an airline representitive. CO-PILOT No one gets back on board. That's my call. MS. LEWTON PLEASE I've got forty students going to Paris During these negotiations CAMERA MOVES PAST Ms. Lewton and the Co-Pilot to the boarding ramp door Clear Rivers exits and takes a seat away from the others, aware she is unnoticed in the confusion. CAMERA INCHES IN as she looks up toward ALEX CAMERA MATCHES THE MOVE TO HIM AS TOD and Mr. Murnau attempt to calm him down. TOD It's alright. It's alright. You're off the plane. You're off the plane Rattled, Alex attempts to compose himself. Ms. Lewton appears, hurriedly pulling aside Mr. Murnau. MS. LEWTON Airline's not taking this very well. They'll let one of us back on and the rest can grab a six-ten flight. Gets in two hours later at DeGaulle. It's alright. It's not that big of a deal. MR. MURNAU I'll stay. MS. LEWTON No, you know the whole French thing. Get on the plane. Murnau understands this point and takes off toward the boarding ramp door. Pleading his case, Billy follows Murnau. BILLY I was in the bathroom. The lock was stuck. I didn't fight with anyone! Hustling toward the door. Mr. Murnau gestures toward Ms. Lewton as if 'talk to her.' He disappears down the ramp. CAMERA PUSHES IN as airline personnel CLOSE THE DOORwith an ominous THUD. GATE - AFTERNOON - CARTER, TERRY & BILLY'S POV Flight pulls out of the gate, taxiing toward the runway. GATE - OBSERVATION WINDOW - AFTERNOON Carter turns over his shoulder, looking back angrily towards Alex. Terry wraps a calming/restraining arm around Carter's shoulder, but he starts towards Alex, seated with Ms. Lewton. MENS ROOM ACROSS FROM GATE Tod races out of the bathroom with a dampened paper towel. CAMERA FOLLOWS as he hands it to Ms. Lewton seated next to Alex. The teacher places it on Alex's forehead. TOD I called your mom and dad and they're on their way. MS. LEWTON Alex, talk to me. What happened? Alex looks at Tod, who nods. His friend's expression is soothing and open. With lowered tense tone, meant for only the two people beside him ALEX I I saw it like, I don't know the plane took off. I saw it leave the runway I looked down and saw the ground Ms. Lewton and Tod exchange concered glances. ALEX CONT'D And then the cabin banged and the left side exploded. The the whole plane blew up. It was so real. Exactly how everything goes. TOD Been on many planes that blew up, have you? Good point. Alex looks away. MS. LEWTON You must have fallen asleep. CARTER We get thrown off the plane and blow a half day in Paris because Browning has a bad dream? mocking Alex It's going to explode! It's going to explode! TOD Fuck off, Horton. MS. LEWTON Tod A raw nerve, Alex stands. ALEX Only trip you're gonna take is to the fuckin' hospital. Carter scoffs while moving aggressively toward Alex. Carter makes a quick move and grabs Alex. The two security guards rush in to break it up. Chaos erupts agian as the two boys wrestle in the terminal. OBSERVATION DECK CAMERA PUSHES INTO Billy Hitchcock, depressed as he watches the plane take off BILLY There they go and here we stay. AIRPORT TERMINAL One guard restrains Alex; another Carter. In the b.g. out of the observation deck window Flight lifts off the runway. CARTER You're payin' for my trip, Browning! ALEX I wish you were on the plane! In the b.g. the head and taillights suddenly, violently, ERUPT into a gigantic fireball of flame. It takes a few seconds for the CONCUSSION to hit the terminal, but when it does BOOM! A window SHATTERS! Chairs rock! People are knocked off their feet. CAMERA SWEEPS INTO ALEX stunned as he turns to the window ALEX'S POV - FLIGHT The unceremonious speed of obliteration of hundreds of lives is cruel as flaming debris plummets from the early evening sky. CLEAR RIVERS CAMERA PUSHES IN ON HER, rattled, afraid, but aware of Alex as she is first to turn her eyes toward him. GATE Billy Hitchcock walks backward from the window, shocked by shocked step. Ms. Lewton drops to her chair as her legs give out. O.S., ALARMS BEGIN. The two security guards tear off toward more urgent duties. O.S., OUTSIDE, SIRENS WAIL as emergency vehicles race to the tragedy. CAMERA BEGINS TO MOVE toward ALEX as Tod's head turns toward him, then Terry's then Carter's. In the chair, beginning to cry, Ms. Lewton eyes Alex, as if afraid of him. CAMERA CONTINUES. SIRENS PIERCING. The emergency vehicles' strobing red lights reflect in Alex's eyes, now in TIGHT as he looks out, frozen with shock upon the doomed FLIGHT . JFK INTERNATIONAL AIRPORT - PRESS ROOM # - NIGHT SILENCE A pair of Airline REPRESENTATIVES sit with the seven survivors, each numb with shock. Everyone is too raw with residual fear to show any emotion. They sit on folding metal chairs in an empty room, too bright from the fluorescent lights. Beneath their obvious trauma resulting from the catastrophe each feels uneasy by Alex's presance. The others sit away from Alex and Tod. Alex appears wrought with guilt. He checks the others out of the corner of his eye. ALEX'S POV - THE ROOM Ms. Lewton, Carter and Billy glare at Alex. Terry averts her eyes from Alex to bury her face in Carter's shoulder. ALEX frightened as anyone over what has happened, tenses, defensive and scared. With softspoken strength ALEX You're lookin' at me as if I caused it. I did not cause this. LEWTON, CARTER, TERRY, AND BILLY maintain their uncertain expressions. With strained apprehansion, as if not wanting to 'dabble in the occult,' but needing an immediate answer. MS. LEWTON Is everyone dead? Are there any survivors? WIDER Alex is taken aback by the question, yet even his best friend looks at him for an answer. ALEX How would I know? You think I'm some sort of CLEAR He's not a witch. CAMERA PUSHES IN ON Alex, relieved and thankful, as he turns to her CLEAR RIVERS - ALEX'S POV CAMERA MATCHES the move INTO HER as she looks up at Alex, not with fear or repulsion but with knowledge of an unwanted but irrefutable connection. WIDER Causing a startle, the DOOR OPENS. Everyone's head whips reflexively toward the entrance. The strange event of the flickering lights is quickly forgotten. A half dozen MEN and WOMEN enter the room, displaying official badges and passes. All but two are dressed in casual clothing, having been called in from home; the pair being F.B.I. Special Agents WEINE and SCHRECK. HOWARD SEIGEL and DON HAWKS are representatives of the National Transportation Safety Board. EILEEN WHALE and JACK ARNOLD are members of the Euro-Air 'Trauma Team.' The officials are sympathetic and calm, exuding the confidence and security trauma victims look for at this time. SEIGEL Hello. I'm Howard Seigel, National Transportation Safety Board vice chairmen. We've notified your families and they are on their way. Does anyone feel they need medical attention or spiritual counseling at this time? Although the words are comforting, being in the position of having to hear them macabre. Ms. Lewton reacts, snapping MS. LEWTON Have they found any survivors? What's going on? Seigel is calm, yet honest carefully honest. SEIGEL The cause of the explosion is undetermined. Nassau county authorities are on the scene. Naval search and rescue are en route. He gestures 'and that's all we know.' The group slips deeper into despair. WEINE We understand how you must be feeling at this hour and although we know it may be difficult, we must ask you some questions regarding today's events, while it's still fresh in your minds. The survivors dread the thought of recounting the horrible experience, yet collectively are ready to co-operate. WEINE It may be valuable to our rescue attempts, or any potential criminal investigation. The agents, F.B.I. badges displayed in their pockets, turn their eyes, suspicioulsy, toward Alex. ALEX reacts, puzzled, as he realizes the Agents are focused on him A ROOM - AIRPORT - NIGHT - CLOSE - SCHRECK & WEINE are direct and professional, with no hidden agenda in searching for the truth. Seigel and Hawks from the NTSB are behind them taking notes SCHRECK You said checks notes 'Listen to me! This plane will explode on take-off.' to Alex How did you know that? ALEX CAMERA PUSHES IN as he looks up, nervous not about suspicion toward him, but trying to explain what even he doesn't understand. ALEX I got this feeling a weird feeling I can't explain it WEINE Did you take any seditives before boarding, or on the plane. Sleeping pills? ALEX No. I saw it. I saw it! Tears well as he grows frustrated trying to convey the unique experience. Being trained, veteran officers, Schreck and Weine obsereve; allow him to talk. ALEX Not like a dream more than that. I experienced the plane exploding it was so horrible I know what they all went through tonight The officers remain quiet, gauging his explanation. ALEX CONT'D I'm not a pyschic I've never had this happen before The officers study him, unsure yet carefully SCHRECK Did this 'weird feeling' have anything to do with you saying you wished Carter Horton was on the plane just before it exploded? Alex looks up, stunned. He didn't even recall this until now. ALEX No! SCHRECK Why'd you say it? He considers, owing them an explanation. The he realizes ALEX Because I never thought it would really happen. Weine leans foward WEINE If that's the case, Alex why did you really get off the plane? CAMERA INCHES IN as Alex considers, confused, emotional A ROOM - AIRPORT - NIGHT - TOD CAMERA CONTINUES THE MOVE on Tod as if just realizing TOD My brother told me to keep an eye on Alex. He stayed and I went to make sure Alex was okay. a whisper He told me to get off the plane. A SECOND ROOM - AIRPORT - NIGHT - MS. LEWTON displaying a similar sickened expression as Tod MS. LEWTON Larry Murnau told me to get back on but I told him to go. pause, guiltily I sent him back on the plane. A ROOM - AIRPORT - NIGHT - WEINE WEINE No one forced you to get off the plane. You told us you aren't friends with any that did so, why did you leave the airplane? CLEAR RIVERS CAMERA INCHES IN as she looks up. With total resolve CLEAR Because I saw and I heard Alex. And I believed him. JFK INTERNATIONAL BUILDING - PRESS ROOM # - NIGHT The surviviors have all returned to the room. They may be a group, but they are alone with their thoughts. The door is opened by Ms. Whale. Alex's Mother and Father lead by a group of parents into the room. Each moves with grief, yet relief, to their child. Barbara Browning grabs hold of Alex and holds him tight. The mother begins to cry. Ken Browning, eyes welling with tears, grabs his son's hand and squeezes. Alex does not cry. While holding his mother, he watches the others. ALEX'S POV - CARTER AND TERRY Their parents are concerned, but do not demonstratively show affection. Carter appears as if he wants to hug his MOTHER, but he can't bring himself to betray his self-image. ALEX his eyes moves toward CLEAR RIVERS alone, hurt that no one has come to take her home. ALEX his eyes find TOD AND HIS FATHER JERRY WAGGNER holds his son, both of them releasing anguished tears. Through his grief, however, Jerry stares at Alex with an expression of anger and accusation. ALEX CAMERA PUSHES IN ON HIM as he holds his mother tightly. OVERLAPPING A CRACK OF THUNDER! KEN BROWNING'S CAR - NIGHT Alex sits in the back against the door, looking out the window at the storm. Clear Rivers is pressed against the other door. Everyone is slient. Outside, the STORM angrily rages. Alex is unaware that Clear is watching him, searching for some answer that she will not now find. She looks up. CLEAR Here's good. The car pulls over. CLEAR Thank you for the ride. She opens the door and flashes one more look at Alex, but he appears unaware. She exits the car and as the door SHUTS ALEX'S BEDROOM - NIGHT The room is empty, but the CAMERA is SLOWLY MOVING, as if ITSELF a PRESENCE. O.S., FOOTSTEPS move up the stairs. Alex appears, his parents behind him. He clicks on the light, sending a soft, safe, orange glow across the room. ALEX stands in the threshold of the doorway. His mother places a comforting hand on his shoulder. ALEX'S POV - PENNANT Mt. Abraham High School Fighting Colonials. ALEX and now, the tears arrive. He begins crying, SOBBING, as his mother and father hold him. O.S., OUTSIDE lighting FLASHES THUNDER RUMBLES LIVING ROOM - BROWNING HOUSE - NIGHT - TV CNN broadcasts video footage of the disaster. Seat cushions and personal belongings float in the harsh floodlights. LIVING ROOM It is late and dark. Only the pale light of the TV spills across the living room. Ken and Barbara have fellen asleep, but their son remains awake. Alex's red eyes are locked on the screen, mortified. O.S., a VICIOUS CRACK of LIGHTNING and immediate THUNDER as if calling Alex to the window. He remains fixed on the TV. ALEX'S POV - TV An image of Hell as jet fuel burns on the ocean. O.S., as if furious at the slight, THUNDER BANGS ALEX He turns, stands and moves to the picture window, pulling the curtains aside as CAMERA PUSHES IN ON HIM ALEX'S POV - THE STORM It is as if Nature is angry. Lightning BOLTS spiderweb across the sky. THUNDER BOOMS. A shard of lightning breaks across the front yard. Oddly, it does not make contact. In the split-second strobe of lightning flash, the bolt abstractly appears as if it were a hand pointing directly at Alex. ALEX horrified, lurches away from the window, considering what he has seen. Just felt on the ROAR OF THUNDER CUT TO BLACK: Over black: MINISTER V.O.) Thirty-nine days have passed since we've lost our thirty-nine loved ones, friends, and teachers. FADE IN: MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - ALEX wearing a dark suit and tie, sits beside his parents on white folded chairs. His head is bowed, guilty and sad MINISTER CONT'D As each day passes without a determining cause for the accident, we ask ourselves, 'Why?' Alex raises his eyes and looks across the ceremony ALEX'S POV - TOD sits with his mother, LINDA WAGGNER and his father, Jerry. Destraught, Jerry stares off blankly at the minister. MINISTER CONT'D Ecclesiastes tell us, 'Man no more knows his time than fish taken in the fatal net ALEX guiltily averts his eyes. Ken notes this and wraps a comforting arm around his son. MINISTER CONT'D or birds trapped in the snare Alex checks over his shoulder. ALEX'S POV - OVER HIS SHOULDER - LAST ROW OF SEATS Special agents Schreck and Weine subtly survey the area, taking notes. Although their eyes are beyond sunglasses, the tilt of their head indicates they are watching Alex. MINISTER CONT'D like these the children of men ALEX turns away, tense. He looks at the minister. MINISTER CONT'D caught when the Time falls suddenly upon them.' CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up ALEX'S POV - CLEAR RIVERS is actually sexy and a bit scandalous in her black dress. Still, she is off by herself, eyes burning at Alex as if challenging him to challenge the words being spoken. ALEX self-consciously turns away, unable to face her, let alone the words being spoken. MINISTER CONT'D O.S.) And so before we can heal, before we can escape the presence of Death Time, we must mourn and celebrate theirs with this memorial. WIDER A student with a guitar and harmonica stands at the microphone. Without introduction, he begins Neil Young's 'Long May You Run.' Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. MEMORIAL LINE Carter and Terry appear IN FRAME. Terry holds a rose. As they move slowly up toward the memorial, Alex gets in line behind them. Carter knows Alex is there, but will not look at him. CARTER Hope you don't think, Browning, that because my name ain't on this wall that I owe you anything. ALEX I don't. CARTER re: victims All I owe is these people. turns to Alex To live my life to the fullest. Alex winces from Carter's breath ALEX Then maybe you should lay off the J.D. Carter has an angry reflexive reaction, grabbing Alex threateningly by the forearm. Terry immediately tries to get Carter to release his hold. CARTER Don't ever fucking again tell me what to do. I control me. Not you. Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. CARTER I'm never gonna die. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. BILLY I took my driver's test this week at the DMV Alex turns to him, increudlously BILLY Got a . Lowest score, but I passed. When I was done with the test, the guy who drives with you during the test, he goes, 'Young man, you're going to die at a very young age.' beat That true? ALEX Not here, not now. beat Not EVER! Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER BILLY If I ask out Cynthia Paster, will she say 'no?' Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names CLOSE - MEMORIAL Linda Krauss Thomas Lewis John McConnell. RETURN Alex stands near her, sympathetically, understanding her pain ALEX Ms. Lewton Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. MS. LEWTON Don't talk to me. You scare the hell out of me. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. TOD a greeting Hey. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in line ALEX I don't want to sound gay, or nothin, but I miss you. Tod subtly nods, reaching out to the memorial. CLOSE - MEMORIAL Tod's hand moves across his brother's name GEORGE WAGGNER. RETURN As Tod longs for his brother, then looks at his friend. TOD Me, too. beat But my dad doesn't understand. When he's better; you and me, road trip to the City. Catch the Yanks. ALEX That's a plan. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. TOD I gotta go. This thing Ms. Lewton showed me in her class, they're gonna let me read it. It says what I'm feeling. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. CLEAR Because of you I'm still alive. Thank you. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes feels the red flower. TOD V.O.) We say that the hour of death cannot be forecast TIME CUT: MT ABRAHAM HIGH SCHOOL - DAY - THE PODIUM Tod nervously stands before the assembly, reading aloud with a sad, yet optimistic resolve. CAMERA PUSHES IN, at an ominous ANGLE and rhythm, to the podium. TOD CONT'D But when we say this, we imagine that the hour is placed in an obscure and distant future. As he speaks, the sunlight suddenly turns to shadow. ALEX looks up at the sky THE SKY - ALEX'S POV Within the deep blue, a single black cloud blocks the sun. ALEX CAMERA INCHES IN as, troubled, he looks back to Tod TOD as he continues to read TOD CONT'D It never occurs to us that it has any connection with the day already begun or that death could arrive this same afternoon. WAGGNER HOUSE - NIGHT - ESTABLISHING Storm clouds devour a waxing crescent moon above a modest home set amongst the edge of the woods. TOD V.O., CONT'D This afternoon which is so certain and which has every hour filled in advance. LIVING ROOM - WAGGNER HOUSE - NIGHT A lone light glows. Jerry Waggner has fallen asleep, perhaps passed out, reclined in 'dad's chair.' Tod's mother is asleep on the sofa, balls of tissue on the floor. Tod enters the room and stares sadly at his parents Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. ALEX'S BEDROOM - NIGHT - CLOSE - TABLE FAN swivels as it distributes its breeze. ALEX sits at his desk, dark circles beneath his eyes. Swamping the desk are printouts of Internet Web pages and newspaper articles concerning the crash of Flight, forensic engineering textbooks, NTSB reports on past airline disasters and REALITY BEYOND MATTER: Vaishnava Philosophy. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled ALEX'S POV - NEWSPHOTO Clear Rivers sits in her seat, legs crossed, alluring and sexy and mysterious. ALEX closes the paper, puzzled by his reaction. He shakes it off and throws the paper on the desk. Alex considers for a beat, then pulls open a lower drawer. Digging through the mess inside, he finds his stash the April issue of Penthouse. BATHROOM - WAGGNER HOUSE - NIGHT Alight CLICKS on REVEALING an old, ' 's built bathroom. The toilet is beside the bathtub/shower, with just enough knee space to the counter cabinets when one lifts the toilet seat. Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS still until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses as if sensing, but not understanding this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. BACK OF THE TOILET TANK Tod sits, back to CAMERA, which CRANES DOWN the tank, STOPPING behind the locking nut and water line pipe. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. ALEX'S BEDROOM - NIGHT Alex flips the magazine open to a centerfold. PENTHOUSE PICTORIAL The model's pose and expression tempt Alex towards the momentary respite form his troubles. The caption beneath the centerfold pictorial reads, 'Tymme Has Come Today!' ALEX considers the reports on the Flight crash, then returns his attention to the magazine. He unzips his pants, then pauses his eyes returning hesitantly to the newspaper photo of Clear BATHROOM - WAGGNER HOUSE - NIGHT- CLOSE- RAZOR BLADE waits on the counter. CAMERA PULLS AWAY as Tod picks it up. He looks at his face in the mirror, as if behind him a black indiscernible form, like a shadow, however, actually a presence incapable of reflecting light. Tod whips around a puddle forms, creeping toward the heel of Tod's stocking feet. TOD turns on the faucet and grabs his toothbrush, squeezing paste onto the bristles. CLOSE - FAUCET the f.g. running water is out of FOCUS. In the b.g. sits an unplugged radio. TOD notes the radio. CAMERA FLLOWS HIS HAND as he grabs the plug. THE PUDDLE ON THE FLOOR grows closer to his foot ELECTRICAL SOCKET the radio plug is inserted. TOD turns on the radio JOHN DENVER V.O.) And they say that he got crazy once and he tried to touch the sun. spooked, quickly turns it off, unplugs it and pushes it aside. THE PUDDLE ON THE FLOOR continues to grow ALEX'S BEDROOM - NIGHT - NEWSPHOTO - CLEAR RIVERS Odd how one can appear so erotic at a funeral. ALEX studies the photograph, then notices the rose she gave him. Succumbing to guilt, feeling like the freak all teenagers believe they are, Alex sets the paper back on the desk. He grabs the Penthouse and turns, opening the desk drawer in order to return the magazine, however A LOUD BANG turns Alex's head to the window! ALEX'S POV - WINDOW An OWL has apparently smashed into the window, awkwardly flapping its large wings, then turns its head toward Alex, large yellow eyes shining like an alien creature. WIDER Startled, Alex reflexively throws the Penthouse across the room, pages tearing as it hits the sill. The giant bird flies off. THE TABLE FAN swivels, a page catching in the whirling blades. A PIECE OF PAPER torn form the magazine flits across the room. ALEX CAMERA INCHES IN ON HIM as the piece of paper ENTERS FRAME, floating and flitting until landing on his knee. He picks it up and turns it over ALEX'S POV - PIECE OF PAPER is torn in such a manner that the only lettlers remaining from the centerfold's caption are '...Tod...' BATHROOM - WAGGNER HOUSE - NIGHT - SHOWER CURTAIN is pulled aside REVEALING two pairs of Linda Waggner's nylons drying on a retractable clothesline. THE PUDDLE ON THE FLOOR his foot slips TOD falls foward. THE RETRACTABLE CLOTHESLINE retracts! WHIPPING wildly! THE SOAP DISH Tod's hand tries to grab anything to hold him. His hand slips, knocking over a bottle of shampoo. TOD'S NECK the thin clothesline coils around his neck. The plastic anchor wraps beneath the cord, essentially creating a noose. PUDDLE ON THE FLOOR He slips again. TOD falls against the back wall of the shower stall, pulled by the retracting wire. He kicks with his feet, desperately trying to gain a footing. SHOWER HEAD - TOD'S POV quickly, reflected in the chrome the dark shadow approaches BATHTUB Tod's feet slip in the slick shampoo and water. CLOSE - TOD'S EYES flare. Blood vessels burst. He GROANS, attempting to call out. THE BATHROOM DOOR is closed. LIVING ROOM - WAGGNER HOUSE - NIGHT Tod's parents remain asleep. O.S., a FAINT MUFFLE can be HEARD. BATHROOM - WAGGNER HOUSE - NIGHT - CLOSE - TOD'S NECK his hands tear at his flesh, desperately trying to pull the cord from his neck. TOD'S EYES dart desperately toward the counter. ON THE COUNTER a pair of nose-hair scissors. TOD CHOCKING, GASPING, face turning purple, reaches for the counter. ON THE COUNTER Tod's hand ENTER FRAME. The scissors, sadistically just out of reach. TOD'S FACE FALLS INTO FRAME, suspended by the cord, propped against the back wall of the shower stall, his bluish purple tongue grotesquely juts from his mouth. TOD'S POV - DEATH all four edges of FRAME appear to collapse as if by weight of the darkness until forming a myopic center. Then, from within the center appears Tod's face. Although the expression is serene the pallor is grayish, until suddnely, shockingly Tod's face decays, as if ten years of rot in the grave is compressed into FRAMES. TOD The moment of realization HIS FEET kick upon the slippery basin. After a beat they stop. TOD As his body settles dies CAMERA PULLS AWAY fully revealing his lifeless form. Once behind the toilet tank, CAMERA CRANES DOWN to the floor. The water eerily retreats from the floor, slipping back toward the base of the toilet and like a murderer, slips out of the night. WAGGNER HOUSE - LATER - CLOSE - SIREN LIGHTS whirl and flash INTO CAMERA. CAMERA CRANES DOWN, ADJUSTING to REVEAL a Paramedics vehicle, a Sullivan County, N.Y. Sheriff's patrol car and unmarked sedan. CAMERA CONTINUES MOVING UNTIL REVEALING Alex Browning racing down the sidewalk. He runs into a CLOSE-UP, sweating, out of breath, expression horrified as he takes in the scene before him. SPECIAL AGENTS SCHRECK AND WEINE stand in the front yard. Schreck subtly redirects Weine's attention toward ALEX - SPECIAL AGENT'S POV The boy franically moves to a paramedic. ALEX What happened? Is Tod alright? SCHRECK AND WEINE hearing this, they turn to one another, with an expression suggesting a deepening suspicion. ALEX sees the officers. Assuming they are sympathetic to his concern, he starts toward them, until CLEAR Alex! Alex stops, looks around. Behind the tree and in the shadows of the adjacent house, stands Clear Rivers. CLEAR CONT'D a warning Get outta here! CAMERA PUSHES INTO ALEX, stunned, but before he can ask any further questions, a METALLIC CLACKING draws his attention back toward the house. ALEX'S POV - A COVERED GURNEY is rolled out of the front door by paramedics and an official with a jacket marked 'CORONER,' Behind the body follows Tod's father. He pauses in the doorway as he spots Alex in the front yard. ALEX is pale, nauseous. His eyes follow his friend's dead body as it is rolled toward the paramedics vehicle. Tod's father approaches Alex, the agents stand nearby. ALEX What what happened? Mr. Waggner glares at Alex, accusingly. MR. WAGGNER Didn't you 'see' it? Alex is stung, guilty. He averts his eyes. Schreck and Weine note this reaction. MR. WAGGNER CONT'D Couldn't you 'predict' it? Couldn't you read his mind? Alex remains silent, hurt. ALEX Mr. Waggner MR. WAGGNER You caused Tod so much guilt over George staying on the plane that breaking down He took his own life. Alex is stunned, defensive. ALEX He wouldn't do it! Mr. Waggner turns toward the paramedics van, as if 'there's the proof.' ALEX He he told me we would be friends again after you got better. After you got over George. Why would he make plans for the future if he were planning on killing himself? MR. WAGGNER All my wife and I will ever know is we wouldn't have lost our youngest son if you'd told our oldest to get off the plane. Alex is rocked as if having taken a punch to the face. Mr. Waggner begins to walk toward the peramedics vehicle. Alex eyes the F.B.I. agents, who, after studying for a beat, turn and move toward their vehicle. The gathered spectators begin whispering to one another, clearly about Alex, causing him to search for, what appears to be, his only ally, Clear Rivers. 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 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 Almost Autumn. Alex looks off toward a small unkept house, nestled at the edge of the woods. In the open garage stands Clear Rivers amongst 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 heavy 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/ 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 on 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 with 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 it's 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 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. 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. CLEAR 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! 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 a 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? is funny, you fucking dick? Tod, if you're not dead I'm gonna fucking kill you! MR. BLUDWORTH Please don't yell Both are jolted again with shock, turning toward the voice MR. BLUDWORTH CAMERA PUSHES, LOW ANGLE, INTO WILLAIM BLUDWORTH, an African-American man, early 's, dressed in dark suit and tie. MR. BLUDWORTH You'll wake the dead. He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth ALEX Why..? Alex completes 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 were 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 aware 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 personification of the subject. MR. BLUDWORTH there are no accidents. No coincidencess. 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 the 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 its tail. Every single move we make, from 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 things rolling. Growing up is only the marble rolling down the curving chute. 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 where the 'steel ball was rolling' couldn't you avoid the trap and extend the playing time? Couldn't you cheat Death at Its 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 iniciate 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 demonstrated 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. MAIN STREET - DAY BRAKING LOUDLY, startlingly, a public bus PULLS INTO CAMERA and stops. The doors HISS open. CLEAR 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 safely. He nods, 'it's safe to go.' Throughout the following, 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 died on Flight ? 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, eyes 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 harm's way. ALEX Remember the departure time? CLEAR Like : . Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. PEDESTRIAN TRAFFIC SIGNAL the halting red hand is lit. ALEX V.O.) Do you know when I was born? INTERSECTION Clear sighs, growing impatient with Alex. CLEAR : . ALEX Right. April th. 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 from a 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. STARBUCKS - DAY sitting outside, Alex hunches over the table, increasingly anxious. Clear listens; expression 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 angrily 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 haven't started in motion the events that will lead to our death? Fifty years from now. Ten years. Tomorrow. beat You don't unless you're able to open yourself to the signs I'm 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, her expression obviously puzzled. 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 '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, staring at the perceived reasons for his problems. ALEX AND CLEAR Her eyes turn from the paper to Alex, concerned about him CLEAR I don't understand did you see Tod die? Did it happen again, 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 Presence. 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 angry. 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 gets 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. 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 The National Transportation Safety Board has a new theory tonight on the possible cause of Euro-Air Flight 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 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-tech 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 ALEX'S BEDROOM - DAY - 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.' VALERIE LEWTON'S HOUSE - NIGHT - VALERIE LEWTON ENTER'S FRAME, on the phone, wearing a t-shirt and sweats. MS. LEWTON 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 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 is 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 LEWTON'S HOUSE - NIGHT - MS. LEWTON'S POV - FRONT YARD The figure is Alex Browning. 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: LEWTON'S HOUSE - NIGHT Alex has moved closer to her house, remaining in the shadows. He checks for any passers-by. Being sure there are none, he creeps toward Ms. Lewton's car. He visually inspects the . 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 they're safe. SPECIAL AGENTS SCHRECK AND WEINE after a beat of incredulity SCHRECK Get in the car. 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 INTERROGATION ROOM - POLICE STATION - NIGHT Alex sits behind a table in the cinderblock room painted police station green. Sitting across from 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? 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 Pleased with the feeling of a pleasant memory, Lewton moves off. 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. 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 he's born again CAMERA PUSHES INTO the burner as the flames re-ignite and FILL THE FRAME 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, frustrated 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. 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 sits 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. composed You're outta here. Pretty soon you'll be gone. Opening the refrigerator frezzer, she grabs some ice and a 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. 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 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 MONITOR VENT fluid drips inside the circuitry. MS. LEWTON sets the mug out of the way on the back edge of her desk. CLOSE - COFFEE 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 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 turntable as she passes. The needle skips, BUMPS and settles umercifully at the start of 'Rocky Mountain High.' NEIGHBORHOOD STREET - NIGHT Alex walks quickly up the street. Smoke wafts before him. He turns to see a 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 Presence. 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. 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 KITCHEN - LEWTON'S HOUSE - NIGHT Valerie Lewton races in, desperately pressing her hand to her throat as she GURGLES and CHOKES on 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 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. 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 cutlery block. The knives spill out, entangled with the hand towel. ALEX 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 knife 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, horrifically 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 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. 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. INT./ 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 business card. MT. ABRAHAM HIGH SCHOOL - NIGHT CAMERA PUSHES IN ON Flight 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 HIGHWAY - NIGHT The muscle car ROARS onto U.S. on ramp. A sign near the road indicates: 'Middletown - mi. New York City - mi.' CARTER'S CAR - NIGHT Carter checks the rearview 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. SEASHORE - JONES BEACH SATE PARK - NIGHT A posted sign indicates 'ACCIDENT SITE. ANY DEBRIS FOUND SHOULD BE REPORTED TO THE NTSB -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 here 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. 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 shoreline lights cast an orange haze on the stars, breaking through, infinitely above. ALEX 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 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 want them to get hurt. And what would happen to me? What would life be like? beat Every night it seemed. She looks out at the stars. He doesn'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 - 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 blew his head off. She has lived 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 togetherand have no idea about this second life, here. beat A place where our friends 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 haven'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 they 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, up above. 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 rearview 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 AN INTERSECTION - NIGHT The muscle car ROARS past a stop sign. CARTER'S CAR - NIGHT The 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! ANOTHER INTERSECTION - NIGHT The car GUNS IT through another stop sign. 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! TRAFFIC LIGHT INTERSECTION - NIGHT Red light. A car approaches with the greenlighted 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. CARTER'S CAR - NIGHT BILLY And I fuckin' HATED FRENCH 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! 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. 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 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. 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 rearview mirror. CLEAR So, stop what you're doing and STOP THIS CAR! Right fucking now! 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! TRAIN TRACKS - NIGHT The train appears around the blind bend CARTER'S CAR - NIGHT Billy opens the door and pours out. Clear and Alex are quickly behind him. Carter remains in the drivers seat. 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! CARTER'S CAR - NIGHT Arms crossed, Carter remains in the front seat. As the 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 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 Get out of the fuckin' car! car! CARTER'S CAR - NIGHT As he turns away from them, Carter sees something in the rearview mirror CARTER'S POV - REAR VIEW MIRROR the passing shadow is darker than any surrounding 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! 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 a 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 lifeagain! CLOSE - TRAIN WHEELS continue 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! CLEAR 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 its two front feet before 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 expiriencing an intense epiphany. ALEX CONT'D My intervention in the death of surviviors will cheat the design. CARTER 'Intervention?' What are you, God now?! ALEX Of course not! Gods 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. 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 house, a pre-storm breeze swaying branches and blowing leaves. In the distance LIGHTNING CABIN - DAY - A SMALL TABLE A final piece of duct tape is applied to the corner of the table, dulling any sharp edges. Even though it is sunny outside, all the shades are pulled. The room sits in dark shadows broken by occasional 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 than arm's reach. Unshaven, a week and a half's growth, and unkept, Alex looks horrible. An 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 himself, 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. 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. CAMERA tensely INCHES IN ON Clear CABIN - NIGHT - CRACK BENEATH DOOR The resulting THUNDER RUMBLES. A breeze blows beneath the door, carrying some Autumn leaves. CAMERA FOLLOWS 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 rolls 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 thick, rusted old treble and aberdeen 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. BEDROOM - CLEAR RIVER'S HOUSE - DAY ENTERING FRAME, Clear peeks out the window, careful not to be seen. CLEAR RIVER'S STREET - DAY - CLEAR'S POV The unmarked F.B.I. sedan maintains surveillance. Schreck and Weine sit inside. 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, holds 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 girl's handwriting, 'me and dad at the cabin. .' CLEAR As CAMERA PUSHES INTO HER considering life. Then, now and what is to come. 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 Rivers leans into FRAME. She pauses, gauging their trustworthiness, 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 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. Clear's seat was in front of mine CAMERA PUSHES into a TIGHT CLOSE UP ALEX CONT'D She's next. 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! CLEAR RIVER'S HOUSE - NIGHT - POWER LINE The lightning STRIKES the top of the pole, SNAPPING two power lines, which whip in the wind. 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. 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. CLEAR RIVER'S HOUSE - NIGHT She assesses the situation and moves to a pair of candles on the mantle, lightning them with a Bic. O.S., from the backyard, a DOG BARKS. Clear brings the candle through the small house. 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. 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. 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. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLOTHESLINE Sharp metal edges spin. Glinting blue arc light 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 x s THUNDER up to the cabin, siren lights swirling. UNMARKED CAR - NIGHT Weine is driving, leading the other vehicles. Schreck points out the passenger window. SCHRECK There! CABIN - NIGHT - WEINE'S POV - THROUGH CAR WINDOW Full sprint, Alex disappears into the dark forest. WIDER the cars BRAKE to a stop, SKIDDING in the dirt. Sheriffs leap out of their vehicles. High powered flashlights shoot beams in Alex's direction. The officers take after the suspect. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT The backdoor opens. Clear charges out into the backyard. THE DOG Helpless, chain wrapped around the tree. THUNDER 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 CIRCULAR 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 dog's 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. FOREST - NIGHT CAMERA MOVES WITH Alex, blindly running through the forest, sheriffs' flashlight beams crossing behind him in pursuit. Looing back to check the postition of the agents, Alex blindly runs over the lip of a downward slope 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. 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 its 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 overwhelming amounts of electricity. FOREST - NIGHT - SMALL CREEK Distant flashlights reflect 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. BACKYARD - CLEAR RIVERS'S HOUSE NIGHT Clear pulls herself 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 FOREST - NIGHT - CLOSE - ALEX'S EYES dart open. Taking a tenth of a second to gather all of his strength, all his courage, he arches 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 adrenaline as he manages to push with his arms and free himself from the pinning tree branch. He pauses only for a couple gulps of air and is off. 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. 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 CLEAR RIVER'S HOUSE - NIGHT The power lines strike the rooftop. 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. 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 EDGE OF THE WOODS/BACKYARD - NIGHT Alex tears across the fenceless backyards towards Clear's house. Blue ARC light glowing from the front yard. 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. GARAGE - CLEAR RIVER'S HOUSE - NIGHT The power lines WHACK angerily against the door. 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. COROLLA - NIGHT Realizing the motor is dead, Clear takes a beat, STARTS THE ENGINE and SHIFTS INTO REVERSE 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 GARAGE - CLEAR RIVER'S HOUSE - NIGHT Clear guns the small car in reverse. GARAGE DOOR as the rear of the car makes impact with the door THE GARAGE OPENER trembles, the long metal arm collapses, falls 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 grille. The other end remains attached to the garage roof, essentially acting as an anchor. COROLLA - NIGHT The car SHUDDERS, wheels spinning uselessly, as the arm 'holds' onto the car. 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, trying to break free. The can is marked 'TURPENTINE: EXTREMELY 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. CLEAR RIVER'S HOUSE - NIGHT - POWER LINE thick cable ARCS, snapping toward the car INTO FRAME. COROLLA - NIGHT Foot to the floor, Clear SCREAMS for the car to move. GARAGE - CLEAR RIVER'S HOUSE - NIGHT - DOOR OPENER MOTOR pulls away from the ceiling. GARAGE - CLEAR RIVER'S HOUSE - NIGHT The Corolla lurches backward, freed from the grasp of the house. GARAGE - CLEAR RIVER'S HOUSE - NIGHT a chunk of the ceiling collapses upon Clear's artworks, including the canvas incorporating a jagged piece of debris from Flight . The metal SLAMS to the floor, on top of THE CAN OF TURPENTINE which causes the flammable liquid to stream out, toward the driveway. 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. COROLLA - NIGHT An ear splitting CRACKLE. SPARKS FLY! The electrical system of the samll car erupts and the engine dies. The car stops. 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. COROLLA - NIGHT Clear looks up desperately to Alex. 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 two 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 everyone 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 cable ARCS furiously. COROLLA Clear opens the driver's side door and runs out, knocked to her feet as behind her the car EXPLODES. ALEX is engulfed in the flames. ALEX'S POV - THE SHADOWS the edges 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 blows across 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. DELIVERY ROOM - DAY - CLEAR SCREAMS, as if reacting to Alex's death, but in actuality it is a reaction to the pain of delivering 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 parents stand 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 th of May : 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 eerie, 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 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 presence 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 away from the Vietnam veteran's Memorial. The name 'ALEX BROWNING...' 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 ENTERS 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 straightens 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 believed. 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 .' CAMERA HOLDS as 'Long May You Run' CONTINUES RETURNING each of us to the awaiting darkness. 