Final Destination

ALEX

senses the taunting message and breaks into a full sprint, passing through

many of the burning leaves that break up into the bright orange cinders

against the black sky.

CUT TO:

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

reach the coffee mug, igniting the trickling stream leading to, and away

from, the crack in the cup.

FLOOR

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

INT. KITCHEN - LEWTON'S HOUSE - NIGHT

Valerie Lewton, races in desperately pressing her hand to her throat as she

GURGLES and CHOKES an the blood from the wound. She leans over the now red

sink. She turns pale from the blood loss.

THE STOVE

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

MS. LEWTON

behind her, the stove ERUPTS in FLAMES. They jump, leap like a tiger,

landing on her shoulders and hair, which catch on fire...

CUT TO:

EXT. LEWTON'S HOUSE - NIGHT

Alex approaches the front of the house. From here, nothing appears to be

wrong. As he catches his breath, sweating, visually examining the house.

From INSIDE, a hoarse, macabre SCREAM! CAMERA PUSHES IN ON ALEX, stunned,

before he races off toward the house.

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

DROPS INTO FRAME ON HER KITCHEN FLOOR, hair and sweatshirt aflame. She

desperately rolls on the floor and manages to extinguish the flames.

On her back, on the floor, she is badly burned. Her open neck wound

continues to bleed. Blood pools on the floor. In shock and moving on pure

survial instincts, she reaches up...

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

the lower third of the towel dangles over the edge of the counter top. Her

hand grabs it, and pulls.

COUNTER TOP

the draped edge of the towel pulls over the ctlery block. The knives spill

out, entangled with the hand towel.

ALEX (O.S.)

Ms. Lewton!

KITCHEN DOORWAY

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

counter.

MS. LEWTON

a half dozen knives, from small, but sharp, cutting blades to large butcher

knives, cascade into her body.

JOHN DENVER (V.O.)

They say that he got crazy once

and he tried to touch the sun...

Her hand trembling, her expression horrified, Lewton grabs the handle of the

largest blade, trying to pull it out. Alex quickly kneels next to her. She

looks at him, in shock, her eyes pleading. Alex gathers his courage, places

his hand on the handle of the largest blade. As he's about to remove it...

THE STOVE

a gas line ERUPTS, creating a small EXPLOSION.

THE COUNTER TOP

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

MS. LEWTON

the block lands directly on the butcher handle, driving the blade further

into Ms. Lewton's body.

LEWTON'S POV - THE SHADOW

descends, the FRAME COLLAPSING until her face, eerily peaceful, but lifeless

gray, horriflically decays... flesh rotting, worms feeding on muscle until

only a skull remains.

MS. LEWTON

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

ALEX

Even as blood squirts on him from her open wound, he appears to realize she

is "seeing" the moment of death.

ALEX

Ms. Lewton!

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

Alex grabs the knife blade and pulls it out. He quickly removes another and

another... yet there is no reaction from the woman.

Knowing she is dead, Alex pauses with guilt. He looks at the knife in his

hand, then realizes how incriminating this could appear. In that moment,

another small EXPLOSION from the stove, brings Alex quickly to his feet. He

drops the knife to the floor and races from the house. CAMERA TILTS DOWN to

the shoe prints left in the pool of blood.

CUT TO:

EXT. LEWTON'S STREET - NIGHT

Alex runs with all his strength away from Valerie Lewton's home. Billy

Hitchcock is riding his bicycle in Alex's direction. He stops and gets off

his bike.

BILLY

Hey, Alex...

Alex appears unaware as he simply runs past Billy, who curiously turns his

head to watch Alex race up the street. O.S., the CRACKLING OF FIRE. CAMERA

MOVES INTO Billy as he turns back, reacting with shock to Ms. Lewton's

house.

THE HOUSE

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

engulf the entire house.

ALEX

even down the street, he is knocked to his feet by the blast. In the

distance, SIRENS from approaching POLICE AND FIRE trucks are HEARD. He

stands, looks to the now suspicious Billy... then opts to run off away from

the scene. Escaping, into the dark backyards of the neighborhood.

CUT TO:

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

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

CLEAR

I don't know where he is. He's not

talking to me.

WIDER

Agents Schreck and Weine stand before Clear in her garage.

WEINE

Why?

She studies the men before averting her eyes.

CLEAR

Because I didn't believe him.

The agents study her. Weine accepts the explanation. Schreck's eyes take a

walk around the artwork in the garage, pausing on a piece of twisted metal

from the crash. Clear tenses, however...

SCHRECK

If he should contact you, it

would be in the best interest

of your own safety to contact us.

Schreck hands his card. She takes it and nods. Schreck pauses, once again

eyeing the painting before moving out of the garage on their way to their

car.

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

CUT TO:

EXT. MT. ABRAHAM HIGH SCHOOL - NIGHT

CAMERA PUSHES IN ON Flight 180 Memorial, lit for dramatic effect at night,

but only achieving an eeriness. Carter Horton and Billy Hitchcock ENTER

FRAME, moving toward the monument. Billy is riding his bicycle, wearing a

New York Rangers jersey with "Hitchcock" across the back of the shoulders.

Nearing the shadows, the two boys stop looking at the monument.

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

stone.

Clear Rivers appears from the shadows.

CLEAR

What are you doing?

CARTER

Terry's name should be on

this wall.

Clear is touched by the action.

CARTER (CONT'D)

So, why'd you want us to meet you

here? Now?

CLEAR

They're watching me, see if I

go to Alex.

BILLY

Are you?

CLEAR

They'll follow my car.

(beat)

That's why you're taking me.

CARTER

Why would I want to see him?

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

CLEAR

Because he knows which one of us

is next.

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

CUT TO:

EXT. HIGHWAY - NIGHT

The muscle car ROARS onto U.S. 17 on ramp. A sign near the road indicates:

"Middletown - 25 mi. New York City - 105 mi."

INT. CARTER'S CAR - NIGHT

Carter checks the rear view mirror. Clear looks out the front passenger

window. She shakes her head, as if "no one's following us." Billy leans

forward from the backseat...

BILLY

Um... okay... drive the speed limit,

right?

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

BILLY (CONT'D)

And don't pass on the right.

CARTER

Billy! I'm gettin' a vision!

You're the next one...

BILLY

(nervous)

Hey, man, why'd you say that?!

CARTER

'Cause if you say another word,

I'm gonna fuckn' kill ya!

Billy sits back, gesturing, "hear ya. Got it." Clear pays no attention to

their exchange as she stare out into the darkness, her thoughts a million

miles away.

EXT. SEASHORE - JONES BEACH SATE PARK - NIGHT

A posted sign indicates "ACCIDENT SITE. ANY DEBRIS FOUND SHOULD BE REPORTED

TO THE NTSB (212)555-NTSB." CAMERA FINDS Carter's car pulling up to a stop.

Clear opens the passenger door and pauses in the car a while...

CLEAR

He could be anywhere from her

to a mile down the shore. You guys

drive down there, start this way

and we'll meet around the middle.

It'll take half the time.

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

beach.

CUT TO:

EXT. BEACH - NIGHT

CAMERA, FACING the ocean moves along the shore revealing a lone image

sitting on the beach, looking into the Atlantic.

The waves are small bur rhythmic, an enternal metronome. Numb, Alex Browning

sits in the sand searching for an answer somewhere in the darkness of the

evening sea.

Behind him, O.S., approaching in the sand, SOFT FOOTSTEPS. He listens, notes

them. Yet rather than turn around... he looks up into the sky.

ALEX'S POV - THE SKY

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

infinitely above.

ALEX (O.S.)

Are they up there?

WIDER

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

is behind him.

ALEX (CONT'D)

Somehow... is 180 still in flight?

Somewhere... are they still safe?

Clear hasn't met eyes with Alex, but she sits nearby, looking into the sky.

CLEAR

When I was a kid, like, six or seven...

I used to worry so much about my parents

dying. Like lying awake at night... just

worrying. I loved them so much. I didn't

them to hurt. And what would happen to me?

What would life be like?

(beat)

Every night... it seemed.

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

ALEX

Most kids do, I guess.

CLEAR

Most kids never have it happen.

Alex hangs his head...

CLEAR

When I was ten... my dad went into a

7-11 for cigerettes. I guess he heard

somebody say "Don't turn around." So on

reflex, or thinkin' a friend was jokin'...

he did. And the guy blewhis head off.

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

CLEAR (CONT'D)

And, let me tell ya, I had every reason to

worry before... because life became shit. I

don't blame her, I guess, but my mom couldn't

deal with it at all. She married this asshole,

who my mom with my real dad would cross the street

to avoid this guy. He really didn't want a kid.

And so my mom didn't either anymore, I guess.

(beat)

If that was the design for my father... and my

family... then fuck Death, FUCK IT!

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

CLEAR (CONT'D)

And so, anyway... I've thought of that

"somewhere," Alex. It exists, that place.

He looks at her.

CLEAR (CONT'D)

Where my dad is still safe. Where he had

a full pack of cigerettes and kept driving.