>> I/ Final Destination I

I/ Final Destination I

: I/ Final Destination I.

I/ Final Destination I

Awaiting......each of us; a cold...dark...lonely place. Deny its finality. Dride it's totality. Dread the enescapable invitability......it 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!

CUT TO:

Int. ALEX'S BEDROOM - NIGHT - CLOSE - BED

An airline ticket is tossed INTO FRAME beside a suitcase; "ERO-AIR. FLIGHT #180. New York City (JFK) - Paris, Charles de Gaulle (CDG.) Departure: Thursday 13May. 16H25 - Arrival: Friday 14May. 05H40."

"And When I Die" Continues throughout the MAIN TITLES:

AN OLD TABLE FAN

swivals 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 fans breezes flip throught 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

swivals, 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 swivals 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 boys 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, 45, walks in, excited and a bit anxious.

BARABRA (Cont'd) Tod and Georges dad just called, he's picking you up at 10 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, 48 appears, leaning against the door threshold, smiling envoiusly at his son.

KEN My suitcase workn'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?

EXTREAMLY 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 dozon 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...

CUT TO:

INT. 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 continues 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 1:00 a.m., however... the middle digit bar in the first zero faintly flickers so this time appears to read... 1:80.

AIRPORT P.A. (V.O.) (overlapping) Attention airline travelers...

CUT TO:

INT. JOHN F. KENNEDY AIRPORT - MORNING - TELEVISION MONITOR

FLIGHT 180 departs 4:25. Gate 39.

AIRPORT P.A. (V.O.) This airport does not support solicitors...

CAMERA ADJUSTS FROM the "Arrival-Departure Schedule" to REVEAL forty high school KIDS, and 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, 17, 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 haven' 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, 30, 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...

CUT TO:

INT. 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?" CAMARA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket...

TICKET CLERK (CONT'D) April 25th. 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."

CUT TO:

INT. SECURITY AREA - AIRPORT - MONITOR

The ghastly green and reds of the X-ray monitors flash as carry on bags flash through the machine. CAMARA MOVES COUNTER to the direstion 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 Carters action. Alex, Tod, George and BILLY HITCHCOCK, heavy set 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 your 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 bowls...

TOD Dude, if we don't get someone going on thif 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...

CUT TO:

INT. AIRLINE GATE - AIRPORT - AFTERNOON - CLOSE - GATE 39

CAMERA ADJUSTS from the sign indicating GATE 39. 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 the 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 - 747

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 (O.S.) 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 your eyes?

Alex takes a beat to consider...

CUT TO:

INT. 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 (O.S.) 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 180 to Paris through gate 39.

Really for the first time, Alex appears a bit tentative and pale. It is intensified by the return of the song...

JOHN DENVER (O.S.) It's the Colorado Rocky Mountian High/ I've seen it rainin' fire in the sky...

CUT TO:

INT. BOARDING AREA - GATE 39 - 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 of feeling of no return. O.S., distant THUNDER RUMBLES...

WIDER

There is something more emotionally tense about the moment of boarding than take-off. CAMARA 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.

INT. 747 - FIRST CLASS CABIN - AFTERNOON - CLOSE - BABY

SCREAMS! It's parents desperetly 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.

INT. ECONOMY CLASS CABIN - 747 - 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 kid 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 25. 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 (O.S.) 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 22 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 tittie fuck 'em over Greenland, or something?

TOD Because of you, I gotta sit here and watch fuckn' "Stepmom."

As Alex sits, the tray table falls from it's 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 747 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 VLOUME 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, angeled as the jets leaves the ground.

ALEX

O.S., hois 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# 123 August 12, 1985, BLARES over the P.A., with erie calm...

MESSAGE (V.O.) Fasten seat belts...put on oxygon masks...

ALEX

his hand trembles as he reaches for the oxygon mask and places it over his face. The ENGINES resuscutate. SCREAMING. WHINING. Alex checks out his window.

ALEX'S POV - OUT OF WINDOW

The plane is on it's side losing altitude. A slow, sick spin.

ALEX

breaths deep into his oxygon 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 sprays, craft and passengers torn to shreds.

Dead students sit lifeless in their seats.

Every unrestrianed 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 deafining 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...

CUT TO:

CLOSE - ALEX'S TERRIFIED EYES

dilating rapidly, as the shock of what appears to be happening before him washes over his every psyche.

CHRISTA (O.S.) Alex?

ALEX

Drenched with sweat, trembling in his seat, his eyes dart toward Christa and Blake. They look great and the'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 sickeninly 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. CAMARA 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 expiriencing a serious episode.

Directly across the aisle, Carter Horton and Terry look at him with severe expression.

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 PLANES GONNA EXPLODE!

Obviously, no one ever wants to ever hear that. The students tense.

THE FLIGHT ATTENDANT

immediatly turns to other attendants, sighaling 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

CAMARA 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, we easy. don't tolerate such humor.

The flight attendant restrains Crter 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 attendants 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 passed a STEWARDESS to get to his seat. He is blocked by the mass of compatants 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!

Inder 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 hustleing 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.

CUT TO:

INT. BOARDING AREA/TUNNEL - GATE 39 - 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 get's back on board. That's my call.

MS. LEWTON PLEASE... I've got forty students going to Paris...

As 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 attemp to calm him down.

TOD It's alright. It's alright. You're off the plane. You're the plane...

Rattled, Alex is attmpted to compose himself. Ms. Lewton appears, hurriedly pulling aside Mr. Murnau.

MS. LEWTON Airlines not taking this very well. They'll let one of us back on and the rest can grab a six ten flight Get's 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 DOOR...with an ominous THUD.

EXT. GATE 39 - AFTERNOON - CARTER, TERRY & BILLY'S POV

Flight 180 pulls out of gate, taxiing toward the runway.

INT. GATE 39 - OBSERVATION WINDOW - AFTERNOON

Carter turns over his shoulder, looking back angerily 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 39

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, sho nods. His friend's expression is soothing and open. With lowered tense tone, meant for only 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 sicurity 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 180 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 747 head and taillights suddnely, 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 180

The unceremonious speed of obliteration of hundreds of lives as 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 39

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 tragady.

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 180.

CUT TO:

INT. JFK INTERNATIONAL AIRPORT - PRESS ROOM #10 - NIGHT

SILENCE

A pair of Airline REPRESENTATIVES sit with the seven survivors, each numb with shock. Everyone is too raw with reidual 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 soft spoken strength...

ALEX You're lookin' at me as if I cuased it. I did not cuase this.

LEWTON, CARTER, TERRY, AND BILLY

maintain their uncertain expressions. With strained apprehansion, as if not wanting to "dabble in the occult," but needing in immediate answer.

MS. LEWTON Is everyone dead? Are there any survivors?

WIDER

Alex is taken back by the question, yet even his best friends 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 dresses 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.

SEIGAL Hello. I'm Howard Seigal, 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.

SEIGAL The cause of the explosion is undetermined. Nassau county authorities are on the scene. Naval search and rescue are on rought.

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...

CUT TO:

INT. A ROOM - AIRPORT - NIGHT - CLOSE - SCHRECK & WEINE

are direct and professional, with no hidden agenda in searching for the truth. Seigal 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...

CUT TO:

INT. 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.

INT. 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.

INT. 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.

CUT TO:

INT. JFK INTERNATIONAL BUILDING - PRESS ROOM #10 - 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!

CUT TO:

INT. 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 angerily 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...

CUT TO:

INT. 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...

CUT TO:

INT. 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 spider web 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:

EXT. 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 fatel 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 sxy 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 intoroduction, he begins Neil Young's "Long May You Run."

Two other students remove a cloth, unvieling 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 Carters breath...

ALEX Then, maybe you should lay off the J.D.

Carter has an angry reflexve 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 refrainingfrom showing any pain caused by Carter's grip. Terry fianlly 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 as 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 70. 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 to Alex.) 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 and 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 it 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 circumsatances, 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 in the hour of death cannot be forecast...

TIME CUT:

EXT. MT ABRAHAM HIGH SCHOOL - DAY - THE PODIUM

Tod nervously stands before the assembly, reading aload with a sad, yet opimistic 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.

CUT TO:

EXT. 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.

INT. 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.

CUT TO:

INT. ALEX'S BEDROOM - NIGHT - CLOSE - TABLE FAN

swivels as it distributes it's 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 180, 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, puzzeled 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 1997 issue of Penthouse.

CUT TO:

INT. BATHROOM - WAGGNER HOUSE - NIGHT

Alight CLICKS on REVEALING an old, '20's built bathroom. The toilet is beside the bathtub/shower, with just anough knee space to the counter cabinets when one lifts the toilet.

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 windas it CONTINUES into the room, rippling across shower curtains.

As the breeze passes Tod, he pause... 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 INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor.

CUT TO:

INT. ALEX'S BEDROOM - NIGHT

Alex flips the magizine 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 repsrts on the Flight 180 crash, then returns his attention to the magizine. He unzips his pants, then pauses... his eyes returning hesitantly to the newspaper photo of Clear...

CUT TO:

INT. 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 this 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...

CUT TO:

INT. 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 of 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 magizine, 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 it's large wings, then turns it's 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 magizine 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..."

CUT TO:

INT. 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

fals 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 restracting 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

INT. LIVING ROOM - WAGGNER HOUSE - NIGHT

Tod's parents remain asleep. O.S., a FAINT MUFFLE can be HEARD.

INT. 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 desperatlely 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

FALL INTO FRAME, suspended by the cord, propped against the back wall of the shower stall, his bluish purple tongue grotesquely justs 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 72 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.

CUT TO:

EXT. WAGGNER HOUSE - LATER - CLOSE - SIREN LIGHTS

whirls 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 WEINE

stand in the front yard. Scgreck 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 (O.S.) Alex!

Alex stops, looks around. Behind the tree and in the shadows of the adjusent 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 friends 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 tooks is 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 agian 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 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 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.

>>>

I/ Final Destination I.
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